Fearful and Shameful: Affective and Ethical Reactions to Modernity in David Mitchell's Cloud Atlas
Fearful and Shameful: Affective and Ethical Reactions to Modernity in David Mitchell's Cloud Atlas
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恐惧与羞耻：大卫·米切尔的《云图》中对现代性的情感和伦理反应
DOI：
10.1080/00111619.2020.1862040
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发表时间：
2021
期刊：
影响因子：
--
通讯作者：
Gen'ichiro Itakura
中科院分区：
文献类型：
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作者：
竹山 友子;Tomoko Takeyama;竹山 友子;青木 愛美，岩永 弘人，吉中 孝志，本多 まりえ，丹羽 佐紀，岩田 美喜，佐野 弘子，中山 理，冨樫 剛，竹山 友子，川田 潤，大久保 友博;冨樫 剛，岩永 弘人，竹山 友子，笹川 渉，野呂 有子，大久保 友博，西山 徹，松田 美作子，久野 幸子，高橋 正平，本多 まりえ，梶 理和子，Akiko Ikeda，村上 世津子;Gen'ichiro Itakura
希瑟·j·希克斯（Heather J. Hicks）认为，最近的后启示录小说与现代性及其感知到的问题有关。大卫·米切尔的《云图》（2004）经常与这一新兴类型并列阅读，甚至被归类为这一新兴类型，它循环并利用其惯例，在我们想象中对现代性的负面情绪占主导地位的地方创造了小裂缝，而不会受到乌托邦解决方案的诱惑。事实上，米切尔关注的是我们对现代性、恐惧和羞耻的情感反应，尤其是在尤因和扎克里的情节中。《云·阿特拉斯》将情感、个人甚至生理体验转化为一种跨历史和全球性的叙事，证明了对现代性后果的无处不在的恐惧和焦虑，以及我们自己的无能为力和无所作为的羞耻。然而，小说也试图以一些小的方式打破这种负面情绪的束缚；在重要的时刻，恐惧和羞耻的统治瓦解为我所谓的“次要道德时刻”。因此，本文试图理解米切尔文本的情感和伦理维度，这些维度很少引起评论界的关注，我认为，这将其与后启示录小说新兴流派中经常唤起的末日宏大叙事区分开来。
As Heather J. Hicks suggests, recent post-apocalyptic fiction has engaged with modernity and its perceived problems. Frequently read alongside or even categorized into this emergent genre, David Mitchell’sCloud Atlas(2004) recycles and yet appropriates its conventions to create small fissures in the predominance of negative feelings about modernity in our imagination, without falling for the temptation of utopian solutions. Indeed, Mitchell focuses on our affective responses to modernity, fear, and shame, most notably in Ewing’s and in Zachry’s episodes. Translating affective, personal, and even physiological experiences into a trans-historical and planetary narrative,Cloud Atlasattests to the ubiquity of fear and anxiety about the consequences of modernity and the shame of our own powerlessness and inaction. However, the novel also attempts to break the hold of such negative feelings in small ways; at important points, the rule of fear and shame collapses into what I call “minor ethical moments”. This paper, then, seeks to understand this affective and ethical dimensions of Mitchell’s text that have rarely caught critical attention and, I argue, distinguish it from the grand narrative of the end time often evoked in the emergent genre of post-apocalyptic fiction.