语言学视域下的简·奥斯丁作品人际关系研究(txt+pdf+epub+mobi电子书下载)

作者：魏丽娟, 著

出版社：南京大学出版社

格式: AZW3, DOCX, EPUB, MOBI, PDF, TXT

语言学视域下的简·奥斯丁作品人际关系研究试读：

英国19世纪小说家简·奥斯丁是一位举世公认的经典作家。虽然她一生仅仅创作了6部作品，声望却日益稳固，被称为“散文中的莎士比亚”。奥斯丁善于描写平凡人物和他们之间复杂的人际关系。她的小说不仅蕴含辩证艺术和对生活哲理及价值观念的独特阐释，而且贯穿了她对人类平等和社会和谐的追求。平心而论，她的小说算不上雄伟壮丽、激情澎湃，但那么的真实细腻、令人愉快，且能直接触动读者的心灵。不同时期的作品体现了她对不同人际关系的思考和判断，从最初的男女之情到父母之爱，最后升华到更为广泛的女性关系。然而她不仅是一位高度敏感、自觉的文学大师，而且在语言艺术上也独树一帜。迄今为止，很多学者对奥斯丁小说的主题和语言风格做了不少研究，但是从语言学视角对其小说中人际关系的研究并未引起人们的关注。本书的作者魏丽娟博士以语言学理论为依据，对奥斯丁的主要小说进行探析，系统地研究了用于揭示人物关系的语言艺术，具有一定的学术意义和理论价值。

魏丽娟博士自身有过硬的专业知识和较强的教学和科研能力。她为了提升自身的研究能力和教学水平，不断“充电”，坚持学习，丰富自己。2012年，她在我的指导下顺利完成了博士论文，并获得英语语言文学博士学位，成为邯郸学院外国语学院最年轻的博士。随后，她于2014年起成为大连理工大学在职博士后,并于2017年4月圆满完成研究工作，顺利出站。她已经发表论文二十余篇，其中核心期刊论文十余篇，参编著作多部，主持及参与省级课题十余项，市级和校级课题多项。由于在教学和科研方面表现出色，成绩斐然，她获得了许多奖项和荣誉。

本书是魏丽娟博士多年苦心研究的成果。她以语言学理论为指导，对奥斯丁主要小说的文本进行分析，全面系统地研究揭示人物关系的语言艺术。本书选题新颖，结构合理，论述充分，语言流畅，体现了作者良好的专业基础和研究能力。她认真阅读相关的理论书籍，积极探索从文学和语言学相结合的视角研究奥斯丁作品的可能性，反映了一定的创新精神。这本著作从合作原则、人际意义和言语表达理论对简·奥斯丁不同时期的三部重要小说《傲慢与偏见》、《爱玛》和《劝导》中刻画人际关系的语言进行系统深入的研究。作者从语气、情态、合作原则的遵守和违背，以及直接引语表达和间接引语表达角度就小说中的语言对实现不同人际关系的作用进行探讨，充分揭示了奥斯丁小说的语言艺术。作者运用语言学的研究方法对奥斯丁的文本进行逐一解读，通过分析其语言中最基本的要素和成分来验证其语言艺术。应该说，这部著作是文学批评和语言学研究有机结合的产物，为文学和语言学研究的学术交叉和互融提供了可资借鉴的依据。我相信，本书对我国悄然兴起的奥斯丁语言艺术研究具有一定的参考意义。李维屏2017年5月于上海外国语大学Acknowledgements

After the accomplishment of my book, I realize that my gratitude and debt are manifold. First and foremost, I am deeply indebted to my supervisor Li Weiping and co-supervisor Wang Xiaoling. It must be evident from the first that I owe so much to my supervisor Li Weiping for all his invaluable suggestions, encouragement and kindness. I am much obliged to my co-supervisor Wang Xiaoling for her stimulating talks, patient hearing and careful instruction. They have offered me great help from the very beginning till the last second, from correcting the minor mistakes to making big amendment. Without their enlightening instructions and insightful suggestions, the completion of my book would have been impossible. Their enormous contributions in time and expertise have gained my deepest respect. As strict and wise supervisors, they have impressed me deeply.

