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Lolita vladimir nabokov analysis
Nabokov lolita analysis
Lolita vladimir nabokov analysis
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In Vladimir Nabokov’s novel Lolita, Nabokov elects to ignore the societal need to establish a clear ethical dichotomy when dealing with crimes such as pedophilia. Nabokov instead writes main character Humbert Humbert as a man rich in humor and individuality. His behavior evades negative connotation and conveys absolute sincerity. He doesn’t acknowledge the interwoven perversity within his actions towards Dolores Haze because he does not identify with it. Humbert’s genuineness contrasts with the overwhelming social criticism towards pedophilia. The contradistinction leaves the reader searching for Humbert’s moral resolve in the form of regret or a righteous conscience; however, the reader is only met with a vast ethical grey area as Humbert manipulates the reader’s understanding of the truth by embodying solipsism. Both Humbert and Nabokov challenge the early 20th century Freudian psychoanalysis that had cemented popularity and acclaim during the initial publication of Lolita in 1955. They use memoir style novel, Lolita, as a platform to question established psychiatric thought and utilize dismissive insults and veiled parodies to express the inadequacy of a defined psychiatric and ethical dichotomy.
Nabokov had no qualms with speaking ill of Freud and his psychoanalytic theories. Nabokov disliked the Freud’s school of psychology that incorporated the study of unconscious elements in the conscious mind and dream interpretation. When asked why he so openly detests Freud, he responded:
Freudianism and all it has tainted with its grotesque implications and methods appears to me to be one of the vilest deceits practiced by people on themselves and on others. I reject it utterly, along with a few other medieval items still adored by the...
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...n dishonesty and manipulation. Humbert is now creating vivid dreams to be deconstructed solely for his amusement and openly mocking Freud. “Primal scenes” was a term coined by Freud during the early 20th century that is used to describe a child’s first exposure to sexual acts. Humbert is concocting primal scenes and allowing psychiatrists to dispense meretricious worth to them. The establishment of Freudian dichotomy has created an individual externally and internally stripped of humanity and left only with the attributes of a demonized man.
Works Cited
Nabokov, Vladimir Vladimirovich. Lolita. New York: Knopf :, 1992. Print.
Strong Opinions. New York: Vintage International, 1973
"Why Nabokov Detests Freud." New York Times. National Educational Television
Network, 30 Jan. 1966. Web. 1 Apr. 2014. .
Lolita, by Vladamir Nabokov is a controversial book that elaborately represents and forces the reader to deal with a pedophiles obsession with his 12-year-old stepdaughter. As the reader finishes reading Lolita, he must establish a meaning for the novel which hinges heavily upon whether or not he should forgive Humbert for his rape of Lolita and for stealing her childhood away from her. This rape is legally referred to as a statutory rape because Humbert is having sex with Lolita who is under the age of consent. Humbert also figuratively rapes Lolita of her childhood and a normal teenage life. This decision to forgive Humbert will rely upon Humbert's words as he realizes what he has done to Lolita. In order for the reader to be able to forgive Humbert he must determine if Humbert is truly sorry for his actions.
“Lolita, light of my life, fire of my loins, my sin, my soul” (Nabokov 9). Quoted from Vladimir Nabokov’s novel Lolita, Humbert Humbert briefly describes his sensibilities towards his love Lolita. I’ve italicized love for the reason that this book is perceived often as not a true American love story but as a pedophile’s lust. The reasoning for the italicization is because I wanted to emphasis on the point that this book offers more than that of a pedophile’s love. Nabokov’s novel does a very good job of creating an interesting yet unorthodoxed plot. What Nabokov might find acceptable in today’s society, some people might find very offensive and disrupting. He does this to grab the reader’s attention; therefore, building their interests by having them see the other side of things. Why many readers may find this book to be associated with pornography or just another literary piece surrounded around pedophilia, Nabokov hits you with textual evidence, which may sway reader’s minds. As a reader of this novel, I am compelled to show you how this book is a true American “Love Story.”
