<DIV>In Experiencing Fiction, James Phelan develops a provocative and engaging affirmative answer to the question, “Can we experience narrative fiction in similar ways?” Phelan grounds that answer in two elements of narrative located at the intersection between authorial design and reader response: judgments and progressions. Phelan contends that focusing on the three main kinds of judgment—interpretive, ethical, and aesthetic—and on the principles underlying a narrative’s movement from beginning to end reveals the experience of reading fiction to be potentially sharable. In Part One, Phelan skillfully analyzes progressions and judgments in narratives with a high degree of narrativity: Jane Austen’s Persuasion, Toni Morrison’s Beloved, Edith Wharton’s “Roman Fever,” and Ian McEwan’s Atonement. In Part Two, Phelan turns his attention to the different relationships between judgments and progressions in hybrid forms—in the lyric narratives of Ernest Hemingway’s “A Clean, Well-Lighted Place,” Sandra Cisneros’s “Woman Hollering Creek,” and Robert Frost’s “Home Burial,” and in the portrait narratives of Alice Munro’s “Prue” and Ann Beattie’s “Janus.” More generally, Phelan moves back and forth between the exploration of theoretical principles and the detailed work of interpretation. As a result, Experiencing Fiction combines Phelan’s fresh and compelling readings of numerous innovative narratives with his fullest articulation of the rhetorical theory of narrative.<DIV> <DIV> </DIV>
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叙事学理论是文本细读典范。不过论证逻辑很容易外露，容易被抓住马脚，不像以哲学为导向的文学批评那么艰涩隐晦、泥沙俱下。费伦这本不够劲儿。
评分叙事学理论是文本细读典范。不过论证逻辑很容易外露，容易被抓住马脚，不像以哲学为导向的文学批评那么艰涩隐晦、泥沙俱下。费伦这本不够劲儿。
评分叙事学理论是文本细读典范。不过论证逻辑很容易外露，容易被抓住马脚，不像以哲学为导向的文学批评那么艰涩隐晦、泥沙俱下。费伦这本不够劲儿。
评分叙事学理论是文本细读典范。不过论证逻辑很容易外露，容易被抓住马脚，不像以哲学为导向的文学批评那么艰涩隐晦、泥沙俱下。费伦这本不够劲儿。
评分叙事学理论是文本细读典范。不过论证逻辑很容易外露，容易被抓住马脚，不像以哲学为导向的文学批评那么艰涩隐晦、泥沙俱下。费伦这本不够劲儿。
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