《納博科夫之"他者"意識(shí)空間構(gòu)建(英文版)》的研究是以納博科夫作品中所特有的哲學(xué)、美學(xué)以及文化為出發(fā)點(diǎn)，通過(guò)解析其上世紀(jì)50年代到50年代的三部代表作品來(lái)探討自我在“另一世界”文本語(yǔ)境下的表現(xiàn)、發(fā)展與穿越。作者認(rèn)為：納博科夫從哲學(xué)、美學(xué)、文化闡釋了一個(gè)以他者、或者他性為媒介的在言之我，在《斬首之邀》中穿越于俗世與“另一世界”之間；在《塞巴斯蒂安騎士》中穿越于“真實(shí)”與現(xiàn)實(shí)之間，在《說(shuō)吧，記憶》中穿越于過(guò)去和現(xiàn)在、個(gè)人歷史和公眾歷史之間。

Introduction 
Chapter One The Speaking "I" Pinned in the Mundane and the Otherworld in Invitation to a Beheading 
Ⅰ The Mundane World 
Ⅱ The Otherworld 
Ⅲ The Interconnection between the Mundane and the Otherworld 
Ⅳ Cincmnatus the Writer VS.Nabokov the Speaking Self 
Chapter Two The Speaking "I" Inscribed Between Literary "Real" and Imagination in The Real Life of Sebastian Knight 
Ⅰ The Real and the "Real" ／ Imaginative 
Ⅱ The Life of Sebastian Knight 
Ⅲ V.'s Epiphany Through Fictional Construction 
Ⅳ A Space of Mimicry Constructed for Nabokov's Speaking Self 
Chapter Ⅲ The Speaking "I" Reinscribed In—between Personal Life and Impersonal Art in Speak， Memory 
ⅠPast Memories Framed into Pattern of Artistic Consciousness 
Ⅱ The Retum to the Textual Space in the Past 
Ⅲ The Self—analysis of the Speaking "I" 
Ⅳ The Practice and Creation of the Self in Exile 
Conclusion 
Bibliography

The most direct materials are obtained from very sketchy patches of V.'s memories and from his mother's memories.The others are obtained from the telling of Sebastian's friends and lovers.Still others are constructed by V.'s own artistic creativity.Based on these materials， V.'s narration is realized through vanous ways in terms of Sebastian's life： 1） He quotes Sebastian's words in direct discourse，2） He quotes directly the words of the other characters in telling Sebastian's life.3） He retells the stories of Sebastian learnt from the other characters in his own words.4） He records his journey of collecting Sebastian's life and love in pure narration.5） He speaks as if it is Sebastian who is speaking.That is， their voices， consciousnesses and souls merge with each other in free direct discourse.From the first to the fifth， V.'s power of reconstruction of Sebastian's life as a narrator is seen increasing from direct quotation from Sebastian's texts to his pure narration of his own texts concerning Sebastian's life and art.These rich layers of narrative discourses are employed according to the materials that they tend to transfer.The voices of Sebastian and other character （Nina in this case） that are delivered in their own words are quoted to talk about Sebastian's most intimate feelings and occult issues relating his life and art.The voice of Sebastian's lover Clare and his university friend， the poet and the painter are muffled and replaced by V.'s narration and retelling.For his own voice， decisions and interpretations， V.justifies them in a very reasonable way and in the last two chapters V.even tends to merge with his half—brother's breathing air to form one single voice， a voice that can talk life of Sebastian in both original and creative way.