納博可夫的《羅麗泰》游走於各文類之間，看似相反的詮釋卻得以並存，進而營造出一種不確定性美學。本論文旨在探討納博可夫的書寫策略以及文本中的各種不確定性。

第一章為概論，援引德希達的理論說明「不確定性」。第二章簡介後設小說的歷史與定義，檢視文本中後設與寫實元素的並存，並藉羅蘭巴特的理論說明可寫性的文本。此外，也以文中例證分析寫實元素以及《羅麗泰》既是童話故事也是諧擬童話故事。第三章進一步說明小說中種種二元對立並存的現象：道德性/不道德性；精神分析式閱讀/嘲諷精神分析；以及故事起源的不確定性。文中的反身性，作者現身以及雙重性俱使道德與不道德間的分野更模糊難辨。羅蘭巴特的文本歡愉恰與納博可夫視藝術為美學至喜的觀點吻合，而《羅麗泰》小說中的美學至喜也形成一種超越世俗定義的超道德。第四章分析《羅麗泰》跨越不同文類的特殊風格，而瀰漫書中的「不確定性美學」使其同時是(一)懺悔錄/諧擬懺悔錄；(二)偵探小說/諧擬偵探小說；(三)喜劇/悲劇；(四)羅曼史/諧擬羅曼史。第五章則是結論：《羅麗泰》小說中的不確定性美學開啟了嶄新的閱讀體驗，讀者得以游走於不同詮釋間，並在閱讀中創造文本的意義。

Nabokov's Lolita is a text that oscillates around the border between genres. In a close reading of Lolita, readers frequently find a condition of undecidability. This thesis investigates Nabokov’s textual strategy of playing in the boundaries between many genres, and by extension between a series of binary oppositions; and also how the narrative style repeatedly produces moments where the reader could decide to interpret either one way or another way, leading readers continually into a kind of either/or, both/and, neither/nor interpretive dilemma—what I will call an aesthetics of undecidability.
Chapter One is an overall introduction to the study, and I refer to Jacques Derrida’s idea of undecidability. In Chapter Two, I explore the binary opposition between metafiction/straightforward storytelling in Lolita. In addition to the history and naming of metafiction, I also analyze Catherine Belsey’s interrogative text and Roland Barthes’ readable (lisible)/writable (scriptible) text. As for the realistic elements of the novel, I dissect textual evidence in Lolita and the undecidability between fairy tale/parody of fairy tale. The coexistence of metafictional and realistic elements is also a part of the undecidability in the text. Chapter Three is about three distinct yet interrelated textual aspects of undecidability: morality versus immorality in Lolita, the undecidability between psychoanalytic reading versus parody of psychoanalysis, and the undecidability of the text’s originality versus its borrowing from a previous short story titled “Lolita” by Heinz von Lichberg. These three critical issues are further complicated by the reflexivity, authorial presence, and the doubleness in Lolita that make it even more difficult to see the text simply as moral or immoral. Taken together, the resulting complexity and sophistication of the aesthetic style enables an active reading experience or what Barthes’ called the “text of bliss”—which coincidently corresponds to Nabokov’s definition of true art as “aesthetic bliss,” and the bliss in Lolita makes it a text that contains a kind of morality. Chapter Four examines additional cases of undecidability between confession/parody of confession, detective story/parody of detective story, comic elements/tragic elements, and romance/parody of romance. Again these are distinct yet interrelated issues of ambiguity, but my purpose is to show that a style of undecidability pervades the novel in many ways. And Chapter Five is the conclusion of this thesis: the aesthetics of undecidability makes Lolita a text that resists a one-sided reading. I hope that my thesis might explain why different readers of Lolita have opposite readings.

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