托妮·莫里森《慈悲与家》中过去的身体印记

Á. Kovács
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引用次数: 1

摘要

托尼·莫里森(Toni Morrison)重新想象非裔美国人过去的个人记忆的项目因《宠儿》(Beloved)中塞思背上那棵由疤痕组织组成的令人窒息的树而不朽。对赛斯来说,这些伤痕是看不见的,也是愚蠢的,必须在他人的帮助下面对和解读,才能处理奴隶过去的创伤记忆。该图像质疑了与记忆主体分离的记忆对象之间的假定对立,因为伤口,假定对象位于主体Sethe的身体中。莫里森2001年以后的小说中也出现了过去的身体痕迹,与她以前的作品相比,这些小说通常被认为是稀疏的。本文以玛丽安·赫希(Marianne Hirsch)的解读方法为基础,探讨了莫里森晚期小说中身体创伤和其他扩展记忆对象所唤起的意义网。论文声称,尽管这些小说继续依赖于感官记忆的表征和处理,但与早期小说相比,它们代表了一个截断的版本,在早期小说中,伤口与其说是互动的隐喻节点,不如说是主题。
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Body Marks of the Past in Toni Morrison’s A Mercy and Home
Toni Morrison’s project of reimagining individual memories of the African American past has been immortalized by the image of the chokecherry tree of scar tissue on Sethe’s back in Beloved. Invisible and dumb for Sethe, the scars have to be faced and interpreted with the help of others in order to process traumatic memories of the slave past. The image questions a presumed opposition between objects of memory as separate from subjects of memory, as the wound, the supposed object is located in the body of the subject, Sethe. Body marks of the past also appear in Morrison’s novels after 2001, which are generally considered sparse compared to her previous texts. Relying on Marianne Hirsch’s method of reading how body marks create a “sense memory” of traumatic experience, the paper explores the webs of meaning invoked by bodily wounds and other extended objects of memory in Morrison’s late novels. The paper claims that although these novels continue to rely on the representation and processing of sense memories, they represent a truncated version compared to earlier novels, in which wounds figure not so much as metaphoric nodes of interaction, but rather as themes.
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来源期刊
Metacritic Journal for Comparative Studies and Theory
Metacritic Journal for Comparative Studies and Theory Arts and Humanities-Arts and Humanities (all)
CiteScore
0.90
自引率
0.00%
发文量
15
审稿时长
7 weeks
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