论文浅析《爱玛》中的反讽艺术.docx

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

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

ABriefAnalysisofIronyinEmma

HeXuecun

Athesis

submittedtotheSchoolofForeignLanguagesandLiteratureTianshuiNormalUniversityinpartialfulfillmentoftherequirementforthedegree

of

BACHELOROFARTS

in

ENGLISHLANGUAGE

Tianshui,Gansu

May,2010

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.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,ironywasregardedmainlyasafigureofspeechfortwohundredyearsandmore.Thewordwasdefinedas“sayingthecontraryofwhatonemeans”,“sayingonethingbutmeaninganother”,“praisinginordertoblameandblaminginordertopraise”,andas“mockingandscoffing”,whichisactuallyverbalirony.Thetermironydidnotcomeintogeneraluseuntillateinthe17thcentury,orearlyinthe18thcentury,butinthisperiodirony,asamodeofthinking,feelingandexpression,wasbeginningtoattainahighdegreeofsophistication,justbeforeJaneAusten’stime.Beforeher,alargenumberofdistinguishedwritersincludingShakespeare,Jonson,Dryden,Defoe,Swift,Voltaire,Pope,Johnson,Fielding,Gibbon,andGoethe,hadusedironyadeptly.InadditiontotheinfluenceoftheEuropeanironictradition,Austen’sowngiftalsoenabledhertograspironysupremelywell.

Itisattheveryendofthe18thandatthebeginningofthe19thcenturythattheword“irony”took