Dissertations / Theses on the topic 'Vladimir Nabokov (1899-1977)'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 41 dissertations / theses for your research on the topic 'Vladimir Nabokov (1899-1977).'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
Smirnova, Nadejda. "Esthétique romanesque de Vladimir Nabokov : périodes européenne et américaine." Avignon, 2006. http://www.theses.fr/2006AVIG1083.
Full textFrom his early European short stories until his latest American novels, Vladimir Nabokov focused his efforts essentially on literary creation. In the first part of this thesis, the study of aesthetics in his works during his European period basically centres in the very early stages of artistic awareness. In the second part, the transformation from Russian writer to American writer is studied throught the first novels of the American period, thanks to the aesthetic alteration this metamorphosis brought about. Finaly, in hte third part, the narrative and philosophical theories of the twentieth century lead us to study the issue of identity, the author's role, his relationship with the hero and with the reader and, to a larder extent, the ontological status of the individual in the literary universe of Vladimir Nabokov
Tolstoy, Anastasia. "Vladimir Nabokov and the aesthetics of disgust." Thesis, University of Oxford, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669858.
Full textCaulton, Andrew, and n/a. "Vladimir Nabokov, 1938 : the artistic response to tyranny." University of Otago. Department of English, 2006. http://adt.otago.ac.nz./public/adt-NZDU20060808.090922.
Full textStefanova, Silvia. "Les genres romanesques dans l'oeuvre de Vladimir Nabokov." Paris 3, 2000. http://www.theses.fr/2000PA030186.
Full textHamrit, Jacqueline. "Frontières et limites dans l'œuvre de Valdimir Nabokov." Lille 3, 2003. http://www.theses.fr/2003LIL30042.
Full textGuy, Laurence. "Vladimir Nabokov, romancier russe, ou "le plus solitaire et arrogant de tous"." Paris 4, 1994. http://www.theses.fr/1994PA040286.
Full text"Lolita is famous, not I. I am an obscure, doubly obscure, novelist with an unpronounceable name". By this assertation, Vladimir Nabokov wants us to be aware of the question his entire oeuvre makes us ask about the enigmatic person who really stands from the very beginning of his career until the very last novel, in the special shadow of the famous American writer he became, while the most extravagant part of the author's ego never stopped to make his "stunning show" on the "metanovel" 's stage, while this "charactorial" self was demonstrating a certain type of cosmopolitism and polylinguism, some secret part of the nabokovian identity was playing a more subtile music. We shall examine the different ways, especially the metaphorical ones, by which Nabokov creates his paradoxal autobiography, exploring for that purpose what Philippe Lejeune called the "fantasmatic deal" (in Le pacte autobiographique, Paris, 1975, Seuil). Between the acrobatic arlequin and the pale iridescence of the soul, between the colored circle with spectacular clowns and the transparence of transcendence, something had to be said in the cryptographic manner about the Russian essence of "the loneliest and most arrogant" of the emigres writers
Machu, Didier. "Corps et representation dans l'oeuvre de vladimir nabokov." Paris 7, 1999. http://www.theses.fr/1999PA070057.
Full textGarziano-Vassilieva, Svetlana. "La poétique autobiographique de Vladimir Nabokov dans le contexte de la culture russe et occidentale." Lyon 3, 2009. https://scd-resnum.univ-lyon3.fr/out/theses/2009_out_garziano-vassilieva_s.pdf.
Full textThe doctoral thesis “Vladimir Nabokov’s Autobiographical Poetics in the Russian and Occidental Culture’s Context” examines the question of the autobiographical genre’s status in Nabokov’s work on the example of the Russian version Other Shores [Другие берега, 1954] of his autobiography. The Nabokov’s autobiographical work, Other Shores in Russian and Speak, Memory [1967] in English, is a peculiar example of the autobiography that creates an artistic writing conjugating the notions of truth and fiction and based on the situation of multilingualism (the autobiographic project of this writer is declined in three languages: Russian, English and French). The Nabokov’s autobiographic writing is closely linked with its poetic writing. The autobiographic "I" introduced in Drugie berega / Speak, Memory is composed of epic "I", poetic "I" and philosophical "I". The Nabokov’s autobiography is studied in the context of his work (fictional, biographical and poetic) as well as in a broader context, that of Russian and Western European literature and philosophy. The analysis of these problems allows clearing innovative features and modernity of the Nabokov’s autobiography: his profoundly philosophical, figurative and thematic character. In his autobiographic text, our author puts forward relations between fiction and reality, between truth, wrong and plausibility, the reports of time and space, of past, present and future, thematic and figurative networks which structure the autobiographic space, the condition of exile, the metaphor of the body, figures of Fate and Mnemosyne and also the image of the reader
Poulin, Isabelle. "Discours litteraire et discours didactique : Vladimir Nabokov, professeur de littératures." Paris 10, 1993. http://www.theses.fr/1993PA100059.
Full textLivry, Anatoly. "Nietzsche et Nabokov." Nice, 2011. http://www.theses.fr/2011NICE2011.
Full textNietzsche and Nabokov have a lot in common: they were both stateless, they chose Switzerland as their country of exile; both lost their father and a brother, they both used to frequent the same circles, even though there was one generation between them. Therefore, the question arises: in what way did the senior of the two, who wrote in German, influence his junior counterpart, a writer working in three languages, bridging many contemporary cultures? This thesis attempts to address this question. Besides the direct and indirect links, thanks to which Nabokov better understood Nietzsche’s works, this dissertation seeks to document what the writer actually did extract from his readings of Nietzsche, attempts to get to grips with the perfect mastery of the Hellenic culture, to explore the ancient Helladic cults, to partly understand ancient Greek, and, above all, to acquire a certain familiarity with the work of Hellenistic writers explained by Nietzsche in his role as an educator. In keeping with Nietzsche’s ideas elaborated in his first masterpiece, The Birth of Tragedy, Nabokov chose Socrates, Dionysos’s enemy, as the adversary. Nabokov’s strong anti-Socratism absorbed him for the first part of his life when he wrote in Russian. He emerged victorious and continued to go back to Nietzschéen ideas when he wrote in English, raising them to glory in Lolita, Ada, or Ardor : a family chronicle and Pale Fire. As a result, the totality of concepts introduced by Nietzsche in philosophy – “eternal recurrence”, “will to power”, “small man”, “superman” – take their place in Nabokov’s works up to the point where they are made to appear more than once embodied in Zarathoustra the Dionysian and Nietzsche. The Nabokov studies are badly affected by the scientific imposture that was introduced in the French University via the USSR (ex. Buhks) ; the critic part of our thesis proves the lack of culture and the nuisance of this Soviet publications
Chupin, Yannicke. "La figure de l'écrivain fictif dans l'oeuvre de Vladimir Nabokov." Paris 4, 2005. http://www.theses.fr/2005PA040029.
