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

i 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 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) 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 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 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 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 “barometer” 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 works 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, 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 she 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 will succeed. such a theme reflects that at first jane austen inherits the traditional enlightening thoughts. ii 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 example, 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.” and the hero and theroine are the very sensible people. mr. darcy, from a noble family, has a strong 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 understanding 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 marry. 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 accomplishes 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. 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 it.” 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 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 claimed 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 with 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 anything 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.” it is true that these words are 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, just 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.” iii to 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 romanticism, 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 language teaching metalinguistic knowledge; linguistic forms（小四） (空三行) （摘要、文章、参考文献均先在默认状态下输入，然后第二稿时再按照要求进行字体、 字符大小、加粗等的编辑。如果中、英文摘要在一页里放不下，则将中文摘要另换页。 ） 二语习得中的注意二语习得中的注意（小二号宋体加粗居中）（小二号宋体加粗居中） （空一行） 摘要：摘要：本文着重研究了“注意”和“注意差距” 的作用，指出这一概念受到广泛重视是出于直觉 和假设,而不是基于广泛的实证研究.本文旨在:1)探讨“注意”这一概念的理论构建；2）评估“注 意”强化语言习得假设的有效性。本文得出结论如下：1)通过实证研究，证明了“注意”在语言习 得中的作用；2）特拉斯科特在 1998 年提出的新观点是值得研究的，他认为“注意”只同元语言知 识的习得有联系；3）如果能对学习者所受的注意语言形式训练和元语言知识的习得之间的关系作 进一步研究，会帮助我们更好的理解二语习得中的“注意”。（五号） （空一行） xi 关键词：关键词：注意；元语言知识；语言形式（五号） xii contents（四号加粗居中顶页眉、 ） （空一行）（空一行） 1. introduction.1 2. the theoretical constructs that underlie the role of noticing.1 2 .1 consciousness raising and noticing1 2.2 noticing and language acquisition1 3. influences on noticing.1 3.1 task demands2 3.2 frequency2 3.3 perceptual salience2 4. conclusion 2 references 3 acknowledgments 4 （目录用电脑自动生成的格式，把行距改成（目录用电脑自动生成的格式，把行距改成1.5倍行距倍行距 二级标题与第一级标题首字母对应二级标题与第一级标题首字母对应 三级标题与第二级标题首字母对应三级标题与第二级标题首字母对应 不设置四级标题）不设置四级标题） 13 noticing in sla（小二加粗居中顶页眉，每个实词首（小二加粗居中顶页眉，每个实词首 字母大写）字母大写） （空一行） 1. introduction （一级标题，四号加粗顶格；所有标题后均不加逗点或句点）（一级标题，四号加粗顶格；所有标题后均不加逗点或句点） the significance of the role of conscious and unconscious processes and the notion of interface in second language (l2) development has been the focus of much debate in the general field of cognitive psychology. one proposal is that put forward by burka (1996), who offers a hypothesis related to conscious learning that focuses on what skehan argues is “the crucial concept of noticing” (deleuze, 1986，p.48) （这 是参考文献出处文中注的格式，p用小写）. the purpose of this paper is to a) consider the theoretical constructs that underlie the role of noticing, and b) assess the validity of the assumption that noticing enhances language acquisition. 一级标题与 一级标题之间空一行，一级标题和二、三级标题之间都不空行。 所有标题均顶 格、并只有第一个单词首字母大写（除专有名词外） 。 2. the theoretical constructs that underlie the role of noticing （一级（一级 标题）标题） 2.1 consciousness raising and noticing （二级标题，小四加粗） the term “consciousness raising” refers to the drawing of learners attention to the formal properties of language (fee and fox., 1988). however, a key difference between noticing and consciousness raising is that noticing has supposed implications for language processing and the actual acquisition of linguistic features.（每段第一 行退进4个空格） 2.2 noticing and language acquisition geertz (1973) identifies three aspects of consciousness involved in language learning: awareness, intention and knowledge. johnstone (1993) states that a) whether a learner deliberately attends to a linguistic form in the input or it is noticed purely unintentionally, if it is noticed it becomes intake. to help clarify schmidts hypothesis and the place of noticing in l2 acquisition the following model, proposed by ellis, is useful. 14 (一级标题与一级标题之间空一行，一级标题和二、三级标题之间都不空行一级标题与一级标题之间空一行，一级标题和二、三级标题之间都不空行) 3. influences on noticing jones (1978), in harmony with schmidts discussion of memory processing above, comments that it is inside short-term memory that noticing must in reality take place, since the “spotlight consciousness” (magistrale, 1992, p.142) provided by short-term memory is triggered by different influences on noticing. schmidt (1990) claims that the following factors influence noticing in the input: 3.1 task demands instruction provides structured, differentiated input that assists noticing by focusing attention on and enhancing awareness of language features (pikarsky and christensen, 1976). 3.2 frequency a language feature may become frequent due to repeated instruction or by way of teacher talk. as such, when the item does appear more frequently in the input, the likelihood 3.3 perceptual salience the more prominent a language form at input, the greater the chance it will be noticed (skehan, 1998). it stands to reason, therefore, that the less salient a form, the less likely it is to (一级标题与一级标题之间空一行，一级标题和二、三级标题之间都不空行一级标题与一级标题之间空一行，一级标题和二、三级标题之间都不空行) 4. conclusion it can be seen that there are various views regarding the role of conscious and unconscious processes in l2 acquisition. an important contribution to this debate has been schmidts “noticing hypothesis” and its claims about how input becomes intake, and this 15 references （四号居中加粗顶页眉）四号居中加粗顶页眉） (空一行) burka, lauren p. a hypertext history of multi-user dimensions. retrieved august 18, 2009, from /talent/ lpb/muddex/essay deleuze, giles. foucault. (sean hand, trans. & ed.). minneapolis: u m p, 1986. fee, elizabeth & daniel m. fox. (eds.). aids: the burdens of history. berkeley: university of california press, 1988. geertz, clifford. the interpretation of cultures. new york: basic books. 1973. johnstone, sue. feminism and pornography: policing the boundary between art and popular culture. doctoral dissertation. rutgers university, new jersey, 1993. jones, james. daydreaming. in lorence smith (ed.), fictions. new york: yale up, 1978: 127-35. magistrale, tony. wild child: jim morrisons poetic journeys. journal of popular culture, 1992, 3: 133-44. pikarsky, m. & christensen, d. urban transportation policy and management. boston: d.c. heath, 1976. 盖淑华. 英语专业学生词汇附带习得实证研究. 外语教学与研究, 2003, 4: 282-286. 梁正溜. 英语教学. 上海: 外语教育出版社, 1999. 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