情感的剧变,形式的疯狂:玛丽·m·塔尔博特和布莱恩·塔尔博特的《她父亲眼中的波特》和一部跨叙事(自动)传记混合

Robert Kusek
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引用次数: 3

摘要

2012年,玛丽·m·塔尔博特和布莱恩·塔尔博特加入了理查德·埃尔曼、戈登·鲍克和迈克尔·黑斯廷斯等人的团队,在他们的图像回忆录《父亲眼中的波特》(2012)中,重新讲述了詹姆斯·乔伊斯的一生,尤其关注这位伟大的爱尔兰作家和他的女儿露西亚之间的艰难关系。然而,乔伊斯和露西娅之间复杂的情感纽带的故事,只是玛丽·m·塔尔博特本人以及她与詹姆斯·s·阿瑟顿的暴力关系的自传式成长叙事的一个框架,詹姆斯·s·阿瑟顿是乔伊斯学派的著名学者,也是她自己的“冷酷、疯狂、恐惧的父亲”。根据玛莎·c·努斯鲍姆在《爱的知识》(1990)和《思想的剧变》(2001)中提出的关于情感的认知和叙事结构的概念,本文希望在本书的主题关注和一般从属关系之间建立有机联系。换句话说,它讨论了与露西娅逐渐精神解体有关的一类特定情感如何只能通过一种特定的文学形式来充分讲述,即通过一种跨叙事化的“混合”,一种(自动)传记叙述,它占据了漫画和小说,小说和非小说,传记和自传,文字和图片之间的阈值空间。
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Upheavals of Emotions, Madness of Form: Mary M. Talbot’s and Bryan Talbot’s Dotter of Her Father’s Eyes and a Transdiegetised (Auto)Biographical Commix
Abstract In 2012, Mary M. Talbot and Bryan Talbot joined the likes of Richard Ellmann, Gordon Bowker and Michael Hastings and in their graphic memoir Dotter of Her Father’s Eyes (2012) offered a new re-telling of James Joyce’s life, focusing, in particular, on the difficult relationship between the great Irish writer, and his daughter Lucia. However, the story of a complicated emotional bond between Joyce and Lucia was only a framework for an autobiographical coming-of age narrative about Mary M. Talbot herself and her violent relationship with James S. Atherton, a celebrated Joycean scholar and her very own “cold mad feary father”. Following Martha C. Nussbaum’s conception about cognitive and narrative structure of emotions postulated in Love’s Knowledge (1990) and Upheavals of Thoughts (2001), this article wishes to argue in favour of an organic connection between the volume’s thematic concerns and its generic affiliation. In other words, it discusses how a specific class of emotions pertaining to Lucia’s gradual mental disintegration can be adequately told only in a specific literary form, i.e. in a transdiegetised “commix”, an (auto)biographical account which occupies a threshold space between a comic and a novel, fiction and non-fiction, biography and autobiography, words and pictures.
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