Nabokov’s Crooked Mirror：The Artist’s False Double in Despair
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摘要:
本文梳理纳博科夫在《绝望》这本小说中使用的“凹凸镜”和“假分身”两个隐喻，以阐发他的“艺术即明目张胆地欺骗”此一美学。对纳博科夫而言，艺术既不比现实优越，也不独立于现实。反之，艺术只能是现实的拙劣摹本。而书中的角色虽然尝试模仿造物主，也只能是画虎不成反类犬。纳博科夫的美学要求读者对艺术有一种不同的态度：我们既不该轻易地代入书中的角色，也不该盲目地赞扬艺术，而应该借由明辨原型和赝品的区别，以锻炼我们的思辨批判能力。对我们的后真相时代而言，纳博科夫的美学提供一个伦理范式，即真相虽然隐晦，但并未被毁灭。寻求真相更是我们的时代义务。
Abstract:The article explicates Nabokov's metaphors ofcrooked mirrorsandfalse doublesin his novelDespair, which articulate his aesthetics that art is self-obvious deception. For Nabokov, art is neither superior to nor independent of reality, but is rather its inferior mimic. Thus Nabokov's simulacrum always refers to the revered model:the author himself. Nabokov's aesthetics challenges the readers to have a different attitude toward art:rather than sympathy or appreciation, we should instead cultivate our critical discernment by distinguishing between the simulacrum and the true model. In our age of post-truth, Nabokov's aesthetics provides us an ethical paradigm where reality is concealed but not altogether cancelled, a reality that is rather the prize that the readers are invited to actively seek out
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Key words:
- Vladimir Nabokov /
- Despair /
- simulacrum /
- the false double /
- the mirror metaphor /
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