英语专业毕业论文范文两篇
英语专业毕业论文范文两篇
篇一
摘要：提高中专学生的听力水平，是教师关注的重点。本文提出影响中专学生英语听力水平的两大因素：知识性障碍与非知识性障碍。笔者在分析这两大因素是如何影响学生听力的基础上，得出提高学生英语听力水平的途径，主要从课堂教学及课外活动进行说明。
关键词：
中专英语教育越来越侧重培养英语综合应用的能力，而英语听力是英语学习的基础，也是英语教学过程中比较薄弱的环节。那么影响听力的因素有哪些呢?
一、影响中专学生听力水平的因素
一般而言，影响中专学生听力的因素很多，对这些因素归类整理，主要分为两类：知识性障碍和非知识性障碍。
(一)知识性障碍包括语言知识性障碍和文化背景障碍。
1.语言障碍包括语音、语速、词汇、语法、语言思维等环节存在问题。
(1)发音不标准导致语音的辨别能力低。学生掌握不好英语标准发音，在听的过程中即使是自己认识的单词，会由于发音不同也难以听辨出来。此外英语中发音相似仅有微小差别的单词很多，于是由于发音不标准很容易使单词混淆。
(2)语速连贯能力弱，导致辨音能力差。英语单词有弱读、重读、连读、爆破、语气、语调的升降等，在连贯的语流中该词的发音会发生变化。学生缺乏辨识这些单词的能力，同时英文正常速度比中文正常速度快10倍，因此学生平时能正确发音的单词也不能正确分辨出来。
(3)词汇量的大小，对词汇的熟练掌握程度会影响听力的效果。大多数单词在字典上有多种意思，单词在不同的环境中词义会不同。学生对单词的掌握不够全面，只是知晓某单词的部分意思，他们听的过程中只能根据自己熟悉的词义去理解，往往与听力内容不相符，会误解了听到的句子意思。
(4)语法的掌握程度影响听力理解。学生对句子的结构，英语中的进行时、完成时等没
有掌握牢固，在听力中更难以理解内容。
(5)语言思维的干扰。学生养成听力过程中，先将听懂的内容译成汉语，而缺乏用英语直接思维的习惯。这样做的结果不仅理解上会有一定的困难，还会影响反映速度、理解程度和记忆效果，不能很好用英文的思维去理解内容。
2.文化背景障碍是缺乏对相关英语国家的文化背景的了解。文化背景指对英语国家的社会、历史、经济、政治、宗教、礼仪、生活方式、风土人情等知识的了解。学生如果缺乏这些背景知识，会下意识地将本民族的习惯或文化模式移植到听到的内容中去，从而产生理解上的偏差或推断上的失误。
(二)非知识性障碍包括教学设备、学习气氛、心理因素等。比如放听力的硬件设备不好，有杂音、噪音，扰乱的学习氛围等会对听力效果产生不好的影响。心理因素是影响学生听力效果很重要的因素，学生对听力不感兴趣，甚至有恐惧心理，那么会使原本可以听懂的内容大打折扣。
以上对影响中专学生英语听力学习的知识性障碍与非知识性障碍进行了分析，可见影响中专生英语听力学习的因素是多元且复杂的，要想有效提高中专学生的英语听力，只有针对这些影响因素，提出切实可行的解决方案，才能从根本上提高中专生的听力水平。
二、提高中专学生听力水平的途径
教师通过对课堂教学与课外活动施加影响，消除阻碍英语听力提高的障碍，使学生的英语听力得到提升。
(一)课堂教学。
1.教导学生准确发音，使学生的音辨能力提高。加强语音训练是提高学生听力的基础。首先学生单词发音要准确，只有学生自己的发音与标准的发音一样，才能听懂听到的单词;其次学生对单词句子的重音、连读、不完全爆破、语调变化要掌握，这样学生才能精确分辨出来听到的句子。
2.加强词汇、语法的学习，为听力打下坚实的基础。教师要正确引导学生记忆单词;帮助学生掌握单词的全面信息;帮助学生由浅入深，熟悉并能运用语法。学生奠定良好的词汇与语法基础后，会更易于理解听力内容。
3.听、说、读写结合。听说是不可分割的整体。教师课堂上创造多的机会让学生进行听说练习，让学生在口语表达过程中综合运用单词、语气、语调、语法以及情感，使学生在听时能更好地进行辨听，达到以“说”促“听”，“听”带动“说”的目的。
听读训练有助于增强学生的语感，培养学生的英语思维。教导学生模仿录音对文章进行跟读训练，对学生的语音、语调、语感的增强都有益处。学生这方面能力提高后，自然会促进听力水平的提高。
听写练习是提高听力水平重要的环节。教师结合精听对学生进行听写练习。学生只要对单词、句子、发音等都掌握了才能准确完整记录下来，只有经过了大量的听写训练，才能真正攻克听力理解。教师应先简后难，循序渐进指导学生练习。
4.精听与泛听结合。听力的提高要精听和泛听结合。精听是听懂每句话，每个单词，并能把听到的写下来。泛听指置身于英语的环境中，通过对大量的听力训练，在日积月累中提高自身的英语听力水平。
(二)课外学习。教师课堂上的时间毕竟有限，在课外多开展听力活动，扩大学生的知识面。如何利用课外时间，达到激发学生学习兴趣，提高学生听力水平的结果。建议从以下几个方面实施：
1.多开展英语相关活动，激发学生学习英语的兴趣。教师组织学生开展英语>演讲比赛、听力竞赛、英语角等活动。为学生创建英语的环境，能学致以用，从而达到调动学生积极性的目的。
2.多阅读外文原著，了解英语国家文化背景。教师多鼓励学生课外阅读英文小说、杂志、报纸等。学生对有情节的故事阅读不容易枯燥，使学生在扩充词汇的同时，了解英语国家的文化背景，潜移默化学习了英文思维。
3.多看英文电影，培养英语语感。教师可推荐学生课外多看经典的英文原声电影，让学生在娱乐中快乐地学习，原声英文对话，能培养英语语感，也会了解英文国家文化背景。
综上所述，教师通过课堂加强语音、词汇、语法的指导，强调听读写结合、精听和泛听结合;课外多开展与英语相关的活动，引导学生多阅读原著，多看英文原声电影，能有效攻破知识性障碍和非知识性障碍，达到提高学生听力水平的目的。超级秘书网：
参考文献：
[1]庞宝坤，关于英语专业听力教学改革的几点思考[J].教育探索，2005，(6).
