If someone asked the average American, “What genre was Vladimir Nabokov's hit novel, Lolita?”, what would they say? What would be their justification? Although Lolita includes drugging, pedophilia, incest, and murder, many Americans would say that the novel would be classified as romantic. Out of all of the fitting genres such as drama, an expose, or even a parody, Americans tend to go outside of this box and claim that Lolita is a romantic novel or a love story. Aside from that, why would Americans even jump to that conclusion? Do they just go off of what people tell them about the novel, or is there an underlying reason? It is entirely possible that Americans romanticize Lolita and ignore her kidnapping and rape because Americans tend to blame rape victims and sympathize with their rapists.
“Lolita. Light of my life, fire of my loins. My sin, my soul.” (Nabokov 9). Lolita is a story written in the 1950's by Russian-American novelist Vladimir Nabokov in which the narrator, Humbert Humbert, falls in love with a 12 year old girl.
The story starts with a murder confession, and goes on to when Humbert first moves into the home of Charlotte Haze. He immediately falls in love with her twelve year old daughter Dolores. Later, Charlotte chooses to send Lolita to a summer camp. After she leaves to take Dolores to the camp, Humbert finds that Charlotte left a letter for him. In this letter Charlotte confesses that she is madly in love with Humbert, and she proposes that he marry her or move out. Afraid that he will be separated from Lolita, he agrees to marry Charlotte.
One day, Charlotte snoops into Humbert's diary and finds that Humbert is in love with her daughter. Angry with herself for falling in love with such a despicable man,...
... middle of paper ...
...e to simply skip over them. Maybe Humbert's biased narrations fooled the readers, but when topics such as drugging and murder come up it's rather difficult to be confused about what is implied. It's possible that the romanticization of the novel could stem from not even reading the book, but due to recent events such as James Franco's scandal and the Steubenville rape case it is more probable that Americans sympathize with rapists. Americans even tend to blame the rape victim, as they did in the Steuben ville rape case. If this is the case with Lolita, people would claim that Dolores Haze willingly seduced Humbert Humbert as Lana Del Rey seems to think. The way Americans have classified this novel proves that American society ignores the inappropriate and often
Tate 8 harmful ways men treat women and often ignores what the woman has to say on the matter.
With his 1955 novel Lolita, Vladimir Nabokov invents a narrator by the name of Humbert Humbert who is both an exquisite wordsmith and an obsessive pedophile. The novel serves as the canvas upon which Humbert Humbert will paint a story of love, lust, and death for the reader. His confession is beautiful and worthy of artistic appreciation, so the fact that it centers on the subject of pedophilia leaves the reader conflicted by the close of the novel. Humbert Humbert frequently identifies himself as an artist and with his confession he hopes “to fix once for all the perilous magic of nymphets” (Nabokov, Lolita 134). Immortalizing the fleeting beauty and enchanting qualities of these preteen girls is Humbert Humbert’s artistic mission
The story of Lolita was written in the United States during the 1950’s. Authors in the fifties were considered the Beat Generation and the movements were sexual liberation and disregard for traditional values in writing. Narratives seemed more liberated and open like Lolita because it is far from conservative and
One must overlook the fact that Vladimir Nabokov has written, Lolita has no moral in tow. (314). Nabokov has obviously anticipated the reader's response to his novel and so he discloses that he sees no moral value in the book. This is obviously a false statement that is used to complicate the book and make the reader think. Lolita is full of moral choices and situations that learned readers will recognize and make judgments on. Most readers have a conscience and thus look for the moral contained in the story. This argument thoughtfully represents Nabokov's Lolita with real world morals.
There is probably no text this discussion embraces more in modern gothic literature than that of Brett Easton Ellis’ American Psycho. The novel was surrounded with controversy, ecen before its publication in 1991. Originally, cited to be published by Simon & Schuster, the company forfeited from the engagement, including its £300,000 advance, due to the controversy surrounding the novels publication after a number of chapters were leaked and later it became the first book in America to receive an R rating. Immediately, the novel was portrayed by critics as ‘vile pornography, immoral and artless’ (Milner 43), with Ellis himself being described as ‘a dirty writer’ . The reactions to the text were befitting of how many people negatively receive pornography, with some critics outright declaring that the novel was pornography. This shows a distinct example of how society viewed representations of violence coupled with sexuality, regardless of the purpose of the medium.
