当代伊拉克小说中的失踪尸体:艾哈迈德·萨达维的《巴格达的弗兰肯斯坦》和穆赫辛·拉米利的《底格里斯河的女儿》

IF 0.2 3区 文学 0 LITERATURE
Abir Hamdar
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引用次数: 0

摘要

本文主要关注两本当代伊拉克小说中失踪尸体的比喻:艾哈迈德·萨达维的《巴格达的弗兰肯斯坦》(2013)和穆赫辛·拉姆利的《底格里斯河的女儿》(2019)。文章主要借鉴了对尸体和死亡研究的批判性工作,以及对文物和鬼魂学的批判性思想,提出了这样一个问题:在当代文学产出中,失踪的尸体占据了什么位置,这些文学产出见证了与尸体物质性的重要接触?关于失踪的尸体的叙述是如何组织和框架的?它是如何经历和解释的?什么形式和形状代替了缺席的身体?这篇文章认为,失踪的尸体呈现出一种“缺席的存在”,困扰着叙事,而尸体的消失通过遗物、替代品、替代品和重复得到补偿。最后,这篇文章认为,这种缺席进一步表明,伊拉克的暴力历史纠缠着一个令人不安的未来,但尽管如此,它为这个国家的未来提供了一个全新的民主愿景的潜力。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
The Missing Corpse in Contemporary Iraqi Fiction: Ahmed Saadawi’s Frankenstein in Baghdad and Muhsin Al-Ramili’s Daughter of the Tigris
This essay focuses on the trope of the missing corpse in two contemporary Iraqi novels: Ahmed Saadawi’s Frankenstein in Baghdad (2013) and Muhsin al-Ramli’s Daughter of the Tigris (2019). Drawing mainly on critical work on the corpse and death studies as well as critical ideas on relics and hauntology the essay asks: What place does the missing corpse occupy in a body of contemporary literary outputs that have witnessed a significant engagement with the materiality of the dead body? How is the narrative of the absent corpse structured and framed? How is it experienced and accounted for? What forms and shapes replace the absent body? The essay argues that the missing corpse takes on an “absent presence” that haunts the narrative while the dead body’s very disappearance is compensated for through relics, surrogates, replacements, and repetitions. In conclusion, the essay contends that this absent presence further signals a haunted futurity that is entangled in Iraq’s history of violence but which, nonetheless, offers the potential for a radically new and democratic vision for the country’s future.
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来源期刊
CiteScore
0.60
自引率
0.00%
发文量
56
期刊介绍: Since its inception in the 1950s, Critique has consistently identified the most notable novelists of our time. In the pages of Critique appeared the first authoritative discussions of Bellow and Malamud in the ''50s, Barth and Hawkes in the ''60s, Pynchon, Elkin, Vonnegut, and Coover in the ''70s; DeLillo, Atwood, Morrison, and García Márquez in the ''80s; Auster, Amy Tan, David Foster Wallace, and Nurrudin Farah in the ''90s; and Lorrie Moore and Mark Danielewski in the new century. Readers go to Critique for critical essays on new authors with emerging reputations, but the general focus of the journal is fiction after 1950 from any country. Critique is published five times a year.
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