At that time, I took some notes when I read Nabokov's novel, and my heart was ups and downs between joy and depression. Later, I watched two versions of the movie.
Someone really asked me "what do you think of this novel and movie", so I timidly typed a few words, which can be regarded as a serious answer. Orz
spent nearly a week sorting out the "Lori". The analysis and thinking of the text of the novel and the two films of "Tower", the number of words is 1w+, it is in the form of a paper, students who are not used to it can make a detour, and there will be many biases or deficiencies, please comment rationally~
"Lolita" (1997) stills
Preface
From the middle of the twentieth century when Nabokov completed this novel, until today, when the aesthetic orientation has undergone earth-shaking changes, there is a word people talk about color change, especially the color change that men are more likely to talk about, the facial features after the color change. If nothing happened, but the heart must be magnificent, that is "Lolita". It is a name, a girl, an aesthetic, a sense of touch, a dream, a mirage, a tragedy, a soul, and it is "the tip of the tongue upwards, in three steps, gently falling from the upper jaw down. On the Teeth" [Excerpted from [America] Vladimir Nabokov, translated by Yu Xiaodan and Liao Shiqi: "Lolita", Times Literature and Art Publishing House, October 2000, 1st Edition, Chapter 1, No. 13 Page. ] That soul-stirring unique pronunciation. Decades have passed, and people's enthusiasm for "Lolita" has increased unabated, and even fell into a craze for the aesthetic setting of girls - they should wear cute and sexy clothes, delicate makeup, innocent smiles, The behavior is jumpy, and there is a little girl-like ignorance and innate attraction in love. This kind of love and fanaticism is so deviant under the mainstream aesthetic and ethical system of society, and all the "Lolita" and its additional controversies originally originated from this work "Lolita".
The novel has already brought too much shock and embarrassment to the readers, and after the two films made the text three-dimensional, it pushed people's controversy to a new climax, carrying the anger and accusation of public opinion for a long time. The 1962 Sue Lane version of Lolita and the 1997 Dominic Swan version of Lolita left a deep impression on the audience, but while we couldn't help but admire their beauty, we stood there countless times. From an ethical or moral point of view, question their own aesthetics. Does "Lolita" have a deep Electra complex? Can true love exist independently of ethics and morality? Is this just a tragic fairy tale or Baudelaire's "Flower of Evil" in reality? What kind of aesthetic orientation and desire export is "Lori complex"?
Facts tell us that people who can't get out of novels and movies can't see the world.
1. "Century of Rational Disintegration": The Soil of the Birth of "Lolita"
In the seventeenth and eighteenth centuries, driven by the trend of rationalism, a vigorous Enlightenment movement was launched across the European continent. Voltaire, Diderot and others carried the banner of rational science, democracy and freedom, and established a bright and The wonderful "realm of reason". In this "realm of reason", natural science flourished, the superstructure and the state apparatus were liberated from ignorance and irrationality, leading the East into modern times with overwhelming speed and superiority. The urgent desire for the primitive accumulation of capitalism has prompted Western countries to carry out bloody plundering all over the world to satisfy their capital accumulation and national strength. To the feet, every pore drips with blood and dirty things." Europe, which has established advanced social systems and state machinery, and has advanced technological level, happily enjoys the beautiful results brought about by the Enlightenment. From this point of view, the Enlightenment movement is indeed indispensable, and it is another milestone breakthrough after the Renaissance and the Reformation.