[2]姬祥照，试论提高英语听力课课堂教学质量的策略[J].教育与职业，2006，(11).
篇二
摘要：在商品经济高度发达的今天，广告作为信息载体，已经渗透到生活的各个领域，成为现代生活不可缺少的一部分。广告英语已经发展成为一种重要的实用文体，有自己独特的语言风格，在翻译时应坚持正确的翻译标准，充分考虑广告英语的语言特色，采取恰当的翻译策略，以展示广告英语所特有的语言魅力。
关键词：广告英语;翻译标准;语言特色;翻译策略
1、广告翻译的标准
所谓的广告就是通过大量的媒介向公众和媒体传达某种商品的信息，它的主要作用就是要吸引读者的眼球来刺激他们的消费欲望。广告翻译强调翻译的效果，即不仅要提供充分的通俗易懂商品信息给读者，还要要让读者有一种“切肤之感”。因此，广告翻译最重要的标准就是翻译的效果与读者的感受的和谐统一，这也是衡量广告翻译好坏的尺码。
2、广告英语的特色
由于商品市场竞争特别激烈，为了保证商品的广告可以最大限度的吸引人的眼球，广告撰写者总是选择新颖别致的词汇、简洁的语句和生动的修辞，以赢得消费者的喜爱。广告英语通常有一下几个特点：
2.1词汇特色
广告英语有别于普通英语，它的词汇简洁别致又富于创新。力图用最简洁、最准确的文字，为商品提供丰富的信息，使读者一目了然、过目不忘。
BornToShine.我本闪耀!(LG手机)
这则是LG手机的经典广告语，不管是英语广告语还是汉语广告语都十分完美，一下子就能吸引人们的注意力;而且，句式简练，却不失大气，巧妙的运用了押韵的句式，跟手机相得益彰，更为其添色不少，其创新性可见一斑。善于玩文字游戏的广告商们，会故意把人们所熟悉的字或词拼错，弄成新词。“新词不失原意，更添新义”，赋予广告极大的魅力。
2.2语法特色
2.2.1偏爱简单句
广告语言在形式上也具鲜明特色，或行文工整，或对仗押韵，琅琅上口，使人耳目一新，经久难忘。所谓“优秀的商品广告无不以简短精炼而著称”。
例如：
Cocacola可口可乐
“SONY-taketheworldwithyou.”让世界陪伴你。(索尼)
Makedreamscometrue.让梦想成真。(迪斯尼乐园)
商品的商标如同人的名字，成为企业的无形资产和巨大财富。Cocacola中文翻译为“可口可乐”，保持了原词的音节，使人一听就知道是饮料商标，有声有色，回味无穷，可以说译名的效果超过了原名，是广告商标翻译的经典。
2.2.2多用祈使句
广告语言具有很强的感召力，通常有大众化、口语化的倾向。为了使顾客对商品留下深刻印象，同时减少广告费用，广告作者总会绞尽脑汁，用简洁有力的形式和充满诱惑力的词语，力争达到商品宣传的最佳效果。作为“鼓动性语言”，广告英语多用祈使句，以达到行文简练又能使人印象深刻的目的。例如：
Turniton!穿上它!(彪马)
Justdoit.只管去做。(耐克)
Obeyyourthirst.服从你的渴望。(雪碧)
2.2.3常用省略句
省略句结构简单，语言果断有力，能使广告在有限的篇幅中传达更多的信息量，加强广告的传播效果。
例如：
Welead.Otherscopy.我们领先，他人仿效。(理光复印机)
Intelligenceeverywhere.智慧演绎，无处不在。(摩托罗拉手机)
“我们领先，他人仿效”这则广告虽然只用了“lead”和“copy”两个简单的动词，却巧妙的点出其作为复印机的复印功能(copy)和理光品牌在同类产品中领先的地位(lead)，可以说是构思巧妙、一举两得。
2.3修辞特色
19世纪的一位美国广告专家将广告称之为“印在纸上的销售技巧”。作为一种目的性很强的语言，广告英语经常会使用一些文学中的修辞方法，因此又被称为“半文学体”。这些修辞方法包括比喻、拟人、押韵、夸张、双关等。各种修辞格赋予广告简洁、生动、幽默、形象等特点，使广告语言成为一种具有独特魅力的语言艺术。
2.3.1双关
双关语是广告词中运用最多的修辞手段。双关是利用词语的语音和语义，使某些句子在特定的语境中具有表面和内涵的双重意义，不仅能使广告引起消费者的联想，又能使广告语言简洁、风趣，从而达到表达的绝妙效果。例如：TheoffspringofSpring.(皮瑞尔矿泉水广告)这里的Spring很关键，有“春天”与“泉水”双关语义，意境优美。而offspring则有“后代”的意思。整句可译为“掬自春泉”，使人联想到矿泉水的清纯、洁净，富于春天的气息。
2.3.2比喻
比喻是商业广告英语中常用的一种修辞手法，它将抽象枯燥的事物与生动具体的事物进行类比，能极大地渲染语言的具体性和形象性，形成鲜明生动的意象，唤起消费者对产品美好的心理联想，进而引起情感上的共鸣。例如：
Acomputerthatunderstandsyouislikeyourmother.这是一则带有比喻的广告。该广告把电脑对人的理解比作母亲对孩子的理解，显得非常形象而又生动。
2.3.3夸张
夸张就是用夸大的词句来描述事物。英语广告常用夸张，故意言过其实地渲染铺饰所推销的商品，但又在情理之中，使广告的形象更加突出，给人以深刻的印象。
TakeTOSHIBA，taketheworld.拥有东芝，拥有世界。(东芝电子)为宣传产品，在消费者心目中树立起形象，广告词难免“言过其实”。实际上，广告语言中夸张的运用极为广泛，以满足人们猎奇的心理，从而给读者留下深刻的印象。以上两个广告使用了夸张的修辞手法，巧妙的体现了商品非凡的品质。
2.3.4押韵
押韵原是诗歌中常用的修辞手法，英语广告也常借用之，其运用语言的声音规律使广告读起来抑扬顿挫，流畅回环，琅琅上口，便于吟唱，成为形式与内涵、视觉与听觉的美妙组合。
3、广告英语的翻译方法
3.1直译/异化翻译
根据纽马克的定义，直译是指“把原来语言的语法结构转换为译文语言中最近似的对应结构，但词汇则依然一一对译，不考虑上下文”，可以理解为在译文中既保留原文内容和形式，又保留原文的语言特色。
Let'smakethingsbetter.让我们做得更好。(飞利浦电子)
We'reSiemens.Wecandothat.我们是西门子，我们能办到。(西门子)