I am also very grateful to Professors Yu Jianhua, Qiao Guoqiang, Shi Zhikang, Mei Deming, Feng Qinghua, Yu Dongming, and Xu Yulong for their generous encouragement, constant help and excellent lectures. I would like to express my special thanks to Professor Wei Xiaohong who gives me great help and encouragement.

I would like to express my heart-felt gratitude to all the colleagues in the School of Foreign Languages of Handan College and to those whose works have inspired the contents of the book. I am also thankful to all my friends who give me great support and encouragement during my book writing. I have to thank the Library of Shanghai International Studies University for the chief sources of information about Jane Austen.

My heartfelt thanks go to my parents, my husband and my daughter whom I owe a lot. They give me great spiritual support and concern which encourage me to overcome various difficulties and to persist in my book writing.目录Contents

序言

Acknowledgements

Introduction 1　A Critical Survey of Linguistic Studies on Jane Austen's

Major Fiction2　The Explanation of Linguistic Theories Concerned3　The Argument and the Methodology of the Book4　The Organization of the Book

Chapter One　Cooperative Principle in Male-Female Relationship in Pride and Prejudice 1　Application of CP in the Realization of Diverse

Collaboration 1.1　Cooperation of Speeches in Principled Compromise1.2　Application of the Four Maxims in Genuine Understanding2　Violation of CP in the Demonstration of Mild Conflict 2.1　Non-Cooperation of Speeches in Social Indifference2.2　Violation of the Four Maxims in Interpersonal Disagreement

Chapter Two　Interpersonal Metafunction in Parent-Child Relationship in Emma 1　Mood in the Reflection of Fettered Love 1.1　Mood Choices in Kind Indulgence1.2　Mood Construction in Selfish Irresponsibility2　Modality in the Manifestation of Devious Growth 2.1　Modal Operators in Unconscious Resemblance2.2　Modal Adjuncts in Corresponding Reward

Chapter Three　Speech Representation in Female Relationship in Persuasion 1　Direct Speech Representation in the Display of

Disharmonious Relationship 1.1　Direct Speech in Arrogant Rejection1.2　Free Direct Speech in Indifferent Disregard2　Indirect Speech Representation in the Exhibition of

Compatible Friendship 2.1　Indirect Speech in Candid Concern2.2　Free Indirect Speech in Valuable Assistance

Conclusion

BibliographyIntroduction

Jane Austen is one of the greatest novelists in English language and she is even regarded as being equal to the greatest dramatist William Shakespeare. Her universal popularity lies in her ability to create the illusion of psychologically believable and self-reflecting characters. She is good at the penetrating revelation of characters, complex insight and sophisticated comic vision. In her novels, she searches for the harmony of personal desire and social norm, the growth of female selfhood and the interaction of present and memory, negotiation and relationship between different characters, which are closely related to her excellent mastery of language. However, Austen's focus on three or four families in a country village as her writing subject misleads others to underestimate her art, and the critics just emphasize the wit, elegance and precision of her style without recognizing the originality and innovativeness of her language. Her superficially narrowness does not necessarily mean she does not care about her art at all. On the contrary, she has been highly conscious of the use of language by exercising her own way towards the realization and solution to her art. She often expresses her awareness of language explicitly or implicitly in her letters to her family and friends, and thus her insistence on faithful and neat writing is quite obvious and her style is consistent with growth and improvement. Speculations on her artistic development are quite meaningful and necessary to enlarge the horizon to understand Austen's fiction.1　A Critical Survey of Linguistic Studies on Jane Austen's Major Fiction

