从女性注意视角解读《洛丽塔》中的女性形象

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ABSTRACT

Nabokov is the avant-courier of post-modernism, and his masterpiece Lolita is

considered by many to be the symbolic forerunner of post-modernist literature.

However, the feminist trend involved in subversion of the traditional attitude toward

female in this novel has been largely neglected in general criticism about the novel, and

my thesis could hopefully do something to remove this blind spot. As we know, Lolita

was published after World War II, when post-war feminism, the Beat Generation and the

hippie fashion joined in the post-war mainstream culture of the Western society.

Inevitably, Nabokov shared the counter-conventional characteristic of this current, and

the female protagonists in the novel reflected the ideological trend of that time. And the

novel was produced in terms of drawing on the social and cultural diversity of conflicts

in their spiritual values of psychological movements.

Besides the factor of time, there are still other elements showing the original

intention of Lolita: namely, the characters in this novel, such as Valeria, Charlotte and

Lolita. According to Simone de Beauvoir, woman’s nature is not inborn but made, and

before womanhood arrives, there are different modalities of the female, such as the girl

in childhood and the young girl. The distinction between a woman and a young girl is

that a woman is the one who has been moulded and affected by the patriarchal

environment; she is the “other”, and is not independent in either psychology or behavior.

But the young girl is still relatively self-determined since she has not married and

become the mere appendage of her husband. In her mind, the “self” is herself, and the

differences between men and women are their sex. The young girl can be unfeminine,

and her behavior, psychology and toilette are less influenced by her surroundings, and

usually she has little idea of her future destiny, almost everything happens without her

awareness.

Through an analysis of the female protagonists, in the novel I have come to think

that Valeria and Charlotte Haze could come under the category of Beauvoir’s “woman”,

while Lolita is the “young girl”. From the perspective of feminism’s social

constructivism, the definition of “gender” has some connections with the connotation of

sex, but it is beyond sex. People’s sex is inborn, while his or her gender is not

something inner or stable since it interacts with or is a product of society. So we could

say Valeria and Charlotte Haze are the “females with gender”, but Lolita is the “female

with sex”. The former two are conditioned by their social environment and deeply

oppressed by paternalism or patriarchism, while the latter female’s situation is not so

serious because she received less influence from the social conventions.

Nabokov vividly portrayed these female characters in detail, and we can perceive

his signals which apparently show his weariness with the female who merely reflects

gender whereas in his admiration for the female embodying sex, his comportment was

different from the traditional attitude. And his subversion of the tradition rejected all the

angelic “females with gender”, and immortalized the siren-like “female with sex”. This

gives people more opportunity to understand the importance of a female’s right to

independence. In Lolita, Nabokov hinted that he encouraged females to assert the

ownership of their individualized personality and to value economic independence.

Perhaps, unexpectedly, the novel Lolita’s subversion of tradition gradually infiltrated

other fields of culture and society in America, and helped to gives us a new definition of

the female to pursue in terms of aesthetics, social status, and psychology.