It is of particular interest to look at sexuality in relation to the modern daily life. What may seem abnormal and even abject in daily life is constitutive in human sexuality. It goes beyond normal functioning, rationality, and purposefulness, making sexuality inherently excessive. The discrepancy between the sexual and daily life connotes the otherness of sexuality. Freud mentions this in Three Essays on The Theory of Sexuality in his contention that perversion should be used a term of reproach: “no healthy person, it appears, can fail to make some addition that might be called perverse to the normal sexual aim.” Although he may have been focusing on the abnormal particularities in normal sexual life, this idea expounds ...
--------------------------------------------------------------------- [1] J.H.Newman ‘Difficulties of Anglicans’ Vol. 2, London 1891 pp. 246-7 [2] Sigmund Freud. Trans Strachey ‘An outline of Psychoanalysis’. Hogarth Press: 1949 pps.
...s of Lolita and Humbert to show the isolation and loneliness they feel, and to show just how different and immoral the situation is. By stressing the dissonance between one persona to the next, he portrays a view of his characters that is sad and shocking, for the public seen is also the reader; the unaware, innocent, “moral” group. By letting us into the different faces of Lolita and Humbert, Nabokov reveals the tragedy in the novel, and allows the reader to vividly feel what is morally right and wrong with Humbert, Lolita, and ourselves.
Although there are numerous approaches employed in understanding literature, the psychoanalytic interpretation most significantly attempts to utilize the symbolic mysteries of a work. In exclusive contrast to the formal approach, which focuses entirely on the wording, the fascinating aspect of the psychoanalytic investigation is that it searches for a purpose beyond that which is strictly in the text. By insinuating the existence of innate and hidden motives, it allows for a broad range of abstract and creative possibilities. When applied to Perrault's, "Little Red Riding Hood," it appropriately suggests evidence toward underlying sexual motivations and tensions. Additionally, this analysis unfolds a constant interplay between forces of the human psyche.
The professors who composed Psychological Science explain that, “For [Sigmund] Freud, the powerful forces that drive behavior were often in conflict. A key aspect of his thinking was that we are typically unaware of those forces or their conflicts” (Gazzinga et al. 570). To Freud, conflicts in the mind consisted of the never ending battle between the ego, id, and superego. The “id” is the mechanism that drives humans to seek pleasure and avoid pain. The superego is a person’s conscience and morality principle. The “ego” is the mediator between the superego and id. In fact, Freud developed a theory based on analyzing these unconscious struggles which he called the psychoanalytic, sometimes psychodynamic, theory. He recorded peoples’ words and actions to describe their unconscious desires, wishes, fears, and hidden memories. The psychoanalytic theory was later translated into literature as a kind of criticism. This criticism can be applied to any type of literature including dramas. The drama “Naked Lunch” by Michael Hollinger is a good representative of the dramas in which the reader can perceive the unconscious conflicts between the characters through the use of dialogue and non-verbal cues. The reader senses the desires, fears, thoughts, and underlying mechanisms at work behind the conversation and in turn is able to come to a greater understanding of how a person’s word and non-verbal actions describe the person’s subconscious mind.
...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
Psychoanalysis is the method of psychological therapy originated by Sigmund Freud in which free association, dream interpretation, and analysis of resistance and transference are used to explore repressed or unconscious impulses, anxieties, and internal conflicts (“Psychoanalysis”). This transfers to analyzing writing in order to obtain a meaning behind the text. There are two types of people who read stories and articles. The first type attempts to understand the plot or topic while the second type reads to understand the meaning behind the text. Baldick is the second type who analyzes everything. Since his article, “Allure, Authority and Psychoanalysis” discusses the meaning behind everything that happens in Mary Shelley’s “Frankenstein” we can also examine “The Ones Who Walk Away from Omelas” in the same manner.
Nabokov presents the reader with three touching characters of the mother, father, and son. The characters of the story arouse a sense of compassion and sympathy from the reader due to the helpless situation they are in. For example, the son in the story suffers from a condition called “referential mania.” Referential mania is a case where “the patient imagines that everything happening around him is a veiled reference to his personality and existence” (1166). In other words, the son has this perception where he is in a state of paranoia where he feels as if the objects around him are evil and plotting against him. He feels as if “clouds in the staring sky transmit signs detailing information about him, coats in window stores have a distort opinion of him and misinterpret his actions….he must always be on guard every minute and module of life to decoding of the undulation of things” (1167). The son is always on this mission with the objects trying to decipher the meaning behind why these objects are...
