Abstract The main focus of this paper is on the narrative strategy used by fan writers in the process of interpretation of a modern classic. The research is based on the hypothesis that text-interpretation implements the existing yet implicit narrative lines of an original source. The discussion focuses on Vladimir Nabokov’s œuvre represented by the novel Lolita in amateur writers’ communities. The article’s hypothesis is that due to the existence of English and Russian versions of Lolita, fan texts in both corpora differ in the choice of linguistic means, but use similar narrative structures (Greimas). Whenever the narrative scheme is not oversimplified to resemble the model of a mass literature novel, it follows Humbert’s confession scheme in a way the character himself wants the fictional reader to perceive it. If the name of one of the actants is omitted or the two-actant model is expanded, the amateur text is close to the plot of the novel and its auto-citation structure. The novel, devoted to the story about an erroneous interpretation, is open to any mass-media adaptations. The original narrative strategy of Lolita is more exposed through the fan adaptations: the active reader is an obligatory participant in the artistic creation.

中文翻译：

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网络环境中的现代经典：V. Nabokov 的小说《洛丽塔》的叙事变体

摘要 本文的重点是同人作家在诠释现代经典的过程中所使用的叙事策略。该研究基于这样一个假设，即文本解释实现了原始来源的现有但隐含的叙述线。讨论集中在业余作家社区中以小说洛丽塔为代表的弗拉基米尔·纳博科夫的作品。文章的假设是，由于英语和俄语版本的洛丽塔的存在，两个语料库中的同人文本在语言手段的选择上有所不同，但使用了相似的叙事结构（Greimas）。只要叙事方案没有被过度简化为类似于大众文学小说的模式，它就会以角色本人希望虚构读者理解的方式遵循亨伯特的忏悔方案。如果省略其中一个角色的名称或扩展双角色模型，则业余文本接近小说的情节及其自动引用结构。这部小说专门讲述了一个错误解释的故事，对任何大众媒体的改编都是开放的。《洛丽塔》的原创叙事策略通过粉丝改编更加暴露：主动的读者是艺术创作的义务参与者。