“一切如何变得好”:作为记忆形式的自传体小说在Irena douskov 1968年后捷克斯洛伐克的童年和青年小说中

Anja Tippner
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引用次数: 0

摘要

关于在社会主义晚期成长的自传和回忆录在捷克以及其他后社会主义东欧文学中激增。这些回顾文本往往带有怀旧的色彩,并注入了讽刺和幽默。捷克共和国最受欢迎的两本自传体小说是Irena douskov的自传体小说Hrdý Budžes [B]。和onongin byl Rusák [Onegin Was a Rusky]。这位捷克作家讲述了在社会主义捷克斯洛伐克一个不墨守成规的家庭中成长的故事。在讨论了杜斯科夫的书作为自传体小说之后,本文将更深入地探讨童年自传体小说的诗学以及它们对记忆社会主义文化的贡献,与自传相比较。它将讨论关于童年的写作如何通过稀缺、独创性、与限制/对抗来创造一种特定的社会主义身份,以及幽默如何被用来传递艰难的记忆。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
‘How it all turned out alright’: Autofiction as Memory Form in Irena Dousková’s Novels about Childhood and Youth in Post-1968 Czechoslovakia
Autofictions and memoirs about growing up in late socialism have proliferated in Czech as well as in other postsocialist Eastern European literatures. These retrospective texts are often tinged with nostalgia and infused with irony and humour. Two of the most popular texts of this genre in the Czech Republic are Irena Dousková’s autofictional books Hrdý Budžes [B. Proudew] and Oněgin byl Rusák [Onegin Was a Rusky]. The Czech author writes about growing-up in a non-conformist family dealing with everyday life in socialist Czechoslovakia. After discussing Dousková’s books as autofiction the article will take a closer look at the poetics of childhood autofictions and their contribution to cultures of remembering socialism in comparison to autobiographies. It will discuss the ways how writing about childhood creates a specific socialist identity through scarcity, ingenuity, and working with/against restraints and the way humour is used to transmit difficult memories.
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