历史是一张地图

C. Nelson, Anne Morey
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引用次数: 0

摘要

本章考察了E.内斯比特的《护身符的故事》(1906)、C. S.刘易斯的《银椅》(1953)、罗杰·兰斯林·格林的《迈锡尼之谜》(1957)、卡罗琳·劳伦斯的《罗马之谜》系列(2001-9)、K. M.佩顿的《罗马小马三部曲》(2007 - 9)、凯瑟琳·马什的《夜间游客》(2007)和《暮光囚徒》(2009)以及托尼·阿博特的《地下世界》系列(2011-12)。所有这些文本都包含了可以在地理和/或时间地图上绘制的旅程,其结果是主要的认知隐喻是“历史是一张地图”。在这里,家庭不是创伤的场所,而是年轻主人公行使代理的场所,他必须有效地访问地下世界,以恢复或建立家庭关系,并接受死亡。这些书表明,虽然过去与死亡有关,但它也是死亡的避风港。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
History is a Map 1
This chapter examines E. Nesbit’s The Story of the Amulet (1906), C. S. Lewis’s The Silver Chair (1953), Roger Lancelyn Green’s Mystery at Mycenae (1957), Caroline Lawrence’s Roman Mysteries series (2001–9), K. M. Peyton’s Roman Pony trilogy (2007–9), Katherine Marsh’s The Night Tourist (2007) and The Twilight Prisoner (2009), and Tony Abbott’s Underworlds series (2011–12). All these texts involve journeys that can be plotted upon maps geographical and/or chronological, with the consequence that the major cognitive metaphor is HISTORY IS A MAP. Here family is not the site of trauma but rather a zone for the exercise of agency on the part of the young protagonist who must effectively visit an underworld to retrieve or make a family relationship and to come to terms with death. These books suggest that while the past is associated with death, it is also a haven from death.
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