ABSTRACT

This article locates Fantomina in a literary tradition that proposes all-female communities, such as convents and monasteries, as liberating and empowering spaces. I argue that the novella implies a virtual community rather than an actual one, as the heroine collectively embodies many different women, all of distinct social ranks: the heroine is both one woman and a variety of women brought together under the auspices of a single body, much the way discrete individuals together compose a community. Then, too, Beauplaisir, the object of the heroine’s desire, treats all the personae the same, no matter their social station. This emphasis on what women share is itself a gesture toward a symbolic community as it suggests that all women are part of a common class. Secondly, I argue that through the protagonist's disguises the novella also offers the freedoms and challenge to women's roles seen in the literary tradition of women's community: the clothes serve as a protective space from which the heroine can experiment with behavior traditionally denied women.

摘要

本文位于Fantomina在文学传统中，建议所有女性社区，例如修道院和修道院，作为解放和赋予权力的空间。我认为中篇小说暗示了一个虚拟社区而不是一个真实的社区，因为女主人公共同体现了许多不同的女性，所有的社会等级都不同：女主人公既是一个女人，又是在一个身体的主持下聚集在一起的各种女人，就像离散的个体一起组成一个社区一样。然后，同样，女主人公渴望的对象 Beauplaisir 对所有人物一视同仁，无论他们的社会地位如何。这种强调女性所分享的东西本身就是对象征性社区的一种姿态，因为它表明所有女性都是一个共同阶级的一部分。其次，我认为通过主角'