文化的融合：辛西娅·奥兹克小说中犹太道德观和西方美学的研究
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摘要
作为杰出的美国犹太作家,评论家,随笔作家,辛西娅·奥兹克享有“当代美国最伟大的作家之一”以及“当代学识最渊博，用词最得体的文体家之一”等盛誉。在她五十多年的创作生涯中，曾获得无数的荣誉和奖项，包括四次欧·亨利短篇小说奖，国家图书奖，以及美国国家犹太图书委员会的终身成就奖等。她的作品被翻译成17种不同国家的语言。
奥兹克出生于美国犹太移民家庭，父亲是希伯来语学者，她的叔叔是以色列诗人，家人平时都用希伯来语交谈。家庭的熏陶使她从小就对犹太传统有深厚的了解,并深深迷恋犹太传统文化和道德。她小说中的主人公大多数都是犹太人或者犹太后裔，故事情节也和犹太历史，犹太道德息息相关。而作为在美国出生长大，接受美国文化教育的美国公民，奥兹克的写作风格也深受西方启蒙思想、后现代主义写作特征等西方美学的影响。
虽然是美国第二代犹太移民，奥兹克喜欢把自己归类为第三代美国犹太作家。和索尔·贝娄,伯纳德·马拉穆德,以及菲利普·罗斯等第二代美国犹太作家不同，第三代作家能够欣然接受西方启蒙运动思想、后现代写作特征等西方美学，并在创作中充分体现了美学。奥兹克认为文化的相互渗透是理所当然的事情。奥兹克的作品实际上是犹太传统道德，犹太历史文化和西方美学的完美融合体。在本论文中，奥兹克的道德观指的是犹太历史，犹太传说，以及犹太的传统道德意识。
本论文选取奥兹克的四部小说集：《升空：五个故事集》（1982），《斯德哥尔摩的弥赛亚》（1987），《披巾》（1989），和《帕特梅莎传奇》（1997）的四个主要故事《升空》、《斯德哥尔摩的弥赛亚》、《披巾》、《帕特梅莎与赞瑟普》，以文本分析为主，从三个不同的角度：“双重身份问题”，“犹太道德观和文学的想象”，以及“语言的疗伤和救赎功能”，结合奥兹克小说中体现的后现代主义叙事特征等西方美学来阐述奥兹克如何在她的作品中完美融合传统犹太道德观和现代西方美学。
本论文的第一部分将选取《帕特梅莎与赞瑟普》和《斯德哥尔摩的弥赛亚》中的两个主人公为例，来分析奥兹克作品中的西方犹太人双重身份。帕特梅莎按照犹太传统方法，创造出一个泥人，并用魔法召唤赋予她生命，希望满足她有一个女儿和拯救腐败的纽约乃至世界的愿望。而《斯德哥尔摩的弥赛亚》的拉尔斯也是一样，他是一个书评家，因为是孤儿以及对现实状况的不满，他杜撰出自己的生父是已故的荷兰犹太作家，他还有一部未出版的关于犹太文化的遗作《弥赛亚》。帕特梅莎和拉尔斯都是生活上被同化的北美犹太人，由于个体的独特需求，他们创造出泥人和先人，目的只是为了消除个人和集体、犹太教和西方思想、西方社会能接受的和不容许的事情之间的隔阂。对泥人的魔法召唤以及杜撰的先人恰恰说明了他们在现实生活中的艰难处境。所以，他们通过这些方式来实现自己和整个世界的统一，寻求西方和犹太双重身份的最佳统一。
本论文的第二部分将以分析《升空》和《帕特梅莎与赞瑟普》为例，主要讨论奥兹克如何平衡偶像崇拜和想象创作之间的关系，如何在后现代主义“想象”写作中融入她的传统犹太道德观，从而创作出独具奥兹克特色的关于“道德的想象”的小说。“想象”可以说是后现代作品的主要特征之一。作为后现代主义的主要代言人之一，在奥兹克所有的小说中都能找到“想象”的存在。不仅如此，她在大量的文学评论文章中也提到了“想象”，并认为“想象”是文学的“血肉之躯”。但是，在传统的犹太教中，文学写作本身就是偶像崇拜，而“想象”更是明令禁止的。在《帕特梅莎与赞瑟普》中，帕特梅莎依照犹太传统方法创造出泥人，并赋予她生命。泥人赞瑟普帮助帕特梅莎实现了“公平和和平纽约”的梦想。但是，泥人赞瑟普随着体积的增大，野心也越来越大，最后将帕特梅莎的心血毁于一旦。在前情人的帮助下，帕特梅莎仍然按照犹太历史记载的方法，将泥人赞瑟普解体，归于尘土。在《升空》中，当“真正的犹太人”聚集在客厅，带着凝重的神情听一个大屠杀幸存者讲他的亲身经历时，奇迹发生了，整个客厅以及里面聚集的犹太人徐徐升空，就像“漂在水面的诺亚方舟”。这两部小说都是典型的后现代主义作品，除了故事完全是虚构之外，奥兹克也运用了后现代的叙事风格：如《帕特梅莎与赞瑟普》中“自我意识”的叙事者，以及《升空》的滑稽批评文体。因其从独特的犹太传统道德视角来创作富有想象力的后现代文学作品，奥兹克被评论家称为美国的“卡夫卡”，犹太的“亨利·詹姆斯”。
本论文的第三部分主要以《披巾》和《升空》两部小说为例，分析奥兹克如何通过对小说中主人公的语言功能和运用的描述，将犹太道德观融合于她的美学创作中去。自《旧约》以来，犹太人就是通过语言，通过对他们民族生存的描述，通过西乃山民族盟约（即摩西律法）的建立才得以了解和延续犹太传统和文化的。所以，奥兹克作品中的主人公都是通过语言来书写或是诉说他们所遭受的迫害和伤痛（也就是我们所说的“谈心疗法”),以求在现实生活中得到解脱。在《披巾》中，罗莎是大屠杀幸存者，她在犹太集中营中亲眼目睹了自己的孩子玛格达被纳粹扔向电网。虽然最后获救，却无法从失去孩子的悲痛中恢复过来。于是，她假想玛格达还在世，经常给她写信。在信中，她用的是文学体的波兰语，非常注意措辞和美学的运用。而在《升空》中，费恩歌德夫妇和他们的一帮犹太朋友在家里聚会，讨论犹太过去和历史。当一位亲历大屠杀的朋友被要求详细描述受迫害过程以及内心经受的恐惧时，他们所处的房间开始升空。通过对犹太历史的复述，他们得以升空和救赎。在奥兹克的其他短篇小说如《唯利是图》等中，奥兹克也多次提到关于诉说和书写对于犹太移民的重要性。这些主人公所做的这一切正好证明了文字对于犹太人的重要性，它既是他们和犹太历史相联系的土壤，也是他们通向未来生活的桥梁。通过对主人公语言运用的描写，以及他们和犹太历史、犹太传统道德的联系，奥兹克再一次完美结合犹太道德观和西方美学。
作为备受尊崇的当代传奇美国犹太女作家，奥兹克是西方美学---启蒙思想和后现代主义写作的代言人。同时，在小说创作中，她从未放弃对犹太道德观的追寻。通过对犹太传统道德观和西方美学创作的完美融合，奥兹克不仅创作出独具特色的奥奇克作品，更为犹太传统文化和西方文化的互相渗透和交流做出了卓越的贡献！
Cynthia Ozick is the contemporary American Jewish writer. Unlike the otherAmerica Jewish writers, such as Soul Bellow, Bernard Malamud, and Philip Rothwhose works have always been characterized by the tension of assimilation andretention, Ozick’s work, as a whole, is not only concerned with ethics, but isspecifically engaged in the effort to integrate the western aesthetics and Jewish ethics.
