Rev. Diss. Univ. Paris IV, 1994.

This study explores the intentions of the character Humbert Humbert in Vladimir Nabokov’s Lolita, as well as the outcome of his words. It also examines the intended as well as the unintended effects on the reader. Humbert’s attempt to lure in the reader by twisting the truth and deflecting blame is analyzed by using worldmaking and victim-blaming. Through worldmaking it is shown that the perception of the world differs almost as much between different readers as it does between Humbert and the reader. Despite the difference in reader experience, Humbert’s failure to convince any reader of his innocence is inevitable. He even, in part, fails to convince himself. His inability to accept blame slowly diminishes as he reexperiences his vile relationship with the innocent Dolores Haze.

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2017-12-18T13:38:18Z No. of bitstreams: 2 Tese - Gilson Vedoin - 2017.pdf: 3089314 bytes, checksum: 890dcc690bf1417298a75102a5c9df05 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-12-18T13:39:09Z (GMT) No. of bitstreams: 2 Tese - Gilson Vedoin - 2017.pdf: 3089314 bytes, checksum: 890dcc690bf1417298a75102a5c9df05 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-12-18T13:39:09Z (GMT). No. of bitstreams: 2 Tese - Gilson Vedoin - 2017.pdf: 3089314 bytes, checksum: 890dcc690bf1417298a75102a5c9df05 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-12-01 / Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG / The present work anchors on the attempt to investigate within the fiction novel by the French writer Lolita Pille and the Brazilian André Sant’Anna, the formal and thematic alterations which the romance novel has been showing to represent the experiences from the individuals integrated into the contemporary world – hypermodern age and hyperstage, thus relating to Gilles Lipovetsky (2009). As attested by Mikhail Bakhtin (1988) and Marthe Robert (2007), if the romance novel never reaches its limits, it is possible to glimpse new forms of the romance representation in the fictions of Pille and Sant’Anna. The content from their works is demarcated by the use of expressive strategies that try to accentuate the impoverishment of the characters’ configurations and relations stablished among them, as always written in an immediate space, detatched from the modern universalism and marked by the cacophony of signs and symbols from the global consumerism that is abundant in the hypermodern and hyper stage era. This is the age in which culture loses its monolithic and elevated status, now becoming a matter of media, therefore, crossed by the pluralism of the massive, imaginary and multimedia forms, inherent to the consumerist cosmos, and in which once were postponed to ostracism by the high modernism. Thus, certain form of contemporary narratives, and here are inserted the novels Bubble gum (2004), by Lolita Pille and O paraíso é bem bacana (2006), by André Sant’Anna, instead of representing the materiality of the real, end up absorbing a discursive style adapted from the media and hyperstage culture, developing a prose ruled by a “video style” or “videography” (JAMESON, 2002; DUBOIS, 2004), which contributes to doubt on the analytic paradigms used by modernity in what refers to the novel aspect and hermeneutic meaning aroused by the work in the receiver. In this sense, the thesis procedures on an analytic study on the two referred novels, lining up on a bibliographic and quality research, as also as treading an investigative course that focus on highlighting how the social contexts of the novels articulate themselves under the literary, sociologic, historical and cultural points of view. From this perspective, oriented by the notion of concepts inherent to the field of culture and contemporary studies, we will promote an analysis on the intrinsic structural processes regarding each novel lastly directing to the search of elements thatprove their resistance, or not, to the standards set by the order of globalized capitalism. / O presente trabalho se ancora na tentativa de investigar, a partir do estudo da obra ficcional da francesa Lolita Pille e do brasileiro André Sant’Anna, as alterações formais e temáticas que ogênero romanesco vem registrando para representar as experiências dos indivíduos integrados ao mundo contemporâneo – era hipermoderna e do hiperespetáculo, para usar as conceituações de Gilles Lipovetsky (2009). Conforme atestam Mikhail Bakhtin (1988) e Marthe Robert (2007), se o gênero romanesco nunca atinge seu limite, podem-se vislumbrar novas formas de representação romanesca na ficção de Pille e Sant’Anna. O conteúdo de suas obras é demarcado pelo uso de estratégias expressivas que almejam acentuar o empobrecimento da configuração das personagens e das relações estabelecidas entre si, sempre transcorridas num espaço imediatista, desvinculado do universalismo moderno e demarcado pela cacofonia dos signos e símbolos do consumo global que permeiam a era hipermoderna e do hiperespetáculo. Essa é a época em que a cultura perde seu caráter elevado e monolítico, tornando-se uma questão de mídia e sendo, portanto, atravessada pelo pluralismo das formas imagéticas, massivas e multimidiáticas inerentes ao universo do consumo, e que outrora foram relegadas ao ostracismo pelo alto modernismo. Desse modo, certa modalidade de narrativas contemporâneas, e aqui se insere o romance Bubble gum (2004), de Lolita Pille e a obra O paraíso é bem bacana (2006), de André Sant’Anna, ao invés de representar a materialidade do real, acabam por absorver alguns modos de escrituras da cultura midiática do hiperespetáculo, produzindo uma prosa pautada por uma “estética do vídeo” ou “videografia” (JAMESON, 2002; DUBOIS, 2004), contribuindo para colocar em xeque os paradigmas analíticos utilizados pela modernidade no tocante a forma romanesca e o sentido hermenêutico suscitado pela obra no receptor. Nesse sentido, a tese tem como procedimento o estudo analítico dos referidos romances, pautando-se na pesquisa de cunho bibliográfico, qualitativa, e andando num percurso investigativo que visa evidenciar como se articula o social sob o qual as obras se assentam do ponto de vista literário, sociológico, histórico e cultural. Dessa perspectiva, orientada pela noção de conceitos inerentes ao campo dos estudos culturais e do contemporâneo, será realizada uma análise dos processos estruturais intrínsecos relativos a cada obra, chegando, por fim, à busca de elementos que comprovem sua resistência ou não aos padrões instituídos pela ordem do capitalismo globalizado.

