Abstract:Alice Munro’s 2012 collection Dear Life offers a riveting meditation on states of perception throughout the life cycle in fictional and autobiographical contexts. Munro reaches beyond the typical adult processing of reality and takes readers into minds either developing or declining. Prominent in the collection are issues of being and consciousness, crucial to ontology and phenomenology respectively, as well as questions of selfhood explored in autobiographical theory. Two fictional stories stand out with regard to perception: the child’s perspective in “Gravel” and the elderly woman’s understanding in “In Sight of the Lake” express visions of reality at two ends of a spectrum. As Munro highlights the mind’s functioning, we understand the limits of youth, the imperfections of memory, and the impact of age. Because these and other stories in the collection evoke the life span, they anticipate the autobiographical finale, or last four stories that close Dear Life. In this dénouement, Munro blurs the boundaries between fact and fiction. Yet her intentional playfulness goes beyond the typical selectivity, exaggeration, and denial that all play a role in composing life stories. The closing sketches culminate in the privileged final piece, fittingly entitled “Dear Life.” By appropriating different versions of life events into “Dear Life,” Munro emphasizes personal agency and the creative process. Echoing the collection title, “Dear Life” takes us back to earlier stories by highlighting the types of cognitive issues raised in “Gravel” and “In Sight of the Lake.” Taken together, these three pieces, along with the author’s preamble to the finale, invite readers to discern multiple forms of insight and to ponder the deliberate ambiguity of Munro’s autobiographical project. In a collection that highlights states of perception throughout the life cycle, this elderly author asserts the primacy of her own perceptions about her life. She has the final word, whether this be truth, fiction, or somewhere in the middle. In her intense interest in character portraits and in her foray into self-portrait, Munro is fascinated by the mechanisms of the mind. We are invited to commune with her characters, consider human nature, and feel the experiences and traumas that shape us. Munro seeks to portray all of this in the young, the old, and those in between.

中文翻译：

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爱丽丝门罗亲爱的生活中的感知状态和个人代理

摘要：Alice Munro 2012 年的系列《亲爱的生活》（Dear Life）在虚构和自传语境中对整个生命周期中的感知状态进行了引人入胜的思考。门罗超越了典型的成人对现实的处理，并将读者带入发展或衰退的思想。该系列中突出的是存在和意识问题，分别对本体论和现象学至关重要，以及在自传理论中探索的自我问题。两个虚构故事在感知方面脱颖而出：“砾石”中的儿童视角和“湖中的视线”中老年妇女的理解在光谱的两端表达了对现实的愿景。正如芒罗强调了大脑的功能，我们理解了青春的极限、记忆的不完美和年龄的影响。因为该系列中的这些故事和其他故事唤起了生命的跨度，所以他们期待着自传的结局，或最后四个故事结束亲爱的生活。在这个结局中，芒罗模糊了事实与虚构之间的界限。然而，她有意的嬉戏超越了典型的选择性、夸张和否认，这些都在创作生活故事中发挥作用。闭幕草图在最终的特权作品中达到高潮，恰如其分地命名为“亲爱的生活”。通过将不同版本的生活事件挪用到“亲爱的生活”中，Munro 强调个人能动性和创作过程。与系列标题相呼应，“亲爱的生活”通过突出“砾石”和“湖之视野”中提出的认知问题类型，将我们带回了早期的故事。综合起来，这三首曲子，连同作者对大结局的序言，邀请读者辨别多种形式的洞察力，并思考芒罗自传计划中故意含糊不清的问题。在一个突出整个生命周期感知状态的集合中，这位年长的作者断言了她自己对自己生活的感知的首要地位。她有最终决定权，无论是真相、虚构还是介于两者之间。由于对人物肖像的浓厚兴趣和对自画像的尝试，门罗对心灵的机制着迷。我们受邀与她的角色交流，思考人性，感受塑造我们的经历和创伤。Munro 试图在年轻人、老年人和介于两者之间的人身上描绘这一切。在一个突出整个生命周期感知状态的集合中，这位年长的作者断言了她自己对自己生活的感知的首要地位。她有最终决定权，无论是真相、虚构还是介于两者之间。由于对人物肖像的浓厚兴趣和对自画像的尝试，门罗对心灵的机制着迷。我们受邀与她的角色交流，思考人性，感受塑造我们的经历和创伤。Munro 试图在年轻人、老年人和介于两者之间的人身上描绘这一切。在一个突出整个生命周期感知状态的集合中，这位年长的作者断言了她自己对自己生活的感知的首要地位。她有最终决定权，无论是真相、虚构还是介于两者之间。由于对人物肖像的浓厚兴趣和对自画像的尝试，门罗对心灵的机制着迷。我们受邀与她的角色交流，思考人性，感受塑造我们的经历和创伤。Munro 试图在年轻人、老年人和介于两者之间的人身上描绘这一切。由于对人物肖像的浓厚兴趣和对自画像的尝试，门罗对心灵的机制着迷。我们受邀与她的角色交流，思考人性，感受塑造我们的经历和创伤。Munro 试图在年轻人、老年人和介于两者之间的人身上描绘这一切。由于对人物肖像的浓厚兴趣和对自画像的尝试，门罗对心灵的机制着迷。我们受邀与她的角色交流，思考人性，感受塑造我们的经历和创伤。Munro 试图在年轻人、老年人和介于两者之间的人身上描绘这一切。