This paragraph discusses the complementarity between narratology and stylistics in studying the expressive techniques of fiction, pointing out that although the concepts of "discourse" and "style" appear similar on the surface, they actually refer to substantially different techniques, and only by combining both can one fully grasp the expressive layer. It systematically introduces Professor Shen Dan's pioneering contributions in this interdisciplinary field, including her contributions to international authoritative publications and the publication history of her monograph Narratology and the Stylistics of Fiction, translated as Discourse and Style, elaborating on the challenges faced during the translation process such as content updating and audience transformation, as well as the corresponding rewriting and innovative strategies.

1 Rewriting and Updating the Original Work

This section introduces Shen Dan's rewriting and updating of the original work. She删减了针对中国读者的铺垫性内容，保留核心章节并将第八章拆分为三章，更改书名为《话语与文体》。她对多章更新增补，特别是第四章第一节，该内容后以论文形式发表于国际顶级期刊《文体》。此外，前言改写并新增结语，使译著聚焦叙述学话语与文体学文体的关系，成为具有国际领先价值的英文专著。

2 Rehabilitating Narrative Poetics and Literary Stylistics

This section discusses Shen Dan's academic efforts to rehabilitate classical narrative poetics and literary stylistics, noting that formal technique studies have regained attention after the impact of the socio-historical turn in Western academia. By distinguishing the relationships between "story" and "discourse," and "discourse" and "style," she clarifies that the former concerns structural techniques transcending verbal expression while the latter focuses on word choice and sentence construction, with the two complementing each other. It also reviews three types of interdisciplinary research models where stylistics draws upon narratology, and uses an analysis of Hemingway's short stories to demonstrate how formal aesthetic research and contextual criticism can mutually promote each other, providing a theoretical foundation for interdisciplinary technique analysis.

3 One Area of Overlap between Discourse and Style: Narrative Vision

This section discusses the theoretical confusion regarding narrative vision as a core overlapping area between the two disciplines. Shen Dan points out the one-sidedness arising from narratology's focus on focalization and stylistics' focus on the narrator's voice, and redefines point of view from an interdisciplinary perspective. She reveals the penetration of the focalizing character's voice into the narrator's voice, distinguishes between focalizing and non-focalizing characters, and clears up the confusion in stylistics between the narrator's voice and focalizing vision. By reclassifying five types of external narrative vision and four modes of internal focalization, Shen Dan distinguishes between first-person retrospective narration and third-person centers of consciousness, and explores the regulatory mechanisms of the narrator's covert commentary in omniscient modes. She also analyzes the functional effects of different narrative versions of the same story, systematically studies the author's "transgression" phenomenon beyond mode boundaries, and points out its rhetorical functions and essential differences from variable focalization.

4 Another Area of Overlap between Discourse and Style: Modes of Presenting Character's Speech

This section discusses the area of overlap between narratology and stylistics concerning modes of presenting character's speech, analyzing the functional characteristics and complementarity of different speech presentation modes, with particular focus on free indirect discourse, "ambiguous" expressions, and the "slipping" phenomenon. It reveals the unique expressive forms developed in Chinese fiction due to characteristics such as the absence of tense markers in Chinese, and the challenges these pose in translation.

5 High Praise from the International Academic Community

This section discusses the academic contributions and distinctive features of Shen Dan's new English work Discourse and Style. The book closely examines the relationship between narratological discourse and stylistic style, revealing the rationality of the independent existence of classical narrative poetics and its complementarity with contextual criticism, clarifying the necessity of formal narratology and literary stylistics for aesthetic research, and identifying overlaps between the two in narrative vision and modes of presenting character's speech. The author theorizes the unique expressive forms of Chinese fiction with a defamiliarizing vision, demonstrating academic characteristics of pioneering innovation, challenging authority, and transcending oneself. The work has received high praise from international authoritative scholars such as James Phelan and Porter Abbott, and is considered to have milestone significance in interdisciplinary research.