Ozick was the second child of a Jewish immigrant parents. Her families’insistence on Jewish tradition has greatly imposed on her enthusiasm of Jewish ethics.Later in her writing not only are most of her protagonists Jews or Jewish descendants,but also the plots of the stories are always concerned with Jewish history and morality.However, growing up and being educated in America, Ozick also feels perfectly athome with Enlightenment thought and aesthetics. She assumes it is an inevitabilitythat cultures will eventually commingle.
This dissertation will explore the integration of Jewish ethics and westernaesthetics in Ozick’s fiction from three different perspectives: the dual identities; theEthical Imagination; and the integration of ethics and aesthetics; words as cure ofpersecution and pain.
The first chapter discusses the dual identities in Ozick’s Fiction. Ozick claimsthat she belongs to the third generation of America Jewish writers who views WesternChristian society as the landscape. Being part of America’s Jewish minority, Ozickseeks to explore the interaction between Judaism and the larger Christian and pagancultures her people are situated within. In her autobiographical work ThePuttermesser Papers, in response to her barren life and the corrupt New York City,Ozick fashions a golem to establish her dual, interlocked identities: those of defenderand redeemer. Lars Ademening in The Messiah of Stockholm pretends that he is theson of the murdered Polish writer Bruno Schulz, and his quest to explore Scholz’s lastmanuscripts, The Messiah, is his own way of expressing his sense of a world in need.By creating golems, both Puttermesser and Lars become themselves golems and doubles in the pursuit of redemption.
The second chapter explores the ethical imagination in Ozick's works. As thetypical spokesman of postmodernism, Ozick proclaims that “literature must call onimagination”(Ozick,1983:247). Furthermore, she maintains that literature shouldhave a moral basis. In her more than ten collected works of fiction, she draws on thetraditions and lore of Judaism, conjures the Jewish magic to illuminate the moraldimensions of both fiction and contemporary reality, thus creates her unique work ofmoral/ethical imagination. The golem Puttermesser molded helps her to found ajustice and peaceful New York City and become the mayor. However, the golem’sdesire keeps growing with her physical size. According to the Jewish lore,Puttermesser dismantles the golem. In Ozick’s another novella: Levitation, only theauthentic Jews who listen to telling of the holocaust experience with intensity canlevitate with the room, like “an ark on waters”(Ozick,1982:15). Both the undoing ofthe golem and the levitation of the room reflects Ozick's insistence on the reciprocalmoral imagination rather than the isolated lyrical imagination or wild imagination.
The third chapter analyzes the language and words in Ozick’s fiction. Jews havea long tradition of writing and passing on tales of lamentation and consolation. Theyknow themselves through language, through the narrative of their existence beginningwith Genesis, through the establishment of a covenantal nationalhood at Sinai, and onthrough the Shoah and its coda, the creation of the modern state of Israel. While the“talking cure” has been labeled part of the curious “Jewish science” of psychoanalysis,from the Babylonian “Epic of Gilgamesh,” to the confession booth of the CatholicChurch, and the contemporary fashion of memoir writing, the need to tell and beheard is fundamentally human, an attribute of cultures throughout time, the worldover. For some of Ozick’s characters, like Rosa in The Shawl and the refugee inLevitation, this telling is direct. They speak about the brutality of their experienceduring World War Two and of those who did not survive. In their telling or recitationof the history, they validate life. As Ozick claims in her essay that she is a “pinchedperfectionist”, the language her protagonists use is of creative aesthetics. The wordsthey telling or writing rescue them from the calamity of the past Shoah and fabricate them a bright future.
