《The Unnamable》中作为界面的失聪现象

IF 0.3 4区 文学 0 LITERARY THEORY & CRITICISM
Shahriyar Mansouri
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引用次数: 0

摘要

本文通过扩展聋人研究中的原始概念,如聋人增益和聋人空间,研究了塞缪尔·贝克特的《不可破坏》中作为界面载体的耳聋。本文通过对小说中以聋人为中心的修辞手法的考察,首先探讨了半聋叙述者在文本绿洲中的界面作用;其次,考察了叙述者如何在以声音为中心的语境中挑战在场-不在场的主导二元性,在这种语境中,聋人只是一个不确定的参与者。虽然这部小说的声景像一个语言蛹一样受到了大量的批评,但它的层次很少被审视,因为在听觉不可沟通的时刻,聋人叙述者作为另一个叙述者,通过采用沉默、内部独白和反转作为聋人增益的模式和手段,否定了文本的语音民主。为了研究聋人生存的例子,本文将聋人空间作为一个在听觉上被边缘化的叙述者的居住间隙,他将耳聋作为一个阶段来经历现象学的转变。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
‘The sounds that reach me’: On Deafness as Interface in The Unnamable
This essay investigates deafness as an interfacial vehicle in Samuel Beckett’s The Unnamable by extending original concepts in Deaf studies such as Deaf Gain, and DeafSpace. By looking at a Deaf-oriented rhetoric in the novel, the essay, firstly, explores the interfacial role of the half-deaf narrator in their textual oasis; and secondly, examines how the narrator would challenge the dominant binary of presence-absence within a phonocentric context wherein the deaf are mere anacoluthonic attendees. While the novel’s soundscape has attracted lavish criticism as a verbal chrysalis, its layers have rarely been examined for moments of audiological incommunicability wherein the deaf narrator, as the other, negates the text’s phonic democracy by adopting silence, internal monologue, and reversals as modes and means of Deaf Gain. To investigate the instance of deaf survival, the essay engages DeafSpace as an interstitial space of dwelling for an audiologically marginalised narrator who experiences deafness as a phasic, onto-phenomenological transformation.
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来源期刊
CiteScore
0.20
自引率
0.00%
发文量
33
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