本論文旨在探討美國作家強納森．薩佛蘭．佛爾（Jonathan Safran Foer）第二本小說《極度吵雜、極端靠近》(Extremely Loud and Incredibly Close)中的創傷展演和消解。本文討論主要著重在探討作者如何並置九一一和二戰德列斯登大轟炸，透過圖片及排版的視覺效果呈現受創角色沉默的內心世界，以及利用孩童第一人稱的敘事觀點來道出九一一的衝擊。本論文共五個章節。引言將此本小說放置在後九一一文學的脈絡中來看，並指出以創傷作為解讀九一一事件的必要性。第一章討論德列斯登大轟炸之始末，夾雜祖父母初次受創(primary trauma)的回憶，以及創傷記憶如何像未安息的鬼魅般不斷纏擾他們，致使他們在異鄉無根的生活更無以為繼。第二章則進一步將時間軸延伸到九一一恐怖攻擊，在此視角下觀看各角色對此創傷事件的不同回應。第三章試圖處理創傷消解的難題。結論重申佛爾獨特敘事技巧，並說明小說中德列斯登大轟炸和九一一兩段歷史創傷的交疊如何複雜化創傷的展演和其復原的過程，並為後九一一文學引入新的視野。

The thesis discusses the acting out and the working through of the trauma in Jonathan Safran Foer’s second novel Extremely Loud and Incredibly Close. The focus of the thesis would be the author’s treatments of 1) the juxtaposition of 9/11 and the Dresden Bombing; 2) the representations of trauma through visual and typographical devices; and 3) the child as the first-person narrator of 9/11. The thesis contains five parts. The Introduction first contextualizes Jonathan Safran Foer’s Extremely Loud and Incredibly Close within the emergence of post-9/11 literature and then addresses the necessity of making sense of 9/11 under the lens of trauma. Chapter 1 discusses the historical context of the Dresden Bombing within which the grandparents’ fictional accounts are situated. For the grandparents, the repressed war trauma not only haunts them with a devastating impact but also makes their present life impossible. Chapter 2 starts with the politics of 9/11. Then, it centers on how Oskar, the child narrator, and other characters react to this trauma. Chapter 3 deals with the working through of the trauma. The Conclusion restates my arguments and affirms Foer’s treatment of juxtaposing 9/11 with the Dresden Bombing, which complicates the acting out and the working through of the trauma. More importantly, Foer’s novel opens another perspective among post-9/11 literature.

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