Full textThis dissertation discusses the representation of the writer as a character in Vladimir Nabokov's novels. The focus is on the stylistic and narrative devices created by by Nabokov to represent the relationship between the fictitious writer and the language that defines him, and through which in turn he is defined. In the form of a biographical and ontological typology, the first part defines a set of criteria (education, exile, language, gender) which draws a hierarchy of those figures as they appear in Nabokov's novels. This preliminary analysis also unveils the gradual evolution of Nabokov's narrative techniques from metafictional devices to narcissistic and self-conscious narration. In the second part, the emphasis is on how Nabokov gives more and more space to his narrators' discourses, from The Real Life of Sebastian Knight on. For those characters on the page, writing becomes a medium through which they delineate their living space, i. E. They create themselves alive within the texts. Aware as they are that they owe their existences to the books they are in the act of writing, these narrators also soon realize the urgency and the necessity to postpone the end of their tales which will mean their death sentences. The third part concentrates on the intricate intimacy between the book and death and on the strategies used by those narrators to survive the works that brought them to life
Manolescu, Daniela. "Jeux de mondes : la construction de l'ailleurs chez Vladimir Nabokov." Paris 7, 2005. http://www.theses.fr/2005PA070054.
Full textThis dissertation analyzes Vladimir Nabokov's geographical imagination, focusing on four novels, namely The Gift, belonging to the Russian period, as well as Lolita, Ada, Pale Pire, belonging to the American period. As a writer, but also as a professional entomologist, Nabokov is particularly interested in the possible existence of still undiscovered, still unnamed spaces, that might occasion new geographic and scientific discoveries. These new worlds that await a name are essentially fascinating, calling for traveling and adventure. More than a mere theme among others, the quest of an elsewhere turns into a fundamental image of Nabokov's aesthetic project, which pursues the discovery and the mapping of a new fictional world. Consequently, the explorer/traveler is an alter ego of the author. Writing and traveling are intertwined. The analysis of each text emphasizes different ways of relating to a world elsewhere. Starting from the referential geography, the study of these novels attempts to shed light on the various strategies of appropriating foreign space, on the daunting task of writing about the unknown, on the existence of cultural filters interposed between the eye and the landscape, on the emergence of intertextual landmarks guiding the exploratory venture. Within the larger frame of Nabokov studies, this dissertation intends to go beyond the trend currently dominating the critical arena, characterized by the special attention given to the hereafter or the beyond, trying to define the world elsewhere not as a metaphysical, but as a poetic realm inscribed in a series of semiotic practices, inseparable from the acts of reading, writing and deciphering
Loison-Charles, Julie. "Les mots étrangers de Vladimir Nabokov." Thesis, Paris 10, 2014. http://www.theses.fr/2014PA100051/document.
Full textThis thesis shows how central Nabokov’s multilingualism was to his prose in English: after authoring several works in Russian, the writer changed languages and then only wrote his novels in English. It was not merely a second language for him because Nabokov could write English before Russian and he had spoken it since childhood. Besides, he enjoyed a polyglot education and was fluent in French. This thesis studies Nabokov’s style in English by focusing on his linguistic creativity and by examining the founding role that translation played in how his several tongues were going to position themselves in relation to one another. Nabokov’s bilingual identity means that his writing both challenges and deviates from the norm: it is dappled with strangeness and foreignness. In his novels, foreign words irrupt in the midst of the English prose and, typographically and semantically, they destabilize the reading experience: code-switching is at the heart of this thesis and questions the relation between “the narrator’s tyranny” (Couturier) and his reader. English itself loses its familiarity and becomes a foreign language: Nabokov’s bilingualism means he is like a foreigner in this tongue; therefore he reveals the violence of language (Lecercle) and puts it into play through puns and neologisms. Nabokov is what Deleuze calls, thanks to a Proustian expression, a great writer: his books “are written in a kind of foreign language”
Al, Maiman Nauf. "L'écriture des sens dans "Ada ou l'ardeur" et "Lolita" de Vladimir Nabokov : un hymne à la vie, une lutte contre la mort." Paris 8, 2014. http://www.theses.fr/2014PA083926.
Full text"Lolita" (1955) and "Ada or Ardor" (1969), two of the most celebrated novels by Vladimir Nabokov caused an uproar when published. "Lolita" especially was first considered erotic fiction and dismissed as such. Very soon however the stylistic qualities of the work allowed critics to go beyond moral preoccupations in order to judge the aesthetic value of Nabokov's novels. By exploring the importance of the senses in both stories, the dissertation aims at analyzing how the author proceeds through several narrative strategies to express the vital 'élan'. Thus this study shows how "The Writing of the Senses in "Ada or Ardor" and "Lolita" constitutes an Hymn to Life and a Fight against Death. This combat between Eros and Thanatos is inscribed within all the poetic dimensions evoked here be they characteristic influences on Nabokov's art, autobiographical elements or the works of critics and experts on Nabokov. The theories of Roland Barthes, Maurice Blanchot, Gérard Genette as well as the choice of translations are used to provide new perspectives for the reading of the novels. Images which are inherent to the study of American Literature such as the quest, a nostalgia for the past, or the theme of the frontier can be read between the lines, as are some echoes of Whitman. The poetized or Song of the World of the first part of the dissertation introduces a more sense-oriented paradise in the Song of the Body so as to lead to the work of memory and imagination which composes the third part. This study does not only confirm the importance of the senses in the fabrication of fiction. It shows how much words can be a source of survival and rebirth
McDonnell, Tavish. "Plankwalk : a novella." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98558.
Full textBouchet, Marie-Christel. "En effeuillant les jeunes filles en fleurs : tableaux de la fiction nabokovienne." Bordeaux 3, 2005. http://www.theses.fr/2005BOR30038.
Full textIn vladimir nabokov's fiction, maidens are omnipresent. They intensely embody beauty in a paradoxical manner, because of their ephemeral existence and hybrid nature. These ambivalent characters, who stand on the threshold of childhood and womanhood, are both innocent and perverse, beautiful and vulgar, fictive and verisimilar. They are transient and metamorphic figures who challenge representation. To evoke them, nabokov's writing relies on metamorphosis and indirection: their characterization resorts to doubles and massive intertextual and pictorial reference, to fix their ever-escaping image in words. Maidens seem to resist description: the depiction of their changing and desirable bodies are inevitably fragmented, or persistently focus on clothing rather than on the body itself. In fact, nabokov prefers showing the veil covering the maiden to undressing her: he thus favors the ornament, a trend which is stylistically echoed in the amazing rhythm, metaphors, and sound effects in which his text of desire is dressed. Those descriptions sensually appeal to all the senses (nabokov was a synaesthete), and reflect the sensuousness of lolita and her cousins. Moreover, synaesthesia places a mirror between the pleasure of the writer and the pleasure of the reader. In those instances, nabokov's language is as beautiful as the young girl it describes, and it also asserts its own beauty, by metatextually calling attention to its musical and pictorial qualities. Therefore, the way nabokov works the signifier is not only underscored, but the gap between signifier and signified is further stated, and even exhibited, for it is in that opening that senses and sense can vibrate
Dosse, Mathieu. "Poétique de la lecture de la traduction : James Joyce, Vladimir Nabokov, João Guimarães Rosa." Paris 8, 2011. http://octaviana.fr/document/168361973#?c=0&m=0&s=0&cv=0.
