ABSTRACT Parody is regarded as a ‘beside-or-against’ song. Based on the theories of parody and intertextuality, this paper analyses the parodic means adopted in Umberto Eco’s short story ‘Granita,’ which is meant to be a parody of Vladimir Nabokov’s Lolita. The study proceeds from three aspects: parody as imitation, parody as reconstruction and intertextuality as text of pleasure and jouissance. The imitation can be reflected through creation of characters, rhetorical devices, narrative strategy and arrangement of plots. The reconstruction is realised through readers’ unfulfilled expectations and intertextual interpretations. The text of bliss is embodied in readers’ decoding of the signifieds of the two texts from the signifiers of the phonological, lexical, textual and cultural layers. By parodying Nabokov’s Lolita, Eco aims to criticise the hypocrisy and absurdity of modern world, and at the same time, to affirm the aesthetic beauty of art.

中文翻译：

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弗拉基米尔·纳博科夫（Vladimir Nabokov）的《洛丽塔》（Lolita）的戏仿，在Umberto Eco的《格兰尼塔》中

摘要Parody被视为“旁听或反卷”歌曲。基于模仿和互文性理论，本文分析了Umberto Eco短篇小说“ Granita”中采用的模仿手段，这是弗拉基米尔·纳博科夫的《洛丽塔》的模仿。该研究从三个方面进行：模仿为模仿，模仿为重构，互文性为快乐和欢乐的文本。模仿可以通过创造人物，修辞手法，叙事策略和情节安排来体现。重建是通过读者未实现的期望和互文解释来实现的。极乐文本体现在读者对语音，词汇，文本和文化层的指称者对这两种文本的指称的解读中。通过模仿纳博科夫的《洛丽塔》，