论《诺桑觉寺》的反哥特观念毕业论文.doc 19页

'B.A.ThesisofShandongUniversityofFinanceandEconomics论《诺桑觉寺》的反哥特观念毕业论文CONTENTSAcknowledgements…………………………………………………iiAbstract………………………………………………………….…iiiAbstractinChinese………………………………………………ivIntroduction…………………………………………………………1ChapterOneGothicNovelsandNorthangerAbbey...…………3I.OriginandDevelopmentofGothicNovels……………………3II.Austen’sAttitudetowardsGothicNovels……………………5ChapterTwoParodyofGothicPlotandCharacters…………..7I.ParodyofGothicPlot…………………………………………7II.ParodyofGothicCharacters…………………………………9ChapterThreeCatherine’sAdventures………………………11I.OntheWaytoNorthangerAbbey……………………………11II.ThreeAdventuresinNorthangerAbbey…………………….12III.Catherine’sComingbacktoReality…………………………15Conclusion…………..……………………………….……………16WorksCited……………………………………………………..…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。18 B.A.ThesisofShandongUniversityofFinanceandEconomics注意每段的首行缩进、行距、字体、字号等要保持全文一致IntroductionJaneAusten(1775~1817),wholivedattheturnofthe18thand19thcentury,isthemostdistinguishedaswellasthemostwidelyreadfemalenovelistinBritishliterature.ShewasbornonDecember16,1775,atSteventonrectoryinHampshire,England,anddiedinWinchesteronJuly18,1817,andwasburiedinWinchesterCathedral.Austenlivesinalargefamilywithsixbrothersandonesister.Herfather,GeorgeAustenwasarectorformuchofhislife.Hersister,CassandraElizabeth,washerbestfriend.Shewaseducatedprimarilybyherfatherandolderbrothers,andherownreadingalsohelpedalotwithherwriting.DuringAusten’seducationandwritinglife,herfatherwasthemostimportantguide,forhenotonlyprovidedherwithawell-stockedfamilylibrary,butalsosupportedherwritingwithmucheffort.Hehadcreatedademocraticandeasyintellectualatmosphereathome.Theyoftentalkedaboutdifferentpoliticalorsocialideas,andanypersonalopinionswouldbeacceptedanddiscussed.JaneAustenbegantowritewhenshewasonlyaboutthirteenandtheeverlastingsupportofherfamilywascrucialtoherdevelopmentasaprofessionalwriter.Austen’spersonalexperienceshaveagreatinfluenceonherwriting.“Ofeventsherlifewassingularlybarren:fewchangesandnogreatcrisisevenbrokethesmoothcurrentofitscourse”(James11).Austen’sworksareusuallyconfinedtoalimitedcircle.InalettertohernephewEdward,Austenmadecommentsonherownworkas“[h]owcouldIpossiblyjointhemontothelittlebitofIvoryonwhichIworkwithsofineaBrush,asproduceslittleeffectaftermuchlabor?”(Lefroy160).LiuBingshanappraisedthat“[t]hecomparisonistrue.Theivorysurfaceissmallenough,butthewomanwhomadedrawingsofhumanlifeonitisarealartist”(309).SomecriticsaccuseJaneAustenofwritingwithanarrowvision,andthathernovelsareallaboutlove,marriage,moneyandrichrelations,butAusten’sworksshowtheirvaluesonreflectingthesocialrealitiesofherday.AsZhangDingquanandWuGangcommentintheirbookthat“her18 