Full textAt the crossroads between two theoretical and practical fields, the act of reading translation positions itself as a problematic practice. This thesis tries to give an account of a poetics of reading translation, by emphasizing the positive side of translation (as opposed to the traditional notion of loss usually attached to it). It therefore lies within the framework of both translation studies (which it tries to renew by stressing the reading of the translated text) and reader-response theory (which it contributes to by submitting its concepts to a type of text, i. E. Translation, it had so far ignored). It thus attempts to bring to light (through Joyce's Ulysses) certain modalities exclusive to reading in translation. Questioning the relation between the original text and its translations, and thanks to a transtextual reading of all the translations of Grande Sertão : Veredas by Guimarães Rosa, it induces us to regard a translation as a specific text, which calls for a particular mode of reading Ŕ if we want it to be more than second best. We then find out that translation is a key concept to better understand problems of poetics and reading that can only be solved by it. Reading in translation is also reading a translator, and it is in this sense that we seek to define the specificities of what could constitute a translating subject (by examining Nabokov's achievements as a translator). Reading translations can consequently be conceived as a poetics in its own right, in the sense that it involves our critical relationship to texts and theories
Silva, Jardas de Sousa. "A transmutação da personagem Lolita de Nabokov da literatura para as telas." www.teses.ufc.br, 2015. http://www.repositorio.ufc.br/handle/riufc/12649.
Full textSubmitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2015-06-08T11:06:55Z No. of bitstreams: 1 2015_dis_jssilva.pdf: 1951774 bytes, checksum: b9e030e75645a5793d4448ec4ab3ae15 (MD5)
Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2015-06-08T12:55:38Z (GMT) No. of bitstreams: 1 2015_dis_jssilva.pdf: 1951774 bytes, checksum: b9e030e75645a5793d4448ec4ab3ae15 (MD5)
Made available in DSpace on 2015-06-08T12:55:38Z (GMT). No. of bitstreams: 1 2015_dis_jssilva.pdf: 1951774 bytes, checksum: b9e030e75645a5793d4448ec4ab3ae15 (MD5) Previous issue date: 2015
This dissertation analyzes the translation of Lolita character, by Vladimir Nabokov, to the eponymous film made in 1997, directed by Adrian Lyne. In the novel Lolita (1955), the man character is a 12 year-old girl whose life changed when she had started being stalked by Humbert Humbert, a grown-up and much more experienced man who soon becomes stepfather of hers. By facing this situation, Lolita is seen as a character who has some behavioral traits that give us an ideia of ambivalence about her presentation in the novel. Many of Lolita‟s attitudes can be interpreted either the result of a childish naivety or as kinds of games created by a cunning mind. In this study, we investigate, specifically, the strategies used by the director to transmute Lolita‟s ambiguities from the novel Lolita to the cinema. Our hypothesis is that the protagonist as a symbol of nymphet, that is, the seductive girl, was the most emphasized aspect in the film adaptation due to the inherent issues both related to the director‟s poetic and the types of Hollywood productions in the nineties. As theoretical background, we take the Even-Zohar‟s assumptions (1978), on the theory of polysystem, and the Toury‟s ones (1995), which refer to translation studies with emphasis on cultural factor, considering the influence of the target culture has on the translation process. We also work with the concept of rewriting by Lefevere (2007), which emphasizes the historical and cultural context of the translated texts. On the relationship between literature and film, we deal with the studies by Cattrysse (1992), Stam (2008) and Xavier (2003). Finally, we also rely on postulates by Candido (2007) and Gomes (2007), regarding to the construction of literary and filmic characters, and Lolita previous studies, such as those by Agueros (2005) and Lazarin (2010). The results pointed that the strategies to present the character Lolita on screen intensify the myth of the nymph, the femme fatale, which permeates its name from its first translations. Therefore, in the adaptation, Lolita can be interpreted as the anti-heroine of her own story while Humbert becomes the passionate hero.
A presente dissertação analisa a tradução da personagem Lolita, de Vladimir Nabokov, para o filme homônimo de 1997, dirigido por Adrian Lyne. No romance Lolita (1955), a protagonista é uma menina de 12 anos que tem sua vida transformada após ser alvo de uma paixão obsessiva por parte de Humbert Humbert, um homem adulto e bem mais experiente do que ela e que logo se torna seu padrasto. Diante de tal situação, a personagem apresenta alguns traços de comportamento que podem gerar certo grau de ambivalência quanto à composição de seu caráter na narrativa literária, as quais muitas de suas atitudes podem ser interpretadas tanto como fruto de uma ingenuidade infantil quanto como jogos de atributos sedutores de uma mente ardilosa. Nesta pesquisa, investigamos, especificamente, as estratégias do diretor na transmutação das ambiguidades da personagem Lolita do romance para o cinema. Partimos da hipótese de que a protagonista como símbolo da ninfeta, isto é, da garota sedutora, foi a faceta mais enfatizada na adaptação fílmica, devido às questões inerentes tanto à poética do diretor, quanto às produções hollywoodianas da década de noventa. Como fundamentação teórica, recorremos aos pressupostos de Even-Zohar (1978), sobre a teoria dos polissistemas, e àqueles de Toury (1995), que se referem aos estudos da tradução com ênfase no fator cultural, considerando a influência que a cultura de chegada exerce sobre o processo tradutório. Trabalhamos também com o conceito de reescritura de Lefevere (2007), que enfatiza o contexto histórico e cultural dos textos traduzidos. Sobre a relação entre literatura e cinema, empregamos os estudos de Cattrysse (1992), Stam (2008) e Xavier (2003). Por fim, baseamo-nos também nos postulados de Cândido (2007) e Gomes (2007), no que se refere à construção de personagens literárias e fílmicas, além de estudos prévios sobre Lolita, tais como aqueles de Agueros (2005) e Lazarin (2010). Os resultados mostraram que as estratégias utilizadas para apresentar a personagem Lolita nas telas intensificam o mito da ninfeta, da femme fatale, que permeia seu nome desde suas primeiras traduções. Por isso, na adaptação, Lolita pode ser interpretada como a anti-heróina de sua própria história enquanto Humbert se torna o herói apaixonado.
Edel-Roy, Agnès. "Une « démocratie magique » : politique et littérature dans les romans de Vladimir Nabokov." Thesis, Paris Est, 2018. http://www.theses.fr/2018PESC0080/document.
