簡奧斯汀的英語寫作藝術

㈠ 簡奧斯汀的寫作風格

1）諷刺手法的運用
奧斯丁的諷刺藝術，不僅表現在某些人物的喜劇性格上，也不僅表現在眾多情節的喜劇性處理上，而且還融匯在整個故事的反諷構思中，讓現實對人們的主觀臆想進行嘲諷。男主角達西最初斷定，貝內特家有那麼多不利因素，幾個女兒很難找到有地位的男人，可後來恰恰是他娶了伊麗莎白。而伊麗莎白呢，她曾發誓決不嫁給達西，可最後還是由她做了達西夫人。再看看那個不可一世的凱瑟琳·德布爾夫人，為了阻止伊麗莎白與她外甥達西攀親，她不辭辛勞，親自出馬，先是跑來威嚇伊麗莎白，繼而跑去訓誡達西，殊不知正是她這次奔走為兩位默默相戀的青年通了信息，促成了他們的美滿結合。更令人啼笑皆非的是，就在這幾位「智者」受到現實嘲弄的同時，書中那位最可笑的「愚人」貝內特太太，最後卻被證明是最正確的。她認為：「有錢的單身漢總要娶位太太，這是一條舉世公認的真理。」這種荒謬與「真理」的滑稽轉化，盡管超越了一般意義上的是非觀念，但卻體現了作者對生活的深刻思索。
2）對話的運用
對話，是文學創作塑造人物形象的基本材料和基本手段。奧斯丁在創造人物對話時，一方面注意運用對話來刻畫人物形象，另一方面又善於利用說話人、聽話人、讀者在動機和理解上的差異，製造多層次語調，致使她的對話具有既鮮明生動、富有個性，又含意豐富、耐人尋味兩大特色。例如第一卷第十章，達西趁賓利小姐彈起一支蘇格蘭小曲的當兒，邀請伊麗莎白跳舞：「貝內特小姐，你是不是很想抓住這個機會跳一曲里爾舞？」達西這話說得雖然有些傲慢（「很想抓住」四個字足以表明這一點），但他主觀上還是想討好伊麗莎白。可是伊麗莎白聽起來卻不以為然。她認為里爾舞是一種鄉土舞，達西請她跳這種舞，是想蔑視她的「低級趣味」，於是正顏厲色地說道：「我壓根兒不想跳里爾舞——現在，你是好樣的就蔑視我吧。」達西回答了一聲：「實在不敢。」這句答話可能做出多層解釋：伊麗莎白僅僅看作對方是在獻殷勤，賓利小姐可能理解成想結「良緣」的表示，而讀者只要多讀幾段便會發現，達西心裡可能在想：「這位迷人的小姐著實厲害，我這次只得認輸，以後可得謹慎從事。」類似這種微妙的對話，在小說里還有很多。奧斯丁在《諾桑覺寺》第五章，曾用飽含熱情的語言贊揚了新小說：「……總而言之，只是這樣一些作品，在這些作品中，智慧的偉力得到了最充分的施展，因而，對人性的最透徹的理解，對其千姿百態的恰如其分的描述，四處洋溢的機智幽默，所有這一切都用最精湛的語言展現出來。」

㈡ 翻譯簡奧斯汀八個寫作特點

1。一個傳統和保守的人誰舉行的道德價值觀提出的基督教。

2。人們應該有自我控制和回自我認識。而人們也答應該是實際的和負責任的。

3。不包含任何內容相關的那些政治和社會動盪在她的年齡。

4。重點放在她周圍的小世界。特別是關於愛情和婚姻之間的年輕女士們、先生們來自富裕的家庭。

6。敏銳的觀察和深入的分析，人類的本性和人的關系的基礎上，從初中和高中班。

7。幽默，詼諧的對話和眾多一些溫和的諷刺。

8。她一度比她的工作精細雕刻了一小塊象牙只有2平方英寸。這是一個極好的評論。

㈢ 簡.奧斯丁的寫作特點.(英文介紹)

Jane Austen's (1775–1817) distinctive literary style relies on a combination of parody, burlesque, irony, free indirect speech, and a degree of realism. She uses parody and burlesque for comic effect and to critique the portrayal of women in 18th-century sentimental and gothic novels. Austen's irony is used similarly, but extends her critique, highlighting social hypocrisy. She often creates an ironic tone through free indirect speech, in which the thoughts and words of the characters mix with the voice of the narrator. The degree to which critics believe Austen's characters have psychological depth informs their views regarding her realism. While some scholars argue that Austen falls into a tradition of realism because of her diligent, finely executed portrayal of indivial characters and her emphasis on "the everyday", others contend that her characters lack depth of feelings compared with earlier works, and that this, combined with Austen's polemical tone, places her outside the realist tradition.

