空间叙事理论视阈中的纳博科夫小说研究
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摘要
弗拉基米尔·弗拉基米洛维奇·纳博科夫(Vladimir Vladimirovich Nabokov,1899-1977)是享誉世界的、美国20世纪最重要的作家之一。他是一位高产作家，共有18部长篇小说、近70部短篇和大量诗歌、戏剧、散文、传记、翻译与文论问世。他多才多艺，兼小说家、蝶类学家、大学教授、诗人、翻译家、剧作家、文学评论家于一身，能熟练地用英俄法三种语言进行文学创作，还精通象棋、绘画与网球。夏皮洛(Gavriel Shapiro)认为，纳博科夫不仅是20世纪最伟大的作家之一，也是人类文明已知的最后一位最多才多艺的人。当然，纳博科夫之所以广为人知，主要源于其小说创作取得的巨大成就。《洛丽塔》、《微暗的火》、《阿达》、《普宁》、《防守》等已成为美国许多大学文学课的必读书目。数不清的现当代作家，包括厄普代克(John Updike)、品钦（Thomas Pynchon）、巴斯(JohnBarth)、阿尔比(Edward Albee)、怀特(Edmund White)、德里罗(Don DeLillo)、拉什迪(Salman Rushide)等都受其影响。
本文将在空间叙事理论视阈中研究纳博科夫小说的空间特征。20世纪下半叶以来，学术界经历了一场引人注目的“空间转向”，这一转向波及文学，便产生了空间叙事理论。从其发展脉络看，首先“空间”是一种认识论范式转向，与时间的关系密不可分。它强调脱离传统时空观，旨在探索新的凸显空间重要性的文学再现方式。其次，空间叙事探讨的范围既包括书写等传统上重时间的文本，也包括绘画、雕塑、建筑等重空间的文本，还包括电影、电视、动画等既重时间又重空间的叙事媒体。再次，诗学意义上的空间可从故事空间、文本结构与读者心理展开讨论，重心放在作家的空间书写与读者的空间心理建构上。
纳博科夫的小说有鲜明的空间叙事特征。空间叙事理论奠基人弗兰克指出，纳博科夫“视小说形式本质上是空间的，或换言之是共时而非历时的”。
首先，纳博科夫是少有的具有强烈时间意识与系统化时间观的作家。时间是贯穿纳博科夫所有小说中最重要的因素之一，其文学巅峰之作《阿达》便是一部述说时间的爱情故事。作家对时间的认识是空间化的，他用空间暗喻将自己对时间的复杂哲思折射在全部作品中，其中最重要的是记忆的魔毯与空间意象的显形、玻璃小球中的彩色螺旋、无时性与彼岸世界等。本文的第一章将结合作家的小说系统全面地梳理纳博科夫空间化的时间观，在此基础上，重点分析《阿达》中的时间。
其次，纳博科夫是有意识地将文学创作与空间艺术紧密结合的视觉的作家。视觉艺术，尤其是色彩、绘画与电影，与纳博科夫的小说水乳交融，密不可分。作家从小热爱绘画，有着异乎常人的色彩听觉天赋，“天生就是风景画家”。他对古往今来欧美各国的画家画作烂熟于心，视小说为适合看的空间艺术，像作画般熟练地用文字在纸张的画布上挥洒自己的灵感与才情，完美体现了“诗如画”的传统，被夏皮洛称为文学界前所未有的“文字的画家”。纳博科夫作品中的人物、主题、结构与风格大量借鉴了电影叙事。评论家早已注意到，纳博科夫的几乎每部小说都有电影的元素。本文的第二章将结合空间叙事理论的视觉书写概念，从跨艺术的角度，分析纳博科夫作品中的色彩、绘画与电影元素。
再次，纳博科夫的小说具有典型的空间形式。自弗兰克提出空间形式的概念以来，尽管对其内涵的解读出现了各种不同理解，也在其基础上发展出了形形色色不同版本的空间形式概念，但其核心内容仍然围绕语言、结构与读者心理建构三个发面展开。纳博科夫的小说在上述三个方面都是空间小说的极佳范例。在语言上，作家有意消除文本的线性序列与因果关系，强调文本的同在性与文字的上下文反应参照，彰显作品自身的文本属性，突出作家本人的创作过程。在结构上，他强调图案（pattern）与细节，以及将这些图案与细节整合为有机整体的“宇宙同步”（cosmic synchronization）的综合认知能力。在章节安排上，纳博科夫通常采用空间化的构架以减缓或弱化叙事时序，突出文本的视觉属性。在读者层次，他有意识地打破读者自左至右的阅读习惯，消除他们时间流逝的幻觉，强调在反复阅读的基础上，透过文本错综复杂的反应参照体系，建构一个意义的整体空间。作家反复强调，理想的创作与阅读如同绘画，克服了时间的羁绊，不是从左至右的因果序列，而是作家与读者脑海中空间意象的同存与并置以及空间画面的瞬间整体重构。因此，好的作家在构思小说时便已看到了它的整体，然后将文字的颜料分布在书籍里，为读者设置重重迷宫。好的读者必须是反复的读者，在反复的阅读中，将散布在书中的片断画面重新组织成清晰的图案。本文的第三章将从纳博科夫小说中的图案、作家的自我书写、读者的空间阅读展开讨论，重点分析《洛丽塔》中的语言与《微暗的火》中的空间结构与空间阅读。
最后，在小说主题上，纳博科夫强调多重空间，博伊德将其称为“世界中的世界中的世界”。这多重空间最核心的内容是作家对艺术与精神的另一个彼岸世界的追求。隐藏在纳博科夫小说形式后的空间主题，即对彼岸世界的追寻，是90年代以来评论家们的共识，这其中一个重要的源头是神秘的诺斯替主义思想。本文的第四章将讨论纳博科夫小说中的空间主题，梳理纳博科夫作品中的多重世界、他对彼岸世界的追求以及诺斯替主义对其作品的影响，重点分析《斩首之邀》中的诺斯替主义。上述四个章节的内容，即空间化的时间、视觉书写、空间的形式与主题，构成了纳博科夫小说空间叙事的主要内容。
本文的创新之处有以下几点。首先是研究视角新，将在空间叙事理论视阈中对纳博科夫全部长篇小说中的空间叙事特征进行系统梳理。尽管目前探讨这一主题的论文已有一些，但尚缺从空间叙事理论的角度对其进行全面系统分析的著述。其次是内容新，覆盖面广。文章将首次对纳博科夫小说中的视觉书写特征进行系统研究，详细分析纳博科夫作品中的空间化时间、空间意象显形、绘画艺术、电影叙事与诺斯替主义等。本文的研究对象涵盖纳氏的全部长篇，包括2009年底面世的《劳拉的原型》，并对以前国内较少人论及的作品《阿达》与《斩首之邀》进行详细的个案分析。在研究方法上首先强调文本细读。纳博科夫是公认的语言与文体大师，是“释惑者的挚爱，注释家的梦想，作家中的作家，小说家中的小说家”，其作品多精雕细琢，处处皆有文字的陷阱，理解起来颇为艰难。因此，要对这些作品进行分析，前提便是反反复复的细致阅读，在阅读中不断发现新的惊喜。其次重视理论联系实际，以空间叙事理论的基本观点指导作品的分析。再次，注重总体与个案分析相结合。在全面考察作家的18部长篇小说的同时，将有侧重地选择其中最具代表性的作品《洛丽塔》、《阿达》、《微暗的火》与《斩首之邀》等进行细致的文本个案分析。
Vladimir Vladimirovich Nabokov (1899-1977) is one of the most importantAmerican writers in the20thcentury who has attained world-wide fame andpopularity. As a prolific writer, he has turned out18novels and about70short stories,aside from volumes of biographies, poems, plays, prose writings, translations andliterary criticisms. He is an unusually versatile man with novelist, lepidopterist,professor, poet, translator, playwright and literary critic all rolled into one. Hisproficiency at English, Russian and French enables him to engage in literary creationof three different languages with ineffable ease and elegance. And besides, he is alsoa professional chess player, painter and tennis player. Nabokov’s excellence in asdifferent fields as these make Gavriel Shapiro acclaim that he is “not only one of thegreatest writers of the twentieth century but perhaps the last Renaissance man parexcellence our civilization has ever known.” Among his many achievements, whatmakes him have a niche in the temple of fame is the great success he hasaccomplished in fiction. Today, Lolita, Pale Fire, Ada, Pnin, and The Defense havebeen on the list of readings for literary courses in many American universities.Numerous modern and contemporary writers such as John Updike, Thomas Pynchon,John Barth, Edward Albee, Edmund White, Don DeLillo, Salman Rushide etc. haveclaimed their indebtedness to Nabokov.
This dissertation presents a study of Nabokov’s fiction from the perspective ofspace narrative theory. In the latter half of the20thcentury, a conspicuous “spatialturn” quickly swept from cultural studies to literary criticism, which as a consequence soon gave rise to a new branch in narratology: space narrative theory. Areview of its development prompts the author to the following realizations. First, theso-called space is a turn of epistemological paradigm with its accent on the breakingoff from traditional temporal-spatial ideology and its teleological emphasis on thediscovery of a new representational mode in literature that works in tune with thesocial context of a spatial turn. Thus, space sprouts from time and has unalienableties with temporal dimensions. Second, what falls into the inquiry of space narrativetheory covers not only written-form texts but also inter-arts and inter-medianarratives such as painting, sculpture, architecture, moving/motion pictures, TVprograms etc. Third, spatial form in the sense of poetics can be approached fromstory space, linguistic form and the reader’s psychological reconstruction, withemphasis often on the last two elements.
Nabokov’s fiction, if viewed from the aforementioned aspects, is highly chargedwith spatiality, as Joseph Frank, the trail-blazer of narrative space theory, has averred,“Nabokov thus sees the form of novels as primarily spatial or synchronic rather thandiachronic, and his belief that ‘aesthetic delight’ is communicated by ‘the innerweave of masterpieces’ expresses the same idea in a more figurative form.”
Within the framework of this understanding, one can easily discern inNabokov’s fiction a strong sense of time and space. Nabokov is probably one of thecomparatively few writers who are constantly drawn to the concept of time and benton a systematic investigation of its multifaceted dimensions. His complicatedscrutiny of time stems from a firm conviction in the power of Bergsonianconsciousness. Time, which runs throughout his fiction and his musings about life, isovertly spatialized and image-charged, being artfully epitomized by the author interse phrases such as epiphanic images on the magic carpet of memory, a coloredspiral in a small ball of glass, and timelessness with its transcendentalotherworldliness. Chapter One thus aims at a systematic anatomy of the spatializedtime in Nabokov’s fiction and a minute sample study of this spatialized time schemein Ada, his longest novel and literary apogee.
Chapter Two expounds ekphrasis of Nabokov’s fiction, or in general parlance, itsinterwovenness with the visual arts. Nabokov has claimed on many occasions that he is “a born landscape painter”. He is gifted with an unusual capability of coloredhearing, the discerning of its color at the sound of a letter. This unique gift, coupledwith his professional training as a painter, makes him an ardent lover of colors andhis fiction a world of varicolored sensual attraction. Nabokov, knowing at his fingertips European and American painters and paintings---ancient and contemporaneousunexceptionally included, self-consciously writes in an ut picture poesis painterlyway or paints with words in a writerly way, to whom Shapiro admiringly refers as“the most incomparable and brilliant verbal painter that belles lettres has everknown”. In addition to an addiction to colors and colorful paintings in the novels,Nabokov the fervent film fan also lavishly limns his fiction with cinematographiccharacters, themes, scenes, plots and techniques. That every work by Nabokov isloaded with cinematic elements has now been a fact acknowledged by many critics.
Nabokov’s novels are specific specimens of Frank’s synthesis of the spatial form.Chapter Three studies this spatial form from three aspects: language, structure andreader’s reconstruction. The emphasis will be on wordplays in Nabokov’s spatialauthorial writing, his spatial pattern of an organic whole formed out of delicatedetails, and his ideal of a spatial reading. For textual analysis, the focus is on Lolita’sculmination in its language usage and Pale Fire in its spatial structure and spatialreading. In terms of language, Nabokov intentionally seeks in his novels arepresentation that eradicates linearity and causality and accentuates simultaneity andtextual inter-referrentiality. His writings are often exposure of the author’s writingprocess and the textuality of the text per se. As for structure, Nabokov is notoriouslynoted for his Nobokovian pattern and nuanced details, and the culmination of thispattern in the novels by “cosmic synchronization”, the combing and combining of thedetails into a complete whole. As for arrangement of parts and chapters, Nabokovoften attempts at a spatialized visuality that expunges temporality by using skillssuch as imbedded texts. Finally, Nabokov is that kind of author who astutely avowsthe spatiality of the reading process. For him, a good reader is always a re-reader andan ideal reading, quite like an ideal writing, is compared to a spatial painting. Aftermany re-readings, the reader would have in his/her mind a wholistic picture ofjuxtaposed images and fragmentary details that overcomes the impediments of time and left-to-right linearity. This works in much the same manner as the author’swriting: a good writer sees the whole picture before he puts his pen down on thepages, and he rips this picture into small pieces which are then permeatedeverywhere, waiting for the patient reader to pick them up piecemeal.
Chapter Four is an elucidation of Nabokov’s spatial theme. Nabokov espousesmultiple spaces which Brian Boyd defines as “worlds within worlds within worlds.”Among the different layers of space, a focal concept is Nabokov’s pursuit of atranscendental otherworld, which has now become a predominant theme in Nabokovstudies. Much of Nabokov’s belief in an otherworld lies in his affinity to the mysticGnostic doctrines. This chapter therefore aims at a reexamination of Nabokov’smultiple worlds, and his pursuit of the otherworld and Gnosticism in his fiction. Adetailed case study in this chapter will be on Gnosticism in Invitation to a Beheading.
Spatialized time, ekphrasis, spatial form and spatial theme---these four aspectscomprise the main contents of narrative spatiality in Nabokov’s fiction.
The originality of the dissertation lies in its new perspective. Spatiality inNabokov’s fiction has been occasionally touched upon in various writings, but few ofthem have explicitly approached the topic from space narrative theory, and none hasattempted at a systematic one. Another innovation is its content and scope. Itanalyzes in detail Nabokov’s spatialized time, ekphrasis, epiphanic spatial imagesand Gnostic representations. Of the many works by Nabokov, this dissertation coversall his18novels, including The Original of Laura, the posthumously publishednovelistic fragments in late2009, and gives in-depth analyses of his mostrepresentative works: Lolita, Pale Fire, Ada, and Invitation to a Beheading. Themethods applied include close reading, which is undoubtedly the prerequisite for aninvolute and meticulous Nabokov who for Jane Grayson is “a problem solver’sdelight, an annotator’s dream, a writer’s writer, a novelist’s novelist”, and thecombination of a macrocosmic general research with a microcosmic case studywithin the theoretical boundaries of space narrative theory.
