ABSTRACT

This essay explores how structures of looking and parabasis in Fleabag replicate the second-person pronoun’s ability to interpellate a storyworld-external reader in textual narrative, and the extent to which it may be considered a televisual example of second-person narrative. Using David Herman’s typology of narrative-you, I argue that Phoebe Waller-Bridge’s use of the camera in Fleabag creates the impression of an addressee that is both inside and outside the diegesis. This gaze reproduces the ontological hesitation which characterises Herman’s notion of the doubly deictic you. Fleabag’s use of parabasis to cross the narrative threshold consequently produces a temporal schism between what Bergson describes as the perception of a moment as it happens and the reflection of it as though it has already happened. Crucially, this doubleness is particular to both the doubleness in the structure of shame according to Sartre and the double deixis of the second-person mode more broadly. Waller-Bridge’s use of parabasis serves as an original contemporary case study for advancing critical discussions of second-person narrative theory in relation to temporality and affect.

摘要

本文探讨了 Fleabag 中的look and parabasis 结构如何复制第二人称代词在文本叙事中质疑故事世界外部读者的能力，以及它在多大程度上可以被视为第二人称叙事的电视示例。使用大卫赫尔曼的叙事类型学——你，我认为菲比沃勒布里奇在Fleabag中对摄影机的使用创造了一个在故事内部和外部的收件人的印象。这种凝视再现了赫尔曼关于双重指示的你的概念的本体论犹豫。跳蚤袋因此，在柏格森所描述的对发生的时刻的感知和对仿佛已经发生的时刻的反映之间产生了一种时间分裂。至关重要的是，这种双重性对于萨特的羞耻结构中的双重性和更广泛的第二人称模式的双重指示来说都是特殊的。Waller-Bridge 对 parabasis 的使用是一个原创的当代案例研究，用于推进与时间性和情感相关的第二人称叙事理论的批判性讨论。