孫靈

摘要：《最藍(lán)的眼睛》是托尼·莫里森第一部小說(shuō)。它不僅記錄和再現(xiàn)一個(gè)受傷害的黑人群體，還為莫里森之后的文學(xué)創(chuàng)作奠定基礎(chǔ)。就主題而言，它涉及了虐待、性以及強(qiáng)暴內(nèi)容，并被認(rèn)為不適合它的讀者群。結(jié)合小說(shuō)的結(jié)構(gòu)形式，視角轉(zhuǎn)換、復(fù)調(diào)特點(diǎn)和時(shí)間錯(cuò)亂奠定了小說(shuō)的現(xiàn)代主義特色。本論文致力于研究和分析小說(shuō)序言第一部分，也就是，學(xué)校讀本部分。首先，這一“迪克和簡(jiǎn)”敘述體現(xiàn)出三個(gè)特性：第一，文本在序言部分三次出現(xiàn);第二，讀物部分文句作為章節(jié)引言出現(xiàn)于后文之中;第三，與簡(jiǎn)相關(guān)的讀物部分沒(méi)有作為章節(jié)引言出現(xiàn)于后文之中。總體上，讀物反映出了主流價(jià)值觀和標(biāo)準(zhǔn)的強(qiáng)制推行和黑人社群對(duì)于主控價(jià)值觀和標(biāo)準(zhǔn)的主動(dòng)默許和接受。社群內(nèi)部，人們無(wú)形之中都受到傷害。在受到傷害之后，承認(rèn)都將他們飽受的傷害強(qiáng)加于黑人女孩身上。黑人女孩，成了“受害者中的受害者”。在《最藍(lán)的眼睛》中，皮克拉就是這種人群的一員。她受到了來(lái)自受到傷害的父母和社群的傷害。皮克拉，如同被抹掉的讀物中與簡(jiǎn)相關(guān)的句子，被從小說(shuō)中抹掉了。她受到忽視，失去了發(fā)言機(jī)會(huì)。盡管是小說(shuō)的主人公，其他人物的聲音淹沒(méi)了她的聲音，結(jié)果，她只是成為小說(shuō)中邊緣化的主人公。

關(guān)鍵詞：受害者;受害;“迪克和簡(jiǎn)”敘述;原讀本;《最藍(lán)的眼睛》

The Bluest Eye elicits great sensations in terms of both its thematic concerns and its formal features. Thematically， it covers issues of abuse， sexuality and rape and is regarded as unsuited to its anticipated readership. Taken into consideration its formal patterns， it brings with it some experimental elements. The interpretation of the story， inevitably， should combine the formal patterns of the book with its thematic concerns.

Three Versions of the Dick-and-Jane Narrative

These three versions are symbolic of the process of the imposition of standardized values and the reception of these values. The master primer depicts a white middle-class family and the idyllic life they lead. The popularity of Dick-and-Jane narrative reveals the deep impact the dominant values have on the whole community， both the black and white， and especially for the black community. As Debra T. Werrlein points out， “Similarly， Dick and Jane primers not only posit the literary ‘masterplot in The Bluest Eye; as textbooks in Americas public schools， Morrison suggests they posit a national masterplot that defines Americanness within the parameters of innocent white middle-class childhood” （56）.

The primer not only presents an ideal picture of family life for the black communities， but also advocates an ideal ideology and a victimless societal condition. This circulation of Dick-and-Jane primer aims to popularize the innocent middle-class lifestyle. It aims to disseminate the dominant values and implant them into the black communities. It confirms its status as a standard and encourages the blacks yearning and involvement. The second and third versions reveal the disastrous consequences the repetition of the first version generates. With the implantation of white values， the black communities are induced to make and have a copy of the standard lifestyle. Their plagiarism， however， cannot offer them the exact felicity of that the white people seem to enjoy. They cannot procure the piece of happiness due to their color and status quo. Victimized as they are， they are not sensible of their victimization. They accept the dominant values. The more ready they are for the conversion to the white， the more depression and repulsion they get and show themselves. The willing imitation makes unintelligible and distorted their natural cultural legacy， as is pinpointed， “[t]hese three versions are symbolic of the lifestyles that the author explores in the novel either directly or by implication” （Klotman）.

Epigraphization of the Primer Lines

In the primer sections， each chapter is set off by an epigraph taken from the master primer. In terms of subject， the chapter corresponds more or less with the epigraph. This juxtaposition creates discrepancy and tension. It discloses the fictitious nature of the white middle-class values and the traumas these values have done on the black individuals and communities. Morrisons struggle with colonization for her characters can be sensed through “this pattern in the dialogical way in which Morrison frames her early novels： The Bluest Eye is framed with a deconstructive dialogue with the Dick and Jane childrens books” （Pereira）.

As for Pauline Breedlove， her victimized mentality is the outcome of wide popularity of the impositions of the white middle-class values. After her first pregnancy， Pauline stops doing day work and returns to do her housework. In order to kill her overwhelming feeling of loneliness， she goes to the movies. From the silver screen， “[i]n equating physical beauty with virtue， she stripped her mind， bound it， and collected self-contempt by the heap” （Morrison 98）. Her education in the movies is destructive to her sense of self-worth. She learns the white stereotyped logic that the virtuous are in line with the beautiful appearance. And from then on， she realizes her lack of beauty. The overpowering mass culture towers above her self-worth. She learns to fix her hair up the way Clark Gable and Jean Harlow do. After she learns white men take good care of their women， she looks her husband harder and harder. Her previous life seems unbearable for her newly-gained knowledge. The only place for her to find praise and consolation is the movies. But the movies make her even harder to return to her own life. Jane Kuenz points out， “Paulines movies continuously present her with a life， again presumably ideal， which she does not now have and which she has little， if any， chance of ever enjoying in any capacity other than that of ‘the ideal servant” （Kuenz）. Pauline， in brief， is a victim of the ideological implantation of the dominant values.

The Omission of the Epigraphization of the Jane Lines： The ConclusionAlthough Pecola is the protagonist， it seems she is no better than a peripheral existence in the novel. The primer sections express the voices of Pauline， Cholly， Geraldine and Elihue Whitcomb; but， Pecolas status as a centre of consciousness is omitted. Taken into consideration this novels formal elements， Pecolas voice is silenced. She is excluded from the sphere of self-representation. It is also not a coincidence that Morrison pushes Pecola away from the central stage. The elision of the epigraphization of the Jane lines （together with Pecolas absence） holds together to confirm the idea that black girls are the “victim of victims” and their voice and presence are always overlooked in a racist society. The traumatized black communities show allegiance to the white cultures idea of beauty and internalize the epitome of beauty within the black groups. Their acceptance and acquiescence have great negative influences on black girls. Black girlhood is heavily tinted with the illusory color of the ideal lifestyle of the white middle class. These girls， as the result of the rampant popularity of white yardstick of beauty， fall victim to the stereotyped icons of Shirley Temple and Mary Janes， as what is pointed out， “this cinging， retreating， alienated little girl [Pecola] never attains knowledge of herself or comprehends the complex forces that manipulate her reverence for blond-haired Shirley Temple figures” （Cormier-Hamilton）.