当前位置: X-MOL 学术Studies in American Fiction › 论文详情
Dust Tracks on the Page: Zora Neale Hurston's Barracoon and Their Eyes Were Watching God
Studies in American Fiction Pub Date : 2021-06-10
Hildegard Hoeller

In lieu of an abstract, here is a brief excerpt of the content:

  • Dust Tracks on the PageZora Neale Hurston’s Barracoon and Their Eyes Were Watching God
  • Hildegard Hoeller (bio)

Ships at a distance have every man’s wish on board. For some they come in with the tide. For others they sail forever on the horizon, never out of sight, never landing until the Watcher turns his eyes away in resignation, his dreams mocked to death by Time. That is the life of men. Now, women forget all those things they don’t want to remember, and remember everything they don’t want to forget. The dream is the truth. Then they act and do things accordingly.

Zora Neale Hurston, Their Eyes Were Watching God

Excusee me I cry. I can’t help it when I hear de name call. Oh, Lor’. I no see Afficky soil no mo’! . . . Thankee Jesus! Somebody come ast about Cudjo! I want tellee somebody who I is, so maybe dey go in de Afficky soil some day and callee my name and somebody dere say “Yeah, I know Kossula.” I want you everwhere you go to tell everybody whut Cudjo say, and how come I in Americky soil since de 1859 and never see my people no mo’.

Zora Neale Hurston, Barracoon

In the opening lines of Their Eyes Were Watching God, Zora Neale Hurston contrasts the situation and subjectivity of men, whose “dreams [are] mocked to death by Time,” with that of women, whose “dream is truth.”1 Beginning her novel in this way, Hurston [End Page 191] clearly highlights gendered differences between men and women and their stories and thus encourages the feminist readings of her novel that have ensued. What has gone unnoticed, however, is that in this opening passage Hurston also leaves traces of her text Barracoon, clues indicating that her later novel can be read as a fictional response to her earlier nonfictional work about one man’s loss of hope. In 1931, Hurston completed a manuscript entitled “Barracoon”—published in 2018 for the first time—that tells the story of Cudjo Lewis or Kazoola, known as the last survivor of the last slave ship, the famous Clotilda, which brought a final cargo of enslaved people to Mobile, Alabama, in 1859.2 Lewis “never lost sight” of Africa and always hoped to return to his homeland; however, in the end, he never saw Africa again and lived a life of pain and loss and unfulfilled dreams until his death in 1935. When Hurston met him in 1927 and again in 1928 (Barracoon, 6) to listen to his story, she found a man whose “dreams” had given way to the passage of time and events that made a mockery of those dreams (Their Eyes, 9). His words were full of despair at never having been able to return to Africa, and he saw in Hurston one last chance to narrate the story of his separation from his home soil. Examining the opening lines of her novel in light of Barracoon suggests that Hurston wrote Their Eyes as a counterpoint to the earlier text about Cudjo Lewis, “now” turning from men and their “resignation” and toward women and their “dreams.” Indeed, Hurston left so many “dust tracks” or intertextual links between the two texts that Barracoon emerges as a kind of originary text for Their Eyes. Hurston, enacting the literal meaning of the word “intertexos,” intertwines the two texts by rewriting and reinscribing Barracoon in her novel Their Eyes, signaling that the intertextual link between the two texts is constitutive of the later novel’s meaning.3

This essay follows these “dust tracks” of Barracoon in Their Eyes and details how rereading Their Eyes through its intertextual connections to Barracoon changes and enriches our understanding of Hurston’s famous novel and contributes new insights to some of the most central and perplexing critical issues that have been raised about it. The first section, “The Composition of Dreams,” argues that Hurston’s arduous and protracted effort to compose Barracoon offers a new context for our understanding of the famously rapid composition of Their Eyes. Hurston’s novel reworks and uses key elements of the earlier text, and, by virtue of being...



