This essay compares two novel forms that are separated by more than 250 years: Henry Fielding’s Joseph Andrews, published in 1742, and Philippa Burne’s hypertext fiction “24 Hours with Someone You Know,” copyrighted in 1996. Using narratological, pragmatic, and cognitive tools and theories, the confrontation of the two distant texts aims to highlight that while “the ethics of the telling” is congruent with the “ethics of the told” in both stories (Phelan, Rhetoric), the texts differ in the pragmatic positioning of their audiences and the freedom that they seem to grant readers, thereby emphasizing the evolution of the authorreader relationship across centuries and media. The article shows to what extent digital fiction can be said to invite the active participation of the reader via the computer mouse/cursor. Meanwhile it exposes a paradox: although Joseph Andrews is a highly author-controlled narrative, guiding the reader’s ethical interpretation of what is told, it seems to leave more “space” for the actual reader, while Burne’s participatory framework, conveyed through a second-person pronoun that blurs the line between implied and actual audience, requires some “forced participation” (Walker) via the “virtual performatives” that hyperlinks represent. Finally the specificity of “you” digital fiction as opposed to its print counterpart is theorized in two contrasted models of audience.

中文翻译：

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从新生小说到数字小说的读者自由：面对菲尔丁的约瑟夫安德鲁斯和伯恩的“与你认识的人的 24 小时”

这篇文章比较了两种相隔 250 多年的小说形式：亨利·菲尔丁的约瑟夫·安德鲁斯 (Joseph Andrews)，出版于 1742 年，菲利帕·伯恩 (Philippa Burne) 的超文本小说“与你认识的人共度 24 小时”，版权于 1996 年。和理论，两个遥远文本的对抗旨在强调，虽然“讲述的伦理”与两个故事（Phelan，修辞学）中的“被讲述的伦理”是一致的，但文本的语用定位不同。观众和他们似乎赋予读者的自由，从而强调了跨世纪和跨媒体的作者读者关系的演变。这篇文章展示了数字小说在多大程度上可以通过计算机鼠标/光标邀请读者的积极参与。同时它暴露了一个悖论：尽管约瑟夫·安德鲁斯是一个高度作者控制的叙事，指导读者对所讲述内容的道德解释，但它似乎为实际读者留下了更多的“空间”，而伯恩的参与框架，通过模糊界限的第二人称代词传达在隐含的和实际的观众之间，需要通过超链接所代表的“虚拟表演”进行一些“强制参与”（Walker）。最后，“你”数字小说与其印刷小说的特殊性在两种截然不同的观众模型中被理论化了。通过模糊隐含观众和实际观众之间界限的第二人称代词传达，需要通过超链接代表的“虚拟表演”进行一些“强制参与”（Walker）。最后，“你”数字小说与其印刷小说的特殊性在两种截然不同的观众模型中被理论化了。通过模糊隐含观众和实际观众之间界限的第二人称代词传达，需要通过超链接代表的“虚拟表演”进行一些“强制参与”（Walker）。最后，“你”数字小说与其印刷小说的特殊性在两种截然不同的观众模型中被理论化了。