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Margaret Atwood's The Blind Assassin: The Journey from Trauma to Recovery
|關鍵字:||trauma;創傷;recovery;writing;復原;寫作||出版社:||外國語文學系所||引用:||Aberbach, David. Surviving Trauma: Loss, Literature and Psychoanalysis. New Haven: Yale UP, 1989. Atwood, Margaret. The Blind Assassin. UK: Virago, 2001. Bouson, J. Brooks. “A Commemoration of Wounds Endured and Resented: Margaret Atwood's The Blind Assassin as Feminist Memoir.” Critique: Studies in Contemporary Fiction 44.3 (2003): 251-69. Brown, S. Laura. “Not Outside the Range: One Feminist Perspective on Psychic Trauma.” Trauma: Exploration in Memory. Ed. Cathy Caruth. Baltimore: John Hopkins UP, 1995. 100-12. Caruth, Cathy. “Introduction: The Wound and the Voice.” Unclaimed Experience: Trauma, Narrative, and History. Baltimore: The Johns Hopkins UP, 1996. 1- 9. ---. “Freud, Moses and Monotheism.” Unclaimed Experience: Trauma, Narrative, and History. Baltimore: The Johns Hopkins UP, 1996. 10-24. ---. “Trauma and Experience: Introduction.” Trauma: Exploration in Memory. Baltimore: The Johns Hopkins UP, 1995. 3 - 12. Cixous, Hélène. “The Laugh of the Medusa.” Feminisms: An Anthology of Literary Theory and Criticism. Ed. R. Warhol and Diane Price Herndl. New Brunswick: Rutgers UP, 1991. 334-49. ---. “The Newly Born Woman.” The Hélène Cixous Reader. Ed. Susan Sellers. London: Routledge, 1994. 37-45. Davey, Frank. Margaret Atwood: A Feminist Poetics. Vancouver: Talonbooks, 1984. Dvorak, Marta. “The Right Hand Writing and the Left Hand Erasing in Margaret Atwood's The Blind Assassin.” Commonwealth Essays and Studies 25.1 (2002): 59-68. Felman, Shoshana, and Dori Laub. Testimony: Crises of Witnessing in Literature, Psychoanalysis, and History. New York: Routledge, 1992. Freud, Sigmund, and Josef Breuer. Studies on Hysteria. Trans. and ed. James Strachey. London: Hogarth, 1995. Herman, Judith. Trauma and Recovery. New York: Basic, 1992. Hirsch, Marianne. The Mother/Daughter Plot: Narrative, Psychoanalysis, Feminism. Bloomington: Indiana UP, 1989. Hite, Molly. The Other Side of the Story: Structures and Strategies of Contemporary Feminist Narratives. Ithaca: Cornell UP, 1989. Ingersoll, Earl. “Waiting for the End: Closure in Margaret Atwood's The Blind Assassin.” Studies in the Novel 35.4 (2003): 543-58. Kearney, Richard. “Narrating Pain: the Power of Catharsis.” Paragraph 30.1 (2007): 51-66. Luce, Irigaray. “The Bodily Encounter with the Mother.” The Irigaray Reader. Ed. Margaret Whitford. Oxford: Blackwell, 1991. 34-46. ---. “Woman—Mothers, the Silent Substratum of the Social Order.” The Irigaray Reader. Ed. Margaret Whitford. Oxford: Blackwell, 1991. 47-52. ---. This Sex Which is Not One. Trans. Catherine Porter and Carolyn Burke. Ithaca: Cornell UP, 1985. ---. Ju, Tu, Nous: Toward a Culture of Difference. Trans. Alison Martin. New York: Routledge, 1993. Pace, Patricia. “All Our Lost Children: Trauma and Testimony in the Performance of Childhood.” Text and Performance Quarterly 9.1 (1989): 233-47. Rao, Eleonora. “Margaret Atwood's Lady Oracle: Writing Against Notions of Unity.” Margaret Atwood: Writing and Subjectivity. Ed. Colin Nicholson. N.Y: St. Martin's, 1994. Staels, Hilde. “Atwood's Specular Narrative: The Blind Assassin.” English Studies 85.2 (2004): 147-60. Suleiman, Rubin Susan. “Writing and Motherhood.” The (M)other Tongue: Essays in Feminist Psychoanalytic Interpretation. Ed. Shirley Nelson Garner, Claire Kahane, and Madelon Sprengnether. Ithaca, N.Y.: Cornell UP, 1985. 352-377. Van der Kolk, Bessel A. and Onno Van der Hart. “The Intrusive Past: The Flexibility of Memory and the Engraving of Trauma.” Trauma: Exploration in Memory. Ed. Cathy Caruth. Baltimore: John Hopkins UP, 1995: 158-82. Wilson, R. Sharon. “Margaret Atwood and Popular Culture: The Blind Assassin and Other Novel.” Journal of American and Comparative Cultures 25.3/4 (2002): 270-75.||摘要:||
There have been different readings of Margaret Atwood's The Blind Assassin concerning various issues: some focus on the narrative strategy, some interpret it as a feminist memoir, and some others consider it a representation of popular culture. Each of them is a valid and feasible way to approach the novel, but a perspective from trauma study still remains a deficiency.
I divide my thesis into two major chapters: one deals with the concepts of traumatic narration and the other one treats writing and the establishment of mother/daughter relationship as solutions to recover from the traumatic past.
In the first chapter, I define the narrator, Iris Chase, to be a genuine trauma victim. Her traumatic narration bears witness to the unthinkable truth. It covers from the occurrence of the event to the repression of the victim and then to the return of traumatic syndromes. It is a truth that is not fully available to the victim; therefore I also want to investigate the impossibility to reconstruct the past with accuracy in traumatic narration. In the second chapter, I introduce the ideas that a woman should release her distress emotions by writing and story-telling. I consider woman's writing as a subversive power against the dominant culture and public discourse, and also a memorial of existence and survival. By dedicating the memoir to her granddaughter, Sabrina, Iris tells her side of the story for generations of women in her family who live under the oppression of patriarchy. She strengthens the female genealogy by writing stories for her granddaughter and releases suffering and pain from traumatic experiences. In this thesis, I would like to adopt all these ideas and notions to figure out the motives and effects for a woman who expresses herself with words and the possibility to recover from traumatic events through writing and story-telling.
|Appears in Collections:||外國語文學系所|
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