本文将在空间叙事理论视阈中研究纳博科夫小说的空间特征。20世纪下半叶以来，学术界经历了一场引人注目的“空间转向”，这一转向波及文学，便产生了空间叙事理论。从其发展脉络看，首先“空间”是一种认识论范式转向，与时间的关系密不可分。它强调脱离传统时空观，旨在探索新的凸显空间重要性的文学再现方式。其次，空间叙事探讨的范围既包括书写等传统上重时间的文本，也包括绘画、雕塑、建筑等重空间的文本，还包括电影、电视、动画等既重时间又重空间的叙事媒体。再次，诗学意义上的空间可从故事空间、文本结构与读者心理展开讨论，重心放在作家的空间书写与读者的空间心理建构上。
纳博科夫的小说有鲜明的空间叙事特征。空间叙事理论奠基人弗兰克指出，纳博科夫“视小说形式本质上是空间的，或换言之是共时而非历时的”。
首先，纳博科夫是少有的具有强烈时间意识与系统化时间观的作家。时间是贯穿纳博科夫所有小说中最重要的因素之一，其文学巅峰之作《阿达》便是一部述说时间的爱情故事。作家对时间的认识是空间化的，他用空间暗喻将自己对时间的复杂哲思折射在全部作品中，其中最重要的是记忆的魔毯与空间意象的显形、玻璃小球中的彩色螺旋、无时性与彼岸世界等。本文的第一章将结合作家的小说系统全面地梳理纳博科夫空间化的时间观，在此基础上，重点分析《阿达》中的时间。
其次，纳博科夫是有意识地将文学创作与空间艺术紧密结合的视觉的作家。视觉艺术，尤其是色彩、绘画与电影，与纳博科夫的小说水乳交融，密不可分。作家从小热爱绘画，有着异乎常人的色彩听觉天赋，“天生就是风景画家”。他对古往今来欧美各国的画家画作烂熟于心，视小说为适合看的空间艺术，像作画般熟练地用文字在纸张的画布上挥洒自己的灵感与才情，完美体现了“诗如画”的传统，被夏皮洛称为文学界前所未有的“文字的画家”。纳博科夫作品中的人物、主题、结构与风格大量借鉴了电影叙事。评论家早已注意到，纳博科夫的几乎每部小说都有电影的元素。本文的第二章将结合空间叙事理论的视觉书写概念，从跨艺术的角度，分析纳博科夫作品中的色彩、绘画与电影元素。
再次，纳博科夫的小说具有典型的空间形式。自弗兰克提出空间形式的概念以来，尽管对其内涵的解读出现了各种不同理解，也在其基础上发展出了形形色色不同版本的空间形式概念，但其核心内容仍然围绕语言、结构与读者心理建构三个发面展开。纳博科夫的小说在上述三个方面都是空间小说的极佳范例。在语言上，作家有意消除文本的线性序列与因果关系，强调文本的同在性与文字的上下文反应参照，彰显作品自身的文本属性，突出作家本人的创作过程。在结构上，他强调图案（pattern）与细节，以及将这些图案与细节整合为有机整体的“宇宙同步”（cosmic synchronization）的综合认知能力。在章节安排上，纳博科夫通常采用空间化的构架以减缓或弱化叙事时序，突出文本的视觉属性。在读者层次，他有意识地打破读者自左至右的阅读习惯，消除他们时间流逝的幻觉，强调在反复阅读的基础上，透过文本错综复杂的反应参照体系，建构一个意义的整体空间。作家反复强调，理想的创作与阅读如同绘画，克服了时间的羁绊，不是从左至右的因果序列，而是作家与读者脑海中空间意象的同存与并置以及空间画面的瞬间整体重构。因此，好的作家在构思小说时便已看到了它的整体，然后将文字的颜料分布在书籍里，为读者设置重重迷宫。好的读者必须是反复的读者，在反复的阅读中，将散布在书中的片断画面重新组织成清晰的图案。本文的第三章将从纳博科夫小说中的图案、作家的自我书写、读者的空间阅读展开讨论，重点分析《洛丽塔》中的语言与《微暗的火》中的空间结构与空间阅读。
最后，在小说主题上，纳博科夫强调多重空间，博伊德将其称为“世界中的世界中的世界”。这多重空间最核心的内容是作家对艺术与精神的另一个彼岸世界的追求。隐藏在纳博科夫小说形式后的空间主题，即对彼岸世界的追寻，是90年代以来评论家们的共识，这其中一个重要的源头是神秘的诺斯替主义思想。本文的第四章将讨论纳博科夫小说中的空间主题，梳理纳博科夫作品中的多重世界、他对彼岸世界的追求以及诺斯替主义对其作品的影响，重点分析《斩首之邀》中的诺斯替主义。上述四个章节的内容，即空间化的时间、视觉书写、空间的形式与主题，构成了纳博科夫小说空间叙事的主要内容。
本文的创新之处有以下几点。首先是研究视角新，将在空间叙事理论视阈中对纳博科夫全部长篇小说中的空间叙事特征进行系统梳理。尽管目前探讨这一主题的论文已有一些，但尚缺从空间叙事理论的角度对其进行全面系统分析的著述。其次是内容新，覆盖面广。文章将首次对纳博科夫小说中的视觉书写特征进行系统研究，详细分析纳博科夫作品中的空间化时间、空间意象显形、绘画艺术、电影叙事与诺斯替主义等。本文的研究对象涵盖纳氏的全部长篇，包括2009年底面世的《劳拉的原型》，并对以前国内较少人论及的作品《阿达》与《斩首之邀》进行详细的个案分析。在研究方法上首先强调文本细读。纳博科夫是公认的语言与文体大师，是“释惑者的挚爱，注释家的梦想，作家中的作家，小说家中的小说家”，其作品多精雕细琢，处处皆有文字的陷阱，理解起来颇为艰难。因此，要对这些作品进行分析，前提便是反反复复的细致阅读，在阅读中不断发现新的惊喜。其次重视理论联系实际，以空间叙事理论的基本观点指导作品的分析。再次，注重总体与个案分析相结合。在全面考察作家的18部长篇小说的同时，将有侧重地选择其中最具代表性的作品《洛丽塔》、《阿达》、《微暗的火》与《斩首之邀》等进行细致的文本个案分析。
Vladimir Vladimirovich Nabokov (1899-1977) is one of the most importantAmerican writers in the20thcentury who has attained world-wide fame andpopularity. As a prolific writer, he has turned out18novels and about70short stories,aside from volumes of biographies, poems, plays, prose writings, translations andliterary criticisms. He is an unusually versatile man with novelist, lepidopterist,professor, poet, translator, playwright and literary critic all rolled into one. Hisproficiency at English, Russian and French enables him to engage in literary creationof three different languages with ineffable ease and elegance. And besides, he is alsoa professional chess player, painter and tennis player. Nabokov’s excellence in asdifferent fields as these make Gavriel Shapiro acclaim that he is “not only one of thegreatest writers of the twentieth century but perhaps the last Renaissance man parexcellence our civilization has ever known.” Among his many achievements, whatmakes him have a niche in the temple of fame is the great success he hasaccomplished in fiction. Today, Lolita, Pale Fire, Ada, Pnin, and The Defense havebeen on the list of readings for literary courses in many American universities.Numerous modern and contemporary writers such as John Updike, Thomas Pynchon,John Barth, Edward Albee, Edmund White, Don DeLillo, Salman Rushide etc. haveclaimed their indebtedness to Nabokov.
This dissertation presents a study of Nabokov’s fiction from the perspective ofspace narrative theory. In the latter half of the20thcentury, a conspicuous “spatialturn” quickly swept from cultural studies to literary criticism, which as a consequence soon gave rise to a new branch in narratology: space narrative theory. Areview of its development prompts the author to the following realizations. First, theso-called space is a turn of epistemological paradigm with its accent on the breakingoff from traditional temporal-spatial ideology and its teleological emphasis on thediscovery of a new representational mode in literature that works in tune with thesocial context of a spatial turn. Thus, space sprouts from time and has unalienableties with temporal dimensions. Second, what falls into the inquiry of space narrativetheory covers not only written-form texts but also inter-arts and inter-medianarratives such as painting, sculpture, architecture, moving/motion pictures, TVprograms etc. Third, spatial form in the sense of poetics can be approached fromstory space, linguistic form and the reader’s psychological reconstruction, withemphasis often on the last two elements.
Nabokov’s fiction, if viewed from the aforementioned aspects, is highly chargedwith spatiality, as Joseph Frank, the trail-blazer of narrative space theory, has averred,“Nabokov thus sees the form of novels as primarily spatial or synchronic rather thandiachronic, and his belief that ‘aesthetic delight’ is communicated by ‘the innerweave of masterpieces’ expresses the same idea in a more figurative form.”
Within the framework of this understanding, one can easily discern inNabokov’s fiction a strong sense of time and space. Nabokov is probably one of thecomparatively few writers who are constantly drawn to the concept of time and benton a systematic investigation of its multifaceted dimensions. His complicatedscrutiny of time stems from a firm conviction in the power of Bergsonianconsciousness. Time, which runs throughout his fiction and his musings about life, isovertly spatialized and image-charged, being artfully epitomized by the author interse phrases such as epiphanic images on the magic carpet of memory, a coloredspiral in a small ball of glass, and timelessness with its transcendentalotherworldliness. Chapter One thus aims at a systematic anatomy of the spatializedtime in Nabokov’s fiction and a minute sample study of this spatialized time schemein Ada, his longest novel and literary apogee.
Chapter Two expounds ekphrasis of Nabokov’s fiction, or in general parlance, itsinterwovenness with the visual arts. Nabokov has claimed on many occasions that he is “a born landscape painter”. He is gifted with an unusual capability of coloredhearing, the discerning of its color at the sound of a letter. This unique gift, coupledwith his professional training as a painter, makes him an ardent lover of colors andhis fiction a world of varicolored sensual attraction. Nabokov, knowing at his fingertips European and American painters and paintings---ancient and contemporaneousunexceptionally included, self-consciously writes in an ut picture poesis painterlyway or paints with words in a writerly way, to whom Shapiro admiringly refers as“the most incomparable and brilliant verbal painter that belles lettres has everknown”. In addition to an addiction to colors and colorful paintings in the novels,Nabokov the fervent film fan also lavishly limns his fiction with cinematographiccharacters, themes, scenes, plots and techniques. That every work by Nabokov isloaded with cinematic elements has now been a fact acknowledged by many critics.
Nabokov’s novels are specific specimens of Frank’s synthesis of the spatial form.Chapter Three studies this spatial form from three aspects: language, structure andreader’s reconstruction. The emphasis will be on wordplays in Nabokov’s spatialauthorial writing, his spatial pattern of an organic whole formed out of delicatedetails, and his ideal of a spatial reading. For textual analysis, the focus is on Lolita’sculmination in its language usage and Pale Fire in its spatial structure and spatialreading. In terms of language, Nabokov intentionally seeks in his novels arepresentation that eradicates linearity and causality and accentuates simultaneity andtextual inter-referrentiality. His writings are often exposure of the author’s writingprocess and the textuality of the text per se. As for structure, Nabokov is notoriouslynoted for his Nobokovian pattern and nuanced details, and the culmination of thispattern in the novels by “cosmic synchronization”, the combing and combining of thedetails into a complete whole. As for arrangement of parts and chapters, Nabokovoften attempts at a spatialized visuality that expunges temporality by using skillssuch as imbedded texts. Finally, Nabokov is that kind of author who astutely avowsthe spatiality of the reading process. For him, a good reader is always a re-reader andan ideal reading, quite like an ideal writing, is compared to a spatial painting. Aftermany re-readings, the reader would have in his/her mind a wholistic picture ofjuxtaposed images and fragmentary details that overcomes the impediments of time and left-to-right linearity. This works in much the same manner as the author’swriting: a good writer sees the whole picture before he puts his pen down on thepages, and he rips this picture into small pieces which are then permeatedeverywhere, waiting for the patient reader to pick them up piecemeal.
Chapter Four is an elucidation of Nabokov’s spatial theme. Nabokov espousesmultiple spaces which Brian Boyd defines as “worlds within worlds within worlds.”Among the different layers of space, a focal concept is Nabokov’s pursuit of atranscendental otherworld, which has now become a predominant theme in Nabokovstudies. Much of Nabokov’s belief in an otherworld lies in his affinity to the mysticGnostic doctrines. This chapter therefore aims at a reexamination of Nabokov’smultiple worlds, and his pursuit of the otherworld and Gnosticism in his fiction. Adetailed case study in this chapter will be on Gnosticism in Invitation to a Beheading.
Spatialized time, ekphrasis, spatial form and spatial theme---these four aspectscomprise the main contents of narrative spatiality in Nabokov’s fiction.
The originality of the dissertation lies in its new perspective. Spatiality inNabokov’s fiction has been occasionally touched upon in various writings, but few ofthem have explicitly approached the topic from space narrative theory, and none hasattempted at a systematic one. Another innovation is its content and scope. Itanalyzes in detail Nabokov’s spatialized time, ekphrasis, epiphanic spatial imagesand Gnostic representations. Of the many works by Nabokov, this dissertation coversall his18novels, including The Original of Laura, the posthumously publishednovelistic fragments in late2009, and gives in-depth analyses of his mostrepresentative works: Lolita, Pale Fire, Ada, and Invitation to a Beheading. Themethods applied include close reading, which is undoubtedly the prerequisite for aninvolute and meticulous Nabokov who for Jane Grayson is “a problem solver’sdelight, an annotator’s dream, a writer’s writer, a novelist’s novelist”, and thecombination of a macrocosmic general research with a microcosmic case studywithin the theoretical boundaries of space narrative theory.
引文
①广为流传的认为纳博科夫出生于4月23日的说法有误。纳博科夫自己解释其出生日应是格里高利历的4月22日，对应于儒略历的4月10日；而其护照等资料上的出生日则为4月23日，与莎士比亚同日。见Vladimir Nabokov, Speak, Memory (New York: Pyramid Books,1966)10.另见Brian Boyd, VladimirNabokov: The Russian Years (Princeton UP,1993)37.
②关于纳博科夫笔名西林的由来与含义，请参见Gavriel Shapiro, Delicate Markers: Subtexts in VladimirNabokov’s Invitation to a Beheading (New York: Peter Lang Publishing, Inc.,1998)9-29.
①参见Brian Boyd,“Nabokov’s Blues,” Foreword, Vladimir Nabokov: Alphabet in Color, illustrated by JeanHolabird (Corte Madera: Gingko Press,2005) unpaginated.
②作者在回忆录中仍清晰记得小时候学过的数字212的17次方是3529471145760275132301897342055866171392（SM,27）。
③纳博科夫所创作的第一部无标题的诗集写于1914年在圣彼得堡的特尼谢夫书院（Tenishev Lyceum）求学期间。该诗集原稿已遗失，但作家本人在自传《说吧，记忆》第11章中对之有详细叙述（SM,159-68）。
④短篇的数据来自Maxim D. Shrayer, The World of Nabokov’s Stories (Austin: U of Texas P,1999)1。如果在纳博科夫之子德米特里·纳博科夫翻译整理的《纳博科夫的短篇小说》一书中收录的66篇基础上，加上单行本的《魔法师》，至少有67篇。帕克尔认为其短篇总计为57篇是20世纪80年代的统计数据，并不完整。参见Stephen Jan Parker,“Nabokov Studies: The State of the Art,” The Achievements of VladimirNabokov, ed. George Gibian and Stephen Jan Parker (Ithaca: Center for International Studies, CornellUniversity,1984)87.
⑤以“纳博科夫”命名的蝴蝶种类，参见Dieter E. Zimmer,“Butterflies and Moths Bearing Nabokov’s Name,”Zembla25June2010,.
①Jane Grayson, Arnold McMillin and Priscilla Meyer, eds., Nabokov’s World Volume2: Reading Nabokov(New York: Palgrave,2002)10.
②Gavriel Shapiro, The Sublime Artist’s Studio: Nabokov and Painting (Evanston, Illinois: Northwestern UP,2009)27.
③作家在去世前尚未完成该小说，并明确要求家人将原稿焚毁。这份包括138页手写卡片的稿件曾保存在一家瑞士银行里。小说最早的构思始于1974年，当时拟定的标题是《死亡之趣》。1976年作家即已完成全部腹稿，但彼时健康已恶化。临去世前，作家仍在奋力写作，标题则先后更改为《劳拉的反面》与《劳拉的原型》。2009年11月17日该小说的原稿经德米特里整理后与世人见面，并在评论界引起较大反响。BBC曾预测小说的出版将会是2009年文学界的大事。短短一年多时间，各类期刊上关于该书的评论与文章已超过30篇，争议的焦点是德米特里是否应违背父愿整理出版尚未完成的书稿。参见“TheOriginal of Laura,” wikipedia22Feb2011,.
①Jane Grayson, Arnold McMillin and Priscilla Meyer, eds., Nabokov’s World Vol.1: The Shape of Nabokov’sWorld (New York: Palgrave,2002)3.
②Brian Boyd, Vladimir Nabokov: The American Years (Princeton: Princeton UP,1991)510.
③Julian W. Connolly, Nabokov and His Fiction: New Perspectives (Cambridge UP,1999)1.
④“100Best Nonfiction,”25June2010,.
⑤Lev Grossman and Richard Lacayo,“All Time100Novels,” Time,25June2010,.
⑥Daniel Hughes,“Review: Nabokov: Spiral and Glass,” NOVEL: A Forum on Fiction, Vol.1No.2(Winter1968)181.
⑦梅绍武译后记。弗拉基米尔·纳博科夫著，梅绍武译，《微暗的火》，上海：上海译文出版社，2008年。第363页。本文中的部分译文参考了该书。
⑧Stephen H. Blackwell, Zina’s Paradox: The Figured Reader in Nabokov’s Gift (New York: Peter LangPublishing, Inc.,2000)1.
⑨Alfred Appel, Jr. Nabokov’s Dark Cinema (New York: Oxford UP,1974)29.
⑩Vladimir E. Alexandrov, Nabokov’s Otherworld (Princeton: Princeton UP,1991)21.
①Edmund White,“Nabokov: Beyond Parody,” The Achievements of Vladimir Nabokov, eds. George Gibian andStephen Jan Parker (Ithaca: Center for International Studies, Cornell University,1984)5,26-27.
②James Wood,“Discussing Nabokov,” Slate,12May2010,
③Susan Strehle,“Actualism: Pynchon's Debt to Nabokov,” Contemporary Literature, Vol.24No.1(Spring1983)30.
④“Vladimir Nabokov,” wikipedia,12May2010,.
⑤Michael Chabon,“It Changed My Life,”12May2010,.
⑥Annabel Wright,“Q and A with Jeffrey Eugenides,”12May2010,
①Ludmila A. Foster,“Nabokov in Russian émigré Criticism,” A Book of Things about Vladimir Nabokov, ed.Carl R. Proffer (Ann Arbor: Ardis,1974)42-43.
②Stephen Jan Parker,“Nabokov Studies: The State of the Art,” The Achievements of Vladimir Nabokov, eds.George Gibian&Stephen Jan Parker (Ithaca: Center for International Studies, Cornell University,1984)81-82.
③Brian Boyd, Vladimir Nabokov: The Russian Years,(Princeton, New Jersey: Princeton UP,1990)343-44.
①Vladimir E. Alexandrov, ed. The Garland Companion to Vladimir Nabokov (New York: Garland,1995)298.
②Slava Paperno and John V. Hagopian,“Official and Unofficial Responses to Nabokov in the Soviet Union,”The Achievements of Vladimir Nabokov, ed. George Gibian and Stephen Jan Parker (Ithaca: Center forInternational Studies, Cornell University,1984)99.
③Stephen Jan Parker,“Nabokov Studies: The State of the Art Revisited,” Nabokov at Cornell, ed. GavrielShapiro (Ithaca&London: Cornell UP,2003)266,269.
④Conrad Brenner,“Nabokov: The Art of the Perverse,” New Republic138(23June1958)18-21. MaryMcCarthy,“A Bolt from the Blue,” New Republic146(June1962)21-27. Simon Karlinsky,“VladimirNabokov’s Novel Dar as a Work of Literary Criticism,” Slavic and East European Journal7(1963)284-90.John Updike,“Grandmaster Nabokov,” New Republic151(26September1964)15-18.
①Simon Karlinsky, ed., The Nabokov-Wilson Letters,1940-1971(New York: Harper and Row,1979)1-2.
②Vladimir E. Alexandrov, ed., The Garland Companion to Vladimir Nabokov (New York: Garland,1995)537.
