This article explores the prominence of the body in Janice Galloway’s short fiction. Drawing mainly on Kristeva’s notions of the semiotic and the abject, the argument initially establishes the central place of physicality in Galloway’s poetics. Her creative project is inspired by a desire to transmit in writing the experience of being alive, of how being is intrinsically fragile, inexorably bound to extinction. In a particularly sharp manner that engages the reader more actively than her novels, her short stories exhibit both formally and thematically an interaction of the symbolic and the semiotic. As being attentive to life entails an awareness of death if one is to write realistically, the ensuing discussion of stories from her three collections –Blood (1991), Where you find it (1996) and Jellyfish (2015)– reveals that abjection, the extreme version of the semiotic that threatens to cancel out the symbolic, is paramount in her creative universe.

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“什么都不做”：珍妮丝·加洛韦（Janice Galloway）的短篇小说中的身体，举止和创造

本文探讨了珍妮丝·加洛韦（Janice Galloway）短篇小说中身体的突出地位。该论点主要借鉴克里斯蒂瓦（Kristeva）的符号学和无神论的概念，最初确立了身体在加洛韦诗学中的中心地位。她的创意项目受到了一种愿望的启发，即希望以书面形式传达出生存的经验，生存方式的内在脆弱性，灭绝的必然性。与她的小说相比，她的短篇小说以一种特别敏锐的方式吸引读者，她的短篇小说在形式上和主题上都展现了符号和符号的相互作用。如果要写实事，那么对生活的关注就意味着对死亡的意识，因此，随后对她的三个系列的故事的讨论-血液（1991），发现它的地方（1996）和水母（2015）-揭示了这种抛弃，