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菲利普·罗斯早期创作的短篇故事《狂热者伊莱》通过塑造一个非典型疯子形象,表达了一种焦虑情绪。主人公伊莱在受害者和施害者的角色之间徘徊,最终在受害和施害两种恐惧情绪的对立中因不堪焦虑而走向疯癫。首先,伊莱的疯癫是犹太社区内部冲突和族内伤害的结果,它真实地展现了20世纪50年代美国犹太社区的矛盾利害关系,反映了罗斯对美国同化犹太人的莫大讽刺和尖锐批评。其次,伊莱的疯癫具有文化抗争的象征意义,它隐含地表达了犹太民族关于隔都、种族迫害等创伤与恐惧的记忆。最后,它具有演示性,是一场具象化受害恐惧的表演秀。伊莱的换装走秀和社区街道游行揭示了受害者和施害者的根本矛盾源于对社区空间是否容许异质文化这一问题的对立观点。
The early story of Philip Roth, the short story “Eli Eater,” expressed anxiety by shaping an atypical madman image. Eli, the protagonist, hovering between the victim and the perpetrator’s character, eventually leading to madness due to anxiety in the opposition between the two fearful feelings of victimization and impotence. First, Eli’s insanity is the result of clashes and ethnic assaults within the Jewish community. It truly demonstrates the contradictory interests of the Jewish community in the United States in the 1950s and reflects Rose’s great irony and sharp criticism of U.S. assimilation of Jews. Secondly, Eli’s madness has the symbolic meaning of cultural protest. It implicitly expresses the memory of the Jewish nation about the wounds and fears of the Ghetto and ethnic persecution. Finally, it is demonstrative, a show that shows the fear of victimization. Eli’s dress-up shows and community street demonstrations reveal the fundamental contradiction between victims and perpetrators stemming from the opposing view of the question whether heterogeneous cultures are allowed in the community space.