B.A.ThesisofShandongUniversityofFinanceandEconomics[JaneAusten’s]uniquesensitivitytohumanemotions,hercarefulobservation…madeheroneofthefinestnovelistsoftheage”(202).Austenwrotesixcompletenovelsduringherliterarycareer.Theyare:SenseandSensibility(1811);PrideandPrejudice(1813);MansfieldPark(1814);Emma(1816);NorthangerAbbey(1818);andPersuasion(1818).Herliteraryworkshavebeenattractingmoreandmorereadersfromhomeandabroadsincetheirpublication.JaneAustenisconsideredas“ageniusthatappealstoanygeneration”(Qiaoiv).TheBritishfemalewriterVirginiaWoolfsaidthat“[o]fallgreatnovelists,JaneAustenisthemostdifficulttocatchintheactofgreatness”(Zhu5).TheworkdiscussedinthisthesisisNorthangerAbbey,whichtellsastoryofthenaiveprotagonistwithaveryover-activeimagination,CatherineMorland,aGothicnovelaficionado,whotreatsherselfastheheroineofaGothicnovel,takesstoriesinGothicnovelsashappenedinherreallifeandmakesmanyridiculousadventures,butfinallylearnstodistinguishbetweentheimaginarylifeinGothicnovelsandherownordinarylifesituations.AlthoughNorthangerAbbeywasthefirsttobecompletedbyJaneAusten,ithadneitherbeengivenenoughattentionnorbeenadequatelystudiedforsomeconsiderabletimeinthepast.Infact,NorthangerAbbeyhasitsuniqueresearchvalue,particularlytheauthor’sattitudetowardsGothicnovels,whichhasarousedmoreandmorecriticalattentionanddebatesinrecentyears(seeChapterOne).ThisthesisarguesthatNorthangerAbbeyshowsJaneAusten’santi-GothicismthroughhersatiricalcriticismoftheprevailingGothicnovelsinhertimes.InadditiontoIntroductionandConclusion,thethesisconsistsofthreechapters.ThefirstchapterbrieflyintroducesGothicnovels,illustratesdifferentviewpointsontherelationshipbetweenNorthangerAbbeyandGothicnovelsasdiscussedbysomecriticsandscholars.ThesecondchapteranalysesJaneAusten’sparodicanti-GothicismbycomparingtheplotarrangementandcharacterizationofthenovelwiththatofGothicnovels.ThethirdchapterdiscussesJaneAusten’scriticismofGothicnovelsthroughfocusingonCatherine’sridiculousadventures.18 B.A.ThesisofShandongUniversityofFinanceandEconomicsChapterOneGothicNovelsandNorthangerAbbeyNorthangerAbbeyisaparodyofGothicnovels.Thefirstpartofthischapterbrieflyintroducestheorigin,developmentandtypicalfeaturesofGothicnovels;thesecondpartmainlyillustratesdifferentviewpointsonAusten’sattitudetowardsGothicnovels.I.OriginandDevelopmentofGothicNovelsTheword“Goth,”comingfromthenameofanancienttribeinEurope,anditsderivativeform“Gothic,”whichremindspeopleofmysticism,terror,anddark,werefrequentlyusedtodescribemedievalthingsinthe18thcentury.Accordingtoahighly-populardictionary,theword“Gothic”meansakindofarchitecturebuiltinthestylethatwaspopularinWesternEuropefromthe12thcenturytothe16thcenturies,andwhichhaspointedarches,windows,andtallthinpillarsandanovelwritteninthestylepopularinthe18thand19thcenturies,whichdescribedromanticadventuresinmysteriousorfrighteningsurroundings.(Hornby883)注意引语段格式Nowitgenerallyreferstoagenreofliterature,whichis“fullofdepictsofmurdersandsupernaturalthingstothrillreaders”(Han36),combinesbothhorrorandromanceand“dealswiththestrange,mysterious,andsupernaturaldesignedtoinvokesuspenseandterrorinreaders”(Zhao283).Fromtheabovequotes,itisknownthatsomebasicelementsinGothicnovelsinclude:settinginacastle,whichoftencontainssecretpassagesandstaircases,darkorhiddenrooms;anatmosphereofmysteryandsuspensethatarousesfearandterror;supernaturalevents,suchasghostsorunknowngiantscomingtohumanlife;highandoverwroughtemotion,likeanger,sorrow,especiallyterrorfromwhichthecharacterssuffer;heroineindistress,whichappealstothesympathyofthereaders;andromance,18 