塞缪尔·贝克特《灭绝者》中的“姿势”与后大屠杀政治

On the"Gesture"and the Politics of Post-Holocaust in Samuel Beckett's The Lost Ones

“姿势”是贝克特小说语言的重要风格表征。作为贝克特晚期典型的封闭空间书写风格的小说,《灭绝者》以简洁的语言建构了一个抽象集中营式的身体姿势展露的世界。本文从行动与语言两个维度探究其深刻的政治意涵,姿势作为一种贝克特式后大屠杀再现方式,一方面“僵住姿势”,通过“无作”的方式表现主体对灾难的回避态度;另一方面,“静默姿势”通过一种“去词”的努力对语言本身造成颠覆之势。这种对行动与语言的否定预示了见证失败与书写之不可能性的命运,也为贝克特式后大屠杀政治解读提供了一种可能。

Gesture is an important representation in Samuel Beckett's novels.The Lost Ones(1970),Samuel Beckett's typical novel wrtten in the"closed space"in his later years,constructs a world of gestures in an abstract concentration camp in simple language.This paper explores its profound political implications from the perspective of action and language.As a kind of post-Holocaust representation,the"frozen gesture"is a kind of"undoing"to show the evasive attitude to the disaster,and on the other hand,the"silent gesture"subverts language itself through"unwording the world".This negation of action and language foretells the fate of the witness to failure and the impossibility of writing and provides a possibility for a Beckettian post-Holocaust political interpretation.