以直译的翻译方法，读起来虽然可能不像母语原创文本那样流畅，但其所传达的信息是非常明确的。
3.2意译/归化翻译
意译的翻译手法较为自由、灵活，翻译过程中通常考虑到译文目标读者因文化而产生的阅读和理解上的差异，因而不拘泥广告原文的形式。译文从读者角度看比较地道，可读性比较强。
例如：Everytime，agoodtime.秒秒钟钟欢聚欢笑(麦当劳)
UPS.Ontime，everytime.UPS----准时的典范(UPS快递)
在某种程度上，意译虽然丧失了原文的句式结构，一些关键词的词义跟原文也有一些出入，但只要仔细琢磨，原广告的精髓或深层意思仍然在译文得以保留。
4、结束语
广告语言作为一种具有独特语言魅力的文体形式，已成为日常生活中一道不可或缺的亮丽风景。了解广告英语有利于熟悉英语国家的文化、价值观念，同时可以更加有效的帮助国产商品打入国际市场。同时，由于中外文化的差异，广告翻译还是一个较为复杂的问题需要进行不断的探索。
参考文献：
[1]梁婷.英文广告实用手册[M].西南财经大学出版社，2003.5.
[2]陆全.谈广告汉英翻译的变通[J]山东：山东外语教学2000，(1).）
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On Anti-Gothicism in Northanger Abbey
by
Li Xiaohui
Under the Supervision of
Wang Junhua
Submitted in Partial Fulfillment of the Requirements
for the Degree of Bachelor of Arts
School of Foreign Studies
Shandong University of Finance and Economics
May 2012
B. A. Thesis of Shandong University of Finance and Economics
Acknowledgements
It would not be possible for me to complete the thesis without the generous help of many. First and foremost, I would like to take this opportunity to convey my sincere gratitude and appreciation to my supervisor Dr. Wang Junhua, under whose supervision I have obtained valuable ideas and precious suggestions. He is very intelligent on thesis instruction and also shows his great patience to me during my writing. I also want to thank all the teachers in the School of Foreign Studies of Shandong University of Finance and Economics for their beneficial courses I have attended during my college life. Besides, I owe my deep thanks to my roommates who have been encouraging me all the time, and to my colleagues at Jinan Longre Foreign Language Training Center who willingly took my part of duties so that I could have enough time for thesis writing.
L. X. H.
(名字的第一个字母)
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ABSTRACT
On Anti-Gothicism in Northanger Abbey
Li Xiaohui
Northanger Abbey, one of Jane Austen‘s famous works, mainly tells the story of an innocent girl, a Gothic novel fan, who treats herself as the heroine of a Gothic novel and makes many ridiculous adventures by taking Gothic stories as real happenings, but finally learns to distinguish between the imaginary life in novels and the real life of her own. The novel criticizes the ridiculousness and meaninglessness of Gothic novels in a satirical way. The thesis analyzes Austen‘s parody of Gothic plot, characterization, and the heroine‘s Gothic adventures in Northanger Abbey, and argues that the work reveals her anti-Gothicism through a comparison with the typical features of prevailing Gothic novels in her age.
