Abstract This paper examines the use of the literary device, framed narrative, in Nabokov's "Lolita." First, the paper defines the term framed narrative. It then suggests that this device was used in "Lolita" because of the novel's controversial content. Finally, the author suggests that Nabokov may have used framed narrative to protect himself, and possibly his position as a tenured professor.
From the Paper "As for Nabokov's note at the end, called "On a Book Entitled Lolita" (pp. 313-319), Lolita's true author ("Foreword" included), Vladimir Nabokov, comes clean immediately, in the first line of this "afterward" note to the reader, about his "impersonation of suave John Ray" (Nabokov, Lolita, p. 313). Nabokov then tells us in detail about both the genesis of, and the creative processes that went into his writing of Lolita, assuring us along the way that (1) the original idea for Lolita was a very old one, and has in fact seen several metamorphoses, on two continents, before finally emerging into the public eye, as the book it is today; (2) his urge to write it was solely a literary one (and he has in fact been writing novels, in not one language but two, since 1924), and once the idea finally emerged into the raw form of a novel, he had no creative choice but (like an itch that simply must be scratched) to finish it; (3) that he had initially been reticent to sign his own name to the book; (4) that he is in fact a stably married man, with hobbies, interests, and a routine kind of life ("Every summer my wife and I go butterfly hunting" (p. 314)), and that this particular work, his own artistic creation Lolita, is a work of art, not pornography (". . . in pornographic novels, action has to be limited to the copulation of cliches", p. 315)"
Abstract This paper explains Nabokov's ultimate theme is the meaning and loss of identity, the moment where the soul is either subsumed into another or finds its grounds for resistance. The author points out that Nabokov creates a grand insecurity of being through words and through story and forces his readers to confront the fact that they themselves are no more stable in their being than are the characters they peruse. The paper relates that the Nabokov's infamous work, "Lolita," is a sordidly poetic novel representing in microcosm much of the pathos and glory of all his work.
From the Paper "Both short stories, "That in Aleppo Once..." and "Conversation Piece," have in common themes, which address the high costs of turning other living people into fantasies. In "Conversation Piece" there are certain obvious costs, such as the way that the narrator is consistently getting arrested, molested, or harrassed in place of his double. However, there is also an undertheme of the more severe costs of fantasizing others rather than letting them be themselves. This is evident in the narrator's inability to express his opinions regarding the harms, which Nazi-ism had done to the women who probably needed to hear it, because he could not get past his stereotype of them as blind and sterile individuals, and his vision of Germans as murders or worse."
Abstract This paper looks at how VladimirNabokov's Humbert Humbert is a prime example of a character that forces the general public to reconsider what they view as acceptable behavior in literature and society and how throughout the book Nabokov demands of his readers a very personal analysis not only into his writing but into the reader's own sense of decency. It contends that while Nabokov's story is hardly pornographic, it deals heavily with the idea of child molestation though it is never expressly called that in the book and how, while it is now considered one of the greatest books ever written, it is still a testament to the fact that the idea of exploring the sexual misdeeds of a grown man with a child will always result in strong emotions from the reader.
From the Paper "This depraved sense of normalcy lends itself to many uncomfortable moments throughout the book. Humbert is a man destined to be his own undoing. An emotionally clumsy man, he sees himself as very subtle and stealthy yet to the reader his agenda is very transparent. This becomes clear from the first day Humbert meets Lolita. After moving from Europe to the United States he ends up boarding with a woman named Charlotte Haze. From the moment he walks in the door of her home the reader is acutely aware of his desire to flee. He is immediately turned off by the state of her home and we see that it is quite obvious to the Haze woman. His attitude changes immediately however as soon as he sets eyes on Lolita. "
Abstract This paper summarizes Nabokov's novel about an older man's obsessive love and lustful desire for a young girl and points out that, however beautifully written the novel, sexuality between an adult and child is as morally unacceptable and criminally punishable today as it was in the mid-Fifties when the story was written.
