创伤理论视域下《爵士乐》之解读.doc

创伤理论视域下爵士乐之解读 分类号学校代码 !Q三垒2密级学号2Q!2Q昼Q墨53AStudyofTraumainToniMorrison,SJazz创伤理论视域下爵士乐之解读指导教师姓各、职称 垫堡茎剑塾撞学 科 专 业 墓适量主塞堂湖南师范大学学位评定委员会办公室二0一三年五月AStudyofTraumainToniMorrison,SJazzAThesisSubmittedtoForeignStudiesCollegeOfHunanNormalUniversityInPartialFulfillmentoftheRequirementsFortheDegreeofMasterofArtsintheSubjectofEnglishLanguageandLiteratureByGongZixianUndertheSupervisionofAssociateProfessorYaPeizhiChangsha,HunanMay,72013AbstractJazz,ToniMorrisonSsixthnovel,isabookthatrecordstraumaticexperiencesofAfricanAmericansinurbanization.However,revealingtraumaticexperiencesisnotMorrisonSultimatepurpose.Whatsheexploresishowtohelpblackpeoplerecoverfromtheirt auma.Althoughsomecriticshavedirectedheirattentionontherelationbetweencharacterstraumaands fepl ceinJazz,theylackasystematicstudy.Basedontraumatheory,thepres ntstudyinvestigatescharacterstraumafrommultiplelevels,coveringsafeplaceandidentity.Moreimportantly,theinvestigationemphasizesMorrisonSviewpointsof raumaandrecovery.Thisthesiscontainsthreeparts:introduction,thema nbodyandconclusion.Themainbodyconsistsofthreechapters.ChapterOneelucidatesthetraumath tthetwofemalecharacters一衍oletandDorcasexperienced.Therootoftheirt aumacanbeascribedtolossofsafespace.Safespace,whichmeansaspaceorastatehatonecanfindsafetyandfeelsafe,isthecrucialelementforblackwomen.AbsenceofparentallovemainlygivesrisetOVioletandDorcaslossofsafepace.ChapterTwoanalyzesthetraumacausedbyidentitywithtwomalecharacters,JoeTraceandGoldenGrayasthefocus.Searchingforparentscanberegardedastheirpursuitofindefiniteidentityaccordingtopsychology.Failingtoconfirmtheiridentity,JoeandG ldenGrayevidentlydisplaytraumaticsymptoms.ChapterThreeapproachest epossibilityoftraumarecovery.Morrisonhowsthesignificanceofcommunicationintheprocessoftraumarecovery.Throughjazzmusicandialogues,AfricanAmericanscanrecollecttheiraumaticpast,alleviateandhealtheirhauntedrauma.TheconclusionoffersafurtherdiscussionoftraumaandrecoveryinMorrisonSJazz,andreaffirmsthestrengthof ebondofinterpersonalrelationshipsuchasthefamilyandthecommunity.KeyWords:ToniM rrison;Jazz;trauma摘 要爵士乐是托尼?莫里森的第六部小说,是一部记录黑人在城市化进程中创伤经历的作品。不过,反映黑人的创伤并不是莫里森的最终目的,她要探寻的是如何帮助黑人走出创伤。尽管评论家们已经开始注意到爵士乐中人物的创伤与安全空间的缺失有关,但是他们并没有进行系统性的研究。本文基于创伤理论,从多个层面对小说人物的创伤进行研究,涉及安全空间和身份寻求两方面。同时,本文更注重对莫里森关于创伤恢复观点的研究。本论文分为三个部分:引言,论文主体部分和结语。论文主体部分由三个章节构成。第一章详细阐述了维奥利特和多卡丝这两个女性人物所经历的创伤。她们创伤的根源可以归结为安全空间的缺失。安全空间是指一个可以让人找到安全感的空间或状态,这对于黑人女性来说是一个至关重要的因素。而这两个女性人物安全空间的缺失很大程度上是由于母爱的缺失。第二章以乔和戈尔登?格雷为例详细分析了由身份危机引发的创伤。从心理学上来说,小说中乔和戈尔登?格雷寻找父母的行为可以被视为他们对自己身份的寻求。当他们无法确认自己身份的时候,他们就表现出明显的创伤症状。第三章探求了美国黑人创伤恢复的途径。莫里森表明了交流在创伤恢复过程中重要性。通过爵士乐音乐和人物间的对话,小说人物们开始回忆自己的创伤经历,并逐步缓解和治愈他们的心理创伤。结语部分对爵士乐中的创伤与恢复进行了更深层次的探讨,重申了家庭和社区中人与人之间纽带的力量。关键词:托尼?