Key words: Northanger Abbey; Jane Austen; anti-Gothicism
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摘要
论《诺桑觉寺》的反哥特观念
李晓慧
《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
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CONTENTS
Acknowledgements…………………………………………………ii Abstract………………………………………………………….…iii Abstract in Chinese………………………………………………iv Introduction…………………………………………………………1 Chapter One Gothic Novels and Northanger Abbey...…………3
I. Origin and Development of Gothic Novels……………………3 II. Austen‘s Attitude towards Gothic Novels……………………5
Chapter Two Parody of Gothic Plot and Characters…………..7
I. Parody of Gothic Plot…………………………………………7 II. Parody of Gothic Characters…………………………………9 Chapter Three Catherine’s Adventures………………………11
I. On the Way to Northanger Abbey……………………………11 II. Three Adventures in Northanger Abbey…………………….12 III. Catherine‘s Coming back to Reality…………………………15 Conclusion…………..……………………………….……………16 Works Cited……………………………………………………..…17
如有三级标题，可以i. ii. iii. iv. 编写，为简明，建议目录中尽量不要写三级标题，正文中可有三级标题。注意各级标题大小写，确保目录中的标题、页码与正文中的标题、页码保持对应。
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注意每段的首行缩进、行距、字体、字号等要保持全文一致
Introduction
Jane Austen (1775~1817), who lived at the turn of the 18th and 19th century, is the most distinguished as well as the most widely read female novelist in British literature. She was born on December 16, 1775, at Steventon rectory in Hampshire, England, and died in Winchester on July 18, 1817, and was buried in Winchester Cathedral. Austen lives in a large family with six brothers and one sister. Her father, George Austen was a rector for much of his life. Her sister, Cassandra Elizabeth, was her best friend. She was educated primarily by her father and older brothers, and her own reading also helped a lot with her writing. During Austen‘s education and writing life, her father was the most important guide, for he not only provided her with a well-stocked family library, but also supported her writing with much effort. He had created a democratic and easy intellectual atmosphere at home. They often talked about different political or social ideas, and any personal opinions would be accepted and discussed. Jane Austen began to write when she was only about thirteen and the everlasting support of her family was crucial to her development as a professional writer.
Austen‘s personal experiences have a great influence on her writing. ―Of events her life was singularly barren: few changes and no great crisis even broke the smooth current of its course‖ (James 11). Austen‘s works are usually confined to a limited circle. In a letter to her nephew Edward, Austen made comments on her own work as ―[h]ow could I possibly join them on to the little bit of Ivory on which I work with so fine a Brush, as produces little effect after much labor?‖ (Lefroy 160). Liu Bingshan appraised that ―[t]he comparison is true. The ivory surface is small enough, but the woman who made drawings of human life on it is a real artist‖ (309). Some critics accuse Jane Austen of writing with a narrow vision, and that her novels are all about love, marriage, money and rich relations, but Austen‘s works show their values on reflecting the social realities of her day. As Zhang Dingquan and Wu Gang comment in their book that ―her
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[Jane Austen‘s] unique sensitivity to human emotions, her careful observation … made her one of the finest novelists of the age‖ (202).
Austen wrote six complete novels during her literary career. They are: Sense and Sensibility (1811); Pride and Prejudice (1813); Mansfield Park (1814); Emma (1816); Northanger Abbey (1818); and Persuasion (1818). Her literary works have been attracting more and more readers from home and abroad since their publication. Jane Austen is considered as ―a genius that appeals to any generation‖ (Qiao iv). The British female writer Virginia Woolf said that ―[o]f all great novelists, Jane Austen is the most difficult to catch in the act of greatness‖ (Zhu 5).
The work discussed in this thesis is Northanger Abbey, which tells a story of the naive protagonist with a very over-active imagination, Catherine Morland, a Gothic novel aficionado, who treats herself as the heroine of a Gothic novel, takes stories in Gothic novels as happened in her real life and makes many ridiculous adventures, but finally learns to distinguish between the imaginary life in Gothic novels and her own ordinary life situations. Although Northanger Abbey was the first to be completed by Jane Austen, it had neither been given enough attention nor been adequately studied for some considerable time in the past. In fact, Northanger Abbey has its unique research value, particularly the author‘s attitude towards Gothic novels, which has aroused more and more critical attention and debates in recent years (see Chapter One).
This thesis argues that Northanger Abbey shows Jane Austen‘s anti-Gothicism through her satirical criticism of the prevailing Gothic novels in her times. In addition to Introduction and Conclusion, the thesis consists of three chapters. The first chapter briefly introduces Gothic novels, illustrates different viewpoints on the relationship between Northanger Abbey and Gothic novels as discussed by some critics and scholars. The second chapter analyses Jane Austen‘s parodic anti-Gothicism by comparing the plot arrangement and characterization of the novel with that of Gothic novels. The third chapter discusses Jane Austen‘s criticism of Gothic novels through focusing on Catherine‘s ridiculous adventures.
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Chapter One
Gothic Novels and Northanger Abbey
Northanger Abbey is a parody of Gothic novels. The first part of this chapter briefly introduces the origin, development and typical features of Gothic novels; the second part mainly illustrates different viewpoints on Austen‘s attitude towards Gothic novels.
I. Origin and Development of Gothic Novels
The word ―Goth,‖ coming from the name of an ancient tribe in Europe, and its derivative form ―Gothic,‖ which reminds people of mysticism, terror, and dark, were frequently used to describe medieval things in the 18th century. According to a highly-popular dictionary, the word ―Gothic‖ means
a kind of architecture built in the style that was popular in Western Europe
from the 12th century to the 16th centuries, and which has pointed arches, windows, and tall thin pillars and a novel written in the style popular in the 18th and 19th centuries, which described romantic adventures in mysterious or frightening surroundings. (Hornby 883) 注意引语段格式
Now it generally refers to a genre of literature, which is ―full of depicts of murders and supernatural things to thrill readers‖ (Han 36), combines both horror and romance and ―deals with the strange, mysterious, and supernatural designed to invoke suspense and terror in readers‖ (Zhao 283).
From the above quotes, it is known that some basic elements in Gothic novels include: setting in a castle, which often contains secret passages and staircases, dark or hidden rooms; an atmosphere of mystery and suspense that arouses fear and terror; supernatural events, such as ghosts or unknown giants coming to human life; high and overwrought emotion, like anger, sorrow, especially terror from which the characters suffer; heroine in distress, which appeals to the sympathy of the readers; and romance,
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such as powerful love between the heroine and the hero.