①Julia Bader, Crystal Land: Artifice in Nabokov’s English Novels (Berkeley, Los Angeles, London: U ofCalifornia P,1972)1.
②H. Grabes, Fictitious Biographies: Vladimir Nabokov’s English Novels (Paris: Mouton&Co. B. V., Publishers,The Hague,1977) vii-ix.
①Stephen Jan Parker,“Nabokov Studies: The State of the Art,” The Achievements of Vladimir Nabokov, ed.George Gibian and Stephen Jan Parker (Ithaca: Center for International Studies, Cornell University,1984)84.
②Ibid,91.
③Joann Karges, Nabokov’s Lepidoptera: Genres and Genera (Ann Arbor: Ardis,1985)77-83.
①D. Barton Johnson, Worlds in Regression: Some Novels of Vladimir Nabokov (Ann Arbor: Ardis,1985)2.
②Leona Toker, Nabokov: The Mystery of Literary Structures (Cornell UP,1989) ix,1-20,229.
①Julian W. Connolly, ed., Nabokov and His Fiction: New Perspectives (Cambridge UP,1999)2.
②Vladimir E. Alexandrov, Nabokov’s Otherworld (Princeton, New Jersey: Princeton UP,1991)3-6.
①http://revel.unice.fr/cycnos/sommaire.html?id=1441, http://revel.unice.fr/cycnos/sommaire.html?id=1276,http://revel.unice.fr/cycnos/sommaire.html?id=880.
①陆扬：《空间理论和文学空间》，《外国文学研究》，2004年第4期，第31页。
②Buchholz, Sabine and Manfred Jahn,“Space in Narrative,” Routledge Encyclopedia of Narrative Theory. eds.David Herman et al (London and New York: Routledge,2005)551.
①米克·巴尔著，谭君强译，《叙述学：叙事理论导论》，北京：中国社会科学出版社出版，1995年11月。第156页。
②Joseph Frank, The Idea of Spatial Form (New Brunswick: Rutgers University Press,1991)16.另见[美]约瑟夫·弗兰克等著，秦林芳编译，《现代小说中的空间形式》，北京：北京大学出版社，1991年5月。第3页。
①Jeffre R. Smitten and Ann Daghistany, Spatial Form in Narrative (Ithaca and London: Cornell UP,1981)17.
②David Herman et al, eds., Routledge Encyclopedia of Narrative Theory (London and New York: Routledge,2005)551-56.
③W. J. T. Mitchell,“Spatial Form in Literature: Toward a General Theory,” Critical Inquiry6(Spring1980)550-54.
①Marie-Laure Ryan,“Cyperspace, Cybertexts, Cybermaps,”21May2005,.
②Ann Daghistany and J. J. Johnson,“Romantic Irony, Spatial Form, and Joyce’s Ulysses,” Spatial Form inNarrative, ed. Jeffrey R. Smitten and Ann Daghistany (Ithaca: Cornell UP,1981)48-60.
③David Mickelsen,“Types of Spatial Structure in Narrative,” Spatial Form in Narrative, ed. Jeffrey R. Smittenand Ann Daghistany (Ithaca: Cornell UP,1981)63-78.
①Eric Rabkin,“Spatial Form and Plot,” Spatial Form in Narrative, ed. Jeffrey R. Smitten and Ann Daghistany(Ithaca: Cornell UP,1981)79-99.
②Joseph Kestner,“Secondary Illusion: The Novel and the Spatial Arts,” Spatial Form in Narrative, ed. Jeffrey R.Smitten and Ann Daghistany (Ithaca: Cornell UP,1981)105.
③David Herman et al, eds., Routledge Encyclopedia of Narrative Theory (London and New York: Routledge,2005)552.
②Gabriel Zoran,“Towards a Theory of Space in Narrative,” Poetics Today, Vol.5:2(1984)309-35.
①龙迪勇，《叙事学研究的空间转向》，载《江西社会科学》，2006年10月，第67页。
②参见迈克·克朗著，杨淑华等译，《文化地理学》，南京：南京大学出版社，2005年。第四章为“文学地理景观：文学创作与地理”，讨论了文学作品中有关空间的写作（如城市与乡村）和文学作品对空间的创造。
③如热奈特所讨论的时序、时距、频率等时间问题，一般可由读者在作者对文本的安排中找到线索，因而分析的时候往往有章可循。而读者对空间的感知，则常常勿须受制于作者或文本的掣肘，发挥想像的余地很大，其多样性与复杂性是与具体的阅读过程相联系的。参见热拉尔·热奈特著，王文融译：《叙事话语·新叙事话语》，北京：中国社会科学出版社，1990年，第12-107页。
④马振方，《小说艺术论》，北京：北京大学出版社，1999年。第34-35页。
⑤刘孝存、曹国瑞，《小说结构学》，北京：光明日报出版社，1989年。该书总结了数十种不同的小说结构类型。
①Barbara Wyllie,“Review of The Models of Space, Time and Vision in V. Nabokov’s Fiction,” Partial Answers:Journal of Literature and the History of Ideas, Vol.7No.1(January2009)158.
②Will Norman,“Review of The Models of Space, Time and Vision in V. Nabokov’s Fiction,” The Slavonic andEast European Review, Vol.85Iss.4(October2007)784.
①Gennady Barabtarlo,“Nabokov’s Trinity (On the Movement of Nabokov’s Themes),” Nabokov and His Fiction:New Perspectives, ed. Jullian W. Connolly (Cambridge University Press,1999)109-38.
②Vladimir E. Alexandrov, ed., The Garland Companion to Vladimir Nabokov (New York&London: GarlandPublishing, Inc.,1995)236.
①D. Barton Johnson,“Synesthesia, Polychromatism, and Nabokov,” A Book of Things about Vladimir Nabokov,ed. Carl R. Proffer (Ann Arbor: Ardis,1974)99.
②Martin H gglund,“Chronophilia: Nabokov and the Time of Desire,” New Literary History37:2(Spring2006)447-67; Brian Boyd,“Nabokov, Time and Timelessness: A Reply to Martin H gglund,” New Literary History37:2(Spring2006)469-78; Martin H gglund,“Nabokov’s Afterlife: A Reply to Brian Boyd,” New LiteraryHistory37:2(Spring2006)479-81.
①Marina Grishakova, The models of Space, Time and Vision in V. Nabokov’s Fiction: Narrative Frames andCultural Frames (Tartu University Press,2006)75.柏格森对纳博科夫的影响可参见Michael Glynn,Vladimir Nabokov: Bergsonian and Russian Formalist Influences in His Novels (Palgrave MacMillan,2007)以及Leona Toker,“Nabokov and Bergson,” The Garland Companion to Vladimir Nabokov, ed. Vladimir E.Alexandrov (New York&London: Garland Publishing, Inc.)367-73.
②Martin H gglund,“Chronophilia: Nabokov and the Time of Desire,” New Literary History37:2(Spring2006)448.
①Alfred Appel, Jr. Nabokov’s Dark Cinema (New York: Oxford UP,1974)59.
①Epiphany是叙事理论中的常见词汇，通常指神灵，尤其是耶稣的突然显现，大多译为“顿悟”，也有译为“显形”的。詹姆斯·乔伊斯在《斯蒂芬英雄》（Stephen Hero,1905）中最先将其用于精微细节的瞬间显现。此后的现代主义作家如康拉德、伍尔夫、曼斯菲尔德·扬等将其视为事物瞬间的惊鸿一瞥，以区别于人类意识未加关切的普通事实。见Manfred Jahn,“Space in Narrative,” Routledge Encyclopedia ofNarrative Theory, eds. David Herman et al (London and New York: Routledge,2005)140.鉴于“显形”一词更贴切地传达了具体意象的惊鸿一现，而“顿悟”则常指思想的瞬间觉悟与升华，本文从空间叙事理论的角度出发选择了前者。
②“魔毯”这一比喻还出现在《洛丽塔》中。奎尔蒂跟踪亨伯特与洛丽塔时，总与他们保持固定的距离，亨伯特说它是“一个魔毯的道路复制品”（LO,219）。
①Vicious Circle，一般译为“恶性循环”。由于此处“循环”一词在汉语中更多强调事物的反复而非空间的圆形意象，与英文原文所要表达的概念有距离，本文均采用直译“邪恶的圆”以准确传达原文所包含的空间意味，更好地与“螺旋”（Spiral）一词对应。
②Marina Grishakova, The models of Space, Time and Vision in V. Nabokov’s Fiction: Narrative Frames andCultural Frames (Tartu UP,2006)76-133.格里莎科娃考察了纳博科夫在创作《阿达》第四章《时间的肌质》时所作的卡片笔记，指出对其时间概念产生影响的除了柏格森，还有惠特罗(G. Whitrow)的循环时间、尼采的圆形循环与永恒轮回以及弗雷泽、圣·奥古斯丁（St Augustine）、怀特海德（Whitehead）、皮埃尔·让内（Pierre Janet）、S.亚历山大（S. Alexander）等众多思想家的影响。本文对此将不作深入讨论。
③Marina Grishakova, The models of Space, Time and Vision in V. Nabokov’s Fiction: Narrative Frames andCultural Frames (Tartu UP,2006)102.
①Vladimir Nabokov, The Stories of Vladimir Nabokov (New York: First Vintage International Edition,1997)375-84.
①Gennady Barabtarlo, Aerial View: Essays on Nabokov’s Art and Metaphysics (New York: Peter Lang,1993)147-48.
②Brian Boyd, Vladimir Nabokov: The Russian Years (Princeton: Princeton UP,1990)295.
①Martin H gglund,“Chronophilia: Nabokov and the Time of Desire,” New Literary History37:2(Spring2006)447-48.
①Brian Boyd, Nabokov’s Ada: The Place of Consciousness (Ann Arbor: Ardis Publishers,1985)67.
②Brian Boyd, Vladimir Nabokov: The Russian Years (Princeton: Princeton UP,1990)292-93.
①Laurie Clancy, The Novels of Vladimir Nabokov (London&Basingstoke: MacMillan,1984)10.
①Marina Grishakova, The Models of Space, Time and Vision in V. Nabokov’s Fiction: Narrative Strategies andCultural Frames (Tartu UP,2006)127.
①William Woodin Rowe, Nabokov’s Deceptive World (New York: New York UP,1971)66-68.
①Vladimir E. Alexandrov, The Garland Companion to Vladimir Nabokov (New York&London: GarlandPublishing, Inc.,1995)3. Stephen Jan Parker, Understanding Vladimir Nabokov (U of South Carolina P,1987)105.
②Laurie Clancy, The Novels of Vladimir Nabokov (London&Basingstoke: MacMillan,1984)140.
③Alfred Appel,“Ada: An Erotic Masterpiece That Explores the Nature of Time,” The New York Times, May4,1969.
④Norman Page, ed., Nabokov: The Critical Heritage (London, Boston, Melbourne and Henley: Routledge&Kegan Paul,1982)206.
⑤Lucy Maddox, Nabokov’s Novels in English (Athens: The Uof Georgia P,1983)103.
⑥Laurie Clancy, The Novels of Vladimir Nabokov (London&Basingstoke: MacMillan,1984)154-55.
⑦Vladimir E. Alexandrov, ed., The Garland Companion to Vladimir Nabokov (New York&London: GarlandPublishing, Inc.,1995)4.
②Annapaola Cancogni, The Mirage in the Mirror: Nabokov’s Ada and Its French Pre-Texts (New York&London: Garland Publishing, Inc.,1985) i-vi.
③Paul J. Thibault, Social Semiotics as Praxis: Text, Social Meaning Making, and Nabokov’s Ada (Minneapolis:U of Minnesota P,1991) xi.
④《阿达》研究书目可参考.
⑤Brian Boyd,“Ada Online,”23June2010,
⑥Dieter E. Zimmer,“The Geography of Antiterra,”23June2010,.“A Timeline of Ada,”25June2010,.
①Roy Arthur Swanson,“Nabokov’s Ada as Science Fiction,” Science Fiction Studies, Vol.2No.1(March1975)76-88.
②Alfred Appel,“Ada: An Erotic Masterpiece That Explores the Nature of Time,” The New York Times, May4,1969.
③Julian W. Connolly, ed., Nabokov and His Fiction: New Perspectives (Cambridge UP,1999)110.
④Brian Boyd,“Ada,” The Garland Companion to Vladimir Nabokov, ed. Vladimir E. Alexandrov (New York&London: Garland Publishing, Inc.,1995)3-18.
⑤Laurie Clancy, The Novels of Vladimir Nabokov (London&Basingstoke: MacMillan,1984)140-54. MichaelWood, The Magician’s Doubts: Nabokov and the Risks of Fiction (Princeton: Princeton UP,1994)206-35.
⑥D. Barton Johnson, Worlds in Regression: Some Novels of Vladimir Nabokov (Ann Arbor: Ardis,1985)51-59.
⑦Julia Bader, Crystal Land: Artifice in Nabokov’s English Novels (Berkeley, Los Angeles, London: University ofCalifornia Press,1972)123-62.
⑧D Barton Johnson,“The Labyrinth of Incest in Nabokov’s Ada,” Comparative Literature, Vol.38No.3(Summer1986)224-55.
⑨Nancy Anne Zeller,“The Spiral of Time in Ada,” A Book of Things about Vladimir Nabokov, ed. Carl R.Proffer (Ann Arbor: Ardis,1974)280-90.
⑩Michael H. Begnal,“Past, Present, Future, Death: Nabokov’s ‘Ada’,” College Literature, Vol.9No.2(Spring1982)133-39.
①N. Katherine Hayles,“Making a Virtue of Necessity: Pattern and Freedom in Nabokov’s Ada,” ContemporaryLiterature, Vol.23No.1(Winter1982)32-51.
②Yvette Louria,“Nabokov and Proust: The Challenge of Time,” Books Abroad, Vol.48No.3(Summer1974)469-76.
③约翰逊经过调查考证后得出的结论是，阿达与范同是迪门与玛丽娜的亲生子女，因而他们完全是同一父母的亲兄妹。参见D Barton Johnson,“The Labyrinth of Incest in Nabokov’s Ada,” ComparativeLiterature,Vol.38No.3(Summer1986)224-55.
④下文中未特别标注的地方均引自Ada.
①Nancy Anne Zeller,“The Spiral of Time in Ada,” A Book of Things about Vladimir Nabokov, ed. Carl R.Proffer (Ann Arbor: Ardis,1974)287.
①纳博科夫生僻词汇中的一个典型例子。大概是指构成前时间（pre-time）宇宙存在的最小粒子。参见26June2010,.
②N Katherine Hayles,“Making a Virtue of Necessity: Pattern and Freedom in Nabokov’s Ada,” ContemporaryLiterature, Vol.23No.1(Winter1982)43.
①参见Bobbie Ann Mason, Nabokov’s Garden: A Guide to “Ada”(AnnArbor: Ardis,1981)一书的内容。
①Brian Boyd, Nabokov’s Ada: The Place of Consciousness (Ann Arbor: Ardis Publishers,1985)192,195.
①Heffernan, James A. W.“Ekphrasis and Representation.” New Literary History, Vol.22No.2(Spring1991)297.
②Claire Barbetti, Ekphrastic Medieval Visions: A New Discussion in Ekphrasis and Interarts Theory, Diss.,Duquesne U,2009, AAT3380045,3.
①Erik Hedling and Ulla-Britta Lagerroth, ed., Cultural Functions of Intermedial Exploration (Amsterdam-NewYork: Rodopi B. V.,2002)204.
②Jack Stewart,“Ekphrasis and Lamination in Byatt’s Babel Tower,” Style43:4(Winter2009)494.
③James A. W. Heffernan,“Ekphrasis and Representation,” New Literary History, Vol.22No.2(Spring1991)298.
④Ibid,299.
⑤David Herman et al, eds., Routledge Encyclopedia of Narrative Theory (London and New York: Routledge,2005)133.
①纳博科夫借鉴俄语创造的英语单词，或可译为“垃圾文化”、“低俗文化”。在《尼古拉·果戈理》中纳博科夫称poshlust“不仅是显而易见的垃圾，而且主要是伪重要、伪优美、伪聪明、伪迷人的文化”。参见Vladimir Navokov, Nikolai Gogol (New York: New Directions Publishing Corporation,1961)70.关于这一术语的更多讨论还可参见SO,1973:100; Alexandrov1991:106; Sergej Davydov,“Poshlust,” TheGarland Companion to Vladimir Nabokov, ed. Vladimir E. Alexandrov (New York&London: GarlandPublishing, Inc.,1995)628-33.
②Julian W. Connolly, ed., Nabokov and His Fiction: New Perspectives (Cambridge UP,1999)23.
③Barbara Wyllie, Nabokov at the Movies: Film Perspectives in Fiction (Jefferson&London: McFarland&Company, Inc., Publishers,2003)1-2.
④Barbara Wyllie,“Nabokov and Cinema,” The Cambridge Companion to Nabokov, ed. Julian W. Connolly(Cambridge: Cambridge UP,2005)215-31.
①“视觉艺术,”维基百科,26Oct2010,.
②Brian Boyd,“Nabokov’s Blues,” Foreword, Vladimir Nabokov: Alphabet in Color, illustrated by Jean Holabird(Corte Madera: Gingko Press,2005) unpaginated.
③关于该书的网络介绍可参见.
④D. Barton Johnson,“Synesthesia, Polychromatism, and Nabokov,” A Book of Things about Vladimir Nabokov,ed. Carl R. Proffer (Ann Arbor: Ardis,1974)84-103.
⑤D Barton Johnson,“The Alphabetic Rainbow of Speak, Memory,” Worlds in Regression: Some Novels ofVladimir Nabokov, D. Barton Johnson (Ann Arbor: Ardis,1985)11.
