Jane Austen,A Transitional Writer in the English Literature.doc

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1、Jane Austen,A Transitional Writer in the English Literature【摘 要】简奥斯汀是英国文学史上18世纪末新古典主义过渡到19世纪初浪漫主义的重要代表作家。本文重点从两方面探讨她的过渡性：一方面从作品的主题看，大部分奥斯汀的小说都反映了人们对婚姻态度及观念的变化；另一方面，从写作风格上看，她的作品以喜剧的形式讽刺社会，令人深思。【关键词】简奥斯；过渡时期As we all know, it is not until the second half of the 18th century that women novelists began

2、to appear in England. And some gifted women from the end of the 18th century to 19th century made some contributions to the development of the English novel, which even won their places in the front ranks of some realists like Charles Dickens, William Makepeace Thackeray, etc. Jane Austen (1775-1817

3、) was just such a great woman writer in this period. She brought the English novel to its maturity and her satirical fictions marked the transition from the 18th-century neoclassicism to the 19th-century romanticism in the English literature.Jane Austen was born at Steventon and the seventh child of

4、 a country clergyman family. She was educated at home and passed all her life in doing small domestic duties in the countryside. She wrote six complete famous novels, including Sense and Sensibility (1811), Pride and Prejudice (1813), Mansfield Park (1814), Emma (1816), Northanger Abbey (1818), and

5、Persuasion (1818).She lived and worked at the turn of the century, which witnessed a great change of the English society. Since the Industrial Revolution in the second half of the 18th century, the English social structure underwent rapid changes. The industrial capitalists began to control not only

6、 the economic but also the political power and thus the struggle between the workers and capitalists also became more and more sharp. Consequently, people started to doubt and even lose hope to the enlightening thoughts that was popular in the first half of the 18th century. Literature, as a “barome

7、ter” of the social life, also experienced great change. One of the most remarkable changes was in the literary taste. That is to say, people started to dislike Swifts brutality, Defoes frank realism, and even Fieldings masculine satire. So the works with the rational tone began to give way to the wo

8、rks full of sentiments.Under such a social and literary environment, Jane Austen exerted her transitional role in English literature. We can see it from two aspects.Firstly, in theme, most of Jane Austens novels reflect the process of the change of the attitude towards the marriage. As we all know,

9、in Austens novel Sense and Sensibility, one of the heroine, Elinor Dashwood, is quite sensible. She thinks very highly of a man whose worthiness in her eyes only increases when she learns why he cannot marry her. However, another heroine, Marianne Dashwood, is very sentimental at the beginning. So s

10、he trusts her senses and falls in love with a man who in truth is not as good as he seems and finally is abandoned. Through the different fates of these two sisters, Jane Austen shows us her early attitude towards the marriage that to marry according to sense will end in failure while with ration wi

11、ll succeed. Such a theme reflects that at first Jane Austen inherits the traditional enlightening thoughts. However, her minds change in her later novels, especially in her novels Pride and Prejudice and Persuasion. In these novels, sentiment becomes upper hand and attains success in the end. For ex

12、ample, at the very beginning of the novel Pride and Prejudice, Jane Austen wrote, “It is a truth universally acknowledged, that a single man in possession of a good fortune must be in want of a wife.”1 And the hero and theroine are the very sensible people. Mr. Darcy, from a noble family, has a stro

13、ng sense of family status and turns up his nose at the vulgarity of Bennet family. And Elizabeth Bennet is also very sensitive to her family background and becomes instantly prejudiced against Mr. Darcy, despite his good looks and great wealth. However, with the gradual deep intercourse and understa

14、nding between these two people, they fall in love with each other and finally smash the bonds of the ration and social pressure and marry. So this novel shows the victory of the sentiment, for it is just thanks to the deep love that makes these two people from different class status successfully mar

15、ry. This reflects that Jane Austens creating thoughts begins to change from the rationalism to the romanticism. Her last novel Persuasion also displays such a change. Therefore, we can say that it is just through the conflict between the ration and sentiment in the novels that Jane Austen accomplish

16、es the transition from the rational literature to the romantic literature.Moreover, her development from rationalism to the romanticism also reflects in her new concept of marriage. That is she advocates the only base of marriage should be the true love, not the family backgrounds and economic base.