Full textVladimir Nabokov (1899-1977), American writer of Russian origin, was the author of fiction written first in Russian and then in American English. His work has been a constant source of fascination for his readers, but their interpretation has been limited by its reception. Upon the publication of Lolita (1955), Nabokov is seen as a precursor of American postmodernism. His writings are interpreted as the climax of the modernist quest for artistic autonomy and a triumph of autotelic creation, and a poetic of “tyranny” is identified in his work, with the author reigning supreme as an “absolute dictator.”However, Nabokov had never ceased to be preoccupied with two political issues in 20th century History, which he continuously denounced in his writings: the issue of the submission of art to any kind of ideology and that of tyranny illustrated by the Nazi and Soviet political regimes. From the very beginning of his career, in his Russian texts and later in his American texts, Nabokov’s work examines the consequences of the Bolshevik Revolution, seen as the historical event that changes the “distribution of the sensible” (J. Rancière) in the 20th century. The autotelic nature of his work, whose features should be defined in opposition to aesthetic forms that celebrate the commitment of art, actually indicates that Nabokov defines a new “politics of literature” (J. Rancière) based on emancipation, which Nabokov calls “a magic democracy” and considers to be a “critical art” whose aesthetic effect is predicated on its distance, thus including “in the form of the work the confrontation between what the world is and what the world may become” (J. Rancière)
Chouard, Géraldine. "Le fil du temps : aspects de la temporalité dans le roman américain contemporain. Eudora Welty, Saul Bellow, Vladimir Nabokov." Paris 3, 1995. http://www.theses.fr/1995PA030112.
Full textThis study analyses various representations of time in the contemporary american novel and focuses on the work of three authors : eudora welty, saul bellow and vladimir nabokov. The texts selected have been published during the same period of time (1955-1975) : losing battles (1970), the optimist's daughter (1972) by eudora welty, henderson the rain king (1959), herzog (1964), mr sammler's planet (1970) by bellow, ada (1969), look at the harlequins| (1974) by nabokov. The basic hypothesis consists in considering a novel as a filter of time : as a means of filtering history as well as philosophical speculation. The image of the filter suggests also the weaving of a fabric, a metaphor based on barthes's theory of the text which reccurs at different levels in this study. One chapter is dedicated to each author m "the continuous thread of revelation" (welty), "spidery time" (bellow), "tangled time" (nabokov)
Gassin, Alexia. "L’œuvre de Vladimir Nabokov dans le contexte de la culture et de l’art allemands à l’époque de l’expressionnisme." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040225.
Full textThe Nabokov studies have tended to ignore the possible influence of the German culture on Nabokov’s works. This position springs from the writer’s often quoted words, which stress that, although he lived in Germany, he could not speak German and avoided any intercourse with the German world. Russian emigration certainly constituted a state within the state but the borders between the Russian and German worlds were not so impenetrable. Nabokov spent fifteen years in Berlin and his books were translated and published in German by a German publishing house. There were several projects for screen adaptations of his works, in particular for the novel King, Queen, Knave. While in Berlin, he wrote at least two novels, King, Queen, Knave and Kamera Obskura (Laughter in the Dark for the revisited version by Nabokov), and a series of short stories which describe the German world. All this undermines the principle established about the ignorance of German influence.Our thesis aims at reading Nabokov’s works in the context of the German contemporary art, in particular Expressionist aesthetics. We consider three major issues, namely the distortion of the psyche, which leads to an inner division of the self, the ambivalence of the female figure and the representation of the big city. Thus an extensive analysis allows us to reveal links with German silent cinema and with painting which had eluded researchers so far. The present work aims at introducing a new dimension in the reading of Nabokov’s works and at restoring them to the cultural context of Berlin in which they were created
Wood, Gareth. "Javier Marías's debt to translation : Sterne, Browne, Nabokov." Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670143.
Full textMollaret, Damien. "Le détour par l'autre : plurilinguisme et pseudonymie dans les oeuvres de Fernando Pessoa, Vladimir Nabokov, Jorge Luis Borges et Romain Gary." Thesis, Bordeaux 3, 2019. http://www.theses.fr/2019BOR30026.
Full text“I cannot stand my real name, I feel immediately stuck” says the narrator of Pseudo, a Romain Gary novel authored under his pseudonym, Émile Ajar. He adds that he “has attempted everything to run away from [himself]”. He tried specially to learn different languages and even to invent his own. Like Gary other writers have considered their mother tongue or their surname as restraints limiting their possibilities. In order to “feel everything in every way” (Pessoa’s expression) they would change their language or use pseudonyms. To jointly study multilingualism and the use of pseudonyms, we focused on four 20th century authors: the Portuguese poet Fernando Pessoa (1888-1935), the Russian-American novelist Vladimir Nabokov (1899-1977), the Argentinian writer Jorge Luis Borges (1899-1986) and the French novelist Romain Gary (1914-1980). The writings of all four authors are at the intersection of several languages and cultures. In addition to their mother tongue, they each mastered French and English. They used English as a second language for their writing, were translators and/or self-translators. Additionally, all four took pseudonyms and invented fictitious alter egos. Pessoa’s concept of heteronym (closely connected to his multilingualism) allowed us to shed light on the work of the three other authors. To do this, we compared Pessoa’s main heteronyms with those of Bustos Domecq (pseudonym of Borges and Bioy Casares), Emile Ajar (pseudonym of Gary, embodied as the straw man Paul Pavlowitch) and Sirine (Nabokov’s Russian alter ego). Like translation, heteronymous writing requires some depersonalization. And like self-translation, it forces the author to confront an alter ego. To write in another language or to invent a new style in one’s own language, one must renounce a part of one’s self. This thesis aims to show that for these authors using pseudonyms and writing in different languages represents less of a rejection of their identities than an indirect way to come back to themselves. Freed from themselves by their heteronyms, they can better appreciate who they are, be self-critical and thus they can open their hearts to their readers. Writing in a second language also creates a certain distance that enables them to confess and experiment
Bernard, Sophie. "La création de soi par soi : origine, identités et transgressions dans l’œuvre de Vladimir Nabokov, Romain Gary et Philippe Roth." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040116.
Full textVladimir Nabokov, Romain Gary and Philip Roth are three 20th century writers who have different geographical, cultural and theoretical backgrounds. However, their works and their conceptions of fiction share many similarities: a cosmopolite sensibility, a reflection on writing memory, a strong interest in mystification, and a specific relation to language that endows words with a strong power of incarnation. These writers have their characters voice their reflection on exile and acculturation, as well as on the impossibility of self-coincidence, in relation to their multilingualism or Jewish identity. Nabokov, Gary and Roth distrust identity labels, and therefore share the same ambition : to create their own self, to rethink patrimonial identity by replacing it with a reflexive, dynamic one. Because fiction operates different forms of transgression (filial, generic, ontological), fiction becomes a place for the writer to create a serial self-portrait, where biography is constantly constructed and deconstructed. The multi-faceted self finds its incarnation in conversely multiple characters, some of them being sometimes polemical, and it enables the surfacing of a truth on oneself. This truth can only be found “between the lines”, in-between languages and in the polyphony of writing. Language itself becomes a hiding-place where the writer tries to retrieve the voices of the departed
Reigner, Léopold. "Le Flaubert de Nabokov : interprétation, continuité et originalité." Thesis, Normandie, 2018. http://www.theses.fr/2018NORMR105.
