"他让我们都变得不真实":杰基-凯的《小号》(1998)中的奇怪之处

Laura Aldeguer Pardo
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摘要

本文从性别和情感理论的角度分析了杰基-凯的处女作《小号》(1998 年)中已故主人公乔斯-穆迪的形象。这部作品的中心是对变性陌生人的描写,在一系列死后的奇遇中,这些人物代表了法律和医学话语。为此,本文将细读技巧与跨学科理论方法相结合,对所选小说进行跨学科视角的文学文本研究。首先,我对萨拉-艾哈迈德(Sara Ahmed)的当代陌生化理论以及她的情感社会性模型进行了研究,并特别关注了 "厌恶的粘性 "模型。然后,我将这一理论框架应用于《小号》的文学分析中,该分析基于乔斯的女性出生性别与他生活中的男性气质之间的差异,将乔斯的(错误)表象并置。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
"He Has Made Us All Look Unreal": Strange(r)ness in Jackie Kay's "Trumpet" (1998)
This article analyses, from the perspective of gender and affect theory, the representation of Joss Moody, the deceased protagonist of Jackie Kay’s debut novel, Trumpet (1998). This work centres around the portrayal of the transgender stranger, as delineated by those characters who represent the legal and medical discourses during a series of posthumous strange encounters. For that purpose, this article combines close reading techniques with an interdisciplinary theoretical approach to the selected novel, where intersectional perspectives allow for the examination of the literary text. Firstly, I offer an examination of Sara Ahmed’s contemporary theory of strange(r)ness, as well as her model of the sociality of emotion, with a special focus on the model of the stickiness of disgust. This theoretical framework is then applied to the literary analysis of Trumpet, which rests on the juxtaposition of Joss’s (mis)representation, based on the discrepancy between his female birth sex and his lived masculinity.
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