17、 This vividly reflects in the scene of Elizabeth Bennet refusing Mr. Collins proposal. When Mr. Collins proposes to Elizabeth, she answers, “I thank you again and again for the honor you have done me in your proposals, but to accept them is absolutely impossible. My feelings in every respect forbid

18、it.”1 These words show Elizabeth the determination that she prefers to keep single in all her life rather than to marry to Mr. Collins without love, and therefore, establish a romantic character.Secondly, her transitional role also displays in her writing style. That is to say, on the one hand, she

19、inherited some characteristics of the neoclassicism in style and painted the world she knew; so it is foolish to expect from her the high-flown sentiment; but on the other hand, to some degree, her style is also different from the previous enlightening writers, like Fielding, just as she herself cla

20、imed that she not only painted the world she lived in with fidelity, but also with sympathy; with a sensitive sense of its blemishes, but also with a true insight into its redeeming virtues. So her characters evolve themselves without any great dramatic episodes. And although her language sparkles w

21、ith wit and irony, they are moderate. Her novel Pride and Prejudice provides a good example for this point. We know that Mr. Collins is a clergyman in this novel. When he sings high praise for his patroness, he says,“Lady Catherine was reckoned proud by many people, he knew, but he had never seen an

22、ything but affability in her. She had always spoken to him as she would to any other gentleman; she made not the smallest objection to his joining in the society of the neighborhood, nor to his leaving his parish occasionally for a week or two to visit his relations.”2It is true that these words are

23、 also the satire to Mr. Collins snobbery. But different from the traditional satire, Jane Austen is too conscious of peoples snobbery to be angry with them, and thus gives her criticism a flavor of humor. Therefore, we say that in style she is also a transitional writer at the turn of the century, j

24、ust as one of the most important neoclassicist, Sir Walter Scott, comments on her,“The big bow-wow strain I can do myself, like any now going; but the exquisite touch which renders ordinary commonplace things and characters interesting from the truth of the description and the sentiment is denied me

25、.”3To sum up, through the above analysis, we can make such a summary that Jane Austen plays a transitional role in the English literature from the 18th neoclassicism to the 19th romanticism. Trained in the enlightening tradition, she displays the feeling moderately; influenced by the coming romantic

26、ism, she satirizes the society in comedy. So it might be an error to say that Jane Austen is incapable of sentiment, because nobady can create a true comedy of life without romance and passion that is even in the humblest existence.【Notes】1Austen, Jane, 1997, Pride and Prejudice, Bei Jing: Foreign L

27、anguage Teaching & Research Press & OxfordUniversity Press, p.1.2Austen, Jane, 1997, Pride and Prejudice, Bei Jing: Foreign Language Teaching & Research Press & OxfordUniversity Press, p.48.3Craik, W. A. 1965, Jane Austen: The Six Novels, New York: Barnes & Noble Inc., p.56.【References】1Austen, Jane

28、, 1997, Pride and Prejudice, Bei Jing: Foreign Language Teaching & Research Press & Oxford University Press.2Craik, W. A. 1965, Jane Austen: The Six Novels, New York: Barnes & Noble Inc., p.56.3Rubinstein, Annette T. 1953, The Great Tradition in English Literature from Shakespeare to Shaw, New York:

29、 The Citadel Press.4朱红编写，1985，奥斯丁研究，北京：中国文联出版公司。英语专业毕业论文的写作方法Introduction: 毕业论文或学士学位论文（thesis）是每个本科生在毕业之前最重要的一项学习任务。写作毕业论文是总结、检验、深化所学专业知识的过程，同时也可以训练学生分析和解决问题的实际能力，从而为毕业后继续学习和运用所学专业知识进行更高层次的研究奠定基础。因此，每个本科生都必须认真对待，努力写好毕业论文。 完成毕业论文，需要一定的专业知识，也需要正确的写作方法。毕业论文或学士论文是一种研究性论文（research paper）。它的语气、格调和格式不同于非正规

