论文浅析《爱玛》中的反讽艺术.docx
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论文浅析《爱玛》中的反讽艺术
分类号
密级
编号
本科生毕业论文
题目浅析《爱玛》中的反讽艺术
学院外国语学院
专业英语
作者姓名何学存
班级06级
(1)班
学号264010108
指导教师史龙
提交日期2010.5.20
原创性声明
本人郑重声明:
本人所呈交的论文是在指导教师的指导下独立进行研究所取得的成果。
学位论文中凡是引用他人已经发表或未经发表的成果、数据、观点等均已明确注明出处。
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论文作者签名:
年月日
论文指导教师签名:
ABriefAnalysisofIronyinEmma
HeXuecun
Athesis
submittedtotheSchoolofForeignLanguagesandLiteratureTianshuiNormalUniversityinpartialfulfillmentoftherequirementforthedegree
of
BACHELOROFARTS
in
ENGLISHLANGUAGE
Tianshui,Gansu
May,2010
目录
一、论文正文………………………………………………..1-15
二、附录
1.毕业论文成绩评定表
2.答辩小组意见
3.答辩成绩评分表
4.论文指导记录
5.开题报告
ABriefAnalysisofIronyinEmma
HeXuecun
Abstract:
TheconceptofironycanbetracedbacktothetimeofSocrates.InEurope,itattainedahighdegreeofsophisticationinthe18thcentury.Inadditiontotheinfluenceoftheironictradition,JaneAusten’sinherentgiftenabledhertouseironyperfectly.JaneAustenwasamajorEnglishnovelist,whosebrilliantlywitty,elegantlystructuredsatiricalfictionmarksthetransitioninEnglishliteraturefrom18thcenturyneo-classicismto19thcenturyromanticism.
JaneAustenisoneofthegreatestrealisticnovelistsandEmmaisherdistinctandbestnovel.Itisabouttheheroine’spainfulprocessofremovingillusionontomoralandemotionalmaturityandgainingself-recognitionoutoftheerrors.Herpersonalityisconstantlydevelopingandbecomingmature.EmmaWoodhouse,theheroineisfullofflawsandweaknesses,andAustenthereforeassertsthatnoonebutshewilllikethecharacterofEmma.However,itisnottrue;Emmaisdeeplylovedbyreaders.Since1816whenitwaspublished,Emmahasbeendeeplylovedbyresearchers.ItispraisedasthebestnovelofAustenbymostWesterncritics.TheythinkthatitistheperfectandmaturestworkofJaneAustenintermsofideologyandart.CriticsinChinaandabroadmainlyconcentrateonthestudyofthethemeandfiguralshapingbutignoretheartofirony.Thispaperaimstoanalyzetheapplicationofirony,includingverbalirony,dramaticironyandsituationalironyandtheirfunctionsinthisnovel.
Keywords:
Emma;irony;verbalirony;dramaticirony;situationalirony
浅析《爱玛》中的反讽艺术
何学存
【摘要】“反讽”概念最早见于苏格拉底的辩论策略“苏格拉底式反讽”,两千多年来逐渐成为一个多层次、多蕴意的术语,并于18世纪在欧洲获得空前发展。
英国小说家简·奥斯丁继承欧洲文学的反讽传统,并以她高度的艺术自觉,巧妙娴熟地将反讽融于其作品之中,她那出色的机智,优雅的结构讽刺小说标志着从18世纪新古典英国文学过渡到19世纪浪漫主义。
简·奥斯丁是世界上最伟大的现实主义小说家之一,她的作品《爱玛》别具一格,被公认为其最杰出的小说之一。
这部作品描写的是女主人公爱玛在经历了一个个错误之后,抛弃幻想,获得自我,最后步入道德升华和情感成熟的痛苦过程。
《爱玛》的女主人公爱玛·伍德豪斯性格上充满缺陷和弱点,奥斯丁因此而断言除了她自己,是不会有别人喜欢爱玛这个人物的。
然而,事实并不是这样,爱玛深受广大读者喜爱。
自1816年问世以来,这部作品就受到了众多研究者们的青睐,被大多数西方评论家视为奥斯丁的最佳小说,认为它无论在思想上还是艺术上都比她的其他作品更臻成熟完美。
无论在国内还是国外,研究者们大多集中在研究该作品的主题及人物形象的塑造等,而忽略了作品中运用的反讽创作技巧。
本文旨在通过对《爱玛》中运用的反讽手法,包括言语反讽,喜剧反讽和情景反讽的分析,探讨作品中反讽艺术的价值。
【关键词】《爱玛》;反讽;言语反讽;戏剧反讽;情景反讽
CONTENTS
I.Introduction1
