Lolita in History
Lolita in History
复制标题
历史上的洛丽塔
DOI：
--
复制
发表时间：
2003
期刊：
影响因子：
--
通讯作者：
Susan L. Mizruchi
中科院分区：
文献类型：
--
作者：
Susan L. Mizruchi
纳博科夫自传《说吧，记忆》（1951）的最后一章《花园和公园》在1940年结束得相当突然。纳博科夫详细叙述了他的孩子在希特勒的德国的婴儿期，然后反思道：“时不时地，一个公认的历史背景有助于当地的认同，并用其他纽带代替个人愿景所暗示的纽带。我们的孩子在柏林的那个微风轻拂的日子里一定快三岁了（在那里，当然，没有人能逃脱对元首无处不在的照片的熟悉），当我们站在一起时，他和我，在一张苍白的三色堇床前，他们每个人仰着的脸上都有一个黑色的胡子般的污迹，并且在我相当愚蠢的提示下，非常有趣，评论他们与一群摇摆不定的小希特勒的相似之处。[1]在这一幕中，最明显的是纳博科夫和他的儿子像其他人一样，强行熟悉“无处不在”的希特勒，以至于他的脸无处不在，包括花坛。但在另一方面，这两个人是特殊的，因为不可避免的三色紫罗兰希特勒也证实了纳博科夫的犹太儿子的脆弱性，根据纳粹法律，他的种族身份是由他的犹太母亲决定的。这家人通过巴黎逃往美国的计划迫在眉睫。在前一章中，纳博科夫回忆了当他经过熟睡的妻子和孩子的房间时，他感到的宽慰，安全地拥有出击签证，从他所谓的“贿赂的催吐剂”中发出。. .在正确的办公室管理正确的老鼠，“确保允许跨越大西洋（S，216）。“花园和公园”的场景是典型的纳博科夫在其亲和力的植物群，动物群，和各种各样的野生动物，并为其巧妙的手段，把他们变成富有想象力的文物。纳博科夫是活着的
Gardens and Parks,’’ the final chapter of Nabokov’s autobiography, Speak, Memory (1951), ends rather abruptly in 1940. Nabokov recounts details of his child’s infancy in Hitler’s Germany and then reflects: ‘‘Now and then, a recognized patch of historical background aids local identification—and substitutes other bonds for those a personal vision suggests. Our child must have been almost three on that breezy day in Berlin (where, of course, no one could escape familiarity with the ubiquitous picture of the Führer) when we stood, he and I, before a bed of pallid pansies, each of their upturned faces showing a dark mustache-like smudge, and had great fun, at my rather silly prompting, commenting on their resemblance to a crowd of bobbing little Hitlers.’’1 Most obvious in this scene is the fact that Nabokov and his son are like everyone else, forcibly familiar with the ‘‘ubiquitous’’ Hitler, so much so that his face is everywhere they look, including the flower beds. But in another way, the two are special, for the inescapable pansy Hitlers also confirm the vulnerability of Nabokov’s Jewish son, whose racial identity, according to Nazi law, is determined by his Jewish mother. The family’s escape, through Paris to the United States, is imminent. In the previous chapter, Nabokov recalls the relief he feels as he passes the room of his sleeping wife and child, secure in the possession of the visa de sortie, issuing fromwhat he calls ‘‘the emetic of a bribe . . . administered to the right rat at the right office,’’ ensuring permission to cross the Atlantic (S, 216). The ‘‘Gardens and Parks’’ scene is typically Nabokovian in its affinity for flora, fauna, and all manner of wild things, and for its ingenious means of transforming them into imaginative artifacts. Nabokov is alive to the