Austen's novels have often been characterized as "country house novels" or as "comedies of manners", however they also include fairy tale elements. Compared to other early 19th-century novels, Austen's have little narrative or scenic description—they contain much more dialogue. Within the many conversations that her characters have, Austen shapes a distinctive and subtlety-constructed voice for each of them.

Austen's plots are fundamentally about ecation; her heroines come to see themselves and their conct more clearly, and become better, more moral people. While Austen steers clear of the formal moralizing which is rather common in contemporary literature, morality—characterized by manners, ty to society, and religious seriousness—is a central theme of her works. Throughout her novels, serious reading is associated with intellectual and moral development. The extent to which Austen's novels reflect feminist themes has been extensively debated by scholars; however, most critics agree that her novels highlight how some female characters take charge of their own worlds while others are confined, physically and spiritually. Almost all of her works explore the precarious economic situation in which women of the late 18th and early 19th centuries found themselves.

Austen's novels have variously been described as politically conservative and progressive. For example, one strand of criticism claims that Austen's heroines support the existing social structure through their dedication to ty and sacrifice of their personal desires. Another strand, however, argues that she is skeptical of the paternalistic ruling other, evidenced by her ironic tone. Within her exploration of the political issues surrounding the gentry, Austen addresses issues relating money and property, particularly the arbitrariness of property inheritance and the precarious economic position of women. Throughout Austen's work there is a tension between the claims of society and the claims of the indivial. Austen is often considered one of the originators of the modern, interiorized novel character.

來自英文維基，僅做參考。希望能幫助到你。

㈣ 簡奧斯丁作品的藝術特色

【文字特色】1）諷刺手法的運用 奧斯丁的諷刺藝術，不僅表現在某些人物的喜劇性格上，也不僅表現在眾多情節的喜劇性處理上，而且還融匯在整個故事的反諷構思中，讓現實對人們的主觀臆想進行嘲諷。男主角達西最初斷定，貝內特家有那麼多不利因素，幾個女兒很難找到有地位的男人，可後來恰恰是他娶了伊麗莎白。而伊麗莎白呢，她曾發誓決不嫁給達西，可最後還是由她做了達西夫人。再看看那個不可一世的凱瑟琳·德布爾夫人，為了阻止伊麗莎白與她外甥達西攀親，她不辭辛勞，親自出馬，先是跑來威嚇伊麗莎白，繼而跑去訓誡達西，殊不知正是她這次奔走為兩位默默相戀的青年通了信息，促成了他們的美滿結合。更令人啼笑皆非的是，就在這幾位「智者」受到現實嘲弄的同時，書中那位最可笑的「愚人」貝內特太太，最後卻被證明是最正確的。她認為：「有錢的單身漢總要娶位太太，這是一條舉世公認的真理。」這種荒謬與「真理」的滑稽轉化，盡管超越了一般意義上的是非觀念，但卻體現了作者對生活的深刻思索。 2）對話的運用 對話，是文學創作塑造人物形象的基本材料和基本手段。奧斯丁在創造人物對話時，一方面注意運用對話來刻畫人物形象，另一方面又善於利用說話人、聽話人、讀者在動機和理解上的差異，製造多層次語調，致使她的對話具有既鮮明生動、富有個性，又含意豐富、耐人尋味兩大特色。例如第一卷第十章，達西趁賓利小姐彈起一支蘇格蘭小曲的當兒，邀請伊麗莎白跳舞：「貝內特小姐，你是不是很想抓住這個機會跳一曲里爾舞？」達西這話說得雖然有些傲慢（「很想抓住」四個字足以表明這一點），但他主觀上還是想討好伊麗莎白。可是伊麗莎白聽起來卻不以為然。她認為里爾舞是一種鄉土舞，達西請她跳這種舞，是想蔑視她的「低級趣味」，於是正顏厲色地說道：「我壓根兒不想跳里爾舞——現在，你是好樣的就蔑視我吧。」達西回答了一聲：「實在不敢。」這句答話可能做出多層解釋：伊麗莎白僅僅看作對方是在獻殷勤，賓利小姐可能理解成想結「良緣」的表示，而讀者只要多讀幾段便會發現，達西心裡可能在想：「這位迷人的小姐著實厲害，我這次只得認輸，以後可得謹慎從事。」類似這種微妙的對話，在小說里還有很多。奧斯丁在《諾桑覺寺》第五章，曾用飽含熱情的語言贊揚了新小說：「……總而言之，只是這樣一些作品，在這些作品中，智慧的偉力得到了最充分的施展，因而，對人性的最透徹的理解，對其千姿百態的恰如其分的描述，四處洋溢的機智幽默，所有這一切都用最精湛的語言展現出來。」

