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本文是一篇英语文学论文，本论文将女性哥特的体裁研究与女权主义的性别研究相结合，探讨《手指匠》中的女性哥特叙事和性别政治，这表明莎拉·沃特斯以女性哥特式风格引导读者重新审视被歪曲的过去，重新审视维多利亚时代女性在残酷的父权社会中所遭受的压迫和迫害。同时，沃特斯充分而生动地描述了这些女同性恋者在异族父权制的压制下所遭受的苦难，以及她们是如何被边缘化、被排斥在主流文化之外并逐渐被历史遗忘的。

Chapter One  Sarah Waters and Fingersmith

Sarah Waters and Her Major Works

Sarah  Waters,  one  of  the  most  important  and  critically  acclaimed  contemporary British  writers,  was  born  on  July  21,  1966  in  Neyland,  South  West  Wales,  United Kingdom.  All  her  novels  are  “highly  self-reflexive  in  the  representation  of  history” (Boehm 250), thereby she earned a reputation as one of the greatest writers of historical fiction,  as  Entertainment  Weekly  comments  her  that  “Waters  is  an  absolute  master  of pulse-pounding historical fiction” (Waters 2002a: n. p.). Due to the great success of her works,  many  honors  have  bestowed  on  her.  For  instance,  she  was  named  one  of Granta‟s  20 “Best  of Young  British  Novelists”  in  2003,  “Author of the Year”  at  the 2003 British Book Awards and “Writer of the Year” at the annual Stonewall Awards in 2006 and 2009. Besides, she was appointed as an elected Fellow of the Royal Society of Literature. 

She  earned  her  bachelor‟s  degree  in  English  and  American  Literature  at  the University  of  Kent  in  1987  and  master‟s  degree  in  Contemporary  Literary  Theory  at Lancaster University in 1988. In 1992, she began to work for her doctorate in English Literature  at  Queen  Mary,  University  of  London,  and  started  to  write  fiction.  Having devoted  herself  to  Victorian  literature,  she  finished  her  Ph.  D  dissertation  entitled “Wolfskins and Togas: Lesbian and Gay Historical Fictions, 1870 to the Present”, which provided inspiration for her novels.

Waters began to gain fame and attracted widespread attention among readers and critics since the publication of her first novel in 1998. She wrote in an article that “the nineteenth  century  always  felt  to  me  to  a  certain  extent  like  a  stage-set,  already mythicized  by  its  own  extravagant  fictions  and  by  a  century‟s  worth  of  period  novels and nostalgia” (Waters, “Romance among the Ruins” 4). Hence, her first three novels, including  Tipping  the  Velvet,  Affinity  and  Fingersmith,  are  all  set  in  the  nineteenth century.  And  due  to  her  vivid  description  of  the  marginalized  and  neglected  women during the Victorian era, they are frequently referred to as the “Neo-Victorian” trilogy.

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