Abstract In The Jacksonian, an autobiographical play set in Mississippi in 1964, Beth Henley filters a tragic action based on the Aristotelian model through the non-linear memory of Rosy, the play’s narrator and choric figure, as she tries not to remember that her father has killed her mother. Rosy’s father, Bill—a Girardian scapegoat figure contaminated by the racist violence of the community he lives in—is the protagonist of the tragic action. But Henley focuses on its effect on Rosy. A tragic event can occur only in progressive chronological time, but by circling around the murder in her memory, Rosy creates temporal stasis until finally the pressure of denial becomes unbearable and the murder takes place. Tragic inevitability is displaced from the formally tragic action to Rosy’s memory of it. A comparison of The Jacksonian with other dramas that incorporate tragic experience within a non-linear time scheme suggests that only in memory plays can tragedy as a genre exist in non-linear time.

中文翻译：

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贝丝·亨利的《杰克逊主义者》中的时间和悲剧

摘要 在 1964 年以密西西比州为背景的自传剧《杰克逊人》中，贝丝·亨利通过剧中叙述者和合唱团人物罗西的非线性记忆过滤了基于亚里士多德模型的悲剧动作，因为她试图不记得她的父亲杀了她的母亲。罗西的父亲比尔——一个被他所居住社区的种族主义暴力污染的吉拉德替罪羊——是这场悲剧行动的主角。但亨利专注于它对罗西的影响。悲剧事件只能在渐进的时间顺序中发生，但是通过在她的记忆中围绕谋杀案进行盘旋，罗西制造了时间停滞，直到最终否认的压力变得难以忍受，谋杀发生了。悲剧的必然性从正式的悲剧行动转移到罗西对其的记忆中。