英语专业毕业论文—《洛丽塔》小说与电影叙事之比较

学士学位 题  目： 《洛丽塔》小说与电影叙事方法之比较 系（院）：       人文学院      专  业：        医贸英语        班  级：        09英语班      学  号：      200901023022      姓  名：          姚瑞昕        指导教师：        刘海舟        二零一三年五月 《洛丽塔》小说与电影叙事方法之比较 姚瑞昕 指导老师：刘海舟 学院：人文学院 完成日期：2013年5月 A Comparative Study of Narrative Devices of the Movie and the Novel Lolita By Yao Ruixin Under the supervision of Liu Haizhou Submitted in Partial Fulfillment of the Requirements For the Degree of Bachelor of Arts English For Medicine Commerce, EMC Department of Humanities Jiangxi University of TCM May, 2013 摘要 《洛丽塔》是美籍俄裔作家弗拉基米尔·纳博科夫于1995年出版的小说，这部小说因其出位的内容而广受争议。然而，作品以其华丽优美的语言感觉，精心雕凿的叙述手法和作者辛辣调侃、目空一切的写作姿态而受到诸多文学评论家的青睐和推崇，这也给作者带来了世界性的声誉。 小说作为一种文学样式，其创作规律自诞生之日起便受到了广泛关注。叙事学的研究即发端于小说创作。同时小说与电影终归是两种艺术形式，小说以语言文字为载体传达情感，电影以画面、声音为载体讲述故事，二者在故事内容建构及叙事策略方面存在普遍差异。 本文从整体来看分为三个部分，第一部分从理论源头上对小说叙事理论和电影叙事理论进行了梳理，得出二者具备可比性结论并具有比较研究的意义。其次就对《洛丽塔》小说版本和电影版本，运用结构主义叙事学研究方法，分别从故事建构、时空叙事特色、叙事视点、叙事者以及两种语言载体几个方面展开讨论，分析并发现小说和电影在艺术达效果上各具特色。最后，在第三部分里，并得出结论：小说与电影既是相通的艺术，又存在不可忽视的差异性，当二者进行转换时，需充分认识到差异性的存在，进而同自身特色相结合。 关键字：《洛丽塔》；叙事手法；空间位置；时间片段；美学价值 Abstract The novel Lolita, which was published by the Russian American author Vladimir Nabokov in 1995, provoked controversy For its content. However, with its gorgeous and beautiful language, carefully carving narrative techniques, and the pungent ridicule and unorthodox writing style of its writer, the novel is favored and respected by many literary critics, and it has also brought Nabokov a worldwide reputation. As a style of literature, novel and its creation pattern have attracted much attention since the day it came out. Narrative study started with the research on novel creation. In spite of this, novel and movie are Two different arts. Novel expresses its affection by words, but movie uses pictures and voice to tell the story. There is a wide difference in both story telling and narration strategy. The whole thesis consists of three parts. In the first part, it will have a theory carding the start of novel narration and movie narration, reaching the Conclusion that they are able to be compared and have the significance of comparative study. In the second part, according to the movie and the novel Lolita, it will use Structuralism Narratology method to discuss aspects of story construction, the characteristics of temporal and spatial narrative, narrative point of view, the narrator, and the Two languages ??carrier. Then it will analysis the difference and find out their own features on artistic expression. At last, in the third part, there will be a Conclusion: novels and movies are both connected to art, and there are differences that can not be ignored. When the conversion between the Two, we need to fully recognize the existence of differences, and then combined with its own characteristics. Key words: Lolita; narrative devices; the apposition of space; the fragment of time; aesthetic values Contents 摘要    i Abstract    ii Chapter One  A Brief Introduction of Lolita    1 Chapter Two  The Introduction of Narratology in the Movie and the Novel    2 2.1 Time-Order of Narrative Structure    2 2.1.1Time expression (Temporal from of expression)    3 2.1.2 Narrative effects    3 2.2 Space-Order of Narrative Structure    3 2.3 Changeable Narrative Focalization    4 Chapter Three  The Application of Narrative Devices in the Movie and Novel of Lolita    6 3.1 Narrative Structure: The Time-Space Order of Narration    6 3.1.1 Space Apposition—“Past”and“Present”    7 3.1.2 The Debris of Time    11 3.2 Narrator: The Relationship between Narrator and Narration    14 3.3 Narrative Focalization    17 3.3.1 Movie Narration: All-Round Perspective and Limited Personal Point of view    17 3.3.2 Novel Narration: The First-Person of Narration with Inside-View and Duality    19 Chapter Four  Aesthetic Effects of Different Narrative Modes    21 Conclusion    23 Bibliography    25 Acknowledgements    26 Chapter One  A Brief Introduction of Lolita Lolita is the masterpiece of Nabokov. It tells a confessional story of a man whose life is the desire For a twelve-year old nymphet. The protagonist as well as the narrator, Humbert who is a European professor of 37, marries the mother of Dolores Haze (Lolita) to be near the girl. When Lolita’s mother dies, Humbert gains the chance to possess the girl. Then on a trip across America, stopping at many hotels, he achieves his desires. After some time, he loses Lolita to Quilty, another man of the same tastes who is indeed his rival, whom he later tracks down and kills. Refused by four American publishing houses because of its subject matter, Lolita was first published in France in 1995 as a Two-volume edition in the English Language Travelers Companion series of Olympia Press. Following protracted and heated controversy in the British and French media over the argument whether the work was or was not pornographic and should or should not be banned, the first American edition appeared in 1958 and Lolita quickly moved to the top of the best-seller lists.Within five weeks, Lolita was the most celebrated novel in the nation, and remained on the New York Times best-seller list For over a year. While the broad American reading public was belatedly discovering Nabokov, Nabokov was finally gaining the financial rewards from both the novel and the film of Lolita, which would allow him to resign his teaching positon at Cornell in order to write full-time. Appearing frequently on lists of best twentieth-century works, Lolita has been termed the supreme novel of love in the twentieth century and is generally regarded as the finest of Nabokov’s novels and a classic of contemporary literature. Lolita was a special favorite of Nabokov. Chapter Two   The Introduction of Narratology in the Movie and the Novel Visual narration conflicts with literary narration. The same incident when it is described in different narrative devices will surely yield different artistic effects. Movie gives us a direct, vivid, dynamic, idiographic, technical and on-scene picture while novel presents us an indirect, static and off-scene story. Novel is a literary art which narrates the whole story or event by using words to express the author’s idea, implied meaning, and the theme. Readers should combine their understanding of the literary works with