㈤ 簡.奧斯汀的寫作屬於什麼風格

簡·奧斯汀（Jane Austen，1775年12月日－1817年7月18日）是英國著名女性小說家，她的作品主要關注鄉紳家庭女性的婚姻和生活，以女性特有的細致入微的觀察力和活潑風趣的文字真實地描繪了她周圍世界的小天地。

補充回答： 簡·奧斯汀（1775年12月16日～1817年7月18日）英國女小說家。生於鄉村小鎮斯蒂文頓，有6個兄弟和一個姐姐，家境尚可。父親喬治·奧斯汀（George Austen，1731年—1805年）是當地一名牧師。母親卡桑德拉（1739年—1827年）。奧斯汀沒有上過正規學校，但受到較好的家庭教育，主要教材就是父親的文學藏書。奧斯汀一家愛讀流行小說，多半是庸俗的消遣品。她少女時期的習作就是對這類流行小說的滑稽模仿，這樣就形成了她作品中嘲諷的基調。她20歲左右開始寫作，共發表了6部長篇小說。1811年出版的《理智與情感》是她的處女作，隨後又接連發表了《傲慢與偏見》（1813）、《曼斯菲爾德花園》（1814）和《愛瑪》（1815）。《諾桑覺寺》（又名《諾桑覺修道院》）和《勸導》（1818）是在她去世後第二年發表的，並署上了作者真名。
簡·奧斯汀一生未嫁。1796年，她與後來成為愛爾蘭最高法官的湯姆·勒弗羅伊（Tom Lefroy）有過短暫的羅曼史，據傳他就是《傲慢與偏見》中達西先生的原型。1802年，一名比奧斯汀小六歲的富有男子哈里斯·彼格威瑟（Harris Bigg-Wither）向她求婚。奧斯汀最初接受了，次日又改變主意拒絕了他。
1801年，奧斯汀的父親退休後，全家遷居到療養勝地巴斯。就像筆下的女主人公安妮·艾略特一樣，奧斯汀並不喜歡巴斯，這也許與她家庭經濟狀況日趨拮據有關。
1805年父親去世後，奧斯汀跟隨母親和姐姐到南安普敦與兄長弗蘭克住了幾年。1809年又移居查頓（Chawton）投奔兄長愛德華。那裡的小屋現在是奧斯汀紀念館，成為了著名的旅遊景點。奧斯汀後期的作品就是在那裡寫作的。
1816年，奧斯汀的健康狀況惡化，她於1817年搬到溫徹斯特療養，並於同年7月病逝。葬在溫徹斯特大教堂。
奧斯汀兄弟中詹姆斯和亨利後來也從事神職，弗朗西斯和查爾斯則成供職英國海軍。珍與她的姐姐卡桑德拉關系密切，她們之間的信件為後世奧斯汀研究提供了很多素材。卡桑德拉為簡·奧斯汀所作的畫像目前保存在倫敦的國家肖像館內。

㈥ 簡奧斯丁簡介英漢互譯的

簡·奧斯汀簡介

JaneAusten is a famous British female novelist, her work has focused primarily onthe squire family female marriage life, to female specific nuanced observationand lively and humorous text truly depicts the one's own little world in heraround the world.

JaneAusten.

Foreignname: Austen Jane

Nationality:British

Birthplace:Steven Don Town, UK

Dateof birth: December 16, 1775

Dateof death:

July18, 1817

Occupation:novelist

Mainachievement:

Writea lot of world famous masterpiece

Representativeworks: "sense and sensibility" in "Pride and Prejudice""Emma" "Persuasion"

Austenwas unmarried, a well-to-do family. Because of living in the rural town, accessto the middle and small landlords, priests and others