莫里森;爵士乐;创伤ContentsAbstract.i摘要?iiiIntroduction?.1ChapterOneTraumaCausedbyLossofSafeSpace.111.1VioletSMentalCracks?131.2DorcasReexperienceofFlashbacks.22ChapterTwoTraumaCausedbyIdentityCrisis.272.1JoeSMother-hauntingNightmare.312.2GoldenGraySSuperiorityComplex.37ChapterTh eeR coveryfromTrauma.413.1JazzMusic:ResponsetoAncestorSBeckon?.413.2Dialogues:ReconnectiontotheCommunity.45Conclusion.61Bibliography.67Acknowledgments.?.71湖南师范大学学位论文原创性声明?.73湖南师范大学学位论文版权使用授权书73AStudyofTraumainToniMorrisonSJazzIntroductionToniMorrisoni oneofthepreeminentwritersofourtime.Sheisawardedthe1993NobelPrizeinLiterature,makingherthefirstA行icanAmericantowinthishonor.Hernovelsareknownfortheirepicthemes,vividdialogueandrichlydetailedblackharacters.ToniMorrisonhaspublishedeightnovels1andtwocollectionsofessays2.Shehasalsobeenawardedhonorarydegrees.ShereceivedtheNationalBookCriticsCircleAward,theAmericanAcademyandInstituteofArtsandLettersAwardforSongofSolomon1977,thePulitzerPrizeinfictionf rBeloved1987,andthe1996NationalBookFoundationMedalforDistinguishedContributiontoAmericanLetters.FourofhernovelsarechosenfortheOprahWinfreynationalbookclub,andBelovedisadaptedtofilmasamajormotionpicturep oducedbyandstarringWinfrey.LikeallofMorrisonSnovels,JazzisgreatlyfixedonthehistoryftheblacksinAmerica.Morrisonexplainsthatshesoughttowriteatrilogy,beginningw thBeloved,herfifthnovel,theworkthatgothe1TheeightnovelswrittenbyMorrisonare确PBluesEve1970,Sula1973,SongofSolomon1977,TarB乜by198,Beloved1987,Jazz1992,Love2003andAMercy2008.:ThetWOcollectionsofessaysincludePlayingntheDark.Race?ingJustice.En?tenderingPow .EssaysOnAnitaHill,Reality1992.WhitenessandtheliteralImagination1992andClarenceThomas.andtheConstructionofSocialMAThesis1988PulitzerPrizeforfiction.Jazz,whichtosomeextenta temptstobeginwithBelovedancontinuethestoryofBeloved,iswidelyregardedaSaSUCCess.ToniMorrisonspe dsthreey arsonshapingthecharactersinvolvedinthislovetriangle.In1920s,takingthehopeoffreedom,mostblacksweredriventomigratetoNorth.However,insuchafreekingdom,theirheartswereconqueredbyaninvisiblevoice.VioletandJoe,whoaremoldedbyToniMorrisoninJazz,liveinsuchabackground.Likemostofblackpeople,theydancewitht erhythmsoftimeandattempttoarriveattheir“Paradise”?NewYorkHarlem.Yetthismigration.whichbringsgreatchangetotheirlife,resultsinVioletSindifferenceandmakesJoefallinlove谢theighteen?year-oldDo cas.InJazz,ToniMorrisontreatslovetriangleasthemainclueofherwriting.Reflectingromit,violence,discrimination,metropolitancheating, raumaandallothervariousaspectsinthatperiodarehiddeninthestory.Throughthem,ToniMorrisonexpectstheblackstoknowdeeplywhattheirt uelivesareandhowtheycangainhappinesswithfacingthefrustration.ToniMorrisonSspecialwritingmakeshernovelsprolific.Jazz,likeherothernovels,alsoattractsmanyscholarsindomesticandabroadtoanalyzethroughdifferentapproaches.2AStudyofTraumainToniMorrisonSJazzAtabroad,MorrisonSworksweremainlycentralizedbyforeignresearchersonitsnarrativeperspectives,postmoderntheme,citynovel,feminismandtheidentityofhenarrator.HerearethecriticswhoinvestigateJazzfromthenarrativesperspectlves.D.LudigkeitcomparesthnarrativeechniqueofJazzwiththejazzmusicbymakinganalogybetweenthearrationofthenovelandthemUSlC.ByapplyingHomiBhabhaStheory,MatthewTrehemehasdoneamored tailedanalysisonthenegotiationndrenegotiationappearedinJazz,conceminglanguageandsignifiers,TrehemearguesthatMorrisonStextnotonlyhighlightsthepossibilitiesofnegotiaion,butalsoshowshownegotiationcanleadtonewunderstandingofnarrative,whichcangenerateanewparticipationino hernessthatalternativenarrativemodelsmightdeny.