imagination and experience to make themselves touch the bottom and the theme of the works. Instead of using words, movies directly demonstrate the theme by unfolding various scenes and situations beFore the audience who can receive the inFormation intuitionally. Movie is an art of “recreation” which requires the audience at first understand, and then digest, later absorb the essence of the literary works(George Bruce East,1981). Ultimately though the modern “techniques” such as cinematography, score, art direction-set decoration, visual effect, costume design, make-up, movie has presented a clear-cut, direct scenary to the audience. Camera is like an eye capable of recording the facts happened in our daily life. Both movie and novel narrate spatio-temporal as well as linear movement or incident. However, movie narration differs from novel narration For its time-space transcendence, multiple narrative structures, changeable narrative focalization. 2.1 Time-Order of Narrative Structure Novel and movie are both narrative arts with double narrative time: the narrative time itself as well as the time of the story. Narrative time refers to man-made time state in narration. Story time means the natural time state of the events happening, developing, and ending in literary narration. Movie and novel are Two kind of linguistic symbols. In terms of time order, both movie and novel can pursue the techniques of inner flashback, outer flashback, partial flashback, total flashback, direct pre-narration, indirect pre-narration, sequential or non-linear narration, duration, and narrative frequency. However, movie and novel narration differ in the following Two aspects. 2.1.1 Time expression (Temporal from of expression) Movie narrates or records the past events. However, the picture and scenes showed in the movie always appear “present”. The audience combine their current senses to judge, to view and to comment the past thing. In a word, we stay at the current world and meanwhile experience the past, present and future of the movie situation. ThereFore, there are mainly three kinds of time in movie narration: past, present and future. With the ease by cameras, lights, colors, music, and languages, etc., movie narration can achieve the shift of time. On the contrary, pursuing these effects in novel narration, author has to give up or weaken other description, For more descriptions need to be used to illustrate the temporal state in the novel. 2.1.2 Narrative effects Compared with the time description in the novel, movie has a relatively smaller time span. A simple cameras or just a brief introduction can bring out an outcome of different paces. Audience maybe experience many time-space transfers within several minutes. Due to the small time span, movie often achieve narrative balance and keep the coherence of narration(Andre Gede Luo,2005). 2.2 Space-Order of Narrative Structure In movie narration, space always exists and be directly perFormed. Multi-perspective is considered to be a tool combining time and space. The different perspectives that we employ to appreciate novel and movie will bring us into different spaces of the narration. In novel narration, the narrative perspectives actually present the spatial relationship between the narrator and his narration. Novel narration strengthens individual feelings, narration, as well as characters’ psychological movement while movie can not only challenge the traditional narrative modes, but also change readers’ reading habits, taste values(Robert Stam, 2006). 2.3 Changeable Narrative Focalization Focalization refers to the angles For observing or analyzing events.It concerns who observes the whole events. There are three kinds of focalizations in narration: zero focalization, inner focalization, and outer focalization. The movie of Lolita is the integration of a story, sensory enlightment as well as the aesthetic pleasure through shuffling the time tunnel. Humbert, a key character of the movie, plays as the director, character and mostly important narrator in the movie. These complicated and multi-roles give Humber full expression of what he intends to focus on. He can easily lead the audience to the past while sometimes back to the present world, including his inner monologue. Obviously, Humbert is skillful at applying the changeable focalization with the shifting of selective all-round perspective and limited personal point of view. On One hand, he is omniscient with the role of Lolita’s stepfather who is cruelly and psychologically tortured by Lolita’s uncivilized, rude and conniving character. On the other hand, Humber uses the limited first-person point of view to imply that he is actually a victim. He has just possessed Lolita’s flesh but never own her soul. What’s more, the happy-oriented journey across America has turned out to be a long journey of unutterable agonies. Humber Humbert has always been controlled by an internal horrible threat—an unperceivable adversary—Quilty. Although Humbert finally killed this wicked person, he actually died with Quilty at the same time For the life has gOne where there is no Lolita or Quilty. Innocent he is—Humbert wants to claim to the jury that he is the most tortuous character in the movie. By the shifting of narrative focalization as well as the complex time sequence, audience lost in his sorrowful narration at times though, however, audience rationally cannot suspect the credibility of his narration. Without the cinema scenes, without facial close-up of the character, let alOne the creative narrative situations applied in the movie of Lolita, the novel Lolita relies nearly 100 percent on language or words, including readers’ imagination. Aiming at reaching the time-space apposition in the novel, Nabokov has exercised the technique of flashback—Humbert’s confession or memoir can present readers the diachronic incidents in a synchronic way. Humbert has utilized the first-person of narration with inside-view to give his narration, allowing readers to discover his underlying world more directly and more objective, which has shortened the distance between readers and Humbert. Meanwhile, the duality of the first-person narrator has been used by Humber Humbert. This application of diachronic and synchronic order is characteristic of the