Growing Up with Ghosts: Dynamics of Rememory and Trauma in a Malaysian Filial Memoir

IF 0.3 Q3 AREA STUDIES Kajian Malaysia Pub Date : 2022-04-27 DOI:10.21315/km2022.40.1.1
Raihanah M.M., M. Idrus
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引用次数: 1

Abstract

Communicating stories matter when writers highlight the dynamics of mining the most private experiences for material. Whether humiliating or painful, it is often in the hands of writers that stories are made profound, interesting and fascinating. Yet, to readers, vivid scenarios, specific identification, convincing characters and real-life snapshots, just to name a few, present insights into human condition. Malaysian writers who report such investigations describing more than just their own memories and histories include Bernice Chauly and her critically acclaimed memoir, “Growing Up with Ghosts”. “Growing Up with Ghosts” begins with a private memory of a four-year-old girl at the freak drowning of her father and gradually unfolds into a patrio/matriographic memoir that recounts the paternal and maternal history of her Chinese and Punjabi ancestries. Using key concepts of memory theory and trauma studies including rememory, postmemory and empathic unsettlement, this article primarily examines the collection of episodic and semantic memory presented in the memoir. The reflexive and often sporadic, chaotic recounts following the death of her father provides a vivid depiction of the experience of post-parental death. The findings reveal how the filial memoir implicates the reader through “empathic unsettlement” of the trauma suffered by the memoirist through acts of memory, rememory and postmemory. The reader also suffers the burden through postmemory in the act of reading the delayed, indirect and secondary memory of the memoirist. Reading a multigenre, multivocal narrative can capture the theme of loss and grief not merely as a form of selfpositioning, but more significantly, as a move towards creating an “identity forging discourse”.
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与幽灵一起成长:马来西亚孝顺回忆录中记忆与创伤的动态
当作者强调挖掘最私人的经历作为素材的动力时,交流故事就很重要。无论是羞辱还是痛苦,往往是在作家的手中,故事变得深刻,有趣和迷人。然而,对读者来说,生动的场景、具体的身份、令人信服的人物和现实生活中的快照,仅举几例,展示了对人类状况的洞察。报道这类调查的马来西亚作家不仅描述了他们自己的记忆和历史,还包括伯尼斯·肖利和她广受好评的回忆录《与鬼魂一起成长》。《与鬼魂一起长大》以一个四岁女孩对父亲离奇溺水的私人回忆开始,逐渐展开为一部爱国/母系回忆录,讲述了她的中国和旁遮普祖先的父系和母系历史。利用记忆理论和创伤研究的关键概念,包括记忆、后记忆和共情不安,本文主要研究了回忆录中呈现的情景记忆和语义记忆的集合。在她父亲去世后,反射性的、经常是零星的、混乱的叙述为她父母去世后的经历提供了生动的描述。研究结果揭示了孝顺回忆录如何通过记忆、记忆和后记忆的行为,通过“共情不安”来暗示读者所遭受的创伤。读者在阅读回忆录作者的延迟记忆、间接记忆和二次记忆的过程中,也承受着后记忆的负担。阅读一种多体裁、多声音的叙事可以捕捉到失落和悲伤的主题,这不仅是一种自我定位的形式,更重要的是,这是一种创造“身份锻造话语”的方式。
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来源期刊
Kajian Malaysia
Kajian Malaysia AREA STUDIES-
CiteScore
0.60
自引率
0.00%
发文量
26
审稿时长
20 weeks
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