Ozick’s work is read as the reconstruction of Western/Jewish culture, a body ofwork inspirited by the “high muse of fusion” which “adds Jewish moral seriousness tothe aesthetic sensibility of western fiction”.(Kauvar,1993:176）
奥兹克出生于美国犹太移民家庭，父亲是希伯来语学者，她的叔叔是以色列诗人，家人平时都用希伯来语交谈。家庭的熏陶使她从小就对犹太传统有深厚的了解,并深深迷恋犹太传统文化和道德。她小说中的主人公大多数都是犹太人或者犹太后裔，故事情节也和犹太历史，犹太道德息息相关。而作为在美国出生长大，接受美国文化教育的美国公民，奥兹克的写作风格也深受西方启蒙思想、后现代主义写作特征等西方美学的影响。
虽然是美国第二代犹太移民，奥兹克喜欢把自己归类为第三代美国犹太作家。和索尔·贝娄,伯纳德·马拉穆德,以及菲利普·罗斯等第二代美国犹太作家不同，第三代作家能够欣然接受西方启蒙运动思想、后现代写作特征等西方美学，并在创作中充分体现了美学。奥兹克认为文化的相互渗透是理所当然的事情。奥兹克的作品实际上是犹太传统道德，犹太历史文化和西方美学的完美融合体。在本论文中，奥兹克的道德观指的是犹太历史，犹太传说，以及犹太的传统道德意识。
本论文选取奥兹克的四部小说集：《升空：五个故事集》（1982），《斯德哥尔摩的弥赛亚》（1987），《披巾》（1989），和《帕特梅莎传奇》（1997）的四个主要故事《升空》、《斯德哥尔摩的弥赛亚》、《披巾》、《帕特梅莎与赞瑟普》，以文本分析为主，从三个不同的角度：“双重身份问题”，“犹太道德观和文学的想象”，以及“语言的疗伤和救赎功能”，结合奥兹克小说中体现的后现代主义叙事特征等西方美学来阐述奥兹克如何在她的作品中完美融合传统犹太道德观和现代西方美学。
本论文的第一部分将选取《帕特梅莎与赞瑟普》和《斯德哥尔摩的弥赛亚》中的两个主人公为例，来分析奥兹克作品中的西方犹太人双重身份。帕特梅莎按照犹太传统方法，创造出一个泥人，并用魔法召唤赋予她生命，希望满足她有一个女儿和拯救腐败的纽约乃至世界的愿望。而《斯德哥尔摩的弥赛亚》的拉尔斯也是一样，他是一个书评家，因为是孤儿以及对现实状况的不满，他杜撰出自己的生父是已故的荷兰犹太作家，他还有一部未出版的关于犹太文化的遗作《弥赛亚》。帕特梅莎和拉尔斯都是生活上被同化的北美犹太人，由于个体的独特需求，他们创造出泥人和先人，目的只是为了消除个人和集体、犹太教和西方思想、西方社会能接受的和不容许的事情之间的隔阂。对泥人的魔法召唤以及杜撰的先人恰恰说明了他们在现实生活中的艰难处境。所以，他们通过这些方式来实现自己和整个世界的统一，寻求西方和犹太双重身份的最佳统一。
本论文的第二部分将以分析《升空》和《帕特梅莎与赞瑟普》为例，主要讨论奥兹克如何平衡偶像崇拜和想象创作之间的关系，如何在后现代主义“想象”写作中融入她的传统犹太道德观，从而创作出独具奥兹克特色的关于“道德的想象”的小说。“想象”可以说是后现代作品的主要特征之一。作为后现代主义的主要代言人之一，在奥兹克所有的小说中都能找到“想象”的存在。不仅如此，她在大量的文学评论文章中也提到了“想象”，并认为“想象”是文学的“血肉之躯”。但是，在传统的犹太教中，文学写作本身就是偶像崇拜，而“想象”更是明令禁止的。在《帕特梅莎与赞瑟普》中，帕特梅莎依照犹太传统方法创造出泥人，并赋予她生命。泥人赞瑟普帮助帕特梅莎实现了“公平和和平纽约”的梦想。但是，泥人赞瑟普随着体积的增大，野心也越来越大，最后将帕特梅莎的心血毁于一旦。在前情人的帮助下，帕特梅莎仍然按照犹太历史记载的方法，将泥人赞瑟普解体，归于尘土。在《升空》中，当“真正的犹太人”聚集在客厅，带着凝重的神情听一个大屠杀幸存者讲他的亲身经历时，奇迹发生了，整个客厅以及里面聚集的犹太人徐徐升空，就像“漂在水面的诺亚方舟”。这两部小说都是典型的后现代主义作品，除了故事完全是虚构之外，奥兹克也运用了后现代的叙事风格：如《帕特梅莎与赞瑟普》中“自我意识”的叙事者，以及《升空》的滑稽批评文体。因其从独特的犹太传统道德视角来创作富有想象力的后现代文学作品，奥兹克被评论家称为美国的“卡夫卡”，犹太的“亨利·詹姆斯”。
本论文的第三部分主要以《披巾》和《升空》两部小说为例，分析奥兹克如何通过对小说中主人公的语言功能和运用的描述，将犹太道德观融合于她的美学创作中去。自《旧约》以来，犹太人就是通过语言，通过对他们民族生存的描述，通过西乃山民族盟约（即摩西律法）的建立才得以了解和延续犹太传统和文化的。所以，奥兹克作品中的主人公都是通过语言来书写或是诉说他们所遭受的迫害和伤痛（也就是我们所说的“谈心疗法”),以求在现实生活中得到解脱。在《披巾》中，罗莎是大屠杀幸存者，她在犹太集中营中亲眼目睹了自己的孩子玛格达被纳粹扔向电网。虽然最后获救，却无法从失去孩子的悲痛中恢复过来。于是，她假想玛格达还在世，经常给她写信。在信中，她用的是文学体的波兰语，非常注意措辞和美学的运用。而在《升空》中，费恩歌德夫妇和他们的一帮犹太朋友在家里聚会，讨论犹太过去和历史。当一位亲历大屠杀的朋友被要求详细描述受迫害过程以及内心经受的恐惧时，他们所处的房间开始升空。通过对犹太历史的复述，他们得以升空和救赎。在奥兹克的其他短篇小说如《唯利是图》等中，奥兹克也多次提到关于诉说和书写对于犹太移民的重要性。这些主人公所做的这一切正好证明了文字对于犹太人的重要性，它既是他们和犹太历史相联系的土壤，也是他们通向未来生活的桥梁。通过对主人公语言运用的描写，以及他们和犹太历史、犹太传统道德的联系，奥兹克再一次完美结合犹太道德观和西方美学。
作为备受尊崇的当代传奇美国犹太女作家，奥兹克是西方美学---启蒙思想和后现代主义写作的代言人。同时，在小说创作中，她从未放弃对犹太道德观的追寻。通过对犹太传统道德观和西方美学创作的完美融合，奥兹克不仅创作出独具特色的奥奇克作品，更为犹太传统文化和西方文化的互相渗透和交流做出了卓越的贡献！
Cynthia Ozick is the contemporary American Jewish writer. Unlike the otherAmerica Jewish writers, such as Soul Bellow, Bernard Malamud, and Philip Rothwhose works have always been characterized by the tension of assimilation andretention, Ozick’s work, as a whole, is not only concerned with ethics, but isspecifically engaged in the effort to integrate the western aesthetics and Jewish ethics.
