艾·巴·辛格小说中的创伤研究
摘要
“当代最会讲故事的小说大师”艾萨克·巴舍维斯·辛格，自始至终坚持使用意第绪语，这一濒临灭绝的犹太民族语言进行创作，倾注了毕生心血为犹太人书写犹太人的故事。与众多对犹太身份遮遮掩掩的犹太作家不同，辛格乐于接受自己的犹太人身份，被称为“唯一正宗的美国犹太作家”。他的个体生命体验和记忆与身为犹太民族一份子的使命感相交融，形成了深刻的“忧思如煎熬”的民族情结。正是这种民族情结促使他屡屡审视和思考古老的犹太文明在现代处境下所历经的创伤，倾其一生苦苦寻觅拯救良方。
到目前为止，学术界关注了辛格的人生经历对于创作的影响，也揭示了辛格人生经历的痛苦对于其创作个性与基调形成的关联，但鲜有从创伤这一视角对辛格的小说进行分析和阐释的论述。辛格独特的成长经历建构了他对于创伤的记忆和体悟。在某种程度上，文学创作成为他对创伤体验和记忆的艺术应对。
辛格的创伤书写不仅涉及小说主题与人物塑造，而且将创伤的过程、节奏及不确定性融合于小说的结构和意识之中。创伤类型主要包括对信仰的探问与身份困惑问题的思考、对后大屠杀时代犹太民族的命运关注、对社会权力话语的叩问和对异化问题的自省。创伤对象既包括个体又涵盖族群：徘徊在传统与现代的知识分子、历经大屠杀劫难的幸存者、被传统和时代所压制的女性，这些都是令人印象深刻的创伤载体。在辛格的笔下，创伤如同一个多棱镜，从不同角度折射出犹太民族乃至人类生存的困境和本质。
鉴于创伤书写对于研究辛格及犹太人的生存状况和心理状况有着切实意义，本论文从这一角度切入，选取辛格最著名的三部长篇小说《卢布林的魔术师》、《敌人，一个爱情故事》、《肖霞》，从辛格的创伤记忆与其创作的关系着手，整体把握其创伤书写的发展与走向。
从信仰迷失导致的创伤，到大屠杀事件造成的战争创伤，再到传统压制下犹太女性历经的创伤，辛格首先直接表现犹太民族所经受的文化、战争的创伤，然后将个人创伤与民族创伤相并置，引发犹太人对本民族命运的思考。作品通过着力铺陈东欧犹太人的生活图景，聚焦犹太历史，渲染犹太文化，揭露和阐释了犹太民族自身存在的问题；另一方面，作品通过关注大屠杀幸存者的文化身份问题，强调了以美国世俗文化为代表的基督教文化对犹太文化的冲击，凸现了犹太民族与主流社会之间难以调和的矛盾。辛格在表征创伤的同时倾注伦理关怀，提出摆脱个人和民族创伤化状态的可行性途径，这实际上反映了他力图通过写作走出创伤的一个心路历程。
辛格在叙述创伤的过程中，将创伤经历的体验者、他人创伤的见证者以及虚构性文学作品的创造者，这三种不同身份巧妙地糅合在一起。他在记录自己和他人创伤经历的同时，展现了卓越的想象力，表现出历史及人文的关怀和文化的深度。如其所言：“幻想和经验改变形式”，辛格形成了自己集见证、评论和想象性重构为一体的独具特色的创伤书写。
Isaac Bashevis Singer, the Nobel Prize winner in1978, is known as "the bestcontemporary storyteller". His insisting on writing in Jewish language-Yiddish, in theUnited States where English is of absolute superiority, expresses his deep love andpersistence of the Jewish culture. He is known as "the only veritable American Jewishwriter". Singer's writing career can be summarized as follows: write as a Jew, write onJews and write for Jews. Moreover, his individual life experience and memory as a Jew,together with a sense of ethnic mission, forms his Ethnic-Anxiety Complex. It inspires himto repeatedly survey the trauma that the ancient Jewish civilization has gone through in themodern times. Singer devoted all his life to looking for the effective prescription forrecovery.
Singer endowed his works with trauma from his individual experiences, while theartistic works can be regarded as the solution to his trauma to some extent. Singer's traumawriting not only consists of the themes and characters, but also integrates the rhythm,process and uncertainty of trauma with the ideas and structures of his novels. The traumacategories include faith and identity confusion, reflection on civilization and thecatastrophic world humans live in, as well as the inquiries of social power utterance andintrospection on alienation. The traumatic objects are concerned with both individuals andcollectives, including the intellectuals who hesitate in the traditional and modern world; thesurvivors from the Holocaust, as well as women suppressed by the Jewish conventions. InSinger's works, trauma is like a prism which reflects the living predicament and essence ofthe Jewish people and even all humans from various angles.
This dissertation aims to form the trend of Singer's trauma writing with the analysisof his three well-known novels, The Magician of Lublin, Enemies, A Love Story andShosha. Singer first directly demonstrated the culture and war trauma of Jewish nation, and then juxtaposed individual trauma and the nation's trauma. He was concerned with theJewish culture and history through elaborating the life of Jewish people in Eastern Europeand the survivors from the Holocaust. Thinking of the future of the Jewish, Singer tried tooffer an adoptable way out of the identity crisis for recovery. It actually reflects his processof working through the ethnic trauma by writing.