Key Words: Feminism, Woman, Young girl, Subversion, Gender, Sex

摘要

纳博科夫是后现代主义的先锋人物，他的代表作《洛丽塔》也被称作是后现

代主义文学标志性作品。然而,从女性主义角度分析《洛丽塔》表现出的对传统的

颠覆多年来一直被人们所忽略。本文即集中于这一盲点，通过小说所处的文化环

境,作者经历的思想潮流,女主人公及作者的情节安排分析《洛丽塔》的女性主义

倾向，从而找到其对于传统颠覆的依据。

众所周知，《洛丽塔》出版于二战后，这一时期战后女性主义蓬勃发展，垮掉

的一代承接起颓废主义，嬉皮士反文化运动逐步走向高潮。而这些思潮对于小说

的女性主义倾向和对传统的颠覆提供了难以替代的文化环境。可以说《洛丽塔》

是这股潮流中的一朵浪花，它反映了当时的上层建筑。

除时代环境的因素之外，《洛丽塔》中还有其他的因素体现了这部小说的初衷，

即小说的女主人公。西蒙﹒波伏娃认为：女人不是天生的,而是社会塑造而成的，

在女人形成之前还有另外两种女性的状态:孩童和少女。女人和少女之间的区别在

于：女人是在父权环境的影响下已经被塑造成形的个体，她就是所谓的“他者”，

不论是在心理上还是行为上女人都不是独立的。然而少女相对保留了自我意识,少

女尚未踏入婚姻,因此她还不是自己丈夫的附属品。她相信自己就是“主体”,并

认为男性和女性之间的区别应该是生理性别的区别。少女相对缺乏女性气质，其

行为、心理和妆扮受到外界的影响较少，而且在通常情况下，她们并不清楚自己

的未来，而她们的前途在不知不觉中发生了变化。

通过对女主角外形妆扮，行为举止，心理以及经济状况的分析，作者认为薇

拉和夏洛特﹒黑兹这两个女主人公符合波伏娃所认为的“女人”、“他者”的概念，

而洛丽塔符合其“少女”的概念。从女性主义社会建构论的角度看来，人的社会

性别和生理性别相互联系，然而又有所区别。生理性别是天生的，而社会性别是

一个社会的产物，它的内涵随着社会的变化而变化。我们可以说薇拉和夏洛特﹒

黑兹是带着社会性别的女性，而洛丽塔是仅有生理性别的女性。前者是社会环境

的产物，深受父权的压迫，后者受到的影响较少，压迫也较轻。

这些被细致刻画的女性形象明显的反映了纳博科夫的态度，他厌恶具有社会

属性的女性，但对于代表生理属性的女性充满了赞美之情。这一倾向和以往传统

的父权主义作家对于女性的态度截然相反。纳博科夫否定了那些天使般的具有社

会性别的女性，而让如同塞壬的具有生理性别的女性不朽，他对传统的颠覆给读

者更多的空间了解女性独立自主的重要性，并暗示女性们应该重视人格和经济的

独立。如今《洛丽塔》对于传统的颠覆已逐渐渗透到文化和社会的各个领域，如

美学、社会学和心理学等，而我们对女性在这些方面衍生出的新的概念的探索也

在不断延续着。

关键词：女性主义女人少女颠覆社会性别生理性别

Contents

Acknowledgements

ABSTRACT

中文摘要

CHAPTER 1 INTRODUCTION················································································1

CHAPTER 2 INTELLECTUAL CLIMATE AND CULTURAL INFLUENCE OF

LOLITA························································································································ 7

§2.1 Lolita and Feminism················································································································ 7

§2.2 The Decadents, the Beat Generation, the Hippies and Lolita……………….11

CHAPTER 3 THE TRADITIONAL WOMEN IN LOLITA··································15

§3.1 The Figure and the Toilette of the Women in Lolita······································· 17

§3.2 The Dumb Wife, the Betrayed Wife and the Feminine Lover······················· 19

§3.3 The Dependent Woman and the Happy Housewife········································ 23

CHAPTER 4 THE REBELLIOUS YOUNG GIRL IN LOLITA··························· 27

§4.1 Precocious Pet···································································································· 28

§4.2 The Unique Nymphet ························································································ 30

§4.3 The Passive Economic Status············································································ 34

CHAPTER 5 THE SUBVERSION OF THE TRADITION ·································· 37

§5.1 The Subversion of Angel and Siren·································································· 37

§5.2 The Subversion of the Tradition······································································· 39

CHAPTER 6 CONCLUSION ·················································································· 45

BIBLIOGRAPHY······································································································48

在读期间公开发表的论文和承担科研项目及取得成果

Chapter 1 Introduction

As time passes, many novels have faded into oblivion, while a few are able to

insert their pages into the memory of the reader, and even keep their titles listed in the

history of literature. People always try to find a certain feature that makes a novel

immortal, but it seems that a successful novel can not be regarded as the standard

applicable to the judgment of all the literary works. Rather the author who writes

outside traditional norms would only sometimes earn an unexpected honor. Vladimir

Nobokov’s Lolita gives us a good example.

The responses to the publication of Nabokov’s Lolita were full of twists and turns

in the years after it was produced. Because of its “forbidden passion and perverted

mind” (Oks 45), Lolita was refused to be published in the United States. However, when

this “immoral” novel was printed and distributed in France, it aroused the attention of

critics. Despite its “licentiousness” (Oks 45), Lolita was selected as one of the best

novels of 1955. As to the content, obviously Lolita was a revolution in term of the

traditional ethics of literary works. And the fame of this novel also seemed to be a kind

of challenge to the regular writings. But the success of Vladimir Nabokov should inspire

us to reconsider the meaning of “subversion”. Here there was something beyond the old

strategy of writing; a break with the traditional moral values, and the construction of a

new literature style, which functions from the structure to the content, from its extension

of permissible topics to the novel’s moral connotations.

Because of Nabokov’s “subversion”, Lolita gradually gained more and more

favor with the critics. Although there were still many negative voices aimed against the

‘disgraceful’ deeds and thoughts of the hero Humbert Humbert, Lolita had fortunately

walked out of the shadows and become the focus of certain literary criticism. This

controversial novel was said to have made an historical breakthrough in many aspects.

Vladimir Nabokov claimed that style and structure were the essence of a book,

and that so-called great ideas were hogwash. Correspondingly the remarkable stylistics

of Lolita seemed to be born for the new literary criticism. There were many university

theses which had made an analysis of the stylistic features of the novel, and these

researches helped us to reach a better understanding of Lolita. For example, many

phrases in the novel which were in Latin, German, Greek, and French reflect the

European background of the hero. This also disclosed his sense of loss and strangeness

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摘要：

ABSTRACTNabokovistheavant-courierofpost-modernism,andhismasterpieceLolitaisconsideredbymanytobethesymbolicforerunnerofpost-modernistliterature.However,thefeministtrendinvolvedinsubversionofthetraditionalattitudetowardfemaleinthisnovelhasbeenlargelyneglectedingeneralcriticismaboutthenovel,andmythesis...

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