奧斯丁小說的反諷特征
發(fā)布時間：2018-09-12 14:08
【摘要】：奧斯丁是一位被譽(yù)為“可與莎士比亞平起平坐”的作家,盡管獨(dú)特的生活經(jīng)歷使她蟄居在一個屬于自己的“兩寸象牙塔”里,奧斯丁對生活的深邃洞悉卻沒有受到狹窄的生活圈子的影響,正是她作品的平淡與寫實(shí),加上細(xì)膩的筆鋒,引人入勝的敘事技巧,使奧斯丁在盛行浪漫主義文風(fēng)的英國文壇脫穎而出,以其理性的光芒、鮮活的人物形象以及智慧、幽默和諷刺,為充滿了膩人的浪漫氣息的英國文壇注入了清新的現(xiàn)實(shí)主義文風(fēng),在那些看似平淡的主題下,奧斯丁的高超的描寫技術(shù)得以呈現(xiàn),奧斯丁作品中的那些形形色色人物形象的喜劇性笑談的背后,暗示了各種微妙的社會關(guān)系、人情世故以及道德價值。 反諷,是奧斯丁小說的顯著特色,是使得奧斯丁在讀者和評論界中經(jīng)久不衰的魅力所在。反諷滲透于奧斯丁小說的每一個層面,從語言、人物、場景到更深層的主題和構(gòu)思,奧斯丁以高度的藝術(shù)自覺,巧妙嫻熟地將反諷融于其作品之中。反諷的成功運(yùn)用,對于小說在人物刻畫,結(jié)構(gòu)設(shè)置和喜劇效果的烘托上起到了很好的作用。本論文旨在通過對奧斯丁的六部作品進(jìn)行分析,探討奧斯丁作品中的反諷藝術(shù)的價值。 論文共分六個部分： 第一部分簡要介紹了奧斯丁的生平、主要作品及其目前的研究概況,并指出了論文的研究目的和結(jié)構(gòu)。 第二部分扼要敘述了反諷理論,包括反諷的定義,反諷概念的發(fā)展和反諷的分類,并初步分析了奧斯丁小說中運(yùn)用的反諷類型和功能。 第三、四、五部分為全文重點(diǎn),詳細(xì)分析了奧斯丁小說中所運(yùn)用的三種反諷類型：言語反諷、戲劇反諷和情境反諷,論述了各種反諷在小說中的關(guān)鍵作用。 言語反諷主要體現(xiàn)在對靜止人物和發(fā)展人物的刻畫中。奧斯丁的反諷不僅體現(xiàn)在對靜止人物的刻畫中：如,不稱職的父兄形象,沒有思想的中年女性形象,或者純粹的享樂派人物和說教派人物形象；她的嘲諷還暗含著對那些有機(jī)會通過學(xué)習(xí)和教育或者是不同的社會環(huán)境的熏陶而改善自己的缺點(diǎn),可以做出性格上的進(jìn)步的發(fā)展的人物形象,在伴隨著言語反諷的發(fā)展過程中,主人公的性格發(fā)展過程更為立體化,人物形象刻畫也更加栩栩如生。 戲劇反諷也生動地展現(xiàn)了人物的荒謬與缺點(diǎn),言語反諷著眼于文字和修辭層面,而戲劇反諷側(cè)重于結(jié)構(gòu)的刻畫。通過戲劇反諷,人物刻畫和情節(jié)設(shè)置都不再單薄,形象變得栩栩如生,入木三分了,蘊(yùn)于其中的荒謬之處在其言語、行動、信件中暴露出來,得到了充分的展現(xiàn)。 情境反諷是擴(kuò)大化的言語反諷,追求一種立意于主題、情節(jié)和敘事所共同營造和孕育出來的一種內(nèi)在的沖突和矛盾所形成的張力。情景反諷巧妙地融入奧斯丁小說的結(jié)構(gòu)中,在細(xì)微之處體現(xiàn)出了作品的價值觀與當(dāng)時流行的社會觀念和公認(rèn)的行為準(zhǔn)則的悖逆性和沖突性,達(dá)到了反諷的藝術(shù)創(chuàng)作效果。 第六部分為結(jié)論部分。本部分對論文的主要觀點(diǎn)進(jìn)行了總結(jié),并得出結(jié)論,奧斯丁的小說中體現(xiàn)了三種反諷類型(言語反諷、戲劇反諷和情境反諷)的運(yùn)用,從而使人物刻畫更為栩栩如生,小說結(jié)構(gòu)的戲劇性更為突出,情節(jié)更為引人入勝,提高了小說創(chuàng)作的藝術(shù)效果。
[Abstract]:Austen is a writer who is praised as "equal to Shakespeare". Although her unique life experience makes her live in a two-inch ivory tower of her own, Austen's profound insight into life has not been affected by the narrow circle of life. It is the plainness and realism of her works, together with the delicate pen-edge, that leads to her. The fascinating narrative technique makes Austen stand out in the English literary world in which romanticism prevails. With his rational light, vivid characters, wisdom, humor and satire, Austen injects a fresh realistic style into the English literary world full of satirical romantic flavor. Under these seemingly flat themes, Austen's works are of high quality. The super-descriptive techniques are presented, and behind the comic jokes of Austen's various characters, subtle social relationships, sophistication and moral values are hinted at.
Irony is a distinctive feature of Austen's novels, and it is the enduring charm of Austen in readers and critics. Irony permeates every aspect of Austen's novels, from language, characters, scenes to deeper themes and ideas. Austen, with a high degree of artistic consciousness, skillfully melts irony into his works. The successful use of satire has played a very good role in characterization, structure and comedy effect of the novel. This paper aims to explore the value of the art of satire in Austen's works by analyzing six of Austen's works.
