Haloed Hallucinations

IF 0.1 4区 哲学 0 RELIGION
Erik Eklund
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引用次数: 0

Abstract

Abstract Among the most popular hagiographies throughout Eastern and Coptic Christianity, Athanasius’ Life of Antony has exercised profound influence upon Western visual and literary art, not least Vladimir Nabokov’s Bend Sinister . Querying the alleged originality of Nabokov’s “symbol of the Divine power,” this article examines Nabokov’s engagement with the Antonian hagiographic tradition—represented by Athanasius’ Life , Hieronymus Bosch’s Triptych of the Temptation of St. Anthony , and Gustave Flaubert’s Le Tentation de saint Antoine —to reveal the religious ground of protagonist Adam Krug’s saint-like identity and the novel’s metaliterary mysticism in the Lord’s figural descent upon an inclined beam of light at the end of Antony’s temptations. Providing a transgressive theological terroir for Nabokov to probe the porous varieties of the real, the Antonian sources of Krug’s “haloed hallucination” invite further reconsideration of Nabokov’s self-styled “indifference” to the Christian imaginary.
这个幻觉
亚他那修的《安东尼的一生》是东方和科普特基督教中最受欢迎的圣徒传记片之一,对西方视觉和文学艺术产生了深远的影响,尤其是弗拉基米尔·纳博科夫的《邪恶的弯曲》。质疑纳博科夫所谓的“神圣力量的象征”的原创性,本文考察了纳博科夫与安东尼圣徒传世传统的接触——以阿塔那修的《生平》、希罗尼穆斯·博斯的《圣安东尼的诱惑三联画》和古斯塔夫·福楼拜的《圣安东尼的诱惑》为代表——揭示了主人公亚当·克鲁格圣徒般的身份的宗教基础,以及小说中上帝在安东尼诱惑结束时降临在倾斜光束上的金属文学神秘主义。为纳博科夫提供了一个越界的神学土壤,让他可以探索真实世界的多种多样,克鲁格的“光环幻觉”的Antonian来源,促使人们进一步反思纳博科夫自封的对基督教想象的“冷漠”。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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CiteScore
0.10
自引率
0.00%
发文量
45
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