Jane Austen's fiction has received common attention from the critics and readers for a long time and her novels are very attractive to students of English who have read them for themselves and to professionals who make critical comments on literature (Woolf, 1975). She is described as being with moral charge to an exquisite discrimination of human values. Virginia Woolf (1975: 177) said that “the wit of Jane Austen has for partner the perfection of her taste. Her fool is a fool, her snob a snob”. She is regarded as sharing qualities with Shakespeare, and called as “Shakespeare in prose”. As early as twelve years old, Austen began to practice writing, and continued with a completion of six novels, letters and juvenilia and fragments until her death. Among her works, Pride and Prejudice belongs to her thearlier works, which is of the 18 century style of sarcastic comedy, while Emma is regarded as the most mature one, and Persuasion is her last novel that is approaching modern literature because of the delicate psychological depiction (朱虹, 1985). Her writing is vigorous and her style is witty and elegant, and people find her works invigorating and entertaining.th

However, in the 19 century, her fiction was generally neglected by contemporary writers and critics, who held prejudice against her narrowness in subjects, which were related to her “country gentlemen, ladies, snobs, bores and social climbers” (范存忠, 1983: 146). What's more, Austen once called her work “small square two inches of ivory” misled people into judging her works as narrow and shallow (qtd. in范存忠, 1983: 146). Her novels sold not very well compared with those contemporary writers such as Walter Scott. And the critics did not comment much on them. Instead, they just did very general studies on Austen's achievements on language and they tended to ignore her art of language by paying more attention to the entertainment and morality that her novels contained.th

Entering the 20 century, her fiction began to arouse great interest from the literary circle. The contemporary readers and writers were quite aware of Jane Austen's mastery of the art of language. An anonymous reviewer in the Edinburgh Magazine found in Jane Austen's novels “more permanent delight in those familiar cabinet pictures, than even in the great historical pieces of our more eminent modern masters” (Watt, 1962: 3). Her language was valued as being able to give vivid pictures of her characters and events. At the same time, some other critics also showed interest in Austen's language, either by praising her writing skills or searching for her style in general. Their focus was presently on Austen's choice of words. Sir Walter Scott, as the most eminent poet and novelist of his time, praised Jane Austen's Emma openly. He wrote in his private journals, “Also read again, and for the third time at least, Miss Austen's very finely written novel of Pride and Prejudice. That young lady had a talent for describing the involvements and feelings and characters of ordinary life, which is to me the most wonderful I ever met with” (Watt, 1962: 3).

Then in 1939, Mary Lascelles initially did a comparatively complete and systematic study of Jane Austen's art by publishing her influential book Jane Austen and Her Art, which was one of the earliest and best study of Austen's writing in depth. In the book, she said, Jane Austen's style exhibited “a curiously chameleon-like faculty” changing with the character and situation. She first approached Jane Austen by way of a brief narrative of her life and an inquiry into the scope, quality and outcome of her reading, and then made an inquiry into her art by means of her use of language especially in relation to the narrator's peculiar problems. She considered that there was certainly something that must be said about the narrative art of Jane Austen and she believed that Austen's style was best illustrated by the definition that proper words in proper places made the true definition of a style. She explored Austen's control of language as tools by way of her vocabulary, consistence of characters with opinions she expressed, variety of dialogues and points of view. On the whole she concentrated on the structural and semantic side of Austen's language.th

In the late 20 century, with the enlargement of stylistic horizons to discuss English novels, Jane Austen's language was rewarded with close and warm attention. Gradually the critics began to pay more attention to Austen's language and tried to apply linguistic knowledge to Austen's fiction; yet, their studies put emphasis on the lexical meaning of language, namely the semantics. In 1966, David Lodge edited the book Language of Fiction: Essays in Criticism and Verbal Analysis of the English Novel. In this book, there was an article “The Vocabulary of Mansfield Park”, which illustrated carefully the word choices in Austen's early novel Mansfield Park. In 1970, K.C. Phillips, wrote Jane Austen's English so as to illustrate her linguistic features to a greater extent. In 1970, Donald D. Stone published “Sense and Semantics in Jane Austen” on Nineteenth-century Fiction. They were all attempts at a study of Jane Austen's language in fiction but they tend to avoid linguistic terms.