Ozick was the second child of a Jewish immigrant parents. Her families’insistence on Jewish tradition has greatly imposed on her enthusiasm of Jewish ethics.Later in her writing not only are most of her protagonists Jews or Jewish descendants,but also the plots of the stories are always concerned with Jewish history and morality.However, growing up and being educated in America, Ozick also feels perfectly athome with Enlightenment thought and aesthetics. She assumes it is an inevitabilitythat cultures will eventually commingle.
This dissertation will explore the integration of Jewish ethics and westernaesthetics in Ozick’s fiction from three different perspectives: the dual identities; theEthical Imagination; and the integration of ethics and aesthetics; words as cure ofpersecution and pain.
The first chapter discusses the dual identities in Ozick’s Fiction. Ozick claimsthat she belongs to the third generation of America Jewish writers who views WesternChristian society as the landscape. Being part of America’s Jewish minority, Ozickseeks to explore the interaction between Judaism and the larger Christian and pagancultures her people are situated within. In her autobiographical work ThePuttermesser Papers, in response to her barren life and the corrupt New York City,Ozick fashions a golem to establish her dual, interlocked identities: those of defenderand redeemer. Lars Ademening in The Messiah of Stockholm pretends that he is theson of the murdered Polish writer Bruno Schulz, and his quest to explore Scholz’s lastmanuscripts, The Messiah, is his own way of expressing his sense of a world in need.By creating golems, both Puttermesser and Lars become themselves golems and doubles in the pursuit of redemption.
The second chapter explores the ethical imagination in Ozick's works. As thetypical spokesman of postmodernism, Ozick proclaims that “literature must call onimagination”(Ozick,1983:247). Furthermore, she maintains that literature shouldhave a moral basis. In her more than ten collected works of fiction, she draws on thetraditions and lore of Judaism, conjures the Jewish magic to illuminate the moraldimensions of both fiction and contemporary reality, thus creates her unique work ofmoral/ethical imagination. The golem Puttermesser molded helps her to found ajustice and peaceful New York City and become the mayor. However, the golem’sdesire keeps growing with her physical size. According to the Jewish lore,Puttermesser dismantles the golem. In Ozick’s another novella: Levitation, only theauthentic Jews who listen to telling of the holocaust experience with intensity canlevitate with the room, like “an ark on waters”(Ozick,1982:15). Both the undoing ofthe golem and the levitation of the room reflects Ozick's insistence on the reciprocalmoral imagination rather than the isolated lyrical imagination or wild imagination.
The third chapter analyzes the language and words in Ozick’s fiction. Jews havea long tradition of writing and passing on tales of lamentation and consolation. Theyknow themselves through language, through the narrative of their existence beginningwith Genesis, through the establishment of a covenantal nationalhood at Sinai, and onthrough the Shoah and its coda, the creation of the modern state of Israel. While the“talking cure” has been labeled part of the curious “Jewish science” of psychoanalysis,from the Babylonian “Epic of Gilgamesh,” to the confession booth of the CatholicChurch, and the contemporary fashion of memoir writing, the need to tell and beheard is fundamentally human, an attribute of cultures throughout time, the worldover. For some of Ozick’s characters, like Rosa in The Shawl and the refugee inLevitation, this telling is direct. They speak about the brutality of their experienceduring World War Two and of those who did not survive. In their telling or recitationof the history, they validate life. As Ozick claims in her essay that she is a “pinchedperfectionist”, the language her protagonists use is of creative aesthetics. The wordsthey telling or writing rescue them from the calamity of the past Shoah and fabricate them a bright future.
Ozick’s work is read as the reconstruction of Western/Jewish culture, a body ofwork inspirited by the “high muse of fusion” which “adds Jewish moral seriousness tothe aesthetic sensibility of western fiction”.(Kauvar,1993:176）
引文
Alter, Robert.“Is our Schizophrenia Historically Important?” Dialogue with AlanMintz, Response16,1972
Arnold L. Goldsmith,“The Golem Remembered,1909-1980,” Variations of a JewishLegend.Detroit: Wayne State UP,1981.
Bell, Pearl K.“New Jewish Voices”. Commentary.1981.
Berger, Alan L.“Crisis and Covenant.” The Holocaust in American Jewish Fiction.Albany: State University of New York Press,1985
--------“American Jewish Fiction,” Modern Judaism10,1990
Bettleheim, Bruno. Surviving and Other Essays. New York: Knopf,1979
Blanchot, Maurice. The Writing of the Disaster. Trans. Ann Smock. Lincoln andLondon: University of Nebraska Press,1995.
Bloom, Harold. Cynthia Ozick. New York, New Haven, Philadelphis:Chelsea HousePublishers.1986
------Jewish Women Fiction Writers. Chelsea House Publishers,1998
Brown, Michael.“Biblical Myth and Contemporary Experience: The Akedah inModern Jewish Literature,” Judaism31,1,1982
Clendinnen, Inga. Reading the Holocaust. Cambridge: Cambridge University Press,1999
Cohen, Sarah Blacher,“Cynthia Ozick and Her New Yiddish Golem,” Studies inAmerican Jewish Literature6,1987.
-------Cynthia Ozick’s Comic Art: From Levity to Liturgy. Bloomington: IndianaUniversity Press,1994
Des Pres, Terrence.“The Authority of Silence in Elie Wiesel’s Art.” Confronting theHolocaust.Ed Alvin H. Rosenfeld and Irving Greenberg. Bloomington:Indiana UP,1978.
Elias, Amy J.“Puttermesser and Pygmalion”, Studies in American Jewish Literature6,1987.
