(再)在哈娃·罗森法布的《小红鸟》和瓦伦丁·戈比的《幼儿园》中,在大屠杀之后声称自己是母亲

Nathalie Ségeral
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引用次数: 0

摘要

虽然在历史动荡时期,首先拯救妇女和儿童是标准做法,但在大屠杀期间,妇女和儿童往往首先被杀害,孕妇和幼儿一到达纳粹集中营就被送到毒气室。这种对传统价值观的根本性颠覆尚未得到足够的重视,这就是为什么本研究考察了两种叙事,即通过母性和女性身体的视角讲述幸存者的故事。瓦伦丁·戈比(Valentine Goby)的《幼儿园》(2013)借鉴了1944年9月至1945年3月期间位于ravensbr ck的一间“儿童房”的档案和幸存者的证词。戈比的叙述者以法国幸存者玛德琳·鲁本为原型,然而,有趣的是,戈比把鲁本的故事改写成了一个更“成功”的母性版本。短篇小说《小红鸟》(2004)由犹太裔加拿大作家哈瓦·罗森法布(Chava Rosenfarb)用意第绪语创作,她本人也是一名大屠杀幸存者。小说暗指《小红帽》,讲述了一名奥斯维辛集中营幸存者的故事,她被自己在奥斯维辛集中营被杀害的五岁女儿的鬼魂所困扰,无法生育孩子。故事通过Manya对母性的痴迷来展现创伤后应激障碍的破坏性,这种痴迷导致她幻想从产科病房偷走一个婴儿,她没能帮助她垂死的丈夫。因此,这两种叙述都证明了大屠杀经历的内在性别特征,并通过对(非)母性和女性身体的检查,将大屠杀背景下的性别问题化。对于罗森法布的叙述者来说,生存意味着对抗纳粹政策的影响,纳粹政策特别针对女性的生育能力,而对于戈比的叙述者来说,养育母亲才能生存。因此,这两篇文章都是根据大屠杀创伤带来的复杂的重新性别化和母性的宣泄/病理方面来阅读的。
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(Re)Claiming Motherhood in the Wake of the Holocaust in Chava Rosenfarb’s ‘Little Red Bird’ and Valentine Goby’s Kinderzimmer
ABSTRACT While saving women and children first is standard practice at times of historical upheaval, during the Holocaust women and children were often killed first, and pregnant mothers and small children were sent to the gas chambers upon arrival at the Nazi camps. This fundamental reversal of traditional values has not yet been granted enough attention, which is why this study examines two narratives that tell the survivor's story through the lens of motherhood and the woman's body. Valentine Goby's Kinderzimmer (2013) draws on archives and survivors' testimonies about a 'children's room' located in Ravensbrück between September 1944 and March 1945. Goby's narrator is modeled on Madeleine Roubenne, a French survivor, yet, interestingly, Goby rewrites Roubenne's story into a more 'successful' version of motherhood. The short story 'Little Red Bird' (2004), written in Yiddish by Jewish-Canadian author, Chava Rosenfarb, who is a Holocaust survivor herself, alludes to the Little Red Riding Hood and follows an Auschwitz survivor obsessed by her inability to bear children, which she attributes to being haunted by the ghost of her five-year-old daughter killed in Auschwitz. The story stages the destructiveness of PTSD through Manya's obsession with motherhood that results in her fantasy of stealing a baby from a maternity ward and her failure to assist her dying husband. Both narratives thus testify to the intrinsically gendered character of Holocaust experience and problematize gender in the context of Holocaust through examinations of (non-)motherhood and the female body. While for Rosenfarb's narrator, surviving means to counter the effects of Nazi policies that specifically targeted women for their reproductive capacities, for Goby's narrator foster motherhood enables survival. Both texts are thus read here in the light of the complicated re-gendering and cathartic/pathological aspects of motherhood brought about by Holocaust trauma.
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