In 1972, as an innovative work on Austen's language, The language of Jane Austen was written by Norman Page, who began to study carefully Austen's language style. He was quite “aware of a disparity between subject-matter and significance” in Austen's fiction (Page, 1972: 7). The apparent shallowness revealed actual profundity in her fiction. Page (1972) also argued that the triumph of her fiction was a triumph of style and they could be explained in terms of certain qualities of language. He made detailed exploration of her language by means of the social context of her vocabulary, dialogues, rhetoric devices, and the epistolary art.

Other researchers also delved into Austen's language in various ways. In 1980, Geoffrey Nash wrote a book to give notes to Austen's earlier work Pride and Prejudice, which was called light, bright and sparkling, and was regarded by some as the most reread novel in English. Nash analyzed the language of the novel and thought that Austen portrayed the characters vividly, such as “Mrs. Bennet's speeches always reflect her mind: they ramble on with no obvious direction except the general theme of her daughter's superiority” (1980: 57). He claimed that Jane Austen's irony “expressed its meaning indirectly, through what only appeared to be polite conversation” and “satire makes use of humor and irony, and in Jane Austen, usually has a social meaning” (1980: 59). In this novel, Jane Austen's mastery of dialogues was well displayed.

In the subsequent years, the series of York Notes on Jane Austen's works were published successively, which discussed both the traditional literary study and the study of her linguistic features. In 1980, York Notes: Jane Austen Persuasion was published with the notes given by Angela Smith. The book gave summaries and commentary on the novel including its language. She discussed Austen's concern with moral discrimination and judgment by applying to Austen's words connected with moral and legal judgment and moral discrimination. She argued that there was always legal strain in the language and she pointed out persuasion and susceptibility to persuasion are two important elements of the moral qualities that were examined in the novel such as the words “sacrifice”, “consciousness of right” and “maturity of mind”. In general, Austen's language constantly required that readers should discriminate, evaluate and judge, and reading this novel was like a journey of self-improvement and self-judgment.

In 1981, York Notes: Jane Austen Emma was published with the notes provided by Barbara Kayley, whose book was different from other two books by exploring the style of Emma in more details and greater depth. In the book, she argued that the narrative was orderly in both content and style, and dialogues were used by Austen as an efficient way to shape the characters and help with the plot development. She pointed out that the “dialogue of Emma was lively and spontaneous, much of it was formal, as was natural for the gentility of the time; it gives a balanced and well-organized impression, falling into antitheses, parallels and sequences” (76). She found that different characters had different styles and paces of conversations. She also mentioned the vividness brought by indirect speech, which drifted now and then into direct speech. This kind of narrative was highly valued as being very helpful with the sustained picture. All in all, most of the studies emphasize the linguistic achievements of Jane Austen from the perspective of literary research.th

In the latter half of the 20 century, there seemed a surge in the linguistic study on Austen's art of language with the guidance of stylistics and narratology. In 1981, John Odmard wrote the book An Understanding of Jane Austen's Novels, in which he discussed Austen's language in a more theoretical level of semantic fields and the real point of view. In Part IV entitled Ordering One's Priorities: Semantic Fields and the Real Point of View, he examined the most significant patterns in Austen's word-choices from the perspective of the real point of view. According to him, “words are an important guide for the reader to the moral frame of reference in Jane Austen's fictional world” (123). His research was more important than former critics because he began to talk about the pattern of Austen's word-choices instead of the fragments of diction. Semantic field theory was the theory about the relationship between the senses of words, either syntagmaticly or paradigmaticly. He grouped Austen's language into three fields, namely material values, social values and moral values. In each field, there were related and hierarchical words which helped the reinforcement and clarification of certain value. In this way, Austen provided her readers with key words group to guide them in the judgment and discrimination of the heroines' views.

