洛丽塔论文模板

洛丽塔论文模板

论《洛丽塔》中纳博科夫的现代意识 (文化冲突)

The Dispiriting Incompatibility of European and American Cultures

Throughout Lolita, the interactions between European and American cultures result in perpetual misunderstandings and conflict. Charlotte Haze, an American, is drawn to the sophistication and worldliness of Humbert, a European. She eagerly accepts Humbert not so much because of who he is, but because she is charmed by what she sees as the glamour and intellect of Humbert’s background. Humbert has no such reverence for Charlotte. He openly mocks the superficiality and transience of American culture, and he views Charlotte as nothing but a simple-minded housewife. However, he adores every one of Lolita’s vulgarities and chronicles every detail of his tour of America—he enjoys the possibilities for freedom along the open American road. He eventually admits that he has defiled the country rather than the other way around. Though Humbert and Lolita develop their own version of peace as they travel together, their union is clearly not based on understanding or acceptance. Lolita cannot comprehend the depth of Humbert’s devotion, which he overtly links to art, history, and culture, and Humbert will never truly recognize Lolita’s unwillingness to let him sophisticate her. Eventually, Lolita leaves Humbert for the American Quilty, who does not bore her with high culture or grand passions.

偶然和无常纳博科夫的《洛丽塔》中的混沌 (心里和心理学方面的混乱)

The Inadequacy of Psychiatry

Humbert’s passion for Lolita defies easy psychological analysis, and throughout Lolita Humbert mocks psychiatry’s tendency toward simplistic, logical explanations. In the foreword to Lolita, John Ray, Jr., Ph.D., claims that Humbert’s tale will be of great interest to psychiatry, but throughout his memoir Humbert does his best to discredit the entire field of study, heaping the most scorn on Freudian psychology. For example, he enjoys lying to the psychiatrists at the sanitarium. He reports mockingly that Pratt, the headmistress of Lolita’s school, diagnoses Lolita as sexually immature, wholly unaware that she actually has an overly active sex life with her stepfather. By undermining the authority and logic of the psychiatric field, Nabokov demands that readers view Humbert as a unique and deeply flawed human being, but not an insane one. Humbert further thwarts efforts of scientific categorization by constantly describing his feelings for Lolita as an enchantment or spell, closer to magic than to science. He tries to prove that his love is not a mental disease but an enormous, strange, and uncontrollable emotion that resists easy classification. Nabokov himself was deeply critical of psychiatry, and Lolita is, in a way, an attack on the field.

以《洛丽塔》为例分析文学内在价值与社会道德规范的冲突
解析《洛丽塔》中主人公的悲剧命运
论《洛丽塔》的悲剧意义
(这段3个主题都有相关,但是不详细)

Humbert and Lolita are both exiles, and, alienated from the societies with which they are familiar, they find themselves in ambiguous moral territory where the old rules seem not to apply. Humbert chooses exile and comes willingly from Europe to America, while Lolita is forced into exile when Charlotte dies. She becomes detached from her familiar community of Ramsdale and goes on the road with Humbert. Together, they move constantly and belong to no single fixed place. The tourists Humbert and Lolita meet on the road are similarly transient, belonging to a generic America rather than to a specific place. In open, unfamiliar territory, Humbert and Lolita form their own set of rules, where normal sexual and familial relationships become twisted and corrupt. Both Humbert and Lolita have become so disconnected from ordinary society that neither can fully recognize how morally depraved their actions are. Humbert cannot see his own monstrosity, and Lolita shows only occasional awareness of herself of a victim.

Though Humbert sweeps Lolita away so that they can find a measure of freedom, their exile ultimately traps them. Lolita is bound to Humbert because she has nowhere else to go, and though Humbert dreams of leaving America with Lolita, he eventually accepts that he will stay in America until he dies. Though each of them undergoes one final exile, Lolita to Dick Schiller and Humbert to prison, it is clear that they are first and foremost exiled from their own selves, an exile so total that they could never return to their original places in the worlds they once left. Exile in Lolita is tragic and permanent.

来源sparksnotes, 有角色分析和分篇的summary

你好 我正在准备有关洛丽塔的论文

纳博科夫很迷恋蝴蝶啊，也把洛丽塔的一生当成蝴蝶来写。
洛丽塔的肤色服饰，对她的描写，她的生长，都能和蝴蝶对上号的，你去仔细看看就知道了

你可以试着写洛丽塔和蝴蝶的关系啊

切入点挺好的啊而且也比较容易写

《洛丽塔》背后的阅读方法和审美

1955年首版的《洛丽塔》（Lolita）是在二十世纪受到关注（争议）并且获得极大荣誉的一部小说。其作者俄裔美国作家弗拉基米尔·纳博科夫被誉为“当代小说之王”。

一、《洛丽塔》背后的阅读方法

俄罗斯作家有一个特色，或者说是俄罗斯文学传统，就是善于运用史诗笔法创作现实主义鸿篇巨制。代表性人物和作品有托尔斯泰《战争与和平》、肖洛霍夫《静静的顿河》等。这与他们善于积攒素材有关，因为史诗都是需要大量人物、事物和事件来支撑的。

博纳科夫也是如此。据说，纳博科夫使用的是卡片阅读法。简友涛史观撰文详述了该法： 纳博科夫创造的卡片阅读法到底有多神奇？——贴合日更的创作方法 - 。

国内也有一些作家采用类似的方法。比如，李敖的土法练钢。李敖把平时看到的材料，觉得好的，用剪刀剪下来，给这些材料取一个标题，分门别类地储存。他有一个藏书室，专门用来存放这些素材。

