| Abstract | Ovim diplomskim radom cilj mi je bio istaknuti i objasniti zamke koje sam tijekom čitanja Nabokovljevog romana Lolita uočila u pripovjedačevoj naraciji, a kojima sam zaključila da utječe na čitatelja na način da mu sugerira što da misli i kako da se osjeća, uvijek ga potičući da odnos suosjećanja ostvari s njim, umjesto sa sporednim likom u romanu, s likom Dolores Haze. Takvo čitanje nosi sa sobom brojne posljedice, od kojih je jedna od najopasnijih upravo predeterminirano čitanje romana nastalo uslijed pojednostavljivanja romana: čitatelj očekuje priču o razvratnoj djevojčici pa je učitava u tekst. Jednom učitana u tekst, djevojčica dolazi na naslovnicu, a jednom na naslovnici, čitatelj ponovno očekuje priču o razvratnoj djevojčici. Tako roman ulazi u svojevrstan circulus vitiosus iz kojeg je, radi statusa popularne kulture koji je u marketinški bogatom dvadeset i prvom stoljeću nadjačao i samu književnost, vrlo teško izaći. Vodeći se vrlo zanimljivom i korisnom literaturom koja je proučavala posljedice koje je recepcija romana vršila na popularnu kulturu, odlučila sam dio rada posvetiti i načinu na koji se lik Lolite očituje unutar potrošačkog društva naših područja. Proučila sam neke materijalne proizvode, pjesme i kolekcije koje ili imaju izravnu dodirnu točku s Nabokovljevim romanom (putem naziva) ili je se, na neki način, podrazumijeva kao implicitnu. |
| Abstract (english) | Throughout the thesis, my aim was to point out, explain, and analyse the traps set by the narrator in Nabokov’s novel Lolita. These traps were created with the intent to affect readers’ feelings and opinions which, in turn, encourage the assembling of an emotional bond between a recipient and the narrator, thus, impeding the possible sympathy towards Dolores Haze who is presented merely as a background character. By reading the novel in such a way (i.e., by the narrator’s volition), the reader is responsible for the inevitable consequences which include a predetermined oversimplified interpretation; he/she expects a story about a lecherous teenager, so he/she recognizes Dolores to be such. Once her character is placed in that box, she naturally makes her way to the front page, and once on the front page, we again encounter a reader who expects the novel to be about a lecherous girl. Therefore, the novel enters the circulus vitiosus which it is almost impossible to get out of due to the status that the popular culture has gained through the years. The 21st century, rich in branding, marketing, and advertising, has overpowered the literature itself. Guided by numerous pieces of literature studying the same phenomenon, I have likewise decided to dedicate a part of this thesis to the way in which Lolita as a character is seen and experienced in the context of popular culture. For this, I have narrowed the range of interest to the ex-Yugoslavian countries, thus studying the products, songs, and fashion collections that have a connection to Nabokov's novel, whether it is direct (via name) or in any way implicit. |