Deborah Tolman author of “Dilemmas of Desire” dwells on uncovering a wealth of feelings about sexuality from teenage girls who are faced with a lot of struggles in developing sexual identity and detached from their sexuality. One of her main argument is centered on the juxtaposition of media representations of girls as highly sexualized objects. For instance, “the urban girl is viewed as the overly sexual young jezebel. Latinas are often eroticized as exotic, sexually alluring and available.” (Tolman, pg.170). I agree with this statement due to simple fact that we are living in a highly sexualized cultural milieu and evidence of sexualization is seen through mainstream culture. Images such as Sarah Bartman depict African American/ urban portrayal of sexual imagery formed socio-historical
Nabokov shows all throughout the novel the strong parallel between real life characters and folk characters. The four main characters in the novel all play an have their own folkloristic roles in the novel. For example, Charlotte Haze, which is Lolita's mother, is portrayed in the novel as the, "jealous mother who is so frequently the villain in folk tales such as "Cinderella" and "Snow White" (Jones 69). All through out...
Durham, Meenakshi Gigi. The Lolita Effect: The Media Sexualization of Young Girls and What We Can Do about It. Woodstock, NY: Overlook, 2008. Print.
You can always count on a murderer for a fancy prose style. So says Humbert Humbert at the start of Lolita in his account to the "Ladies and gentlemen of the jury" (9). He refers to himself as a murderer (he is, after all, "guilty of killing Quilty"), not as a rapist, the far more serious offense Lolita levels at him. That I, and everyone else who reads the book, call Dolores Haze by the name "Lolita" demonstrates the efficacy of Humbert's fancy prose style - under the spell of his aesthetic mastery, we, the jury, must bend to his subjective vision through memory, and thus we see the twelve-year-old nymphet as Lolita, as she is in Humbert's arms. It is difficult to castigate Humbert when we see the world through his European eyes.
In addition, she contradicts her own stance on the position when she mentions that previous literature containing sexually explicit content should not be censored (Brownmiller 59). Brownmiller paints a very strong, emotional, and offensive picture when she claims that women are, “being stripped, bound, raped, tortured, mutilated, and murdered in the name of commercial entertainment” (59). However, this statement is fallacious and does not provide any factual evidence. Furthermore, she makes the hasty generalization that pornography can make people think that certain things, such as rape, are acceptable (Brownmiller 59). Once again, her claim lacks support and relies solely on a faulty pathos appeal.
Despite her exhaustion, Charlotte gathered up a pile of stationery and began to write in a refined version of her usual scrawl. "Dear Martha", she wrote, "You knew and loved me once. You do not know me now, and I am not sure that you would love me if you did… I have grown and changed wildly, darkly, strangely, beyond a mother's recognition, beyond my own."
The most trending music genre gets a lot of listeners because of its the discrimination. As the songs and advertisements gain followers, it starts to become realized by the citizens. Pop culture artists sing about drugs, alcohol and women. The portrayal of women by these composers is dreadful because it degrades the significance and importance of their existence. Pop culture has always been a home for gender domination and discrimination. It is becoming increasingly “pornified.” As Valenti quotes, “After all, while billboards and magazines ads may feature a ripped guy from time to time, it’s mostly women who make up what sexy is supposed to be. And it’s not just sexy-it’s straight-up sex” (Valenti, 44). The pornography has been a part of the culture and has been accepted by younger women. Feminists have argued that this has increased the inculcation of “raunch culture” in the lives of younger women who fall into it as they feel it empowers them. However, it is a kind of faux empowerment. This illustrates that the media is promoting and utilizing pop culture to change the social norms in an attempt to instruct women on their role in the society. In essence, pop culture with its propaganda desires to change women’s view on nudity until it can become inherent in American culture, and thus eliminating opposition to benefit pop culture in the long run. Valenti persuades her readers by saying, “ the ‘show’ is everywhere. In magazines like Maxim and Playboy. And in the insanity of Girls Gone Wild, with teens putting on fake lesbian make-out sessions so guys will think they’re hot.” Levy also mentions a character, influenced by raunch culture and a reader of Playboy magazines, named Erin who is piqued her curiosity and provided her with inspiration because of this culture. Erin says, “There’s countless times in my life where I know I’ve turned people on just by showing off (by putting on a