From the Paper "Humbert begins his manuscript expressing his passion and love for "Lolita, light of my life, fire of my loins. My sin, my soul". standing four feet ten in one sock. She was Lola in slacks. She was Dolly at school. She was Dolores on the dotted line. But in my arms she was always Lolita? (Nabokov pp 9). Nabokov's character then goes on to describe his childhood and his adolescent relationship with the ?girl-child,? Annabel, whom he referred to as the "precursor" to Lolita (Nabokov pp 9). Of Humbert's encounter with Annabel, Nabokov writes that she would "let me feed on her open mouth, while with a generosity that was ready to offer her everything, my heart, my throat, my entrails, I gave her to hold in her awkward fist the scepter of my passion" (Nabokov pp 15). This brief sexual encounter ended before climax when the two were interrupted by chance onlookers. Annabel died some four months later."
Abstract The paper looks at two of the twentieth century's greatest English-language writers, noting that they were exiles throughout their working lives. The conditions of their exile were entirely different, but some of the effects on their writing were similar. According to the paper, Joyce's "A Portrait of the Artist as a Young Man" (1916) and Nabokov's "Lolita" (1958) are primarily works of exile.
From the Paper "Joyce determined at an early age that conditions in Ireland and the essentially lonely condition of the artist made exile the only choice for him. He made the surprising decision, following graduation from University College to take up medical studies in Paris in 1902. But in 1903 he was called back to Dublin by the fatal illness of his mother. In Ireland Joyce met his future wife Nora Barnacle and determined once again to make his escape to the Continent. He left Ireland again in 1904 for what became permanent exile on the continent, living at Trieste, Zurich, Rome, and, principally, Paris."
Abstract The paper discusses Nabokov's novel, "Lolita," that focuses on the invalid nature of the narrator's attempted justification for why we should not judge him morally for his seduction of a prepubescent nymphet.
From the Paper "Because of its depiction of the sexual obsession of a suave literary pedophile's for a prepubescent girl, Vladimir Nabokov's "Lolita" shocked readers and critics alike upon publication. However, the narrator Humbert attempts to provide us with an account of his nymphet love in a manner that tries to justify his pedophilia as driven by an artistic aesthetic."
Abstract This paper examines the leadership of Putin from his ascension to power after the resignation of Boris Yeltsin on December 31, 1999. It looks at how it was the first totally free and democratic election and transfer of power in that nation's history. In particular, the paper discusses his attempt to turn around the economy and how he has failed to fix an economic system that badly needed reform.
Outline
Brief Introduction to Vladimir Putin's Life
Vladimir Putin, His Presidency, and the Russian Economy
From the Paper "When Yeltsin resigned and turned over the reins to Putin December 31, 1999, Putin's "initial act as president" (415) was very controversial in that he agreed to sign "a decree granting retiring President Yeltsin and his family a series of benefits and privileges." Those privileges included "immunity from criminal investigation or prosecution," according to the book by David MacKenzie and Michael Curran.
In fact, it looked to observers like the free pass for Yeltsin - protecting him against any possible investigations regarding possible wrongdoing while he was in office - was part of the deal in which Yeltsin wanted to turn power over to Putin. "
Abstract This paper discusses how we can conclude that the purpose of life for Estragon and Vladimir in "Waiting for Godot" is to wait for the arrival of Godot. Although Godot probably never will arrive, nonetheless the conjecture that he might arrive affects their actions in the play in both beneficial and baneful ways. The paper examines how Godot could be argued as both having positive and negative effects on Vladimir and Estragon. Godot does ultimately immobilize them in one place to wait for someone that may never come and keeps them from utilizing the road to travel to better places, but he also gifts them with friendship, hope, and the possibility of change.