However, in the nineteenth and twentieth centuries, people gradually discovered the loopholes in the "realm of reason". It was not as beautiful and holy as people imagined. Western capitalism, which was advancing all the way, periodically broke out in economic crises, and the exploitation of surplus value and The contradictions between classes are becoming increasingly acute, and arms races and wars between countries are endless. Chaplin's dark humor begins to play tragedy in comedy, Gatsby's green light fades, "all the splendor is timeless and gone forever" [from Baz Luhrmann's film The Great Gatsby Gatsby) (2013) lines. ], Kafka would never reach his castle... There are various signs that human beings in the Western capitalist environment are faced with a new survival dilemma, and under this survival dilemma, the state of human existence begins to alienate and deform, towards Extreme orientation twist. After the 1950s and 1960s, with the acceleration of the western industrialization process, the major western countries transitioned from an industrialized society to a post-industrial society, and the alienation effect of capitalist civilization on human beings became increasingly obvious. People examine their living environment and re-understand the entire Western cultural tradition, including modernism in the first half of the 20th century: people explore the destination of human beings, and they also think about the value and meaning of self-existence from all angles and angles. [Excerpted from Zhu Weizhi, Zhao Li, Cui Baoheng, and Wang Lixin, eds.: "History of Foreign Literature" (European and American volumes), Nankai University Press, February 2014, 5th edition, p. 570. ] Different from the rise of modernist philosophy, which is different from Kant's classical philosophy, Sartre and Nietzsche entered people's field of vision and used existentialism and "superhuman philosophy" respectively to deconstruct the western world framed by Newton's mechanical cosmology and Descartes' dualistic philosophy. rationalism. The two philosophers, Sartre and Nietzsche, are the most typical representatives of Western irrational romanticism in the twentieth century. Many ideological trends and literary schools under irrational romanticism are also greatly influenced by Sartre and Nietzsche. The literary and artistic works born in this period are no longer the pure naturalism and critical realism that prevailed in the 18th and 19th centuries, nor the romanticism that originated in the Renaissance that existed in Shakespeare. Rousseau's pure romanticism was borrowed, and Wilde's aestheticism in the late 19th century was continued. People's thinking about self-worth, confirmation of self-existence, and questioning of social system can be seen everywhere in literary works. Desires and emotions are infinitely expanded. , and even the "extremely large Guayism" that advocates freedom and hedonism. This is a turbulent century, but also a century of infinite possibilities. In the 100 years before and after the 20th century, many incredible but penetrating literary and artistic works were born, including "Lolita".
Nabokov's first publication of the book was rejected by the publishing authorities on the grounds that the book's terrifying themes were too provocative, until 1956, when British author Graham Greene first expressed his acceptance of the novel and Called "the best novel of the year"; in 1958, "Lolita" was finally published in the United States and quickly occupied the top selling list, causing a huge response in the world's literary circles. There are many writers who point out that Nabokov is an erotic writer, and he himself believes that there is real poetry in the depths of parody, and it is between this kind of paradoxical, paradoxical, seemingly serious, but humorous and satirical simulations. The process of deconstruction, thus revealing the fiction and gameplay of postmodern literature. [Refer to Vladimir Nabokov's "Stubborn Opinion", translated by Pan Xiaosong, Times Literature and Art Publishing House, 1998 edition. ] At the same time, the birth of film art is a very great invention in modern times. It three-dimensionalizes the narrative space in novels, extends the imagination of authors and readers infinitely, and brings more intuitive feelings to the audience. Four years after the novel was published, the great director Stanley Kubrick put it on the screen, and the new art form presented by the combination of lens and text expanded the original audience of "Lolita". In the 20th century with the rapid development of media, the trend of thought that was originally limited to traditional art forms such as literature, music, art, dance, etc., quickly covered the whole society with the help of new media, which also created objective conditions for the "Lolita whirlwind".
Like German writer Patrick Suskind's "Perfume", "Lolita" is also a very representative handed down classic in postmodernist literature. Both literary works were made into movies, constantly surprising and sighing for readers and audiences.
Humbert, whose "artist temperament in the body is more dominant than gentleman temperament", is addicted to the girly fragrance and erotic beauty brought to her by Lolita, without mentioning morality, like making the hypocritical "realm of reason" by making murderous perfume "The collapsed Grenouille can be seen as the embodiment of the ideas in Nietzsche's critical thought of reason.
The "realm of reason" falls apart, and human beings call for the essence of life and humanity. The various trends of thought that prevailed in the 20th century were the spiritual soil that gave birth to the style of literary and artistic works that appeared in the 20th century.
