臺灣博碩士論文加值系統

本論文旨在探討瑞秋‧賽佛的《暗房》(2001)與塔提娜‧德羅尼的《莎拉的鑰匙》(2007)中德國納粹後代及法國二戰後裔對猶太大屠殺「集體罪惡感」(collective guilt)的再現，亦試圖分析賽佛與德羅尼如何運用英文小說論述，再現二十一世紀歐洲後納粹世代對大屠殺仍須承擔的罪惡感與創傷。
本論文共分四章。第一章為諸論，首先針對文學、心理分析及哲學中的「罪惡感」(guilt)做定義，進而解釋「集體罪惡感」對大屠殺加害者及其後裔的影響，並略述兩部小說的地域性與時代脈絡，解釋兩位作家的跨國身分及身處後納粹世代的背景。
第二章解析《暗房》的語言結構與文本中三位跨世代主角的設定，藉此發現隱含於德國後裔的集體負罪感及文化創傷，並套用瑪麗安‧赫胥的後記憶理論(postmemory)，檢視小說中納粹後裔如何記憶猶太大屠殺及理解一場他們不在現場的歷史事件和罪惡。
第三章揭示《莎拉的鑰匙》藉由過去和現代的雙故事線，呈現法國人在1942年巴黎冬賽館事件同納粹迫害猶太人，以及此歷史共謀對法國後納粹世代的影響，並探究作者使用英文書寫及美國人作為主角，以抒發法國人對戰時迫害猶太人難以啟齒的集體罪惡感。
第四章為總結，說明這兩部小說不同以往猶太受害者的敘事角度，強調大屠殺對加害者後裔的集體罪惡感及文化創傷。

This thesis explores the representations of guilt in Rachel Seiffert’s The Dark Room (2001) and Tatiana de Rosnay’s Sarah’s Key (2007) in order to examine the discursive construction of collective guilt of the post-Nazi generations in Germany and in France. It focuses on studying the literary representations of the ways in which the post-Nazi descendants rememorize the Holocaust, deal with the collective guilt, and try to develop narratives of their own about the cultural trauma in the aftermath of the Holocaust.
Chapter One is an introduction which first theorizes the emotion of guilt in literature, psychoanalysis, and philosophy and then explicates collective guilt and its influence on the post-Nazi generations. This chapter also provides the background to the historical and geographical settings of the two novels and points out the significance of the trans-nationality of the two post-Nazi generation authors.
Chapter Two focuses on analyzing the linguistic structure of the three short stories in The Dark Room. By doing so, I argue that collective guilt is inevitably transmitted to the post-Nazi German generations and further traumatizes them. This chapter also examines how the Nazis’ descendants try to rememorize the Holocaust and come to terms with the past in terms of Marianne Hirsch’s postmemory.
Chapter Three explores the two storylines about the past and the present in Sarah’s Key so as to uncover the inconvenient truth about the French’s complicity with the Nazis to persecute Jews in the 1942 Vel’ d’Hiv Roundup. I argue that the political complicity in the French history inflicts a sense of collective guilt on the post-Nazi French generations and affects the French author of the novel to write in English and to choose an American protagonist in the narrative about the French guilt.
In conclusion, I suggest that the unusual standpoint of the post-Nazi descendants of victimizers in the two novels emphasizes the burden of collective guilt and their cultural trauma.

Chinese Abstract..........................................i
English Abstract.........................................ii
Acknowledgements.........................................iii
Table of Contents........................................iv

Chapter I. Collective Guilt and Cultural Trauma of the Post-Nazi Generations..........................................1
Introduction..............................................1
Representation of Guilt in The Dark Room..................3
Complicity and Guilt in Sarah’s Key.......................5
Guilt in Literature.......................................7
Collective Guilt and Metaphysical Guilt..................13
Trauma of the Post-Nazi Generations......................17

Chapter II. Narrativizing Guilt and Cultural Trauma in The Dark Room.................................................24
Collective Guilt and Its Language.........................26
Cultural Trauma and Postmemory............................36
Guilt and Photography.....................................41

Chapter III. Uncovering the Secret Past in Sarah’s Key....51
French Complicity.........................................54
Usage of English and Americanization of the Holocaust.....58
Guilt, Trauma, and Postmemory.............................65

Chapter IV. Conclusion....................................74

Works Cited...............................................78

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Filmography
Hitler’s Children. Dir. Chanoch Ze’evi. Perf. Bettina Goering, Katrin Himmler, Monika Goeth, and Rainer Hoess. Maya, 2011. Film.
Lore. Dir. Cate Shortland. Perf. Saskia Rosendahl, Kai-Peter Malina, and Nele Trebs. Rohfilm, 2012. Film.
“The Making of Sarah’s Key.” Elle s’appelait Sarah (Sarah’s Key). Dir. Gilles Paquet-Brenner. Perf. Kristin Scott Thomas, Mélusine Mayance, and Niels Arestrup. Hugo, 2010. Film.
Night and Fog (Nuit et brouillard). Dir. Alain Resnais. Perf. Michel Bouquet. Argos, 1955. Film.
The Round Up (La Rafle). Dir. Roselyne Bosch. Perf. Jean Reno, Mélanie Laurent, and Gad Elmaleh. Légende, 2010. Film.
Shoah. Dir. Claude Lanzmann. Perf. Simon Srebnik, Michael Podchlebnik, and Motke Zaidl. Historia, 1985. Film.