鬼屋与鬼屋:卡钦·卡伦德的《飓风之子》改写牙买加金凯德的《安妮·约翰》

IF 0.4 2区 文学 0 LITERATURE
G. Anatol
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引用次数: 0

摘要

摘要:本文回应了后殖民学术界对年轻人文学缺乏分析的问题,将卡岑·卡伦德的LGBTQ+中学小说《飓风儿童》(2018)与牙买加·金凯德的《安妮·约翰》(1987)相邻,后者是当代加勒比文学的基础文本。我用霍米·巴巴对西格蒙德·弗洛伊德的unhimlich或“邪恶”的重新表述,来质疑这两部小说是如何将字面意义上的家和岛屿上的家作为乐趣、舒适和安全的地方的想法复杂化的。正如崇拜母亲的怀旧形象让金凯德饰演的安妮感到不安一样,身体缺席的母亲形象也困扰着卡伦德饰演的卡罗琳。两个角色都住在象征性的鬼屋里。此外,当卡罗琳意识到自己萌芽的同性欲望时,羞耻感潜伏在她的心灵角落里,这使她作为社区中的一名重要成员面临着被幽灵或抹去的风险。本文将叙事者的精神创伤扩展到他们岛屿的历史,并依靠埃弗里·F·戈登、迈莎·韦斯特等人对哥特式的批判,挖掘出带有政治色彩的风景描绘,寻找文字精神的迹象和奴隶制、殖民主义、,以及二十世纪末和二十一世纪初的新殖民主义制度。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Haunted Houses and Ghostly Homes: Kacen Callender's Hurricane Child as a Rewriting of Jamaica Kincaid's Annie John
Abstract:This essay responds to the dearth of analysis of young adult literature in postcolonial scholarship by placing Kacen Callender's LGBTQ+ middle-grade novel Hurricane Child (2018) adjacent to Jamaica Kincaid's Annie John (1987), a foundational text of contemporary Caribbean literature. I employ Homi Bhabha's reformulation of Sigmund Freud's unheimlich, or "unhomely," to interrogate how both novels complicate ideas of literal home and island home as places of fun, comfort, and safety. Just as the nostalgic image of the adoring mother discombobulates Kincaid's Annie, the figure of the physically absent mother plagues Callender's Caroline. Both characters live in symbolically haunted houses. Additionally, shame lurks in the corners of Caroline's psyche as she comes to recognize her budding same-sex desires, which put her at risk of being ghosted, or erased, as a valued member of her community. Extending the psychic trauma from the narrators to the histories of their islands, and relying on critical work on the Gothic by Avery F. Gordon, Maisha Wester, and others, this essay excavates politically charged depictions of landscapes for signs of literal spirits and evidence of haunting by slavery, colonialism, and the neocolonial systems of the late twentieth and early twenty-first centuries.
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CiteScore
0.70
自引率
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41
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