2. Aestheticism in the thematic expression and narrative techniques of the novels and films of Lolita
In 1882, Wilde proposed in "The English Renaissance": "Love art for art's sake, and you have everything you need. Devotion to beauty and creating beautiful things are the characteristics of all great civilized peoples." However, Wilde himself He did not present his aesthetic views very systematically in his writings and speeches. According to the later studies on Wilde, we can basically agree with Wilde's maintenance of pure beauty, which is embodied in his strong defense of "formal beauty" and "technical beauty", and this defense of "pure beauty" makes him The content and form of literary and artistic works are completely separated, and it is believed that "the content and the theme are bound to be connected with morality, good and evil, which greatly affects the purity of the work's beauty." [Refer to Qiao Guoqiang: "On Wilde's Aestheticism", "Journal of Shanghai University (Social Science Edition)", No. 6, 2015. ] This coincides with the trend of 20th century literary and artistic works to pursue formal innovation and change, so Wilde's aestheticism was retained and further developed in the 20th century. "Lolita" shows readers and audiences its aestheticism in thematic expression and narrative techniques, both in the text of the novel and the filming of the film. The author discusses this in the following points. (1) Thematic performance: The love between the hero Humbert Humbert and the heroine Dolores Haze
of the "Flower of Evil" opened by abnormal love is not the ordinary love we see in the world at all.
When a middle-aged man leaves a shadow due to his teenage emotional injury, he has an extremely distorted love for a 9-14-year-old girl, when a lively, agile and good-looking girl loses her father when she is young, facing the menacing love of adults The posture is naive and defenseless, and the moment the two meet, the tragedy is doomed. Humbert admires Lolita's charm, tries to possess it, and does not hesitate to marry Lolita's mother Charlotte as his wife, abandoning ethics and morality, and accompanies Lolita in an awkward position between father and lover; Lolita doesn't think about adult love, she only thinks it's interesting that Humbert is crazy about her. Whether it's her daughter or her lover, they play a "love game" with Humbert in a playful gesture. . So this love seems quite playful and very serious. One side sees reality clearly, but is willing to sink into it, this is Humbert; while the other side has been sinking into it, and finally sees reality clearly, this is Lolita.
The novel begins with a confession written by Humbert, and the beginning of the film (1962 version) is the scene in which Humbert shoots Quilty. Humbert can see the tragedy. In this love game, he is the maker of the rules of the game and also the player. This means that a man whose "artistic temperament is greater than a gentleman's temperament", from the perspective of Wilde's maintenance of "pure beauty", has complete control over the decision-making power of the form and content of this love. He wants Lolita's charm to serve him, and wants her life to cooperate with the "devil" hidden in human nature, and use her beauty and sexiness to make sacrifices for his "integrated pleasure and artistic nerve" sacrifice. The behavior of the embarrassing identity directly ruined Lolita's life. Lolita, who woke up from the game, realized that she was in a situation that was beyond redemption, and finally left Humbert who raised her with anger and hatred, and married her. Quilty, the screenwriter who forced her to make adult films as a teenager. The whole relationship looks absurd, ridiculous and unreasonable, and the ethics and morality observed by the world are "thrown to the ground like a vase and smashed to pieces", but the evil, impermanent, explicit and all kinds of dazzling things it carries are unexpectedly given to the game. The rule-makers and the audience brought great aesthetic pleasure. This aesthetic pleasure is like taking drugs, creating an aesthetic illusion.
Many people will think that Nabokov's writing of this terrifying love is a tribute to the dark side of human nature, using deliberate exposure to satirize the false "realm of reason", of course not. The French poet Charles Baudelaire wrote "The Flower of Evil" not as a compliment to the morbid side of the society at that time, but as "the art of evil". The "Flower of Evil", which symbolizes extremely rich connotations, blooms in Nabokov's words, and blooms in this unwelcome love. It is Nabokov's favorite art form, and it is also Humbert's sin. The monstrous "Feast of Beauty" is still sweet.
(2) Narrative techniques: subverting the traditional atmosphere maker
Whether it is Nabokov's novel "Lolita" or the two films "Lolita", its subversive traditional narrative techniques have always attracted the attention of readers and audiences. It not only achieves the purpose of creating an atmosphere of absurd and ridiculous stories, but also brings countless readers and audiences into it and cannot extricate themselves. Starting from the narrative structure, narrative time and space, and narrative color, the author has a superficial glimpse of the aesthetic characteristics of the narrative in the novel and film of "Lolita".
