The article is devoted to the musical context of the works of James Joyce and Vladimir Nabokov. Joyce’s Ulysses, one of the most important literary texts of the twentieth century, is filled with musical allusions and various musical techniques. The chapter “Sirens” is the most interesting in this context as it features a “musical” form and contains a large number of musical quotations. The myth of the singing sirens, recreated by Joyce in images and characters from the modern world, encapsulates the idea of erotic seduction, bringing threat and doom to the seduced. Joyce offers a new version of the sea world filled with music, creating a system of musical leitmotifs and lexical patterns within the text. Developing the themes of temptation, the danger that temptation entails, doom, uniting with the vital forces of the world, and loneliness, Joyce in “Sirens” reveals the semantics of music, showing the specific nature of its effect on listeners. Vladimir Nabokov, who praised Ulysses and devoted a lecture to “Sirens”, is much less musical than Joyce. However, he, like Joyce, also refers to the images of singing sirens and the accompanying images of the aquatic world. One of the central, meaning-making signs in his work is the “Sirin complex”, his pseudonym. This sign, which refers to a large number of pretexts, refers in particular to the lilac (siren’) and to the mythological “musical” sirens. As in Joyce’s work, sirens are present in his texts as mermaids and naiads, or as figures of seducers who fulfil their function and bring doom. Joyce and Nabokov are also united by the presence of recurrent leitmotifs, lexical patterns, and the presence of auditory impressions in their text that are evoked by the sound of the everyday world.

中文翻译：

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乔伊斯的《Sirens》和《Sirin 的欢乐》：丁香、声音、诱惑

本文专门介绍詹姆斯·乔伊斯和弗拉基米尔·纳博科夫作品的音乐背景。乔伊斯的《尤利西斯》是二十世纪最重要的文学作品之一，充满了音乐典故和各种音乐技巧。 “警笛”这一章在这方面是最有趣的，因为它具有“音乐”形式，并包含大量的音乐引语。乔伊斯用现代世界的图像和人物再现了歌声塞壬的神话，概括了性诱惑的理念，给被诱惑的人带来威胁和厄运。乔伊斯提供了一个充满音乐的海洋世界的新版本，在文本中创建了一个音乐主题和词汇模式的系统。乔伊斯在《塞壬》中发展了诱惑、诱惑带来的危险、厄运、与世界生命力的结合​​以及孤独等主题，揭示了音乐的语义，展示了它对听众影响的特殊本质。弗拉基米尔·纳博科夫（Vladimir Nabokov）赞扬了《尤利西斯》，并专门为《塞壬》做了一场演讲，但他的音乐天赋远不如乔伊斯。然而，他和乔伊斯一样，也提到了鸣叫的塞壬的形象以及与之相伴的水生世界的形象。他的作品中最重要的、有意义的标志之一是他的笔名“Sirin 情结”。这个标志涉及大量借口，特别是指紫丁香（塞壬）和神话中的“音乐”塞壬。正如乔伊斯的作品一样，塞壬在他的文本中以美人鱼和水仙女的形象出现，或者作为履行其职能并带来厄运的诱惑者的形象。乔伊斯和纳博科夫的共同点还在于文本中反复出现的主题、词汇模式以及由日常生活世界的声音引起的听觉印象。