This article provides a trauma reading of narrative suppression in Toni Morrison’s? Beloved.? I argue that Sethe’s infanticidal guilt, which lays at the heart of the text yet is never directly spoken about, acts as the novel’s structuring metaphor. Drawing on the trauma rhetoric of Roger Luckhurst and Cathy Caruth as well as various Freudian literary criticism, I propose that Sethe’s repression and elusive narrativization of Beloved’s murder pertains to the process of memory augmentation in Freud’s the ‘Pleasure Principle’. When Sethe’s recall, and by extension Morrison’s textual structure, imitates the way in which the human psyche represses the pain of trauma with a pleasant re-fashioning of events, the adult Beloved’s return signifies unconscious manifestation. I read Beloved as an imaged wish-fulfilment when Sethe accepts her reincarnation as saving the severe mother-daughter bond she longs after. However, as a transmutable manifestation of trauma; moving from a representation and projection of Sethe’s augmented memory to the originally unexposed and disconcerting memory, Beloved’s enigmatic characterization anticipates the harm incurred by undealt trauma. In close reading Sethe’s refusal to look back; the competing narratives of the infanticide; and then the tempestuous breakdown in the Sethe-Beloved relationship, this article concludes with exploring the inadequacy of The Pleasure Principle in dealing with long-term trauma. Morrison’s text ends with Beloved becoming a signification of infanticidal resentment. The novel’s didacticism which in turn elucidates the necessity of confronting that which causes discomfort in memory, becomes clear through Morrison’s conclusive narrative experimentation. In employing the monologue form to indicate the continued prevalence of the pain-inducing adult Beloved in her narrative control and confrontation, Morrison’s text communicates the ineffectual function of the ‘Pleasure Principle’ as a means of traumatic relief.
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机译：本文在托尼莫里森的叙事抑制方面提供了创伤读物吗？心爱。？我认为Sethe的婴儿内疚有罪，它在文本的核心下奠定了永远不会直接说话，充当小说的结构性隐喻。绘制Roger Luckhurst and Cathy Caruth以及各种弗洛伊德文学批评的创伤言论，我建议索德的镇压和难以捉摸的叛徒在弗洛伊德的内存增强过程中涉及到弗洛伊德的内存增强的过程。当Sethe的召回和通过延伸莫里森的文本结构时，模仿人类灵魂的方式抑制创伤的痛苦，成年人心爱的回报表示无意识的表现。当Sethe接受她的转世时，我读到了令人心爱的愿望，因为拯救了她渴望的严厉母女债券。然而，作为创伤的可转化表现;从Sethe的增强记忆的代表和投影转变为最初未曝光和令人讨厌的记忆，心爱的神秘表征预期undealt创伤所产生的伤害。在亲密的阅读Sethe拒绝回顾;迷恋的竞争叙述;然后，在奇爱的关系中的暴风雨崩溃，本文讨论了探索了处理长期创伤的乐趣原则的不足。莫里森的文字以心爱的方式结束，成为缺乏困难的意义。新颖的教学主义，反过来阐述了面对纪念内容不适的必要性，通过莫里森的结论性叙事实验来清楚。在雇用独白形式方面表明在她的叙事控制和对抗中持续的痛苦成人的持续患病率，莫里森的文本使“快乐原则”的无效函数作为创伤救济的手段。
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