{"title":"特劳特小说中恐惧的情感与美学","authors":"R. Jean-Charles","doi":"10.1353/PAL.2019.0002","DOIUrl":null,"url":null,"abstract":"The Haitian proverb “pè pa preche de fwa” instructs that fear does not have to strike twice for a lesson to be learned. Yet for the characters in Évelyne Trouillot’s fiction, fear is a recurrent emotion that surfaces time and time again, often before she or he acts in any way. As an affective register, fear is a reminder of a character’s vulnerability, which in turn helps to destabilize the notion of Haitian resilience. The resilience trope is one of the prevailing narratives that emerges in stories of Haitian suffering. While it is often used to produce a hopeful story about the indomitability of the Haitian spirit, the resilience trope also has the effect of denying what is ordinary, mundane, and, ultimately, human. As Edwidge Danticat has put it, “Haitians are very resilient, but it doesn’t mean they can suffer more than other people.”1 Tracing the aesthetics of fear—how Trouillot describes the emotion and how it figures in her work—establishes it as a productive emotion that arises in response to political predicaments, social tensions, historic moments, and personal traumas. In what follows, I consider fear as affect and aesthetics through examples from four novels: Rosalie l ’ infâme, L’Œil-totem, Absences sans frontières, and Le Rond-point.2 Fear has myriad sources in these novels. It emerges from the terror of slavery causing enslaved people to flee into the forest and become maroons, to provide sexual favors for their masters, to maintain deadly silences, or to kill newborn children as a way to free them from a life of slavery. It is the response of the young child living under occupied Haiti unable to walk freely in her neighborhood. It reflects the torment of an undocumented person who might be subject to deportation at any moment. It is the panic faced by the upper classes during waves of kidnapping as well as the anticipation of hunger for the poor. As these characters experience it, fear is a multilayered, manifold emotion with far-reaching results.","PeriodicalId":41105,"journal":{"name":"Palimpsest-A Journal on Women Gender and the Black International","volume":null,"pages":null},"PeriodicalIF":0.3000,"publicationDate":"2019-05-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/PAL.2019.0002","citationCount":"2","resultStr":"{\"title\":\"The Affect and Aesthetics of Fear in Évelyne Trouillot’s Novels\",\"authors\":\"R. Jean-Charles\",\"doi\":\"10.1353/PAL.2019.0002\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The Haitian proverb “pè pa preche de fwa” instructs that fear does not have to strike twice for a lesson to be learned. Yet for the characters in Évelyne Trouillot’s fiction, fear is a recurrent emotion that surfaces time and time again, often before she or he acts in any way. As an affective register, fear is a reminder of a character’s vulnerability, which in turn helps to destabilize the notion of Haitian resilience. The resilience trope is one of the prevailing narratives that emerges in stories of Haitian suffering. While it is often used to produce a hopeful story about the indomitability of the Haitian spirit, the resilience trope also has the effect of denying what is ordinary, mundane, and, ultimately, human. As Edwidge Danticat has put it, “Haitians are very resilient, but it doesn’t mean they can suffer more than other people.”1 Tracing the aesthetics of fear—how Trouillot describes the emotion and how it figures in her work—establishes it as a productive emotion that arises in response to political predicaments, social tensions, historic moments, and personal traumas. In what follows, I consider fear as affect and aesthetics through examples from four novels: Rosalie l ’ infâme, L’Œil-totem, Absences sans frontières, and Le Rond-point.2 Fear has myriad sources in these novels. It emerges from the terror of slavery causing enslaved people to flee into the forest and become maroons, to provide sexual favors for their masters, to maintain deadly silences, or to kill newborn children as a way to free them from a life of slavery. It is the response of the young child living under occupied Haiti unable to walk freely in her neighborhood. It reflects the torment of an undocumented person who might be subject to deportation at any moment. It is the panic faced by the upper classes during waves of kidnapping as well as the anticipation of hunger for the poor. 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引用次数: 2
摘要
海地谚语“pèpa preche de fwa”指出,恐惧不必两次发作就能吸取教训。然而,对于Évelyne Trouillot小说中的人物来说,恐惧是一种反复出现的情绪,通常在她或他采取任何行动之前。作为一种情感记录,恐惧提醒人们角色的脆弱性,这反过来又有助于破坏海地人韧性的观念。复原力比喻是海地苦难故事中出现的主流叙事之一。虽然它经常被用来制作一个关于海地精神不屈不挠的充满希望的故事,但韧性的比喻也有否定平凡、世俗,最终否定人性的效果。正如Edwidge Danticat所说,“海地人很有韧性,但这并不意味着他们比其他人承受更多的痛苦。”1追踪恐惧的美学——Trouillot如何描述这种情绪以及它在她的作品中的表现——将其确立为一种富有成效的情绪,这种情绪是在应对政治困境、社会紧张局势、历史时刻和个人创伤时产生的。在下文中,我通过四部小说中的例子将恐惧视为情感和美学:《罗莎莉》、《l’Œil图腾》、《无锋缺席》和《朗德观点》。2恐惧在这些小说中有无数来源。它源于奴隶制的恐怖,导致被奴役的人逃到森林里,成为被放逐的人,为他们的主人提供性服务,保持致命的沉默,或者杀死新生儿,以此将他们从奴隶制的生活中解放出来。这是生活在被占领的海地的一个年幼的孩子的反应,她无法在自己的社区自由行走。它反映了一个随时可能被驱逐出境的无证人员的痛苦。这是上层阶级在绑架浪潮中面临的恐慌,也是对穷人饥饿的预期。正如这些角色所经历的那样,恐惧是一种多层次、多方面的情感,具有深远的影响。
The Affect and Aesthetics of Fear in Évelyne Trouillot’s Novels
The Haitian proverb “pè pa preche de fwa” instructs that fear does not have to strike twice for a lesson to be learned. Yet for the characters in Évelyne Trouillot’s fiction, fear is a recurrent emotion that surfaces time and time again, often before she or he acts in any way. As an affective register, fear is a reminder of a character’s vulnerability, which in turn helps to destabilize the notion of Haitian resilience. The resilience trope is one of the prevailing narratives that emerges in stories of Haitian suffering. While it is often used to produce a hopeful story about the indomitability of the Haitian spirit, the resilience trope also has the effect of denying what is ordinary, mundane, and, ultimately, human. As Edwidge Danticat has put it, “Haitians are very resilient, but it doesn’t mean they can suffer more than other people.”1 Tracing the aesthetics of fear—how Trouillot describes the emotion and how it figures in her work—establishes it as a productive emotion that arises in response to political predicaments, social tensions, historic moments, and personal traumas. In what follows, I consider fear as affect and aesthetics through examples from four novels: Rosalie l ’ infâme, L’Œil-totem, Absences sans frontières, and Le Rond-point.2 Fear has myriad sources in these novels. It emerges from the terror of slavery causing enslaved people to flee into the forest and become maroons, to provide sexual favors for their masters, to maintain deadly silences, or to kill newborn children as a way to free them from a life of slavery. It is the response of the young child living under occupied Haiti unable to walk freely in her neighborhood. It reflects the torment of an undocumented person who might be subject to deportation at any moment. It is the panic faced by the upper classes during waves of kidnapping as well as the anticipation of hunger for the poor. As these characters experience it, fear is a multilayered, manifold emotion with far-reaching results.