1.1ABriefIntroductiontoJaneAustenandEmma1
1.2LiteratureReview2
1.2.1LatestResearchesAbroad2
1.2.2LatestResearchesatHome2
II.AnIntroductiontoIrony3
2.1TheConceptofIrony3
2.2ClassificationofIronyandItsFeatures5
III.IronyinEmma6
3.1AnOverviewofJaneAusten’sIrony6
3.2VerbalIronyinEmma7
3.2.1TheDefinitionofVerbalIrony7
3.2.2TheApplicationofVerbalIronyinEmma.8
3.3DramaticIronyinEmma9
3.3.1TheDefinitionofDramaticIrony9
3.3.2TheApplicationofDramaticIronyinEmma10
3.4SituationalIronyinEmma11
3.4.1TheDefinitionofSituationalIrony11
3.4.2TheApplicationofSituationalIronyinEmma11
IVConclusion14
References16
Acknowledgements17
I.Introduction
1.1ABriefIntroductiontoJaneAustenandEmma
JaneAusten(1775-1817)isnowconsideredoneofthegreatestwritersintheworld.Butitisnotasmoothprocessforhertogetthewell-deservedreputationandstatus.DuringJaneAusten’slifetime,only15earlyreviewswerewrittenforherworks.CharlotteBronte,oneofanumberofprominentmid-nineteenth-centuryauthorswhoharshlycriticizedhernovels,excludedherfromtheranksofgreatauthorsbecauseshethoughtthat“thepassionsareperfectlyunknowntoher[JaneAusten]”.Manyinsightfulcritics,however,realizedthevalueofJaneAusten.SirWalterScottthoughthighlyofherabilitytorender“ordinarycommonplacethingsandcharactersinteresting”.MacaulayandGeorgeLewesregardedherasnolessthana“proseShakespeare”;andinthe20thcenturyBrigidBrophydescribedheras“thegreatestnovelistofalltime”.However,theseinfluentialnineteenth-centurycriticsonlyanalyzedthegeneralqualitiesofherworks;littlesubstantialcriticismappearedduringthefirsthalfofthe19thcentury.
Emma,writtenwhenJaneAustenwasattheheightofherpowers,isregardedasoneofherfinestachievements.Inthismasterpiece,JaneAustencreatedhermostprofoundcharacter,thewitty,imaginativeandself-deludedEmmaWoodhouse,aheroinethattheauthordeclarednoonebutshewillmuchlike,butwhohasbeenlovedbygenerationsofreaders.Emmaishandsome,clever,andrich,aswellasself-assured,shebelievesherselfimmunetoromance,determinedtocontrolthearrangementsofotherpeople’slives,andEmmatakesontheself-appointedroleofmatchmaker.Sheusesconsiderablecreativepowersdreamingupromanticscenariosthatconsistently,andcomically,failstoworkoutasshehasplanned.Andattheenddiscoversthatsheisnotimmunetoloveandmarriageherself.
Emmaisintelligent,undoubtedly,withhermultiplereadinglists,paintingsandpiano-playingexperiences,thoughnotthatcleversometimes;sheisover-activeinimagination,generatingevidencesofrelationshipsorfeelingsthatarenon-existent;sheiskind,havingsuchsincerewishestohelpHarriettofindamanproperlyniceforher;andshematures,throughthelessonsfromMr.Knightleyaswellasseveralfailuresandofcourse,herownexperienceoflove.