一 rThepostmodernthemesofJazzhasalsobeenexaminedi Somearticlesandbooks.InTracesofDerridanToniMorrisonSJazz,theauthorPagePhilipexaminesthpostmodernthemesofJazz,exploringtheproblemsofthemigrantcharactersinJazz,forexample,thecharactersemphasisonthe“binaryoppositionssucha senseofselfagainstothers,orviceversawhichmakesthemamenabletoexaminationus ngDerridaS3MAThesisconceptsoftrace,difference,andthebr ach”,and“arisingf omtheirlackofsatisfactoryonnectionothepastbecauseoftheabsenceordisappearanceoftheirparentsandchildren”.Somecriticsattachimportancetoth xplorationofc nectionsbetweenthecitynovelandJazz.“ToniMorrisonSJazzandtheCitybyMarieandDeyris,discusseshowthoseimmigrantcharactersembarkonajoumeyofreconfiguring,.andhowtheyovercomeframeworkof“theCitywhichisrecognizedasNewYork.LindenP ach,quotesM rrisoninhisbookToniMorrison,referringtohernovelastheGreatAmericancitynovel.FocusingonMorrisonSinterpretationofJazz,Peachfurtherplacesconsiderablevaluonthemoreacceptableviewpointfjazzbeingmoreinthebackgroundofthebookasimageandmetaphor.Inasimilarw y,VeroniqueLesoinne,inheressay“AnswerJazzSCall:ExperiencingTo iMorrisonSJazz”,paysttentionothejazzelementsthatMorrisonuses.Lesoinneis clinedtopaymostofherattentionontheidentityofthenarrator,、orthe“IthatoccursintheepigraphndsheunderstandsthenarratorSconnectionw ththecharactersinJazz;bothpresenta dpast.4AStudyofTraumainToniMorrisonSJazzOtherssaysusethefeministtheorytorevealhowblackwomenarebonded,despised,repressed,andtornapartaswellastheblackmalesbythewhitepeople.Indomestic,theurr ntresearchofthisworkismainlyaroundthefollowingaspects:musicality,narrativestrategy,postmodernity,intertextualityandothers.SomecriticspayattentionothemusicalityofJazz.LiXiaojieinherpaper“WrittenbyJazz?theDiscussionofT iMorrisonSJazzpointsouthatJazzisfullofjazznotes.Morrisonnotonlyshowsthedescriptionofjazzinthetext,butalsocreatesakindofjazzrhythmamongthewordsandsentenc.es.ThefreelanguagesrlikethefreeimprovisationsofJazz。ThenarrativeperspectiveofJazzimitatestheinspiredmodeofjazzmusic.ThechapterslayoutofJazzisconstructedin heframeworkofjazzmusic,whichmakesthewholenovelasagorgeousjazzconcert.ToniMorrisontellstheblackslifewritesBlacklifeandhistorybyusingblackmusic.Sheweavestheoulofjazzinto,thenovel,andletthelanguagecasual,uninhibitedandvibrant.WangWeiqianSpaper,“TheMusicalityofToniMorrisonSJazz”,indicatesthatJazznotonlybecomesatypeofnarrativestrategyinJazz,?butalsoconstitutesa niquewritingstyle.AnditisalsoametaphorforthesituationofAfrican.American.Thewholenovelchoesmelodiesand5MAThesissoundsofjazz,explainingndinterpretingtheAfrican-Americanshistory.ThesuccessofJazzisusingjazzmusicasthentrypoint,imitatinga dlearningtherepetition,improvisation,harmonicandcounterpointtechniques.Thewriterusingthejazzelementsletthestructure,characterandn