“哎,不就是只小鸟吗”——《卡尔腾堡》中的历史书写与创伤书写

“Oh, Just a Small Bird”: On Historical and Traumatic Writing in Marcel Beyer’s Kaltenburg

在当代德国的"后创伤文学"中,战争创伤横亘在个体以及民族/国家认同的道路上,成为二战历史书写无法回避的文化幽灵。在长篇小说《卡尔腾堡》中,作者巴耶尔聚焦于战争创伤之下的个体,由对个体的书写进入宏大的历史。历史书写与创伤书写在巴耶尔的小说创作中一向难解难分,这不仅与"后创伤文学"中历史与创伤的亲缘性相关,同时也与作家的新历史主义观点不可分割。新历史主义中历史的多重面相与创伤的含混暧昧恰好形成对应,历史书写与创伤书写由是具备了某种同质性。为呼应身处"记忆之场"中的历史与创伤,巴耶尔在语言层面上采取了一系列反传统叙述技巧,如断片式的叙事结构、复杂多义的隐喻、多种人物话语表达形式以及对叙事空间的固着等。小说在叙事层面有如一座语言迷宫,折射着作家对于历史与创伤书写的态度。

In contemporary German"post-traumatic literature",the trauma of war lies on the path of individual and national identity and becomes an unavoidable cultural ghost in historical writings on World War II.In his novel Kaltenburg,Marcel Beyer focuses on war trauma in individuals and integrates writing the story of an individual with the larger writing of history.Historical writing and traumatic writing have always been inseparable in Beyer’s novels,which is not only related to the affinity between history and trauma in"post-traumatic literature",but is also inseparable from the writer’s New Historicist theoretical framework.The multiple images of history in New Historicism correspond exactly to the ambiguity of trauma,which somehow homogenizes historical writing and traumatic writing.In response to history and trauma in the"Realms of Memory",Beyer adopts a series of anti-traditional narrative techniques,such as fragmented narrative structure,polysemous metaphors,various forms of speech representation and the fixation upon narrative space.Like a language labyrinth,the novel reflects the writer’s complex attitude towards historical writing and traumatic writing.