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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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In spite of his distaste for Dostoevsky, we may say that on closer scrutiny, Vladimir Nabokov in his works demonstrates not only very detailed knowledge of Dostoevsky's themes and patterns, but even hidden influence. Nabokov, as a specialist for literature, was fond of playing cruel game with Russian literature at the expense of ignoramuses. Dostoevsky was the main target in that game and Lolita is a sort of indirect tribute as well as mock response to Dostoevsky.
Humbert's confession in Lolita, written in fifty?six days in jail, is in a way the Nabokovian answer to Dostoevsky's Notes from the Underground and, thus, is comparable to that of the underground man. First of all, the readers of both works are asked to accept these notes of confession not as subjective accounts of first?person narrators, but as the objective testimonies of both omniscient authors, even though the views and opinions expressed as well as the very account of reality itself must bear the imprint of narrators' psyche. Therefore, if the narrator is in a state of self?deception, then his consciousness becomes a distorting consciousness and his account is a distorted account. The very form of Lolita and Notes from the Underground lends itself to exploitation of the theme of self?deception, for they are not only memoirs, but also confessions. The memoir form, which confines itself to the subjectivity of a single point of view, is perfectly adapted for exploring the problem of self?honesty, as the underground man comments on the use of the memoir form in literature.
The many passages of comments and descriptions of both narrators catch themselves in lies and acknowledge them arouse our suspicions that perhaps there are other lies of which they are either unaware of or that they fail to acknowledge. There are two general ways in which Humbert may alert that he is lying: first by deceiving readers about his pedophilia, secondly by deceiving himself for redemption. It also seems clear that the underground man at the time of writing his notes is completely incapable of attaining his goal of self?honesty because he deceives himself by his self?rationalization, exaggeration, and daydreaming.
Self?justification, then, is an important theme throughout the novels and perhaps offers some important clues for interpretation. If the narrators are lying to themselves, then, in a confession of this kind they are necessarily lying to readers. Their remarks, therefore, cannot be taken as face value. Finally, the recognition that both Dostoevsky and Nabokov have created self?deceived and dishonest narrators reveal successive layers of meaning to an already fascinating and complex structure.
Humbert's confession in Lolita, written in fifty?six days in jail, is in a way the Nabokovian answer to Dostoevsky's Notes from the Underground and, thus, is comparable to that of the underground man. First of all, the readers of both works are asked to accept these notes of confession not as subjective accounts of first?person narrators, but as the objective testimonies of both omniscient authors, even though the views and opinions expressed as well as the very account of reality itself must bear the imprint of narrators' psyche. Therefore, if the narrator is in a state of self?deception, then his consciousness becomes a distorting consciousness and his account is a distorted account. The very form of Lolita and Notes from the Underground lends itself to exploitation of the theme of self?deception, for they are not only memoirs, but also confessions. The memoir form, which confines itself to the subjectivity of a single point of view, is perfectly adapted for exploring the problem of self?honesty, as the underground man comments on the use of the memoir form in literature.
The many passages of comments and descriptions of both narrators catch themselves in lies and acknowledge them arouse our suspicions that perhaps there are other lies of which they are either unaware of or that they fail to acknowledge. There are two general ways in which Humbert may alert that he is lying: first by deceiving readers about his pedophilia, secondly by deceiving himself for redemption. It also seems clear that the underground man at the time of writing his notes is completely incapable of attaining his goal of self?honesty because he deceives himself by his self?rationalization, exaggeration, and daydreaming.
Self?justification, then, is an important theme throughout the novels and perhaps offers some important clues for interpretation. If the narrators are lying to themselves, then, in a confession of this kind they are necessarily lying to readers. Their remarks, therefore, cannot be taken as face value. Finally, the recognition that both Dostoevsky and Nabokov have created self?deceived and dishonest narrators reveal successive layers of meaning to an already fascinating and complex structure.
목차
Ⅰ. 서론
Ⅱ. 본론
Ⅲ. 결론
참고문헌
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