Abstract Aislinn Hunter is a Canadian writer whose work reveals a consistent fascination with visual and material culture. Although her books span multiple genres, this essay focuses on her most experimental (and, it is suggested, under-read) work to date, A Peepshow With Views of the Interior: Paratexts (2009). This essay offers an analysis of the book’s intricate design, which is simultaneously paratextual and ekphrastic (the title of A Peepshow indicates one source of its inspiration in the seventeenth-century work of the highly experimental Dutch realist painter Samuel van Hoogstraten). The article begins with a consideration of the relevance of the paratextual form to A Peepshow’s concerns with the object world and a Heideggerian philosophy of things. The analysis then shifts to consider the relationship between paratext and ekphrasis as parallel arts of “framing,” especially as demonstrated by the example of van Hoogstraten’s famous perspective box embedded within Hunter’s own Peepshow. Finally, the essay seeks to extrapolate some broader implications from the encounter with this particular text, which both implicitly (in its very structure) and explicitly (in its critique of contemporary visual and verbal literacies) invites one to contemplate the effects of the medial transformation underway in the shift to more dispersed and nonlinear digitized textual forms.

中文翻译：

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“他人造物的奇妙未知”：艾斯林·亨特的“窥视秀”，带有内部观感：旁观者

摘要艾斯琳·亨特（Aislinn Hunter）是一位加拿大作家，他的作品揭示了对视觉和物质文化的一贯迷恋。尽管她的作品涵盖多种类型，但本文重点介绍了迄今为止她最具实验性（建议是阅读不足）的作品，《窥视室内视界：Paratexts》（2009年）。本文对这本书的复杂设计进行了分析，该设计同时具有超文本性和超文本性（“ A Peepshow”的标题表明了该书的灵感来自于高度实验的荷兰现实主义画家塞缪尔·范·霍格斯特伦（Samuel van Hoogstraten）的十七世纪作品）。本文首先考虑了超文本形式与A Peepshow关于对象世界和海德格尔式事物哲学的关注的相关性。然后，分析开始转向将跨文本与内脏之间的关系视为“框架”的平行艺术，尤其是如范·霍格斯特伦（Her Hunter）嵌入亨特自己的《窥视秀》（Peepshow）中著名的透视盒的例子所证明的那样。最后，本文试图从与这种特定文本的相遇中推断出一些更广泛的含义，这些含义隐含地（在其结构上）和明确地（在其对当代视觉和言语文学的批判中）都邀请人们去思考中间转换的影响转向更加分散和非线性的数字化文本形式的过程中。