学校

编码

：10

384

分

类号

____

_密级

____

_ 学

号：

1232

0111

1525

86

U

DC

____

_

硕

士

学

位

论

文

纳

博科

夫《

微暗

的火

》与

《爱

达或

爱欲

:一部

家族

纪事

》中

的对

位艺

术

The

Art

of C

ount

erpo

int i

n V

ladi

mir

Nab

okov

’s P

ale

Fire

an

d Ad

a or

Ard

or: a

Fam

ily C

hron

icle

霍 甜

甜

指导

教师

姓名

：

李美

华

教授

专业

名称

：

外国

语言

学及

应用

语言

学

论文

提交

日期

：

2014

年4

月

论文

答辩

日期

：

2014

年4

月

学位

授予

日期

：

20

14

年

月

答

辩委

员会

主席

：

评

阅

人：

2014年

月

纳 博 科 夫 《 微 暗 的 火 》 与 《 爱 达 或 爱 欲:一 部 家 族 纪 事 》 中 的 对 位 艺 术 霍 甜 甜 指 导 教 师: 李 美 华 教 授 厦 门 大 学

厦门大学博硕士论文摘要库

厦门大学博硕士论文摘要库

厦门大学学位论文原创性声明

本人呈交的学位论文是本人在导师指导下,独立完成的研究成

果。本人在论文写作中参考其他个人或集体已经发表的研究成果，均

在文中以适当方式明确标明，并符合法律规范和《厦门大学研究生学

术活动规范（试行）》。

另外，该学位论文为（ ）课题（组）

的研究成果，获得（ ）课题（组）经费或实验室的

资助，在（ ）实验室完成。（请在以上括号内填写课

题或课题组负责人或实验室名称，未有此项声明内容的，可以不作特

别声明。）

声明人（签名）：

年 月 日

厦门大学博硕士论文摘要库

厦门大学博硕士论文摘要库

厦门大学学位论文著作权使用声明

本人同意厦门大学根据《中华人民共和国学位条例暂行实施办

法》等规定保留和使用此学位论文，并向主管部门或其指定机构送

交学位论文（包括纸质版和电子版），允许学位论文进入厦门大学图

书馆及其数据库被查阅、借阅。本人同意厦门大学将学位论文加入

全国博士、硕士学位论文共建单位数据库进行检索，将学位论文的

标题和摘要汇编出版，采用影印、缩印或者其它方式合理复制学位

论文。

本学位论文属于：

（ ）1.经厦门大学保密委员会审查核定的保密学位论文，

于 年 月 日解密，解密后适用上述授权。

（ √ ）2.不保密，适用上述授权。

（请在以上相应括号内打“√”或填上相应内容。保密学位论

文应是已经厦门大学保密委员会审定过的学位论文，未经厦门大学

保密委员会审定的学位论文均为公开学位论文。此声明栏不填写的，

默认为公开学位论文，均适用上述授权。）

声明人（签名）：

年 月 日

厦门大学博硕士论文摘要库

厦门大学博硕士论文摘要库

I

Abstract

Vladimir Nabokov is unique as one of the greatest novelists and stylists in the

twentieth century. He establishes his immortal literary status with his superiorly

distinct and profound art. Some critics rank him with Proust，Kafka and Joyce as four

most greatest novelists in the twentieth century. Throughout his life Nabokov

accomplished abundant works which include novels, short novels, poems, translations,

dramas, commentary and script of movie. Themes like artists’ originality and

creativity, the relationship between artists and their works and the eternality of art are

commonly explored in his works. Among his works, Lolita, Pale Fire and Ada, or

Ardor: A Family Chronicle, published respectively in 1955, 1962, and 1969, are

renowned as his three greatest novels.

Counterpoint is one of the primary artistic techniques in Pale Fire and Ada. What’s

more, it represents the author’s view towards art, and it is the key to comprehend

Nabokov’s theme of memory and his philosophy of time. Therefore, counterpoint is of

great importance to understand Nabokov’s art comprehensively. As a great master of

counterpoint art, Nabokov designs multi-layer contrapuntal structures in Pale Fire and

Ada: from character counterpoint, plot counterpoint to world counterpoint. In both

novels, the contrapuntal characters and worlds are unified by the protagonists’ art.

Meantime, in creation Nabokov unifies “the average realities” and his artistic realities,

namely, this world and the other world. So counterpoint writing embodies Nabokov’s

artistic view: the world is contrapuntal and the nature of the other world is aesthetic.