1.2LiteratureReview
1.2.1LatestResearchesAbroad
JaneAusten(1775-1817)isadistinguishedwomannovelistattheendofthe18thcenturyandtheearlyofthe19thcentury.JaneAustenboastsaworldwideandeverlastingrecognitioninthefieldofEnglishliterature.Incontrastwithheruneventfulandserenelife,asgenerallydescribed,herworksrevealasobermindofenormousvitalityandapowerfulunderstandingofhumanbehavior.ShegrewupinHampshireamongalltheminorlandedgentryandcountryclergy,whicharesoperfectlyportrayedinherworks,andwroteinheruniqueivoryandpleasanttoneSenseandSensibility(1811),PrideandPrejudice(1813),MansfieldPark(1814),Emma(1816),NorthangerAbbey(1818)andPersuasion(1818).D.C.Mueckepointedoutthat“allthesuccessfulliteratureisironicinnature”(D.C.Muecke,1970:
10).Ironistnotonlylikeanartist,butisatrueartist.JaneAustenisanartist;what’smoreimportantisthatsheisasatirist.Emmaisregardedashermaturestworkinartandthought.MuchattentionispaidtothethemeofEmma,anditisconsideredasanovelabouteducation,inwhichtheheroinedrawslessonsandmoralinspiration.Closelyconnectedtotheme,theartofironyisthekeynoteofnovel.Asuccessionofironiesliesintheteacher’srolepersistentlytobeplayedbyEmmawhoshouldhavebeenalearner.Besides,criticsfocustheirattentionontheimageswhentheytendtoanalyzetheeffectofirony.Intheperspectiveofvisualsense,WayneBoothpointedout“unlessgettingtheshortcomingsofEmma,canwefullyenjoythecomedywhichJaneAustenpreparedforus”(WayneBooth,1983:
401).
1.2.2LatestResearchesatHome
Emmaisabouttheheroine’spainfulprocessofremovingillusionontomoralandemotionalmaturityandgainingself-recognitionoutoftheerrors.EventhoughitislesspopularthanPrideandPrejudiceamongJaneAusten’sChinesereaders,itisanotherexcellentworkwithprofoundirony.GaoGuangmingandSunLianalyzedaseriesofcartooncharacterswhogivethereaderastrongsenseofcomedyandquick-wittedironyinpaper“AnAnalysisofJaneAusten’sWritingSkillsinEmma”(GaoGuangming,SunLi,2000:
1).LiuDanlingconsideredthatthevictimsofJaneAusten’sironyarethemarriagestateatthattimeandthewomenwhoaremoreperceptionalthanrationalinherpaper“TheIronyFeaturesinEmma”(LiuDanling,2003:
1).
Criticsmainlyconcentrateonthestudyofthethemeandfiguralshapingbutignoretheartofirony.Onaccountofthedeficiencyofthepreviousresearch,thispaperwillconductamorecomprehensivestudyofit,aimingtoenlargetherangeofstudyonthestudyofEmma.
II.AnIntroductiontoIrony
2.1TheConceptofIrony
Theterm“irony”firstappearedinPlato’sRepublicas“eironeia”.AppliedtoSocratesbyoneofhisvictims,itapproximatelymeant“asmoothandlowdownwayoftakingpeoplein”.SocrateswaswhattheGreekscall“eiron”ineveryconversation,oftenaskingseeminglyinnocuousandnaivequestionswhichgraduallyunderminehisinterlocutor’scaseandtraphimintoseeingthetruth.ThismodeofironicdeceptionultimatelystemmedfromGreekcomedy,inwhichthehumblebutcraftydissimulator(eiron)triumphedoverhisstupidandboastfuldupe(alazon).ForAristotle,eironeiameantself-depreciativedissimulation,whichalsoreferredtoSocraticirony.DuringthetimeofAristotle,“eironeia”,originallydenotingamodeofbehavior,cametobeappliedtoadeceptiveuseoflanguage:
toblamebyironicalpraiseortopraisebyironicalblame.Thusitwasalsoafigureinrhetoric.
Itisnotuntil1502thatironywasfirstmentionedinEnglishas“yronye”,meaning“thewayamansaysoneandgivestounderstandthecontrary”.InEurope,ironywasregardedmainlyasafigureofspeechfortwohund