1. Traces of narrative structure in "meta-fiction"
"Metafiction" is a "fiction of fiction", also known as "meta-narrative" or "metafiction", which is different from the traditional narrative structure of novels. No longer pay attention to the narrative content of the novel itself, but pay more attention to the narrative process and narrative techniques of the novel. After the birth of film art in the 20th century, the narrative techniques characteristic of "meta-fiction" were further applied to films, and combined with montage, a wonderful artistic experience was produced. The novel text and filming of "Lolita" also very obviously use the narrative structure of "meta-fiction".
In Nabokov's original novel, "Lolita" is an autobiography narrated from Humbert's first-person perspective. At the beginning of the novel, Nabokov explained the narrative through Humbert's mouth. The context and purpose, readers are well aware that this is his statement after he was arrested and jailed for shooting Quilty. In the process of writing the novel, Nabokov has been consciously exposing the fictionality of the whole story, such as reconstructing Quilty's play title with very obscure word games in each chapter, burying the final ending of the whole story. For example, in Chapter 56, the author manipulated the two license plate numbers, not only making it suggest Quilty and his alias Cue, but also making the two numbers on the license plate number. The group numbers add up to 52, implying that both Humbert and Lolita died in 1952. [See [America] Vladimir Nabokov's book, translated by Yu Xiaodan and Liao Shiqi: "Lolita", Times Literature and Art Publishing House, October 2000, 1st edition, Chapter 56, p. 346 Page. In the footnotes on this page, the translator points to this fiction, pointing out that it is completely impossible for the characters in the book to realize the meaning of the number "52", only one person can, and the "same named person" of course refers to the author. ] This series of conscious foreshadowings and assumptions make the whole story lead the development in a direction. It is precisely because of the narrative structure of this "meta-fiction" that readers know the fictional nature and gameplay of the whole story but have to believe that it actually happened. Nabokov arranged everything with extremely clever brushstrokes, using the narrative structure of the "literary labyrinth" to arrange all the mysteries and truths properly, and buried clues in a more obscure way.
Movies cannot be compared to literature. The psychological activities and clues that can be presented in words in literary works are sometimes not very intuitively shown in movies. The 1962 version of "Lolita" and the 1997 version of "Lolita" both carried out targeted improvements in the narrative structure in this regard, adopting a two-layer narrative structure of "combination of explicit and implicit" to combine part of the implicit narrative. The performance is explicit, allowing the audience to directly perceive the psychological activities of the characters, and at the same time understand the metaphorical meaning of the whole film. These metaphorical meanings are placed by the director in various lines and scenes, as arranged in the novel, they still guide the audience to guess the direction of the development of the story.
This is the period of the birth of modernist and postmodernist literature, and this is also the period of the birth of film art. The narrative structure of literary creation directly affects the creation of film scripts, and the film "Lolita" is also influenced by "meta-fiction" Underneath, it shows its looming unique charm.
2. Deliberately creating a chaotic narrative time and space is
different from the linear narrative used in traditional narrative novels. The narrative time and space of the novel "Lolita" is very chaotic, the time chain is extremely broken, and the spatial narrative is also ambiguous. Humbert's own memories make readers have a fever-like reading experience during the reading process. At the same time, they have to admit that this kind of artistic narrative time and space has served the atmosphere of the whole story well, making this paragraph originally opened. The abnormal love of "Flower of Evil" is more treacherous, charming and full of tension. At this point, Nabokov's art of chaotic time and space is successful. In this chaos that subverts tradition and deliberately creates, the original logic of the story is not broken, and the novel reading experience brings more art to the author and the reader. pleasure. For example, in the novel, Humbert's memories of Lolita are very fragmented and stream-of-consciousness, which is dominated by the stacking of some words with sensory meaning, such as color, smell, touch, sound, taste, etc. Readers pay attention to emotions In the process of development, these fragmented sensory words resonate strongly, but the arrangement of time and space is not strict.
The 1962 and 1997 films "Lolita" made a relatively large adaptation of Nabokov's narrative time and space on the basis of retaining the original story, changing the original multi-line chaotic narrative time and space into a reciprocating one. Narrative time and space, starting from the opening scene of Humbert's shooting of Quilty, the entire film is no longer purely dependent on Humbert's own memories to arrange pictures and plots. In order to take care of the audience's understanding and perception experience, Naboco The husband's too artistic writing style is processed closer to the audience. The reciprocating narrative time and space present the characters' past memories and present situations alternately, which not only retains the narration atmosphere of the original novel, but also increases the unique charm of the film as a modern art.