JaneAusten

Aswell as their quiet and comfortable living environment, there is no significantsocial contradiction in her works. She to the female specific nuancedobservation, truly depicts the one's own little world in her around the world,especially among ladies and gentlemen in marriage and love affair. Her workstyle is relaxed and humorous, full of comedy conflict, popular with readers.From the end of the 18th century to the beginning of the 19th century, vulgarand boring "sentimental novel" and the "Gothic novel" fullof British literary scene, and Austen iconoclastic, an anti conventional showedwere not affected by the impact of capitalist instrial revolution of Britishcountryside middle class daily life and pastoral scenery. She often worksthrough the comic scenes of people ridiculed the stupid, selfish, snobbish andblind confidence as contemptible ridiculous weakness. Austin'snovel appeared in the early part of the 19th century, all the rage swept offthe tide of romanticism, inherited and developed in Britain in the 18th century outstandingrealist tradition, the climax of the realistic novels in the nineteenthcentury. Although the works reflect the breadth and depth of the limited, buther works such as "two inches ivory, from a small window peep to the wholesociety to form and worldly wisdom, then to change the vulgar ethos in thecreation of the novel the good

Roleas a connecting link in the history of the development of the English novel,was hailed as the status "on an equal footing with Shakespeare"writer.

㈦ 簡奧斯汀英語作文

途咕咕咕

㈧ 簡 奧斯汀 的英文資料.

簡奧斯汀生平和介紹她作品的的英文簡介

Jane Austen (16 December 1775 – 18 July 1817) was an English novelist whose realism, biting social commentary and masterful use of free indirect speech, burlesque and irony have earned her a place as one of the most widely read and best-loved writers in English literature.[1]

Austen lived her entire life as part of a small and close-knit family located on the lower fringes of English gentry.[2] She was ecated primarily by her father and older brothers as well as through her own reading. The steadfast support of her family was critical to Austen's development as a professional writer.[3] Austen's artistic apprenticeship lasted from her teenage years until she was about thirty-five years old. During this period, she wrote three major novels and began a fourth.[B] From 1811 until 1815, with the release of Sense and Sensibility (1811), Pride and Prejudice (1813), Mansfield Park (1814) and Emma (1815), she achieved success as a published writer. She wrote two additional novels, Northanger Abbey and Persuasion, both published after her death in 1817, and began a third, which was eventually titled Sanditon, but died before completing it.

Austen's works critique the novels of sensibility of the second half of the eighteenth century and are part of the transition to nineteenth-century realism.[4][C] Austen's plots, though fundamentally comic,[5] highlight the dependence of women on marriage to secure social standing and economic security.[6] Like those of Samuel Johnson, one of the strongest influences on her writing, her works are concerned with moral issues.[7]

During her lifetime, Austen's works brought her little fame and only a few positive reviews. Through the mid-nineteenth century, her novels were admired only by a literary elite. However, the publication of her nephew's A Memoir of Jane Austen in 1869 introced her life and works to a wider public. By the 1940s, Austen was firmly ensconced in academia as a "great English writer", and the second half of the twentieth century saw a proliferation of Austen scholarship that explored many aspects of her novels: artistic, ideological, and historical. In popular culture, a Janeite fan culture has developed, centred on Austen's life, her works, and the various film and television adaptations of them.

關於他的作品：http://ke..com/view/73915.html?wtp=tt

㈨ 評析一下夏洛蒂勃朗特、艾米莉勃朗特、簡奧斯汀的寫作風格。

1.夏洛蒂的作品主要描寫貧苦的小資產者的孤獨、反抗和奮斗。2.艾米莉是對極端愛情和人格的專描寫屬。3.奧斯丁以女性特有的細致入微的觀察力，真實地描繪了她周圍世界的小天地，尤其是紳士淑女間的婚姻和愛情風波。她的作品格調輕松詼諧，富有喜劇性沖突。 體現愛情與倫理觀。

㈩ 請高手幫忙寫一下簡·奧斯汀的英語簡介

Jane Austen (Jane Austen ,1775.12.16 - 1817 .7.18), 1775年 was born in the United Kingdom Hampshire Steven Dayton, eight brothers and sisters. The father and served as the head of the more than 40 years. He is a profound knowledge of the priest, his wife from a relatively wealthy family, also have a certain cultural enrichment. Therefore, although not Austin into a regular school, but the family's fine conditions and environmental studies, has given her self-conditions to cultivate her interest in writing. Shi Sansi-year-old, she started to write things that her language in the order. In 1800 his father retired, the family moved to Bath, lived around 2004, he died in the place, so Austin and his mother, sister and moved to Southampton, then moved to Qiaodeng 1809. Early 1816 she had tuberculosis, the increasingly frail body, in May 1817 was sent to Winchester for treatment, but treatment does not work, unfortunately in the same year on July 18 died in the arms of her sister,. Her life unmarried, buried in Winchester Cathedral.