خاطره و آگاهی در گذر از درد تحلیل موردی شخصیت لوژین در رمان دفاع (دفاع لوژین) نوشته ولادیمیر نابوکوف

پژوهش حاضر برای اولین بار آراء و نظریات آنتونیو داماسیو متفکر و فیلسوف برجسته‌‌ی معاصر در حوزه‌ی نقش حس‌ها در ادراک و آگاهی را در شخصیت لوژین در رمان دفاع (دفاع لوژین) مطالعه می‌‌کند تا ضمن بررسی وجوه بازنمایی درد نشان دهد چگونه درد می‌تواند بر تجربه-ی زیسته‌ی فرد اثر بگذارد و نقش درد در ساخت خود و بازساخت آگاهی چه می‌تواند باشد. موضوع درد در آثار نابوکوف از منظر کارکرد منفی آن در پژوهش‌های قبلی دیده شده است اما در این مطالعه، درد با رویکردی پدیدارشناسانه و با تاکید بر نقش خاطره و آگاهی بررسی می‌شود تا کارکرد مثبتی که می‌توان برای آن متصور بود تشریح شود. شخصیت لوژین به اذعان منتقدین، یکی از بی‌نظیرترین شخصیت‌ های نابوکوف است که از وجوه مختلف، قابلیت بررسی و مطالعه را دارد. در این تحقیق، این شخصیت را با نگاهی پدیدارشناسانه (بدور از هر گونه پیش فرض) و فقط با اتکاء به متن اثر و جزییات نهفته در آن مورد مطالعه قرار می‌دهیم تارابطه‌ی تنگاتنگ حس، شناخت، آگاهی و تاثیر آن بر عملکرد حیاتی فرد برای بقاء در جسم و روان را تبیین کنیم. این پژوهش نشان می‌دهد چگونه نوع زیستِ آدمی از تجربه‌ی درد می‌تواند او را به سوی عدم ببرد یا به کمک آگاهی و خاطره به سوی بقاء. مقوله‌ی حس، خاطره، ادراک و آگاهی موضوعی است که در آثار ناباکوف قابلیت بحث و بررسی بسیاری دارد و لذا این مطالعه می‌تواند راهگشای پژوهشگران علاقه‌مند به این حوزه و آثار این نویسنده باشد تا نمود این نگرش را در دیگر آثار او نیز مورد مداقه قرار دهند.

lived experience of pain: memory and consciousnessa case study on the character of luzhin in vladimir nabokov’s the defense (zashchita luzhina)

introduction: pain as a positive phenomenon is rare in literary studies, especially in those related to nabokov. this research, for the first time, discusses ideas of damasio on emotions and consciousness and applies it to the character of luzhin through close reading of the text to show how the individual’s lived experiences are vital in his formation of consciousness and survival. background: brian boyd in his extensive biography of nabokov contends, “in creating luzhin, nabokov uses his eye for psychological quirks common to us all but rarely attended to” (323). he believes nabokov creates vivid worlds out of details that can place readers “wherever his imagination sends the shots” (324). masing compares luzhin with gogol’s bashmakhin of “the overcoat” to conclude both are fascinated with abstract patterns, having no defense against the chills of life. farmasi considers patterns of consciousness to be easily observable in the defense as it engages the reader with luzhin’s consciousness through representations of his experiences and perceptions. she believes luzhin’s story can be read as “an allegory of the relationship between narrative patterns and experience” (40). kalay discusses the complicated character of luzhin and considers his escape from reality as a force to death. boyd, in his essay on role of senses, writes: we are always embedded in experiences and nabokov depicts them artistically multidimensional. methodology and argument:antonio damasio, the prominent contemporary neuroscientist, in the feeling of what happens: body and emotion in the making of consciousness, focuses on emotions and consciousness. he believes consciousness and emotions are inseparable, as are embodied and embedded. hence, emotions are not just the by-product of consciousness; but are also influential in its formation. he divides ‘self in three types of proto-self (reflection of body’s internal state), core-self (a sense of ownership to emotions) and autobiographical self (integration of memories, emotions and personal experiences into a coherent narrative). by “self” being updated, consciousness is formed in three levels of proto, core and extended. he concludes that self is not fixed and is in constant change based on experiences. therefore, the extended consciousness which is formed in this way is able to help the individual to survive.luzhin is presented in three interwoven phases: his childhood in which he “flinches from life’s pinpricks and jagged edges (boyd ry 326), the genius of his early youth and the final years when he is disappointed to have survived and commits suicide. nabokov introduces a fatal pattern into his life by depicting him as a locked genius who has difficulty communicating and is driven to seclusion. for years he has just chess in mind; so, his definition of self is limited to proto-self. he lacks experiences which he needs for his core self or his autobiographical self to bestow on him identity and meaning. based on damasio, there grows a big gap between luzhin and his emotions, so his “self” is not able to update itself, leading to a true formation of deep or extended consciousness. conclusion: the character of luzhin is studied based on the ideas of damasio to find how emotions and consciousness work. the analysis shows when man limits the array of experiences, he is depriving himself of knowing his emotions. these emotions can update one’s self, which in turn can form one’s core consciousness. luzhin locks himself in his loneliness and runs to the black and white world of chess. unable to have sincere communications, he prefers to get hold of the chess board rather than managing his being. if experiences are escaped, there would remain no way out as these is no consciousness or memory at hand.