Subverting the traditional narrative time and space, no longer following a single-line linear narrative, sometimes deliberately creating chaos, sometimes multiple lines are parallel, when literature and art began to focus on the pursuit of formal beauty, the proportion of content dropped significantly, which is also the modernism and postmodernism in the 20th century. The personality of literature and art.
3. Magnificent mottled narrative shots
Nabokov's novel "Lolita" is extremely well-crafted in words, showing the author's very profound literary skills. There are large paragraphs of text that are colorful and beautiful because of the description of body and eroticism. . The author combines these descriptions with the description of the environment, and cooperates with various lights, sounds, smells, and touches to convey this subjective aesthetic to the readers, making the readers feel like they are in an American garden in the middle of the last century. The background is dark and ghostly, carefully crafted and depressing. For example, in the novel, Humbert first met Lolita under the guidance of Mrs. Haze. Because of Lolita's beauty, she used the tone of an opera and a classical hymn: "… ...then, without the slightest hint, a row of blue waves rose from the bottom of my heart, on a straw mat bathed in the sun, half-naked, kneeling, turning on my knees, my 'Riviera' 'Love is peeping at me through sunglasses." [See [America] Vladimir Nabokov for details, translated by Yu Xiaodan and Liao Shiqi: "Lolita", Times Literature and Art Publishing House, October 2000 1st Edition, Chapter Ten, p. 57. ] Humbert's first-person perspective gives Lolita a full-body close-up in a fraction of the time. And this is clearly depicted in the movie. In the 1962 version of "Lolita", Sue Ryan played Lolita wearing a bikini and heart-shaped sunglasses lying on the grass, with a graceful figure and full of hormones; the 1997 version of "Lolita", Dominic Swan Playing Lolita, dressed in her everyday petticoat, wet from the shower in the garden, flips through the pictorial indifferently, looking up to find Humbert watching her, grinning, developing teeth With a ring of braces on it, she looks like an innocent, moist and bright girl. The close-up shots used in the film are also very well narrated, from Humbert's first-person perspective, capturing what he considers the most "little fairy" in Lolita.
The novel is obsessed with describing Lolita's dress, demeanor and actions, and the movie will naturally not let go of any place where the color and language of the lens can be designed. The characters' fashion, residence, and daily habits all restore the collision between classical and modern in the middle of the last century. America below. The two art forms also control the emotional atmosphere very well. The novel focuses on showing details and psychological activities, while the film renders a lot of camera colors in contrast, foil, and exaggeration, especially the moment when the two people escaped Mrs. Haze's sight countless times, the colors are strong and hazy, gorgeous and depressing. , giving the audience a sense of "beautiful dull pain".
Love itself is something elusive and difficult to define, and when human nature and emotion are intertwined, this ideological feeling becomes more stream-of-consciousness. Both the novel and the movie have grasped the feeling of being difficult to characterize. They do not logically sort out the plot too much, but make great efforts in form and color. Therefore, the "aestheticism" that Wilde admired beyond all utilitarian and mundane permeates all aspects of this novel and film, reaching a republic at the climax of the plot. 3. " Loli
Complex": Secret and Beautiful, Evil and Pure
A word "Lori" (ロリ) is used to refer to a girl aged 9-14 years old who is sexy and cute, her words and deeds are playful and naive, and later this term was derived from an adjective meaning, which is used to describe a cute, innocent and mature woman. child. Throughout the films since the middle of the twentieth century, there are more and more scenes of "the love between an uncle and a little girl", such as Leon and Matilda in "This Killer Is Not Too Cold". Many people regard "Lori complex" as a mental illness called "pedophilia", but in "Lolita", we can't compare Humbert's "Lori complex" with "pedophilia" obsession" is equivalent. As mentioned earlier, Humbert's love for Annabelle [Humbert Humbert's boyhood lover in "Lolita", later died of illness. ] and Lolita's obsession and fanaticism has become so morbid that it is considered "the art of love". This kind of "art" coexists secretly and beautifully, and evil and innocence coexist. Most of the erotic films in the movie also follow a similar aesthetic, which is very different from the vulgar porn. Behind the rendering of eroticism and outlines of sex are the writers and directors' deep thinking on ethics. Different from the aesthetic love mentioned above, the author will analyze this terrifying love from the perspectives of Humbert, Lolita and the reader (or audience).