Epstein, Leslie.“Stories and Something Else.” Modern Critical Views: Cynthia Ozick.Ed. Harold Bloom. New York, New Haven, and Philadephia: Chelsea House,1986
Ezrahi, Sidra DeKoven. By Words Alone, The holocaust in Literature. Chicago anLondon: University of Chicago Press,1980
Fackenheim, Emil L. The Jewish Return Into History, Reflections in the Age ofAuschwitz and a New Jerusalem. New York: Schocken,1978
Felman, Shoshana, and Dori Laub, M.D. Crises of Witnessing in Literature,Psychoanalysis and History. London: Routledge,1992
Friedman, Lawrence S.Understanding Ozick. Contemporary American Literature.Columbia: University of South Carolina Press1991
Finkelstein, Norman.“The Struggle for Historicity: Cynthia Ozick’s Fiction.” TheRitual of New Creation. State University of New York Press, Albany,1992
Gerber, Nancy. Portrait of the Mother-Artist: Class and Creativity in ContemporaryAmerican Fiction. Oxford and New York: Lexington Books,2003
Gordon, Andrew.“Cynthia Ozick’s ‘The Shawl’ and the Transitional Object.”Literature and Psychology40,1-2,1994
Gottfried, Amy.“Fragmented Art and the Liturgical Community of the Dead inCynthia Ozick’s The Shawl” SAJL13,1994
Greenstein, Michael.“Secular Sermons and American Accents: The Non-fiction ofBellow, Ozick, and Roth,” Shofar20,1(Fall2001)；7
Jackon, Rosemary. Fantasy, the Literature of Subversion. London: Methuen,1981
Kaganoff, Peggy “PW Interviews Cynthia Ozick.”27Publishers Weekly March,1987
Kauvar, Elaine M.“An Interview with Cynthia Ozick.” Contemporary Literature4,Spring,1985.
------Kauvar,Elaine M.“Ozick’s Book of Creation”. Cynthia Ozick.Ed. HaroldBloom. New York, New Haven, Philadelphia: Chelsea House Publisher.1986
------“An Interview with Cynthia Ozick.” Contemporary American Jewish Literature,University of Wisconsin:1993a
------Cynthia Ozick’s Fiction: Tradition and Invention. Bloomington and Indianapolis:Indiana University Press,1993b
Katz, Steven T. Post-Holocaust Dialogue: Critical Studies in Modern Jewish Thought.New York: New York University Press,1983.
Kielsky, Vera Emuna. Inevitable Exiles: Cynthia Ozick's View of the Precariousnessof Jewish Existence in a Gentile Society. New York: Peter Lang,1989
Klingenstein, Suzanne.“In Life I Am Not Free: The Writer Cynthia Ozick and herJewish Obligations.” Daughters of Valor: Contemporary Jewish AmericanWomen Writers. Ed. Jay Halio and Ben Siegel. Newark: University ofDelaware P,1997
Kremer, Lillian S.“Holocaust-Wrought women: Portraits of Four American Writers.”Studies in Jewish American Literature11,2,1992
Knopp, Josephine Z.“Ozick’s Jewish Stories.” Cynthia Ozick. Ed. Harold Bloom.New York: Chelsea House Publishers.1986
Kundera, Milan:“Sixty-Three Words,” in The Art of the Novel, trans. Linda Asher(1986); New York: Grove,1988
Lang, Berel. Writing and the Holocaust. New York and London: Holmes and Meier,1988
Lawrence S Friedman, Understanding Cynthia Ozick, Columbia: University of SouthCarolina Press,1991
Levinas, Emmanuel. Entre Nous, On Thinking-of-the-other. Trans. Michael B.Smithand Barbara Harshav. New York: Columbia University Press,1998.
Lowin, Joseph. Cynthia Ozick. Boston:Twayne,1988
-----“Cynthia Ozick.” Jewish Women in America. Eds. Paula E Hyman and DeborahDash, Moore. NY:Routledge,1997
Lyons, Bonnie.“Cynthia Ozick as a Jewish Writer.” Studies in American JewishLiterature6,1987.
Materassi, Mario.“Imagination Unbound: An Interview with Cynthia Ozick.”Salmagundi,nos94-5(Spring-Summer)1992
Mintz, Alan. Hurban, Responses to Catastrophe in Hebrew Literature. New York:Columbia University Press,1984
New, Elisa.“Cynthia Ozick’s Timing.” Prooftexts9,3,1989
Ozick, Cynthia. America: Toward Yavneh. Judaism19, Summer1970
------The Pagan Rabbi and Other Stories. New York: Knopf,1971; Syracuse, NewYork: Syracuse University Press,1995
------Bloodshed and Three Novellas. New York: Alfred A. Knopf,1976
------Levitation. New York: Alfred A. Knopf.1982
------Art and Ardor, New York: Alfred A. Knopf,1983
------“The Moral Necessity of Metaphor”, Harper’s Magazine. May1986
------“T.S Eliot at101”. The New Yorker.20, Nov.1989a.