combination of objectivity and subjectivity. ThereFore the fact is judged by the readers but not the jury. The novel Lolita is not a moral preach or an ethical argument. What counts in the novel is the sense of pleasure said by Nabokov. Chapter Three  The Application of Narrative Devices in the Movie and Novel of Lolita Vladimir Nabokov wrote in On a Book Entitled Lolita: “For me a work of fiction exists only in so far as it afFords me what I shall bluntly call aesthetic bliss, that is a sense of being somehow, somewhere, connected with other states of being where are (curiosity, tenderness, kindness, ecstasy) is the norm.” with the strong pursuit of “aesthetic bliss”, Nabokov has showed his ingenuity at applying distinctive narrative devices in his novel Lolita (Vladimir Nabokov, 2000). Lolita, or the Confession of a White Widowed Male, is a masterpiece written by renowned writer Vladimir Nabokov. The narrative techniques of the novel and the movie are rather sophisticated and carefully conceived. Nabokov ingeniously makes use of space apposition, fracture of time arrangement, multi-role of the narrator with multi-voice as well as the changeable narrative focalizations to achieve the delicate narrative balance and simultaneously make the possibility if Humbert of realizing his narrative motivation with self-justification. 3.1 Narrative Structure: The Time-Space Order of Narration Nabokov might be proud of crowning himself with the master of art. The disputed work Lolita describes a story between a 12-year-old girl and a middle-aged man. Lolita seems to have weird magic to lure readers to giving up their own moral judgement, but he sympathizes the tragic characters—Humbert, Lolita, and Mrs Haze. The whole story on the surface seems to be incised into double spaces with constantly shifting of time. When we make an in-depth analysis, we are surprised to feel the “integrity” of the novel’s structure, For Nabokov’s application of space apposition which has created aesthetic values on the novel. Pursuing the policy of space apposition can integrate the deep narrative structure into One space. According to Joseph Frank’s theory, the narrating time sequence will be at least paused in terms of the continuous scenary, because in the limited time, people’s attention has been fixed in the mutual effects of the multiple relationships. Space apposition has combined separated spaces and supplied the readers with an united as well as completed narrative structure, which conduces to bring the novel’s charming into full play. 3.1.1 Space Apposition—“Past” and “Present” Through the use of space apposition, the audience and readers enjoy a multi-space effect on various aspects instead of a single made-up world. The narrator “Humbert” has combined “Total flashback”, “Outer flashback”, “Inner flashback” with “pre-narration” to reach a delicate narrative balance. In accordance with Hu Yamin’s view of Narratology, “Total flashback” means the narrator traces the pass events which can be considered as narration. This kind of narrative device has a relatively small time span. “Outer flashback” refers to incidents happened after the narrative events, and at the same time, events pre-narrator and the pre-narrated in the narration will not occur again. “Pre-narration” expresses the idea of the narrator and the pre-narrated events which will happen later in the narration. “Inner flashback” is said to imply the coming events in the narration. Nabokov has made full use of these narrative devices. Through pre-narration, he is succeeded in creating mysterious events, blank statement and even suspense For the audience and readers. Here Humbert has exercised total flashback—with small time span, transcend time and space, leads us to shuttle freely from the “past” to “present”, ultimately reaching the narrative balance. Nabokov has used the outer flashback to extend the narrative time and space, leaving us with imaginable room while inner flashback is used in the very beginning of the narration—“I was born in 1910, in Paris (Vladimir Nabokov, 2000).”—serves as the symbol of recollecting his long unhealed wound and the in vain love struggle later in America, Foreshadowing the tragic memory of his story with Lolita, giving us a guidance of the narration, and creating our curiosity to demonstrate our guess. Here I would like to select several sentences from Humbert in his narration to observe the hidden “time clue” in his narrative tricks: “Lolita and gentlemen of the jury, exhibit number One is what the seraphs, the misinFormed, simple, noble-winged seraphs, envied. Look at this tangle of thorns (Vladimir Nabokov, 2000).” This sentence is said when Humbert begins his narration with the intention to imply his well-organized statement which is full of bitterness What’s more, it has settled a setting of the past and can be regarded as the symbol of total flashback. In Chapter 17 and Chapter 23 of Lolita, Humbert exclaims as follows: “Gentlemen of the jury!” “Ladies and gentlemen of the jury—I wept”(Vladimir Nabokov, 2000). We can judge from his exclamation and concludes that he is in clear state of being because of his master of time sequence. He understands what he narrates is about the past events, which will make readers focus mainly on the narration itself but ignore his inner monologue. ThereFore, he has made a delicate arrangement of time. For One moment, he leads us back to the past time, and at another moment, we are in his narration’s on-scene eyewitnesses. The change of narrative situations symbolizes the transcendence of time and space : the narration happens in 1952 and the narrator is narrating the events happened beFore that time. However, he does not focus only on the past but sometimes flashback and wept For the sympathy and understanding of the jury. Through this kind of time-space arrangement, Nabokov has succeeded in creating an integrated space with Two different mini-spaces. Both Humbert and his narration are under control of Nabokov. The writer seems to play the hide-and-seek with us, making us trapped in his narrative suspense at this moment and suddenly enlightened at next moment. In a word, Nabokov is an outstanding artist and we feel honored to be in his stage. In the movie of Lolita, the film director has skillfully splited the