Nabokov’s counterpoint penetrates into language level. By juxtaposing his texts with

other texts, he develops intertextuality counterpoint. In its essence, intertextuality

counterpoint is a form of literary memory. Through it, Nabokov expresses his

individualistic time philosophy: time is motionless and time is but memory in its

making and artists could obtain eternity by recreating his memory. Moreover, through

intertextuality writing, Nabokov establishes his distinctiveness in literary history.

厦门大学博硕士论文摘要库

II

This thesis is of three parts, mainly the introduction, the main body, and the

conclusion. In introduction it offers a brief summary of Nabokov’s life and presents a

literary review about Nabokov’s study. In the first chapter it defines counterpoint in

this thesis. The second and the third chapters are the body part. The second chapter

approaches Pale Fire and Ada in detail from three aspects: character counterpoint,

plot counterpoint and world counterpoint. Its conclusion is that Nabokov perceives the

world contrapuntally, and he regards the other world aesthetically. The third chapter

accesses the two texts from the microcosmic language level: intertextuality

counterpoint. The first section defines intertextuality; the second section analyzes the

counterpoint of literary genres in two texts; the third section analyzes the counterpoint

of the text and other texts, which is further divided into three kinds. They are the

counterpoint of original texts and its translation texts, the counterpoint of the two texts

and Nabokov’s other texts, and the counterpoint of the two texts and other writers’

texts, among which the third type is the predominant one. The conclusion of the third

chapter is that: through intertextuality counterpoint writing, Nabokov expresses his

philosophy of time: time is motionless and artists could get eternity by creating his

memory. The conclusion part traces the significance of counterpoint art for Nabokov.

By counterpoint writing Nabokov recalls his lost memory and returns his lost

homeland, and he also demonstrates his great uniqueness in literary history.

Key Words: Nabokov; counterpoint; Pale Fire; Ada;

