This article considers the illustration of Jacques Cazotte's prototypical fantastic novella Le Diable amoureux from its publication in 1772 through to the twentieth century. Setting out and applying a theoretical approach based on narratological models proposed by Gerard Genette and subsequent theorists, it examines the role of the ‘spectator’ embedded within images in generating narrative ambiguity and provoking the hesitation on the part of the reader/viewer that Tzvetan Todorov identified as the key feature of the fantastic. The different types of spectator are defined and their interaction with textual narration analysed.

中文翻译：

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瞥见魔鬼的故事？在Cazotte的Le Diable amoureux插图版中追求梦幻般的视觉叙事

本文考虑了雅克·卡佐特（Jacques Cazotte）从1772年出版到20世纪的原型奇幻中篇小说Le Diable amoureux。提出并应用基于Gerard Genette和后来的理论家提出的叙事学模型的理论方法，它研究了嵌入图像中的“旁观者”在产生叙事歧义和引起读者/观看者犹豫的过程中的作用，Tzvetan Todorov被确定为梦幻般的关键功能。定义了不同类型的观众，并分析了他们与文本叙述的互动。