CAJ | 학술논문

品特1996年的收笔大作《尘归尘》蕴含着深刻的大屠杀历史记忆隐喻。通过对大屠杀受害者犹太民族、大屠杀种族灭绝暴行、大屠杀目击者传记互文下的历史记忆以及大屠杀历史修正主义的诸多隐喻，《尘归尘》艺术地再现了后现代语境下历史、回忆与话语交叉渗透、众声喧哗的大屠杀历史记忆现状。《尘归尘》不仅影射了大屠杀这一人类种族历史上的残酷浩劫，更通过呈现话语游戏、话语权力与循环重复的意象等艺术手法呈现了后大屠杀时代历史记忆的模糊性、话语性和创伤性，展现了品特戏剧在艺术与真实两维度之间精湛的驾驭能力。
품특1996년적수필대작《진귀진》온함착심각적대도살역사기억은유。통과대대도살수해자유태민족、대도살충족멸절폭행、대도살목격자전기호문하적역사기억이급대도살역사수정주의적제다은유，《진귀진》예술지재현료후현대어경하역사、회억여화어교차삼투、음성훤화적대도살역사기억현상。《진귀진》불부영사료대도살저일인류충족역사상적잔혹호겁，경통과정현화어유희、화어권력여순배중복적의상등예술수법정현료후대도살시대역사기억적모호성、화어성화창상성，전현료품특희극재예술여진실량유도지간정담적가어능력。
Harold Pinter＇s final play Ashes to Ashes （1996） contains profound metaphors of the Holocaust historical memory. Through allusion to the Jewish victims of the Holocaust, the Holocaust genocide, the Holocaust eyewitness＇ biography, the Nazi war criminal＇s memoir and Holocaust revisionism, Ashes to Ashes artistically presents a polyphonic postmodern condition of the Holocaust historical memory with history, memory and discourse blending with each other. Different from a general view of holocaust reference prevalent in the academic circles, Ashes to Ashes not only reveals the brutal catastrophe of Holocaust in the history of the human race, but also truly represents the ambiguous, plural and traumatic nature of the Holocaust historical memory, and further manifests Pinter＇s masterly handling of art and truth in his play. Through a self-contradictory dualistic dramatic structure, the recycling and repetitive dramatic time scheme.