The first Gothic novel is The Castle of Otranto: A Gothic Story, written by the English author Horace Walpole. The work is remarkable because it is the first attempt to find ―a tale of amusing fiction upon the basis of the ancient romance of chivalry‖ (Walter 115) and it ―start[s] a fashion and set[s] an example for other Gothic novelists‖ (Zhang 5). In addition, the novel was ―an attempt to blend the two kinds of romance, the ancient and the modern‖ (Horace 19). Horace Walpole opens the door of Gothic novels and a lot of other Gothic novelists follow suit. Among them, Ann Radcliff and Mathew Gregory Lewis are two most famous ones for their respective work The Mysteries of Udolpho and The Monk. The Mysteries of Udolpho (1794), through which Ann Radcliff made the Gothic novel socially acceptable, was an unparalleled success at that time, and was also frequently referred to by Jane Austen in Northanger Abbey. In the mid-1790s the Gothic novel reaches its summit, and David Punder comments, probably an exaggeration, that ―this body of fiction may well have established the popularity of the novel-form‖ (David 61). 注意文内引文规范。每个文献须在文末参考书目中出现。
Besides its popularity among the public, the Gothic novel has a notorious fame for a long time and has been criticized as crude by many critics. In the preface of Lyrical Ballads, Wordsworth commented on Gothic novels as:
The invaluable works of … Shakespeare and Milton are driven into
neglect by frantic novels, sickly and stupid German Tragedies, and deluges of idle and extravagant stories in verse. (Wordsworth and Coleridge 248-249)
In spite of criticism from many literary figures, Gothic novels still attracted a lot of readers and the Gothic influence was amazingly continuing. ―It has been estimated that the reading population of Britain increased from one and a half million in 1780 to between seven and eight million by 1830‖ (Lin 24), and ―Gothic novels have exerted significant influence on the literature of later generations and on every European literature. They have exerted great effect on the American literature, Hawthorn and Allen Poe in particular‖ (Zhao 283). It is not so hard for us to find out that many works of great literary celebrities bear Gothic elements. In the Romantic period, some famous
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works are: Percy Bysshe Shelley‘s first published work, Zastrozzi (1810), was publicly-known as a Gothic novel; Mary Shelley‘s Frankenstein, or, The Modern Prometheus (1818); Coleridge‘s The Rime of the Ancient Mariner (1798) and Christabel (1816); Keats‘ La Belle Dame sans Merci (1819) and Isabella (1820); and The Vampyre (1819) by John William Polidori. Charlotte Bront?‘s Jane Eyre (1847) and Emily Bront?‘s Wuthering Heights (1847) are also acknowledged as Gothic novels as well as Elizabeth Gaskell‘s tales ―The Doom of the Griffiths‖ (1858), ―Lois the Witch‖ (1861), and ―The Grey Woman‖ (1861). Charles Dickens is another mainstream writers heavily influenced by Gothic novels. In his great works, such as Oliver Twist (1837-8), Bleak House (1854), Great Expectations (1861) and The Mystery of Edwin Drood (1870), we can easily feel the Gothic mood and themes. Edgar Allan Poe was a prominent and innovative re-interpreter of Gothic literature in the 19th century American literature, with his well-known works as The Fall of the House of Usher (1839), ―The Black Cat‖ (1843), and ―The Murders in the Rue Morgue‖ (1841).
II. Austen’s Attitude towards Gothic Novels
―The excesses, stereotypes, and frequent absurdities of the traditional Gothic made it rich territory for satire‖ (Skarda 178-179). As it is universally acknowledged, the most famous parody of Gothic novels is Northanger Abbey. We all say that Northanger Abbey is a parody of Gothic novels, but disagree on Austen‘s attitude towards them. Some critics hold that Northanger Abbey offers a refinement on rather than denial of the Gothic: ―Gothic elements in the novel are employed to express Austen‘s feminist ideas rather than mock them‖ (Chen ii); ―Through parody, Austen revises Gothic novels in a comic way for the purpose of negotiation with Gothic novels, as well as inheritance and preservation‖ (Zheng 89). However, some others argue that Austen shows her sarcasm towards Gothic novels and emphasizes reason and realism: ―[Northanger Abbey] also satirized the sentimental novels, especially the Gothic novel, which was very popular at that time‖ (Yang 66), and ―[the] mock of Gothic novels runs through the novel from beginning to end‖ (Sun 36).
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Northanger Abbey expresses Austen‘s sarcasm on prevailing Gothic novels, especially The Mysteries of Udolpho, which has been mentioned several times in the work. With a close reading of Northanger Abbey, we can easily find the Gothic craze surrounding it. First of all, Northanger Abbey shares similar plot construction with the prevailing Gothic novels; secondly, it contains a parodic characterization of Gothic novels; thirdly, they all describe the female protagonist‘s adventures and her love romance with the male protagonist eventually obtained. Additionally, Jane Austen adopts a new tactic of writing novels in Northanger Abbey by addressing the reader directly. We can feel the sense of satire in reading the work. The following chapter deals with its plot construction and characterization to show Jane Austen‘s anti-Gothicism.
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Chapter Two
Parody of Gothic Plot and Characters
In this chapter, we mainly examine Austen‘s parody of Gothic novels through comparing the plot construction and characterization of Northanger Abbey with that of Gothic novels. The novel seemingly imitates the construction of Gothic novels, but it actually satirizes their format of developing stories and depicting characters. I. Parody of Gothic Plot
The widely spread Gothic novels then were sharing almost the same format. A noble heroine, who is very beautiful and intelligent and loves music and drawing, for some reasons leaves her own home to a completely new place, usually a haunted castle, where she experiences horrible and scaring things or being treated unfairly and cruelly. But there often appears an unknown hero who saves the heroine and challenges the villains. They would be together at the end of the story after so many hardships. Northanger Abbey seemingly follows the common format. The heroine, Catherine Morland, leaves her hometown for a new place, Bath, and meets with the hero, Henry Tilney. After undergoing some adventures and distress, the loved ones are finally reunited and get married. However, Jane Austen actually starts making a sharp mockery on Gothic novels from the beginning of Northanger Abbey.