Made available in DSpace on 2016-03-15T19:46:58Z (GMT). No. of bitstreams: 1 Fernanda Cristina Araujo Batista.pdf: 3619358 bytes, checksum: 16900d05c8f15fa7ca1ce34f689f8932 (MD5) Previous issue date: 2010-08-12 / Fundo Mackenzie de Pesquisa / This paper aims at analyzing the relation between Vladimir Nabokov s novel Lolita (1955) and Stanley Kubrick s and Adrian Lyne s film adaptations of the novel, the former released in 1962 and the latter in 1997. We will base our study on French semiotics, also known as greimasian semiotics, to analyze the effects of meaning created by the different actantial roles played by the narrator, Humbert Humbert, in the novel and the strategies used in the filmic discourses to create the same effects in certain sequences in order to honor the original work or, on the contrary, to create different effects in order to revise it in some aspects, adapting it to their target audience, which was different from the one which had only had contact with the book because they lived in a different time and had expectations of how the movies would treat controversial subject matters that had been raised in the novel. / Esta dissertação analisará a relação entre o romance Lolita (1955), de Vladimir Nabokov, e as adaptações fílmicas, de Stanley Kubrick, de 1962, e de Adrian Lyne, de 1997. Tendo por base a teoria da semiótica de linha francesa, também conhecida como semiótica greimasiana, para tratar dos efeitos de sentido gerados pelos diferentes papéis actanciais que o narrador Humbert Humbert assume no romance e das estratégias utilizadas no discurso fílmico a fim de criar os mesmos efeitos e reverenciar a obra de base em determinadas sequências ou, pelo contrário, com o objetivo de criar efeitos diferentes como forma de revisar o texto de origem em alguns aspectos, adequando-o ao público-alvo da produção fílmica, cujo perfil é diferente devido à época em que viveram e às expectativas que tinham a respeito do modo como os filmes tratariam o tema polêmico do romance.

Master's thesis: Victorian era fashion theoretical and practical source of inspiration. Theoretical part of thesis explores fashion in 19 th century in UK in the context of contemporary facts. Thesis describes a development in particular parts of women's clothing which reflects former spirit and culture. In the next chapter is discussed how Victorian England has inspired nowadays fashion and its impact on modern subcultures. There are additionally added images for deeper understanding of this complex phenomena. Practical part of the thesis consists of development of ball jointed doll which was inspired by Victorian fashion. In addition, it includes sketches and workflow with visualization.

In this essay, I analyze Vladimir Nabokov's novel Lolita from an ecocritical perspective. I try as far as possible to ignore the pedophile theme and instead focus on the thematic environment: nature, places and language. I then discuss this with Greg Garrard's Ecocriticism, Timothy Morton's ecocritical theories and Leo Marx's The machine in the garden, among others. I come to the conclusion that the pedophile theme is depicted against the American pastoral, which is also used as a rhetorical tool by the novel's main character and narrator. / I den här uppsatsen analyserar jag Vladimir Nabokovs roman Lolita ur ett ekokritiskt perspektiv. Jag försöker så långt som möjligt bortse från det pedofila temat och i stället riktas mitt fokus på den tematiska omgivningen: naturen, platserna och språket. Detta diskuterar jag sedan med hjälp av bland annat Greg Garrards Ecocriticism, Timothy Mortons ekokritiska teorier samt Leo Marxs The machine in the garden. Jag kommer fram till att det pedofila temat skildras mot den amerikanska pastoralen, vilken också används som retoriskt redskap av romanens huvudkaraktär och berättare.