①Julian W. Connolly,“Black and White and Dead All Over: Color Imagery in Nabokov’s Prose,” NabokovStudies10(2006)53-66.
②Jay Alan Edelnant, Nabokov’s Black Rainbow: An Analysis of the Rhetorical Function of the Color Image inAda or Ardor: A Family Chronicle, Diss., Northwestern U,1979, AAT7927331.
③Gavriel Shapiro, Delicate Markers: Subtexts in Vladimir Nabokov’s Invitation to a Beheading (New York, PeterLang Publishing, Inc.,1998)56-70.
④Brian Boyd,“Nabokov’s Blues,” Foreword, Vladimir Nabokov: Alphabet in Color, illustrated by Jean Holabird(Corte Madera: Gingko Press,2005) unpaginated.
①thundercould应为thundercloud，原文拼写有误。
②D. Barton Johnson,“Synesthesia, Polychromatism, and Nabokov,” A Book of Things about Vladimir Nabokov,ed. Carl R. Proffer (Ann Arbor: Ardis,1974)90.
③Leona Toker, Nabokov: The Mystery of Literary Structures (Ithaca and London: Cornell UP,1989)191.
①D. Barton Johnson, Worlds in Regression: Some Novels of Vladimir Nabokov (Ann Arbor: Ardis,1985)16.
②Andrew Field, Nabokov: His Life in Part (New York: The Viking Press,1977)149.
③Brian Boyd,“Nabokov’s Blues.” Foreword, Vladimir Nabokov: Alphabet in Color, illustrated by Jean Holabird(Corte Madera: Gingko Press,2005) unpaginated.
①Gavriel Shapiro, Delicate Markers: Subtexts in Vladimir Nabokov’s Invitation to a Beheading (New York, PeterLang Publishing, Inc.,1998)67-70.
②Lisa Zunshine, ed., Nabokov at the Limits: Redrawing Critical Boundaries (New York&London: GarlandPublishing, Inc.,1999)201.
①Gavriel Shapiro, The Sublime Artist’s Studio: Nabokov and Painting (Evanston, Illinois: Northwestern UP,2009)194.
②Ralph A. Ciancio,“Nabokov’s Painted Parchments,” Nabokov at the Limits: Redrawing Critical Boundaries,ed. Lisa Zunshine (New York&London: Garland Publishing, Inc.,1999)235.
③Pekka Tammi, Problems of Nabokov’s Poetics: Ａ Narratological Analysis (Helsinki: SuomalainenTiedeakatemia,1985)191.
④Gerad de Vries and D. Barton Johnson, Vladimir Nabokov and the Art of Painting (Amsterdan: AmsterdamUniversity Press,2006)19.
④Gavriel Shapiro, The Sublime Artist’s Studio: Nabokov and Painting (Evanston, Illinois: Northwestern UP,2009)102.俄语原文中意为“《艺术世界》的雪”（the snow of The World of Art）。
⑤Gavriel Shapiro, The Sublime Artist’s Studio: Nabokov and Painting (Evanston, Illinois: Northwestern UP,2009)6-8.
⑥Lisa Zunshine, ed., Nabokov at the Limits: Redrawing Critical Boundaries (New York&London: GarlandPublishing, Inc.,1999)183-269.
①Gavriel Shapiro, ed., Nabokov at Cornell (Ithaca&London: Cornell UP,2003)241-64.
②Gavriel Shapiro, The Sublime Artist’s Studio: Nabokov and Painting (Evanston, Illinois: Northwestern UP,2009)15.
③Dmitri Nabokov and Matthew J. Bruccoli, eds., Vladimir Nabokov: Selected Letters1940-1977(San Diego:Harcourt Brace Jovanovich,1989)508.
④Jane Grayson, Illustrated Lives: Vladimir Nabokov (Penguin Books,2001)25.
①Jean Blot, Nabokov (Paris: Seuil,1995)7-8.
②Brian Boyd, Vladimir Nabokov: The American Years (Princeton: Princeton UP,1991)512.另见GennadyBarabtarlo, Aerial View (New York: Peter Lang,1993)208与Julian Connolly, Nabokov’s Early Fiction(Cambridge: Cambridge UP,1992)220.
①《卡农的圣母》，请参见.
②Annapaola Cancogni, The Mirage in the Mirror (New York: Garland,1985) I.
③Gavriel Shapiro, Delicate Markers: Subtexts in Vladimir Nabokov’s Invitation to a Beheading (New York:Peter Lang Publishing, Inc.,1998)192-97,96-97,103,99,85.
①伦勃朗的画原为《基督在以马忤斯》（Christ at Emmaus）。
①“The Original of Laura,” wikipedia,24Feb2011,.
①Gavriel Shapiro, The Sublime Artist’s Studio: Nabokov and Painting (Evanston, Illinois: Northwestern UP,2009)36.
①译文出自蒲隆译《眼睛》，上海：上海译文出版社，2008年，第79页。
②Vladimr Nabokov, The Stories of Vladimir Nabokov (New York: First Vintage International Edition,1997)413.
①Alfred Appel, Jr. Nabokov’s Dark Cinema (New York: Oxford UP,1974)36.
②Peter Quennell, ed., Vladimir Nabokov: A Tribute (New York: William Morrow and Company, Inc.,1980)129.
③Dabney Stuart, Nabokov: The Dimensions of Parody (Baton Rouge and London: Louisiana State UP,1978)89.
④Brian Boyd, Vladimir Nabokov: The Russian Years (Princeton: Princeton UP,1990)363.
⑤Barbara Wyllie,“Nabokov and Cinema,” The Cambridge Companion to Nabokov, ed. Julian W. Connolly(Cambridge: Cambridge UP,2005)216.
⑥Alfred Appel, Jr. Nabokov’s Dark Cinema (New York: Oxford UP,1974)301.
①Barbara Wyllie,“Nabokov and Cinema,” The Cambridge Companion to Nabokov, ed. Julian W. Connolly(Cambridge: Cambridge UP,2005)217.
②Alfred Appel, Jr. Nabokov’s Dark Cinema (New York: Oxford UP,1974)58.
③Yuri Leving,“Filming Nabokov: On the Visual Poetics of the Text,” Russian Studies in Literature, Vol.40No.3(Summer2004)10.
①Barbara Wyllie, Nabokov at the Movies: Film Perspectives in Fiction (Jefferson&London: McFarland&Company, Inc., Publishers,2003)62.另见Barbara Wyllie,“Nabokov and Cinema,” The CambridgeCompanion to Nabokov, ed. Julian W. Connolly (Cambridge: Cambridge UP,2005)218.
②Barbara Wyllie,“Nabokov and Cinema,” The Cambridge Companion to Nabokov, ed. Julian W. Connolly(Cambridge: Cambridge UP,2005)218-19.
③Barbara Wyllie, Nabokov at the Movies: Film Perspectives in Fiction (Jefferson and London: McFarland&Company, Inc., Publishers,2003)1-3.
①Ibid,44. Film noir来源于法语，意为“黑色电影”（black film），最早使用该词的是1946年的法国评论家尼诺·弗兰克（Nino Frank）。黑色电影主要指20世纪40、50年代好莱坞流行的强调性与人物的玩世不恭，反映美国大萧条时期犯罪行为的类型片，视觉效果上借鉴了德国表现主义电影中黑白对照的明暗技法。70年代后影评界才广为接受该提法，而此前的经典黑色电影一般归于情节剧（melodrama）。黑色电影能否被称为一种独立的类型片今天仍饱受争议。参见“Film noir,”25Feb2011,.
①Dabney Stuart, Nabokov: The Dimensions of Parody (Baton Rouge and London: Louisiana State UP,1978)87-113.
②Alfred Appel, Jr. Nabokov’s Dark Cinema (New York: Oxford UP,1974)258-59.
①Anna Karenin。纳博科夫坚持使用这一称谓，而不是《安娜·卡列尼娜》。
②slapstick来自意大利语中的batacchio或bataccio，最早使用该词是在1896年，原指两块两端绑在一起的木制棍棒。当舞台演员用此木棍击打另一演员时，会发出响亮的声音但并不伤害其身体，产生了喜剧的效果。闹剧常见于文艺复兴时期的哑剧表演中，充满荒诞的场景与夸张诙谐的动作，人物则往往是具有高超技巧的杂技演员或魔术师。19-20世纪美国广为流行的杂耍表演运用了闹剧的技巧，到黑白无声电影时期达到巅峰，如森内特、卓别林、雷尔、基顿、马克思兄弟等人的作品。时至今日闹剧仍是喜剧电影中常见的模式，如卡通剧《猫和老鼠》中便大量借鉴了闹剧表演。参见“slapstick,” wikipedia,25Feb2011,.
①Barbara Wyllie,“Nabokov and Cinema,” The Cambridge Companion to Nabokov, ed. Julian W. Connolly(Cambridge: Cambridge UP,2005)221.神经喜剧又称疯狂喜剧、乖僻喜剧、滑稽喜剧等，为20世纪30年代美国流行的喜剧电影类型。Screwball意为古怪且略带神经质的人，恰好用来形容神经喜剧中古怪、癫狂、行为怪异的角色。神经喜剧多表现家庭与爱情冲突，特点是充满机锋的快速对白、一波三折的爱情与婚姻、男扮女装、大胆的性坦白、滑稽荒诞的场景与情节、大幅度夸张的动作等，代表作为1934年的《一夜风流》（It Happened One Night）。神经喜剧中的爱情与喜剧因素可追溯至莎士比亚的《无事生非》、《皆大欢喜》、《仲夏夜之梦》与王尔德的《认真的重要性》（The Importance of Being Earnest）等作品。一般认为它是一种介于高雅喜剧（讽刺喜剧）和低俗喜剧（动作喜剧）之间的喜剧类型。大部分学者将1934-1940这段好莱坞电影的黄金时期视作神经喜剧的黄金时代。影评家安德鲁·萨里斯对神经喜剧有一个极为形象的定义：神经喜剧是一种无性的性喜剧。参见“Screwball comedy film,” wikipedia,25Feb2011,.
②Brian Boyd, Vladimir Nabokov: The Russian Years (Princeton: Princeton UP,1990)363.另见Alfred Appel, Jr.Nabokov’s Dark Cinema (New York: Oxford UP,1974)153-54.
①Alfred Appel, Jr. Nabokov’s Dark Cinema (New York: Oxford UP,1974)167-68.
①Yuri Leving,“Filming Nabokov: On the Visual Poetics of the Text,” Russian Studies in Literature, Vol.40No.3(Summer2004)20.
①Torben Grodal,“Film production,” Routledge Encyclopedia of Narrative Theory, eds. David Herman et al(London and New York: Routledge,2005)169-70.
①亨伯特与洛丽塔1947-1949年在美国大陆旅行的详细路线图与照片等可参见网络资源.
①译文出自主万译《洛丽塔》，上海：上海译文出版社，2005年。第368页。本文中部分译文参考了该书。
①Yuri Leving,“Filming Nabokov: On the Visual Poetics of the Text,” Russian Studies in Literature, Vol.40No.3(Summer2004)9.
②Barbara Wyllie, Nabokov at the Movies: Film Perspectives in Fiction (Jefferson&London: McFarland&Company, Inc., Publishers,2003)46.
①Vladimir E. Alexandrov, ed., The Garland Companion to Vladimir Nabokov (New York&London: GarlandPublishing, Inc.,1995)236.
①Julian W. Connolly, ed., Nabokov and His Fiction: New Perspectives (Cambridge: Cambridge UP,1999)110.
②Brian Boyd, Nabokov’s Ada: The Place of Consciousness (Ann Arbor: Ardis Publishers,1985)3,49.
③Brian Boyd,“Nabokov: A Centennial Toast,” Nabokov’s World Volume2: Reading Nabokov, eds. Jane Grayson,Arnold McMillin and Priscilla Meyer (New York: Palgrave,2002)10-11.
①David M. Bethea,“Style,” The Garland Companion to Vladimir Nabokov, ed. Vladimir E. Alexandrov (NewYork&London: Garland Publishing, Inc.,1995)696.
②Gennady Barabtarlo, Aerial View: Essays on Nabokov’s Art and Metaphysics (New York: Peter Lang,1993)3-4.
③Jane Grayson, Illustrated Lives: Vladimir Nabokov (Penguin Books,2001)4.
④Laurie Clancy, The Novels of Vladimir Nabokov (London&Basingstoke: MacMillan,1984)5.
①Bonnie Lyons and Bill Oliver,“An Interview with Bobbie Ann Mason,” Contemporary Literature, Vol.32No.4(Winter1991)461.
②Leona Toker, Nabokov: The Mystery of Literary Structures (Ithaca and London: Cornell UP,1989)229.
③Ellen Pifer, Nabokov and the Novel (Cambridge, MA: Harvard UP,1980)25.
①David Rampton, Vladimir Nabokov: A Critical Study of the Novels (London,1984)6-7.
①Laurie Clancy, The Novels of Vladimir Nabokov (London&Basingstoke: MacMillan,1984)6-8.
①Joyce Carol Oates,“A Personal Review of Nabokov,” Critical Essays on Vladimir Nabokov, ed. Phyllis A.Roth (Boston: G. K. Hall&Co.,1984)106-07.
②Donald E. Morton, Vladimir Nabokov (New York: Frederick Ungar Publishing Co.,1974)48.
③H. Grabes, Fictitious Biographies: Vladimir Nabokov’s English Novels (Paris: Mouton&Co. B. V., Publishers,The Hague,1977) vii-ix.
④David M. Bethea,“Style,” The Garland Companion to Vladimir Nabokov, ed. Vladimir E. Alexandrov (NewYork&London: Garland Publishing, Inc.,1995)697.
①Gavriel Shapiro, Delicate Markers: Subtexts in Vladimir Nabokov’s Invitation to a Beheading (New York, PeterLang Publishing, Inc.,1998)28.另请参见本文第二章第一节的内容。
①Gavriel Shapiro, The Sublime Artist’s Studio: Nabokov and Painting (Evanston, Illinois: Northwestern UP,2009)49-50.
①Brian Boyd,“Nabokov: A Centennial Toast,” Nabokov’s World Volume2: Reading Nabokov, eds. Jane Grayson,Arnold McMillin and Priscilla Meyer (New York: Palgrave,2002)8.
②Vladimir E. Alexandrov,“The Other World,” The Garland Companion to Vladimir Nabokov, ed. Vladimir E.Alexandrov (New York&London: Garland Publishing, Inc.,1995)570.
③Samuel Shuman,“Hyperlinks, Chiasmus, Vermeer and St. Augustine: Models of Reading Ada,” NabokovStudies, Vol.6(2000/2001)125-27.
④Leona Toker, Nabokov: The Mystery of Literary Structures (Ithaca and London: Cornell UP,1989)199.
①金元浦，《文学解释学》，长春：东北师范大学出版社，1997年。第220-224页。
②Pekka Tammi, Problems of Nabokov’s Poetics:ＡNarratological Analysis (Helsinki: SuomalainenTiedeakatemia,1985)242.
③Frank Kermode,“Aesthetic Bliss,” Encounter14(June1960)81.
①Wayne C. Booth, A Rhetoric of Irony (Chicago: The U of Chicago P,1974)233.
②转引自Pekka Tammi, Problems of Nabokov’s Poetics:ＡNarratological Analysis (Helsinki: SuomalainenTiedeakatemia,1985)243.
①Stephen H. Blackwell, Zina’s Paradox: The Figured Reader in Nabokov’s Gift (New York: Peter LangPublishing, Inc.,2000)3.
①《普宁》中前妻丽莎的儿子也叫维克多。
①有意思的是，这一Quietus在《斩首之邀》变成了辛辛那提斯在监狱中读的小说Quercus（IB,122）。
①本节中只注明页码的地方均引自《注释版洛丽塔》（LO）。
①Alfred Appel, Jr. Nabokov’s Dark Cinema (New York: Oxford UP,1974)58-59.
②Michael Wood, The Magician’s Doubts: Nabokov and the Risks of Fiction (Princeton: Princeton UP,1994)110.
③Ibid,104,111.
④Page Stegner, Escape Into Aesthetics: The Art of Vladimir Nabokov (New York: Dial Press,1966)106,110.Leona Toker, Nabokov: The Mystery of Literary Structures (Ithaca and London: Cornell UP,1989)57-81.
①约翰·雷（1627-1705）确有其人，他是英国的自然科学家与昆虫学家（LO,326）。
①Annapaola Cancogni, The Mirage in the Mirror: Nabokov’s Ada and Its French Pre-Texts (New York&London: Garland Publishing, Inc.,1985) i.
①Brian Boyd, Vladimir Nabokov: The American Years (Princeton: Princeton UP,1991)425.
②Frank Kermode,“Zemblances,” New Statesman, November91962,671.
③Julia Bader, Crystal Lang: Artifice in Nabokov’s English Novels (Berkeley, Los Angeles, London: U ofCalifornia P,1972)40.
④Stephen Jan Parker,“Nabokov Studies: The State of the Art,” The Achievements of Vladimir Nabokov, eds.George Gibian&Stephen Jan Parker (Ithaca: Center for International Studies, Cornell University,1984)87.
①Page Stegner, Escape Into Aesthetics: The Art of Vladimir Nabokov (New York: Dial Press,1966)129-30.
②本节未特别注明的页码均出自PF。
③D. Barton Johnson,“The Index of Refraction in Nabokov’s Pale Fire,” Russian Literature Triquarterly16(1979)46.
④Andrew Field, Nabokov: His Life in Art (Boston: Little, Brown,1967)317.
⑤Julia Bader, Crystal Lang: Artifice in Nabokov’s English Novels (Berkeley, Los Angeles, London: U ofCalifornia P,1972)31-56.