(1) Humbert: The apologist for "pleasure is greater than sin"
First of all, we must pay attention to whether the narrative perspective adopted in the novel is the first-person account of Humbert writing his autobiography in prison, or the central characters such as Humbert, Lolita, Mrs. Haze, and Quilty in the film are all bystanders. The third person presented, Humbert, has a very obvious tendency to justify. His paranoid and crazy love for Lolita originated from the death of a young girl he loved named Anabel when he was young. Rita, this remake of Anabel, fell in love at first sight and couldn't help herself. First, he fell in love with an underage girl as a tutor, and second he chose to marry her mother, Mrs. Haze, in order to get closer to the underage girl. For this reason, he often falls into immoral and unethical self-blame and guilt. In novels and movies, we can often find Humbert's strong self-criticism and melancholy facial features. The impression is that of a "good criminal who surrenders himself every moment for his sins". However, when we read on, we immediately understood Humbert's reverse psychology. "Excessive self-blame shows innocence." He was justifying his artistic love throughout the whole process. Rendering myself this mentality:
"The nerves of pleasure have been exposed. Krause's blood has entered that frantic phase. The smallest pleasure will be enough to loosen the whole heaven. I am no longer 'Hound the Hound', the eyes The melancholy, depraved rascal clings to the boots that will kick him away. I stand above the misery of ridicule, beyond the possibility of retribution. In the Turkish palace I built myself, I am a radiant, The strong Turkish emperor, absolutely free and without any scruples, will postpone the real enjoyment of the youngest and most delicate body of his slave girls." [From [America] Vladimir Nabokov, Yu Xiaodan, Translated by Liao Shiqi: "Lolita", Times Literature and Art Publishing House, October 2000, 1st edition, Chapter 13, p. 85. ]
"...Despite all this being vile, dangerous, and hopeless, I am still intoxicated in the heaven of my own choosing--the sky of which is full of hellfire--but still heaven." [From [US] Written by Vladimir Nabokov, translated by Yu Xiaodan and Liao Shiqi: "Lolita", Times Literature and Art Publishing House, October 2000, 1st edition, Chapter 36, p. 229. ]
The camera lens of the film also often stands in Humbert's point of view to give Lolita various close-ups, as well as record the bits and pieces of this love. In these shots, Lolita's eyes are sultry, her lips are red, her expression is charming, and her movements are frivolous. For example, on the swing, Lolita is sitting next to Humbert with two ball heads combed, like a cub biting his hand. The candy, the audience can immediately understand the purpose of these shots: to use Humbert's narrative perspective to illustrate the lure of Lolita's over-the-top beauty, thereby alleviating his moral and ethical guilt. This kind of defense stands in the position of Humbert's patriarchal supremacy, and subconsciously hopes that his awkward status as a lover and father can bring him more stimulation and fun, and the greatest pleasure is to enjoy Lolita's love for His obedience and tolerance, enjoying the "Electra complex" of a Lolita girl, satisfying the inner demon with a unique and beautiful form of love, without considering Lolita's future growth direction, directly lead to Luo Lita's future growth. At a very young age, Rita was mired in lust and never saw the light of day.
(2) Lolita: The Later Knower of "Harm is greater than enjoyment"
We flashback the text of the novel and the film. The scene at the end of "Lolita" is Humbert's painstaking efforts to find Lolita's residence (ie. Quilty House), the moment she opened the door, Lolita was unkempt and haggard, her ghostly and playful eyes were put on a pair of pink-rimmed glasses, and her stomach was someone else's flesh and blood. Humbert has a monologue here: "She can fade, she can wither, anything, but I just look at her, and all the tenderness comes to my heart." The 17-year-old Lolita said to Humbert casually: "He is the only man who fascinates me." At this moment, Humbert can only ask in embarrassment: "What about me?"
