我们都是凯恩:托马斯·沃尔夫在《迷失的男孩》中对圣经神话的改造

IF 0.2 3区 文学 N/A LITERATURE
Nathaniel H. Preston
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引用次数: 0

摘要

托马斯·沃尔夫的《失踪的男孩》以失落和分离为主题,以多重叙述者和生动的感官描写为主题,是美国现代主义的经典作品,也是文学概论课的主要内容这个故事是对沃尔夫的哥哥格罗弗(Grover)的自传式回忆,书中叫罗伯特(Robert),他在1904年世界博览会期间全家在圣路易斯逗留期间死于伤寒。关于《迷失的男孩》已经写了很多,大多数评论家关注的是沃尔夫对多重叙述者的使用和对记忆的处理。例如,Hayashi Ichiro认为这个故事是“人物在他们意识到时间的客观和线性发展的背景下回忆过去的模式的集合”(78)露丝·温彻斯特·韦尔探讨了沃尔夫通过记忆寻找意义的方式,思考了“我们如何将逝者的记忆带入未来,并将他人的方方面面融入我们自己的生活”(60)。Paula Gallant Eckard同样考察了故事中三个第一人称叙述者对罗伯特的记忆方式,将母亲的“纪念”与妹妹的“通往格罗弗的桥梁”以及最后叙述者“调和记忆与悲伤、过去与现在、以及他所感受到的失落感和错位感”进行了对比(15,16,17)。评论家们没有注意到的是,在《迷失的男孩》中,沃尔夫是如何通过重写该隐和亚伯的神话来强调这场斗争的难度的。文本建立了罗伯特和该隐之间强有力的相似之处。就像该隐是亚伯的哥哥一样,罗伯特比故事的最后一个叙述者年长,后者是沃尔夫的代理人。四位叙述者对罗伯特的描述都与该隐的传统形象相符,即肤色黝黑,被上帝的诅咒所标记。例如,他的妹妹评论他的“黑眼睛”和“橄榄色皮肤”(2011年),他的胎记,“温暖的棕色浆果”(2001年),在故事中被提及不下六次。此外,罗伯特很像圣经中的该隐,他是“耕地的农夫”(创世记4:2),3他对农业很感兴趣:罗伯特在去圣路易斯的火车上缠着一个旅人,问他印第安纳州农场的规模和产量(2010)。甚至该隐提供的https://doi.org/10.1080/00144940.2022.2063707
本文章由计算机程序翻译,如有差异,请以英文原文为准。
We Are All Cain: Thomas Wolfe’s Transformation of Biblical Myth in “The Lost Boy”
With its themes of loss and disconnection, multiple narrators, and vivid sensory descriptions, Thomas Wolfe’s “The Lost Boy” is a classic work of American modernism and a staple of literature survey classes.1 The story is an autobiographical reminiscence of Wolfe’s older brother Grover, called Robert in the text, who died of typhoid during the family’s stay in St. Louis during the 1904 World’s Fair. Much has been written on “The Lost Boy,” with most critics focusing on Wolfe’s use of multiple narrators and treatment of memory. Hayashi Ichiro, for instance, views the story as a collection of “patterns arising as the characters recall the past against the backdrop of their consciousness of time’s objective and linear progression” (78).2 Ruth Winchester Ware explores Wolfe’s search for meaning through remembrance, considering how “we carry memories of the deceased with us into the future and incorporate aspects of the other into our own lives” (60). Paula Gallant Eckard likewise examines the way the story’s three first-person narrators remember Robert, contrasting the mother’s “memorializing” with the sister’s “bridge to Grover” and with the final narrator’s struggle “to reconcile memory and grief, the past and the present, and the sense of loss and dislocation he feels” (15, 16, 17). What critics have not noticed is how in “The Lost Boy” Wolfe emphasizes the difficulty of this struggle by rewriting the myth of Cain and Abel. The text establishes strong parallels between Robert and Cain. Just as Cain is Abel’s elder brother, Robert is older than story’s final narrator who functions as Wolfe’s surrogate. All four narrators describe Robert in ways that match the conventional image of Cain as dark-complexioned and marked by God’s curse. His sister, for example, remarks on his “black eyes” and “olive skin” (2011), and his birthmark, “a berry of warm brown” (2001), is mentioned no less than six times in the story. Further, Robert resembles the biblical Cain, who was “a tiller of the ground” (Genesis 4:2),3 in his interest in agriculture: Robert pesters a fellow traveler on the train to St. Louis with questions about the size and produce of the farms in Indiana (2010). Even Cain’s offering of https://doi.org/10.1080/00144940.2022.2063707
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来源期刊
EXPLICATOR
EXPLICATOR LITERATURE-
CiteScore
0.10
自引率
0.00%
发文量
17
期刊介绍: Concentrating on works that are frequently anthologized and studied in college classrooms, The Explicator, with its yearly index of titles, is a must for college and university libraries and teachers of literature. Text-based criticism thrives in The Explicator. One of few in its class, the journal publishes concise notes on passages of prose and poetry. Each issue contains between 25 and 30 notes on works of literature, ranging from ancient Greek and Roman times to our own, from throughout the world. Students rely on The Explicator for insight into works they are studying.
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