Snagsby's paper shop inBleak House(1853) deals in “all sorts of blank forms of legal process; in skins and rolls of parchment; in paper—foolscap, brief, draft, brown, white, whitey-brown, and blotting; in stamps; in office-quills, pens, India-rubber, pounce, pins, pencils, sealing-wax, and wafers; in red tape, and green ferret; in pocket-books, almanacks, diaries, and law lists; in string boxes, rulers, inkstands—glass and leaden, penknives, scissors, bodkins, and other small office cutlery; in short, in articles too numerous to mention.” While one might imagine this stifling bookish environment as especially inviting for an object-oriented reading, this passage has recently attracted what I might call a newly inflected kind of subject-oriented reading. This description fromBleak Housemakes an appearance in two recent critical monographs concerned with how the reader's cognitive capabilities meet words on the page to transform them into a felt reality. How does a passage like this act on our minds, creating mental images or offering a sense of embeddedness in an unreal “reality”? How does fiction become phenomenological?

中文翻译：

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虚拟思维、维多利亚时代的小说和建模问题

Snagsby 的纸店在荒凉山庄(1853) 处理“各种空白形式的法律程序；在羊皮纸和羊皮纸卷中；在纸上——傻瓜、简报、草稿、棕色、白色、白棕色和吸墨；在邮票上；办公用羽毛笔、钢笔、印度橡胶、弹珠、别针、铅笔、封蜡和薄饼；在繁文缛节和绿色雪貂；在袖珍本、历书、日记和法律清单中；线盒、尺子、墨水瓶——玻璃和铅、小刀、剪刀、bodkins和其他小型办公室餐具；简而言之，在无数的文章中无法提及。” 虽然人们可能会认为这种令人窒息的书香环境特别适合面向对象的阅读，但这段话最近吸引了我可以称之为新变化的面向主题的阅读。这个描述来自荒凉山庄出现在最近的两本关于读者的认知能力如何与页面上的文字相结合以将其转化为感觉现实的批评专着中。像这样的段落如何在我们的脑海中发挥作用，创造心理图像或提供一种不真实的“现实”中的嵌入感？小说如何成为现象学的？