想象与转换:小说《洛丽塔》的电影符号学解读  

Imagination and Conversion: An Interpretation of the Novel Lolita from the Perspective of Film Semiotics

作　　者：曹晓娇 

机构地区：[1]南京师范大学外国语学院

出　　处：《俄罗斯文艺》2018年第1期113-119,共7页Russian Literature & Arts

基　　金："江苏高校优势学科建设工程二期项目"的研究成果(优势学科代码:20140901);国家留学基金资助

摘　　要：纳博科夫的小说《洛丽塔》曾两度被改编为电影,是一部倍受争议的作品。然而,无论怎样评价《洛丽塔》,评论者大都是将作品与现实生活、社会的伦理道德联系起来。其实,纳博科夫的主要创作目的并非是要反映现实,或者是探讨伦理问题,而是要激发读者的想象,让读者在想象世界中享受艺术,获取审美感。也许电影艺术中的蒙太奇手法等,是能够在很短时间内激发欣赏者想象力的有效途径。纳博科夫采用了小说的电影化创作艺术,在裁剪与衔接、空间与视觉以及时间与想象三个方面,不断地在文字叙述与镜头画面间转换,构成了《洛丽塔》自身独特的意义再生机制,让读者或观众能够在不同的接受语境中,感受小说文本的艺术魅力,给予文本以多元解读,赋予文本以无限的生命力。Vladimir Nabokov＇ s novel Lol^ta is a controversial work, and has been adapted to film twice. However, the critics often associate this work with ethics of reality and society. In fact, the main purpose of Nabokov＇ s writing is not to reflect the reality or discuss ethical issues, but to evoke the imagination of the readers, to make them enjoy the arts and get the sense of aesthetics in the process of imagining. Maybe, montage technique in the film is an effective way to evoke the imagination of the audience in a short time.In clipping and connecting, space and vision, time and imagination, Nabokov created the novel in a cinematic way, and made constant switches between literal narration and shots pictures. All the elements above constitute the unique meaning-regenerating mechanism of Zol/ta, which enables the audience to feel the charm of the work in different receiving contexts, provides the text with multiple interpretations and endows the text with infinite vitality.

关 键 词：《洛丽塔》电影符号学 洛特曼 意义再生机制 

分 类 号：I712.074[文学—其他各国文学]