创伤“无意识”与创作“有意识”——《猫眼》中的民族创伤自传与修通

The Unconsciousness of Trauma and the Consciousness of Creating——Traumatic Life-writing of Nation and Life-writing as Working Through in Cat’s Eye

加拿大女作家玛格丽特·阿特伍德的《猫眼》一直以来都被学界公认为是其最富自传体色彩的作品。小说借助事实与虚构交互的后现代自传叙事,在勾勒主人公城市身份与荒野身份对立的同时影射了盎格鲁—加拿大民族因文化中心意识遭遇北美荒野而产生的文化创伤及暗恐。这种文化创伤成为一把双刃剑,在为他们带来创伤症候的同时赋予他们文化艺术上的'第二视力'。鉴于文化中心意识的挥之不去,以阿特伍德为首的加拿大民族主义者将文化艺术作为修通文化创伤的有效途径,其中,'自传'因其'有意识'的特征成为重中之重。而建立在自传'有意识'基础上的艺术创新象征着个体与民族超越了创伤的'无意识',确定了自我新身份。

For a long time,Cat’s Eye is acknowledged as the most autobiographical work among the Canadian writer Margaret Atwood’s fictions.While illustrating the contradiction of the protagonist’s dual identities of the civilized and the wild in a postmodern narrative way of mingling both facts and fiction,Cat’s eye implies that Anglo-Canadian’s national trauma and fear,originated from the confrontation between the cultural centrism and the uncivilized natural wildness,are also a double-edged sword that provides both traumatic symptoms and creative insights.Given the deep-rooted cultural centrism,many nationalists like Atwood tend to choose culture and art as effective methods to work through the trauma,among which life-writing is the most important way due to its conscious and retrospective characteristics.The creative art based on the lifewriting consciousness symbolizes both the individual and the national transcend the unconsciousness of trauma and forge the new identity.