His first book of poetry was published in

1914, and a second appeared in 1917.

1919 The family left Russia, established
in Berlin. Nobokov went to London,
attended Cambridge University
1922
Father
assassinated.
Vladimir
rejoined his flia in Berlin. He taught
tennis, boxing and languages. Wrote
under the pseudonym V. Sirin.
1925 married Vera Slonim
1938 fleeing from the Nazis and
established in Paris
1940 moved to the United States
escaping from German occupation.
1941 to 1948 he taught atWellesley
College and became a professor of
literature
Fellow in entomology at the Museum of
Comparative
Zoology
at
Harvard
University from 1942 to 1948
In 1961, VN and Vera moved to
Montreux, Switzerland where he died in
1977

BIOGRAPHY Vladimir
Vladimirovich Nabokov 1899- 1977

The lepidopterist

US Literature:

Works byVladimir Nabokov

1947
1951
1955
1958
1957
1962
1966
1969
1972
1973
1974
1980

Bend Sinister.
Conclusive Evidence.
Lolita by Olympia Press in 1955.
publication byPutnamin the United States .
Pnin.
Pale Fire.
Speak, Memory.
Ada or Ardor: A Family Chronicle.
Transparent Things.
Strong Opinions.
Look at the Harlequins!
Lectures on Literature.

LITAS BACKROUND

Olympia Press two

volume Lolita

The aim of the presentation :

is to show how Nabokov uses metafictional devices in Lolita

so as to make the reader play and be deceived by the text
(topic, style, narrator, author) and finally get to the
realization that Lolita is an aesthetic artifact, a work of art.
Play and deception stated in terms of:
Problematization of author and the reader
Unreliable Narrator
Frame braking
The use of parody
Intertextual references and allusions
The building of fairy tale and its deconstruction
Mirrors and Labrinths
I'm going to focus on Problematization of author and
the reader , Unreliable Narrator, frame braking.

PLOT aca va video

The 2 road trips

Mirror
structure
PART
PART
1
The prologue (Chapter
1)
The first ten chapters of
the first part: Humbert
is without Lolita.
Humberts wives, with
whom he lives in Part
One.
Characters
move
forward in the story.
Humbert travels with
Lolita and they are
pursued by Quilty.

Echoes the epilogue

(Chapter 36)
The
last
ten
chapters
of
the
second: Humbert is
without Lolita.
Rita,
the
woman
Humbert meets and
lives with in Part
Two.
Characters
move
backwards. Humbert
looks for Lolita and
pursues Quilty.

Theoretical framework

Good Readers and Good Writers (from Lectures on

Literature) V.Navokov
We should always remember that the work of art is
invariably the creation of a new world, so that the first
thing we should do is to study that new world as closely as
possible, approaching it as something brand new, having
no obvious connection with the worlds we already know.
When this new world has been closely studied, then and
only then let us examine its links with other worlds, other
branches of knowledge.
Barth's conception of fiction making equated with love
making In Chimera Sherry and the Genie deal with dozens
of ideas contrasting love and art from "Passionate
Virtuosity" (Chimera, 24), the combination of skill and
heart, to the relationship between teller and told.
Patricia Wough: metafictionality is a means to achieve the
playfulness in the text.
She states that "the metacommentary provided by selfconscious fiction carries the more or less explicit message:

PROBLEMATIZATION OF THE AUTHOR

AND READER McHale

Frame-breaking is a risky business. Intended to establish

an absolute level of reality, it paradoxically relativizes
reality; intended to provide an ontologically stable foothold,
it only destabilizes ontology further (197). Or to put it
differently, to reveal the authors position within the
ontological structure is only to introduce the author into the
fiction; far from abolishing the frame, this gesture merely
widens it to include the author as a fictional character
(197-98).
He works out Foulcault's idea of the author as a function in
the text, thus the author is present in different forms.
Postmodernist fiction has brought the author back to the
surface (199)

Roman-a-clef
Roman-a-clef as a 'hide and seek' that fiction and
reality play in the texts. He defines it as
"autobiographical fiction which preserves much of
the ontological force of transwold identity but
without reproducing real-world proper names"
and he continues "Here proper names have been
supressed or 'changed to protect the innocent'
(actually of course, to protect the guilty, that is
the potentially libellous author" (206)

 "She was Lo, plain Lo in the morning,

standing four feet ten in one sock.
She was Lol in slacks. She was Dolly
at school. She was Dolores on the
dotted line. But in my arms she was
always Lolita. My Lolita, my own
creation
Who is Lolita? Lo the girl, Lo the
caracter, Lo Humberts ideal nimphet
Lolita the book. Nabokovs own