Different from the Gothic heroine, Catherine Morland is a very common English girl, who was born in an ordinary family with her father as a clergyman and her mother a woman of plain sense. She neither had a beautiful figure nor high intelligence. In fact, before she turned fifteen, Catherine had ―a thin awkward figure, a sallow skin without colour, dark lank hair, and strong features‖ (3; ch.1). Instead of music or drawing, Catherine was a tomboy and was very fond of boys‘ plays, especially cricket, and loved
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rolling down the green slope at the back of their house. Judging by these descriptions, we can see that Catherine‘s situation in life, her family, her own personality and disposition are all against a real heroine in Gothic novels: ―No one who had ever seen Catherine Morland in her infancy, would have supposed her born to be a heroine‖ (3; ch.1). Through the characterization of the heroine, Jane Austen actually criticizes the general expectations of a well-mannered gentle lady in Gothic novels.
Then the heroine begins her adventure to Bath. In Gothic novels, the heroine‘s parents should be very worried and severely anxious or in tears with sadness when she is about to leave home. Nevertheless, Catherine‘s mother was not like that: she just reminded her daughter of wrapping herself warm and trying to keep account of the money, and her father only put ten guineas into her hand and promised more when she wanted it. During their journey to Bath, nothing alarming occurred to them except Mrs. Allen‘s having left her clogs at an inn which later on was proved groundless. ―Neither robbers nor tempests befriended them, nor one lucky overturn to introduce them to the hero‖ (11; ch.2). 注意前两段文学作品的引文格式要求：（页码; 章）。
Austen satirizes the expected appearance of the hero to the heroine in Gothic fictions. Henry just appears on an ordinary ball and is introduced to Catherine by the master of the ceremonies in a normal way without any air of romance. Henry, at first, was even partly joking with Catherine about the same routing that young ladies share.
Later, Catherine makes friends with Isabella Thorpe, who is an elegant and fine young woman, and they both consider themselves as old friends. It is Isabella who opens the Gothic gate for Catherine by introducing to her tens of horrible novels; one of them is The Mysteries of Udolpho. After reading so many Gothic novels, Catherine‘s eagerness to visit and explore a real castle grows severe. Therefore, she feels extremely excited when General Tilney, Henry‘s father, invites her to visit their house, the Northanger Abbey.
Additionally, there is one point we should pay attention to, i.e., Jane Austen has adopted a new tactic of writing by addressing the readers directly. For example, at the end of chapter five, when Isabella and Catherine shut themselves up to read novels, the
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narrator clearly says that ―[novels] have afforded more extensive and unaffected pleasure than those of any other literary corporation in the world‖ (32; ch.5), and that novels are works
…in which the greatest powers of the mind are displayed, in which the
most thorough knowledge of human nature, the happiest delineation of its
varieties, the liveliest effusions of wit and humour are conveyed to the world in
the best chosen language. (33; ch.5) 注意文学作品的引文格式要求：（页码; 章）。
Here Austen gives her own insight of the value of novels, and questions the social prejudice against novels. The directness with which Austen addresses the reader gives a unique insight into Austen‘s thoughts at the time. And her perspectives on novels are sharply in contrast with that of popular writers, especially the Gothic novelists of the time.
II. Parody of Gothic Characters
According to the common rule, Gothic novels not only have a set format in plot construction, but also share the same characterization. Below are some classified major characters around the heroine in Gothic novels: an aunt or another older woman of envy; a hero with an air of mystery; a female friend harbors evil intentions; a villain who is always bothering the heroine; a tyrant, usually cold and vicious, treats the heroine cruelly. We may find those familiar archetypes in Northanger Abbey as well, but we can also find a clear difference between them.
First of all, characterization of the heroine‘s aunt Mrs. Allen is quite striking:
It is now expedient to give some description of Mrs. Allen, that the reader
may be able to judge, in what manner her actions will hereafter tend to promote
the general distress of the work, and how she will, probably, contribute to
reduce poor Catherine to all the desperate wretchedness of which a last volume
is capable – whether by her imprudence, vulgarity, or jealousy – whether by
intercepting her letters, ruining her character, or turning her out of doors. (11;
ch.2) 注意引语段的格式要求，以及文学作品的引文格式要求：（页码; 章）。
In Gothic novels, the heroine‘s misfortune is partly caused by her aunt‘s evil jealousy, but in Northanger Abbey, Mrs. Allen is not that evil or blood-hearted to Catherine. Mrs. Allen may truly be a little vulgar and careless. She has a great passion
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in dress and ―had a most harmless delight in being fine; and our heroine‘s entrée into life could not take place till after three or four days had been spent in learning what was mostly worn‖ (12; ch.2). We may say that she doesn‘t fulfill her responsibilities as a senior companion by carefully and whole-heartedly looking after Catherine, but we cannot say that she shows an evil or jealousy towards Catherine. She has nothing to do with what happened to our heroine later on, and this is entirely ironic when compared with the usual Gothic aunt.