space into several mini-spaces: the “present narrative” space; the “experiencing narrated” space; and the special retrospection space existed in both the “present narrative” and the “experience narrated” spaces. It seems superficially that the space is divided and not completed. However, the space is delicately designed to pursue a narrative balance. Movie narration has used the shifting of cameras, setting as well as background and other shooting devices to reach the agile interchange of time and space. Let’s see how these spaces are divided and later are combined naturally. Space One At the very beginning of the story ·Scene Close-up ·Character Humbert ·Music Melancholy and full of distress ·Action Humbert is driving a car alOne in the boring and endless road. His hands, wet with blood though, nip Lolita’s barrette tightly. It seems that H.Humbert has lost control of driving and inclined to conduct suicide. What are presented in front of Humbert are all stretching and continuous mountains. Once in a while, there appears a truck that has even showed Humbert’s helplessness and lOneliness. Under such circumstances, he narrates: Lo-lee-ta: the tip of the tongue taking a trip of three steps down the palate to tap, at three, on the teeth. Lo. Lee. Ta. She was Lo, pain Lo, in the morning, standing four feet ten in One sock. She was Lola in slacks. She was Dolly at school. Light of my life, fire of my loins. My sin, my soul (Vladimir Nabokov, 2000). ·Narrative Purpose After the inner monologue, Humbert has switched the “present narrative” space into a past experienced space. Space Two Cannes, France 1921 ·Scene Annabel was first introduced by the director, also by the narrator Humbert. ·Character Annabel and Humbert ·Music Cheerful at first and distress later ·Action They are both 14 years old teenagers. All at once, they madly and shamelessly fell in love with each other. UnFortunately, Annabel died of typhoid four months later. At this heartbroken moment, Humbert complained the child he loved was gOne and he confessed himself kept looking For her. He compared the death of Annabel as a wound that would never be healed. ·Narrative Purpose Here, Humbert has made a blank statement which intends to leave suspense For the audience : Did Humbert love Annabel so much that he no longer can fall in love with anyone else? If so, why should Lolita appear? Is she just the substitution For Annabel? Carrying so many suspicious, the audience are eager to trace what happened to Humbert and the other protagonist Lolita, which Humbert has anticipated in advance, thereFore he has turned into another space. The space with Lolita. Space Three New England, 1947 ·Scene Humbert is going to teach in a university in America by train ·Character Humbert, Lolita, Mrs. Haze, Quilty ·Music Integration of joyfulness, sadness, melancholy and despair ·Action Humbert found it impossible to disentangle himself from the unrealistic relationship with Lolita, the daughter of Mrs. Haze. In order to be with Lolita for the rest of his life, Humbert sacrificed his honest to marry Mrs. Haze whom he dose not love but as a bridge for him to get close to Lolita. Once his secret is disclosed, obstacle is gone—Humbert ultimately shows his utmost longing for Lolita. What continues is a series of struggles between Lolita and Humbert, Humbert and Quilty, and even among Lolita, Humbert and Quilty. The climax of the film lies in the murdering of Quilty by Humbert. It is a laughy, comedy as well as a tragedy. ·Narrative Purpose The piano tune ends and the blamed Quility has gone—in the definitely silence. The “now” and “here” scene has been transmitted to that lonely car which is set in the endless road. Here, Humbert’s voice in—Space one Space One At the end of the film ·Scene On the abyss where we could see a light cloud rising through the villages. As Humbert said to himself: “What I heard was but the melody of children at play, nothing but that, and so limpid was the air that within this vapor of blended voices without Lo’s voice.”(Vladimir Nabokov, 2000) ·Character Humbert ·Music Unusual silence ·Action Slowly Humbert drove down to the hill, and presently found himself going at the same lazy pace in a direction opposite to Parkington.     From the shifting of different spaces, we are experiencing the “narrating Humbert” and the “experiencing Humbert” in the separated time order of the movie, 1921 in France, 1947 in New England and the end of the movie—However, we would not feel the fracture of the spaces but the delicate narrative balance and the spatial connection. Though these narrative situations happened in different spaces, the cinema scenes have connected these so-called divided events. As a result, the audience will understand well about the story and enjoy these visual communications with the changes of scenes. 3.1.2 The Debris of Time The spatialized narration in the movie Lolita is mutually related to the special temporal concept in the novel Lolita. The below sentences are excerpted from the novel narration. “I am convinced, however, that in a certain magic and fateful way Lolita began with Annabel.” “...twenty-four years later, I broke her spell by incarnating her another.” “It will be marked that I substitute time terms For spatial Ones.” “Let them play around me For ever. Never give up.” “It was the same child—the same frail, hOney-hued shoulders, the same silky supple bare back, the same chestnut head of hair.”(Vladimir Nabokov, 2000) Obviously, Humbert has confounded the present with the past. He sillily wishes that time will fix especially at the limit of the age of nine and fourteen. People may be confused about Humbert’s narration. Why should Humbert consider spatial terms substitutes For time Ones? Why must he long For a girl bearing the same traits with Annabel? Does he love Annabel so deep that anyOne else is just a substitution? Such lists of questions will continue. In fact, Humbert himself has given us an answer— “Between the age limits of nine and fourteen there occur maids who, to certain bewitched travelers, twice or many times older than they, reveal their true nature which is not human, but nymphic (that is, demoniac); and these chosen creatures I propose to designate as ‘nymphets’”(Vladimir Nabokov, 2000). Humbert is a middle-aged man. However, he is infatuated with his so-called “nymphets”. Evidently, he is confronting with time that is linear, objective, and continuous but cannot be retrospected. Even so, Humbert still wants to compete, surpass and even control time with his silly hope that “nymphets” will never grow up. There have been tracks For Humber’s debris of time. Humbert is a character created by Nabokov who is an exiled Nabokov’s conception of the debris of time. Nabokov comments: “I confess I do not believe in time. I like to fold my magic carpet, after use, in such a way as to superimpose One part of the pattern upon another.”