Full text« Influence is a dark and unclear thing » Vladimir Nabokov said in 1930, as he denied having been deeply influenced by any past writer. However, and as he declared himself, this French-speaking Russian writer had read the complete works of Flaubert in French before the age of 14 and considered Madame Bovary to be “the most brilliant novel in world literature”. This study plans to examine this link through a new definition of influence, based on the theories of Harold Bloom and Derek Attridge, but focused on the writers’ individuality, which is seen as the core of the influence process, a process characterized both the exploration idea found in the precursor’s work and the deviation of those ideas. The analysis of the Nabokovian conception of Flaubert’s work will be used to bring to light the impact such a reading may have had on Nabokov’s work. Indeed, although Nabokov’s style is unique and original, his admiration for the rhythm and sounds of Flaubert’s writing, described at length in Nabokov’s class on Madame Bovary, suggests an inquiry on the way that his individual interpretation of Flaubert’s style may have reverberations in Nabokov’s own writing. Also, this parallel examination will provide a new study of both authors’ works, and on their vision of literature, apparently linked by a common contradiction between social impact and aesthetic purism. Finally, this analysis will give rise to a search for two definitions of “style”, in two writers fascinated by exactitude and the quest of verbal accuracy
Bourgoin-Castonguay, Simon. "Des critiques de la représentation aux représentation de l'éthique : parcours herméneutique d'une compréhension de soi dans La caverne de José Saramago et l'Invitation au suplice de Vladirir Nabokov." Master's thesis, Université Laval, 2006. http://hdl.handle.net/20.500.11794/19593.
Full textKatz, Yael. "Configuring crisis : writing, madness, and the middle voice." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ56569.pdf.
Full textVisser, Sandra. "Romantic children, brazen girls? An exploration of the girl-child’s representation in and around Nabokov’s Lolita and three derivative novels." Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/5380.
Full textThesis presented in partial fulfilment of the requirements for the degree Master of Arts at the University of Stellenbosch
ENGLISH ABSTRACT: Since 1995, three female authors have published novels narrating the events of Vladimir Nabokov’s novel Lolita from Lolita’s point of view. What is it about the character Lolita that prompts writers to rework Nabokov’s text? In an attempt to answer this question this thesis explores reader-responses to Lolita. The grand narrative of girlhood is illuminated, and it emerges that, influenced by the discourse of Romanticism, girls’ subjectivity in the Western world is governed by an ‘innocent-or-corrupt’ dichotomy. As a result, Lolita, who seduces her stepfather, Humbert Humbert, has been vilified by readers through the decades, so that very little further critical attention has been given to her representation in the text. However, in recent years rising concern over the representation of girls has seen renewed interest in Lolita from feminist quarters, with Lolita’s non-representation being critics’ main concern. These derivative novels work towards compiling a body of feminist criticism on Lolita. A secondary function of the derivatives is the restructuring of the grand narrative of girlhood: in other words, the erasure of the ‘innocent-or-corrupt’ dichotomy in favour of a wide range of conceivable subjectivities. This is necessary because the sexualised images of girls in the media are in danger of representing girl-children as one-dimensional sexual objects. Both feminist critics and critical theorists are calling for a new form of resistance to these hegemonic media forms, so that a collaboration between the two fields seems useful. This thesis argues that the existence of the derivative novels point to the emergence of a new form of feminist resistance to the oppressive representations of advancing technological society. Consequently, the thesis performs a reading of Lolita and three derivative novels to ascertain how the girl-child is represented. Issues of interest include the Romantic discourse of childhood, the representational practices of advancing technological society, and girls’ agency. Finally, conclusions are drawn about the effectiveness of each derivative novel in terms of their contributions to both the Lolita-discourse and the feminist endeavour to restructure the grand narrative of girlhood.
AFRIKAANSE OPSOMMING: Drie vroueskrywers het sedert 1995 romans gepubliseer wat die gebeure van Vladimir Nabokov se roman Lolita uit Lolita se oogpunt oorvertel. Wat is dit omtrent die karakter Lolita wat skrywers aanspoor om Nabokov se teks te hersien? In ‘n poging om hierdie vraag te beantwoord verken hierdie tesis leser-reaksies op Lolita. Die meesternarratief oor jongmeisieskap word blootgelê en dit kom na vore dat meisies se subjektiwiteit in die Westerse wêreld, onder die invloed van die Romantiese diskoers, regeer word deur die digotomie van ‘onskuldig-of-korrup’. Gevolglik is Lolita, wat haar stiefpa, Humbert Humbert, verlei, oor die dekades heen deur lesers sleggemaak, sodat baie min kritiese aandag verder aan haar gewy is. Toenemende kommer onder feministe rondom die uitbeelding van meisies het egter in die afgelope klompie jare tot hernieude belangstelling in Lolita gelei, met die gebrek aan aandag aan Lolita se uitbeelding as hoofbekommernis. Die Lolita-verwerkings dra by tot die saamstel van ‘n versameling van feministiese kritiek oor Nabokov se teks. Die sekondêre funksie van die verwerkings is die herstrukturering van die meesternarratief aangaande jongmeisieskap: met ander woorde, die uitwissing van die onskuldig-ofkorrup digotomie ten gunste van ‘n wye reeks denkbare subjektiwiteite. Dít is nodig omdat die geseksualiseerde beelde van meisies wat in die media voorkom, die gevaar loop om meisies as een-dimensionele seksobjekte uit te beeld. Beide feministe en kritiese teoretici beywer hul vir ‘n nuwe vorm van teenstand teen hierdie verdrukkende uitbeeldings, so samewerking tussen die twee is nuttig. Hierdie tesis doen dit aan die hand dat die bestaan van Lolita-verkwerkings bewys is van die ontluiking van ‘n nuwe vorm van feministiese teenstand teen die verdrukkende uitbeeldings van die vooruitgaande tegnologiese samelewing. Gevolglik analiseer hierdie tesis Lolita en drie verwerkings om vas te stel hoe die meisiekind uitgebeeld word. Sake van belang sluit die Romantiese diskoers van kindwees, die uitbeeldingspraktyke van die toenemend tegnologiese samelewing, en meisies as agente in. Uiteindlik word gevolgtrekkings gemaak oor die effektiwiteit van elke roman ten opsigte van hul bydraes tot beide die Lolita-diskoers en die feministiese poging om die meesternarratief aangaande jongmeisieskap te herstruktureer.
