俄罗斯文艺

欧美评论界对于纳博科夫的遗作《劳拉的原型》关注的焦点多集中于"该不该出版"的问题。1然而,基于巴赫金的对话性符号学思想,不难发现这部"碎片小说"涵盖了诸多文学主题,体现了纳博科夫的文艺创作观,彰显了作家独特的创作主体性以及文本、作者、读者之间积极的对话性:弗洛拉—劳拉的意象是对古希腊罗马文化传统及犹太神秘传说中神话原型的戏仿,并与《洛丽塔》等小说中的"宁芙"形象产生了鲜明的互文;王尔德的精神死亡实验赋予了作者与文本沟通的空间,影射了风烛残年的纳博科夫对于死亡、涅槃与彼岸世界的独到见解;再者,这部"碎片小说"在情节上虽不完整,但却以一种开放文本的存在方式,引导构建性的读者参与文本阅读与意义建构,从而使审美活动中的作者、文本、读者之间的对话成为可能。

Concerning Nabokov's posthumous The Original of Laura,European and American critics mostly focus on the problem of "whether it should be published or not".However,based on Bakhtin's semiotic theory of dialogue,we may find that the novel covers various literary themes,profoundly embodies Nabokov's basic creation concept,reveals his unique creative subjectivity,and highlights the active dialogue between text,writer and reader:the image of Flora–Laura is a parody on the ancient Greek and Roman cultural tradition and the Jewish mystical prototype,forming an obvious intertextuality with "nymphs" in Lolita and Nabokov's other novels.Wilde's spiritual death experiment gives the twilight Nabokov the space of communication with his text,alluding to his distinctive understanding about death,nirvana and the other world.Moreover,this "novel in fragments",although without a complete plot,exists as an open text,guiding constructive readers to participate in reading and construction of meanings,thus realizing the dialogue between writer,text and readers in aesthetic activities.