As the integrator of an experiencer of trauma, a witness of others' trauma and a creatorof the fictions, Singer demonstrated his concern on history, humanity and his cultural depthwhile representing his and others' experiences with his outstanding imagination. Singer'sdistinguishing feature of trauma writing is combined with testimony, comment andimaginary reconstitution.
到目前为止，学术界关注了辛格的人生经历对于创作的影响，也揭示了辛格人生经历的痛苦对于其创作个性与基调形成的关联，但鲜有从创伤这一视角对辛格的小说进行分析和阐释的论述。辛格独特的成长经历建构了他对于创伤的记忆和体悟。在某种程度上，文学创作成为他对创伤体验和记忆的艺术应对。
辛格的创伤书写不仅涉及小说主题与人物塑造，而且将创伤的过程、节奏及不确定性融合于小说的结构和意识之中。创伤类型主要包括对信仰的探问与身份困惑问题的思考、对后大屠杀时代犹太民族的命运关注、对社会权力话语的叩问和对异化问题的自省。创伤对象既包括个体又涵盖族群：徘徊在传统与现代的知识分子、历经大屠杀劫难的幸存者、被传统和时代所压制的女性，这些都是令人印象深刻的创伤载体。在辛格的笔下，创伤如同一个多棱镜，从不同角度折射出犹太民族乃至人类生存的困境和本质。
鉴于创伤书写对于研究辛格及犹太人的生存状况和心理状况有着切实意义，本论文从这一角度切入，选取辛格最著名的三部长篇小说《卢布林的魔术师》、《敌人，一个爱情故事》、《肖霞》，从辛格的创伤记忆与其创作的关系着手，整体把握其创伤书写的发展与走向。
从信仰迷失导致的创伤，到大屠杀事件造成的战争创伤，再到传统压制下犹太女性历经的创伤，辛格首先直接表现犹太民族所经受的文化、战争的创伤，然后将个人创伤与民族创伤相并置，引发犹太人对本民族命运的思考。作品通过着力铺陈东欧犹太人的生活图景，聚焦犹太历史，渲染犹太文化，揭露和阐释了犹太民族自身存在的问题；另一方面，作品通过关注大屠杀幸存者的文化身份问题，强调了以美国世俗文化为代表的基督教文化对犹太文化的冲击，凸现了犹太民族与主流社会之间难以调和的矛盾。辛格在表征创伤的同时倾注伦理关怀，提出摆脱个人和民族创伤化状态的可行性途径，这实际上反映了他力图通过写作走出创伤的一个心路历程。
辛格在叙述创伤的过程中，将创伤经历的体验者、他人创伤的见证者以及虚构性文学作品的创造者，这三种不同身份巧妙地糅合在一起。他在记录自己和他人创伤经历的同时，展现了卓越的想象力，表现出历史及人文的关怀和文化的深度。如其所言：“幻想和经验改变形式”，辛格形成了自己集见证、评论和想象性重构为一体的独具特色的创伤书写。
Isaac Bashevis Singer, the Nobel Prize winner in1978, is known as "the bestcontemporary storyteller". His insisting on writing in Jewish language-Yiddish, in theUnited States where English is of absolute superiority, expresses his deep love andpersistence of the Jewish culture. He is known as "the only veritable American Jewishwriter". Singer's writing career can be summarized as follows: write as a Jew, write onJews and write for Jews. Moreover, his individual life experience and memory as a Jew,together with a sense of ethnic mission, forms his Ethnic-Anxiety Complex. It inspires himto repeatedly survey the trauma that the ancient Jewish civilization has gone through in themodern times. Singer devoted all his life to looking for the effective prescription forrecovery.
Singer endowed his works with trauma from his individual experiences, while theartistic works can be regarded as the solution to his trauma to some extent. Singer's traumawriting not only consists of the themes and characters, but also integrates the rhythm,process and uncertainty of trauma with the ideas and structures of his novels. The traumacategories include faith and identity confusion, reflection on civilization and thecatastrophic world humans live in, as well as the inquiries of social power utterance andintrospection on alienation. The traumatic objects are concerned with both individuals andcollectives, including the intellectuals who hesitate in the traditional and modern world; thesurvivors from the Holocaust, as well as women suppressed by the Jewish conventions. InSinger's works, trauma is like a prism which reflects the living predicament and essence ofthe Jewish people and even all humans from various angles.
This dissertation aims to form the trend of Singer's trauma writing with the analysisof his three well-known novels, The Magician of Lublin, Enemies, A Love Story andShosha. Singer first directly demonstrated the culture and war trauma of Jewish nation, and then juxtaposed individual trauma and the nation's trauma. He was concerned with theJewish culture and history through elaborating the life of Jewish people in Eastern Europeand the survivors from the Holocaust. Thinking of the future of the Jewish, Singer tried tooffer an adoptable way out of the identity crisis for recovery. It actually reflects his processof working through the ethnic trauma by writing.
As the integrator of an experiencer of trauma, a witness of others' trauma and a creatorof the fictions, Singer demonstrated his concern on history, humanity and his cultural depthwhile representing his and others' experiences with his outstanding imagination. Singer'sdistinguishing feature of trauma writing is combined with testimony, comment andimaginary reconstitution.
引文
①参见David Neal Miller，Recovering the Cannon-Essays on Isaac Bashevis Singer，Leiden：E.J Brill，1986.
②参见梅绍武：《1978年诺贝尔奖金获得者艾萨克·辛格》，《读书》，1979年第1期；冯亦代：《卡静论辛格》，《读书》，1979年第1期。
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