（Zhang Yun, 2006）ThereFore this unique time concept is reflected in his works. Under such circumstances, Nabokov has made use of unique and special time consciousness with non-linear structure in Lolita. Although he applicated symbols of time sequences, movie narration has presented the audience with an important image. The image of road is a kind of visual expression that cannot be realized in novel narration. “Road” has appeared with a high narrative frequency in the movie. Broad and boundless as the road is, it has led to the chasm of distress and hopelessness instead of a way to future. How can Humbert not feel particularly solitary where there is only his lOnely car on the road? Without an intimate partner, without love, but bearing the name of murderer, Humbert can only choose the way of no return. Road has four different metaphorical meanings in the movie. For Humbert, road is unreturnable, and it stands For an unknown future. Humbert is driving in a grey road. He is confessing his sins; his heart and soul is filled with Lolita. He is thinking of the days of pleasure and bitterness. For Lolita, the road symbols the painful process of growing up in her life—departed with biological mother, roamed with stepfather, and married a man at random. Road for Mrs. Haze implies the disbelief of love and struggle in the short journey of her life. Undoubtedly, road for Quilty predicts the termination of his life(Joseph Frank, 1991). The whole story expands mostly in the long and changeable journey. The only companion For Humbert and Lolita is the rambling road which indicates the homeless, miserable and drifts from place to place. Life is full of “X” s. On the way of traveling around America, Lolita once tried to escape the control by Humbert who actually was the main cause of the death of her mother; later nevertheless Lolita initiatively lured Humbert and even sold her sex to Humbert For mOney to realize her ultimate escape. Space apposition synchronizes the incised spaces and makes perfect integration of spaces; time fracture as well as the non-linear narrative structure extends and enlarges the spaces. Time is fractured while space is non-linear, we always return sober-minded after lost in constantly suspense. We lost, we confirmed—all is dominated by the narrator in movie and novel. In the analysis of space apposition above, we have constantly experienced the different scenes that transferred from “now” and “here” to “then” and “there”. Narrator has used the current point of view to comment the past things, describing with both his inside-view and an objective spectator’s perspective. This arrangement of space and time order allow us to enjoy the integration of scenes, description and even sound, including narrator’s and narrate’s voices and directly make evaluation, body reaction to their unknown psychological changes or organized intrigue and so on, all these elements will be presented in the movie easily. As to novel narration, though it cannot describe characters and simultaneously record things happened or are going to happen, it has more dominant of the words to carefully exhibit characters’ emotions, and intentions, etc. ThereFore, both novel and movie narration have make the possibility of freely enjoying the visual and literary effects. 3.2 Narrator: The Relationship between Narrator and Narration In terms of the narrative structure, Nabokov has carefully arranged the criss-cross but full time-space order. In addition to this, he has even elaborately selected Humbert as the only narrator in the novel Lolita. Humbert is destined to be the narrator in both movie and novel. In Nabokov’s eyes, he considers all the great works as fairy tales that reflect literary charms and more deception. In the pursuit of this effect, Nabokov finally chose Humbert, the nymphet’s seducer and murder of Quilty, For Humbert himself is an enigma. Nabokov believes in the process of unveiling the sealed events will surely bring us the utmost aesthetic bliss. In the novel Lolita, Humbert gets the control of the whole story, and he can follow his inclination to arrange every detail and every character in his narration. In the novel narration, readers can only judge the facts by what Humbert narrates. First, we should make analysis of what kind of narrator Humbert is beFore we can analyze his “confession”. The same narrator when he is observing with different perspectives will result in various understandings. According to Professor Hu Yamin’ view of Narratology, there are four types of narrators: same/different narrator, inside/outside narrator, objective/intervened narrator, and natural/self-realized narrator. Obviously, Humbert belongs to same narrator who narrates self-related matters; outside narrator who provides us with a framework and gets control of the narration; inside narrator who is embeded narrator and perForms as a hierophant to explain the whole events. Of the story, natural narrator refers to the narrator hidden in the literary works and does not make any comments on narration so as to make things happen naturally as “real illusion”; Humbert acts as both objective and intervened narrator. Humbert is demonstrated as a criminal who conducted murder of Quilty. In the novel narration, as the same narrator, he can easily overflow his true feeling to command the sympathy from the judge. When being an outside narrator, Humbert is able to rearrange the time-space order of the events or even confuse the right with the wrong. He controls everything. Obviously, Humbert knows that being an outside narrator will cause unreliability. ThereFore, he simultaneously shifts the narrative perspective and represents himself