巴希伊·纳克贾瓦尼《读得太多的女人》阅读母题的后世俗解读

M. Sobhani
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As we examine the novel in light of a Baha'i subtext, moreover, we will also assess how the characteristics of postsecular fiction that the narrative reveals- specifically, as John McClure's Partial Faiths: Postsecular Fiction in the Age of Pynchon and Morrison contends, an \"insistence on the need to articulate the religious with progressive political projects,\" the \"repudiation of fundamentalist prescriptions for social well-being,\" and the \"dramatic disruptions of' secular structures of' reality\" (3)-are manifested through the act of reading. In doing so, we will argue that Nakhjavani's narrative restores the voice of a religious martyr Tahirih Ourratu'l-Ayn, while, at the same time, avoiding the construction of a religious metanarrative in the form of a Baha'i perspective.In \"The Literary Motif: A Definition and Evaluation,\" William Freedman argues that \"QTJhe writer performs a worthwhile function when he attempts no more than to elucidate what he sees in the work, when he seeks to increase the reader's understanding of a work of art\" (128). Although this position is never more relevant than when analyzing a work with the density of Nakhjavani's The Woman Who Read Too Much, in this article, I expand upon reading as a motif with spiritual implications in order to demonstrate how Nakhjavani's narrative reflects Jurgen Habermas's belief that twenty-first-century society now finds itself in a new postsecular condition.If we are to examine, as this article intends, Nakhjavani's historical novel through a postsecular lens, the next step is to define what I mean by the term postsecularism. The term postsecular was first coined in 2001 by Habermas in his Peace Prize of German Publishers and Booksellers Association acceptance address titled \"Faith and Knowledge.\" As Michael Reder and Joseph Schmidt summarize in \"Habermas and Religion,\" in \"Faith and Knowledge\" Habermas develops the idea of postsecularity, calling for a reconsideration of the relationship between the religious and the secular in present-day society. In this speech, Habermas concludes that the secularization narrative has failed (6). The secularization narrative, as defined by postsecular scholar Manav Ratti in The Postsecular Imagination, is a theory that posits that \"as societies become more modern-from agrarian to industrial to post-industrial-they become more secular, relying less and less on the narratives of religion for a sense of security, increasingly pushing the presence and power of religion into the private sphere\" (5). Habermas sees this secularization narrative as proven false, that society is not moving toward the extinction of religion, and that \"religion and the secular world always stand in a reciprocal fashion\" (Reder and Schmidt 6).Nakhjavani's novel is set over 150 years ago, yet historical fiction, we recall, is inevitably connected to the present. As Diana Wallace affirms in The Womens Historical Novel, \"[a] lthough readers are often attracted to historical novels because they believe they will learn about the past time recreated in the novel, any historical novel always has as much, or perhaps more, to say about the time in which it is written\" (4). The time in which Nakhjavani's novel is written sees the burgeoning of postsecular thought in Europe and America, as indicated by the studies that emerge in the first decade of the new millennium in both literary and sociopolitical arenas concerning the postsecular project; to name but a few: Jurgen Habermas's \"Faith and Knowledge,\" Manav Ratti's The Postsecular Imagination, and John McClure's Partial Faiths. In the present moment, a Google search with the keyword \"postsecular\" yields over 158,000 results. …","PeriodicalId":319216,"journal":{"name":"The Journal of Baha'i Studies","volume":"7 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2015-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"3","resultStr":"{\"title\":\"A Postsecular Look at the Reading Motif in Bahiyyih Nakhjavani’s The Woman Who Read Too Much\",\"authors\":\"M. Sobhani\",\"doi\":\"10.31581/jbs-25.1-2.5(2015)\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"IntroductionPostsecular theory is a privileged mode of criticism for works of contemporary, transnational