视觉艺术大师纳博科夫
Nabokov the Visual Artist
作者：王安;程锡麟;
Author：
收稿日期： 年卷（期）页码：2012,(06):-110-115
期刊名称：四川大学学报(哲学社会科学版)
Journal Name：Journal of Sichuan University (Social Science Edition）
关键字：纳博科夫;小说;色彩;绘画;电影
Key words：
基金项目：2012年度国家社会科学基金项目“图像叙事研究——以美国现代文学为例”(12BWW003);;
2012年度四川大学中央高校基本科研杰出青年基金项目(skqx201208)
中文摘要
纳博科夫是一位视觉艺术大师,这是理解其小说创作的关键。纳博科夫反复声明自己天生是画家,具有特殊的听音辨色的"色彩听觉"天赋,其作品运用文字呈现出五光十色的艳丽色彩。纳博科夫对古往今来欧美列国的画家画作了然于心,其创作过程即如作画般在纸张的画布上挥毫泼墨,实践着"诗如画"的书写传统。除了斑斓的五彩世界与绘画般的文字书写,纳博科夫的小说还大量借鉴了电影叙事技巧。在文字与视觉艺术之间,纳博科夫自觉且自如地进行着空间书写。
参考文献
①参见Brian Boyd,“Nabokovs Blues,”in Vladimir Nabokov:Alphabet in Color,illustrated by Jean Holabird,Corte Madera:Gingko Press,2005(未标注页码)。
①对于色彩听觉的大段描述详见Vladimir Nabokov,Speak,Memory,New York:Pyramid Books,1966,pp.25-26;Strong Opinions,New York:McGraw-Hill Book Company,1973,p.17;The Gift,New York:G.P.Putnams Sons,1963,p.86;Ada or Ardor:A Family Chronicle,New York,Toronto:McGraw-Hill Book Company,1969,pp.468-469等。
②Vladimir Nabokov,Speak,Memory,pp.203,112,78,160,170.
③Vladimir Nabokov,Ada or Ardor:A Family Chronicle,p.469.
④Vladimir Nabokov,Pale Fire,New York:First Vintage International Edition,1989,pp.36-37.
⑤Vladimir Nabokov,Pnin,New York:First Vintage International Edition,1989,p.96.
⑥Vladimir Nabokov,Ada or Ardor:A Family Chronicle,pp.548-549.
⑦Vladimir Nabokov,The Gift,pp.86-89.
⑧参见Vladimir Nabokov,Strong Opinions,pp.14,17,166-167;The Annotated Lolita,New York:First Vintage Books Company,1991,pp.414,437;Look at the Harlequins!,New York:McGraw-Hill Book Company,1974,p.122;Lectures on Literature,New York and London:A Harvest/HBJ Book,1980,p.363;Bend Sinister,London:Weidenfeld and Nicolson,1960,p.153.
⑨Lisa Zunshine,ed.,Nabokov at the Limits:Redrawing Critical Boundaries,New York&London:Garland Publishing,Inc.,1999,p.201.
①Gavriel Shapiro,The Sublime Artists Studio:Nabokov and Painting,Evanston:Northwestern University Press,2009,p.194.
②Ralph A.Ciancio,“Nabokovs Painted Parchments,”in Lisa Zunshine,ed.,Nabokov at the Limits:Redrawing Critical Boundaries,pp.235-270.
③Gerard de Vries and D.Barton Johnson,Vladimir Nabokov and the Art of Painting,Amsterdan:Amsterdam University Press,2006,p.19.
④Dmitri Nabokov and Matthew J.Bruccoli,eds.,Vladimir Nabokov:Selected Letters 1940-1977,San Diego:Harcourt Brace Jovanovich,1989,p.508.
⑤Vladimir Nabokov,Speak,Memory,p.63.
⑥Vladimir Nabokov,Glory,McGraw-Hill International,Inc.,1971,p.xii.
⑦Vladimir Nabokov,Pnin,pp.23-25.
①Vladimir Nabokov,Lectures on Literature,pp.379-380.
②Vladimir Nabokov,Strong Opinions,pp.72-73.
③Alfred Appel,Jr.,Nabokovs Dark Cinema,New York:Oxford UP,1974,p.36.
④Peter Quennell,ed.,Vladimir Nabokov:A Tribute,New York:William Morrow and Company,Inc.,1980,p.129.
⑤Dabney Stuart,Nabokov:The Dimensions of Parody,Baton Rouge and London:Louisiana State University Press,1978,p.89.
⑥Alfred Appel,Jr.,Nabokovs Dark Cinema,p.58.
⑦Yuri Leving,“Filming Nabokov:On the Visual Poetics of the Text,”Russian Studies in Literature,2004,Vol.40,No.3,pp.6-31.
⑧Barbara Wyllie,Nabokov at the Movies:Film Perspectives in Fiction,Jefferson and London:McFarland&Company,Inc.,Publishers,2003,pp.1-3.
①Vladimir Nabokov,The Annotated Lolita,pp.15-16,11,39,49,44,48,128,231-232,170,299.
②Alfred Appel,Jr.,Nabokovs Dark Cinema,pp.167-168.
③Yuri Leving,“Filming Nabokov:On the Visual Poetics of the Text”,p.20.
④关于电影制作技巧,参见Torben Grodal,“Film production,”in David Herman et al,eds.,Routledge Encyclopedia of Narrative Theory,London and New York:Routledge,2005,pp.169-170。
⑤Vladimir Nabokov,Laughter in the Dark,New York:New Directions Books,1966,pp.236-240.
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