as an inside narrator. Through the eye of inside narrator, he aims at increasing his royalty and reliability. Additionally, Humbert tries to produce an objective but artificial situation with the goal of strengthening his credibility. In addition to the narrator’s narrative techniques, Humbert has also made full use of the narrative modes in both movie and novel. Free direct speech and indirect speech are narrative modes used in the movie and novel narration. Free direct speech is defined as the dialogue and inner monologue without hints while indirect speech refers to the narrator transmit others’ words or thoughts. Humbert mainly focuses on these Two narrative modes and always imposes his individual feelings as well as comments on the characters’ expression so as to arbitrarily change or reForm their words. To some extent, novel narration is limited with One single voice—voice of H. Humbert and no other voices. As For Lolita, he always uses “she” or “her” to brave Lolita’s rights to state, to explain. Humbert is afraid that the voices-in will detract the attention of the jury, making them conclude the fact that what he considers right is wrong. Thus Humbert restricts voices of others and occupies the voices in and voices out For the most advantages of himself. In many cases, he has adopted first-person narration while few third-person point of view is applied. “Let me thereFore primly limit myself, in describing Annabel, to saying she was a lovely child a few months my junior.” “I leaf again and again through these miserable memories, and keep asking myself, was it then, in the glitter of that remote summer, that the rift in my life began...” “The days of my youth, as I look back on those morning snow storms of used tissue paper that a train passenger sees whirling in the wake of the observation car.”(Li Xianjie, 2000) These utterances all come out from Humbert who is allowed to control over the discourse. With this special identity, he is able to claim himself as a victim of Lolita and Quilty. Lolita is silent in his narration. She is deprived of self-clarification. However, by means of the narration, Nabokov has made Humbert untrusTworthy narrator. Unreliable as Humbert is, his skillful management of words and perfect realization of his self-justification has granted him as a master of language. Though he is a criminal, he laments himself filled with lOnely sorrow. The narration of first person is Humbert’s elaborate arrangement with the purpose of making others believe he is innocent and reasonable to be Forgiver, For he has entered old age when gradually lose the light of life and the interest to life slowly fades away. We cannot help but admiring Humbert’s careful thoughts. He resets up time-space order, using restricted narrative voices to make himself appear more reliable. Though he hides Lolita inside the literary work, sometimes he wants to demonstrate his true love For Lolita by changing the third person “she” or “her” to the second person “you” in his narration. “I loved you. I was a pentapody monster, but I loved you.” “Do not let other fellows touch you. That husband of yours, I hope, will always treat you well...” In the movie, thought Humbert is still the general and single narrator, he has applied the technique of “embeded narrative” instead of “frame narrative” in novel narration. Embeded narrative means the narration of narration happened in the setting presented in the frame narrative. There are several duty-narrators in the movie Lolita, including Lolita, Mrs. Haze and Quilty with a general narrator Humbert inside and outside the movie. Embeded narrative can increase the reliability of narration and conduce to produce a sense of ending in the narration. As to the narrative voices in movie narration, there are mainly Two kinds of voices: authorial voice and personal voice (Li Xifen, 2005). Novel narration arranges Humbert to be the single narrator and thus the authorial as well as personal voices are collected in Humbert himself. Other characters have no rights of speech except receiving the “permission” from Humbert. Humbert can optionally use the authorial voice to recount the heterodiegetic scenarios with the purpose of making himself irrelevant of the harmful things and realizing self-justification. With the application of the authorial voice, the emotions and feelings of the leading character Lolita cannot be known or even be traced out. However, in the movie, Humbert is no longer a “dictator”, and the movie director has allowed us to directly face the psychological movement and the inner emotions of Lolita. Does she love Humbert, Quilty or her husband? How does she comment on the journey with Humbert? Is that really like “being kidnapped” or “with free will”? ... The list continues... Words may not convey comprehensive or complete connotation For us, but words plus cameras, settings, close-ups, inner monologue, eye contact and so on, will undoubtedly Formed an intensive signal For us to taste, to digest, and to conduct moral judgement. 3.3 Narrative Focalization Focalization is different from point of view. Focalization concerns Two aspects: the perceptive person and the narrator while point of view is about the perceptive that the narrator used in the narration. 3.3.1 Movie Narration: All-Round Perspective and Limited Personal Point of view Professor Shen Dan points out that selective all-round perspective is like a almighty God who knows everything in the narration(Shen Dan, 2004). At the same time, the narrator has selected what he or she is going to narrate. He or she can choose, select, delete or add something into the narration. In the movie, Humbert has acted as a “almighty God” who narrates the whole story when he experienced his first love till the rest of his life when he was psychologically and mentally tortured by Lolita and Qulity, and moreover, he has turned from a professor into a murder. This process is complicated and “endless” in some degree. Both a narrator and a character in the story, it is impossible For Humbert to observe every detail and every character in the event though he has served as an all-round narrator. When Humbert narrates, he perForms as eyes of an observer who is in the narrative level. As he is a participant of the story, he then acts as eyes of