historical fiction whose texts in some way engage with matters of a sacred or a spiritual nature. In this article, we will establish how the spiritual thesis in Nakhjavani's historical novel The Woman Who Read Too Much is manifested through the reading motif. As we examine the novel in light of a Baha'i subtext, moreover, we will also assess how the characteristics of postsecular fiction that the narrative reveals- specifically, as John McClure's Partial Faiths: Postsecular Fiction in the Age of Pynchon and Morrison contends, an \\\"insistence on the need to articulate the religious with progressive political projects,\\\" the \\\"repudiation of fundamentalist prescriptions for social well-being,\\\" and the \\\"dramatic disruptions of' secular structures of' reality\\\" (3)-are manifested through the act of reading. 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Although this position is never more relevant than when analyzing a work with the density of Nakhjavani's The Woman Who Read Too Much, in this article, I expand upon reading as a motif with spiritual implications in order to demonstrate how Nakhjavani's narrative reflects Jurgen Habermas's belief that twenty-first-century society now finds itself in a new postsecular condition.If we are to examine, as this article intends, Nakhjavani's historical novel through a postsecular lens, the next step is to define what I mean by the term postsecularism. The term postsecular was first coined in 2001 by Habermas in his Peace Prize of German Publishers and Booksellers Association acceptance address titled \\\"Faith and Knowledge.\\\" As Michael Reder and Joseph Schmidt summarize in \\\"Habermas and Religion,\\\" in \\\"Faith and Knowledge\\\" Habermas develops the idea of postsecularity, calling for a reconsideration of the relationship between the religious and the secular in present-day society. In this speech, Habermas concludes that the secularization narrative has failed (6). The secularization narrative, as defined by postsecular scholar Manav Ratti in The Postsecular Imagination, is a theory that posits that \\\"as societies become more modern-from agrarian to industrial to post-industrial-they become more secular, relying less and less on the narratives of religion for a sense of security, increasingly pushing the presence and power of religion into the private sphere\\\" (5). Habermas sees this secularization narrative as proven false, that society is not moving toward the extinction of religion, and that \\\"religion and the secular world always stand in a reciprocal fashion\\\" (Reder and Schmidt 6).Nakhjavani's novel is set over 150 years ago, yet historical fiction, we recall, is inevitably connected to the present. As Diana Wallace affirms in The Womens Historical Novel, \\\"[a] lthough readers are often attracted to historical novels because they believe they will learn about the past time recreated in the novel, any historical novel always has as much, or perhaps more, to say about the time in which it is written\\\" (4). 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引用次数: 3

摘要

后世俗理论是对当代跨国历史小说作品的一种特殊批评模式,这些作品的文本在某种程度上涉及神圣或精神本质的问题。在本文中,我们将探讨那赫贾瓦尼的历史小说《读得太多的女人》的精神主题是如何通过阅读母题体现出来的。此外,当我们从巴哈伊潜台词的角度审视这部小说时,我们也将评估小说叙事所揭示的后世俗小说的特征——具体来说,就像约翰·麦克卢尔的《部分信仰》:品钦和莫里森时代的后世俗小说认为,“坚持需要用进步的政治计划来阐明宗教”,“对社会福祉的原教旨主义处方的否定”,以及“对‘现实的’世俗结构的戏剧性破坏”(3)——都是通过阅读行为表现出来的。在此过程中,我们将论证纳克贾瓦尼的叙述恢复了宗教殉道者塔希里·乌拉图·艾因的声音,同时,避免了以巴哈伊观点的形式构建宗教元叙事。在《文学母题:定义与评价》中,威廉·弗里德曼(William Freedman)认为,“当作家仅仅试图阐明他在作品中看到的东西,当他试图增加读者对艺术作品的理解时,他就发挥了有价值的作用”(128)。虽然在分析纳卡瓦尼的《读得太多的女人》这样的作品时,这种立场是最重要的,但在本文中,我将阅读作为一种具有精神含义的主题进行了扩展,以证明纳卡瓦尼的叙事如何反映了尤尔根·哈贝马斯的信念,即21世纪的社会现在发现自己处于一个新的后世俗状态。如果我们像本文所打算的那样,通过一个后世俗的视角来审视那赫贾瓦尼的历史小说,那么下一步就是定义我所说的“后世俗主义”一词的含义。2001年,哈贝马斯在德国出版商和书商协会的和平奖获奖致辞中首次提出了“后世俗”一词,题为“信仰与知识”。正如迈克尔·里德和约瑟夫·施密特在《哈贝马斯与宗教》中总结的那样,在《信仰与知识》中,哈贝马斯发展了后世俗主义的思想,呼吁重新思考当今社会中宗教与世俗之间的关系。在这次演讲中,哈贝马斯总结说,世俗化叙事已经失败(6)。世俗化叙事,正如后世俗学者马纳夫·拉蒂在《后世俗想象》中所定义的那样,是一种假设“随着社会变得更加现代化——从农业到工业再到后工业——它们变得更加世俗,越来越少地依赖宗教叙事来获得安全感,哈贝马斯认为这种世俗化叙事被证明是错误的,社会并没有走向宗教的灭绝,“宗教和世俗世界总是以一种互惠的方式存在”(里德和施密特6)。纳赫贾瓦尼的小说设定在150多年前,但我们记得,历史小说不可避免地与现在联系在一起。正如戴安娜·华莱士在《女性历史小说》中所肯定的那样,“虽然读者经常被历史小说所吸引,因为他们相信他们会从小说中重新了解过去的时间,但任何历史小说总是有很多,甚至更多,关于它所写的时代”(4)。纳克贾瓦尼小说写作的那个时代,看到了欧洲和美国后世俗思想的蓬勃发展。正如新千年头十年出现的文学和社会政治领域关于后世俗计划的研究所表明的那样;仅举几例:尤尔根·哈贝马斯的《信仰与知识》,马纳夫·拉蒂的《后世俗想象》,约翰·麦克卢尔的《部分信仰》。目前,在谷歌上搜索关键词“后世俗”会产生超过15.8万个结果。...
