explore individual texts in as much detail as readers might like. Given that Byrne’s central argument is that otherworlds are important for the ways in which they allow readers to view both literature and life from the new perspective of a fantastical third space, readers might also feel that the necessarily limited discussion of the relationship between many of these otherworlds and the texts enclosing them is sometimes frustratingly thin. Equally, since Byrne has elected to use the modern term ‘otherworlds’ despite having reservations about it, she might have benefited from reading a little more criticism of contemporary fantasy. Farah Mendlesohn’s Rhetorics of Fantasy (2008), for instance, makes useful distinctions between immersive and intrusive fantasies that would have done much to clarify and focus Byrne’s uneasy attempts to wrestle with these different forms. Nevertheless, Otherworlds is an ambitious and wide-ranging work that engages constructively with various debates around the roots and functions of medieval otherworlds while establishing new paradigms for further explorations of the magical and the marvellous in medieval literature of all kinds.

中文翻译：

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Joseph Campana and Scott Maisano (eds), Renaissance PosthumanismCampanaJoseph and MaisanoScott (eds), Renaissance Posthumanism (Fordham University Press, 2016), pp. vi + 335, $35.00

尽可能详细地探索个别文本，读者可能会喜欢。鉴于伯恩的中心论点是，其他世界对于让读者从奇幻的第三空间的新视角看待文学和生活的方式很重要，读者可能还会觉得对其中许多之间的关系的讨论必然有限。其他世界和包含它们的文本有时令人沮丧。同样，由于伯恩选择使用现代术语“其他世界”，尽管对此有所保留，她可能会从阅读更多对当代幻想的批评中受益。例如，法拉·门德尔松 (Farah Mendlesohn) 的《幻想修辞学》(2008)，对沉浸式和侵入式幻想进行了有益的区分，这对于澄清和聚焦伯恩与这些不同形式搏斗的不安尝试大有裨益。尽管如此，《异界》是一部雄心勃勃且范围广泛的作品，它建设性地参与了围绕中世纪异界的根源和功能的各种辩论，同时为进一步探索各种中世纪文学中的神奇和奇妙建立了新的范式。