The thesis is divided into six parts.
The first part briefly introduces Austen's life, his main works and the current research situation, and points out the purpose and structure of the paper.
The second part briefly describes the theory of irony, including the definition of irony, the development of the concept of irony and the classification of irony.
The third, fourth and fifth parts are the focus of the full text. The three types of irony used in Austen's novels are analyzed in detail: verbal irony, dramatic irony and situational irony.
Speech irony is mainly reflected in the portrayal of stillness and development. Austen's irony is not only reflected in the portrayal of stillness: incompetent father and brother, middle-aged woman without thought, or pure hedonists and preachers; her irony also implies that there are opportunities for communication. To improve one's own shortcomings through learning and education or the influence of different social environments can make a progressive character image. With the development of verbal irony, the character development process of the protagonist is more three-dimensional and the portrayal of the characters is more vivid.
Dramatic irony also vividly shows the absurdity and shortcomings of the characters. Speech irony focuses on words and rhetoric, while drama irony focuses on structure. Through dramatic irony, characterization and plot setting are no longer thin, the image becomes vivid, and the absurdity lies in its words, actions, letters. Exposed in China, it has been fully demonstrated.
Situational irony is an enlarged verbal irony, which seeks an inner tension of conflict and contradiction created and bred by theme, plot and narrative. Situational irony is skillfully integrated into the structure of Austen's novels, reflecting the values of the works and the prevailing social concepts and concepts at that time. The contradictory and conflicting nature of accepted behavioral norms achieve ironic artistic creation.
The sixth part is the conclusion. This part summarizes the main points of the thesis and draws the conclusion that Austen's novels embody the use of three types of irony (verbal irony, dramatic irony and situational irony), which makes the characterization more vivid, the structure of the novel more dramatic, and the plot more attractive. It has improved the artistic effect of novel creation.
【學(xué)位授予單位】：長江大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2012
【分類號】：I561.074
本文編號：2239249
[Abstract]:Austen is a writer who is praised as "equal to Shakespeare". Although her unique life experience makes her live in a two-inch ivory tower of her own, Austen's profound insight into life has not been affected by the narrow circle of life. It is the plainness and realism of her works, together with the delicate pen-edge, that leads to her. The fascinating narrative technique makes Austen stand out in the English literary world in which romanticism prevails. With his rational light, vivid characters, wisdom, humor and satire, Austen injects a fresh realistic style into the English literary world full of satirical romantic flavor. Under these seemingly flat themes, Austen's works are of high quality. The super-descriptive techniques are presented, and behind the comic jokes of Austen's various characters, subtle social relationships, sophistication and moral values are hinted at.
Irony is a distinctive feature of Austen's novels, and it is the enduring charm of Austen in readers and critics. Irony permeates every aspect of Austen's novels, from language, characters, scenes to deeper themes and ideas. Austen, with a high degree of artistic consciousness, skillfully melts irony into his works. The successful use of satire has played a very good role in characterization, structure and comedy effect of the novel. This paper aims to explore the value of the art of satire in Austen's works by analyzing six of Austen's works.
The thesis is divided into six parts.
The first part briefly introduces Austen's life, his main works and the current research situation, and points out the purpose and structure of the paper.
The second part briefly describes the theory of irony, including the definition of irony, the development of the concept of irony and the classification of irony.
The third, fourth and fifth parts are the focus of the full text. The three types of irony used in Austen's novels are analyzed in detail: verbal irony, dramatic irony and situational irony.
Speech irony is mainly reflected in the portrayal of stillness and development. Austen's irony is not only reflected in the portrayal of stillness: incompetent father and brother, middle-aged woman without thought, or pure hedonists and preachers; her irony also implies that there are opportunities for communication. To improve one's own shortcomings through learning and education or the influence of different social environments can make a progressive character image. With the development of verbal irony, the character development process of the protagonist is more three-dimensional and the portrayal of the characters is more vivid.
Dramatic irony also vividly shows the absurdity and shortcomings of the characters. Speech irony focuses on words and rhetoric, while drama irony focuses on structure. Through dramatic irony, characterization and plot setting are no longer thin, the image becomes vivid, and the absurdity lies in its words, actions, letters. Exposed in China, it has been fully demonstrated.
Situational irony is an enlarged verbal irony, which seeks an inner tension of conflict and contradiction created and bred by theme, plot and narrative. Situational irony is skillfully integrated into the structure of Austen's novels, reflecting the values of the works and the prevailing social concepts and concepts at that time. The contradictory and conflicting nature of accepted behavioral norms achieve ironic artistic creation.
The sixth part is the conclusion. This part summarizes the main points of the thesis and draws the conclusion that Austen's novels embody the use of three types of irony (verbal irony, dramatic irony and situational irony), which makes the characterization more vivid, the structure of the novel more dramatic, and the plot more attractive. It has improved the artistic effect of novel creation.
【學(xué)位授予單位】：長江大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2012
【分類號】：I561.074
【參考文獻(xiàn)】
相關(guān)期刊論文 前3條
1 涂靖;Irony言語行為研究[J];四川外語學(xué)院學(xué)報;2000年04期
2 朱小舟;《傲慢與偏見》中的微觀反諷言語行為[J];四川外語學(xué)院學(xué)報;2002年04期
3 林文琛;在理性和感情之間──談“奧斯丁的反諷”[J];外國文學(xué)評論;1998年04期
，本文編號：2239249
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