In addition, Henry Tilney is different from the hero in Gothic novels. Generally speaking, a Gothic hero must at first be mysterious about his identity and later found born in the purple. But Henry was no mystery since his appearance in the novel. At the very night when they met, Mr. Allen learnt that he was ―a clergyman, and of a very respectable family in Gloucestershire‖ (23; ch.3). Moreover, Henry Tilney didn‘t fall in love with Catherine at the first sight nor did he ever hold a strong affection for her, which was really weird for supposed Gothic readers because ―no young lady can be justified in falling in love before the gentleman‘s love is declared‖ (23; ch.3). As for why Henry finally fell in love with Catherine, the narrator said:
I must confess that his affection originated in nothing better than gratitude,
or, in other words, that a persuasion of her partiality for him had been the only cause of giving her a serious thought. It is a new circumstance in romance…and dreadfully derogatory of a heroine‘s dignity. (284; ch.30)
Apart from Mrs. Allen and Henry Tilney, there are three other negative protagonists: Isabella Thorpe, John Thorpe, and General Tilney. Although there are flaws in their personalities, they are never those Gothic villains who are extremely sinister or treacherous. Isabella was beautiful but a selfish and pitiful young lady who always wanted to marry a rich man. Like his sister, John Thorpe was merely a vulgar and imprudent young man and was always trying to be handsome and gentle. The only bad thing he has done to Catherine was telling General Tilney that Catherine was not at all rich so that the General angrily pushed Catherine out of Northanger Abbey. General Tilney was a money-driven man with a very strict sense of family status and wanted all his children to marry rich families. These three negative characters were never set up, or threatened, or tried to murder Catherine, they were quite unlike those vicious villains in Gothic novels.
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Chapter Three
Catherine’s Adventures
We have discussed the differences of plot construction and characterization between Northanger Abbey and Gothic novels in the preceding chapter. In the last chapter, we are going to take a closer look at the heroine‘s adventures in Northanger Abbey, the estate of the Tilneys‘, which is the climax of the novel and through which Jane Austen shows us the absurdness of Gothic novels and the significance of real life. I. On the Way to Northanger Abbey
During their journey to Northanger Abbey, Henry Tilney deliberately makes fun of Catherine‘s innocent belief in Gothic novels, and says to her: ―[a]nd are you prepared to encounter all the horrors that a building such as ?what one reads about‘ may produce? – Have you a stout heart? – Nerves fit for sliding panels and tapestry?‖ (178; ch.20). Henry also jokingly describes some horrible scenes to Catherine, such as ―an apartment never used since some cousin or kin died in it about twenty years before,‖ or ―gloomy chamber … with only the feeble rays of a single lamp … walls hung with tapestry exhibiting figures as large as life, and the bed, of dark green stuff or purple velvet, presenting even a funeral appearance‖ (179; ch.20). In fact, Catherine Morland was already very eager to take her adventures in the abbey though she said to Henry that she shouldn‘t be easily frightened and thought the abbey has never been inhabited and left deserted for years.
As they drew near the abbey, Catherine‘s impatience for a look at the abbey grew, and in accordance with her novel reading, she thought Northanger Abbey, by its name, as a place with ―massy walls of grey stone, rising amidst a grove of ancient oaks, with the last beam of the sun playing in beautiful splendour on its high Gothic windows‖
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(182; ch.20). But to her disappointment, the building stands too low and even without an antique chimney for her to discern. What‘s more, unlike those heroines in Gothic novels, she just passes between modern lodges and ―along a smooth, level road of fine gravel, without obstacle, alarm or solemnity of any kind, struck her as odd and inconsistent‖ (183; ch.20). General Tilney Eleanor, Henry‘s sister, are waiting to welcome her on the hall, and she is shown into a common drawing-room where the furniture is in elegance of modern taste and panes of the pointed arch, which Catherine hoped them to be the heaviest stonework and painted glass with dirt and cobwebs, are, on the contrary, large, clear, and light. The abbey is just a modern family house with large and lofty hall, broad staircase of shining oak, long wide gallery, ect., and the people are all so friendly that she can‘t feel any awful future misery that would happen to herself like what those heroines usually undergo in Gothic novels. The difference between her imagination and the abbey‘s real condition is very distressing for Catherine. II. Three Adventures in Northanger Abbey
Although feeling a little disappointed at the first sight on Northanger Abbey, out of her imagination, Catherine was delightful to be really in an abbey and began her imagined Gothic adventures with her observation.
When she was alone in her apartment, Catherine found that the walls, the floor, the windows, and the furniture were all handsome and comfortable which made her at ease. But she decided to lose no time in examining anything strange and she suddenly noticed a large high chest that was standing on the back in a deep recess of the fire-place. The sight of the chest made Catherine forget everything else, and she stood still, just gazing at it and wondering: ―This is strange indeed! … An immense heavy chest! – What can it hold? – Why should it be placed here? … I will look into it – cost me what it may‖ (187; ch.21). Driven by curiosity, she advanced and examined the chest closely. The chest was made of cedar, inlaid with some darker wood, and raised on a carved stand of the same, with a rusty silver lock and broken silver handles. With trembling hands and great difficulty as well, she finally raised up the lid, but to her astonishment, there was only a
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white cotton counterpane that was ―properly folded, reposing at one end of the chest in undisputed possession‖ (188; ch.21). Catherine felt blushed at the sight of it but she didn‘t lose her heart for more fascinating adventures.
The first night in Northanger Abbey was stormy, the wind blew strongly the whole afternoon, and it rained violently. Those characteristic sounds brought to her the dreadful situations and horrible scenes in Gothic novels, and for the first time she felt she was really in an Abbey. But Catherine knew that she had nothing to dread from or to explore or to suffer because the house was ―so furnished, and so guarded‖ (191; ch.21). However, she still looked around the room and courageously but fearfully peeped behind each curtain, hoping to see someone sitting there to scare her or a hand placed against the shutter. However, there was nothing. Then she was thinking to go to bed. At that moment, a mysterious cabinet appeared and suddenly captivated her eyes. It was a high, old-fashioned black cabinet, being placed in a conspicuous situation and thus escaped from her notice. The cabinet, with its key in the door, aroused her great interest and she could not sleep till she had examined it. Catherine placed the candle on a chair with caution and tried to turn the key ―with a very tremulous hand‖ (192; ch.21). At first, she thought there could be nothing in it, and she did find nothing after checking the double range of drawers. But later, she surprisingly found a roll of paper inside a small door in the center of the cabinet. At that moment, ―[her] heart fluttered, her knees trembled, and her cheeks grew pale‖ (194; ch.21) as she thought that the paper was some precious manuscript and grasped tightly in her unsteady hand. As she snuffed the candle and was about to read the paper, the candle suddenly extinguished. For a few moments, Catherine felt awful with horror and ―trembled from head to foot‖ (194; ch.21). She hastily jumped onto bed and kept wondering ―how was it [the manuscript] to be accounted for? – What could it contain? – to whom could it relate?‖ (195; ch.21). When she woke up only to find that many papers were just washing-bills, she felt humbled to the dust: ―Nothing could now be clearer than the absurdity of her recent fancies‖ (197; ch.22).
