【摘要】 作家身份的确定通常是研究一个作家创作必须面对的问题，尤其是对于流亡作家而言。然而，纳博科夫以反身份建构的艺术方法，在空间上努力摆脱地域与民族的羁绊，经历“边缘”与“中心”、世界与本土之间不断往复的艰难历程；在时间上反转作者的身份，从读者逆向接受的维度来审视自己的创作，甚至以自译者的身份推进“我—我”之间的历时性对话，实现文本的逆向重构。这一切主要源自纳博科夫本人对艺术与科学两种思维层面的跨越。他以形象艺术克服抽象科学归纳和概括的局限，用科学的理性和精确来把握艺术的感性和模糊，从而释放文学文本的意义。对于纳博科夫来说，反身份建构不只是艺术创作的一种方法，更是实现自我突破、克服“自以为是”的一种人生态度。更多还原

【Abstract】 Establishing a writer’s identity is usually crucial to understanding their creation, especially for exiled writers. However, Vladimir Nabokov, through his artistic method of anti-identity construction, made efforts to transcend geographical and ethnic constraints, and embarked on a challenging journey between the “periphery” and the “centre”, the global and the local. Moreover, he temporally reversed the author’s identity, examining his writing from the perspective of a reader’s reception. He even engaged in a diachronic dialogue between the “I” as an author and the “I” as a translator, accomplishing a reverse reconstruction of the text. All of these efforts originated from his ability to navigate between the realms of art and science. Nabokov employed figurative art to overcome the limitations of abstract scientific induction and generalization, and simultaneously deployed scientific rationality and precision to grasp the sensibility and ambiguity of art, thus unleashing the meaning of literary texts. For Nabokov, anti-identity construction went beyond being a mere artistic method; it represented an artistic and philosophical worldview, serving as a means of self-transcendence and overcoming the self-righteous attitude towards life.更多还原