------Metaphor and Memory: Essays.New York: Alfred A.Knopf,1989b
------Panel Presentation at the New York Public Library, May,1994
------A Cynthia Ozick Reader. New York: Indiana Univeristy Press,1996a
------Fame and Folly: Essays. New York: Alfred A.Knopf,1996b
------The Puttermesser Papers. New York: Alfred A. Knopf,1997
------Quarrel and Quandary: Essays. New York: Alfred A.Knopf,2000
Ovid, Metamorphoses. Trans. Ralph Humphries (Bloomington: Indiana UP,1983)242
Parrish, Timothy L.“Creation’s Covenant: The Art of Cynthia Ozick.” Texas Studiesin Literature and Language43,4,2001
Paula E Hyman and Deborah Dash, Moore. Jewish Women in America. NY:Routledge,1997
Pifer, Ellen.“Cynthia Ozick: Invention and Orthodoxy.” Contemporary AmericanWomen Writers: Narrative Strategies. Lexington: University Press of Kentucky,1985
Pinsker, Sanford,“Competing for the Soul of Cynthia Ozick’s Art,” Prooftexts,Indiana University Press,1994,102
-----Conversations with Contemporary American Writers. Amsterdam: Rodopi NV,1986
-----“Cynthia Ozick, Aesthete,” Partisan Review69,2,2002
-----“Astrophysics, Assimilation, and Cynthia Ozick’s The Cannibal Galaxy.” SAJL6,1987
Powers, Peter Kerry. Recalling Religions: Resistance, Memory, and Cultural Revisionin Ethnic Women’s Literature. The University of Tennessee Press,2001
Primo Levi. The Periodic Table, trans. Raymond Rosenthal. New York: Schocken,1984
Rainwater Catherine and ScheickWilliam J.“An interview with Cynthia Ozick,”Texas Studies in Literature and Language251983,257
Rogers, Robert. Apsychoanlystic Study of the Double in Literature. Detroit: WayneState Press,1970
Rosen Norma.“The Holocaust and the American Jewish Novelist,” Midstream20,8,1974
Roskies, David G. Against the Apocalypse, Responses to Catastrophe in ModernJewish Culture. Cambridge, MA,and London: Harvard University Press,1978,1984
-----“The library of Jewish Catastrophe”, Holocaust Remembrance, The Shapes ofMemory, ed. Geoffrey H. Hartman. Cambridge, Ma and Oxford: Blackwell,1994.
Rubenstein, Richard L., and John K. Roth. Approaching Auschwitz: The Holocaustand Its Legacy. Atlanta: John Knox Press,1987.
Schwarzschild, Steven S.“The Legal Foundations of Jewish Aesthetics.” The Journalof Aesthetic Education9,1.1975
Scholem Gershom, The Messianic Idea in Judaism. New York: Schocken,1971.
Schulz Bruno, The Street of Crocodiles. Trans, Celina Wieniewska1934. New York:Walker&Co.,1989
Singer, Isaac Bashevis.“The Golem is a Myth for Our Time.” New York TimesAugust12,1984
Sivan, Miriam. Belong Too Well: Portraits of Identity in Cynthia Ozick's Fiction.New York: State University of New York Press, Albany,2009
Statlander, Jane. Cultural Dialectic: Ludwig Lewisohn and Cynthia Ozick. New York:Peter Lang Publishing, Inc.2002
Steiner, George.“The Long Life of Metaphor: An Approach to the Shoah.” In Lang,ed., Writing and the Holocaust,1988
------Our Homeland, the Text. No Passion Spent. New Haven and London: YaleUniversity Press,1996
Strandberg, Victor. Greek Mind, Jewish Soul: the conflicted Art of Cynthia Ozick.Madison: University of Wisconsin Press,1994
Teicholz,Tom.“The Art of Fiction XCV: Cynthia Ozick.” The Paris Review29,102.1987
Todorov, Tzvetan. The Fantastic: A structural Approach to a Literary Genre. Trans.Richard Howard. Ithaca: Cornell University Press,1975.
Walden, Daniel.“The world of Cynthia Ozick: An Introduction,” Studies in AmericanJewish Literature6, Fall1987.
------Studies in American Jewish Literature. State University of New York Press,1990.
Walzer, Michael. Exodus and Revolution. New York: Basic Books,1985
Wirth-Nesher, Hana. What is Jewish Literature? Philadelphia: Jewish PublicationSociety,1994
------“The Languages of Memory: Cynthia Ozick’s The shawl.” MultilingualAmerica:Translationalism, Ethnicity, and the Languages of AmericanLiterature. Ed. Werner Sollors. New York and London: New York UniversityPress,1998.
Weiner, Miriam, Jewish Roots in Poland:Pages from the Past and ArchivalInventories. New York: YIVO,1997
Wiesel, Elie.“In Jewish Values in the Post-Holocaust Future.” A Symposium.Judaism16,3.1967
Yerushallmi, Yosef Hayim. Zakhor: Jewish History and Jewish Memory. Seattle:University of Washington Press,1982
Chen, xian.陈娴.种族的记忆，文学的救赎[D].华中师范大学，2008
Qiao, Guoqiang.乔国强.美国犹太文学[M].北京：商务印书馆，2008
Xiao, biao.肖飚.在流散空间凸现道德意识:论辛西娅·欧芝克小说中的犹太性.厦门大学出版社[M]，2012
Zhou, nanyi.周南翼.追寻一个新的理想国：索尔·贝娄、伯纳德·马拉默德和辛西娅·欧芝克小说研究[D].厦门大学2001
1. Bolick, Katie. Facts&Fiction-Cynthia Ozick. Atlantic Unbound: The AtlanticMonthly Magazine Online,1997http://www.theatlantic.com/past/docs/unbound/factfict/ozick.htm
2. Kaplan, Johanna. New York Times Book Review.1971.Internet. http://www.complete-review.com/authors/ozickc.htm
3. Musleah Rahel, Profile:Cynthia Ozick, Hadassah Magazine,2012.Internet: http://www.hadassahm agazine.org/site/apps/nlnet/content.aspx
4. Wallace, David Foster.“Brief Interview With a Five Draft Man.” Spring1999Issue of the Amherst Magazine.Internet: https://www.amherst.edu/aboutamherst/magzaine/extra/node/66410
5. http://en.wikipedia.org/wiki/Golem
Arnold L. Goldsmith,“The Golem Remembered,1909-1980,” Variations of a JewishLegend.Detroit: Wayne State UP,1981.
Bell, Pearl K.“New Jewish Voices”. Commentary.1981.
Berger, Alan L.“Crisis and Covenant.” The Holocaust in American Jewish Fiction.Albany: State University of New York Press,1985
--------“American Jewish Fiction,” Modern Judaism10,1990
Bettleheim, Bruno. Surviving and Other Essays. New York: Knopf,1979
Blanchot, Maurice. The Writing of the Disaster. Trans. Ann Smock. Lincoln andLondon: University of Nebraska Press,1995.
