《尘归尘》中的大屠杀历史记忆隐喻  

The Holocaust memory metaphor in Ashes to Ashes

作　　者：吴迪[1] 陈红薇[1] 

机构地区：[1]北京科技大学外国语学院,北京100083

出　　处：《中南大学学报（社会科学版）》2015年第2期228-234,共7页Journal of Central South University：Social Sciences

基　　金：国家社会科学基金项目"战后英国戏剧中的莎士比亚"(10BWW025)

摘　　要：品特1996年的收笔大作《尘归尘》蕴含着深刻的大屠杀历史记忆隐喻。通过对大屠杀受害者犹太民族、大屠杀种族灭绝暴行、大屠杀目击者传记互文下的历史记忆以及大屠杀历史修正主义的诸多隐喻,《尘归尘》艺术地再现了后现代语境下历史、回忆与话语交叉渗透、众声喧哗的大屠杀历史记忆现状。《尘归尘》不仅影射了大屠杀这一人类种族历史上的残酷浩劫,更通过呈现话语游戏、话语权力与循环重复的意象等艺术手法呈现了后大屠杀时代历史记忆的模糊性、话语性和创伤性,展现了品特戏剧在艺术与真实两维度之间精湛的驾驭能力。Harold Pinter＇s final play Ashes to Ashes （1996） contains profound metaphors of the Holocaust historical memory. Through allusion to the Jewish victims of the Holocaust, the Holocaust genocide, the Holocaust eyewitness＇ biography, the Nazi war criminal＇s memoir and Holocaust revisionism, Ashes to Ashes artistically presents a polyphonic postmodern condition of the Holocaust historical memory with history, memory and discourse blending with each other. Different from a general view of holocaust reference prevalent in the academic circles, Ashes to Ashes not only reveals the brutal catastrophe of Holocaust in the history of the human race, but also truly represents the ambiguous, plural and traumatic nature of the Holocaust historical memory, and further manifests Pinter＇s masterly handling of art and truth in his play. Through a self-contradictory dualistic dramatic structure, the recycling and repetitive dramatic time scheme.

关 键 词：罗德·品特 《尘归尘》 大屠杀 历史记忆 隐喻 

分 类 号：I561.073[文学—其他各国文学]