Lolita lost her father at an early age, and then her mother died in a car accident. She is a young girl with a very vague concept of family love and a late understanding of pure love. The morbid love affair of and stepfather Humbert. She likes Humbert, but this liking is a straw caught in the absence of fatherly love, and it is also an attitude of teasing Humbert under the premise of ambiguous love. In the early days, Lolita, who was immersed in this deformed "friendship", had no sense, and regarded it as a game of excitement and madness; in the middle and late stages, Lolita began to study in college and was interacting with all kinds of boys. In the process, he gradually tasted the taste of love, but Humbert played the role of "stalking his stepdaughter and little lover to know about the affair", controlling Lolita's heterosexual relationship; in the end, Lolita woke up and saw Henry Bert's morbid desire for control over her also saw her own extremely unfree sexual status. In shock and hatred, she left Humbert and never came back. At this point in the plot, Lolita's cognition has undergone significant changes. She finally realizes that she is a sex slave who lives under the huge lie called "year-old love", trying her best before her charm declines. To satisfy Humbert, at the price, she will not be able to feel natural love and pursue her own happiness like other girls who grow up healthily. She will forever struggle in the gap where lust and ethics collide, and die with blood and flesh.
The French writer Beauvoir quoted a passage from Nietzsche in "The Second Sex": "The word love, for men and women, actually means different things. Women's understanding of love is quite clear: it is not only It is loyalty, it is the total devotion of body and mind, without reservation, without considering anything. It is this unconditional that makes her love a belief, the only belief she has. As for a man, if love A woman, that's what he wants from her." The aforementioned mention of Humbert's subconscious patriarchal self-esteem and pride through self-justification and the enjoyment of Lolita's flesh necessarily requires Lolita succumbed to his aesthetics, to his arrangements. However, after realizing it, Lolita's female consciousness broke out, which also means that she used her departure to dissolve Humbert's aesthetic system. She resisted and refused, but she couldn't get out of the haze of her teenage years, and Humbert later recorded this:
"In our strange and bestial cohabitation, it became clear to my average Lolita that even the most miserable family life was much better than an incestuous cohabitation; and that incest, in those long days, It is the best thing I can give this homeless child.” [Excerpted from [America] Vladimir Nabokov, translated by Yu Xiaodan and Liao Shiqi: “Lolita”, Times Literature and Art Publishing House, 2000 October 1st Edition, Chapter 65, p. 401. ]
This awareness was so repressed that it appeared too late in Lolita's short life. Her life has been burnt to achieve that dramatic love, and even if there is an awakening, it still cannot be saved.
(3) Reader (or audience): a bystander who coexists with "sorrow" and "sin"
After reading the novel, the audience must be unable to hide their sighs after watching the movie. Just like "Lolita" was evaluated as a "very controversial work" as soon as it was published, they were doing "Follow the Angel" and "Follow the Devil" in their hearts. "The struggle. The evaluation of this work by readers and audiences tends to be polarized: some people are immersed in the peculiar aesthetics of the novel and film structure and appreciate the tragic aesthetics, while the other people directly accuse this sophisticated work of social ethics and morality. destroy. Here is an introduction to the view of a Japanese scholar Honju Xuanchang "zhiwuai" theory [zhiwuai (things のai をzhi る): Benju Xuanchang pointed out that "Whenever you see or hear, your heart will move. Look at it. To see and hear those rare things, strange things, interesting things, scary things, sad things, sad things, not only the heart is moved, but also want to communicate and share with others. Or say it, or When you write it down, it's all the same. When you sigh and sigh about what you see and hear, your heart is moved. When your heart is moved, it is 'sorry for knowing things'." Refer to [Japan] Nobuyoshi Motoju: "Japanese Things" Sorrow, Jilin: published by Jilin Publishing Group in October 2010. ], the first-level psychology of readers and audiences can be explained by the viewpoint of the chief minister of this residence on the world. From this point of view, "Mosai Lun" can go beyond the scope of Japanese