⑥Brian Boyd, Vladimir Nabokov: The American Years (Princeton: Princeton UP,1991)455-56.
⑦Alfred Appel, Jr.“Nabokov’s Puppet Show II,” The New Republic,156:3(1967)27-28. Ellen Pifer, Nabokovand the Novel (Cambridge, MA: Harvard UP,1980)110-18.
①Brian Boyd, Nabokov’s Pale Fire: The Magic of Artistic Discovery (Princeton: Princeton UP,1999)247-62.
②Vladimir E. Alexandrov, ed., The Garland Companion to Vladimir Nabokov (New York&London: GarlandPublishing, Inc.,1995)572.
①Julia Bader, Crystal Land: Artifice in Nabokov’s English Novels (Berkeley, Los Angeles, London: U ofCalifornia P,1972)34.
②Brian Boyd, Vladimir Nabokov: The American Years (Princeton: Princeton UP,1991)709.
③Vladimir E. Alexandrov, ed., The Garland Companion to Vladimir Nabokov (New York&London: GarlandPublishing, Inc.,1995)574.
④Brian Boyd, Vladimir Nabokov: The American Years (Princeton: Princeton UP,1991)433-35.另见BrianBoyd, Nabokov’s Pale Fire: The Magic of Artistic Discovery (Princeton: Princeton UP,1999)60.
①Pekka Tammi, Problems of Nabokov’s Poetics: Ａ Narratological Analysis (Helsinki: SuomalainenTiedeakatemia,1985)205.
①译文选自梅绍武译《微暗的火》，上海：上海译文出版社，2008年，第23页。本文的部分译文出自该书。
②Pekka Tammi, Problems of Nabokov’s Poetics: Ａ Narratological Analysis (Helsinki: SuomalainenTiedeakatemia,1985)197-224.另参见Pekka Tammi,“Pale Fire,” The Garland Companion to VladimirNabokov, ed. Vladimir E. Alexandrov (New York&London: Garland Publishing, Inc.,1995)571-86.
①Vladimir E. Alexandrov, ed., The Garland Companion to Vladimir Nabokov (New York&London: GarlandPublishing, Inc.,1995)574.
①Brian Walter,“Synthesizing Artistic Delight: The lesson of Pale Fire,” Zembla,23Oct2010,.
①Brian Boyd, Vladimir Nabokov: The Russian Years (Princeton: Princeton UP,1990)295.
①Vladimir E. Alexandrov, Nabokov’s Otherworld (Princeton, New Jersey: Princeton University Press,1991)3-6.
②Brian Boyd, Nabokov’s Ada: The Place of Consciousness (Ann Arbor: Ardis Publishers,1985)50-88.
③D. Barton Johnson and Brian Boyd,“Prologue: The Otherworld,” Nabokov’s World Vol.1: The Shape ofNabokov’s World, eds. Jane Grayson, Arnold McMillin and Priscilla Meyer (New York: Palgrave,2002)24.
①D. Barton Johnson, Worlds in Regression: Some Novels of Vladimir Nabokov (Ann Arbor: Ardis,1985)2.
②Gennady Barabtarlo,“Nabokov’s Trinity (On the Movement of Nabokov’s Themes),” Nabokov and His Fiction:New Perspectives, ed. Julian W. Connolly (Cambridge University Press,1999)109-38.
③Ibid,117.
④Gennady Barabtarlo, Aerial View: Essays on Nabokov’s Art and Metaphysics (New York: Peter Lang,1993)1-3.
⑤Pekka Tammi, Problems of Nabokov’s Poetics: Ａ Narratological Analysis (Helsinki: SuomalainenTiedeakatemia,1985)25-26.
①Leona Toker,“Nabokov’s Worldview,” The Cambridge Companion to Nabokov, ed. Julian W. Connolly(Cambridge UP,2005)232-47.
②Priscilla Meyer,“Nabokov’s Critics: a Review Article,” Modern Philology91:3(1994)326.
③David M. Bethea,“Style,” The Garland Companion to Vladimir Nabokov, ed. Vladimir E. Alexandrov (NewYork&London: Garland Publishing, Inc.,1995)697-98.
④Jane Grayson, Arnold McMillin and Priscilla Meyer, eds., Nabokov’s World Vol.1: The Shape of Nabokov’sWorld (New York: Palgrave,2002)10.
①俄国形式主义对纳博科夫的影响可参见Michael Glynn, Vladimir Nabokov: Bergsonian and RussianFormalist Influences in His Novels (Palgrave MacMillan,2007).
②David M. Bethea,“Style,” The Garland Companion to Vladimir Nabokov, ed. Vladimir E. Alexandrov (NewYork&London: Garland Publishing, Inc.,1995)698.
①Jane Grayson, Arnold McMillin and Priscilla Meyer, eds., Nabokov’s World Vol.1: The Shape of Nabokov’sWorld (New York: Palgrave,2002)10.
②Vladimir Alexandrov, Nabokov’s Otherworld (Princeton: Princeton UP,1991)3-4.另见Pekka Tammi,Problems of Nabokov’s Poetics:ＡNarratological Analysis (Helsinki: Suomalainen Tiedeakatemia,1985)22.
③Andrew Field, Nabokov: His Life in Part (New York: Viking Press,1977)87.
④Jane Grayson, Arnold McMillin and Priscilla Meyer, eds., Nabokov’s World Vol.1: The Shape of Nabokov’sWorld (New York: Palgrave,2002)20.
①Brian Boyd, Nabokov’s Pale Fire: The Magic of Artistic Discovery (Princeton: Princeton UP,1999)173,passim.
①Brian Boyd, Vladimir Nabokov: The Russian Years (Princeton: Princeton UP,1990)292.
①约翰逊详细分析了《斩首之邀》中彼岸世界的含义。参见D. Barton Johnson,“Spatial Modeling and Deixis:Nabokov’s Invitation to a Beheading,” Poetics Today3:1(1982)81-98.
②William Woodin Rowe, Nabokov’s Spectral Dimension (Ann Arbor: Ardis,1981)62. Belochka在俄语中是“松鼠”的意思。
①Jane Grayson, Arnold McMillin and Priscilla Meyer, eds., Nabokov’s World Vol.1: The Shape of Nabokov’sWorld (New York: Palgrave,2002)14.
②Vladimir Nabokov, The Stories of Vladimir Nabokov (New York: First Vintage International Edition,1997)631.
③D Barton Johnson, Worlds in Regression: Some Novels of Vladimir Nabokov (Ann Arbor: Ardis,1985)2.
④Ibid,185-223.
⑤Leona Toker, Nabokov: The Mystery of Literary Structure (Ithaca and London: Cornell UP,1989)4.
⑥D. Barton Johnson, Worlds in Regression: Some Novels of Vladimir Nabokov (Ann Arbor: Ardis,1985)5.
①David M. Bethea,“Style,” The Garland Companion to Vladimir Nabokov, ed. Vladimir E. Alexandrov (NewYork&London: Garland Publishing, Inc.,1995)701.
②约纳斯等著，刘小枫选编，张新樟等译，《诺斯替主义与现代性》，上海：华东师范大学出版社，2005年。编者前言，第2页。
①纳博科夫笔下许多人物都是艺术家或学者：亨伯特、谢德、阿达、辛辛那提斯、费奥多、普宁、克鲁格、奈特等。
②Alfred Appel, Jr. Nabokov’s Dark Cinema (New York: Oxford UP,1974)185.
③Ibid,176.
④反乌托邦（Dystopia）又称“敌托邦”或“废托邦”。是文学，尤其是科幻作品中的一种体裁与流派。它形成和发展于20世纪。反乌托邦主义反映的是反面的理想社会。在这种社会中物质文明泛滥并高于精神文明，理性超越了客观规律，人们把空想作为现实目标执著追求，而忽视人类个体本应是最终的关怀对象，从而导致某种非理性的“疯狂”。
⑤Dick Penner,“Invitation to a Beheading: Nabokov’s Absurdist Initiation,” Critique, Vol.20Iss3(1979)27.纳博科夫本人承认了《斩首之邀》与《城堡》的相似（SO,80），以及该书的反乌托邦精神（SO,66）和戏仿主题（SO,76）。
⑥Timothy Langen,“The Ins and Outs of Invitation to a Beheading,” Nabokov Studies, Vol.8(2004)59-70.
①有意思的是，这一杜撰的作家也出现在小说《天赋》里（GF,321-22）。
②论文集为Julian W. Connolly, ed., Nabokov's "Invitation to a Beheading": A Critical Companion(Northwestern UP,1998)，专著为Gavriel Shapiro, Delicate Markers: Subtexts in Vladimir Nabokov'sInvitation to a Beheading (New York: Peter Lang Publishing, Inc.,1998)。
③一本为崔洪国、蒋立珠译的《纳博科夫全集(二)：斩首的邀请》，时代文艺出版社，1999年。另一本为陈安全译，《斩首之邀》，上海译文出版社，2006年。本节中出现的页码未特别标注的地方均引自该书。
④关于这一点，学者们如Julian Moynahan，Sergei Davydov，D. Barton Johnson，Ludmila A. Foster等有过较为简单的分析。参见J. Lamar Howard, Heretical Reading: Freedom as Question and Process inPostmodern American Novel and Technological Pedagogy (The U of Texas at Austin,2005)32.
⑤Vladimir E. Alexandrov,“The Otherworld,” The Garland Companion to Vladimir Nabokov, ed. Vladimir E.Alexandrov (New York&London: Garland Publishing, Inc.,1995)570.
①汉斯·约纳斯著，张新樟译，《诺斯替宗教》，上海：上海三联书店，2006年。第37-41页，第43页。
①李小均，《纳博科夫研究——那双眼睛，那个微笑》，复旦大学，2005年。第15页。
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——. The Sublime Artist’s Studio: Nabokov and Painting. Evanston, Illinois: Northwestern UP,2009.
Shrayer, Maxim D. The World of Nabokov’s Stories. Austin: U of Texas P,1999.
Sinclair, Marianne. Hollywood Lolitas: The Nymphet Syndrome in the Movies. New York: HenryHolt and Company,1988.
Smitten, J. R.&Ann Daghistany. Spatial Form in Narrative. Ithaca and London: Cornell UP,1981.
Stark, John O. The Literature of Exhaustion: Borges, Nabokov, and Barth. Durham: Duke UP,1974.
Stegner, Page. Escape Into Aesthetics: The Art of Vladimir Nabokov. New York: Dial Press,1966.
Stuart, Dabney. Nabokov: The Dimensions of Parody. Baton Rouge and London: Louisiana StateUP,1978.
Tammi, Pekka. Problems of Nabokov’s Poetics: Ａ Narratological Analysis. Helsinki:Suomalainen Tiedeakatemia,1985.
Thibault, Paul J. Social Semiotics as Praxis: Text, Social Meaning Making, and Nabokov’s Ada.Minneapolis: U of Minnesota P,1991.
Toker, Leona. Nabokov: The Mystery of Literary Structures. Ithaca and London: Cornell UP,1989.
Vickers, Graham. Chasing Lolita. Chicago: Chicago Review Press,2008.
Vries, Gerard de&D. Barton Johnson. Vladimir Nabokov and the Art of Painting. Amsterdan:Amsterdam UP,2006.
Wood, Michael. The Magician’s Doubts: Nabokov and the Risks of Fiction. Princeton: PrincetonUP,1994.
Wyllie, Barbara. Nabokov at the Movies: Film Perspectives in Fiction. Jefferson&London:McFarland&Company, Inc., Publishers,2003.
Zunshine, Lisa. ed. Nabokov at the Limits: Redrawing Critical Boundaries. New York&London:Garland Publishing, Inc.,1999.
Barbetti, Claire. Ekphrastic Medieval Visions: A New Discussion in Ekphrasis and InterartsTheory. Ph. D. Dissertation. Duquesne University,2009. AAT3380045.
Cotugno, Marianne. Space and Memory in Vladimir Nabokov’s Fiction. Ph.D. Dissertation. ThePennsylvania State University,2002. University Microfilms International.
Edelnant, Jay Alan. Nabokov’s Black Rainbow: An Analysis of the Rhetorical Function of theColor Image in Ada or Ardor: A Family Chronicle. Ph.D. Dissertation. Evanston, Illinois.Northwestern University,1979. AAT7927331.
Mckay, Melanie. Spatial Form and Simultaneity in Nabokov’s Fiction. Ph. D. Dissertation.Tulane University,1982. University Microfilms International,1983.
Olson, Karin Barbara Ingeborg. More “There” Than “Here”: The Special Space and Time ofNabokov’s Fiction. Ph. D. Dissertation. The University of Michigan,1989. UniversityMicrofilms International.
Appel, Alfred.“Ada: An Erotic Masterpiece That Explores the Nature of Time.” The New YorkTimes. May4,1969.
——.“Nabokov’s Puppet Show, Part II.” The New Republic156:3(January1967).25-29.
Begnal, Michael H.“Past, Present, Future, Death: Nabokov’s ‘Ada’.” College Literature. Vol.9No.2(Spring1982).133-39.
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Johnson, D. Barton.“Spatial Modeling and Deixis: Nabokov’s Invitation to a Beheading.”Poetics Today3:1(1982).81-98.
——.“The Labyrinth of Incest in Nabokov’s Ada”. Comparative Literature. Vol.38No.3(Summer1986).224-55.
Karlinsky, Simon.“Vladimir Nabokov’s Novel Dar as a Work of Literary Criticism.” Slavic andEast European Journal7(1963).284-90.
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——.“Zemblances.” New Statesman. November9(1962).671-72.
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Louria, Yvette.“Nabokov and Proust: The Challenge of Time.” Books Abroad. Vol.48No.3(Summer1974).469-76.
Lyons, Bonnie&Bill Oliver.“An Interview with Bobbie Ann Mason.” Contemporary Literature.Vol.32No.4(Winter1991).449-70.
McCarthy, Mary.“A Bolt from the Blue.” New Republic146(June1962).21-27.
Meyer, Priscilla.“Nabokov’s Critics: a Review Article.” Modern Philology.91:3(1994).326-38.
Mitchell, W. J. T.“Spatial Form in Literature: Toward a General Theory.” Critical Inquiry6(Spring1980).539-67.
Norman, Will.“Review of The Models of Space, Time and Vision in V. Nabokov’s Fiction.” TheSlavonic and East European Review. London Oct2007. Vol.85Iss.4.784-85.
Penner, Dick.“Invitation to a Beheading: Nabokov’s Absurdist Initiation.” Critique.20:3(1979).27-39.
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Stewart, Jack.“Ekphrasis and Lamination in Byatt’s Babel Tower.” Style. Vol.43No.4(Winter2009).494-516.
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Updike, John.“Grandmaster Nabokov.” New Republic151(26September1964).15-18.
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弗拉基米尔·纳博科夫著，陈安全译：《斩首之邀》，上海：上海译文出版社，2006。
弗拉基米尔·纳博科夫著，梅绍武译：《微暗的火》，上海：上海译文出版社，2008年。
弗拉基米尔·纳博科夫著，蒲隆译：《眼睛》，上海：上海译文出版社，2008年。
弗拉基米尔·纳博科夫著，主万译：《洛丽塔》，上海：上海译文出版社，2005年。
汉斯·约纳斯著，张新樟译：《诺斯替宗教》，上海：上海三联书店，2006年。
金元浦：《文学解释学》，长春：东北师范大学出版社，1997年。
刘孝存，曹国瑞：《小说结构学》。北京：光明日报出版社，1989年。
马振方著：《小说艺术论》，北京：北京大学出版社，1999年。
迈克·克朗著，杨淑华等译：《文化地理学》，南京：南京大学出版社，2005年。
米克·巴尔著，谭君强译：《叙述学：叙事理论导论》，北京：中国社会科学出版社出版，1995年11月。
纳博科夫著，崔洪国、蒋立珠译：《纳博科夫全集（二）：斩首的邀请》，长春：时代文艺出版社，1999年。
热拉尔·热奈特著，王文融译：《叙事话语·新叙事话语》，北京：中国社会科学出版社，
汪小玲：《纳博科夫小说艺术研究》，上海：上海外语教育出版社，2008年。
王青松：《纳博科夫小说：追逐人生的主题》，上海：东方出版中心，2010年。
王霞：《越界的想象——纳博科夫文学创作中的越界现象研究》，上海：上海大学出版社，2007年。
约纳斯等著，刘小枫选编，张新樟等译：《诺斯替主义与现代性》，上海：华东师范大学出版社，2005年。
约瑟夫·弗兰克等著，秦林芳编译：《现代小说中的空间形式》，北京：北京大学出版社，1991年5月。
李小均：《纳博科夫研究》，复旦大学，2005年。
谭少茹：《纳博科夫文学思想研究》，山东师范大学，2007年。
肖谊：《论弗拉基米尔·纳博科夫美国小说的元虚构性质》，华东师范大学，2006年。
詹树魁：《符拉迪米尔·纳博科夫：从现代主义到后现代主义》，厦门大学，2003年。
赵君：《艺术彼在世界里的审美狂喜》，暨南大学，2006年。
龙迪勇：《叙事学研究的空间转向》，载《江西社会科学》，2006年10月，第61-72页。
陆扬：《空间理论和文学空间》，载《外国文学研究》，2004年第4期，第31-37页。
http://en.wikipedia.org/w/index.php?title=The_Original_of_Laura&printable=yes
http://en.wikipedia.org/wiki/Film_noir
http://en.wikipedia.org/wiki/Screwball_comedy_film
http://en.wikipedia.org/wiki/Slapstick
http://en.wikipedia.org/wiki/Vladimir_Nabokov#cite_note-27
http://giftconcordance.pbworks.com
http://marxclub.files.wordpress.com/2010/06/arnolfini-portrait.jpg
http://revel.unice.fr/cycnos/sommaire.html?id=1276
http://revel.unice.fr/cycnos/sommaire.html?id=1441
http://revel.unice.fr/cycnos/sommaire.html?id=880.
http://vr.theatre.ntu.edu.tw/fineart/painter-wt/vaneyck/vaneyck.htm
http://web.archive.org/web/20061020211340/http://www.michaelchabon.com/archives/2005/03/it_changed_my_l.html
http://www.ada.auckland.ac.nz/
http://www.ada.auckland.ac.nz/
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http://www.dezimmer.net/LolitaUSA/LoUSpre.htm
http://www.dezimmer.net/ReAda/AdaTimeline.htm
http://www.dezimmer.net/ReAda/AntiterraGeography.htm
http://www.dichtung-digital.org/2004/1-Ryan.htm
http://www.fifthestate.co.uk/2008/01/q-and-a-with-jeffrey-eugenides/
http://www.gingkopress.com/07-art/vladimir-nabokov-alphabet.html
http://www.libraries.psu.edu/nabokov/bibada.htm
http://www.libraries.psu.edu/nabokov/dzbutt6.htm
http://www.libraries.psu.edu/nabokov/zembla.htm
http://www.nabokovmuseum.org/en/
http://www.randomhouse.com/modernlibrary/100bestnonfiction.html
http://www.slate.com/id/2000072/entry/1002666/
http://www.time.com/time/specials/packages/completelist/0,29569,1951793,00.html
http://zh.wikipedia.org/zh-cn/%E8%A7%86%E8%A7%89%E8%89%BA%E6%9C%AF
②关于纳博科夫笔名西林的由来与含义，请参见Gavriel Shapiro, Delicate Markers: Subtexts in VladimirNabokov’s Invitation to a Beheading (New York: Peter Lang Publishing, Inc.,1998)9-29.