厦门大学博硕士论文摘要库

III

摘 要

作为二十世纪最伟大的小说家与文体学家之一，纳博科夫是奇特的。其每一

部小说的发表几乎都伴随着文学界各种尖锐对立的批评，然而在其逝去三十多年

后，纳博科夫最终以其独特而深刻的艺术赢得了不朽的文学地位。有评论家将其

与普鲁斯特、卡夫卡和乔伊斯并称为二十世纪四位最伟大的文学家。纳博科夫生

前留下了大量作品，他的诗歌、长篇小说、短篇小说、戏剧、文学评论、翻译、

电影剧本等在全世界范围内得到了广泛而深入的研究。纳博科夫对作家的创造

性、艺术的永恒性等关于艺术本身的探讨是其作品的一个共同主题。分别于 1955

年、1962 年与 1969 年出版的小说《洛丽塔》、《微暗的火》与《爱达或爱欲：一

部家族纪事》被誉为其三部代表作。

对位是纳博科夫代表作《微暗的火》和《爱达》两部小说最主要的艺术手法

之一。对位同时包含了纳博科夫的艺术观，是理解其回忆主题和时间哲学的关键。

对位处在纳博科夫作品中内容和形式紧密融合而不可分割之处，是整体理解纳博

科夫艺术不可或缺的途径。作为对位艺术运用的大师，纳博科夫在文本中设计了

多层次的对位结构：从人物对位、情节对位，到两个世界的对位；在两文本中对

位的人物与对位的世界最终均在主人公艺术的书写中得到了统一与永恒。这表达

了纳博科夫的艺术观：世界是对位的，彼岸的实质是艺术，正是艺术将对位的世

界统一了起来。纳博科夫的对位渗透到了文本微观的语言层面：通过将自己的文

本与他人文本进行并置，纳博科夫创造了互文对位。互文对位的实质是对文学记

忆的书写。通过互文式对位书写，纳博科夫表达了自己独特的时间哲学：时间不

是流动的，而是静止的，时间的组成是记忆，通过对记忆艺术地书写，艺术家可

以到达永恒。同时通过互文对位书写，纳博科夫确立了自己在文学艺术史上独特

的地位。

本论文由引言、主体部分与结论组成。引言部分主要介绍纳博科夫生平和作

品及纳博科夫研究的现状；第一、二、三章为论证部分。第一章主要对本论文中

对位的定义进行了界定；第二章从对位的人物、对位的情节和对位的世界三方面

对两文本进行分析，得出纳博科夫对位艺术的中心为：世界是对位的，彼岸的实

厦门大学博硕士论文摘要库

IV

质是艺术。第三章从微观的语言层面切入纳博科夫的对位艺术,即：互文对位。

第一小节对互文的概念进行了界定；第二、三小节分别从两大类互文对位即：文

类对位和文本与其他文本的对位对两文本进行详细分析。第三小节将文本与其他

文本的对位细分为三类：文本与翻译文本的对位、两文本与纳博科夫其它作品的

对位、两文本与其他作家文本的对位，第三类对位为本小节重点。第三章的结论

为：互文对位的实质是对文学记忆的书写。对位书写包含了纳博科夫时间是静止

的和艺术地书写记忆可以使艺术家到达永恒的思想。结论部分总结了对位艺术在

纳博科夫追寻自我身份与探索时间本质中所起的重要作用。

关键词：纳博科夫 对位 《微暗的火》 《爱达》

厦门大学博硕士论文摘要库

V

厦门大学博硕士论文摘要库

VI

Table of Contents

Introduction……………………………………………………………..1

Chapter One Counterpoint and Nabokov…………………………...9

1.1 The Concept of Counterpoint……………………………………….....9

1.2 Polyphony and Counterpoint………………………………………....11

1.3 The Essence of Counterpoint for Nabokov…………………………….14

Chapter Two Character, Plot and World Counterpoint in Pale Fire

and Ada ………………….......................................................................19

2.1 Character Counterpoint………………………………………..……19

2.2 Plot Counterpoint………………………............................................25

2.3 World Counterpoint………………………………………................28

2.4 Nabokov: The Art Unifies Contrapuntal Worlds.......………………...34

Chapter Three Intertextuality Counterpoint in Pale Fire and

Ada……………………………………………………………………...42

3.1 Intertextuality and Counterpoint………………………......................42

3.2 Counterpoint of Literary Genres….………...…………………..........44

3.3 Counterpoint of Text and Other Texts…...............................................49

3.4 Nabokov: Counterpoint Is a Form of Memory…...................................56

Conclusion……………………………………………………………...61

References………………………………………………………………63

Acknowledgements…………………………………………………….67

厦门大学博硕士论文摘要库

VII

目 录

引言………………………………………………………………………1

第一章 对位与纳博科夫……………………………………………....9

1.1 对位的概念………………………………………………………......9

1.2 复调与对位………………………………………....………………11

1.3 纳博科夫对位的实质……………………………....………………..14

第二章 《微暗的火》与《爱达》中的人物对位、情节对位、和世界

对位….. …………………………………………. …………………….19

2.1 人物对位…………………………………..………….…………….19

2.2 情节对位……………………….................………….…………......25

2.3 世界对位…………………………………………………………....28

2.4 纳博科夫:艺术统一对位的世界………………...................................34

第三章 《微暗的火》与《爱达》中的互文性对位………………..........42

3.1 互文与对位………………………....................................................42

3.2 文类互文对位….................................................................................44

3.3 文本与其他文本对位..........................................................................49

3.4 纳博科夫:对位是一种记忆…..............................................................56

结语……………………………………………………………....……..61

参考文献………………………………………………………………..63

致谢……………………………………………………………………..67

厦门大学博硕士论文摘要库

Introduction

1

Introduction

Vladimir Nabokov is renowned as one of the greatest writers and stylists in the

twentieth century. He is unique in many respects. Nabokov wrote in both Russian and

English, and in both two languages his creation achieves huge success. Throughout

his life he created a large amount of works including novels, short stories, poems,

drama, literary commentary and movie script. He is venerated both as a great master

of modernism and postmodernism. His style is extremely distinct and fantastic. As a

brilliant stylist, Nabokov entertained his readers with his love of intellectual and

verbal games, his technical genius as well his exuberant imagination. In his works he

seeks the origins of creativity, the relationship of artists with their works, and he also

explores consistently the nature of space and time. Nabokov, with the magical power

of his art, his individualistic art view and his unique personal charm impress large

number of readers and scholars worldwide. When Solzhenitsyn won his Nobel Prize

in 1974, he recommended Nabokov as the next winner, and well known writers like

John Updike, John Barth, Coetzee and Pamuk are all Nabokov’s followers. Being

widely read and extensively studied, his works gain a tremendously strong life.

Ultimately, Nabokov gets his immortal literary fame.

Vladimir Vladimirovich Nabokov, in Russian Владимир Владимирович Набоков

was born on April 23, 1899 in an aristocratic family in Saint Petersburg. He was the

eldest of the five children of Vladimir Dmitrievich Nabokov and Elena Ivanovna née

Rukavishnikova. His father was a liberal lawyer and politician, who had a great

influence on Nabokov. He had a wonderful childhood in Petersburg. When he was

very little he had thoroughly acquired three languages, Russian, English, and French,

which contributes enormously to his later bilingual writing. Living in such intense

literal environment, Nabokov cultivated his great hobby of reading. He once had a

quiet study at home where he was used to reading all kinds of books, literature,

philosophy, history and science, so he had almost covered all great literary works in

厦门大学博硕士论文摘要库

Introduction

2

his youth. Apart from reading, Nabokov also developed another two life-long interests:

chasing butterfly and making chess puzzles.

