摘要
大卫·马梅特是当今美国剧坛最具影响力的犹太裔剧作家。自20世纪90年代,他的戏剧、小说、电影和散文开始有了明显的"犹太转向",其中《杀人拼图》《犹太人的消失》《逾越节》最具代表性。马梅特从不直接描写犹太人大屠杀,但他积极地把以大屠杀为代表的犹太文化创伤融入了他的犹太写作中,通过文化创伤建构个体层面和群体层面的犹太身份认同,操演了当代美国犹太人的"想象的受害者"身份。本文以马梅特的三部犹太代表作品为例,基于操演性理论探讨了马梅特的犹太身份书写和犹太文化创伤的关系。
David Mamet,a descendant of European Jews who immigrated to the United States and who becomes one of the most prominent American playwrights in this century,made his"Jewish turn"in the 1990 s in a variety of plays,novels,films and essays concerning Jewish issues,among which Homicide,The Disappearance of the Jews,and Passover are representative ones.Mamet never directly describes the Holocaust,but he actively incorporates culture trauma represented by the Holocaust into his Jewish writing,and adopts cultural trauma to construct the Jewish identity at both individual and group levels,thereby producing a unique identity of imaginary victimhood for Jewish Americans,who are neither victims nor witnesses of the Holocaust.Based on the theory of performativity,this article explores the relationship between Mamet’s Jewish identity writing and Jewish cultural trauma.
作者
徐砚锋
冯伟
Xu Yanfeng;Feng Wei
出处
《南京社会科学》
CSSCI
北大核心
2021年第7期122-129,共8页
Nanjing Journal of Social Sciences