①参见Brian Boyd,“Nabokov’s Blues,” Foreword, Vladimir Nabokov: Alphabet in Color, illustrated by JeanHolabird (Corte Madera: Gingko Press,2005) unpaginated.
②作者在回忆录中仍清晰记得小时候学过的数字212的17次方是3529471145760275132301897342055866171392（SM,27）。
③纳博科夫所创作的第一部无标题的诗集写于1914年在圣彼得堡的特尼谢夫书院（Tenishev Lyceum）求学期间。该诗集原稿已遗失，但作家本人在自传《说吧，记忆》第11章中对之有详细叙述（SM,159-68）。
④短篇的数据来自Maxim D. Shrayer, The World of Nabokov’s Stories (Austin: U of Texas P,1999)1。如果在纳博科夫之子德米特里·纳博科夫翻译整理的《纳博科夫的短篇小说》一书中收录的66篇基础上，加上单行本的《魔法师》，至少有67篇。帕克尔认为其短篇总计为57篇是20世纪80年代的统计数据，并不完整。参见Stephen Jan Parker,“Nabokov Studies: The State of the Art,” The Achievements of VladimirNabokov, ed. George Gibian and Stephen Jan Parker (Ithaca: Center for International Studies, CornellUniversity,1984)87.
⑤以“纳博科夫”命名的蝴蝶种类，参见Dieter E. Zimmer,“Butterflies and Moths Bearing Nabokov’s Name,”Zembla25June2010,
①Jane Grayson, Arnold McMillin and Priscilla Meyer, eds., Nabokov’s World Volume2: Reading Nabokov(New York: Palgrave,2002)10.
②Gavriel Shapiro, The Sublime Artist’s Studio: Nabokov and Painting (Evanston, Illinois: Northwestern UP,2009)27.
③作家在去世前尚未完成该小说，并明确要求家人将原稿焚毁。这份包括138页手写卡片的稿件曾保存在一家瑞士银行里。小说最早的构思始于1974年，当时拟定的标题是《死亡之趣》。1976年作家即已完成全部腹稿，但彼时健康已恶化。临去世前，作家仍在奋力写作，标题则先后更改为《劳拉的反面》与《劳拉的原型》。2009年11月17日该小说的原稿经德米特里整理后与世人见面，并在评论界引起较大反响。BBC曾预测小说的出版将会是2009年文学界的大事。短短一年多时间，各类期刊上关于该书的评论与文章已超过30篇，争议的焦点是德米特里是否应违背父愿整理出版尚未完成的书稿。参见“TheOriginal of Laura,” wikipedia22Feb2011,
①Jane Grayson, Arnold McMillin and Priscilla Meyer, eds., Nabokov’s World Vol.1: The Shape of Nabokov’sWorld (New York: Palgrave,2002)3.
②Brian Boyd, Vladimir Nabokov: The American Years (Princeton: Princeton UP,1991)510.
③Julian W. Connolly, Nabokov and His Fiction: New Perspectives (Cambridge UP,1999)1.
④“100Best Nonfiction,”25June2010,
⑤Lev Grossman and Richard Lacayo,“All Time100Novels,” Time,25June2010,
⑥Daniel Hughes,“Review: Nabokov: Spiral and Glass,” NOVEL: A Forum on Fiction, Vol.1No.2(Winter1968)181.
⑦梅绍武译后记。弗拉基米尔·纳博科夫著，梅绍武译，《微暗的火》，上海：上海译文出版社，2008年。第363页。本文中的部分译文参考了该书。
⑧Stephen H. Blackwell, Zina’s Paradox: The Figured Reader in Nabokov’s Gift (New York: Peter LangPublishing, Inc.,2000)1.
⑨Alfred Appel, Jr. Nabokov’s Dark Cinema (New York: Oxford UP,1974)29.
⑩Vladimir E. Alexandrov, Nabokov’s Otherworld (Princeton: Princeton UP,1991)21.
①Edmund White,“Nabokov: Beyond Parody,” The Achievements of Vladimir Nabokov, eds. George Gibian andStephen Jan Parker (Ithaca: Center for International Studies, Cornell University,1984)5,26-27.
②James Wood,“Discussing Nabokov,” Slate,12May2010,
③Susan Strehle,“Actualism: Pynchon's Debt to Nabokov,” Contemporary Literature, Vol.24No.1(Spring1983)30.
④“Vladimir Nabokov,” wikipedia,12May2010,
⑤Michael Chabon,“It Changed My Life,”12May2010,
⑥Annabel Wright,“Q and A with Jeffrey Eugenides,”12May2010,
①Ludmila A. Foster,“Nabokov in Russian émigré Criticism,” A Book of Things about Vladimir Nabokov, ed.Carl R. Proffer (Ann Arbor: Ardis,1974)42-43.
②Stephen Jan Parker,“Nabokov Studies: The State of the Art,” The Achievements of Vladimir Nabokov, eds.George Gibian&Stephen Jan Parker (Ithaca: Center for International Studies, Cornell University,1984)81-82.
③Brian Boyd, Vladimir Nabokov: The Russian Years,(Princeton, New Jersey: Princeton UP,1990)343-44.
①Vladimir E. Alexandrov, ed. The Garland Companion to Vladimir Nabokov (New York: Garland,1995)298.
②Slava Paperno and John V. Hagopian,“Official and Unofficial Responses to Nabokov in the Soviet Union,”The Achievements of Vladimir Nabokov, ed. George Gibian and Stephen Jan Parker (Ithaca: Center forInternational Studies, Cornell University,1984)99.
③Stephen Jan Parker,“Nabokov Studies: The State of the Art Revisited,” Nabokov at Cornell, ed. GavrielShapiro (Ithaca&London: Cornell UP,2003)266,269.
④Conrad Brenner,“Nabokov: The Art of the Perverse,” New Republic138(23June1958)18-21. MaryMcCarthy,“A Bolt from the Blue,” New Republic146(June1962)21-27. Simon Karlinsky,“VladimirNabokov’s Novel Dar as a Work of Literary Criticism,” Slavic and East European Journal7(1963)284-90.John Updike,“Grandmaster Nabokov,” New Republic151(26September1964)15-18.
①Simon Karlinsky, ed., The Nabokov-Wilson Letters,1940-1971(New York: Harper and Row,1979)1-2.
②Vladimir E. Alexandrov, ed., The Garland Companion to Vladimir Nabokov (New York: Garland,1995)537.
①Julia Bader, Crystal Land: Artifice in Nabokov’s English Novels (Berkeley, Los Angeles, London: U ofCalifornia P,1972)1.
②H. Grabes, Fictitious Biographies: Vladimir Nabokov’s English Novels (Paris: Mouton&Co. B. V., Publishers,The Hague,1977) vii-ix.
①Stephen Jan Parker,“Nabokov Studies: The State of the Art,” The Achievements of Vladimir Nabokov, ed.George Gibian and Stephen Jan Parker (Ithaca: Center for International Studies, Cornell University,1984)84.
②Ibid,91.
③Joann Karges, Nabokov’s Lepidoptera: Genres and Genera (Ann Arbor: Ardis,1985)77-83.
①D. Barton Johnson, Worlds in Regression: Some Novels of Vladimir Nabokov (Ann Arbor: Ardis,1985)2.
②Leona Toker, Nabokov: The Mystery of Literary Structures (Cornell UP,1989) ix,1-20,229.
①Julian W. Connolly, ed., Nabokov and His Fiction: New Perspectives (Cambridge UP,1999)2.
②Vladimir E. Alexandrov, Nabokov’s Otherworld (Princeton, New Jersey: Princeton UP,1991)3-6.
①http://revel.unice.fr/cycnos/sommaire.html?id=1441, http://revel.unice.fr/cycnos/sommaire.html?id=1276,http://revel.unice.fr/cycnos/sommaire.html?id=880.
①陆扬：《空间理论和文学空间》，《外国文学研究》，2004年第4期，第31页。
②Buchholz, Sabine and Manfred Jahn,“Space in Narrative,” Routledge Encyclopedia of Narrative Theory. eds.David Herman et al (London and New York: Routledge,2005)551.
①米克·巴尔著，谭君强译，《叙述学：叙事理论导论》，北京：中国社会科学出版社出版，1995年11月。第156页。
②Joseph Frank, The Idea of Spatial Form (New Brunswick: Rutgers University Press,1991)16.另见[美]约瑟夫·弗兰克等著，秦林芳编译，《现代小说中的空间形式》，北京：北京大学出版社，1991年5月。第3页。
①Jeffre R. Smitten and Ann Daghistany, Spatial Form in Narrative (Ithaca and London: Cornell UP,1981)17.
②David Herman et al, eds., Routledge Encyclopedia of Narrative Theory (London and New York: Routledge,2005)551-56.
③W. J. T. Mitchell,“Spatial Form in Literature: Toward a General Theory,” Critical Inquiry6(Spring1980)550-54.
①Marie-Laure Ryan,“Cyperspace, Cybertexts, Cybermaps,”21May2005,
②Ann Daghistany and J. J. Johnson,“Romantic Irony, Spatial Form, and Joyce’s Ulysses,” Spatial Form inNarrative, ed. Jeffrey R. Smitten and Ann Daghistany (Ithaca: Cornell UP,1981)48-60.
③David Mickelsen,“Types of Spatial Structure in Narrative,” Spatial Form in Narrative, ed. Jeffrey R. Smittenand Ann Daghistany (Ithaca: Cornell UP,1981)63-78.
①Eric Rabkin,“Spatial Form and Plot,” Spatial Form in Narrative, ed. Jeffrey R. Smitten and Ann Daghistany(Ithaca: Cornell UP,1981)79-99.
②Joseph Kestner,“Secondary Illusion: The Novel and the Spatial Arts,” Spatial Form in Narrative, ed. Jeffrey R.Smitten and Ann Daghistany (Ithaca: Cornell UP,1981)105.
③David Herman et al, eds., Routledge Encyclopedia of Narrative Theory (London and New York: Routledge,2005)552.
②Gabriel Zoran,“Towards a Theory of Space in Narrative,” Poetics Today, Vol.5:2(1984)309-35.
①龙迪勇，《叙事学研究的空间转向》，载《江西社会科学》，2006年10月，第67页。
②参见迈克·克朗著，杨淑华等译，《文化地理学》，南京：南京大学出版社，2005年。第四章为“文学地理景观：文学创作与地理”，讨论了文学作品中有关空间的写作（如城市与乡村）和文学作品对空间的创造。
③如热奈特所讨论的时序、时距、频率等时间问题，一般可由读者在作者对文本的安排中找到线索，因而分析的时候往往有章可循。而读者对空间的感知，则常常勿须受制于作者或文本的掣肘，发挥想像的余地很大，其多样性与复杂性是与具体的阅读过程相联系的。参见热拉尔·热奈特著，王文融译：《叙事话语·新叙事话语》，北京：中国社会科学出版社，1990年，第12-107页。
④马振方，《小说艺术论》，北京：北京大学出版社，1999年。第34-35页。
⑤刘孝存、曹国瑞，《小说结构学》，北京：光明日报出版社，1989年。该书总结了数十种不同的小说结构类型。
①Barbara Wyllie,“Review of The Models of Space, Time and Vision in V. Nabokov’s Fiction,” Partial Answers:Journal of Literature and the History of Ideas, Vol.7No.1(January2009)158.
②Will Norman,“Review of The Models of Space, Time and Vision in V. Nabokov’s Fiction,” The Slavonic andEast European Review, Vol.85Iss.4(October2007)784.
①Gennady Barabtarlo,“Nabokov’s Trinity (On the Movement of Nabokov’s Themes),” Nabokov and His Fiction:New Perspectives, ed. Jullian W. Connolly (Cambridge University Press,1999)109-38.
②Vladimir E. Alexandrov, ed., The Garland Companion to Vladimir Nabokov (New York&London: GarlandPublishing, Inc.,1995)236.
①D. Barton Johnson,“Synesthesia, Polychromatism, and Nabokov,” A Book of Things about Vladimir Nabokov,ed. Carl R. Proffer (Ann Arbor: Ardis,1974)99.
②Martin H gglund,“Chronophilia: Nabokov and the Time of Desire,” New Literary History37:2(Spring2006)447-67; Brian Boyd,“Nabokov, Time and Timelessness: A Reply to Martin H gglund,” New Literary History37:2(Spring2006)469-78; Martin H gglund,“Nabokov’s Afterlife: A Reply to Brian Boyd,” New LiteraryHistory37:2(Spring2006)479-81.
①Marina Grishakova, The models of Space, Time and Vision in V. Nabokov’s Fiction: Narrative Frames andCultural Frames (Tartu University Press,2006)75.柏格森对纳博科夫的影响可参见Michael Glynn,Vladimir Nabokov: Bergsonian and Russian Formalist Influences in His Novels (Palgrave MacMillan,2007)以及Leona Toker,“Nabokov and Bergson,” The Garland Companion to Vladimir Nabokov, ed. Vladimir E.Alexandrov (New York&London: Garland Publishing, Inc.)367-73.
②Martin H gglund,“Chronophilia: Nabokov and the Time of Desire,” New Literary History37:2(Spring2006)448.
①Alfred Appel, Jr. Nabokov’s Dark Cinema (New York: Oxford UP,1974)59.
①Epiphany是叙事理论中的常见词汇，通常指神灵，尤其是耶稣的突然显现，大多译为“顿悟”，也有译为“显形”的。詹姆斯·乔伊斯在《斯蒂芬英雄》（Stephen Hero,1905）中最先将其用于精微细节的瞬间显现。此后的现代主义作家如康拉德、伍尔夫、曼斯菲尔德·扬等将其视为事物瞬间的惊鸿一瞥，以区别于人类意识未加关切的普通事实。见Manfred Jahn,“Space in Narrative,” Routledge Encyclopedia ofNarrative Theory, eds. David Herman et al (London and New York: Routledge,2005)140.鉴于“显形”一词更贴切地传达了具体意象的惊鸿一现，而“顿悟”则常指思想的瞬间觉悟与升华，本文从空间叙事理论的角度出发选择了前者。
②“魔毯”这一比喻还出现在《洛丽塔》中。奎尔蒂跟踪亨伯特与洛丽塔时，总与他们保持固定的距离，亨伯特说它是“一个魔毯的道路复制品”（LO,219）。
①Vicious Circle，一般译为“恶性循环”。由于此处“循环”一词在汉语中更多强调事物的反复而非空间的圆形意象，与英文原文所要表达的概念有距离，本文均采用直译“邪恶的圆”以准确传达原文所包含的空间意味，更好地与“螺旋”（Spiral）一词对应。
②Marina Grishakova, The models of Space, Time and Vision in V. Nabokov’s Fiction: Narrative Frames andCultural Frames (Tartu UP,2006)76-133.格里莎科娃考察了纳博科夫在创作《阿达》第四章《时间的肌质》时所作的卡片笔记，指出对其时间概念产生影响的除了柏格森，还有惠特罗(G. Whitrow)的循环时间、尼采的圆形循环与永恒轮回以及弗雷泽、圣·奥古斯丁（St Augustine）、怀特海德（Whitehead）、皮埃尔·让内（Pierre Janet）、S.亚历山大（S. Alexander）等众多思想家的影响。本文对此将不作深入讨论。
③Marina Grishakova, The models of Space, Time and Vision in V. Nabokov’s Fiction: Narrative Frames andCultural Frames (Tartu UP,2006)102.
①Vladimir Nabokov, The Stories of Vladimir Nabokov (New York: First Vintage International Edition,1997)375-84.
①Gennady Barabtarlo, Aerial View: Essays on Nabokov’s Art and Metaphysics (New York: Peter Lang,1993)147-48.
②Brian Boyd, Vladimir Nabokov: The Russian Years (Princeton: Princeton UP,1990)295.
①Martin H gglund,“Chronophilia: Nabokov and the Time of Desire,” New Literary History37:2(Spring2006)447-48.
