| 英文摘要 |
The term 'the implied author' has commanded approximately the same degree of respect among literary critics as such other venerable New Critical terms as 'intentional fallacy' and 'personal heresy.' The term, if not necessarily the concept, was proposed and made popular by Wayne Booth in his 1961 landmark work The Rhetoric of Fiction. Its far-reaching influence is perhaps best attested by the later appearance of Wolfgang Iser's influential book on a comparable concept from the vantage point of reader response, entitled, significantly, The Implied Reader. If 'to assimilate or interpret something is to bring it within the modes of order which culture makes available ... by talking about it in a mode of discourse which a culture takes as natural,' the reading strategy 'the implied author' is precisely a mode of discourse that has attained the assured status of a convention which, in turn, has been taken as 'natural.' The tendency to confuse the conventional with the natural in the attitude toward the concept was, in fact, manifest at the moment the term was advanced. Booth first demonstrated his intended meaning for the term by using it in the following context: 'As [a writer] writes, he created not simply an ideal, impersonal 'man in general' but an implied version of 'himself that is different from the implied authors we meet in other men's works. To some novelists it has seemed, indeed, that they were discovering or creating themselves as they wrote. |
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