疯癫的背后:《狂热者伊莱》的空间解读

发布时间：2018-03-28 12:30

  本文选题：菲利普·罗斯　切入点：狂热者伊莱　出处：《解放军外国语学院学报》2016年05期

【摘要】：菲利普·罗斯早期创作的短篇故事《狂热者伊莱》通过塑造一个非典型疯子形象,表达了一种焦虑情绪。主人公伊莱在受害者和施害者的角色之间徘徊,最终在受害和施害两种恐惧情绪的对立中因不堪焦虑而走向疯癫。首先,伊莱的疯癫是犹太社区内部冲突和族内伤害的结果,它真实地展现了20世纪50年代美国犹太社区的矛盾利害关系,反映了罗斯对美国同化犹太人的莫大讽刺和尖锐批评。其次,伊莱的疯癫具有文化抗争的象征意义,它隐含地表达了犹太民族关于隔都、种族迫害等创伤与恐惧的记忆。最后,它具有演示性,是一场具象化受害恐惧的表演秀。伊莱的换装走秀和社区街道游行揭示了受害者和施害者的根本矛盾源于对社区空间是否容许异质文化这一问题的对立观点。
[Abstract]:Philip Ross's early short story, "Eli of the Fever," expresses anxiety by creating an image of an atypical madman. Eli, the protagonist, lingers between the roles of the victim and the perpetrator. Finally, in the antagonism of the two kinds of fear of victimization and victimization, they go mad with anxiety. First, Eli's madness is the result of internal conflict and intra-clan injury in the Jewish community. It truly shows the contradictions and interests of the Jewish community in the 1950s, and reflects Ross's great satire and sharp criticism of the assimilation of Jews in the United States. Secondly, Eli's madness has the symbolic significance of cultural struggle. It implicitly expresses the Jewish people's memories of trauma and fear, such as septum, racial persecution, etc. Finally, it is illustrative. Eli's dressing show and community street parade reveal that the fundamental contradiction between the victim and the perpetrator stems from opposing views on whether heterogeneous culture is allowed in community space.
【作者单位】： 上海外国语大学研究生部;
【基金】：上海外国语大学优秀博士学位论文资助项目
【分类号】：I712.074
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本文编号：1676334