ABSTRACT In Alice Munro’s short story, ‘Dimension,’ the protagonist Doree shifts through the nightmare aftermath of her children’s murder. Her husband Lloyd, the murderer, has been incarcerated in a facility for the criminally insane, and his madness can be read as ‘clearly distinguishable from those understood as neurotic or psychotic’.1 Lloyd demonstrably endures some kind of ‘narcissistic crisis’ (Kristeva, 14) and, his drives and impulses disordered, his actions are regulated instead by ‘repugnance, disgust, abjection’ (Kristeva, 11). Munro begins her story with Doree making a third trip to visit her antagonist; the first two he has ‘refused to see her’,2 and at work within these narrative structures are spatial, psychic, and potentially cathartic drives. Doree explores a boundary containing a monstrous presence, circling as if locked in the afterwardsness of repetition compulsion. She is at once searching for a means to anesthetise her trauma while seeking for ways to shatter those imago her much older husband has so expertly (and toxically) constructed.

中文翻译：

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“知道自己”吗？爱丽丝·芒罗（Alice Munro）的《维度》中的边界线性

摘要在爱丽丝·芒罗（Alice Munro）的短篇小说《 Dimension》中，主角多丽（Doree）经历了孩子被谋杀的噩梦。她的凶手丈夫劳埃德（Lloyd）已被关押在犯罪疯狂的设施中，他的疯狂可以被理解为“与那些被理解为神经质或精神病的人明显不同”。1劳埃德（Lloyd）显然承受着某种“自恋危机”（克里斯蒂瓦（Kristeva） （14），并且他的动力和冲动很混乱，他的行为由“拒绝，厌恶，忍耐”来调节（Kristeva，11）。蒙罗（Munro）从多丽（Doree）第三次访问她的对手开始她的故事。他“拒绝见她”的头两个，[2]在这些叙事结构中的工作是空间，心理和潜在的宣泄驱动力。多瑞（Doree）探索了一个包含巨大存在的边界，盘旋，仿佛陷入了重复强迫的事后。她立即​​寻找一种麻醉她的创伤的方法，同时寻找方法来粉碎她那位年长的丈夫如此熟练（而且有毒）地构造的图像。