On AntiGothicism in Northanger Abbey.docx
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On AntiGothicism in Northanger Abbey.docx
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OnAntiGothicisminNorthangerAbbey
OnAnti-GothicisminNorthangerAbbey
ABSTRACT
NorthangerAbbey,oneofJaneAusten’sfamousworks,mainlytellsthestoryofaninnocentgirl,aGothicnovelfan,whotreatsherselfastheheroineofaGothicnovelandmakesmanyridiculousadventuresbytakingGothicstoriesasrealhappenings,butfinallylearnstodistinguishbetweentheimaginarylifeinnovelsandthereallifeofherown.ThenovelcriticizestheridiculousnessandmeaninglessnessofGothicnovelsinasatiricalway.ThethesisanalyzesAusten’sparodyofGothicplot,characterization,andtheheroine’sGothicadventuresinNorthangerAbbey,andarguesthattheworkrevealsheranti-GothicismthroughacomparisonwiththetypicalfeaturesofprevailingGothicnovelsinherage.
Keywords:
NorthangerAbbey;JaneAusten;anti-Gothicism
摘要
论《诺桑觉寺》的反哥特观念
《诺桑觉寺》是奥斯汀的一部著名作品。
小说讲述了一位沉迷于哥特小说的天真女孩,把自己想象成作品的女主角,误把小说情节当做真实的生活,经历了一系列的荒谬历险;但她最终走出幻想,学会了分辨哥特小说的荒诞情节和现实生活的区别。
小说以反讽的方式批评了哥特小说的可笑和荒诞。
本文通过分析该小说对哥特式情节和人物的戏仿以及女主角的哥特式历险,并与当时盛行的哥特小说的典型特征相对比,认为奥斯汀通过《诺桑觉寺》表达了自己的反哥特观念。
关键词:
《诺桑觉寺》;奥斯汀;反哥特
CONTENTS
Acknowledgements…………………………………………………ii
Abstract………………………………………………………….…iii
AbstractinChinese………………………………………………iv
Introduction…………………………………………………………1
ChapterOneGothicNovelsandNorthangerAbbey...…………3
I.OriginandDevelopmentofGothicNovels……………………3
II.Austen’sAttitudetowardsGothicNovels……………………5
ChapterTwoParodyofGothicPlotandCharacters…………..7
I.ParodyofGothicPlot…………………………………………7
II.ParodyofGothicCharacters…………………………………9
ChapterThreeCatherine’sAdventures………………………11
I.OntheWaytoNorthangerAbbey……………………………11
II.ThreeAdventuresinNorthangerAbbey…………………….12
.Catherine’sComingbacktoReality…………………………15
Conclusion…………..……………………………….……………16
WorksCited……………………………………………………..…17
Introduction
JaneAusten(1775~1817),wholivedattheturnofthe18thand19thcentury,isthemostdistinguishedaswellasthemostwidelyreadfemalenovelistinBritishliterature.ShewasbornonDecember16,1775,atSteventonrectoryinHampshire,England,anddiedinWinchesteronJuly18,1817,andwasburiedinWinchesterCathedral.Austenlivesinalargefamilywithsixbrothersandonesister.Herfather,GeorgeAustenwasarectorformuchofhislife.Hersister,CassandraElizabeth,washerbestfriend.Shewaseducatedprimarilybyherfatherandolderbrothers,andherownreadingalsohelpedalotwithherwriting.DuringAusten’seducationandwritinglife,herfatherwasthemostimportantguide,forhenotonlyprovidedherwithawell-stockedfamilylibrary,butalsosupportedherwritingwithmucheffort.Hehadcreatedademocraticandeasyintellectualatmosphereathome.Theyoftentalkedaboutdifferentpoliticalorsocialideas,andanypersonalopinionswouldbeacceptedanddiscussed.JaneAustenbegantowritewhenshewasonlyaboutthirteenandtheeverlastingsupportofherfamilywascrucialtoherdevelopmentasaprofessionalwriter.
Austen’spersonalexperienceshaveagreatinfluenceonherwriting.“Ofeventsherlifewassingularlybarren:
fewchangesandnogreatcrisisevenbrokethesmoothcurrentofitscourse”(James11).Austen’sworksareusuallyconfinedtoalimitedcircle.InalettertohernephewEdward,Austenmadecommentsonherownworkas“[h]owcouldIpossiblyjointhemontothelittlebitofIvoryonwhichIworkwithsofineaBrush,asproduceslittleeffectaftermuchlabor?
”(Lefroy160).LiuBingshanappraisedthat“[t]hecomparisonistrue.Theivorysurfaceissmallenough,butthewomanwhomadedrawingsofhumanlifeonitisarealartist”(309).SomecriticsaccuseJaneAustenofwritingwithanarrowvision,andthathernovelsareallaboutlove,marriage,moneyandrichrelations,butAusten’sworksshowtheirvaluesonreflectingthesocialrealitiesofherday.AsZhangDingquanandWuGangcommentintheirbookthat“her[JaneAusten’s]uniquesensitivitytohumanemotions,hercarefulobservation…madeheroneofthefinestnovelistsoftheage”(202).
Austenwrotesixcompletenovelsduringherliterarycareer.Theyare:
SenseandSensibility(1811);PrideandPrejudice(1813);MansfieldPark(1814);Emma(1816);NorthangerAbbey(1818);andPersuasion(1818).Herliteraryworkshavebeenattractingmoreandmorereadersfromhomeandabroadsincetheirpublication.JaneAustenisconsideredas“ageniusthatappealstoanygeneration”(Qiaoiv).TheBritishfemalewriterVirginiaWoolfsaidthat“[o]fallgreatnovelists,JaneAustenisthemostdifficulttocatchintheactofgreatness”(Zhu5).