Janet Todd, as a specialist in Austen's studies, had been doing innovative researches for Austen's writing under the guidance of certain linguistic theories. In 1983, Janet Todd edited the book Jane Austen: New Perspectives, which collected brilliant articles on Austen. In the article “The Language of Supposing: Modal Auxiliaries in Sense and Sensibility” by Zelda Boyd, the author classified the content of the novel into two parts, actual and hypothetical. He thought “the way to begin with Austen's language study was with the hypothetical, with the world of supposition and desire as opposed to the world of hedgerows and apples” (143). He also defined Austen's language as the language of judgment. According him, there was scarcely a page that did not abound with “musts, oughts, shoulds, coulds” in her novel (143). Almost everyone in her novels used modals. Some comic figure such as Mr. Woodhouse in Emma was always remaking the actual to suit his own judgment and assumption, and the selfish and the manipulative were most prone to use modal language to help reshaping the facts to match their desires. They just transformed their subjective desires into objective grounds, which were in their favor. This covert willfulness expressed by modal language was not only the mark of comic characters but also the feature of most self-indulgent wishful thinkers. They just used modal language to objectify their desires. The prime aim of the modal auxiliaries was the expression of inner feeling, supposition and judgment.

Then in 1978, Mary Vaiana Taylor published the article “The Grammar of Conduct: Speech Act Theory and the Education of Emma Woodhouse” on Style, in which she explored Emma Woodhouse from the perspective of pragmatic theory and speech act theory. In 1986, in the book The Jane Austen Companion edited by J. David Grey, Norman Page mentioned in his article “Jane Austen's Language” that although there was not the kind of full-blown rhetoric, “the variety and the contrasts are there, and some of her most telling effects are derived from minor modulations of style, slight departures form the norm that she carefully created” (261). The author also pointed out that in Austen's later novels, especially in Emma and Persuasion, there were more notable stylistic experiments, such as her antithetical structures for ironic or parodic purposes, flexible and open-ended syntax that traced the fluctuations of thought and feeling, punctuation, abrupt phrases, the absence of coordination and her mastery of the long sentence. He argued that Austen examined carefully her moral vocabulary, which recurred consistently in her description and analysis of characters and conduct. More importantly, he pointed out that Austen's mastery of dialogue was of great importance which made the conversation natural and dramatic. In the dialogue, the application of direct speech was only one way of communicating with the reader, another variety of language was the telescoping of a long speech into short sentences or a few telegraphic phrases, which were called free indirect form. In this way, the author had explored a lot of stylistic innovation of Austen's language. His research had begun to approach the discourse analysis field. Yet owing to the age limit, still there was not much done about her language, such as the pragmatic meaning of Austen's language, and there was no detailed analysis of indirect free form. In brief, the author explored various innovative linguistic and stylistic features, and he argued that Jane Austen had a good command of long and short sentences, which was the syntactic level of language.

In 1988, the book Romance, Language and Education in Jane Austen's Novels, was written by Laura G. Mooneyham, which gathered a representative collection of critical essays on Jane Austen's works. The author entitled the third part “Pride and Prejudice: Towards a Common Language” which delved into the language of both the protagonist and the antagonist. The author argued that both the hero Darcy and the heroine Elizabeth had their special language. According to the author, Darcy's language was formal, precise and stolid by “speaking with a detachment born of his intellectual superiority. Such language is not suited to intimacy but to the exercise of authority” (48). While Elizabeth's language was “dominated by a prevailing sense of irony and the wit such an ironic viewpoint generates” and “subversive, that is, she seeks to undermine his authority, both temporal and linguistic, through verbal aggression” (48). The first half of this novel was in some sense not only the conflict between Darcy and Elizabeth but also the misinterpretation of language. The author just gave a rather general impression of the language in the novel, without giving first illustration of the linguistic features of the character's language in

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