This paper critiques the literary representation of the human body as a “clean” slate, an organically wholesome subject by delving into the postmodern body-writing of Shelley Jackson’s short story collection The Melancholy of Anatomy (2002). Building upon the idea of “metabody” or grotesque body-part as subjects, the flesh-characters, namely Egg, Sperm, Foetus, Cancer, Nerve, Phlegm, Blood, Milk and Fat, breaks apart from their marginality, and evolves in a rhizomatic structure, pressing their possibilities of manifold existence in a fantastical world. Through the lens of body studies critics (Mikhail Bakhtin and Elisabeth Grosz) and recent postmodern scholarship, the paper studies the performance of flesh-characters, creating a post-mortem pathology in literature. Jackson’s deviant approach re-maps the anatomy of the human body and engages in psychophysiological parodies, thereby disclosing social phobias pertaining to the repulsive sides of the human and feminine body. Metabodies are self-reflexive, postmodern grotesque, with micro-narratives; and their innovative representations give agency and consciousness to the usually discarded body-parts and fluids, thereby making the human body a non-normative and discursive text and context.

中文翻译：

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后现代/验尸人体部位：解剖学忧郁中的怪诞主题

本文通过深入研究雪莱·杰克逊的短篇小说集《解剖学的忧郁》（2002 年）的后现代身体写作，批评了将人体作为“干净”的石板的文学表现，这是一个有机健康的主题。以“元体”或奇形怪状的身体部位为主体，蛋、精子、胎儿、癌症、神经、痰、血、乳、脂肪等肉体脱离了边缘，进化为根茎状结构，在一个奇幻的世界中推动了它们多种存在的可能性。通过身体研究批评家（米哈伊尔·巴赫金和伊丽莎白·格罗兹）和最近的后现代学术研究，本文研究了肉体人物的表现，创造了文学中的死后病理学。杰克逊的离经叛道的方法重新绘制了人体的解剖结构并进行了心理生理学模仿，从而揭示了与人类和女性身体令人厌恶的一面有关的社交恐惧症。元体是自我反思的、后现代怪诞的、带有微观叙事的；他们的创新表现赋予了通常被丢弃的身体部位和体液以代理和意识，从而使人体成为非规范和话语的文本和上下文。