30、文体，如技术报告、随笔等。毕业论文也讲究一定的学术性，但其要求与目的不同于在学术期刊上发表的学术论文。毕业论文是一种正规作文，必须遵循正规作文的规范。完成一篇毕业论文，一般要经过选择方向（论题）、确定论文题目、收集资料、研究分析参考资料、整理论据、拟订参考书目、拟订论文提纲、构思、拟写初稿、修改润色、校对和定稿等步骤。1.1选择论题和确定论文题目 选择论题和确定论文题目，应当考虑论题的学术研究价值，并力求有自己的见解，还必须考虑自己的专业水平、写作能力以及资料来源、写作时间等客观因素。 在确定论文题目的过程中，不宜草率从事、急于求成。英语专业涉及的范围很广，包括英语语言、英汉互译、英美文学、英

31、美文化和英语教学法。其中英语语言又包括语法、语音、词汇和修辞等领域。另外，历史研究也是也是一大方向，如英语史、翻译史、文学史等。 选择论题和确定论文题目，应以“小题大做”为原则，其要领是：先从上述范围内选择一个方向，然后逐渐缩小范围.选择论题与确定题目，必须弄明白研究方向、论题、题目之间的关系。研究方向是一个研究领域，范围较大、较泛。论题指论文要论证的命题，而论文题目只是论题的概括。如，英语翻译技巧是一个研究的方向，而论证翻译技巧的性质、用途就可成为一个论题。总之，确定论文题目应当在一个易于操作的小范围里去考虑。因为题目涉及的范围越小，越容易写得全面、深刻，从而使论文更有说服力。另外，每个领域

32、都有各自的具体内容和特点。因此，在考虑具体论题之前，先要了解特定领域的一般性知识，然后逐渐将自己的注意力集中于某个论题。1.2收集资料、分析资料、拟定参考书目从某种意义上说，选择与确定论题的过程首先是收集和阅读资料的过程。资料的来源主要是学校的图书馆和资料室，以及Internet的相关网站。查找、收集资料，必须熟悉掌握查阅资料的有关知识与方法。同时，在查阅资料的过程中应适时地做些记录。记录内容包括：作者名、书名能够、版本、出版单位、出版地点、出版日期和参考资料的页码等。参考资料若出自期刊，则应包括：刊物名称、期刊号、资料所在页码、文章作者、文章标题等。Internet为写作毕业论文提供了极大的

33、方便，但网上充斥着各种各样的信息，须注意甄别是专家权威的东西还是业余爱好者的东西，在引进论文时还须说明是否是专家权威的观点，并须注明出处，以免抄袭之嫌。确定论题之后，就是研究分析资料和拟定参考书目（working bibliography）。写毕业论文需要利用各种参考资料，但写作毕业论文决不仅仅时收集资料，或简单的“剪刀加浆糊”的工作。通常我们收集的资料都会多于实际写进论文里去的资料，论文作者必须对自己收集到的资料加以筛选和分析整理，并结合自己预想的论题，考察研究选定论题的可行性及学术研究价值，从而初步确定论文的题目。1.3构思与拟定提纲确定论题与题目之后，就要围绕论文的中心论点去构思了。构思

34、就是如何如利用事先准备好的资料，去阐释或论证论文的中心论点。因此你必须事实牢记你的论文的写作目的。写论文就是决定用哪些原始资料和如何使用这些原始资料，去实现你的论文的写作目的。无论是采用演绎还是归纳的形式安排资料，都必须议论文的中心论点来贯穿全文。为了更有效的阐述或论证中心论点，应当先有一个易于操作的论文提纲。拟写提纲本身就是一种思考与构思，其过程是对所准备的论据进行分析整理。论据一经整理，它们之间的关联就会显露出来，提纲的雏形也就形成了。粗略的提纲，应在继续分析整理论据的过程中，不断加以调整充实，事先确定的论点也可以做适当的调整、变通。要求按提纲写作为的是增强论文的条理性和逻辑性，以及论文结

35、构的完整性。一篇毕业论文，一般由引言（Introduction）、论文主体（Body）和结语（Conclusion）三大部分构成。引言部分的主要作用是提出论文的中心论点或导入正题。论文主体部分是论证分析。结余部分主要用来总结全文，重申论点。开头和结尾部分可安排一两个段落，而主体部分必须分成多段。 中心论点（thesis）是对一篇论文最集中的概括，既说出了论文的论题是什么，也说出了作者要对论题发表什么意见。论文的每一个段落都是通过提供支持中心论点的详细资料来阐明中心论点的。论点与各段落的关系，犹如一个段落里的句子与主题句（subject sentence）的关系。演绎式（inductively