Kuzmina, Irina. "Inscription du mythe dans le roman français, anglo-saxon et russe du XXe siècle." Versailles-St Quentin en Yvelines, 2005. http://www.theses.fr/2005VERS005S.
Full textThe thesis Presence of Myth in 20th Century French, American and Russian Literature (Michel Butor's “L'Emploi du temps”, Aldous Huxley's “Brave New World” and Vladimir Nabokov's “Lolita”) is consecrated to the presence of myth referring to the sacred in modern western literature. It is a comparative study of the labyrinth image transcribing itself, in particular, through labyrinth writing, which substitutes itself to three other myths found in the analised novels – Saturn coming from the Latin heritage, Lilith stemming from Biblical and Judaic culture, and Utopia, universal archetype with its countless metamorphosis in Western culture. Such a comparison is possible within the framework of Semiotic studies considering myth, like any language, as a secondary semiological system basing on the paradigmatic nature of the sign
Martel, Audrey. "Le criminel asocial dans la littérature américaine de la seconde moitié du vingtième siècle." Phd thesis, Université Nice Sophia Antipolis, 2013. http://tel.archives-ouvertes.fr/tel-00952972.
Full textD'Ambrosio, Mariano. "Le roman de la non-linéarité : une analyse comparée de Tristram Shandy, Pale fire, La vie mode d'emploi et House of leaves." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA092/document.
Full textThis thesis aims to explore the idea of the existence of a novel of nonlinearity, through an inspection of the criticism and the comparative analysis of four works considered as belonging to this tradition (The Life and Opinions of Tristram Shandy, Gentleman, by Laurence Sterne; Pale Fire, by Vladimir Nabokov; Life, a User’s Manual (La vie mode d’emploi), by Georges Perec; and House of Leaves, by Mark Z. Danielewski).The first chapter postulates the thesis of two traditions in the history of the novel: the tradition of the realist novel, and a tradition distinguished by the use of nonlinear forms. In order to support this thesis, I’ll take into account studies about the reflexive tradition of the novel, about chaos theory as applied to literature, about the margins of the text, about the reading experience, and about intertextuality.On the basis of this examination, the second chapter outlines a definition of the novel of nonlinearity, which includes a repertoire of the literary devices and themes common to this tradition, and a reflection about its perspectives upon the world and human identity.The third chapter is dedicated to the analyses of the texts included in the corpus. The four novels are analyzed for their distinctive features, and also in the aim of verifying the premise of the existence of a novel of nonlinearity. Drawing on numerous examples selected from the novels, these analyses are structured in eight sections: the problem of beginning; intertextuality; the complexity of life narratives; the issues of interruption, procrastination and absence; the approaches to time; the approaches to language; the theme of the game; and the impossibility of an ending
Gauthier, Stanislas. "Enfermements idéologiques et ouvertures poétiques : trois écrivains traducteurs de Pouchkine pendant la guerre froide : Aragon, Landolfi et Nabokov." Thesis, Bordeaux 3, 2015. http://www.theses.fr/2015BOR30072.
Full textFocusing on the extreme political tensions during the 1937-1982 time span, this work suggests that the status of translation can be considered from a different angle based on the works of Aragon, of Landolfi and of Nabokov, writers and translators of Pushkin. Studying the examples of those writers and translators, discussing and expanding upon the theory of Henri Meschonnic, this work defends the idea that close links exist between context, writing and translation. The three main translation circuits of the period are initially presented introducing the study of the confrontation between the translators and the political forces. A closer look at the corpus of translations shows the important activity of Aragon, Landolfi and Nabokov at that period. The third part of this work concentrates on the ways of editing translations of Russian literature in the West through the study of anthologies of translations and retranslations. The historical character of the translations of Pushkin’s works leads to reconsider their links to the context. The study reveals that Communists and Capitalists refused to actually take into account the Evil experience that the name “Auschwitz” summarizes. In response, on a literary level, literalism promoted by Aragon, Landolfi and Nabokov during the Cold War has for vocation the respect of the will of the deceased author. The decision to translate Pushkin also represents a reaction to the division of the world. The Russian poet questions the conflict in his works and does not refuse to confront the question of Evil through a literary style based on morals. The final section of this thesis promotes the idea of continuity between the translations and the other works of Aragon, of Landolfi and of Nabokov. It demonstrates to what extent the name, the figure and the works of Pushkin influenced those writers and translators. Finally, poetic prose, parody and literary history are reconsidered from an entirely new angle
Bouraoui, Jihene. "The power of negativity and its functioning in the metafictional text through five works : vladimir Nabokov’s Pale Fire, John Barth’s Coming Soon!!!, Graham Swift’s Waterland, Robert Coover’s Gerald’s Party and Don DeLillo’s White Noise." Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100139.
Full textThe dissertation addresses the challenge to think the power of negativity and its ultimate constructive objective. It launches an enterprise, both at the textual and extratexual levels, that requires the individual to destroy and create at once, without any pretention to establish an everlasting system that dictates the encoding and decoding of thoughts and perception and management of cognitive, bodily and everyday life needs. Such an enterprise is based on the consideration of a literary assemblage of five novels: Vladimir Nabokov’s Pale Fire, John Barth’s Coming Soon!!!, Graham Swift’s Waterland, Robert Coover’s Gerald’s Party and Don Delillo’s White Noise. It demonstrates that the text is governed by an economy that does not embark on « negative » nihilism; it is rather an economy that transforms the unproductive forms (abyss, loss, spectre, madness, excess, death) into a capacity for resistance and a creative departure. It is an economy that sustains the text and prevents it from collapsing, through a set of ethical imperatives, a poetics of self-creation and a politics whose objective is not to resolve the paradoxes underlying the text. Throughout the three part of the dissertation, there is a continuous struggle to unveil the constructs and to explain the rationale behind our unavoidable need for them to keep going
Marot, Sébastien. "Palimpsestuous Ithaca : un manifeste relatif du sub-urbanisme." Paris, EHESS, 2008. http://www.theses.fr/2008EHES0085.
Full textIn 1978, Rem Koolhaas published Delirious New York, the manifesto for contemporary super-urbanism (the program invents the site). The ambition of Palimpsestuous Ithaca is to illustrate the reverse poetics of sub-urbanism (the site invents the program), by focusing on the town of Ithaca (seat of Cornell University) which is the geographical opposite of Manhattan. Our demonstration is articulated in 3 parts: 1) a geographic thesis devoted to the 3 founding father of the university: a self-made engineer, an architecture enthusiast and an inspiring botanist; 2) an urbanistic antithesis following architects Colin Rowe, OM. Ungers and Rem Koolhaas up to the moment when they came to Ithaca to build up the plots of their respective manifestoes: Collage City, "Berlin as a Green Archipelago", and Delirious New York. 3) a poetic synthesis devoted to earth artist Robert Smithson (whose artistic adventure reached its maturity in Ithaca), anarchitect Gordon Matta-Clark (the best student Colin Rowe ever had at Cornell), and Vladimir Nabokov (who fantasized Ithaca into one of the most fascinating hyperlandscapes of contemporary literature)
Sequeira, Diana Anselmo. "Impossible intimacy: discovering the cultural interplay between new and the old worlds in Vladimir Nabokov's Lolita." Master's thesis, 2007. http://hdl.handle.net/10451/344.
