含混的話語：女性主義敘事學與英國女作家（簡體書）

由北京外國語大學王佐良外國文學高等研究院策劃、外語教學與研究出版社出版的“外國文學研究文庫”就要與讀者見面了。近年來，我國外國文學學界同仁一直在積極探索有效途徑，引進國外學者的學術著作，以提升我國的學術研究水平，增強我國學者的國際學術話語權。但由於國外文學研究領域發展迅猛，以及國內出版經費缺乏等一系列問題，國外文學研究領域許多經典的和最新的研究成果無法得到及時傳播與出版。為了弘揚我國老一輩學者外國文學研究的優秀傳統，促進我國外國文學研究的深入開展，我們組織策劃了這套“外國文學研究文庫”，旨在將國外文學學界的學術成果及時引進和介紹給我國外國文學學者、學生及愛好者，反映外國文學研究領域在世界範圍的發展趨勢與前沿探索，使我國學界更好地與國際學界接軌與對話，以此推進我國外國文學研究的發展。
“外國文學研究文庫”定位於對國外文學研究重要成果展開的引介，將采用購買原作版權、組織國內該領域有影響的學者撰寫導讀的方式進行。這些導讀將有助於讀者把握作品的脈絡，掌握其思想要點，更全面、更深入地理解作品要義。鑒於英語之外其他語種作品的受眾問題，除以英語撰寫的著作以原文的形式出版之外，我們擬將其他語種的國外學者著作翻譯成漢語，並附以專家導讀。該“文庫”是一套開放性的系列叢書，我們將陸續推出國外具有影響力的學術著作，內容範圍包括以下四個方向：外國文學理論、外國文學批評、比較文學理論與批評，以及文化批評研究。
北京外國語大學王佐良外國文學高等研究院邀請到了我國重要學者參加編委會，推薦挑選國外學界具有影響力的研究著作。國內這一領域的資深學者將為著作撰寫導讀，並為非英語著作確定譯者。我們希望通過這套“文庫”，為拓展和深化我國的外國文學研究，為幫助我國外國文學學者拓寬批評視野、開拓研究思路，盡我們的微薄之力。
這套“文庫”的出版，得到了我國外國文學研究領域眾多學者的鼎力相助和大力支持，也得到了外語教學與研究出版社的全力配合，特此表示衷心感謝！

Acknowledgments
Introduction． Contextualizing Femirust Narratology
The Look， the Body， and the Heroine of Persuasion：
A Ferrurust-Narratological View of Jane Austen
Discourse， Gender， and Gossip：
Some Reflections on Bakht in and Emma
Who Is Speaking Here?
Free Indirect Discourse， Gender， and Authority in Emma
Parsing the Female Sentence：
The Paradox of Containment in Virginia Woolf's Narratives
Spatialization， Narrative Theory， and Virginia Woolf's
The Rhetoric of Feminist Conversation：
Virginia Woolf and the Trope of the Twist
The Terror and the Ecstasy：
The Textual Politics of Virginia Woolf's
Seismic Orgasm： Sexual Intercourse and Narrative Mearing in Mina Loy
Ironies of Politeness in Anita Brookner's Hotel du Lac
Angela Carter's New Eve（lyn）：
De/En-Gendering Narrative
Queering Narratology
Susan S．Lanser
Coda． Incredulity toward Metanarrative：
Negotiating Postmoderrusm and Fenunisms
Select Bibliography on Feminist Narratology
Notes on the Contributors
Index

To be sure， Anne's physical discomforts usually result from what she must-as focal character-see or overhear by being present in situations that do not directly involve her. The most striking instance would be her overhearing Wentworth's conversation with Louisa during their walk in the country： if Anne， the central consciousness， did not witness this upsetting scene， it would have to be absent from the narration. Similar painful instances of Anne's requisite presence in scenes she might prefer to avoid include her weeping as she plays the piano to accompany the others' dancing， her discomposure during the moments at Camden Place when her family treats Wentworth disparagingly， and her observations of Wentworth's grief over Louisa's accident. Critics have pointed to the lack of privacy in Austen's world as representing the lived experience of early nineteenth-century， middle-class women， which of course it does. Speaking strictly historically， one could surmise that a woman of Anne Elliot's class and marital status would have had very little opportunity for solitude or for choosing whether to be present at social and family events. From a narratological point of view， however， the lack of privacy of Austen's heroines is more significantly a direct result of the novelist's choice of narrative perspective. L fall information is to be conveyed to the narratee through the filter of Anne's perceptions， then the heroine must perforce be present at every significant scene. For Anne， whose observations lead so often and so directly to "painful agitation，" her placement as the focal character means her body is subject to a continual emotional battering， the inevitable outcome of her narrative function. Throughout much of Persuasion， the heroine's body must necessarily be a body in pain.
That pain is gradually allayed， however， as the more positive sensations of the revised last chapters indicate. Though in many respects Anne Elliot's character seems fully formed at the beginning of the novel （setting her apart from Austen's other heroines， with the possible exceptions of Elinor Dashwood and Fanny Price）， her relation to the body changes and improves. Other characters continually note the alteration in Anne's appearance as she recovers her lost bloom； her body as visual object changes more than her values and perceptions， the locations of change in heroines like Emma Woodhouse， Elizabeth Bennet， and Catherine Modand. But Anne does experience a subjective change in her relation to the bodies of other women， particulady the maternal body of Mrs. Musgrove. In early scenes， Mrs. Musgrove is presented explicitly in terms of her excessive fleshiness， and the narrative reflects both Anne's consciousness of Mrs. Musgrove's bulk and her distaste for it. In the early scene where Wentworth commiserates with Mrs. Musgrove over the loss of her son， "a thick-headed， unfeeling， unprofitable Dick Musgrove， who had never done any thing to entitle himself to more than the abbreviation of his name， living or dead" ， Anne is highly conscious of the fact that her own body is in close proximity with Wentworth's， being "divided only by Mrs. Musgrove. It was no insignificant barrier indeed. Mrs. Musgrove was of a comfortable substantial size， infinitely more fitted by nature to express good cheer and good humour， than tenderness and sentiment； and while the agitations of Anne's slender form， and pensive face， may be considered as very completely screened， Captain Wentworth should be allowed some credit for the selfcommand with which he attended to her large fat sighings over the destiny of a son， whom alive nobody had cared for" . This matrophobic moment-where Mrs. Musgrove's fleshy body and motherly grief are so satiricaUy juxtaposed with "the agitations of Anne's slender form"-has traditionally been read as an instance of Austen's own "regulated hatred，" but I would attribute the perception， like the majority of narrative observations in the novel， to Anne herself. As the focal character， as the filter for all visual information in the novel， Anne is surely the one to whom it would occur that Frederick ought to be given "credit" for seeming to sympathize. The passage attributes its revulsion from Mrs. Musgrove's "large bulky figure" partly to the simple fact that its f：lesh forms a barrier here between Anne's body and the male body she desires， which is， on a symbolic level， a fitting emblem for the pseudomaternal interference of Lady Russell in Anne's original engagement to him. But the passage also suggests that "tenderness" is the exclusive right of the slender， virginal， relatively youthful female body， inappropriate to the body of the sexually experienced mother.
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