①Brian Boyd, Nabokov’s Ada: The Place of Consciousness (Ann Arbor: Ardis Publishers,1985)67.
②Brian Boyd, Vladimir Nabokov: The Russian Years (Princeton: Princeton UP,1990)292-93.
①Laurie Clancy, The Novels of Vladimir Nabokov (London&Basingstoke: MacMillan,1984)10.
①Marina Grishakova, The Models of Space, Time and Vision in V. Nabokov’s Fiction: Narrative Strategies andCultural Frames (Tartu UP,2006)127.
①William Woodin Rowe, Nabokov’s Deceptive World (New York: New York UP,1971)66-68.
①Vladimir E. Alexandrov, The Garland Companion to Vladimir Nabokov (New York&London: GarlandPublishing, Inc.,1995)3. Stephen Jan Parker, Understanding Vladimir Nabokov (U of South Carolina P,1987)105.
②Laurie Clancy, The Novels of Vladimir Nabokov (London&Basingstoke: MacMillan,1984)140.
③Alfred Appel,“Ada: An Erotic Masterpiece That Explores the Nature of Time,” The New York Times, May4,1969.
④Norman Page, ed., Nabokov: The Critical Heritage (London, Boston, Melbourne and Henley: Routledge&Kegan Paul,1982)206.
⑤Lucy Maddox, Nabokov’s Novels in English (Athens: The Uof Georgia P,1983)103.
⑥Laurie Clancy, The Novels of Vladimir Nabokov (London&Basingstoke: MacMillan,1984)154-55.
⑦Vladimir E. Alexandrov, ed., The Garland Companion to Vladimir Nabokov (New York&London: GarlandPublishing, Inc.,1995)4.
②Annapaola Cancogni, The Mirage in the Mirror: Nabokov’s Ada and Its French Pre-Texts (New York&London: Garland Publishing, Inc.,1985) i-vi.
③Paul J. Thibault, Social Semiotics as Praxis: Text, Social Meaning Making, and Nabokov’s Ada (Minneapolis:U of Minnesota P,1991) xi.
④《阿达》研究书目可参考
⑤Brian Boyd,“Ada Online,”23June2010,
⑥Dieter E. Zimmer,“The Geography of Antiterra,”23June2010,
①Roy Arthur Swanson,“Nabokov’s Ada as Science Fiction,” Science Fiction Studies, Vol.2No.1(March1975)76-88.
②Alfred Appel,“Ada: An Erotic Masterpiece That Explores the Nature of Time,” The New York Times, May4,1969.
③Julian W. Connolly, ed., Nabokov and His Fiction: New Perspectives (Cambridge UP,1999)110.
④Brian Boyd,“Ada,” The Garland Companion to Vladimir Nabokov, ed. Vladimir E. Alexandrov (New York&London: Garland Publishing, Inc.,1995)3-18.
⑤Laurie Clancy, The Novels of Vladimir Nabokov (London&Basingstoke: MacMillan,1984)140-54. MichaelWood, The Magician’s Doubts: Nabokov and the Risks of Fiction (Princeton: Princeton UP,1994)206-35.
⑥D. Barton Johnson, Worlds in Regression: Some Novels of Vladimir Nabokov (Ann Arbor: Ardis,1985)51-59.
⑦Julia Bader, Crystal Land: Artifice in Nabokov’s English Novels (Berkeley, Los Angeles, London: University ofCalifornia Press,1972)123-62.
⑧D Barton Johnson,“The Labyrinth of Incest in Nabokov’s Ada,” Comparative Literature, Vol.38No.3(Summer1986)224-55.
⑨Nancy Anne Zeller,“The Spiral of Time in Ada,” A Book of Things about Vladimir Nabokov, ed. Carl R.Proffer (Ann Arbor: Ardis,1974)280-90.
⑩Michael H. Begnal,“Past, Present, Future, Death: Nabokov’s ‘Ada’,” College Literature, Vol.9No.2(Spring1982)133-39.
①N. Katherine Hayles,“Making a Virtue of Necessity: Pattern and Freedom in Nabokov’s Ada,” ContemporaryLiterature, Vol.23No.1(Winter1982)32-51.
②Yvette Louria,“Nabokov and Proust: The Challenge of Time,” Books Abroad, Vol.48No.3(Summer1974)469-76.
③约翰逊经过调查考证后得出的结论是，阿达与范同是迪门与玛丽娜的亲生子女，因而他们完全是同一父母的亲兄妹。参见D Barton Johnson,“The Labyrinth of Incest in Nabokov’s Ada,” ComparativeLiterature,Vol.38No.3(Summer1986)224-55.
④下文中未特别标注的地方均引自Ada.
①Nancy Anne Zeller,“The Spiral of Time in Ada,” A Book of Things about Vladimir Nabokov, ed. Carl R.Proffer (Ann Arbor: Ardis,1974)287.
①纳博科夫生僻词汇中的一个典型例子。大概是指构成前时间（pre-time）宇宙存在的最小粒子。参见26June2010,
②N Katherine Hayles,“Making a Virtue of Necessity: Pattern and Freedom in Nabokov’s Ada,” ContemporaryLiterature, Vol.23No.1(Winter1982)43.
①参见Bobbie Ann Mason, Nabokov’s Garden: A Guide to “Ada”(AnnArbor: Ardis,1981)一书的内容。
①Brian Boyd, Nabokov’s Ada: The Place of Consciousness (Ann Arbor: Ardis Publishers,1985)192,195.
①Heffernan, James A. W.“Ekphrasis and Representation.” New Literary History, Vol.22No.2(Spring1991)297.
②Claire Barbetti, Ekphrastic Medieval Visions: A New Discussion in Ekphrasis and Interarts Theory, Diss.,Duquesne U,2009, AAT3380045,3.
①Erik Hedling and Ulla-Britta Lagerroth, ed., Cultural Functions of Intermedial Exploration (Amsterdam-NewYork: Rodopi B. V.,2002)204.
②Jack Stewart,“Ekphrasis and Lamination in Byatt’s Babel Tower,” Style43:4(Winter2009)494.
③James A. W. Heffernan,“Ekphrasis and Representation,” New Literary History, Vol.22No.2(Spring1991)298.
④Ibid,299.
⑤David Herman et al, eds., Routledge Encyclopedia of Narrative Theory (London and New York: Routledge,2005)133.
①纳博科夫借鉴俄语创造的英语单词，或可译为“垃圾文化”、“低俗文化”。在《尼古拉·果戈理》中纳博科夫称poshlust“不仅是显而易见的垃圾，而且主要是伪重要、伪优美、伪聪明、伪迷人的文化”。参见Vladimir Navokov, Nikolai Gogol (New York: New Directions Publishing Corporation,1961)70.关于这一术语的更多讨论还可参见SO,1973:100; Alexandrov1991:106; Sergej Davydov,“Poshlust,” TheGarland Companion to Vladimir Nabokov, ed. Vladimir E. Alexandrov (New York&London: GarlandPublishing, Inc.,1995)628-33.
②Julian W. Connolly, ed., Nabokov and His Fiction: New Perspectives (Cambridge UP,1999)23.
③Barbara Wyllie, Nabokov at the Movies: Film Perspectives in Fiction (Jefferson&London: McFarland&Company, Inc., Publishers,2003)1-2.
④Barbara Wyllie,“Nabokov and Cinema,” The Cambridge Companion to Nabokov, ed. Julian W. Connolly(Cambridge: Cambridge UP,2005)215-31.
①“视觉艺术,”维基百科,26Oct2010,
②Brian Boyd,“Nabokov’s Blues,” Foreword, Vladimir Nabokov: Alphabet in Color, illustrated by Jean Holabird(Corte Madera: Gingko Press,2005) unpaginated.
③关于该书的网络介绍可参见
④D. Barton Johnson,“Synesthesia, Polychromatism, and Nabokov,” A Book of Things about Vladimir Nabokov,ed. Carl R. Proffer (Ann Arbor: Ardis,1974)84-103.
⑤D Barton Johnson,“The Alphabetic Rainbow of Speak, Memory,” Worlds in Regression: Some Novels ofVladimir Nabokov, D. Barton Johnson (Ann Arbor: Ardis,1985)11.
①Julian W. Connolly,“Black and White and Dead All Over: Color Imagery in Nabokov’s Prose,” NabokovStudies10(2006)53-66.
②Jay Alan Edelnant, Nabokov’s Black Rainbow: An Analysis of the Rhetorical Function of the Color Image inAda or Ardor: A Family Chronicle, Diss., Northwestern U,1979, AAT7927331.
③Gavriel Shapiro, Delicate Markers: Subtexts in Vladimir Nabokov’s Invitation to a Beheading (New York, PeterLang Publishing, Inc.,1998)56-70.
④Brian Boyd,“Nabokov’s Blues,” Foreword, Vladimir Nabokov: Alphabet in Color, illustrated by Jean Holabird(Corte Madera: Gingko Press,2005) unpaginated.
①thundercould应为thundercloud，原文拼写有误。
②D. Barton Johnson,“Synesthesia, Polychromatism, and Nabokov,” A Book of Things about Vladimir Nabokov,ed. Carl R. Proffer (Ann Arbor: Ardis,1974)90.
③Leona Toker, Nabokov: The Mystery of Literary Structures (Ithaca and London: Cornell UP,1989)191.
①D. Barton Johnson, Worlds in Regression: Some Novels of Vladimir Nabokov (Ann Arbor: Ardis,1985)16.
②Andrew Field, Nabokov: His Life in Part (New York: The Viking Press,1977)149.
③Brian Boyd,“Nabokov’s Blues.” Foreword, Vladimir Nabokov: Alphabet in Color, illustrated by Jean Holabird(Corte Madera: Gingko Press,2005) unpaginated.
①Gavriel Shapiro, Delicate Markers: Subtexts in Vladimir Nabokov’s Invitation to a Beheading (New York, PeterLang Publishing, Inc.,1998)67-70.
②Lisa Zunshine, ed., Nabokov at the Limits: Redrawing Critical Boundaries (New York&London: GarlandPublishing, Inc.,1999)201.
①Gavriel Shapiro, The Sublime Artist’s Studio: Nabokov and Painting (Evanston, Illinois: Northwestern UP,2009)194.
②Ralph A. Ciancio,“Nabokov’s Painted Parchments,” Nabokov at the Limits: Redrawing Critical Boundaries,ed. Lisa Zunshine (New York&London: Garland Publishing, Inc.,1999)235.
③Pekka Tammi, Problems of Nabokov’s Poetics: Ａ Narratological Analysis (Helsinki: SuomalainenTiedeakatemia,1985)191.
④Gerad de Vries and D. Barton Johnson, Vladimir Nabokov and the Art of Painting (Amsterdan: AmsterdamUniversity Press,2006)19.
④Gavriel Shapiro, The Sublime Artist’s Studio: Nabokov and Painting (Evanston, Illinois: Northwestern UP,2009)102.俄语原文中意为“《艺术世界》的雪”（the snow of The World of Art）。
⑤Gavriel Shapiro, The Sublime Artist’s Studio: Nabokov and Painting (Evanston, Illinois: Northwestern UP,2009)6-8.
⑥Lisa Zunshine, ed., Nabokov at the Limits: Redrawing Critical Boundaries (New York&London: GarlandPublishing, Inc.,1999)183-269.
①Gavriel Shapiro, ed., Nabokov at Cornell (Ithaca&London: Cornell UP,2003)241-64.
②Gavriel Shapiro, The Sublime Artist’s Studio: Nabokov and Painting (Evanston, Illinois: Northwestern UP,2009)15.
③Dmitri Nabokov and Matthew J. Bruccoli, eds., Vladimir Nabokov: Selected Letters1940-1977(San Diego:Harcourt Brace Jovanovich,1989)508.
④Jane Grayson, Illustrated Lives: Vladimir Nabokov (Penguin Books,2001)25.
①Jean Blot, Nabokov (Paris: Seuil,1995)7-8.
②Brian Boyd, Vladimir Nabokov: The American Years (Princeton: Princeton UP,1991)512.另见GennadyBarabtarlo, Aerial View (New York: Peter Lang,1993)208与Julian Connolly, Nabokov’s Early Fiction(Cambridge: Cambridge UP,1992)220.
①《卡农的圣母》，请参见
②Annapaola Cancogni, The Mirage in the Mirror (New York: Garland,1985) I.
③Gavriel Shapiro, Delicate Markers: Subtexts in Vladimir Nabokov’s Invitation to a Beheading (New York:Peter Lang Publishing, Inc.,1998)192-97,96-97,103,99,85.
①伦勃朗的画原为《基督在以马忤斯》（Christ at Emmaus）。
①“The Original of Laura,” wikipedia,24Feb2011,
①Gavriel Shapiro, The Sublime Artist’s Studio: Nabokov and Painting (Evanston, Illinois: Northwestern UP,2009)36.
①译文出自蒲隆译《眼睛》，上海：上海译文出版社，2008年，第79页。
②Vladimr Nabokov, The Stories of Vladimir Nabokov (New York: First Vintage International Edition,1997)413.
①Alfred Appel, Jr. Nabokov’s Dark Cinema (New York: Oxford UP,1974)36.
②Peter Quennell, ed., Vladimir Nabokov: A Tribute (New York: William Morrow and Company, Inc.,1980)129.
③Dabney Stuart, Nabokov: The Dimensions of Parody (Baton Rouge and London: Louisiana State UP,1978)89.
④Brian Boyd, Vladimir Nabokov: The Russian Years (Princeton: Princeton UP,1990)363.
⑤Barbara Wyllie,“Nabokov and Cinema,” The Cambridge Companion to Nabokov, ed. Julian W. Connolly(Cambridge: Cambridge UP,2005)216.
⑥Alfred Appel, Jr. Nabokov’s Dark Cinema (New York: Oxford UP,1974)301.
①Barbara Wyllie,“Nabokov and Cinema,” The Cambridge Companion to Nabokov, ed. Julian W. Connolly(Cambridge: Cambridge UP,2005)217.
②Alfred Appel, Jr. Nabokov’s Dark Cinema (New York: Oxford UP,1974)58.
③Yuri Leving,“Filming Nabokov: On the Visual Poetics of the Text,” Russian Studies in Literature, Vol.40No.3(Summer2004)10.
①Barbara Wyllie, Nabokov at the Movies: Film Perspectives in Fiction (Jefferson&London: McFarland&Company, Inc., Publishers,2003)62.另见Barbara Wyllie,“Nabokov and Cinema,” The CambridgeCompanion to Nabokov, ed. Julian W. Connolly (Cambridge: Cambridge UP,2005)218.
②Barbara Wyllie,“Nabokov and Cinema,” The Cambridge Companion to Nabokov, ed. Julian W. Connolly(Cambridge: Cambridge UP,2005)218-19.
③Barbara Wyllie, Nabokov at the Movies: Film Perspectives in Fiction (Jefferson and London: McFarland&Company, Inc., Publishers,2003)1-3.
①Ibid,44. Film noir来源于法语，意为“黑色电影”（black film），最早使用该词的是1946年的法国评论家尼诺·弗兰克（Nino Frank）。黑色电影主要指20世纪40、50年代好莱坞流行的强调性与人物的玩世不恭，反映美国大萧条时期犯罪行为的类型片，视觉效果上借鉴了德国表现主义电影中黑白对照的明暗技法。70年代后影评界才广为接受该提法，而此前的经典黑色电影一般归于情节剧（melodrama）。黑色电影能否被称为一种独立的类型片今天仍饱受争议。参见“Film noir,”25Feb2011,
①Dabney Stuart, Nabokov: The Dimensions of Parody (Baton Rouge and London: Louisiana State UP,1978)87-113.
②Alfred Appel, Jr. Nabokov’s Dark Cinema (New York: Oxford UP,1974)258-59.
①Anna Karenin。纳博科夫坚持使用这一称谓，而不是《安娜·卡列尼娜》。
②slapstick来自意大利语中的batacchio或bataccio，最早使用该词是在1896年，原指两块两端绑在一起的木制棍棒。当舞台演员用此木棍击打另一演员时，会发出响亮的声音但并不伤害其身体，产生了喜剧的效果。闹剧常见于文艺复兴时期的哑剧表演中，充满荒诞的场景与夸张诙谐的动作，人物则往往是具有高超技巧的杂技演员或魔术师。19-20世纪美国广为流行的杂耍表演运用了闹剧的技巧，到黑白无声电影时期达到巅峰，如森内特、卓别林、雷尔、基顿、马克思兄弟等人的作品。时至今日闹剧仍是喜剧电影中常见的模式，如卡通剧《猫和老鼠》中便大量借鉴了闹剧表演。参见“slapstick,” wikipedia,25Feb2011,
①Barbara Wyllie,“Nabokov and Cinema,” The Cambridge Companion to Nabokov, ed. Julian W. Connolly(Cambridge: Cambridge UP,2005)221.神经喜剧又称疯狂喜剧、乖僻喜剧、滑稽喜剧等，为20世纪30年代美国流行的喜剧电影类型。Screwball意为古怪且略带神经质的人，恰好用来形容神经喜剧中古怪、癫狂、行为怪异的角色。神经喜剧多表现家庭与爱情冲突，特点是充满机锋的快速对白、一波三折的爱情与婚姻、男扮女装、大胆的性坦白、滑稽荒诞的场景与情节、大幅度夸张的动作等，代表作为1934年的《一夜风流》（It Happened One Night）。神经喜剧中的爱情与喜剧因素可追溯至莎士比亚的《无事生非》、《皆大欢喜》、《仲夏夜之梦》与王尔德的《认真的重要性》（The Importance of Being Earnest）等作品。一般认为它是一种介于高雅喜剧（讽刺喜剧）和低俗喜剧（动作喜剧）之间的喜剧类型。大部分学者将1934-1940这段好莱坞电影的黄金时期视作神经喜剧的黄金时代。影评家安德鲁·萨里斯对神经喜剧有一个极为形象的定义：神经喜剧是一种无性的性喜剧。参见“Screwball comedy film,” wikipedia,25Feb2011,
②Brian Boyd, Vladimir Nabokov: The Russian Years (Princeton: Princeton UP,1990)363.另见Alfred Appel, Jr.Nabokov’s Dark Cinema (New York: Oxford UP,1974)153-54.