Vladimir Nabokov, one of the 20th century’s greatest writers, is a highly aesthetic writer. Most of his work shows an amazing interest in and talent for language. He deceptively uses language in Lolita to mask and make the forbidden divine. Contextually, Lolita may be viewed as a novel about explicit sexual desire. However, it is the illicit desire of a stepfather for his 12-year old stepdaughter. The novel’s subject inevitably conjures up expectations of pornography, but there in not a single obscene term in Lolita. Nabokov portrays erotic scenes and sensual images with a poetic sensibility that belies the underlying meaning of the words. The beautiful manipulation of language coerces one to understand Humbert’s interdict act of pedophilia. By combining erotic and poetic desire in the context of the forbidden, Nabokov challenges the immorality of pornography, as illicit desire becomes masked in sensuous language. Nabokov carefully tailors the language Humbert Humbert uses to tell the world of his love for the forbidden nymphet, urging sympathy and innocence from the reader. However, the deeper meaning of the forbidden sexual desire is clearly seen in the use of only slightly veiled metaphor alluding to Humbert's own obsession.
Psychoanalytic Theory itself has, what seems to be, two contradictory halves: Freudian psychoanalysis and Lacanian psychoanalysis. The first half focuses solely on the author and the unconscious mind; the second considers the unconscious, but prefers to concentrate on outside influences by deconstructing the text itself. According to Freud, interpretation is achieved by examining conflicts and symbols, such as Freudian slips and dream images. These outlets are help to determine whether an individual’s external behavior coincides (or conflicts) with their internal emotion. Freud placed emphasis on sexuality and the Oedipus complex, which is the idea of repressed sexual feelings toward a parent of opposite sex. He also defined three levels of the subconscious mind: the ego, the super-ego, and the id. Barry explains that the stages align with “the consciousness, the conscience, and the unconscious” respectively (93). On the other hand, Lacan, a follower of Freud, concentrated on the relationship between an author and his or her work. He claimed the two were inexorably connected, that objectivity is nonexistent. In an essence: an author’s personality is used to interpret the text and, in contrast, the text is used to gain insight about the author. Regardless of the emphasis, psychoanalytic criticism engages an
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
After the over-controlling ‘father’ discovers that another man had abducted his Lolita, he collapses into a stormy rampage in the hospital his ‘daughter’ had stayed, swearing to “destroy [his] brother” (Nabokov 281). Later on, when he reunites with his separated lover after several years, he recognizes that she has grown up, noting her mature features. Despite her lack of nymphet traits, Humbert realizes that he still loves her, and offers her to live with him for the rest of her life, leaving her husband, and they shall “live happily ever after” (Nobokov 317). Through this passage, the readers recognize the shift Humbert undergoes, discarding his preferences of young girls, and still yearns for mature Lolita. After grown-up Lolita gently declines Humbert’s proposition, the heartbroken man reflects the sins he has committed upon innocent Lolita in her youth, and truly regrets his
In Vladimir Nabokov's Lolita, the overruling drive of the narrator, Humbert Humbert, is his want to attest himself master of all, whether man or woman, his prime cravings, all-powerful destiny, or even something as broad as language. Through the novel the reader begins to see Humbert’s most extreme engagements and feelings, from his marriage to his imprisonment, not as a consequence of his sensual, raw desires but rather his mental want to triumph, to own, and to control. To Humbert, human interaction becomes, or is, very unassuming for him: his reality is that females are to be possessed, and men ought to contest for the ownership of them. They, the women, become the very definition of superiority and dominance. But it isn’t so barbaric of Humbert, for he designates his sexuality as of exceptionally polished taste, a penchant loftier than the typical man’s. His relationship with Valerie and Charlotte; his infatuation with Lolita; and his murdering of Quilty are all definite examples of his yearning for power. It is so that throughout the novel, and especially by its conclusion, the reader sees that Humbert’s desire for superiority subjugates the odd particularities of his wants and is the actual reason of his anguish.