TheworkdiscussedinthisthesisisNorthangerAbbey,whichtellsastoryofthenaiveprotagonistwithaveryover-activeimagination,CatherineMorland,aGothicnovelaficionado,whotreatsherselfastheheroineofaGothicnovel,takesstoriesinGothicnovelsashappenedinherreallifeandmakesmanyridiculousadventures,butfinallylearnstodistinguishbetweentheimaginarylifeinGothicnovelsandherownordinarylifesituations.AlthoughNorthangerAbbeywasthefirsttobecompletedbyJaneAusten,ithadneitherbeengivenenoughattentionnorbeenadequatelystudiedforsomeconsiderabletimeinthepast.Infact,NorthangerAbbeyhasitsuniqueresearchvalue,particularlytheauthor’sattitudetowardsGothicnovels,whichhasarousedmoreandmorecriticalattentionanddebatesinrecentyears(seeChapterOne).
ThisthesisarguesthatNorthangerAbbeyshowsJaneAusten’santi-GothicismthroughhersatiricalcriticismoftheprevailingGothicnovelsinhertimes.InadditiontoIntroductionandConclusion,thethesisconsistsofthreechapters.ThefirstchapterbrieflyintroducesGothicnovels,illustratesdifferentviewpointsontherelationshipbetweenNorthangerAbbeyandGothicnovelsasdiscussedbysomecriticsandscholars.ThesecondchapteranalysesJaneAusten’sparodicanti-GothicismbycomparingtheplotarrangementandcharacterizationofthenovelwiththatofGothicnovels.ThethirdchapterdiscussesJaneAusten’scriticismofGothicnovelsthroughfocusingonCatherine’sridiculousadventures.
ChapterOne
GothicNovelsandNorthangerAbbey
NorthangerAbbeyisaparodyofGothicnovels.Thefirstpartofthischapterbrieflyintroducestheorigin,developmentandtypicalfeaturesofGothicnovels;thesecondpartmainlyillustratesdifferentviewpointsonAusten’sattitudetowardsGothicnovels.
.OriginandDevelopmentofGothicNovels
Theword“Goth,”comingfromthenameofanancienttribeinEurope,anditsderivativeform“Gothic,”whichremindspeopleofmysticism,terror,anddark,werefrequentlyusedtodescribemedievalthingsinthe18thcentury.Accordingtoahighly-populardictionary,theword“Gothic”means
akindofarchitecturebuiltinthestylethatwaspopularinWesternEuropefromthe12thcenturytothe16thcenturies,andwhichhaspointedarches,windows,andtallthinpillarsandanovelwritteninthestylepopularinthe18thand19thcenturies,whichdescribedromanticadventuresinmysteriousorfrighteningsurroundings.(Hornby883)注意引语段格式
Nowitgenerallyreferstoagenreofliterature,whichis“fullofdepictsofmurdersandsupernaturalthingstothrillreaders”(Han36),combinesbothhorrorandromanceand“dealswiththestrange,mysterious,andsupernaturaldesignedtoinvokesuspenseandterrorinreaders”(Zhao283).
Fromtheabovequotes,itisknownthatsomebasicelementsinGothicnovelsinclude:
settinginacastle,whichoftencontainssecretpassagesandstaircases,darkorhiddenrooms;anatmosphereofmysteryandsuspensethatarousesfearandterror;supernaturalevents,suchasghostsorunknowngiantscomingtohumanlife;highandoverwroughtemotion,likeanger,sorrow,especiallyterrorfromwhichthecharacterssuffer;heroineindistress,whichappealstothesympathyofthereaders;andromance,suchaspowerfullovebetweentheheroineandthehero.
ThefirstGothicnovelisTheCastleofOtranto:
AGothicStory,writtenbytheEnglishauthorHoraceWalpole.Theworkisremarkablebecauseitisthefirstattempttofind“ataleofamusingfictionuponthebasisoftheancientromanceofchivalry”(Walter115)andit“start[s]afashionandset[s]anexampleforotherGothicnovelists”(Zhang5).Inaddition,thenovelwas“anattempttoblendthetwokindsofromance,theancientandthemodern”(Horace19).HoraceWalpoleopensthedoorofGothicnovelsandalotofotherGothicnovelistsfollowsuit.Amongthem,AnnRadcliffandMathewGregoryLewisaretwomostfamousonesfortheirrespectiveworkTheMysteriesofUdolphoandTheMonk.TheMysteriesofUdolpho(1794),throughwhichAnnRadcliffmadetheGothicnovelsociallyacceptable,wasanunparalleledsuccessatthattime,andwasalsofrequentlyreferredtobyJaneAusteninNorthangerAbbey.Inthemid-1790stheGothicnovelreachesitssummit,andDavidPundercomments,probablyanexaggeration,that“thisbodyoffictionmaywellhaveestablishedthepopularityofthenovel-form”(David61).注意文内引文规范。
每个文献须在文末参考书目中出现。
Besidesitspopularityamongthepublic,theGothicnovelhasanotoriousfameforalongtimeandhasbeencriticizedascrudebymanycritics.IntheprefaceofLyricalBallads,WordsworthcommentedonGothicnovelsas:
Theinvaluableworksof…ShakespeareandMiltonaredrivenintoneglectbyfranticnovels,sicklyandstupidGermanTragedies,anddelugesofidleandextravagantstoriesinverse.(WordsworthandColeridge248-249)
Inspiteofcriticismfrommanyliteraryfigures,GothicnovelsstillattractedalotofreadersandtheGothicinfluencewasamazinglycontinuing.“IthasbeenestimatedthatthereadingpopulationofBritainincreasedfromoneandahalfmillionin1780
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