摘要：Although, in some ways, Sarah Waters's Affinity looks akin to historiographic metafiction, Marie-Luise Kohlke has persuasively argued that the text is more accurately dubbed "new(meta)realism", a mode that demonstrates the exhausted potential of the form. This article suggests that genre play and a meta-generic mode, dubbed taxonomography, might be a further helpful description for the mechanism through which Waters's novel effects its twists and pre-empts the expectations of an academic discourse community. This reading exposes Waters's continuing preoccupation with the academy but also situates her writing within a broader spectrum of fiction that foregro unds genre as a central concern. Ultimately, this article asks whether Waters's novel can, itself, be considered as a text that disciplines its o wn acad emic stud y in the way that it suggests that the academy has become, once more, blind to class.
