涡流与创伤记忆的“三阶段”——塔纳西斯·科茨《水舞者》的创伤记忆书写
The Three Stages of Vortex and Traumatic Memory—The Traumatic Memory in Ta-Nehisi Coates’ The Water Dancer

塔纳西斯·科茨的《水舞者》以水的物理形态变化为叙事核心，构建了一个关于创伤记忆的完整诗学体系。小说通过“涡流–层流”的动态转化过程，隐喻性地展现了主人公希兰从创伤记忆的构建、压抑到最终整合的心理历程。作为混血奴隶，希兰的创伤记忆既源于奴隶制的外部暴力，也来自其身份认同的内在矛盾。水不仅是作为河流和湖泊的客观存在，也是记忆的牵引者和创伤的治愈者。本研究通过分析水的多重隐喻意义，探讨了科茨如何通过文学想象提出一种辩证的创伤观：真正的救赎不在于消除记忆痕迹，而在于建立与之共处的新模式。这一发现不仅拓展了创伤文学的研究视野，也为理解历史创伤的当代意义提供了新的思考路径。
Ta-Nehisi Coates’s The Water Dancer centers on the physical transformations of water to construct a complete poetic system of traumatic memory. Through the dynamic transition process from “vortex to laminar flow”, the novel metaphorically depicts the protagonist Hiram’s psychological journey of the construction, repression and integration of his traumatic memory. As a mixed-race slave, Hiram’s traumatic memory stems both from the external violence of slavery and the internal conflict of his own identity. Water exists not only as the physical presence of rivers and lakes but also serves as both the conductor of memory and the healer of Hiram’s trauma. By analyzing the multiple metaphorical meanings of water, this study explores how Coates proposes a dialectical view of trauma through literary imagination: true redemption lies not in erasing the traces of memory but in establishing a new mode of coexistence with it. This finding not only expands the research horizons of trauma literature but also provides new perspectives for understanding the contemporary significance of historical trauma.