English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

The following study deals with Lolita, a novel by Vladimir Nabokov, and its film adaptation of the same title by Stanley Kubrick, released in 1962.1 The concern of this article will be the element to which both Nabokov and Kubrick pay considerable attention, namely the tone. To clarify the term “tone” we will use a definition from A Dictionary of Literary and Thematic Terms by Edward Quinn: “the attitude toward the subject expressed in a work”.2 Since the definition is broad enough, it will also be applied with reference to the film. The terminology concerning the adaptation follows Brian McFarlane’s Novel to Film: An Introduction to the Theory of Adaptation.3 For the sake of this analysis, the elements contributing to the tone of Nabokov’s work will not be examined extensively, as only elements comparable to the film adaptation will be looked upon in detail.

Adapting tone from novel to film: Vladimir Nabokov’s Lolita and its film adaptation by Stanley Kubrick