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S'està carregant… Lolita (Penguin Modern Classics) (1955 original; edició 2000)de Vladimir Nabokov
Informació de l'obraLolita de Vladimir Nabokov (1955)
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#557 in our old book database. Not rated. ( ) Too creepy to be one of the top 100 books of the twentieth century. I view it as smut masquerading as literature. It was hard to keep reading a book entirely devoted to justifying pederasty. (regardless of the "beautiful" writing ) July 2020 I gained more insight to the novel's use of language and manipulation by listening to a lecture by Professor Amy Hungerford, through Open Yale (https://oyc.yale.edu/english/engl-291/lecture-5). It is still creepy and spine tingling. I think that was Nabokov's aim. March 2021 Another resource that explores the novel and its misrepresentation popular culture, listen to Lolita podcast on iHeart radio. "Lolita" foi escrito na perspetiva de Humbert. Como um texto a partir das suas memórias. Para Humbert, é um ato de confissão. Este registo pode ser considerado um livro dentro de um livro. Humbert é um homem instruído, educado, com capacidade de reflexão, parece-me plausível que conte a história à sua maneira e se esforce por encontrar uma versão que justifique os seus comportamentos. Humbert à procura de alojamento numa pacata cidade americana, acaba por encontrar Dolores Haze - Lolita, uma menina de 12 anos. A história concentra-se em Humbert e a sua obsessão. Humbert não só consegue atrair Lolita, como também conquista o leitor por meio das suas palavras. "ʟᴏʟɪᴛᴀ, ʙʀɪʟʜᴏ ᴅᴀ ᴍɪɴʜᴀ ᴠɪᴅᴀ, ꜰᴏɢᴏ ᴅᴏꜱ ᴍᴇᴜꜱ ꜰʟᴀɴᴄᴏꜱ. ᴍɪɴʜᴀ ᴀʟᴍᴀ, ᴍɪɴʜᴀ ʟᴀᴍᴀ. ʟᴏ‑ʟɪɪ‑ᴛᴀ: ᴀ ᴘᴏɴᴛᴀ ᴅᴀ ʟÍɴɢᴜᴀ ᴇɴʀᴏʟᴀ ɴᴏ ᴘᴀʟᴀᴛᴏ ᴇ ᴅᴇꜱʟɪᴢᴀ, ᴛʀÊꜱ ꜱᴏᴄᴀʟᴄᴏꜱ, ᴀᴛÉ Qᴜᴇ ᴇꜱᴛᴀᴄᴀ, ᴀᴏ ᴛᴇʀᴄᴇɪʀᴏ, ɴᴏꜱ ᴅᴇɴᴛᴇꜱ. ʟᴏ. ʟɪ. ᴛᴀ." Tornamo-nos observadores e intérpretes de algo que tem um carácter perverso e chocante. Mostra-nos a obscuridade e a crueldade das suas razões, e o evidente efeito nocivo que provoca em Lolita. À medida que o tempo e as ações avançam, ele sabe que se está a aproveitar do estado em que ela se encontra. Lemos a utilização do poder intelectual e físico como forma de subjugar uma jovem vítima. “ʏᴏᴜ ꜱᴇᴇ, ꜱʜᴇ ʜᴀᴅ ᴀʙꜱᴏʟᴜᴛᴇʟʏ ɴᴏᴡʜᴇʀᴇ ᴇʟꜱᴇ ᴛᴏ ɢᴏ.” Existem dois componentes a considerar neste livro: a profundidade, a eloquência da escrita e a temática chocante e perturbadora. Nabokov transforma o seu texto numa forma lúdica, sedutora, poética, contudo extremamente perigosa. Há um conflito entre moral e estética a acontecer em cada página. No decurso da prosa engenhosa e estimulante, a travessia da América pelos dois protagonistas levaram-me a construir uma variedade de cenários norte-americanos. Como está escrito no prefácio do livro, "...mais ainda do que o peso científico e o valor literário, importa sobretudo o impacto ético que o livro terá no leitor ponderado; pois neste estudo pungente e pessoal esconde-se uma lição genérica: a criança rebelde, a mãe egocêntrica e o maníaco depravado não são apenas personagens vívidas numa história única, mas alertam-nos para perigosas tendências e isolam os nossos demónios. Lolita deverá fazer que todos nós - pais, assistentes sociais, educadores - nos apliquemos ainda com mais vigilância e visão na tarefa de formar uma geração melhor num mundo mais seguro." “ɪ ᴡᴀꜱ ᴀ ᴅᴀɪꜱʏ ꜰʀᴇꜱʜ ɢɪʀʟ ᴀɴᴅ ʟᴏᴏᴋ ᴡʜᴀᴛ ʏᴏᴜ'ᴠᴇ ᴅᴏɴᴇ ᴛᴏ ᴍᴇ.” Esta não é uma história que romantize o abuso. Esta não é uma história trágica de amor. "Lolita" es una novela icónica escrita por Vladimir Nabokov que ha generado un profundo impacto en la literatura moderna. Publicada por primera vez en 1955, esta obra maestra desafía las convenciones narrativas y morales al contar la historia de Humbert Humbert, un profesor de mediana edad obsesionado con las niñas preadolescentes, y su relación con Dolores Haze, a quien él apoda "Lolita". Nabokov teje una narrativa compleja y multifacética a través de la voz de Humbert, un narrador poco confiable que busca justificar y romanticizar su relación con Lolita. La prosa exquisita de Nabokov y su habilidad para crear personajes vívidos y psicológicamente complejos hacen que la historia sea tanto fascinante como perturbadora. Yeah, I think you've likely heard of Lolita. It's astonishing however how this novel seems to get characterized, in blurbs such as the one here on Goodreads. The "freedom and sophistication" in the telling of "a love story almost shocking in its beauty and tenderness", and "most of all, it is a meditation on love". How different and much less appealing the novel would seem I guess if advertised as a story told from inside the head of a child rapist. That would be irresponsible commercial blurbing. It's an excellent novel, but a love story it is not. The protagonist is written in a way that certainly causes Nabokov controversy, because the character is writing this story to the reader from his prison cell and wants the reader to, yes, view it as a doomed love story. But that's what the character is doing, not what Nabokov is doing. Nabokov is tricky, I mean this is