a perceptive person who is in the story level. Chat man indicates that “filter” and “slant” are respectively referred to the perceptive feeling of characters in the story level and the attitudes of narrator in the narrative level. Humbert has double narrative focalizations through the first-person of view: One focus is the perspective of recalling the past events, and the other One is the perspective of experiencing the narrated events. In the movie, when Humbert first tarted his journey with Lolita and settled down in a small inn, he met Quilty, his unallowable oppOnent. Here are the puzzling but dreadful expected communications between Humbert and Quilty at their first sight (Quilty is having a drink and Humbert is lOnely enjoying the tenderness of the night): Qulity: Where’s the girl did you bring in? ( The light began to turn caliginous ) Humbert: I beg your pardon? Qulity: If so the weather is going better. Humbert: It seems so. Qulity: Who’s the little missy? Humbert: Am... , my daughter. Qulity: You lied. She’s not! Humbert: What?! ( Vladimir Nabokov, 2000) From this short and brief conversation, we know that Humbert has stayed at the story level where he experiences and observes the events, but he cannot apperceive the ongoing disclosed things. He has utilized the limited point of view to show Quilty is such a harmful schemer so that we can believe a series of destructive, horrific intrigues is nOne of Humbert’s business and admit that Humbert is actually a victim. This focalization functions as perceptive eyes For the limitation of all-round perspective focalization. However, in other cases, Humbert has shifted to all-round perspective: After the death of Mrs. Haze, Humbert brought Lolita with him to stay a night at another city with an excuse of seeing Lolita’s mother the next day. When they arrived, Lolita was attracted by a pretty dog. Quilty was the master of the dog. He began to talk to Lolita, and Humbert didn’t know what they were talking about, he applied the all-round selective perspective to describe Lolita and Quilty in order to point out Quilty’s abnormal love For young girls. Combined with these focalizations, the movie has been produced in a perfect way, For it has both objective and subjective observation with different perspectives and giving the audience a comprehensive guideline of the story. 3.3.2 Novel Narration: The First-Person of Narration with Inside-View and Duality Compared with movie narration, novel is quite different. Novel has applied the first-person of narration which is the most direct and instinctive way of expressing Humbert’s emotions. The below description has vividly showed Humbert’s mixed feelings: “I have often wondered what became of those nymphets later? In this wrought-iron would of criss-cross cause and effect, could it be that the hidden throb I stole from them did not affect their future? I had possessed her—and she never knew it. All right. But would it not tell sometime later? Had I not somehow tampered with her fate by involving her image in my voluptuous? Oh, it was, and remains, a source of great and terrible wonder. I learned, however, what they looked like, those lovely, maddening, thin-armed nymphets, when they grew up. I remember walking along an animated street on a gray spring afternoon somewhere near the Madeleine.”(Vladimir Nabokov, 2000) Apparently we can find Two “I” in Humbert’s narration here: the first “I” used to express Humbert’s wonder of the future of those nymphets, which serving as the observed eyes of other people and tries to express their feelings and emotions. Here “I” is the One who narrates the story itself. Also the “I” in the later description is “experiencing I” at the narrative story. Duality of the first-person narrator mainly serves For Humbert’s self-justification. He can use the present perspective not only to narrate but also to explain the past events, or even to interfere others’ own judgement. With this narrative strategy, Humbert realizes his self-justification and his narrative motivation(Hu Yamin, 2004). Through this narrative device, the author of the novel tends to achieve a delicate narrative balance which presents the internal psychological world of Humbert and at the same time readers are contradictory to make their choice—For or against Humbert. The reason For employing this narrative technique is that the narration is essentially a confession written by Humbert, and it is better For Humbert to recount his events and guilty. Nabokov intends to leave the readers with their own moral judgement. In essence, the first-person narration is subjective though it is intuitionalism and vivid. As Humbert pursues the objective narrative effects, he stresses on the characters’ voices and weakens the narrator’s voice, which has made the combination of narrative perspective and narrative voice. Chapter Four  Aesthetic Effects of Different Narrative Modes As we know, novel uses words as its narrative medium, emphasizing to stimulate readers’ imagination in the time sequence of the novel; movie, uses voices and frames as its narrative medium, stressing on giving the audience sensory pleasure. Both novel and movie have applied flashback or recollection of the past event narrate the story. We know that recall has created time span, long or short, evading the mistakes of short-sighted views enabling the narrator to make a new, objective, and correct judgement of the past events. Though movie and novel have different carrier of expression, three major aesthetic effects can be run as follows: Firstly, delicate narrative structure—Form the transcendence of time and space. In movie narration, time effects has always been pursued by the film director who has deliberately splited the story into several spaces to be the result of making the audience on the narrator’s side and experience what the narrator narrates within small time span. ThereFore, movie is art of time that can show the incidents spanning nearly four decades by means of cameras, lights, colors, music, languages, etc. It can easily record the daily life or even the dream of the characters. In novel narration, lack of time effect, represents the characters’ idea, exquisitely describes the dialogues, actions, scenes, psychological changes, etc. Secondly, an untrusTworthy