Bloom, Harold. Cynthia Ozick. New York, New Haven, Philadelphis:Chelsea HousePublishers.1986
------Jewish Women Fiction Writers. Chelsea House Publishers,1998
Brown, Michael.“Biblical Myth and Contemporary Experience: The Akedah inModern Jewish Literature,” Judaism31,1,1982
Clendinnen, Inga. Reading the Holocaust. Cambridge: Cambridge University Press,1999
Cohen, Sarah Blacher,“Cynthia Ozick and Her New Yiddish Golem,” Studies inAmerican Jewish Literature6,1987.
-------Cynthia Ozick’s Comic Art: From Levity to Liturgy. Bloomington: IndianaUniversity Press,1994
Des Pres, Terrence.“The Authority of Silence in Elie Wiesel’s Art.” Confronting theHolocaust.Ed Alvin H. Rosenfeld and Irving Greenberg. Bloomington:Indiana UP,1978.
Elias, Amy J.“Puttermesser and Pygmalion”, Studies in American Jewish Literature6,1987.
Epstein, Leslie.“Stories and Something Else.” Modern Critical Views: Cynthia Ozick.Ed. Harold Bloom. New York, New Haven, and Philadephia: Chelsea House,1986
Ezrahi, Sidra DeKoven. By Words Alone, The holocaust in Literature. Chicago anLondon: University of Chicago Press,1980
Fackenheim, Emil L. The Jewish Return Into History, Reflections in the Age ofAuschwitz and a New Jerusalem. New York: Schocken,1978
Felman, Shoshana, and Dori Laub, M.D. Crises of Witnessing in Literature,Psychoanalysis and History. London: Routledge,1992
Friedman, Lawrence S.Understanding Ozick. Contemporary American Literature.Columbia: University of South Carolina Press1991
Finkelstein, Norman.“The Struggle for Historicity: Cynthia Ozick’s Fiction.” TheRitual of New Creation. State University of New York Press, Albany,1992
Gerber, Nancy. Portrait of the Mother-Artist: Class and Creativity in ContemporaryAmerican Fiction. Oxford and New York: Lexington Books,2003
Gordon, Andrew.“Cynthia Ozick’s ‘The Shawl’ and the Transitional Object.”Literature and Psychology40,1-2,1994
Gottfried, Amy.“Fragmented Art and the Liturgical Community of the Dead inCynthia Ozick’s The Shawl” SAJL13,1994
Greenstein, Michael.“Secular Sermons and American Accents: The Non-fiction ofBellow, Ozick, and Roth,” Shofar20,1(Fall2001)；7
Jackon, Rosemary. Fantasy, the Literature of Subversion. London: Methuen,1981
Kaganoff, Peggy “PW Interviews Cynthia Ozick.”27Publishers Weekly March,1987
Kauvar, Elaine M.“An Interview with Cynthia Ozick.” Contemporary Literature4,Spring,1985.
------Kauvar,Elaine M.“Ozick’s Book of Creation”. Cynthia Ozick.Ed. HaroldBloom. New York, New Haven, Philadelphia: Chelsea House Publisher.1986
------“An Interview with Cynthia Ozick.” Contemporary American Jewish Literature,University of Wisconsin:1993a
------Cynthia Ozick’s Fiction: Tradition and Invention. Bloomington and Indianapolis:Indiana University Press,1993b
Katz, Steven T. Post-Holocaust Dialogue: Critical Studies in Modern Jewish Thought.New York: New York University Press,1983.
Kielsky, Vera Emuna. Inevitable Exiles: Cynthia Ozick's View of the Precariousnessof Jewish Existence in a Gentile Society. New York: Peter Lang,1989
Klingenstein, Suzanne.“In Life I Am Not Free: The Writer Cynthia Ozick and herJewish Obligations.” Daughters of Valor: Contemporary Jewish AmericanWomen Writers. Ed. Jay Halio and Ben Siegel. Newark: University ofDelaware P,1997
Kremer, Lillian S.“Holocaust-Wrought women: Portraits of Four American Writers.”Studies in Jewish American Literature11,2,1992
Knopp, Josephine Z.“Ozick’s Jewish Stories.” Cynthia Ozick. Ed. Harold Bloom.New York: Chelsea House Publishers.1986
Kundera, Milan:“Sixty-Three Words,” in The Art of the Novel, trans. Linda Asher(1986); New York: Grove,1988
Lang, Berel. Writing and the Holocaust. New York and London: Holmes and Meier,1988
Lawrence S Friedman, Understanding Cynthia Ozick, Columbia: University of SouthCarolina Press,1991
Levinas, Emmanuel. Entre Nous, On Thinking-of-the-other. Trans. Michael B.Smithand Barbara Harshav. New York: Columbia University Press,1998.
Lowin, Joseph. Cynthia Ozick. Boston:Twayne,1988
-----“Cynthia Ozick.” Jewish Women in America. Eds. Paula E Hyman and DeborahDash, Moore. NY:Routledge,1997
Lyons, Bonnie.“Cynthia Ozick as a Jewish Writer.” Studies in American JewishLiterature6,1987.
Materassi, Mario.“Imagination Unbound: An Interview with Cynthia Ozick.”Salmagundi,nos94-5(Spring-Summer)1992
Mintz, Alan. Hurban, Responses to Catastrophe in Hebrew Literature. New York:Columbia University Press,1984
New, Elisa.“Cynthia Ozick’s Timing.” Prooftexts9,3,1989
Ozick, Cynthia. America: Toward Yavneh. Judaism19, Summer1970
------The Pagan Rabbi and Other Stories. New York: Knopf,1971; Syracuse, NewYork: Syracuse University Press,1995
------Bloodshed and Three Novellas. New York: Alfred A. Knopf,1976
------Levitation. New York: Alfred A. Knopf.1982
------Art and Ardor, New York: Alfred A. Knopf,1983
------“The Moral Necessity of Metaphor”, Harper’s Magazine. May1986
------“T.S Eliot at101”. The New Yorker.20, Nov.1989a.