the 13th novel of his that I've read now, I know he's tricky and an extremely erudite writer, but still, this should be apparent. Humbert tells us from the start of his journey with Lolita that he won her compliance by threatening her with what would become of her as an orphan child if she tries to escape him. He writes of withholding breakfast from her until she "performs her morning duties". He writes of "her sobs in the night - every night, every night - the moment I feigned sleep." Humbert himself, despite his other self-delusions, seems pretty clear that the "love" in this situation is entirely one-sided, it's just that though he makes performative nods in his telling of the story to feeling guilt on occasion, he's entirely self-centered. He feels love, therefore this is a love story. The reader should obviously know better. It's not a love story, it's a story from the point of view of a child rapist.
Haven’t we been conditioned to feel that Lolita is sui generis, a black sheep, a bit of tasteful, indeed ‘beautiful’ erotica, and that Nabokov himself, with this particular novel, somehow got ‘carried away’? Great writers, however, never get carried away. Even pretty average writers never get carried away. People who write one novel and then go back to journalism or accountancy (‘Louder, bitch!’) – they get carried away. Lolita is more austere than rapturous, as all writing is; and I have come to see it, with increasing awe, as exactly the kind of novel that its predecessors are pointing towards... At one point, comparing himself to Joyce, Nabokov said: ‘my English is patball to [his] champion game’. At another, he tabulated the rambling rumbles of Don Quixote as a tennis match (the Don taking it in four hard sets). And we all remember Lolita on the court, her form ‘excellent to superb’, according to her schoolmistress, but her grace ‘so sterile’, according to Humbert, ‘that she could not even win from panting me and my old fashioned lifting drive’. Now, although of course Joyce and Nabokov never met in competition, it seems to me that Nabokov was the more ‘complete’ player. Joyce appeared to be cruising about on all surfaces at once, and maddeningly indulged his trick shots on high-pressure points – his drop smash, his sidespun half-volley lob. Nabokov just went out there and did the business, all litheness, power and touch. Losing early in the French (say), Joyce would be off playing exhibitions in Casablanca with various arthritic legends, and working on his inside-out between-the-legs forehand dink; whereas Nabokov and his entourage would quit the rusty dust of Roland Garros for somewhere like Hull or Nailsea, to prepare for Wimbledon on our spurned and sodden grass. Massive, unflagging, moral, exqusitely shaped, enormously vital, enormously funny - Lolita iscertain of a permanent place on the very highest shelf of the world's didactic literature. Above all Lolita seems to me an assertion of the power of the comic spirit to wrest delight and truth from the most outlandish materials. It is one of the funniest serious novels I have ever read. A masterpiece of narrative, an incredibly penetrating psychoanalytical study and brilliantly descriptive. It has been called the most depressing and most entertaining book ever written. Vladimir Nabokov is obviously influenced by James Joyce and T.S. Eliot - he can write a pastiche of T.S. Eliot as easily as scratching his back. . . . The novel is also a nightmare of cunning and persecution mania and strikes the strangest three-fold chord of passion, desperate humour and dramatic irony. Pertany a aquestes col·leccions editorialsContingut aTé l'adaptacióTé un estudiTé un comentari al textTé una guia d'estudi per a estudiantsPremisDistincionsLlistes notables
(Book Jacket Status: Jacketed)When it was published in 1955, "Lolita" immediately became a cause célèbre because of the freedom and sophistication with which it handled the unusual erotic predilections of its protagonist. But Vladimir Nabokov's wise, ironic, elegant masterpiece owes its stature as one of the twentieth century's novels of record not to the controversy its material aroused but to its author's use of that material to tell a love story almost shocking in its beauty and tenderness. Awe and exhilaration-along with heartbreak and mordant wit-abound in this account of the aging Humbert Humbert's obsessive, devouring, and doomed passion for the nymphet Dolores Haze. Lolita is also the story of a hypercivilized European colliding with the cheerful barbarism of postwar America, but most of all, it is a meditation on love-love as outrage and hallucination, madness and transformation.With an Introduction by Martin Amis "From the Hardcover edition." No s'han trobat descripcions de biblioteca. |
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Google Books — S'està carregant… GèneresClassificació Decimal de Dewey (DDC)813.54Literature English (North America) American fiction 20th Century 1945-1999LCC (Clas. Bibl. Congrés EUA)ValoracióMitjana:
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