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In this essay different aspects of the motif of the criminal have been traced in Lotta Lotass’s Min röst ska nu komma från en annan plats i rummet and Vladimir Nabokov’s Lolita. By seeking its representation in the texts, the intention was to show how themes, stylistic patterns and narrative functions interrelate in the construction of the motif. The perpetrator’s position within the narrative structure and its consequences have also been assessed. By discussing the meta-fictive aspects of the novels I stressed the importance of the reader’s function, arguing the reader’s participation in the construction of the motif.

My thesis centers on Lolita and The Crying of Lot 49 and the ways in which both novels defamiliarize our world and ways of thinking. Both novels use formal literary techniques as a way of making ordinary cultural artifacts, situations, and environments seem unfamiliar from our every day perceptions. This process of defamiliarizing the regular and everyday has the greater implications of estranging universal themes such as love, environment, and belonging. Both novels also question our precarious hold on corporeal reality by interpreting plot through two outside narrators whose trustworthiness is constantly placed into question. Unsurprisingly, Lolita and The Crying of Lot 49 unsettle the categories of truthfulness and reinvention in interpreting America's immediate cultural and environmental landscape. Both texts blur the distinction between recorded and imaginatively reconstructed worlds: just so, America has isolated our two narrators in the text from their immediate landscape. Interpretations of America are questioned in the thesis through the process of Shklovsky's theory of Defamiliarization interfaced with Freud's Uncanny in the novel. Language disobedience and discord also play a part and will be discussed through Bakhtin's theories on polyphonic language.

An ethnographic work about Japanese women who wear Lolita fashion, based primarily upon anthropological field research that was conducted in Tokyo between May and August 2014. The main purpose of this study is to investigate how and why women wear Lolita fashion despite the contradictions surrounding it. An additional purpose is to provide a new perspective about Lolita fashion through using interview data. Fieldwork was conducted through participant observation, surveying, and multiple semi-structured interviews with eleven women over a three-month period. It was concluded that women wear Lolita fashion for a sense of freedom from the constraints that they encounter, such as expectations placed upon them as housewives, students or mothers. The thesis provides a historical chapter, a chapter about fantasy with ethnographic data, and a chapter about how women who wear Lolita fashion are related to other fashions as well as the Cool Japan campaign.

During the spring of 2014, I have investigated the visual culture of Lolita as practiced in Sweden and Japan. My focus has been on the performative aspect of Lolita. By looking and participating in this colorful subculture, I have met people who are living the Lolita lifestyle on a daily basis as well as former Lolita practitioners. My main concern has been how does one use Lolita. I’ve tried to investigate if it is possible to look at Lolita as being more than just a clothing style. Can it be seen as an everyday performance? Can it be seen as a kind of subversive counterpart to the images of femininity that we are being fed everyday from media and via tradition? In my text I argue for the opportunity to consider the Lolita movement as a post-structuralist version of the female masquerade. By enhancing many of the attributes that are traditionally linked to femininity in the West, the Lolita style highlights the conflicting aspects of the female gender role. With her doll-like silhouette the Lolita crosses, breaks down and defies everyday boundaries.   I have organized Lolita workshops in Stockholm and Tokyo. At these gatherings I and other participants have discussed the topic of Lolita while dressed in Lolita clothes. The participants have answered a survey, and the whole arrangement has been concluded with a tea party performance. I have recorded these sessions on film and with photography and written down my impressions afterwards. I have also met with people who are former Lolita practitioners in Sweden and Tokyo and interviewed them.   The visual portrayal of my work is a short film where I present the making and use of Lolita as a dreamlike vision; PERFORMING LOLITA, which was exhibited at the Konstfacks Spring exhibition 2014. In the movie I change the settings from Tokyo to Stockholm and back by using slow motion clips connected by transitions. The original soundtrack is made by Linus Hansson.

CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior / A presente dissertaÃÃo analisa a traduÃÃo da personagem Lolita, de Vladimir Nabokov, para o filme homÃnimo de 1997, dirigido por Adrian Lyne. No romance Lolita (1955), a protagonista à uma menina de 12 anos que tem sua vida transformada apÃs ser alvo de uma paixÃo obsessiva por parte de Humbert Humbert, um homem adulto e bem mais experiente do que ela e que logo se torna seu padrasto. Diante de tal situaÃÃo, a personagem apresenta alguns traÃos de comportamento que podem gerar certo grau de ambivalÃncia quanto à composiÃÃo de seu carÃter na narrativa literÃria, as quais muitas de suas atitudes podem ser interpretadas tanto como fruto de uma ingenuidade infantil quanto como jogos de atributos sedutores de uma mente ardilosa. Nesta pesquisa, investigamos, especificamente, as estratÃgias do diretor na transmutaÃÃo das ambiguidades da personagem Lolita do romance para o cinema. Partimos da hipÃtese de que a protagonista como sÃmbolo da ninfeta, isto Ã, da garota sedutora, foi a faceta mais enfatizada na adaptaÃÃo fÃlmica, devido Ãs questÃes inerentes tanto à poÃtica do diretor, quanto Ãs produÃÃes hollywoodianas da dÃcada de noventa. Como fundamentaÃÃo teÃrica, recorremos aos pressupostos de Even-Zohar (1978), sobre a teoria dos polissistemas, e Ãqueles de Toury (1995), que se referem aos estudos da traduÃÃo com Ãnfase no fator cultural, considerando a influÃncia que a cultura de chegada exerce sobre o processo tradutÃrio. Trabalhamos tambÃm com o conceito de reescritura de Lefevere (2007), que enfatiza o contexto histÃrico e cultural dos textos traduzidos. Sobre a relaÃÃo entre literatura e cinema, empregamos os estudos de Cattrysse (1992), Stam (2008) e Xavier (2003). Por fim, baseamo-nos tambÃm nos postulados de CÃndido (2007) e Gomes (2007), no que se refere à construÃÃo de personagens literÃrias e fÃlmicas, alÃm de estudos prÃvios sobre Lolita, tais como aqueles de Agueros (2005) e Lazarin (2010). Os resultados mostraram que as estratÃgias utilizadas para apresentar a personagem Lolita nas telas intensificam o mito da ninfeta, da femme fatale, que permeia seu nome desde suas primeiras traduÃÃes. Por isso, na adaptaÃÃo, Lolita pode ser interpretada como a anti-herÃina de sua prÃpria histÃria enquanto Humbert se torna o herÃi apaixonado / This dissertation analyzes the translation of Lolita character, by Vladimir Nabokov, to the eponymous film made in 1997, directed by Adrian Lyne. In the novel Lolita (1955), the man character is a 12 year-old girl whose life changed when she had started being stalked by Humbert Humbert, a grown-up and much more experienced man who soon becomes stepfather of hers. By facing this situation, Lolita is seen as a character who has some behavioral traits that give us an ideia of ambivalence about her presentation in the novel. Many of Lolita‟s attitudes can be interpreted either the result of a childish naivety or as kinds of games created by a cunning mind. In this study, we investigate, specifically, the strategies used by the director to transmute Lolita‟s ambiguities from the novel Lolita to the cinema. Our hypothesis is that the protagonist as a symbol of nymphet, that is, the seductive girl, was the most emphasized aspect in the film adaptation due to the inherent issues both related to the director‟s poetic and the types of Hollywood productions in the nineties. As theoretical background, we take the Even-Zohar‟s assumptions (1978), on the theory of polysystem, and the Toury‟s ones (1995), which refer to translation studies with emphasis on cultural factor, considering the influence of the target culture has on the translation process. We also work with the concept of rewriting by Lefevere (2007), which emphasizes the historical and cultural context of the translated texts. On the relationship between literature and film, we deal with the studies by Cattrysse (1992), Stam (2008) and Xavier (2003). Finally, we also rely on postulates by Candido (2007) and Gomes (2007), regarding to the construction of literary and filmic characters, and Lolita previous studies, such as those by Agueros (2005) and Lazarin (2010). The results pointed that the strategies to present the character Lolita on screen intensify the myth of the nymph, the femme fatale, which permeates its name from its first translations. Therefore, in the adaptation, Lolita can be interpreted as the anti-heroine of her own story while Humbert becomes the passionate hero

The concept of the unreliable narrator has been studied in academic circles for the last fifty years. When an author decides to create unreliable narration, there is a reason for it. This essay compares the unreliability in Vladimir Nabokov’s Lolita and Agatha Christie’s The Murder of Roger Ackroyd, using theories formulated by Tamar Yacobi, Bruno Zerweck, Therese Heyd, James Phelan and Amit Marcus. In The Murder of Roger Ackroyd the technique of other-deceptive narration is used by Christie. In Lolita the unreliability is complex. Using both other-deception and self-deception to create discrepancies between descriptions of the same event and phenomenon, Nabokov succeeds in creating an intricate unreliability. The effects of the unreliability in both novels, however, create an emotional bond between the reader and the narrator. The reader can be emotionally cathected to the narrator, even if the narrator is clearly a criminal.