------Metaphor and Memory: Essays.New York: Alfred A.Knopf,1989b
------Panel Presentation at the New York Public Library, May,1994
------A Cynthia Ozick Reader. New York: Indiana Univeristy Press,1996a
------Fame and Folly: Essays. New York: Alfred A.Knopf,1996b
------The Puttermesser Papers. New York: Alfred A. Knopf,1997
------Quarrel and Quandary: Essays. New York: Alfred A.Knopf,2000
Ovid, Metamorphoses. Trans. Ralph Humphries (Bloomington: Indiana UP,1983)242
Parrish, Timothy L.“Creation’s Covenant: The Art of Cynthia Ozick.” Texas Studiesin Literature and Language43,4,2001
Paula E Hyman and Deborah Dash, Moore. Jewish Women in America. NY:Routledge,1997
Pifer, Ellen.“Cynthia Ozick: Invention and Orthodoxy.” Contemporary AmericanWomen Writers: Narrative Strategies. Lexington: University Press of Kentucky,1985
Pinsker, Sanford,“Competing for the Soul of Cynthia Ozick’s Art,” Prooftexts,Indiana University Press,1994,102
-----Conversations with Contemporary American Writers. Amsterdam: Rodopi NV,1986
-----“Cynthia Ozick, Aesthete,” Partisan Review69,2,2002
-----“Astrophysics, Assimilation, and Cynthia Ozick’s The Cannibal Galaxy.” SAJL6,1987
Powers, Peter Kerry. Recalling Religions: Resistance, Memory, and Cultural Revisionin Ethnic Women’s Literature. The University of Tennessee Press,2001
Primo Levi. The Periodic Table, trans. Raymond Rosenthal. New York: Schocken,1984
Rainwater Catherine and ScheickWilliam J.“An interview with Cynthia Ozick,”Texas Studies in Literature and Language251983,257
Rogers, Robert. Apsychoanlystic Study of the Double in Literature. Detroit: WayneState Press,1970
Rosen Norma.“The Holocaust and the American Jewish Novelist,” Midstream20,8,1974
Roskies, David G. Against the Apocalypse, Responses to Catastrophe in ModernJewish Culture. Cambridge, MA,and London: Harvard University Press,1978,1984
-----“The library of Jewish Catastrophe”, Holocaust Remembrance, The Shapes ofMemory, ed. Geoffrey H. Hartman. Cambridge, Ma and Oxford: Blackwell,1994.
Rubenstein, Richard L., and John K. Roth. Approaching Auschwitz: The Holocaustand Its Legacy. Atlanta: John Knox Press,1987.
Schwarzschild, Steven S.“The Legal Foundations of Jewish Aesthetics.” The Journalof Aesthetic Education9,1.1975
Scholem Gershom, The Messianic Idea in Judaism. New York: Schocken,1971.
Schulz Bruno, The Street of Crocodiles. Trans, Celina Wieniewska1934. New York:Walker&Co.,1989
Singer, Isaac Bashevis.“The Golem is a Myth for Our Time.” New York TimesAugust12,1984
Sivan, Miriam. Belong Too Well: Portraits of Identity in Cynthia Ozick's Fiction.New York: State University of New York Press, Albany,2009
Statlander, Jane. Cultural Dialectic: Ludwig Lewisohn and Cynthia Ozick. New York:Peter Lang Publishing, Inc.2002
Steiner, George.“The Long Life of Metaphor: An Approach to the Shoah.” In Lang,ed., Writing and the Holocaust,1988
------Our Homeland, the Text. No Passion Spent. New Haven and London: YaleUniversity Press,1996
Strandberg, Victor. Greek Mind, Jewish Soul: the conflicted Art of Cynthia Ozick.Madison: University of Wisconsin Press,1994
Teicholz,Tom.“The Art of Fiction XCV: Cynthia Ozick.” The Paris Review29,102.1987
Todorov, Tzvetan. The Fantastic: A structural Approach to a Literary Genre. Trans.Richard Howard. Ithaca: Cornell University Press,1975.
Walden, Daniel.“The world of Cynthia Ozick: An Introduction,” Studies in AmericanJewish Literature6, Fall1987.
------Studies in American Jewish Literature. State University of New York Press,1990.
Walzer, Michael. Exodus and Revolution. New York: Basic Books,1985
Wirth-Nesher, Hana. What is Jewish Literature? Philadelphia: Jewish PublicationSociety,1994
------“The Languages of Memory: Cynthia Ozick’s The shawl.” MultilingualAmerica:Translationalism, Ethnicity, and the Languages of AmericanLiterature. Ed. Werner Sollors. New York and London: New York UniversityPress,1998.
Weiner, Miriam, Jewish Roots in Poland:Pages from the Past and ArchivalInventories. New York: YIVO,1997
Wiesel, Elie.“In Jewish Values in the Post-Holocaust Future.” A Symposium.Judaism16,3.1967
Yerushallmi, Yosef Hayim. Zakhor: Jewish History and Jewish Memory. Seattle:University of Washington Press,1982
Chen, xian.陈娴.种族的记忆，文学的救赎[D].华中师范大学，2008
Qiao, Guoqiang.乔国强.美国犹太文学[M].北京：商务印书馆，2008
Xiao, biao.肖飚.在流散空间凸现道德意识:论辛西娅·欧芝克小说中的犹太性.厦门大学出版社[M]，2012
Zhou, nanyi.周南翼.追寻一个新的理想国：索尔·贝娄、伯纳德·马拉默德和辛西娅·欧芝克小说研究[D].厦门大学2001
1. Bolick, Katie. Facts&Fiction-Cynthia Ozick. Atlantic Unbound: The AtlanticMonthly Magazine Online,1997http://www.theatlantic.com/past/docs/unbound/factfict/ozick.htm
2. Kaplan, Johanna. New York Times Book Review.1971.Internet. http://www.complete-review.com/authors/ozickc.htm
3. Musleah Rahel, Profile:Cynthia Ozick, Hadassah Magazine,2012.Internet: http://www.hadassahm agazine.org/site/apps/nlnet/content.aspx
4. Wallace, David Foster.“Brief Interview With a Five Draft Man.” Spring1999Issue of the Amherst Magazine.Internet: https://www.amherst.edu/aboutamherst/magzaine/extra/node/66410
5. http://en.wikipedia.org/wiki/Golem