本文章由计算机程序翻译,如有差异,请以英文原文为准。
A Postsecular Look at the Reading Motif in Bahiyyih Nakhjavani’s The Woman Who Read Too Much
IntroductionPostsecular theory is a privileged mode of criticism for works of contemporary, transnational historical fiction whose texts in some way engage with matters of a sacred or a spiritual nature. In this article, we will establish how the spiritual thesis in Nakhjavani's historical novel The Woman Who Read Too Much is manifested through the reading motif. As we examine the novel in light of a Baha'i subtext, moreover, we will also assess how the characteristics of postsecular fiction that the narrative reveals- specifically, as John McClure's Partial Faiths: Postsecular Fiction in the Age of Pynchon and Morrison contends, an "insistence on the need to articulate the religious with progressive political projects," the "repudiation of fundamentalist prescriptions for social well-being," and the "dramatic disruptions of' secular structures of' reality" (3)-are manifested through the act of reading. In doing so, we will argue that Nakhjavani's narrative restores the voice of a religious martyr Tahirih Ourratu'l-Ayn, while, at the same time, avoiding the construction of a religious metanarrative in the form of a Baha'i perspective.In "The Literary Motif: A Definition and Evaluation," William Freedman argues that "QTJhe writer performs a worthwhile function when he attempts no more than to elucidate what he sees in the work, when he seeks to increase the reader's understanding of a work of art" (128). Although this position is never more relevant than when analyzing a work with the density of Nakhjavani's The Woman Who Read Too Much, in this article, I expand upon reading as a motif with spiritual implications in order to demonstrate how Nakhjavani's narrative reflects Jurgen Habermas's belief that twenty-first-century society now finds itself in a new postsecular condition.If we are to examine, as this article intends, Nakhjavani's historical novel through a postsecular lens, the next step is to define what I mean by the term postsecularism. The term postsecular was first coined in 2001 by Habermas in his Peace Prize of German Publishers and Booksellers Association acceptance address titled "Faith and Knowledge." As Michael Reder and Joseph Schmidt summarize in "Habermas and Religion," in "Faith and Knowledge" Habermas develops the idea of postsecularity, calling for a reconsideration of the relationship between the religious and the secular in present-day society. In this speech, Habermas concludes that the secularization narrative has failed (6). The secularization narrative, as defined by postsecular scholar Manav Ratti in The Postsecular Imagination, is a theory that posits that "as societies become more modern-from agrarian to industrial to post-industrial-they become more secular, relying less and less on the narratives of religion for a sense of security, increasingly pushing the presence and power of religion into the private sphere" (5). Habermas sees this secularization narrative as proven false, that society is not moving toward the extinction of religion, and that "religion and the secular world always stand in a reciprocal fashion" (Reder and Schmidt 6).Nakhjavani's novel is set over 150 years ago, yet historical fiction, we recall, is inevitably connected to the present. As Diana Wallace affirms in The Womens Historical Novel, "[a] lthough readers are often attracted to historical novels because they believe they will learn about the past time recreated in the novel, any historical novel always has as much, or perhaps more, to say about the time in which it is written" (4). The time in which Nakhjavani's novel is written sees the burgeoning of postsecular thought in Europe and America, as indicated by the studies that emerge in the first decade of the new millennium in both literary and sociopolitical arenas concerning the postsecular project; to name but a few: Jurgen Habermas's "Faith and Knowledge," Manav Ratti's The Postsecular Imagination, and John McClure's Partial Faiths. In the present moment, a Google search with the keyword "postsecular" yields over 158,000 results. …
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