Lolita fashion is a small youth fashion that originated in Japan but is inspired by historical western clothing. The clothing is not sexual in nature. Most studies look at the style in Japan, but the fashion has also found popularity overseas. This paper takes an ethnographic approach to studying the Lolita community in the United States by comparing two regional communities, Houston and South Florida. The research found that the largest difference between the two groups was size and community involvement, with Houston as the larger group and the smaller South Florida group being more concerned with group activity. The study found that compared to the strong subversive element of the wearers in Japan, the United States community at large appears to be motivated by Lolita as a creative outlet. There was no support of the idea that aging played a role in what kind of Lolita fashion was worn. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2017. / FAU Electronic Theses and Dissertations Collection

Goethe's Faust and Nabokov's Humbert both are erudite, middle-aged European scholars who, experiencing a convergence of academic and existential ennui, set eyes upon a young girl and instantly are consumed with lust. In both works the girls' widowed mothers die as a result of the protagonists' lustful intentions; a cross-country flight ensues; the once-respected scholars are wanted for murder; and Gretchen and Lolita each suffer from their sexual and emotional objectification. But the connections between Goethe's play and Nabokov's novel extend far beyond plot points, or even their decidedly different receptions in early 19th century Germany versus mid-20th century America. Each incorporates thematic elements of temptation, sin, moral versus societal law, and perhaps, most important, damnation versus possible redemption. Combined, these striking thematic and textual similarities raise the compelling argument that Nabokov consciously and deliberately was reworking the Faust legend for a modern American audience. Moreover, this hidden compositional structure to a novel that many have called one of the greatest works of twentieth century American literature was one of Nabokov's most jealously guarded secrets, one he took deliberate measures to ensure never would be uncovered. And until now, that has been the case.Part of the reason may lie in Nabokov's often kaleidoscopic use of Goethe's famous play. In Goethe's version of the legend, for instance, the wager for Faust's soul between the Lord and Mephisto is rendered explicitly in the "Prologue in Heaven" scene. In Lolita, however, this soul-battle is rendered implicitly. Humbert makes repeated references to the dual forces of "God" or "winged gentlemen of the jury," for example, or else to the demonic element personified by what he calls "McFate." At any moment, he fears one or the other may steal from him his life's deepest hunger: to possess a nymphet. Through an examination of both primary and secondary texts, this dissertation connects and illustrates the hidden structure of Goethe's Faust in Nabokov's Lolita. Furthermore, it is argued that this structure allowed Nabokov to rhetorically address issues of deepest concern to him, most notably the future immortality of the human soul.

Vladimir Nabokov's passion for detail is well-known, central to our very idea of the "Nabokovian." Yet Nabokov's most important claims for detail pose a challenge for the reader who would take them seriously. Startlingly extreme and deliberately counterintuitive -- Nabokov called them his "irrational standards" -- these claims push the very limits of reason and belief. Nabokov's critics have tended to treat his more extravagant claims for detail -- including his assertion that the "capacity to wonder at trifles" is the highest form of consciousness there is -- as just a manner of speaking, a form of italics, a bit of wishful thinking, a mandarin's glib performance, or an aesthete's flight of fancy. This dissertation, by contrast, asserts that Nabokov meant what he said, and sets out to understand what he meant. Nabokov's passion for detail, I argue, represents more than a stylistic preference or prescription for good noticing. Rather, it reflects and advocates for a special way of being in the world, of disposing or orienting oneself to things, and for this reason is best understood as part of a broad program of detailphilic habits, attitudes, practices and attunements Nabokov adhered to throughout his life. In making this argument, I draw on the work of a wide array of thinkers, including Descartes, Heidegger, Richard Rorty, Clifford Geertz, and Philip Fisher, and focus on three of Nabokov's texts in particular: Speak, Memory, Lolita, and "The Art of Literature and Commonsense." Making sense of Nabokov's irrational standards, I argue, helps us to make sense of a number of other critical puzzles as well, from what, exactly, Nabokov means by the word "reality" to what a cruel noticer like Humbert Humbert implies about the moral meaning of passionate attention.