rrativecontentorganicunifyintogether,whichshowsthereadersanewblackulturethatgetsridofthehistoryburdenandisfullofthespiritofjaZZmusic.Thenovelchoesthexcitingmelodyandrhythm,guidinganbeckoningreaderstoactivelyrecombinetheplots,reconstructandinterpretthhistoryfblacks.InWengYuehongSpaper,UsingMusicasNarrativeStrategy-aninterpretationofToniMorrisonSJazz”,thewriteralsoreferstothemusicalityofthenovel.AndinthepaperJazzSnarrativefeaturesandignificanceofLiuXiangdong,thewri eremphasizesthenarrativestructureandnarrativeperspectiveofJazz.AnotheraspectofresearchisthepostmodemityofJazz.JiaoXiaotinginherpaperTheMagicJazzNarrativeFeaturesofToniMorrisonSJazz”pointsouthatpostmodernrealismreflectsthedevelopmentofthepostmodernism.Jazznotonlyanalyzestherationalhumanismwhichrealismsbasedon,butalsomakesfulluseofthespacebuiltbytheincorporationofpostmodernconsciousnessandAmericanpoliticswhichindicatesthpostmodernrealismmagicre l smenhances6AStudyofTraumainToniMorrisonSJazztheauthorialauthorityandshowstheadvantagesofblacksnarrativefeatures.Jazzhasomeexperimentalfea uresofpostmodernismandatthesametimeitretainsthetraditionalfeaturesofstorytellingandcharacterization.Thecharacteristicsnotonlyembodiesthpopularizationofthetendencyofpostmodernism,butal orepresentsthebreakthroughoftraditionalrealisticnovel.InthepaperOnMagicRealismnJazzthewriterWangMeihuaalsodiscussedthPostmodernityofthisnovel.AndbyPragmatics,thewriterexploresthpostmodernityinthepaperOnPostmodernFeaturesincharacteristicsofJazzbyPragmatics”.OtheraspectsincludethintertextualityofJazz,theblackultureinJazz,andthethemeofToniMorrisonSJazz.Inthepaper。“TheIntertextualityofMorrisonSJazzthewriterindicatesthatasa“historicaltrilogy”,Jazzis clearsuccessionofBeloved,whichshowsthechangesinthehistoryfslavelife.InthepaperTheemeofDoubleConsciousnessinToniMorrisonSJazz”,thewriterMuLinutilizesW.E.B.DuBois“doubleconsciousness”toanalyzehethemesofJazz,recollectingtheAfrican-Americanssufferingsinthepast.MorrisonintendstOrouseblackpeopleSconsciousnessbyr trospectingtheblackshistoryandhelpingtOhealtheblackswoundsbothphysicallyandmentally.InJazz,Morrisonnoto lyfocusesonthesufferingswhichwerer sultedinthe7MAThesismiserablehistory,butalsoemphasizedonthatblacksshouldcommunicatewitheachothermoreandinherittheirAfricanulturetofindtheirrealpositioninAmericansociety.Allofthesethesis,articlesandbookscouldbeseenasenlighteningones,buttherestillrequestscholarstO esearchJazzfromothernewperspectives.Indomestic,somesch larsbegintoadoptsychoanalysistostudyJazzlikeDuZhiqingS“psychoanalyticalReadingofToniMorrisonSJazzandTheAbsurdityofLoveandDeath:AnAnalysisofJoeSTragedyanditsPsychologicalImplicationinJazz.However.suchanapproachstillnotformsa ystematicresearch.Sothisthesiswillattempttobringasystematicpsy hologyintothestudyonJazz.AndherethisthesiswillanalyzethtraumaofthecharactersinJazz,andexplorethewayofthecharacterstraumarecovery.ThistheswouldrefertoCathyCaruthStraumatheorytounderstandtheformationoftraumaandapplyJudithLewisHermanSassumptionoftraumarecoverytodiscussthepossibilityoftraumarecoveryinMorrisonSJazz.Inthefieldoftraumatheory,inTrauma:ExplorationsinMemory1995,theliterarycriticCathyCaruthdeeplydiscussestraumasymptoms.Andreaderscaneethedifficultyoftraumarecoverybecause.traumapatientsfailtointegratetheirtraumaexperiencesi