如果没有这些前期的准备，写文章就需要一个字、一个字地码。如果有了这个资料库，写作的时候，根据主题，各种相关的金句名言任凭调用，就可以做到引经据典，资料详实。这是真正地站在巨人的肩膀上创作，效果自然不同凡响。

卡片阅读法是有效的阅读方法之一，更多的名人阅读方法可以参见本人前期文章 基础阅读方法及其应用 - 。

写作绝对是体力活，阅读和做记录是前期准备中最辛苦的部分。路遥曾说，"只有初恋般的热情和宗教般的意志，人才有可能成就某种事业。"为了创作《平凡的世界》，路遥先是找出了近十年的人民日报等资料，一页页地翻阅记录，手指头被磨得露出了毛细血管。然后是去黄土高原上四处走访，包括土地上的各个季节的农作物、婚嫁丧事、民风民情民俗、各个行业机关、市井生活都要进行整理记录。

现代社会，计算机和信息技术的普及，信息存储、分类和检索都变得更为便捷。我们不再需要剪书剪报，用胶水粘在本子上，或者攒纸质卡片，堆放在藏书室；用的时候四处翻找。我们可以在电脑上建文件夹，使用Word、Excel工具，甚至是一些专门的储存软件，来存储平时收集的素材。使用搜索引擎，可以随时查找一些资料来验证或完善头脑中突然闪现的灵感。

二、《洛丽塔》背后的故事

使用纳博科夫卡片阅读方法，可以为写作积攒大量的素材，这是写作的基础。但是创作仅仅积攒素材是不够的。举个例子，德国天文学家开普勒发现了关于行星运转的三大定律，开普勒三大定律开启了现代天文学。开普勒的研究料主要来自其老师，丹麦天文学家第谷·布拉赫。布拉赫坚持观测达20年之久，积攒了大量的天文学资料，但不善于理论思维，所以没有发现规律。每读到此，我都为布拉赫感到可惜。

写作准备的素材可以堆积成一条龙，但是画龙需要点睛。纳博科夫的写作也是如此，他收集了大量的当时的刑事案件，不少案件直接放进了《洛丽塔》。但是这些案件并不足以支撑这部小说，需要一个核心故事来推动整部小说的情节发展，而这个核心的故事来自于一个恋tong乱lun杀ren事件。这是整部小说的主线，也是其一度成为西方多国禁书，然后又轰动一时的原因。

三、《洛丽塔》背后的审美

当然，《洛丽塔》成为后现代经典，不是因为故事情节，也不是因为色情，而是因为其塑造的现代社会的欲望悲剧和对美国社会的现实批判，同时因为其融合了当时（20世纪五六十年代）兴起的美国文学特点，如存在主义，黑色幽默等，和俄罗斯现实主义文学传统。

表面上，《洛丽塔》是冲击传统伦理的小说，但是其探索和表达的是一种客观存在的需求。这种审美一方面与性感有关，一方面与生命力有关。

最近兴起了又纯又欲和茶艺课等审美风潮。有人撰文认为这种审美风潮的鼻祖是博纳科夫的《洛丽塔》。但是这种更偏向于东方的审美，其实更可能起始于亚洲的作家和作品。

日本作家川端康成1926年发表了《伊豆的舞女》，描写了一个文雅、恭顺、清纯、活泼、可爱而又童心未泯的舞女“熏子”，这算是现代文学中比较早的“纯欲风”。中国文学传统中的卖艺不卖身的艺妓设定，再到现代的绿茶、奶茶、神仙姐姐等等，都显示了东方人的“纯欲风”的审美。韩剧对于女主的外形选择，大部分看起来也都是纯净无害的。

这种审美就像“荷花象征纯洁”一样，花就是花，与人类的道德水平无关，是人擅自把人类的道德情感投射到花上面，形成了一个东方文化下的审美符号。这种审美深受儒家伦理道德观念的影响。

《洛丽塔》提出了这样的哲学问题：“在不可抗拒的时间面前人的渺小感和失败感。永恒只存在于理念之中，对时间而言，人的永恒就是虚无。”

年轻人身上展现的生命活力，包括美丽的容颜、强健的身体，单纯、期待美好、跃跃欲试、精力旺盛，这些是任何成就也无法替代的。所以当人到中年之后，就算你已经积累了一定的财富，获得了一定的社会地位，但是生命力的流逝依然会带给你挫败感。而敏感的作家最善于捕捉这些无可奈何的挫败感。

四、《洛丽塔》背后的驱动力

纳博科夫的作品拥有上世纪五六十年代美国文学的特点，包括后现代主义的拼贴、戏仿、黑色幽默等形式因素的试验；还带有俄罗斯现实主义文学传统。

这些把文字串成文章的思想之线和艺术之线是文学作品的驱动力。其实，任何作品都需要驱动力，这些驱动力是作家所使用的哲学和写作手法，包括古典主义的戏剧冲突、浪漫主义的夸张对比、现实主义的细腻刻画、象征主义的暗示和映射、存在主义的荒诞、黑色幽默的嘲讽、魔幻现实主义的神奇等等。更多的这方面的讨论，可参见本人前期文章 文章拓展的驱动力 - 。

以上都是现代或者说西方的文学标准。与西方不同，中国古代文学以气为主。《典论·论文》指出，“气”既指文学作品所展现出来的一种充盈流转的精神活力，也指作者的气质、才性、习染、志趣、德操等等主体精神内蕴。前者为作品之气，后者为作者之气。

两者的区别可能与中国古代重视韵文（如唐诗宋词），西方和现代更重视散文（含小说）有关。