The goal of this study was to examine if, how, and why sympathy and empathy was created in Nabokov’s two narratives dealing with pedophilia; Lolita and The Enchanter. A large amount of research did exist on this subject regarding Lolita, but not on The Enchanter. Since Nabokov has referred to The Enchanter as a kind of pre-Lolita in the “Authors Note One” in The Enchanter, I thought it would be interesting to see what similar techniques he used to generate sympathy and empathy from the reader in the two books, and to examine if they had any differences regarding the subject. After a close reading of the books, some defining features could be found to be connected to sympathy and empathy. These features had to do with the narration, the form, and the language. The protagonists used these different feature to create a bond with the reader, a bond that is then used to make the reader feel for or/and with the protagonists. Lolita is a longer, more developed, and more comprehensive story than The Enchanter which gives Humbert more time to create and use this bond with the reader. Therefore, Lolita is more likely to generate empathy and sympathy from the reader. If a reader experiences those emotions though, depends on the individual reader. All I have presented in this essay is related to how Nabokov invite empathy and sympathy from the reader when reading Lolita and The Enchanter. That does not mean all readers experience these emotions since it is an individual process that depends on how each reader interprets the narrative.

This paper seeks to establish a critical understanding of issues of sexualization and re-appropriation and how they relate to contemporary fashion advertising that specifically utilizes the Lolita Effect.

Magister Educationis - MEd / An important aspect of my thesis is the discussion of the various narrators in the novel; Vladimir Nabokov, John Ray Jnr. and Humbert Humbert. The novel, or Humbert’s memoirs, is only published after Lolita has died in order to preserve her dignity. John Ray Jnr. is the psychologist who is charged with editing Humbert's memoirs to ensure that no lewd details are published. This brings problems of their own, as we find that John Ray Jnr. has clear moral perceptions of Humbert as a person. This effectively creates a fiction within a fiction, which is already set in the fictitious genre of the novel. Vladimir Nabokov arguably informs the novel with his own ethics and ethos. This interrogates the reliability of the narrators and calls into question the truth-value of fiction and the inappropriateness of the law to ban fiction that discusses taboo issues. The main aim of my thesis is to discredit Humbert as a reliable narrator and character by analysing the taboo issues of paedophilia, incest, rape and murder. This will be done in order to show how Nabokov proposes alternative morals by deconstructing traditional morality using taboo topics in fiction

SILVA, Jardas de Sousa. A transmutação da personagem Lolita de Nabokov da literatura para as telas. 2015. 93f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Letras, Fortaleza (CE), 2015. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2015-06-08T11:06:55Z No. of bitstreams: 1 2015_dis_jssilva.pdf: 1951774 bytes, checksum: b9e030e75645a5793d4448ec4ab3ae15 (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2015-06-08T12:55:38Z (GMT) No. of bitstreams: 1 2015_dis_jssilva.pdf: 1951774 bytes, checksum: b9e030e75645a5793d4448ec4ab3ae15 (MD5) / Made available in DSpace on 2015-06-08T12:55:38Z (GMT). No. of bitstreams: 1 2015_dis_jssilva.pdf: 1951774 bytes, checksum: b9e030e75645a5793d4448ec4ab3ae15 (MD5) Previous issue date: 2015 / 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. / A presente dissertação analisa a tradução da personagem Lolita, de Vladimir Nabokov, para o filme homônimo de 1997, dirigido por Adrian Lyne. No romance Lolita (1955), a protagonista é uma menina de 12 anos que tem sua vida transformada após 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 situação, a personagem apresenta alguns traços de comportamento que podem gerar certo grau de ambivalência quanto à composição de seu caráter na narrativa literária, 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 estratégias do diretor na transmutação das ambiguidades da personagem Lolita do romance para o cinema. Partimos da hipótese de que a protagonista como símbolo da ninfeta, isto é, da garota sedutora, foi a faceta mais enfatizada na adaptação fílmica, devido às questões inerentes tanto à poética do diretor, quanto às produções hollywoodianas da década de noventa. Como fundamentação teórica, recorremos aos pressupostos de Even-Zohar (1978), sobre a teoria dos polissistemas, e àqueles de Toury (1995), que se referem aos estudos da tradução com ênfase no fator cultural, considerando a influência que a cultura de chegada exerce sobre o processo tradutório. Trabalhamos também com o conceito de reescritura de Lefevere (2007), que enfatiza o contexto histórico e cultural dos textos traduzidos. Sobre a relação entre literatura e cinema, empregamos os estudos de Cattrysse (1992), Stam (2008) e Xavier (2003). Por fim, baseamo-nos também nos postulados de Cândido (2007) e Gomes (2007), no que se refere à construção de personagens literárias e fílmicas, além de estudos prévios sobre Lolita, tais como aqueles de Agueros (2005) e Lazarin (2010). Os resultados mostraram que as estratégias utilizadas para apresentar a personagem Lolita nas telas intensificam o mito da ninfeta, da femme fatale, que permeia seu nome desde suas primeiras traduções. Por isso, na adaptação, Lolita pode ser interpretada como a anti-heróina de sua própria história enquanto Humbert se torna o herói apaixonado.