文化、集体和文学创伤:分析的基础

Patricia San José Rico
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摘要

历史,根源和祖先。创伤,心理学和精神分析。显然,这两套概念彼此之间没有什么关系,当然,西塞罗在谈论前者时,可能对后者一无所知。那么,为什么他的话适合作为一部声称要处理创伤的作品的题词呢?理解他们关系的关键在于另一个人的历史观念,一个更晚近的人。当沃尔特·本雅明(Walter Benjamin)将历史称为“单一灾难”(2003:392)时,他不仅仅是悲观;也许是在不知不觉中,他把创伤和历史的概念联系在一起。如果我们接受过去只是一个单一的灾难性事件,它在几个世纪中蔓延开来,那么“历史”就会自动与“创伤”联系在一起。因此,为了不让自己永远成为孩子,我们必须深入研究过去创伤的褶皱,以期理解和克服它,从而以一种全面而批判性的方式接近历史。此外,如果过去本质上是创伤性的,那么如果我们接受Caruth的观点,认为创伤总是迟来的,那么创伤本身就可以被理解为固有的过去(但经常影响现在)(Caruth 1995,1996)。因此,按照卡鲁斯的说法,一个创伤性事件可能只会在一段时间后才会经历,而它引发的心理后果又会回到事件本身——一个总是潜伏在过去的事件——创伤和历史似乎是不可逆转地联系在一起的,对一个事件的研究总是得到研究的帮助
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Cultural, Collective, and Literary Trauma: Foundations for Analysis
History, roots and ancestors. Trauma, psychology and psychoanalysis. Apparently these two sets of concepts have little to do with each other, and certainly Cicero could have had no knowledge whatsoever of the latter when he talked about the former. So why are his words appropriate for the epigraph of a work that claims to deal with trauma? The key to understanding their relationship lies in the concept that another man, a much more recent one, had of history. When Walter Benjamin talked about history as “one single catastrophe” (2003: 392), he was not merely being pessimistic; he was— perhaps unknowingly— linking the concepts of trauma and history. If we accept that the past is but one single catastrophic event that spreads itself throughout the centuries, then ‘history’ automatically links with ‘trauma.’ Consequently, in order to keep ourselves from remaining children forever, we must delve into the folds of that past trauma in the hopes of understanding and overcoming it, thus approaching history in a comprehensive yet critical way. Moreover, if the past is inherently traumatic, trauma itself can be understood as inherently past (yet often influencing the present) if we take Caruth’s view of trauma as always experienced belatedly (Caruth 1995, 1996). Insomuch as, following Caruth, a traumatic event may only be experienced after a period of latency, and the psychological consequences that it triggers refer back to the event itself— an event always lurking in the past— trauma and history seem to be irrevocably coupled, and the study of one is always aided by the study
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The Recovery of History: Toni Morrison’s Song of Solomon and David Bradley’s The Chaneysville Incident Cultural, Collective, and Literary Trauma: Foundations for Analysis Epilogue: Is Closure Possible? the Use of Trauma in Art as a Vehicle for Political Struggle The Dangers of Repression/Suppression: Toni Morrison’s Beloved History, Roots and Myth: Toni Morrison’s Paradise and Gloria Naylor’s Mama Day
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