36、arranged）则最后提出论点，论点还是结语的一个部分。 阐述或论证论点没有固定的方程式。用什么方式最合适，主要取决于论题和文章的目的，像“Modifications to American Democracy During the Next Twenty Years” 这样一个题目，大致有三种写法。第一种主要是提供知识、信息，如：“阐释对当代美国民主提出的种种建议”(“List and explain proposed modifications to contemporary American democracy”）。这种写法只是阐释问题，不作分析，因此适合报告一类论文，甚至篇幅较长的报

37、告。以英语专业论，很适合写英语教学的调查和实验研究。 第二种是在阐释的同时也做出倾向性不太强的分析，如：“最近提出的修改美国民主的建议的意义何在？”(“In what ways are the recent proposals to modify American democracy significant?”)。第三种写法是倾向性强烈的论文，既要提供相关的知识、信息，也要做出细致的分析，作者还要把立论。如：“评修改当代美国民主的建议”(“uate proposed modifications to contemporary American democracy”)。 第三种写法最难，因为立论

38、的论文必须毫不含糊地提出作者自己的观点，而且必须言之成理、令人信服。这就要求作者提出充分的证据，并反驳反面意见。 然而，富有挑战性的论题和题目能是作者更投入，只要付出足够的努力自然会有丰厚的回报。若要毕业论文有新意，有独立的见解，应该用第三种写法。1.4拟稿拟稿即拟写初稿，初稿虽是草稿，但必须全力以赴去写好。在拟稿的过程中，一般要注意以下几个问题： 1.开门见山，即在论文的引言部分提出论点，这是最常用的方法。另外，为了使作者思路显得缜密、中心突出，行文中应适时地重申论文的论点。提出论点要自然，避免机械生硬地提出论点，从而保持论文的完整性。 2.合理安排论文引证的材料。为避免文章显得臃肿，使行文

39、更加流畅，应慎用省略号。引证还要注意适度，即直接引证不宜过多。有些可以用自己的话来该概括。 3.不要遗漏事先准备好引用的论据。引证时须表明出处，以免与你自己的话相混。 4.重视引言和结语（introduction and conclusion）。一篇毕业论文的开头和结尾部分，具有很强的影响力，不可等闲视之。1.4.1引言的写法 引言部分对于引起读者的兴趣至关重要，应写得引人入胜，最主要是一点是让人读后能明白你的论文写什么，让人觉得你的目的明确。引言没有固定的程式，主要取决于论文的对象、论题和写作的方法。下面是几种最基本的方法。1.引语:以两句引语展开讨论，这两句精妙而带煽动性的评论颇能激发读者

40、的兴趣。接着又引用，有助于引向论文的中心。2.回顾历史（Historical review）:有时，读者在不了解相关是历史背景的情况下不能立即抓住你探讨的问题3.回顾论争（Review of a controversy）:回顾过去的争论或论争，是历史性回顾的一种特殊形式。4.从一般到具体（From the general to the specific）5.从具体到一般：掌故、实例（From the specific to the general: anecdote）：以逸事、趣闻开头，是你用来吸引读者注意力最有效的一种方法。6.设问（Question)：作者常常通过提出一个问题或一连串的问题

41、，来吸引读者的注意力。7.开门见山（Statement of thesis):开门见山是最直接的引言方法，即一开头就提出论文论点。1.4.2结语的写法结语部分与引言同等重要，因为给读者留下最后印象的是它。 结语应总结全文，而不应当提出或转移到别的论题上去，也不能草草收场。结语部分要让读者对论文的主要精神和内容加深印象。结语部分的作用是重申论文的论点， 最基本的一点是总结你的论点。总结不是简单的重复，而是归纳正文的内容，具有较强的理论性。切记：结语部分所占的篇幅不宜过长，力求干脆利落。以下是几种常见的结语写法。1）说明论文的意义（Statement of the subjects signifi