①Alfred Appel, Jr. Nabokov’s Dark Cinema (New York: Oxford UP,1974)167-68.
①Yuri Leving,“Filming Nabokov: On the Visual Poetics of the Text,” Russian Studies in Literature, Vol.40No.3(Summer2004)20.
①Torben Grodal,“Film production,” Routledge Encyclopedia of Narrative Theory, eds. David Herman et al(London and New York: Routledge,2005)169-70.
①亨伯特与洛丽塔1947-1949年在美国大陆旅行的详细路线图与照片等可参见网络资源
①译文出自主万译《洛丽塔》，上海：上海译文出版社，2005年。第368页。本文中部分译文参考了该书。
①Yuri Leving,“Filming Nabokov: On the Visual Poetics of the Text,” Russian Studies in Literature, Vol.40No.3(Summer2004)9.
②Barbara Wyllie, Nabokov at the Movies: Film Perspectives in Fiction (Jefferson&London: McFarland&Company, Inc., Publishers,2003)46.
①Vladimir E. Alexandrov, ed., The Garland Companion to Vladimir Nabokov (New York&London: GarlandPublishing, Inc.,1995)236.
①Julian W. Connolly, ed., Nabokov and His Fiction: New Perspectives (Cambridge: Cambridge UP,1999)110.
②Brian Boyd, Nabokov’s Ada: The Place of Consciousness (Ann Arbor: Ardis Publishers,1985)3,49.
③Brian Boyd,“Nabokov: A Centennial Toast,” Nabokov’s World Volume2: Reading Nabokov, eds. Jane Grayson,Arnold McMillin and Priscilla Meyer (New York: Palgrave,2002)10-11.
①David M. Bethea,“Style,” The Garland Companion to Vladimir Nabokov, ed. Vladimir E. Alexandrov (NewYork&London: Garland Publishing, Inc.,1995)696.
②Gennady Barabtarlo, Aerial View: Essays on Nabokov’s Art and Metaphysics (New York: Peter Lang,1993)3-4.
③Jane Grayson, Illustrated Lives: Vladimir Nabokov (Penguin Books,2001)4.
④Laurie Clancy, The Novels of Vladimir Nabokov (London&Basingstoke: MacMillan,1984)5.
①Bonnie Lyons and Bill Oliver,“An Interview with Bobbie Ann Mason,” Contemporary Literature, Vol.32No.4(Winter1991)461.
②Leona Toker, Nabokov: The Mystery of Literary Structures (Ithaca and London: Cornell UP,1989)229.
③Ellen Pifer, Nabokov and the Novel (Cambridge, MA: Harvard UP,1980)25.
①David Rampton, Vladimir Nabokov: A Critical Study of the Novels (London,1984)6-7.
①Laurie Clancy, The Novels of Vladimir Nabokov (London&Basingstoke: MacMillan,1984)6-8.
①Joyce Carol Oates,“A Personal Review of Nabokov,” Critical Essays on Vladimir Nabokov, ed. Phyllis A.Roth (Boston: G. K. Hall&Co.,1984)106-07.
②Donald E. Morton, Vladimir Nabokov (New York: Frederick Ungar Publishing Co.,1974)48.
③H. Grabes, Fictitious Biographies: Vladimir Nabokov’s English Novels (Paris: Mouton&Co. B. V., Publishers,The Hague,1977) vii-ix.
④David M. Bethea,“Style,” The Garland Companion to Vladimir Nabokov, ed. Vladimir E. Alexandrov (NewYork&London: Garland Publishing, Inc.,1995)697.
①Gavriel Shapiro, Delicate Markers: Subtexts in Vladimir Nabokov’s Invitation to a Beheading (New York, PeterLang Publishing, Inc.,1998)28.另请参见本文第二章第一节的内容。
①Gavriel Shapiro, The Sublime Artist’s Studio: Nabokov and Painting (Evanston, Illinois: Northwestern UP,2009)49-50.
①Brian Boyd,“Nabokov: A Centennial Toast,” Nabokov’s World Volume2: Reading Nabokov, eds. Jane Grayson,Arnold McMillin and Priscilla Meyer (New York: Palgrave,2002)8.
②Vladimir E. Alexandrov,“The Other World,” The Garland Companion to Vladimir Nabokov, ed. Vladimir E.Alexandrov (New York&London: Garland Publishing, Inc.,1995)570.
③Samuel Shuman,“Hyperlinks, Chiasmus, Vermeer and St. Augustine: Models of Reading Ada,” NabokovStudies, Vol.6(2000/2001)125-27.
④Leona Toker, Nabokov: The Mystery of Literary Structures (Ithaca and London: Cornell UP,1989)199.
①金元浦，《文学解释学》，长春：东北师范大学出版社，1997年。第220-224页。
②Pekka Tammi, Problems of Nabokov’s Poetics:ＡNarratological Analysis (Helsinki: SuomalainenTiedeakatemia,1985)242.
③Frank Kermode,“Aesthetic Bliss,” Encounter14(June1960)81.
①Wayne C. Booth, A Rhetoric of Irony (Chicago: The U of Chicago P,1974)233.
②转引自Pekka Tammi, Problems of Nabokov’s Poetics:ＡNarratological Analysis (Helsinki: SuomalainenTiedeakatemia,1985)243.
①Stephen H. Blackwell, Zina’s Paradox: The Figured Reader in Nabokov’s Gift (New York: Peter LangPublishing, Inc.,2000)3.
①《普宁》中前妻丽莎的儿子也叫维克多。
①有意思的是，这一Quietus在《斩首之邀》变成了辛辛那提斯在监狱中读的小说Quercus（IB,122）。
①本节中只注明页码的地方均引自《注释版洛丽塔》（LO）。
①Alfred Appel, Jr. Nabokov’s Dark Cinema (New York: Oxford UP,1974)58-59.
②Michael Wood, The Magician’s Doubts: Nabokov and the Risks of Fiction (Princeton: Princeton UP,1994)110.
③Ibid,104,111.
④Page Stegner, Escape Into Aesthetics: The Art of Vladimir Nabokov (New York: Dial Press,1966)106,110.Leona Toker, Nabokov: The Mystery of Literary Structures (Ithaca and London: Cornell UP,1989)57-81.
①约翰·雷（1627-1705）确有其人，他是英国的自然科学家与昆虫学家（LO,326）。
①Annapaola Cancogni, The Mirage in the Mirror: Nabokov’s Ada and Its French Pre-Texts (New York&London: Garland Publishing, Inc.,1985) i.
①Brian Boyd, Vladimir Nabokov: The American Years (Princeton: Princeton UP,1991)425.
②Frank Kermode,“Zemblances,” New Statesman, November91962,671.
③Julia Bader, Crystal Lang: Artifice in Nabokov’s English Novels (Berkeley, Los Angeles, London: U ofCalifornia P,1972)40.
④Stephen Jan Parker,“Nabokov Studies: The State of the Art,” The Achievements of Vladimir Nabokov, eds.George Gibian&Stephen Jan Parker (Ithaca: Center for International Studies, Cornell University,1984)87.
①Page Stegner, Escape Into Aesthetics: The Art of Vladimir Nabokov (New York: Dial Press,1966)129-30.
②本节未特别注明的页码均出自PF。
③D. Barton Johnson,“The Index of Refraction in Nabokov’s Pale Fire,” Russian Literature Triquarterly16(1979)46.
④Andrew Field, Nabokov: His Life in Art (Boston: Little, Brown,1967)317.
⑤Julia Bader, Crystal Lang: Artifice in Nabokov’s English Novels (Berkeley, Los Angeles, London: U ofCalifornia P,1972)31-56.
⑥Brian Boyd, Vladimir Nabokov: The American Years (Princeton: Princeton UP,1991)455-56.
⑦Alfred Appel, Jr.“Nabokov’s Puppet Show II,” The New Republic,156:3(1967)27-28. Ellen Pifer, Nabokovand the Novel (Cambridge, MA: Harvard UP,1980)110-18.
①Brian Boyd, Nabokov’s Pale Fire: The Magic of Artistic Discovery (Princeton: Princeton UP,1999)247-62.
②Vladimir E. Alexandrov, ed., The Garland Companion to Vladimir Nabokov (New York&London: GarlandPublishing, Inc.,1995)572.
①Julia Bader, Crystal Land: Artifice in Nabokov’s English Novels (Berkeley, Los Angeles, London: U ofCalifornia P,1972)34.
②Brian Boyd, Vladimir Nabokov: The American Years (Princeton: Princeton UP,1991)709.
③Vladimir E. Alexandrov, ed., The Garland Companion to Vladimir Nabokov (New York&London: GarlandPublishing, Inc.,1995)574.
④Brian Boyd, Vladimir Nabokov: The American Years (Princeton: Princeton UP,1991)433-35.另见BrianBoyd, Nabokov’s Pale Fire: The Magic of Artistic Discovery (Princeton: Princeton UP,1999)60.
①Pekka Tammi, Problems of Nabokov’s Poetics: Ａ Narratological Analysis (Helsinki: SuomalainenTiedeakatemia,1985)205.
①译文选自梅绍武译《微暗的火》，上海：上海译文出版社，2008年，第23页。本文的部分译文出自该书。
②Pekka Tammi, Problems of Nabokov’s Poetics: Ａ Narratological Analysis (Helsinki: SuomalainenTiedeakatemia,1985)197-224.另参见Pekka Tammi,“Pale Fire,” The Garland Companion to VladimirNabokov, ed. Vladimir E. Alexandrov (New York&London: Garland Publishing, Inc.,1995)571-86.
①Vladimir E. Alexandrov, ed., The Garland Companion to Vladimir Nabokov (New York&London: GarlandPublishing, Inc.,1995)574.
①Brian Walter,“Synthesizing Artistic Delight: The lesson of Pale Fire,” Zembla,23Oct2010,
①Brian Boyd, Vladimir Nabokov: The Russian Years (Princeton: Princeton UP,1990)295.
①Vladimir E. Alexandrov, Nabokov’s Otherworld (Princeton, New Jersey: Princeton University Press,1991)3-6.
②Brian Boyd, Nabokov’s Ada: The Place of Consciousness (Ann Arbor: Ardis Publishers,1985)50-88.
③D. Barton Johnson and Brian Boyd,“Prologue: The Otherworld,” Nabokov’s World Vol.1: The Shape ofNabokov’s World, eds. Jane Grayson, Arnold McMillin and Priscilla Meyer (New York: Palgrave,2002)24.
①D. Barton Johnson, Worlds in Regression: Some Novels of Vladimir Nabokov (Ann Arbor: Ardis,1985)2.
②Gennady Barabtarlo,“Nabokov’s Trinity (On the Movement of Nabokov’s Themes),” Nabokov and His Fiction:New Perspectives, ed. Julian W. Connolly (Cambridge University Press,1999)109-38.
③Ibid,117.
④Gennady Barabtarlo, Aerial View: Essays on Nabokov’s Art and Metaphysics (New York: Peter Lang,1993)1-3.
⑤Pekka Tammi, Problems of Nabokov’s Poetics: Ａ Narratological Analysis (Helsinki: SuomalainenTiedeakatemia,1985)25-26.
①Leona Toker,“Nabokov’s Worldview,” The Cambridge Companion to Nabokov, ed. Julian W. Connolly(Cambridge UP,2005)232-47.
②Priscilla Meyer,“Nabokov’s Critics: a Review Article,” Modern Philology91:3(1994)326.
③David M. Bethea,“Style,” The Garland Companion to Vladimir Nabokov, ed. Vladimir E. Alexandrov (NewYork&London: Garland Publishing, Inc.,1995)697-98.
④Jane Grayson, Arnold McMillin and Priscilla Meyer, eds., Nabokov’s World Vol.1: The Shape of Nabokov’sWorld (New York: Palgrave,2002)10.
①俄国形式主义对纳博科夫的影响可参见Michael Glynn, Vladimir Nabokov: Bergsonian and RussianFormalist Influences in His Novels (Palgrave MacMillan,2007).
②David M. Bethea,“Style,” The Garland Companion to Vladimir Nabokov, ed. Vladimir E. Alexandrov (NewYork&London: Garland Publishing, Inc.,1995)698.
①Jane Grayson, Arnold McMillin and Priscilla Meyer, eds., Nabokov’s World Vol.1: The Shape of Nabokov’sWorld (New York: Palgrave,2002)10.
②Vladimir Alexandrov, Nabokov’s Otherworld (Princeton: Princeton UP,1991)3-4.另见Pekka Tammi,Problems of Nabokov’s Poetics:ＡNarratological Analysis (Helsinki: Suomalainen Tiedeakatemia,1985)22.
③Andrew Field, Nabokov: His Life in Part (New York: Viking Press,1977)87.
④Jane Grayson, Arnold McMillin and Priscilla Meyer, eds., Nabokov’s World Vol.1: The Shape of Nabokov’sWorld (New York: Palgrave,2002)20.
①Brian Boyd, Nabokov’s Pale Fire: The Magic of Artistic Discovery (Princeton: Princeton UP,1999)173,passim.
①Brian Boyd, Vladimir Nabokov: The Russian Years (Princeton: Princeton UP,1990)292.
①约翰逊详细分析了《斩首之邀》中彼岸世界的含义。参见D. Barton Johnson,“Spatial Modeling and Deixis:Nabokov’s Invitation to a Beheading,” Poetics Today3:1(1982)81-98.
②William Woodin Rowe, Nabokov’s Spectral Dimension (Ann Arbor: Ardis,1981)62. Belochka在俄语中是“松鼠”的意思。
①Jane Grayson, Arnold McMillin and Priscilla Meyer, eds., Nabokov’s World Vol.1: The Shape of Nabokov’sWorld (New York: Palgrave,2002)14.
②Vladimir Nabokov, The Stories of Vladimir Nabokov (New York: First Vintage International Edition,1997)631.
③D Barton Johnson, Worlds in Regression: Some Novels of Vladimir Nabokov (Ann Arbor: Ardis,1985)2.
④Ibid,185-223.
⑤Leona Toker, Nabokov: The Mystery of Literary Structure (Ithaca and London: Cornell UP,1989)4.
⑥D. Barton Johnson, Worlds in Regression: Some Novels of Vladimir Nabokov (Ann Arbor: Ardis,1985)5.
①David M. Bethea,“Style,” The Garland Companion to Vladimir Nabokov, ed. Vladimir E. Alexandrov (NewYork&London: Garland Publishing, Inc.,1995)701.
②约纳斯等著，刘小枫选编，张新樟等译，《诺斯替主义与现代性》，上海：华东师范大学出版社，2005年。编者前言，第2页。
①纳博科夫笔下许多人物都是艺术家或学者：亨伯特、谢德、阿达、辛辛那提斯、费奥多、普宁、克鲁格、奈特等。
②Alfred Appel, Jr. Nabokov’s Dark Cinema (New York: Oxford UP,1974)185.
③Ibid,176.
④反乌托邦（Dystopia）又称“敌托邦”或“废托邦”。是文学，尤其是科幻作品中的一种体裁与流派。它形成和发展于20世纪。反乌托邦主义反映的是反面的理想社会。在这种社会中物质文明泛滥并高于精神文明，理性超越了客观规律，人们把空想作为现实目标执著追求，而忽视人类个体本应是最终的关怀对象，从而导致某种非理性的“疯狂”。
⑤Dick Penner,“Invitation to a Beheading: Nabokov’s Absurdist Initiation,” Critique, Vol.20Iss3(1979)27.纳博科夫本人承认了《斩首之邀》与《城堡》的相似（SO,80），以及该书的反乌托邦精神（SO,66）和戏仿主题（SO,76）。
⑥Timothy Langen,“The Ins and Outs of Invitation to a Beheading,” Nabokov Studies, Vol.8(2004)59-70.
①有意思的是，这一杜撰的作家也出现在小说《天赋》里（GF,321-22）。
②论文集为Julian W. Connolly, ed., Nabokov's "Invitation to a Beheading": A Critical Companion(Northwestern UP,1998)，专著为Gavriel Shapiro, Delicate Markers: Subtexts in Vladimir Nabokov'sInvitation to a Beheading (New York: Peter Lang Publishing, Inc.,1998)。
③一本为崔洪国、蒋立珠译的《纳博科夫全集(二)：斩首的邀请》，时代文艺出版社，1999年。另一本为陈安全译，《斩首之邀》，上海译文出版社，2006年。本节中出现的页码未特别标注的地方均引自该书。
④关于这一点，学者们如Julian Moynahan，Sergei Davydov，D. Barton Johnson，Ludmila A. Foster等有过较为简单的分析。参见J. Lamar Howard, Heretical Reading: Freedom as Question and Process inPostmodern American Novel and Technological Pedagogy (The U of Texas at Austin,2005)32.
⑤Vladimir E. Alexandrov,“The Otherworld,” The Garland Companion to Vladimir Nabokov, ed. Vladimir E.Alexandrov (New York&London: Garland Publishing, Inc.,1995)570.
①汉斯·约纳斯著，张新樟译，《诺斯替宗教》，上海：上海三联书店，2006年。第37-41页，第43页。
①李小均，《纳博科夫研究——那双眼睛，那个微笑》，复旦大学，2005年。第15页。
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