totheirnarrativememory.CaruthunderlinestheinaccessibilityoftraumabutthinksthatitisthroughlisteningthattraumatizedpeopleStraumacanbe8AStudyofTraumainToniMorrisonSJazzheard.Asaresult,traumaherapistscanunderstandwhatcrisisisbroughtupbypatientstrauma.Caruthleavessomespaceforeaderstothinksabouthowtraumacrisisis olvedinhertheorybecausetheres emstobesomestagesoftraumarecoverywaitingtobeorganizedandcompleted.InTraumaandRecovery1992,thepsychologistJudithLewisHermanreinforcesCathyCaruthStheorybysettingupspecificstagesoftraumarecovery.Itoffersexamplesandmethodsforeaderstothinkaboutworkablewaystopatientstraumarecoveryandemphasizesthatimustbethroughcertainprocessesthatthedoctorcanhelptraumapatientsstepoutheshadowoftrauma.Inthisense,CaruthStheoryhelpsUSunderstandhowMorrisoninterweavesblackpeopleSpasttraumaofslaverywitht eirself-negationinthewhite-dominatedsocietyinJazz.Andreaderscanunderstandhowthebondofamilyandcommunityreunitestraumatizedcharacters.ThisthesisappliesH rmanStheoryoftraumarecoverytofurtherexplainMorrisonSwholeconceptofcharacterstraumarecoveryandselfreconstruction.ThisthesisproposestofindouthowMorrisonSnarrativeoftraumadisclosestheunspeakablehistoryofAfricanAmericansandhowMorrisontriesto makeblackpeopleSunspeakabletraumaunderstandabletore ders.9MAThesisThethesisconsistsoffivepartsincludingintroductionandconclusion.ThebodyofthisthesisisfromchapteronetochapterThree.chapteronetriestogiveacomprehensivea alysisofsomecharacterstraumafromlackingsafety,whichisrelatedotwofemalecharacters-VioletandDorcas.Chaptertwoillustratessomecharacterstraumafromidentitycrisis,whichreferredtotwomalecharacters-JoeandGoldenGray.Chapterthr eanalyzesthecharactersrecoveryfromtraumathroughtwomethodsfcommunication:charactersexpressionofraumabyjazzmusic,andcharactersalleviationoftraumabydialogues.Wi。ththedetailedanalysisofJazz,thisthesisrevealsthatitisworkableforcharactersin Jazzto recoverf omthepast raumathroughcommunicatingwithothersinthecommunity.10AStudyofTraumainToniMorrisonsJazzChapterOneTraumaCausedbyLossofSafeSpaceJazzchroniclestheblacksescapefromsouthernlifetoamorepromisinglifeintheCity,at citreferencetoN wYorkSHarlem.3ExitingtheSouthunitesblacksasagroup,butalthoughthe“Cityprovideswork,newconnections,andewpossiblefamilyunits,thisescapecanoterasecharacterspasttrauma.4Violet,asa migrant,enduresthedisplacementin“Ci y”.AndorphanslikeVioletandDorcaslosttheirparentsintheirchildhood.Theyhavenoapproachtoobtainthelovefromacompletefamily,andtheyalsohavenorightstoenjoyequalsocialtreatment.SOthatheycantfinda safespacefortheirpsychologicalgrowth.Theimmensepainfromlossofsafespaced eplyrootedintheirmemory,andinevitablyaffectstheirlaterlife.Basedonthepredecessorstraumastudies,theoriginalmeaningoftraumahasbeenexpandedtopsychologicalinjurywhichwascausedbyspiritualoremotionalstimulationto themind.Moreandmore3.Blackmigrationsnorth,beginninginthe1870s,peakedbetween1910and1930;“bv1914theIarges