narrator—produce different understanding of the theme. On One hand, we cannot fail to doubt the credibility of narrator’s narration, and on the other hand, this time-neglected narration has exerted great importance of aesthetic value. Novel lies in literary feast—we are able to experience One space in one time while movie presents us spaces, description and communications among people, which enables us to experience one space in one time or one space in another time sequence. Both the novel and the movie have selected Humbert as the narrator. Humbert is an evil and at the same time a victim. What he narrates contains objective comments with subjective feelings of himself. ThereFore, the rights and wrongs of moral principle are totally presented beFore us, which will come out with different understanding of the theme. Whether people sympathize Humbert or curse him, the aesthetic bliss that cannot be weighed by moral or our worldly judgments has been achieved. Thirdly, changeable focalization—create blank statement and suspense. The movie and the novel Lolita have similarly applied inner and outer narrative focalization which can hide narrator’s true intention by creating blank statement as well as suspense or undiscover his deepest thought to shorten the distance between the narrator and the audience. Different narrative media with distinct narrative devices can Form distinguished artistic effects. I believe the integration narratives of both novel and movie will create the most exquisite art of work. Conclusion Lolita is a complex and often tricky novel famous For its innovative style. The uncertainty of its theme makes it difficult to get it adapted for the screen. But the film directors Stanley Kubrick in 1962 and Adrian Lynne in 1997 challenged it Kubrick’s version shows the ridiculous circus stances of the protagonist, Humbert with the tang of black humor and satire, while Lynne’s version interprets the novel as a tragic love story on screen. The Two film versions confirm the novel in aestheticism and tragic breath. In the light of the artistic aestheticism, the Two adaptations can be seen as successful. As a style of literature, novel and its creation pattern has attracted much attention since the day it came into. Narrative study started with the research on novel creation. In the 60’s of 20th Century, with the rising of structuralism thoughts, novel narration combined together with Structuralist Literary Criticism and Formed Structuralism Narratology. Since then, narration has become an independent discipline appearing on the stage of Literature. Novel narrative structure has been deeply influenced by structuralist linguistics—semeiology which is represented by a famous Russia linguistic Saussure and structuralist poetics—mythology which is represented by Propp. Apart from this, Saussure’s research in Synchronic Linguistics and his separation on “signifier” and “signified” both posses deeply influence on movie theory, too. With movie’s wide acceptance as “the seventh art”, some scholars, as Matz and Eco, analyzed movie Structuralism narratology thoroughly and completely, Formed an integrated narration theory. For this, both novel narration and movie narration are the art style in narration theory. They have same theoretical foundation and can be compared. Novel uses words as its narrative medium, emphasizing to stimulate readers’ imagination in the time sequence of the novel; movie, uses voices and frames as its narrative medium, stressing on giving the audience sensory pleasure. Both novel and movie have applied flashback or recollection of the past event narrate the story. The whole thesis consists of three parts. In the first part, it will have a theory carding the start of novel narration and movie narration, reaching the Conclusion that they are able to be compared and have the significance of comparative study. In the second part, according to the movie and the novel Lolita, it will use Structuralism Narratology method to discuss aspects of story construction, the characteristics of temporal and spatial narrative, narrative point of view, the narrator, and the Two languages ??carrier. Then it will analysis the difference and find out their own features on artistic expression. At last, in the third part, there will be a Conclusion: novels and movies are both connected to art, and there are differences that can not be ignored. When the conversion between the Two, we need to fully recognize the existence of differences, and then combined with its own characteristics. In conclusion，different narrative modes have different aesthetic effects. The exquisite techniques of time-space order narrative structure, as well as the changeable narrative focalization have strengthened the artistic and aesthetic values of this novel. Movie Lolita, by means of distinguishable technologies: the apposition of space and the fracture of time has reached a delicate narrative balance and Formed a beautiful visual scene. Bibliography [1] Vladimir Nabokov.  Lolita[M].  Beijing: Foreign Language Teaching and Research Press, 2000. [2] Vladimir Nabokov. 洛丽塔[M]. 于晓丹译. 南京：译林出版社，2003. [3] 安德烈·戈德罗，弗朗索瓦·若斯特. 什么是电影叙事学[M]. 刘云舟译. 北京：商务印馆，2005. [4] 胡亚敏. 叙事学[M]. 武汉：华中师范大学出版社，2004. [5]（美）乔治·布鲁斯东著. 高俊千译. 从小说到电影[M]. 中国电影出版社，1981. [6] 李喜芬. 重构黑人女性的自我——解读莫里森小说的叙事奥秘[J]. 外国文学，第1期：96~99，2005. [7] 李丽芬. 影像叙事对文学叙事的承接与超越[J]. 云南师范大学学报，第38卷， 第2期：90~96，2006. [8] 李显杰著. 电影叙事学：理论和实践[M]. 中国电影出版社，2000. [9] 罗伯特·斯塔姆，压力桑德拉·雷恩格. 文学和电影：电影改编理论与实践[M]. 北京大学出版社，2006. [10] 申丹. 叙述学与小说文体学研究[M]. 北京：北京大学出版社，2004. [11] 约瑟夫·弗兰克. 现代小说中的空间形式[M]. 北京：北京大学出版社，1991. [12] 张芸. 不同的侧重，一样的成功——小说与电影叙事视角之比较[J]. 内蒙古民族大学学报，第12卷，第1期：12~14,2006. Acknowledgements I would like to take this chance to thank my supervisor — Mr. Liu, who has offered me academic and constructive advice on composing this paper. His encouragement and help are worthy of high acknowledgement. When I am writing this paper, Mr. Liu spares no efFort to check my paper and give me a lot of advice on the whole structure, the words and sentences and grammar so that I can accomplish my paper swimmingly. I really appreciate his great help.  And I also would like to thank all the leaders and teachers of the Department of Humanities. At last, I give the most heartfelt thanks to all my teachers, friends For their great help.