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Vladimir Nabokov's novel Invitation to a Beheading, like his other works, is replete with various a wide variety of visual images and motifs, such as glass, mirror, window, eyes and gazes. It is very different from them in that most of its narrative unfolds against the background of a prison space which is closely associated with the sharp eyes of observation and the hidden gazes of surveillance. Especially, the aesthetic relationship of tensions between 'seeing' and 'being seen' found only in this particular spatial setting becomes the most important compositional element in establishing the thematic structure of the entire novel as the binary opposition between transparency and opaqueness, visibility and invisibility.
However, current scholarship in Russia and abroad has concentrated mainly on the visual images, such apparent images as mirrors and eyes revealed on the surface of the narrative of the novel. Thus, little critical attention has paid not only to the 'invisible' eyes or gazes, which evoke profound semantic resonance on the deepest level of the narrative, but also to the tensioned atmosphere around them. This is made prominent in the "third eye", which Cincinatus, the protagonist of the novel, shall evolve on the back of his neck, between his brittle vertebrae, and the semantic resonance it arouses throughout the whole course of the novel. Indeed, the invisible, "third eye" of Cincinatus plays the key role in forming the tensioned relationship between 'seeing' and 'being seen' that provides a crucial clue for identifying the thematic structure of the novel, presenting a striking contrast to "the gaze of an experienced bridegroom", M'sieur Pierre, who, as his prison peer and his hidden observer, is seemingly able to see through the shadows of his soul. Cincinatus' "third eye" functions as a important literary device representing his creative imagination or his eye for the beautiful through which he tries to look at the world of "her and now" where everything is transparent and thus no longer seems fresh and new. In this respect, moreover, it forms a close semantic link with the "special mirror" which his mother says can transform amorphous, mottled things into a channing picture.
Focusing on what has not fully been given critical attention and analysis in existing scholarship as described above, in this study I will attempt to analyse the important aesthetic function and significance that the world of the eyes and gazes around the 'third eye' of Cincinatus have within Nabokov's visual imagination as actualized in Invitation to a Beheading.
However, current scholarship in Russia and abroad has concentrated mainly on the visual images, such apparent images as mirrors and eyes revealed on the surface of the narrative of the novel. Thus, little critical attention has paid not only to the 'invisible' eyes or gazes, which evoke profound semantic resonance on the deepest level of the narrative, but also to the tensioned atmosphere around them. This is made prominent in the "third eye", which Cincinatus, the protagonist of the novel, shall evolve on the back of his neck, between his brittle vertebrae, and the semantic resonance it arouses throughout the whole course of the novel. Indeed, the invisible, "third eye" of Cincinatus plays the key role in forming the tensioned relationship between 'seeing' and 'being seen' that provides a crucial clue for identifying the thematic structure of the novel, presenting a striking contrast to "the gaze of an experienced bridegroom", M'sieur Pierre, who, as his prison peer and his hidden observer, is seemingly able to see through the shadows of his soul. Cincinatus' "third eye" functions as a important literary device representing his creative imagination or his eye for the beautiful through which he tries to look at the world of "her and now" where everything is transparent and thus no longer seems fresh and new. In this respect, moreover, it forms a close semantic link with the "special mirror" which his mother says can transform amorphous, mottled things into a channing picture.
Focusing on what has not fully been given critical attention and analysis in existing scholarship as described above, in this study I will attempt to analyse the important aesthetic function and significance that the world of the eyes and gazes around the 'third eye' of Cincinatus have within Nabokov's visual imagination as actualized in Invitation to a Beheading.
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참고문헌 (27)
참고문헌 신청
[학술지(정기간행물)] - / / 참 고 문 헌
[학술지(정기간행물)] - / 2005 / 러시아 소설의 세계화 블라지미르 나보코프의 문학과 사회주의 리얼리즘
[학술지(정기간행물)] - / 2005 / 봄(見)의 미학 에 나타난 반영과 응시의 이중구조
[학술지(정기간행물)] - / 1997 / Invitation to a Beheading Nabokov and the Art of Politics Nabokov's Invitation to a Beheading
[학술지(정기간행물)] - / 1993 / Essays on Nabokov's Art and Metaphysics
[학술지(정기간행물)] - / 2005 / 러시아 소설의 세계화 블라지미르 나보코프의 문학과 사회주의 리얼리즘
[학술지(정기간행물)] - / 2005 / 봄(見)의 미학 에 나타난 반영과 응시의 이중구조
[학술지(정기간행물)] - / 1997 / Invitation to a Beheading Nabokov and the Art of Politics Nabokov's Invitation to a Beheading
[학술지(정기간행물)] - / 1993 / Essays on Nabokov's Art and Metaphysics
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UCI(KEPA) : I410-ECN-0101-2009-309-018826072