题名

Unsettling Auto/Biography: Genre Transgression in Anne Michaels's Fugitive Pieces

并列篇名

鬆動自傳與傳記的分界線:安‧麥克斯小說《散佚的篇章》中的文類逾越

作者

王梅春(Mei-Chuen Wang)

关键词

文類逾越 ; 傳記 ; 自傳 ; 代筆 ; 後猶太大屠殺文學 ; genre transgression ; biography ; autobiography ; ghostwriting ; post-Holocaust literature

期刊名称

小說與戲劇

卷期/出版年月

21卷2期(2012 / 04 / 01)

页次

33 - 61

内容语文

英文

中文摘要

加拿大女詩人安‧麥克斯(Anne Michaels)的第一部小說《散佚的篇章》(1996),刻畫二次世界大戰猶太大屠殺對倖存者與其後代所造成的深遠影響,探討創傷、記憶與歷史之間的相互關連。對於納粹種族屠殺造成難以訴諸語言的恐怖與震驚,麥克斯企圖以自己的方式理解與再現,多數評論者肯定她的努力,也承認這部小說對猶太大屠殺的文學有所貢獻。然而大多數人的注意力都放在麥克斯如何處理歷史災難造成的創傷與後續效應,以致於這部小說所呈現的文類逾越反而尚未得到應有的重視與討論。就形式而言,《散佚的篇章》由一個簡短的前言與兩個分開但有所關連的自傳所組成,結構並非特別複雜。雖然缺乏明顯的後設小說或後現代的敘事技巧,但藉由採用虛構的自傳這種敘事模式,麥克斯的小說仍舊成功地顛覆與破壞傳記與自傳這兩種文類的文學傳統。書寫個人歷史所牽涉的選擇性、偶然性、建構性、不確定性,都被突顯出來。麥克斯甚至以「代筆自傳」(ghostwritten autobiography)這個奇特的文類,挑戰了自傳被認定的真實指涉功能(亦即自傳中的敘事者與主角完全等同於現實中進行自傳書寫的人),模糊了傳記與自傳之間向來壁壘分明的界線,揭露了維繫這兩種文類得以運作的基本預設。鬆動自傳與傳記的分界線,與麥克斯認為猶太大屠殺會被文學挪用的危險性息息相關。本篇論文旨在檢視麥克斯如何運用簡單卻有效的敘事策略,跨越文類的界線,以及她如何在敘事結構中,巧妙地鑲嵌她身為後猶太屠殺作家的自覺與警惕。麥克斯所創造的敘事結構不僅達到文類逾越的目的,更藉由小說中將記憶定位為抵制歷史被操縱與利用的力量,展現了她以倫理為基礎的後猶太屠殺美學。

英文摘要

Anne Michaels's Fugitive Pieces (1996) dramatizes the after-effects of the Holocaust to investigate the interconnections among trauma, memory, and history. Her attempt to make sense of and articulate the unrepresentable horrors of the Nazi genocide of Jews has been widely recognized, and many critics acknowledge the contributions the novel has made to Holocaust literature. While a good deal of critical attention has been paid to its thematic concerns, the ways in which Fugitive Pieces achieves genre transgression remain relatively under-explored. Consisting of a prefatory note and two separate but related autobiographies, this novel appears to be quite uncomplicated in form. However, despite the absence of obvious metafictional or postmodern narrative strategies, Fugitive Pieces succeeds in subverting and undermining the generic conventions of biography and autobiography. Issues such as selectivity, constructedness, contingency, and uncertainty in the writing of personal history are brought to the fore. With the creation of a ”ghostwritten autobiography,” Michaels challenges the supposed convention of autobiographical referentiality, blurs the distinction between biography and autobiography, and exposes the ideological assumptions that underpin both genres. This unsettling of generic boundaries has a lot to do with the author's awareness of the risks of literary exploitation of the Holocaust. This paper aims to examine how Michaels adopts simple but effective strategies to cross generic boundaries between biography and autobiography, and how self- consciousness of her role as a post-Holocaust writer is embedded in a narrative structure that allows for genre transgression and that accommodates the author's negotiation over a position which is both ethical and aesthetic in remembering and writing the Holocaust during a period when there will be no survivors or eyewitnesses to give testimonies.

主题分类 人文學 > 中國文學
人文學 > 外國文學
人文學 > 藝術
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被引用次数
  1. 王智明(2023)。閱讀冷戰:流離南方與胡賽尼的阿富汗三部曲。中外文學,52(2),21-63。