From the Paper "The importance of the arrival of Godot as a provider of hope, purpose, and change for Estragon and Vladimir can be noticed during their many exchanges of despair and faith throughout the play. Their strong desire for Godot is felt during the first appearance of Pozzo when Estragon and Vladimir, thinking that he is Godot, are filled with aspiration, but their reactions are soon converted to one filled with dismay, as Vladimir declares, "Not at all!" followed by Estragon's timid response, "You are not Godot, sir?" (19). Estragon's timid expression and Vladimir's strong declaration demonstrate the shock that they both feel when they discover that Pozzo was not Godot, which signify Godot's importance to them. "
Abstract This paper presents a detailed examination of Russian President, Vladimir Putin. The paper explores Putin's life and his rise to power during the most unsettled time in the nation. The paper discusses what keeps Putin popular as well as some of his political platforms on how to rebuild the nation.
Outline:
Introduction
How He Got There
Putting It Together
Conclusion
From the Paper "To fully understand how he became the president it is important to understand the type of man that he is. Putin decides what he wants and he goes for it. This has been illustrated throughout his life. First when he was a child and wanted to gain a command of the English and German languages he devoted himself to doing exactly that. While other students might have approached it as something they were required to do by teachers, Putin knew that having several languages at his disposal would help him achieve his goals later in life therefore he became proficient in them both(HIS LIFE http://vladimirputin.4u.ru/).
The same styled passion was seen when he was a boy and decided to study self defense sports. Many boys take sports including self defense sports, and they attend tournaments at the instruction of their masters and their parents, however, in Putin's case he decided early on that he was going to excel and become a master in the sports that he studied. He worked hard, he practiced he examined his shortcomings and strengthened them until he gained a reputation as one of the best in the area and attained the title of master. "
Abstract This paper gives a brief history of the life of the author VladimirNabokov and analyzes its effect on his writings which are perceived to be semi-biographical. VladimirNabokov wrote about the world in which he lived, the first half of the twenty first century and the central theme of his works, death.
From the Paper "Nabokov's literary style builds rich characters in a short period of time. We get to know their inner thoughts with very few words. Nabokov gives us a brief, but in depth look into a particular moment in his character's lives. His style is soft and flowing until the very last sentence, when he very abruptly slips in a plot twist in the last line. "Revenge" and ?Conversation Piece, 1945? are works which illustrate this style clearly."
Abstract This paper discusses VladimirNabokov's work, "Lolita", focusing on Nabokov's masterful use of the English language in spite of it not being his native tongue. The paper discusses and analyzes the symbols and fictional devices used by the author, the relationship between the reader and the narrator of the book, and Nabokov's discourse technique.
From the Paper "As a matter of fact, Humbert lures the reader into believing that repulsiveness he might feel when reading the story is due only to his less poignant perception as compared to that of the author. Humbert already attempts to narrow the circle and entrap the reader into his vision, by making him share his perception. Cunningly, he presents his 'theory', according to which only certain girls between the age of nine and twelve can be regarded as 'nymphets', while the other are plain, normal children. Moreover, this heightened sense of perception and the ability to distinguish a nymphet from a plain girl is given only to an artist or a madman."
Abstract This paper examines how the life and literary work of Russian emigres draws upon a very distinct Russian tradition of intellectuals in exile and how both the Russian Empire and Soviet Union had many exiles, both inside the empire and outside it. It looks at how many of those that left voluntarily early in their lives such as VladimirNabokov, Boris Pasternak, and Ayn Rand, reflected the sentiments of those that were later forced into political exile, which include Brodsky, Solzhenitsyn and Sakhalov. In particular, it focuses on Nabokov's cohort of Russian emigres to Europe and America.
From the Paper "Nabokov was a native of Saint Petersburg, which at the time of his childhood dominated Russian culture as it had been the home of the Czar and represented not only the seat of the Russian government but also its connection to the commerce of the west. Nabokov, like Rand and other emigres who grew up in Piter during the aughts and teens, was a child of privilege who vacationed in the Crimea and in continental Europe; in many respects he was similar to the upper middle class that one finds today in Moscow. Nabokov grew up in a wealthy suburb of St. Petersburg; at that time, small villages like Vyra and Tsarsky Celo had regular rail service to the center of town. He was taught by private tutors and spoke several languages from a very early age."
