中文摘要
本論文旨在探討現代猶太裔美國作家如何藉由他們的作品想像二次世界大戰中所發生的猶太大屠殺，並且剖析這些作家在書寫歷史的同時，也在作品中描寫身為猶太後裔如何定義自身文化身份。本篇論文著重討論這三部作品在連結猶太歷史和現在所遭遇的困難和所採用的敘事策略。這些議題包含：大屠殺生存者第二代的敘述權力、比喻性語言在大屠殺敘述中所開啟的倫理可能性，及藉由收集過去的相片去拼湊大屠殺歷史的可能性。在此篇論文，我將藉由三部作品，亞特史匹格曼的漫畫《老鼠》、辛西亞歐茲克的短篇小說《大裹巾》及改編自強納森薩弗曼佛爾小說的同名電影《啥都瞭了》來探討這三部作品所開啟的歷史記憶和書寫之間的對話及可能性。
本論文包含五個章節，其中首章為引言，而最後一章為總結。首章簡述猶太大屠殺如何成為美國主流文化之一，且探討後代猶太人如何連結過去的創傷歷史事件。第二章探討史匹格曼的漫畫《老鼠》如何在歷史書寫的框架下，並置他父親猶太大屠殺的記憶和他身為第二代所感受到大屠殺對他父母及家庭的影響；在記錄他父親口述歷史的同時，史匹格曼也傳承他的父親在集中營的回憶。第三章引用桑德吉爾曼的「邊境」理論來探究歐茲克如何在《大裹巾》中實踐她所謂的猶太「想像力」。第四章以德希達的《檔案惡/熱》理論來研究電影《啥都瞭了》如何強調主角強納森的收集癖，並且分析強納森的收集癖反映出近代猶太後裔不斷回顧猶太人遭納粹屠殺的過去。另外，這部電影也嘲諷那些只把收集過去的物品當成一種收集物品的狂熱，因為這種收集熱扼殺了後代想要藉由物品來探索過去的可能性。第五章結論則總結這三部作品藉由書寫猶太大屠殺的同時，也反映出他們身為猶太後裔所面臨的處境。

Abstract
This thesis examines how post-Holocaust Jewish American writers remember the Holocaust and investigates the theoretical questions raised by their writings and the cultural politics of memory thus staged: the narrative authority of the second-generation writers, the role of the figurative language in activating the “ethical” possibility of Holocaust writing, and, finally, the potential possibilities of Holocaust memory in the contemporary archivization of Holocaust photos. In this thesis, I will enter into a dialogue with the cultural politics of memory staged respectively in Art Spiegelman’s Maus (1986), Cynthia Ozick’s The Shawl (1989) and the film adaptation of Jonathan Safran Foer’s Everything is Illuminated (2005).
This thesis consists of five chapters, with the first chapter being an introduction and the last, a conclusion. Chapter One, “Introduction,” documents how the Holocaust enters the American mainstream culture and how contemporary Jewish American writers respond to this traumatic cultural memory. Chapter Two aims to explore how Art Spiegelman’s Maus, in the guise of testimonial comics, juxtaposes his father’s Holocaust experience with his own to call attention to a haunting legacy of the memory of the Holocaust, a legacy that is passed down from the first-generation survivors to the second-generation. Chapter Three, drawing on Sander L. Gilman’s notion of the “frontier,” analyzes how Cynthia Ozick puts into practice her unique notion of the ethically informed Jewish “imagination” in writing her novel, The Shawl. Chapter Four investigates how Everything is Illuminated highlights the Jewish protagonist, Jonathan Safran Foer’s collection-obsession and analyzes how his passion for collecting “objects” reflects the recent trend of “memorializing” the Holocaust and satirizes this “archive fever” as a fetishization of the Holocaust that may preclude a meaningful engagement with the past. Chapter Five, “Conclusion,” serves to conclude this thesis with an analysis of what the Holocaust signifies in these three Jewish American writings.

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