ABSTRACT In Eimear McBride’s debut novel, A Girl Is a Half-formed Thing, point of view is generally focalised through the protagonist-narrator, yet the free indirect discourse of her environment overtakes her narration frequently. This style produces an “invaded narrator” who cannot overcome or process her abuse. The protagonist-narrator is consistently bombarded by the discourse of the culture that surrounds and overtakes her. Furthermore, since the protagonist has no means of asking for help or protection from her abusers, the repeated traumas she suffers go unaddressed and untreated. In this way, Girl is a novel about the conditions which allow abuse to proliferate and trauma to remain unacknowledged and therefore unresolved, both for individuals and their wider cultures. While the novel as a form can show a chronology of development leading towards understanding and recovery, it can equally show the process whereby the discourse that created the traumatic event subsumes the victim, restricting the ways in which she can speak. The novel’s discourse silences the narrator as Irish cultural discourse has so often silenced women.

中文翻译：

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艾米尔麦克布莱德的《女孩是半成品》中被入侵的叙述者

摘要 在艾米尔·麦克布莱德的处女作《一个女孩是个半成品》中，观点通常集中在主人公-叙述者身上，而对她所处环境的自由间接话语却经常超过她的叙述。这种风格产生了一个无法克服或处理她的虐待的“入侵叙述者”。主角-叙述者始终受到围绕并超越她的文化话语的轰炸。此外，由于主角无法向施虐者寻求帮助或保护，她反复遭受的创伤得不到解决和治疗。通过这种方式，《女孩》是一部关于允许虐待扩散和创伤未被承认并因此无法解决的条件的小说，无论是对个人还是更广泛的文化。虽然小说作为一种形式可以显示导致理解和恢复的发展年表，但它同样可以显示造成创伤事件的话语包含受害者的过程，限制了她说话的方式。小说的话语使叙述者沉默，因为爱尔兰文化话语经常使女性沉默。