After two adventures in vain, Catherine seemed to become a little sober. However,
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when she heard about the death of Henry and Eleanor‘s mother, and none of the three children was at home and only General Tilney was with Mrs. Tilney, her imagination, which was heavily influenced by Gothic novels, began to exercise. She thought General Tilney was just like Montoni, the prototypical Gothic villain in The Mysteries of Udolpho, who imprisoned the heroine Emily and his wife Madame Cheron in Udolpho with an attempt to acquire their fortune. Catherine believed that General Tilney was cold, pitiless, and cruel; and that he had murdered his wife and probably imprisoned her in some hidden chamber somewhere in Northanger Abbey. So despite two failures before, Catherine once more felt shocked and chilled at the thought of the guilty scene of murder and imprisonment. She remembered that there was a forbidden gallery where lay the doors ―of which the General had given no account‖ (217; ch.23). She thought firmly that unfortunate Mrs. Tilney‘s confinement must be one of them, and she was so eager to examine those mysterious apartments.
One morning, the General‘s early walk has provided Catherine a favorable time when she proposed to Miss Tilney to show her mother‘s portrait and apartment. But when they were just about to turn the lock with fearful caution, ―the dreaded figure‖ (221; ch.23) of General Tilney himself suddenly stood before them and he loudly and angrily ordered Eleanor to come with him, leaving Catherine stay in her own room for safety. As a brave reflection of the morning‘s experience, Catherine became resolute to make her second detection on the forbidden door alone because she thought ―the examination itself would be more satisfactory if made without any companion‖ (222; ch.23). She was finally alone and got the time to carry out her adventure. She quietly slipped through the folding doors and tip-toed into the room; before her was ―a large, well-proportioned apartment‖ (223; ch.24), warm and neat, like the most comfortable apartment in the house, with nothing extraordinary, anywhere but ancient, gloomy, and awful place for imprisonment. Catherine felt a sense of bitter emotions of shame and her heart was sick of its folly. What‘s worse, Henry just came back at that moment and surprisingly ran across her in his mother‘s room. On hearing Catherine‘s suspicion of his mother‘s death, Henry angrily and firmly informed her that Mrs. Tilney died of a
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sudden malady after being carefully treated by a respectable physician, and that his father, General Tilney, loved his wife sincerely in his own way and was greatly afflicted by her death. Being criticized by Henry for her wild and ridiculous ideas, Catherine then felt extremely depressed and ran into her room with tears of shame.
III. Catherine’s Coming back to Reality
Before coming into Northanger Abbey, Catherine thought it might be a haunted place full of horror and danger, but after her three so-called ―Gothic adventures‖ were all proved in vain and was mildly criticized by beloved Henry, she finally realized how foolish she had been and came to believe that the contents of those Gothic novels have nothing to do with human being‘s everyday life. Here Jane Austen shows her satire on Gothic novels and her sarcasm may be illustrated much more clearly through Henry‘s words:
Dear Miss Morland, consider the dreadful nature of the suspicions you
have entertained. What you have been judging from? Remember the country and the age in which we live. Remember that we are English, that we are Christians. Consult your own understanding, your own sense of the probable, your own observation of what is passing around you—Does our education prepare us for such atrocities? Do our laws connive at them? Could they be perpetrated without being known, in a country like this, where social and literary intercourse is on such a footing; where every man is surrounded by a neighbourhood of voluntary spies, and where roads and newspapers lay everything open? (228-229; ch.24)
We may see Henry as the spokesman of Jane Austen and his words as Austen‘s anti-Gothic manifesto to the prevailing Gothic novels and her mockery at their absurdity and remoteness from our daily life and the dangers resulted from Gothic-craze.
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Conclusion
In conclusion, it is obvious that Northanger Abbey shows Jane Austen‘s anti-Gothicism by her parody of the plot, characterization and adventure of the prevailing Gothic novels in her times. In Northanger Abbey, Austen deliberately imitates the Gothic format of plot arrangement, the characterization and the description of heroine‘s adventures, but makes them very different, or the opposite to those in the Gothic fiction in her own style. The heroine Catherine Morland is what she is not, neither beautiful nor destined for a fantastic fate, and her crazy love for Gothic novels, in particular, makes her the typical representative of the ordinary readers. Catherine was at first an innocent and simple-minded girl, but after reading The Mysteries of Udolpho and many other Gothic novels introduced by Isabella Thorpe, she took Northanger Abbey as the imagined Udolpho. At the abbey Catherine had her imagined Gothic adventures and undergone some unpleasant experiences resulted from her ridiculous adventures. Fortunately, she finally learnt her lesson and got out of her Gothic illusions and she has indeed become the true heroine by the end of the story. Through the heroine‘s back to real life, Austen shows us the dangerous and ridiculous confusion between ordinary life and Gothic imagination, and the importance of being realistic and reasonable.
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Works Cited按字母排序，每一条文献都应该是正文中出现过的，切勿随便列一些正文没有出现过的文献。格式问题十分复杂，学生和指导老师务必认真对待，如有疑问，可进一步查阅“MLA格式学位论文写作规范（供查询用）”和“英语本科毕业论文撰写指南”。
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