Full textNão foi de toda alietória a escolha da obra Lolita de Vladimir Nabokov como ponto de partida para esta tese. Apesar de ser um livro muito tratado, continua pela sua complexidade a exercer um fascínio imanente sobre os seus leitores. No cerne deste livro encontram-se fundidos séculos de tradição literária, onde são reinventadas velhas fórmulas e conceitos estéticos, com um sentido de humor implacável e inteligente característico de Nabokov. Um dos tópicos primordiais desta obra coincide com a preocupação fundamental desta tese: desvendar a dialéctica entre a Europa e a América representada pelos personagens aparentemente antiéticos Humbert, o erudito cavalheiro europeu, e Lolita, a rude ninfeta americana. Simultaneamente, esta tese busca as ligações culturais entre os dois continentes, tendo como pano de fundo uma época muito agitada o pós-Segunda Guerra Mundial. Um grande número de académicos já anteriormente se debruçou sobre este tópico, em especial Ellen Pifer, que no seu ensaio Nabokov's Novel Offspring argumenta que o nome de Lolita está hoje irreversivelmente ligado à noção de juventude americana sexualizada, enquanto Humbert, por sua vez, é conectado com o langor e nostalgia de uma sociedade europeia em colapso.A questão do abismo intercontinental é recorrentemente associada às diferenças intrínsecas presentes nos dois protagonistas de Lolita. Esta suposição não é de todo desprovida de sentido, afinal os personagens principais deste romance são verdadeiramente díspares a primeira é uma vivaça adolescente americana, enquanto o segundo é um melancólico académico europeu. Assim, estabelece-se um dos pontos-chave que permeará toda esta tese: a relação de contrastes entre Lolita e Humbert, bem como aquilo que Pifer apelidou da divisão entre o mundo das crianças e o mundo dos adultos (85). Tal dialéctica será correlacionada com a fascinação americana pela relação familiar
Darnell, Michael Richard. "Networks of Displacement Genealogy, Nationality, and Ambivalence in Works by Vladimir Nabokov and Gary Shteyngart." Thesis, 2016. https://doi.org/10.7916/D8D79BQ4.
Full textNieubuurt, Brendan James. "Flesh Made Word: Inscription and the Embodied Self in Mandel'shtam and Nabokov." Thesis, 2018. https://doi.org/10.7916/D8R22HVQ.
Full textVentura, Carlos Manuel Cravo. "Vladimir Nabokov : um problema de habitação (ou de habituação)? : aculturação e resistência no percurso para o romance americano." Doctoral thesis, 2009. http://hdl.handle.net/10400.3/4667.
Full textOs primeiros, e intimidantes, contactos que tive com a obra do escritor russo-americano Vladimir Nabokov ocorreram algo tardiamente (nos meus trinta e poucos anos) e deveram-se à liberalidade de um amigo dilecto, que certo dia resolveu oferecer-me dois ou três livros de entre os que Nabokov escrevera originalmente já em inglês. Se bem me recordo, comecei por ler o seu último romance publicado em vida, Look at the Harlequins!, a que se seguiram Transparent Things, Lolita e Pale Fire. Comecei, pois, praticamente pelo fim, o que no caso de Nabokov talvez não seja assim tão estranho: afinal, não abre ele a biografia literária de Gogol com um capítulo a que deu o título «His Death and His Youth»? Aqueles livros alimentaram conversas amenas durante as tardes de férias-de-Verão, conversas que, passado pouco tempo, se transformaram num desafio: por que não conceber um trabalho de maior fôlego sobre a obra de Nabokov, um autor tão discutido “lá fora” e que parecia, à época, ainda não ter merecido a atenção correspondente “cá dentro”? Havia, claro, o problema do corpus, que, além de vasto e manifestamente complexo, tinha uma parte dele nascido em russo, embora se encontrasse traduzido, ou por Nabokov ou sob sua apertada vigilância, em inglês. Para apaziguamento dos meus escrúpulos devidos à incapacidade de o ler em russo, descobri mais tarde que Nabokov considerava as traduções em inglês como as versões definitivas da sua obra russa, provavelmente (ou com certeza) por força das alterações, de pormenor mas para ele significativas, que achou por bem introduzir (licença que não deve entender-se como traição de tradutor — ou, no caso, mais de “supervisor de tradutor” —, desde que da sua própria obra se trate). Sopesado tudo, desde cedo me pareceu prudente concentrar a atenção nos romances originalmente escritos em inglês — e o romance é, assim o julgo, o género em que Nabokov atinge o ápice das suas faculdades criativas —, sem todavia descurar a indispensável contextualização na totalidade da obra. Das muitas interrogações que a leitura de Nabokov pode suscitar, uma se me foi impondo como possiblidade de trabalho, diria até, como necessidade de procura de uma resposta: Como consegue um escritor, já na maturidade e com obra de mérito reconhecido, fazer a travessia para um novo idioma literário, com as inevitáveis exigências de adaptação a outra realidade sócio-cultural, e, ainda por cima, alcançando uma notoriedade muito superior à que conquistara no seu idioma nativo? A esta pergunta sucederam-se outras suas complementares: Que resistências íntimas não terá ele tido de contrariar? Quanto terá permanecido do hábito de errância espiritual (e física) na Europa, adquirido durante os vinte e um anos que precederam a chegada a terras americanas? Que obstáculos teve Nabokov de ultrapassar para se afirmar entre os seus pares do país de adopção? Como o terão marcado os cerca de vinte anos em que viveu a experiência americana? Quanto de tudo isto se reflecte na obra ficcional produzida na América (e continuada na Suíça)? E que factores concorrem para que Nabokov nos deixe a impressão de que não conseguia estar sossegado num sítio? A necessidade de responder a estas perguntas determinou a estrutura do presente trabalho. Havia que tentar perceber o percurso de vida de Nabokov para o correlacionar com o literário — eis a matéria da primeira parte, que intitulei «A Abordagem Biográfica». Havia que enquadrar teoricamente o fenómeno da aculturação e tentar compreender como Nabokov enfrentou a transição para a realidade sócio-cultural dos Estados Unidos da América — eis a matéria da segunda parte, que intitulei «Questões de Aculturação». Finalmente, havia que apresentar uma proposta de leitura dos romances que contribuiram para que Nabokov conquistasse um lugar na literatura norte-americana, uma leitura que necessariamente se articulasse com as preocupações desenvolvidas nas duas primeiras partes do trabalho — eis a matéria da terceira parte, que intitulei «Os Romances Americanos», na qual Lolita ocupa, julgo que com inteiro merecimento, quase a totalidade do espaço. Quanto ao título e ao subtítulo do volume, Vladimir Nabokov: Um Problema de Habitação (ou de Habituação)? — Aculturação e Resistência no Percurso para o Romance Americano, a sua explicação encontra-se no último capítulo (que é também o epílogo desta história). [do Prólogo]
Picon, Francisco Javier. "Bakhtin and Nabokov: The Dialogue that Never Was." Thesis, 2016. https://doi.org/10.7916/D8SN08J6.