The interpretation of Lolita still consisted on the ideas of sex and the book as well as the character became a scandal. Nabokov has rebuffed sex themes since the beginning of the book’s publishing. In his famous interview with Playboy, Nabokov rejects the interviewer bringing up America’s sexual mores with “Sex as an institution, sex as a general notion, sex as a problem, sex as a platitude—all this is something I find too tedious for words. Let us skip sex.” (Toffler). His refusal to even talk sex proved how little his tolerance was when it came to humoring the audience about sex themes and sex related questions. In an interview with CBC during the early 1960s, Nabokov is quoted agreeing with an interviewer that believes “sex has become such a cliche, so that people can’t recognize anything else.” (...) which further shows how 1960’s mentalities could see nothing else outside of the realm of sex. In the same CBC interview, Nabokov disputes sex themes more openly and admits that his writing of the book has more to do with Humbert’s artistic nature and how that alienates him and creates unattainable love (...). While Nabokov wrongly uses a young girl’s abuse as a tool of illustrating a man’s “misfortunes” of being an artist, the novel is more than what the 1960’s audience perceived it to be. Nabokov did not intend to write a book about a fetish, nor did he, according to Playboy, wish to satirize American culture. The text included more substinance than what people perceived it to be and as did the character Lolita herself, who was more than a teen temptress. His writing of the book has nothing to do about sex, although his initial theme is flawed and an important example of men’s inability to write books featuring authentic female characters, unless they are being used as tools or over sexualized. And much like Humbert Humbert, no matter how hard Nabokov tried to manipulate the text, feelings of empathy still is evoked
Vladimir Nobakov’s novel, Lolita, is the narration of pedophilic murderer Humbert, and his documentation of his “love story” with prepubescent Dolores. Writing from prison, Humbert frames this entire story to describe events from his point of view. Often, criminal offenders will give reason for why they act the way they do in order to appease society to dismiss their actions. Humbert is a prime example of this. Because the novel is written strictly in his point of view, this gives him power to relay the course of events to the readers in any way he chooses, adding or detracting details to make his “case.” There are many instances in the novel in which Humbert not only seduces young Dolores, but also seduces the reader as well to believing that
In his "On a Book Entitled Lolita", Vladimir Nabokov recalls that he felt the "first little throb of Lolita" run through him as he read a newspaper article about an ape who, "after months of coaxing by a scientist, produced the first drawing ever charcoaled by an animal: this sketch showed the bars of the poor creature's cage." The image of a confinement so complete that it dominates and shapes artistic expression (however limited that expression may be) is a moving and powerful one, and it does, indeed, reflect in the text of Lolita. Humbert Humbert, the novel's eloquent poet-narrator, observes the world through the bars of his obsession, his "nympholepsy", and this confinement deeply affects the quality of his narration. In particular, his powerful sexual desires prevent him from understanding Lolita in any significant way, so that throughout the text what he describes is not the real Lolita, but an abstract creature, without depth or substance beyond the complex set of symbols and allusions that he associates with her. When in his rare moments of exhaustion Humbert seems to lift this literary veil, he reveals for a moment the violent contrast between his intricately manipulated narration and the stark ugliness of a very different truth.
If we describe something as pornographic, there should be at least two possible implications, one will be sexual sense, and the other being socio-cultural sense. This can be shown in the discourse of others. In recent years, visual representation analyses, particularly in Western societies, have demonstrated the fundamental subject of representation is the man (Owens, 2012). This phenomenon shows that, on one hand, men seem to be the only focal point of the representational system. De Beauvoir’s groundbreaking work The Second Sex expressed the opinion that women, on the other hand, are deemed to be the object or the other from a feminist perspective, such idea triggered second-wave feminism. Following her work, for the postmodernists to alter this representational system, they are literally staged to expose that system of power that enables certain representations while repressing others like women whose legitimacy is not represented. With regarding to pornography, it does not only portray the distribution of male power over female bodies but also violates women through representation of the sexual desire of men (Kipnis, 1993). There are many reasons for such uneven distribution of power, and cultural reason is one of the most prominent. Mainstream pornography as one of numerous types of cultural expression that function in an intrinsic social environment of gender and vulnerability