【摘要】：大衛(wèi)·格羅斯曼是當(dāng)代以色列最重要的作家之一,他于20世紀(jì)70年代末登上文壇,《到大地盡頭》堪稱其創(chuàng)作生涯的巔峰之作。作品從女性的立場(chǎng)出發(fā),敘事視角在過(guò)去與現(xiàn)在之間不斷轉(zhuǎn)換,展現(xiàn)了在戰(zhàn)爭(zhēng)創(chuàng)傷的陰影下一個(gè)普通以色列家庭壓抑的生存狀態(tài),影射出當(dāng)代以色列人令人擔(dān)憂的命運(yùn),以色列兒女在國(guó)家主義的規(guī)訓(xùn)中前仆后繼地奔赴戰(zhàn)場(chǎng),綿延不斷的戰(zhàn)爭(zhēng)留給人們無(wú)盡的創(chuàng)傷。本論文試從創(chuàng)傷呈現(xiàn)、創(chuàng)傷修復(fù)、創(chuàng)傷反思三個(gè)層面解讀《到大地盡頭》中的戰(zhàn)爭(zhēng)創(chuàng)傷主題。戰(zhàn)爭(zhēng)創(chuàng)傷陰影下的個(gè)體遭遇影射出集體記憶中的創(chuàng)傷經(jīng)歷,父輩們面對(duì)戰(zhàn)爭(zhēng)創(chuàng)傷后的失落與年輕人參戰(zhàn)報(bào)國(guó)的狂熱形成鮮明對(duì)比,作為妻子與母親的奧拉承受著戰(zhàn)爭(zhēng)對(duì)兩代人的"剝奪",家庭生活在戰(zhàn)爭(zhēng)的侵蝕下逐漸分崩離析。在戰(zhàn)爭(zhēng)的陰霾中,阿夫拉姆通過(guò)講述的方式使自我的創(chuàng)傷經(jīng)歷被傾聽(tīng)者所見(jiàn)證,重構(gòu)起與外部世界的聯(lián)系,獲得重新面對(duì)生活的勇氣,而伊蘭在逃避與懺悔的交替中不斷審視與批判自我,以獲得靈魂的救贖。在民族命運(yùn)與個(gè)人情感的沖突中,以色列續(xù)寫(xiě)著"以撒獻(xiàn)祭"的古老神話,而這古老神話的存在本身便是對(duì)民族文化創(chuàng)傷性體驗(yàn)的一種祭奠。民族交往過(guò)程中身份建構(gòu)的尷尬消解著個(gè)體存在的意義,個(gè)體的生命自由在國(guó)家主義面前自覺(jué)處于失語(yǔ)狀態(tài),流露出個(gè)體的失落與無(wú)奈�！兜酱蟮乇M頭》題目本身暗示著一種宏大的敘事氣魄,但作者卻從小人物的生活入手,展現(xiàn)了戰(zhàn)爭(zhēng)給一個(gè)普通以色列家庭所帶來(lái)的無(wú)法承受的創(chuàng)傷之痛,揭示出被戰(zhàn)爭(zhēng)壓抑下的個(gè)體生存狀態(tài)。從這一層面上看,大衛(wèi)·格羅斯曼的《到大地盡頭》遠(yuǎn)遠(yuǎn)超越了反戰(zhàn)的單純層面,更體現(xiàn)出在戰(zhàn)爭(zhēng)創(chuàng)傷背景下個(gè)人主體意識(shí)對(duì)國(guó)家主義的質(zhì)疑與反叛,彰顯出對(duì)國(guó)家、民族、戰(zhàn)爭(zhēng)背后個(gè)體生命自由與權(quán)利的詰問(wèn)與反思。
[Abstract]:David Grossman is one of the most important writers in contemporary Israel. Starting from the standpoint of women, the narrative perspective is constantly changing between the past and the present, showing the repressed living state of an ordinary Israeli family under the shadow of war trauma, implying the worrying fate of contemporary Israelis. The sons and daughters of Israel went on and on in the discipline of nationalism, and the endless war left untold wounds. This paper attempts to interpret the theme of war trauma from three aspects: wound presentation, wound repair and trauma reflection. The experiences of the individuals under the shadow of war trauma insinuate the traumatic experiences in the collective memory. The loss of their fathers in the aftermath of the war is in sharp contrast to the enthusiasm of young people to go to war and serve their country. As a wife and mother, Orla suffered from the "deprivation" of two generations by the war, and the family life gradually disintegrated under the erosion of the war. In the haze of war, Abraham recounted the traumatic experience of his self to be witnessed by the listener, reconnected with the outside world, and gained the courage to face life again. In the alternation of escape and repentance, Yilan constantly examines and criticizes himself in order to obtain the salvation of the soul. In the conflict between national destiny and personal emotion, Israel continues to write the ancient myth of "Isaac sacrifice", and the existence of this ancient myth itself is a memorial to the traumatic experience of national culture. The embarrassment of identity construction in the process of national communication dispels the significance of individual existence, and the individual's freedom of life is in a state of aphasia in front of nationalism. The title itself implies a grand narrative spirit, but the author begins with the life of the little man. It shows the unbearable trauma caused by the war to an ordinary Israeli family, and reveals the state of individual existence repressed by the war. From this perspective, David Grossman's "to the end of the Earth" goes far beyond the pure level of anti-war, and reflects the challenge and rebellion of the individual's subjective consciousness to nationalism in the context of the war trauma, and also shows the challenge to the country and the nation. The question and reflection of individual life freedom and right behind the war.
【學(xué)位授予單位】：西北民族大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：I382.074

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