<abstract xmlns="http://www.w3.org/1999/xhtml"><p>The main focus of this paper is on the narrative strategy used by fan writers in the process of interpretation of a modern classic. The research is based on the hypothesis that text-interpretation implements the existing yet implicit narrative lines of an original source. The discussion focuses on Vladimir Nabokov’s œuvre represented by the novel <italic>Lolita</italic> in amateur writers’ communities. The article’s hypothesis is that due to the existence of English and Russian versions of <italic>Lolita</italic>, fan texts in both corpora differ in the choice of linguistic means, but use similar narrative structures (Greimas). Whenever the narrative scheme is not oversimplified to resemble the model of a mass literature novel, it follows Humbert’s confession scheme in a way the character himself wants the fictional reader to perceive it. If the name of one of the actants is omitted or the two-actant model is expanded, the amateur text is close to the plot of the novel and its auto-citation structure. The novel, devoted to the story about an erroneous interpretation, is open to any mass-media adaptations. The original narrative strategy of <italic>Lolita</italic> is more exposed through the fan adaptations: the active reader is an obligatory participant in the artistic creation.</p></abstract>

The main focus of this paper is on the narrative strategy used by fan writers in the process of interpretation of a modern classic. The research is based on the hypothesis that text-interpretation implements the existing yet implicit narrative lines of an original source. The discussion focuses on Vladimir Nabokov’s œuvre represented by the novel Lolita in amateur writers’ communities. The article’s hypothesis is that due to the existence of English and Russian versions of Lolita, fan texts in both corpora differ in the choice of linguistic means, but use similar narrative structures (Greimas). Whenever the narrative scheme is not oversimplified to resemble the model of a mass literature novel, it follows Humbert’s confession scheme in a way the character himself wants the fictional reader to perceive it. If the name of one of the actants is omitted or the two-actant model is expanded, the amateur text is close to the plot of the novel and its auto-citation structure. The novel, devoted to the story about an erroneous interpretation, is open to any mass-media adaptations. The original narrative strategy of Lolita is more exposed through the fan adaptations: the active reader is an obligatory participant in the artistic creation.

Modern Classic in the Web Environment: Narrative Variations of V. Nabokov’s <italic>Lolita</italic> in Fanfiction

Acta Universitatis Sapientiae, Film and Media Studies

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

Modern Classic in the Web Environment: Narrative Variations of V. Nabokov’s  in Fanfiction

The main focus of this paper is on the narrative strategy used by fan writers in the process of interpretation of a modern classic. The research is based on...

Modern Classic in the Web Environment: Narrative Variations of V. Nabokov’s Lolita in Fanfiction

Publicado en línea: 29 oct 2020

Páginas: 89 - 107

DOI: https://doi.org/10.2478/ausfm-2020-0005

Palabras clave
fanfiction, transmedial translation, Vladimir Nabokov, actantial models

© 2020 Anastasiia Drozdova et al., published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

Modern Classic in the Web Environment: Narrative Variations of V. Nabokov’s Lolita in Fanfiction

Publicado en línea: 29 oct 2020

Páginas: 89 - 107

DOI: https://doi.org/10.2478/ausfm-2020-0005

Palabras clavefanfiction, transmedial translation, Vladimir Nabokov, actantial models

© 2020 Anastasiia Drozdova et al., published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

Palabras clave
fanfiction, transmedial translation, Vladimir Nabokov, actantial models