literature and art, and summarize one of the commonalities of literature and art works around the world. Starting from this kind of psychology, we can look at Nabokov's "Lolita" and the two films "Lolita" with the mentality of looking at the "story". "Lolita" is only a record of a relationship, a reservation of a special world event. The important thing is to experience the joys, sorrows and sorrows of this tragedy with heart and emotion, rather than evaluating its good and evil from the moral commanding heights . Everything that happens in novels and movies is a kind of "relative objectivity" that we have no right to judge or change. This is also the basic intention of Nabokov in writing this novel [In 1956 Nabokov said in an article called "Talk about a book called
However, a large part of the social environment in which we grow up is supported by universal value standards. These universal value standards are abstracted from the cultural characters of our various ethnic groups, and infiltrated into the blood of everyone, becoming the subconscious measure of our words and deeds. rule. The virtue system with a strong discourse power allows us to strongly condemn the dark side exposed by human nature at the same time as the "sorrow of things". This has resulted in extremely contradictory and complicated psychology for the readers and viewers who read and watch "Lolita". To this day, we are still arguing about the timeless topic of "literature and character", from the genius perfumer Grenouille in "Perfume" to Professor Hannibal in "The Silence of the Lambs", to "Perfume" Li Guohua, a Mandarin teacher who seduced female students in Fang Siqi's Garden of First Love, from Ming Dynasty painter Dong Qichang to famous aesthetician Heidegger, we have been swaying between "things sorrow" and "sin", and use this century's problems with interrogative sentences form has remained. Just like the word "Loli complex", secret and beautiful, evil and pure, people in the world take what they need for spiritual enjoyment, just as Nabokov borrowed a virtual The words of the poet: "The sense of morality is an obligation in human nature, and we must pay for the sense of beauty to the soul." The world is not black and white, and what "Lolita" conveys to us may always exist between the two. grey area.
4. Conclusion
"Lolita" is an excellent erotic movie and a social psychology worth studying. It's backed up by brilliant and controversial fiction, as well as reflective human conundrums lurking for thousands of feet. It was born in a century of disintegration of rationality, magnificent in subverting the traditional theme performance and narrative structure, and achieved in the great influence it brought to the world. In addition to literature and art, "Lolita" also provides research models for other disciplines such as psychology, ethics, marriage, and law. To this day, we still talk about novel texts and movies with relish, which is not only an evaluation of literary and artistic works themselves, but also an analysis of social morality and human psychology.
References and citations
[1] (United States) written by Vladimir Nabokov, translated by Yu Xiaodan and Liao Shiqi. "Lolita" [M]. Times Literature and Art Publishing House, 1st edition in October 2000.
[2] Zhu Weizhi, Zhao Li, Cui Baoheng, Wang Lixin, editor-in-chief. "History of Foreign Literature" (European and American volumes) [M]. Nankai University Press, 5th edition in February 2014.
[3] (US) Vladimir Nabokov, translated by Pan Xiaosong. "Stubbornness" [M]. Times Literature and Art Publishing House, 1998.
[4] (France) Simone de Beauvoir ."Second Sex" (joint volume) [M]. Shanghai: Shanghai Translation Publishing House, 2010.
[5] (Japan) Benju Xuanchang. "Japanese Things" [M]. Jilin: Jilin Publishing Group, Published in October 2010.
[6] Qiao Guoqiang. On Wilde's Aestheticism [J]. Journal of Shanghai University (Social Science Edition) Vol. 32, 2015 (06).
[7] Zhang Shuhong, Zhang Shan. "Lolita" The narrative strategy transition from novel to film [J]. Film Literature, 2017 (05).
[8] Wu Hongying, Yang Chunrui. Interpretation of the tragic connotation of the film "Lolita" [J]. Film Literature, 2015 (14).
[ 9] Wu Zhongdong, Gong Yubo. Missing and Disposing: Exile Consciousness and Moral Existence in "Lolita" [J]. Journal of Northeast Normal University (Philosophy and Social Sciences Edition), 2016 (03).
[10] Xiang Siyi. On the "Lolita Complex" and Tragedy in "Lolita" [J]. Young Writers, 2017 (03).
[11] Zhu Yu. "Lolita": Dolly Lace vs Henry The Dissolution of Burt's Aesthetics [D]. Master's Thesis of Sichuan International Studies University, 2016.
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