Full textRibeiro, Manuel Fonseca de Sam Bento. "Espelhando a mente: para uma análise do espaço psicológico em Lolita de Valdimir Nabokov e das suas manifestações visuais em Lolita: A screenplay de Vladimir Nabokov e em Lolita: The book of the film de Stephen Schiff." Master's thesis, 2009. http://hdl.handle.net/10451/1722.
Full textComo objectos de análise propõem-se a obra de Vladimir Nabokov, Lolita (1955) e os dois argumentos cinematográficos filmados, Lolita: A Screenplay (1974), de Vladimir Nabokov, que originou o filme de Stanley Kubrick (1962), e Lolita: The Book of the Film (1997), que resultou no filme de Adrian Lyne (1997). O cinema define-se sobretudo como um meio onde impera o domínio visual, pelo que o argumento, sendo parte integrante de um filme, partilha as suas características, distinguindo-se por isso por uma forte linguagem visual. A adaptação do romance ao domínio visual é relevante na medida em que acentua a narrativa como espaço predominantemente psicológico, em que a personagem sobressai em função do olhar. Numa primeira parte da dissertação, adoptando sobretudo uma perspectiva literária, sugere-se uma reflexão da obra baseada na questão do duplo e do jogo de espelhos à volta dos quais se constrói a identidade fragmentada, salientando os traços que posteriormente serão reformulados pela conversão de um espaço sobretudo literário para um de ordem visual. Numa segunda e terceira partes, os dois argumentos filmados de Lolita, o de Vladimir Nabokov (1974) e o de Stephen Schiff (1997), são abordados. Não se pretende, no entanto, explorar a viabilidade cinematográfica destes argumentos, mas realizar uma análise das escolhas efectuadas para se atingir eficazmente uma narração visual do espaço interior da personagem. A adaptação para argumento de uma obra literária que se centra na interioridade da personagem, e as escolhas e opções tomadas pelos argumentistas, de forma a possibilitar uma narração visual da história, serão o fio condutor destas duas últimas secções da dissertação.
It is the aim of this dissertation to examine Vladimir Nabokov's Lolita (1955) and the two filmed screenplays: Lolita: A Screenplay (1974), written by Vladimir Nabokov, which was the foundation for Stanley Kubrick's film in 1962; and Lolita: The Book of the Film (1997), which was used to film Adrian Lyne's adaptation in 1997. Film is mainly a visual medium and the screenplay, as part of it, shares its characteristics, being defined by a strong visual language. The adaptation of the novel to a visual domain is relevant since it enforces narrative as a subjective world where character is governed by perspective. The first chapter of this dissertation focuses on Nabokov's novel from a literary point of view, exploring the double and the mirror techniques that are characteristic of the representation of a fragmented identity. The second and third chapters focus on the filmed screenplays, the first by Vladimir Nabokov, published in 1974, and the second by Stephen Schiff, written in 1997. The practicability of these screenplays will not be discussed as this dissertation's purpose is mainly on exploring the similarities and differences regarding Nabokov's novel and, above all, on how effectively each screenplay achieves a visual narration of the character's subjectivity. The last two chapters are therefore mainly concerned with the screenwriters' choices and options while adopting a literary text in order to achieve a strong visual narrative.
Ramos, Susana Alves. "Da beleza transgressora: perseguições da identidade em Lolita e A morte em Veneza." Master's thesis, 2009. http://catalogo.ul.pt/F/?func=item-global&doc_library=ULB01&type=03&doc_number=000575733.
Full textDa beleza transgressora: Perseguições da identidade em Lolita e A Morte em Veneza é uma dissertação que parte da análise de um tema comum ao romance de Vladimir Nabokov e à novela de Thomas Mann a beleza transgressora -, na sua relação com o problema da identidade dos protagonistas, Humbert Humbert e Aschenbach, personagens que apresentam traços comuns e que, para além de serem intelectuais europeus, sofrem um processo de transformação irreversível por via de um amor transgressor e das suas respectivas consequências éticas e estéticas. Na relação entre a problemática da identidade e o tema da beleza transgressora, Lolita e Tadzio, os jovens adolescentes em torno dos quais se articulam respectivamente as confissões de Humbert Humbert e as especulações sobre o poder fatal de Eros em Gustav Aschenbach, são ainda analisados como agentes da mediação artística, que conduzirão ambas as narrativas ao seu desfecho. O corpus desta dissertação é composto não só pelo romance e a novela, mas também pelas respectivas adaptações cinematográficas: o filme Lolita, de Stanley Kubrick, e o filme Morte em Veneza, de Luchino Visconti. Tendo em conta não apenas uma opção pessoal mas também o facto de esta dissertação se inserir no âmbito do Mestrado em Estudos Anglísticos, sendo mais precisamente uma especialização em Literatura Norte-Americana, será dada maior incidência ao romance de Nabokov, compensando-se esta opção por uma análise mais pormenorizada do filme de Visconti.
About transgressive beauty: Chasing identity in Lolita and Death in Venice is a dissertation grounded in the analysis of a theme shared by Vladimir Nabokov's novel and Thomas Mann's novella transgressive beauty and its connection to the problem of the main characters' identity, Humbert Humbert and Aschenbach, both of whom display similar traits, apart from being European intellectuals whose identity goes through an irreversible transformation process because of transgressive love and its ethical and aesthetic consequences. By associating the problem of identity with the theme of transgressive beauty, Lolita and Tadzio, the young adolescents around whom Humbert Humbert utters his confessions and Gustav Aschenbach speculates about the fatal powers of Eros, are found to be and are examined as such agents of artistic mediation, responsible for guiding both narratives to their outcomes. The corpus of this dissertation includes not only the novel and the novella, but also their big-screen adaptations, namely Stanley Kubrick's Lolita and Death in Venice by Luchino Visconti. Apart from personal choices, the fact that this thesis was produced within a Masters in English Studies and, more precisely, a specialization in North-American Literature led us to bestow more attention to Nabokov's novel, an option we will make up for thanks to a more detailed scrutiny of Visconti's movie.