Abstract This paper explains how, in the novel, "Lolita," written by VladimirNabokov, the author illustrates the downward spiral of human desire. Through the lens of Humbert's obsession with 'la nymphette Lolita', Humbert, thrown back and forth between desire and decision, crosses countless times the slim and shadowy line between purest ecstasy and the most wretched despair. It shows how, in "Lolita," Nabokov blurs the defining lines between love and perversion, right and wrong, presenting them in uncomfortably close juxtaposition as essentially dependent upon each other.
From the Paper "Humbert Humbert is a tortured man, deeply divided between a sensitive rationality, and his undeniable lust for a forbidden and unripened fruit. United in him are the impulses of a romantic European gentleman and the obsessions of a lascivious and lecherous old man silently lusting after the tantalizingly ephemeral nymphet. After years of this silent lust, of "... abusing himself in the dark..."(88), Humbert Humbert finds Lolita. Lolita is an ultimate nymphet; she gives herself up to H.H.'s desire, going with him on a perverse holiday across the American landscape. This "... satisfaction of Humbert Humbert's passion..."(175) is the seed of his own destruction. It is at this point in the novel that the reader discerns in its entirety the complex tragedy of Humbert Humbert. In his own way, he loves Lolita with all the tenderness in his heart, "... I loved her hopelessly... it was love at first sight, at last sight, at ever and ever sight..."(270); his love transcends his lust for her as a nymphet and he is painfully aware of the harm he inflicts upon her. However, he cannot ignore his desires and carnal passions: "The moral sense in mortals is the duty we have to pay on mortal sense of duty."(283)"
Abstract The paper relates that in Russian literature the symbol of the mirror plays an important role, as in literature in Germany, France and in other lands since the early 1800s. The paper discusses how the two Russian writers, VladimirNabokov and Yuri Olesha, treat the themes of the mirror and perspective in two passages selected from their books, "The Gift" and "Envy", respectively. The paper shows how Nabokov uses the mirror as a closeup picture of the character of Fydor while Olesha employs it as a technique to analyze the world and its relationship to himself.
From the Paper "Yuri Olesha is playing around with perspectives in this long passage which ends with the phrase above. The scene takes place when he is looking into a street mirror, excited at the tricks it plays, for when he sees a pedestrian coming in the mirror, it turns out he or she is coming from the opposite way they are actually coming from and creates a surprise when the pedestrian brushes against him on the side he is not expecting. The mirror is the focus of this scene in the street."
"The mirror also creates an effect the opposite of a telescopic effect, making things appear very small, as if looking in the wrong end of binoculars, and then they suddenly are large when seen with the naked eye. This admission that perspective is warped and distorted is an image of how he sees things in life, as all people do."
Abstract Analysis and comparison of Samuel Beckett's WATT and Vladimir Naboko's LOLITA. Both authors use of comedy and playfulness; their skillful story-telling. Beckett's philosophical ideas on futility to understand the world. Nabokov's use of the power of narrative art. Comic approach as a strategy used by both novelists to convey their ideas. Gives examples from the novels.
From the Paper "If Samuel Beckett's Watt and Vladimir Nabokov's Lolita were not so funny they could not be half as serious as they are about the objects they parody. The points they make--the former about philosophy, the latter about art--are painful enough even when the authors engage in a playful game of taking forms of discourse to 'logical' conclusions that are unwelcome to those who depend on these forms to make sense of the world. Beckett addresses the futility of human philosophical and theological attempts to understand the world with something as paltry as human reason and Watt's sad schizophrenia is the medium in which such attempts are parodied. Nabokov does much the same thing for the power of narrative art by persuading readers, against their will, to be gripped by--and sometimes even sympathetic to--a story told by a lying, self-deceiving, brutal child-molester simply through the..."
