一个混蛋的自白:阮越清《同情者》中的民族遗忘、再男性化与正义记忆的伦理

IF 0.2 3区 文学 0 LITERATURE CRITIQUE-STUDIES IN CONTEMPORARY FICTION Pub Date : 2023-08-03 DOI:10.1080/00111619.2023.2243822
Joohee Seo
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A Bastard’s Confession: National Forgetting, Remasculinization, and the Ethics of Just Memory in Viet Thanh Nguyen’s The Sympathizer
ABSTRACT This paper examines the representation and critique of Asian masculinity and patriarchy in Viet Thanh Nguyen’s The Sympathizer. In his written confession, the narrator retraces the events after the Fall/Liberation of Saigon during his espionage on the defected South Vietnamese veterans who try to reclaim their country while relocated to the U.S. as refugees. The metatextual, confessional form of the novel embodies the act of remembering and forgetting, writing and rewriting. This paper argues that the narrator, ostracized as a “bastard” due to his biracial parentage, observes the interlocking of patriarchy and nationhood from the perspective of a marginalized outsider of Vietnamese society. The paper first examines the marginalization of the narrator as a bastard within the patriarchal Vietnamese society. Then, the paper analyzes how the process of remasculinization is incorporated into the General’s mission of rebuilding nationhood and how it inevitably fails. Finally, the paper assesses the narrator’s masculinist tendencies which inform his written confession. While the bastard narrator is a minoritarian subject that problematizes the ideology of nationhood that is based on heteronormative patrilineage, he himself is also a problematic figure whose masculinism lead him to purposely forget and erase his own involvements in acts of violence afflicted upon women. The narrator’s final act of remembrance enacts Nguyen’s notion of just memory.
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期刊介绍: Since its inception in the 1950s, Critique has consistently identified the most notable novelists of our time. In the pages of Critique appeared the first authoritative discussions of Bellow and Malamud in the ''50s, Barth and Hawkes in the ''60s, Pynchon, Elkin, Vonnegut, and Coover in the ''70s; DeLillo, Atwood, Morrison, and García Márquez in the ''80s; Auster, Amy Tan, David Foster Wallace, and Nurrudin Farah in the ''90s; and Lorrie Moore and Mark Danielewski in the new century. Readers go to Critique for critical essays on new authors with emerging reputations, but the general focus of the journal is fiction after 1950 from any country. Critique is published five times a year.
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