42、cance):讨论主体部分所论述的论题的广泛意义，给读者提供更多的理由，从而让他们更明白你的论文的价值。运用这一方法，是从一个具体、特定的范围扩展到一个更广泛的范围。必须从各种意义中挑选，不宜太泛， 应注意突出重点。2）解答与建议（Solution/Recommendation):这种方式适合评论与阐述有争议问题的论文。这种方法的要点是：总结你的结论后，根据你的研究提供一个解决方法。为使你的方法更有说服力，必须经正文部分充分论证后提出。3）引用别人的话（Quotation）：根据文章的论题，引用该领域的一位名人或权威的话来结束论文，是许多人偏爱的方式。引用名人或权威的话可以增加文章的说服力。但

43、如何引用颇有讲究，最重要的是所引用的话必须切合你的论点。4）设问（Questions）：提出问题不仅是使用的开篇方式，也是结束论文的使用方法。但是，开篇提出的问题予以提问结尾的功能不同。开篇提出的问题，是打算在接下来的部分予以解答。但结尾时提出的问题，是留给读着自己去思考。1.5修改、润饰、定稿 初稿写出来之后，任务还没有完成，还必须经过反复修改、润色，才能定稿。初稿写好后，可以立即进行修改，但放一两天再去修改，效果可能更好。这时，你能以一种更冷静、客观的心态去评判你自己的作品。修改时，应特别注意论文的逻辑推理是否严密，还应当注意上下文的衔接，以及漏字、错别字和笔误。另外，必须仔细核查你引用的

44、文字是否有差错，包括作者，页码等。在将初稿交指导老师之前，最好找同学给你朗读一两遍，这样就能更容易的听出论文的语言是否通顺流畅。1.6论文的格式以英文学术论文格式论，有三种流行的格式，即“芝加哥格式”（Chicago Manual, The Chicago Manual of Style)、“现代语言学会格式” （MLA, The Modern Language Association Style）、和“美国心理学会格式”(APA, Publication Manual of the American psychological Association）。Chicago Manual格式，既有

45、一定的权威性，又不限于某个特定学科。因此，人文科学、社会科学以及许多其他专业的本科生和研究生写论文时，均采用Chicago Manual格式。1.5.1引文的格式毕业论文在行文中，往往需要引用别人著作中的原话，或其他的资料。引用方式主要有：直接引用、间接引用以及间接引用与直接引用并用。以引文摆放的位置论，又有单独排列成一段和不单独排列之分。无论采用哪一种格式，引用时必须遵循规范的引证格式。下面我们分别谈谈直接引用和间接引用的格式要求。1.5.1.1直接引用（Direct quotation）：直接引文即一字不差的引用原始资料。在需要再现某个权威的意见、保留原始资料说法，或强调所借用的原始资料的

46、真实性时，实用直接引文。对于有争议的观点，或需要专家意见时，也需要直接引用，因为直接引文能提供权威性。比如，在一篇论述高等教育的学位论文里，你要论证某大学录用学生实行开放政策是为了该地区的经济，那么引用一位著名经济学家或某个本地知名商人的言论就很奏效。如果你想支持你对某个历史潮流的意义的论断，值得注意的是：直接引文应尽量简短。过长的引文容易分散读者的注意力。因此，要舍得割爱，只引用基本部分。如果引文的长度超出半页的篇幅，显得不协调，但又必须引用那么多，可以将引文放在附录部分。英语论文标准范文格式 Noticing in SLA（小二号Times New Roman加粗居中顶页眉）(空一行)Ab

47、stract: This article focuses on the role of “noticing” and “noticing the gap” in second language acquisition. It is argued that this notion has gained wide support on the basis of intuition and assumption rather than on the findings of appropriate and exhaustive empirical research. The aim of this p

48、aper is twofold: a) to consider the theoretical constructs that underlie the role of noticing, and b) to assess the validity of the assumption that noticing enhances language acquisition. This paper concludes that 1) empirical research has yet to validate the role of noticing in language acquisition, 2) an alternative view offered by Truscott (1998), which suggests that noticing is merely tied to the acquisition of metalinguistic knowledge, is worthy of investigation, and 3) future research into the relationship between training learners to notice linguistic