中文翻译:

页面上的尘迹:佐拉·尼尔·赫斯顿 (Zora Neale Hurston) 的小浣熊和他们的眼睛注视着上帝

代替摘要,这里是内容的简短摘录:

  • 页面上的灰尘痕迹Zora Neale Hurston 的Barracoon 和他们的眼睛在看着上帝
  • 希尔德加德·霍勒(生物)

远处的船只上有每个人的愿望。对于一些人来说,他们随潮而至。对于其他人,他们永远在地平线上航行,永远不会消失,永远不会着陆,直到观察者将目光投向了辞职,他的梦想被时间嘲笑至死。这就是男人的生活。现在,女人忘记了所有不想记住的事情,记住了所有不想忘记的事情。梦想就是真理。然后他们采取相应的行动和做事。

佐拉·尼尔·赫斯顿,他们的眼睛注视着上帝

对不起,我哭了。当我听到 de name call 时,我情不自禁。哦,洛。我没有看到 Afficky 土壤没有 mo'!. . . 谢谢耶稣!有人对 Cudjo 感兴趣!我想听听我是谁,所以也许有一天他们会走进阿菲奇的土地,叫我的名字,有人说“是的,我知道科苏拉。” 我希望你无论走到哪里都告诉大家库乔说了什么,为什么我从 1859 年以来一直在美国的土地上,从来没有见过我的人民。

佐拉·尼尔·赫斯顿,巴拉孔

n的开头几行他们眼望上苍,赫斯顿对比情况和人的主体性,他的“梦[是]通过时间嘲笑死”,与妇女,她们的“梦想就是真理。” 1以这种方式开始她的小说,赫斯顿[End Page 191]清楚地突出了男性和女性之间的性别差异及其故事,从而鼓励了随后对她的小说的女权主义阅读。然而,人们没有注意到的是,在这个开头的段落中,赫斯顿还留下了她的文字Barracoon 的痕迹。,线索表明她后来的小说可以作为对她早期关于一个男人失去希望的非虚构作品的虚构回应。1931 年,赫斯顿完成了一份名为“Barracoon”的手稿——于 2018 年首次出版——讲述了库乔·刘易斯或卡祖拉的故事,他被称为最后一艘奴隶船——著名的克洛蒂达号的最后幸存者,它带来了最后一批货物1859 年,被奴役的人来到阿拉巴马州的莫比尔。2刘易斯“从未忘记”非洲,总是希望回到他的祖国;然而,最终,他再也没有见过非洲,过着痛苦、失落和未实现的梦想的生活,直到 1935 年去世。当赫斯顿在 1927 年和 1928 年再次遇到他时(巴拉孔, 6) 为了听他的故事,她找到了一个男人,他的“梦想”已经让位于时间的流逝和嘲笑那些梦想的事件(他们的眼睛,9)。他的话语充满了对永远无法回到非洲的绝望,他在赫斯顿看到了最后一次讲述自己与故土分离的故事的机会。根据巴拉孔检查她小说的开头几行表明,赫斯顿写了他们的眼睛作为对早期关于库乔刘易斯的文本的对立,“现在”从男人和他们的“辞职”转向女人和他们的“梦想”。事实上,赫斯顿在两个文本之间留下了如此多的“尘迹”或互文链接,以至于巴拉孔作为一种原始文本出现他们的眼睛。赫斯顿制定了“intertexos”这个词的字面意义,通过在她的小说他们的眼睛中重写和重新刻录 Barracoon将两个文本交织在一起,表明两个文本之间的互文联系构成了后来小说的意义。3

本文遵循Barracoon他们眼中的这些“尘迹”,并详细介绍了通过与Barracoon 的互文联系重读他们的眼睛如何改变和丰富我们对赫斯顿著名小说的理解,并为一些最核心和最令人困惑的关键问题提供了新的见解。被提出。第一部分,“梦的构成”,认为赫斯顿为创作Barracoon 所做的艰苦而持久的努力为我们理解他们的眼睛著名的快速构成提供了一个新的背景。赫斯顿的小说改写并使用了早期文本的关键元素,并且由于……

更新日期:2021-06-10
全部期刊列表>>
virulence
欢迎新作者ACS
中国作者高影响力研究精选
虚拟特刊
屿渡论文,编辑服务
浙大
上海中医药大学
深圳大学
上海交通大学
南方科技大学
浙江大学
清华大学
徐晶
张大卫
彭孝军
北京大学
隐藏1h前已浏览文章
课题组网站
新版X-MOL期刊搜索和高级搜索功能介绍
ACS材料视界
华辉
天合科研
x-mol收录
试剂库存
down
wechat
bug