论赫塔·米勒《呼吸秋千》中的创伤书写

On the Traumatic Writing in Herta Müller's Atemschaukel

创伤书写是赫塔·米勒作品的核心主题。文章以长篇小说《呼吸秋千》为例,探讨了她执着于描述创伤的缘由,分析了创伤记忆所具有的向死性、被动性、链式联想性等特征在文本中的具体体现,以及她如何在语言与形式即叙述层面上来精当地展现这一主题,如:自始至终沉降于细节,大量运用超现实主义画面,将死亡与诗意二律背反地并置,以及高频使用简单句与隐喻,借由语言的引导与暗示,言说不可言说之物,来理解创伤的不可理解性。书写创伤同时引发了米勒对写作与回忆二者之间密切关联的深层思考,加深了其对写作动因与本质的认识与反思。

Trauma is one of the central motifs in Herta Muller＇s literary works. The present study, drawing evidences from her novel Atemschaukel, unearths the reasons for her commitment to traumatic writing, analyzes her understanding of the connotations of trauma, and delineates how this motif is presented in the discourse, namely in the language and forms of her choice. Traumatic writing is not only an ethical endeavor or a psychiatric therapy indispensable in the genesis of her identity, but also an inextricable persistence in her aesthetics and an impetus to her reflections on the very nature of literature.