ABSTRACT

This article examines how historiographic metafiction challenges traditional narratives of history. The author argues that subverting conventions of narrating the past through irony and a plurality of truths, Quentin Tarantino’s Inglourious Basterds (2009) can be regarded as historiographic metafiction. Its narratives of the past challenge the traditional History, provide alternate ways of telling history and invite a more meaningful cognitive engagement with history. To explore how the Americanization of the Holocaust sheds light on American racism, the author focuses on the figure of the savage Native American in the film and examines how Native Americans are brought into play through a plot that mixes up the histories of American settlers, African-Americans, Jews, Frenchmen, Germans and Italians and how the film screens Native Americans in the sight of psychoanalytic theorist Kaja Silverman’s terms of the look, the screen, and the gaze. I argue that the screening of savage Native Americans is in a constant process of renewal and the image of Native Americans is ironic rather than simply stereotypical, which contests dominant Hollywood representations of Native Americans either as ignoble savage or noble savage and reveals unheeded history.

摘要

本文探讨了历史学元小说如何挑战传统的历史叙事。作者认为，昆汀·塔伦蒂诺的《无耻混蛋》颠覆了通过讽刺和多元真理叙述过去的惯例（2009）可以被视为史学元小说。它对过去的叙述挑战了传统的历史，提供了讲述历史的替代方式，并邀请了更有意义的历史认知参与。为了探索大屠杀的美国化如何揭示美国的种族主义，作者关注电影中野蛮的美洲原住民形象，并通过一个将美国定居者、非洲人的历史混合在一起的情节来考察美洲原住民是如何发挥作用的。 - 美国人、犹太人、法国人、德国人和意大利人，以及这部电影如何在精神分析理论家 Kaja Silverman 的外观、屏幕和凝视条件下放映美洲原住民。