Thesis (M.A.)--University of Hong Kong, 1999. / Includes bibliographical references (leaf 44).

Thesis (Ph. D.)--University of Chicago, Dept of Comparative Literature, June 2000. / Includes bibliographical references. Also available on the Internet.

Thesis (M.A.)--University of Hong Kong, 1999. / Includes bibliographical references (leaf 44). Also available in print.

Thesis (M.A. in National Security Affairs)--Naval Postgraduate School, June 2005. / Thesis Advisor(s): Anne Clunan, Robert Looney. Includes bibliographical references (p. 69-75). Also available online.

Thesis (M.A.)--University of Canterbury, 2006. / Typescript (photocopy). Includes bibliographical references (leaves 120-123). Also available via the World Wide Web.

Thesis (M.A.)--University of North Carolina at Greensboro, 2007. / Title from PDF t.p. (viewed Oct. 22, 2007). Directed by Christopher Hodgkins and Scott Romine; submitted to the Dept. of English. Includes bibliographical references (p. 27-30, p. 59-64).

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

The works of Vladimir Nabokov have traditionally functioned in a way that challenges its reader to question existing notions of normality. In his works, Nabokov has frequently utilized representations of disability as a means to comment or critique the human condition. Throughout this project I intend to demonstrate how the narratives in both Lolita and Laughter in the Dark function as a normative force which embodies the cultural attitudes regarding disability. This is accomplished through the enforcement of a normative reading by the narrative. It is clear then that Nabakov is attempting to subvert literary conventions by using nontraditional narrators to demonstrate the relativity of normality. Throughout this project, I will be focusing on Nabakov’s use of narrator to distort the cultural line between disability and ability. Ultimately, the goal of this project is to demonstrate that current societal notions of normality and disability are outdated and arbitrary. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2013.

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.

In this dissertation I examine Vladimir Nabokov’s and Gary Shteyngart’s use of family metaphors to manage intersecting Russian and American literary and cultural continuities. Both authors fashion their relationships to literary predecessors and common cultural narratives in terms of disrupted filial relationships, describing both an attachment to the conservative narratives of the nation and a desire to move beyond their rigid structure. I articulate this ambivalence as a productive state of transnational subjecthood that allows these authors to navigate apparently oppositional national identities. Central to this reorientation is a critique of the hierarchical schema of the national canon, which frames literary culture as a determinative series of authoritative relationships. By reimagining these relations as part of a branching network of co-constituting associations, we open the space for transnational subjects to move within and overlap these networks.