Things changed in 1917. The February and October Revolution took place in

Russia. The Nabokov family was forced to depart from Petersburg to Crimea in 1917.

In 1919 when Nabokov was eighteen, they left Russia and began their exile life in

Europe. From that time, Nabokov lost his motherland forever. Throughout his life he

could never set foot on Russia again. His spiritual exile was permanent in spite of his

citizenship of American later. Nabokov started his college years in the Trinity College

of Cambridge and majored in Russia and French literature. Before his graduation

from Cambridge, in March 1922, another severe strike hit Nabokov: his father was

assassinated in Berlin by his political enemy. His father’s death was Nabokov’s

forever pain, since for Nabokov his venerable father had always been his spiritual

support. Later Nabokov moved to Berlin, where he had become a recognized poet and

writer within the Russian emigration community and published under the penname of

V. Sirin, a reference to the fabulous bird of Russian folklore. In May 1923, he met

Véra Evseyevna Slonim at a charity ball in Berlin and married her in April 1925.

Their only child, Dmitri, was born in 1934. Because of the increasingly anti-Semitic

environment in Germany he left Germany for France with his family in 1937, with the

exception of Nabokov’s brother Sergei, who died at the concentration camp in 1945.

Nabokov lost another family member again and forever. During this period, Nabokov

wrote chiefly in Russian and had gained prominence as Sirin in the Russian

emigration community. Yet he was little known out of the Russian expatriate though

he had created excellent works such as The Defense (1930) and Invitation to a

Beheading (1938).

In 1940, Nabokov moved to America with his family. He began his creation in

English. Meanwhile he volunteered to work as an entomologist at the American

Museum of Natural History. In 1941 he got the position of resident of comparative

literature in Wellesley College, which provided an income and free time for him to

write and pursue his lepidoptery. In September 1942, he and his family moved to

Cambridge and in 1945, he became a naturalised citizen of the United States. In 1948,

厦门大学博硕士论文摘要库

Introduction

3

Nabokov began to teach Russian and European literature at Cornell University until

1959. His detailed notes of these lectures in Wellesley and Cornell were edited and

published later as Lectures on Literature, which is of great importance to study

Nabokov’s artistic viewpoint. Nabokov’s creation entered into a thriving stage. In

1955 his novel Lolita finally got published in Pairs by Olympia Press after it was

rejected five times by American publishers for its ‘immoral content’. In 1958 when

Lolita was republished in U.S, it soon stirred up a hurricane of Lolita around the

world. It also evoked a heated debate in literary criticism around it. Nevertheless,

Lolita was a great success and it brought Nabokov fame and financial security after so

many turbulences. In 1961, he and his wife moved to the Montreux Palace Hotel in

Montreux, Switzerland. In 1962, Nabokov published another important work Pale

Fire, which amazed the literary field with its uttermost novelty. Soon as it came out

Pale Fire has attracted numerous attractions and intense reviews. In 1969 his longest

and most obscure novel Ada or Ardor: a Family Chronicle got published. He

completed his last novel Look at the Harlequins! in 1974 and left an unfinished one

The Original of Laura. Nabokov died on July 2nd in 1977 and was buried in

Montreux, Switzerland.

Nabokov is primarily known as a great writer, while his career as an entomologist

is also distinguished. Throughout his life he had taken an extensive career of

collecting butterflies. During the 1940s, he was responsible for organizing the

butterfly collection of the Museum of Comparative Zoology at Harvard University

and his writings in this area were highly technical. In 2011, the Royal Society

acknowledged that Nabokov contributed considerably to the lycaenid butterflies’

classification. His great passion and devotion to butterflies are easily felt in his

literary works. Various butterflies fly across his different novels and become not only

a metaphor, but particularly Nabokov’s butterfly aesthetics. He once commented that

pleasures and rewards of literary inspiration were nothing beside the rapture of

discovering a new organ under the microscope. Nabokov is also an excellent chess

composer. When he was in exile, Nabokov spent considerable time on the

composition of chess problems. His results had been published in the Russian émigré

厦门大学博硕士论文摘要库

Degree papers are in the “Xiamen University Electronic Theses and Dissertations Database”. Fulltexts are available in the following ways: 1. If your library is a CALIS member libraries, please log on http://etd.calis.edu.cn/ and submitrequests online, or consult the interlibrary loan department in your library. 2. For users of non-CALIS member libraries, please mail to etd@xmu.edu.cn for delivery details.

厦门大学博硕士论文摘要库

http://etd.xmu.edu.cn/http://etd.calis.edu.cn/mailto:etd@xmu.edu.cn