Le miroir brisé: Reassessing the Occupation (1940-44) in Novels by Modiano, Assouline and Rozier.

AFEL Pub Date : 2019-01-01 DOI:10.1344/aflc2018.8.8
Ursula Hennigfeld
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Abstract

Within French post-war society, the reassessment of the Second World War and the French collaboration with the national socialist occupants started comparatively late. According to French historiographer Henry Rousso, France suffered from ‘Vichy-Syndrome’ until the 1970s, when the suppressed past surged and brought about an obsessive focus on the period of the Occupation, that France hasn’t overcome until this day (Rousso/Conan 2013). Since the mid-1970s, the period of the Occupation has also increasingly been made a topic of fictional literature. Especially around the turn of the millennium is when many novels are published that discuss the time of the German occupation in France (1940-44). This article analyzes three novels that deconstruct the Gaullist myth of the France resistante and turn against the metaphor of the annees noires. The novels Dora Bruder (Patrick Modiano, 1997), La cliente (Pierre Assouline, 1998) and Un amour sans resistance (Gilles Rozier, 2003) make the gaps in the official discourse of memory visible and highlight the shades of gray that lie between resistance and collaboration.
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《光明之镜:重新评估莫迪亚诺、阿苏兰和罗齐尔小说中的占领(1940-44)》。
在法国战后社会中,对第二次世界大战的重新评估以及法国与国家社会主义占领者的合作开始得相对较晚。根据法国历史学家亨利·鲁索(Henry Rousso)的说法,直到20世纪70年代,法国一直遭受着“维希综合症”的折磨,当时被压抑的过去激增,导致人们对占领时期的痴迷,法国直到今天都没有克服(Rousso/Conan 2013)。自20世纪70年代中期以来,占领时期也越来越多地成为虚构文学的主题。特别是在千禧年前后,许多小说出版,讨论德国占领法国的时间(1940-44)。本文分析了解构法国抵抗运动戴高乐主义神话的三部小说,并对黑暗时代的隐喻进行了批判。小说《朵拉·布鲁德》(帕特里克·莫迪亚诺,1997年)、《客户》(皮埃尔·阿苏兰,1998年)和《无抵抗的爱情》(吉尔斯·罗齐尔,2003年)使记忆的官方话语中的差距变得清晰可见,并突出了抵抗与合作之间的灰色阴影。
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WRITING AS REPARATION: BIOGRAPHICAL TRAUMA WRITING IN IAN MCEWAN’S ATONEMENT. Nannü: una sortida al cercle viciós del dualisme?. A LITERATURA DE PARENTESCO IDEOLÓGICO COM O NAZISMO. Le miroir brisé: Reassessing the Occupation (1940-44) in Novels by Modiano, Assouline and Rozier. Der Täter als Überlebender: Der KZ-Arzt im Kino.
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