B.A.ThesisofShandongUniversityofFinanceandEconomicssuchaspowerfullovebetweentheheroineandthehero.ThefirstGothicnovelisTheCastleofOtranto:AGothicStory,writtenbytheEnglishauthorHoraceWalpole.Theworkisremarkablebecauseitisthefirstattempttofind“ataleofamusingfictionuponthebasisoftheancientromanceofchivalry”(Walter115)andit“start[s]afashionandset[s]anexampleforotherGothicnovelists”(Zhang5).Inaddition,thenovelwas“anattempttoblendthetwokindsofromance,theancientandthemodern”(Horace19).HoraceWalpoleopensthedoorofGothicnovelsandalotofotherGothicnovelistsfollowsuit.Amongthem,AnnRadcliffandMathewGregoryLewisaretwomostfamousonesfortheirrespectiveworkTheMysteriesofUdolphoandTheMonk.TheMysteriesofUdolpho(1794),throughwhichAnnRadcliffmadetheGothicnovelsociallyacceptable,wasanunparalleledsuccessatthattime,andwasalsofrequentlyreferredtobyJaneAusteninNorthangerAbbey.Inthemid-1790stheGothicnovelreachesitssummit,andDavidPundercomments,probablyanexaggeration,that“thisbodyoffictionmaywellhaveestablishedthepopularityofthenovel-form”(David61).注意文内引文规范。每个文献须在文末参考书目中出现。Besidesitspopularityamongthepublic,theGothicnovelhasanotoriousfameforalongtimeandhasbeencriticizedascrudebymanycritics.IntheprefaceofLyricalBallads,WordsworthcommentedonGothicnovelsas:Theinvaluableworksof…ShakespeareandMiltonaredrivenintoneglectbyfranticnovels,sicklyandstupidGermanTragedies,anddelugesofidleandextravagantstoriesinverse.(WordsworthandColeridge248-249)Inspiteofcriticismfrommanyliteraryfigures,GothicnovelsstillattractedalotofreadersandtheGothicinfluencewasamazinglycontinuing.“IthasbeenestimatedthatthereadingpopulationofBritainincreasedfromoneandahalfmillionin1780tobetweensevenandeightmillionby1830”(Lin24),and“GothicnovelshaveexertedsignificantinfluenceontheliteratureoflatergenerationsandoneveryEuropeanliterature.TheyhaveexertedgreateffectontheAmericanliterature,HawthornandAllenPoeinparticular”(Zhao283).ItisnotsohardforustofindoutthatmanyworksofgreatliterarycelebritiesbearGothicelements.IntheRomanticperiod,somefamous18 B.A.ThesisofShandongUniversityofFinanceandEconomicsworksare:PercyByssheShelley’sfirstpublishedwork,Zastrozzi(1810),waspublicly-knownasaGothicnovel;MaryShelley’sFrankenstein,or,TheModernPrometheus(1818);Coleridge’sTheRimeoftheAncientMariner(1798)andChristabel(1816);Keats’LaBelleDamesansMerci(1819)andIsabella(1820);andTheVampyre(1819)byJohnWilliamPolidori.CharlotteBrontë’sJaneEyre(1847)andEmilyBrontë’sWutheringHeights(1847)arealsoacknowledgedasGothicnovelsaswellasElizabethGaskell’stales“TheDoomoftheGriffiths”(1858),“LoistheWitch”(1861),and“TheGreyWoman”(1861).CharlesDickensisanothermainstreamwritersheavilyinfluencedbyGothicnovels.Inhisgreatworks,suchasOliverTwist(1837-8),BleakHouse(1854),GreatExpectations(1861)andTheMysteryofEdwinDrood(1870),wecaneasilyfeeltheGothicmoodandthemes.EdgarAllanPoewasaprominentandinnovativere-interpreterofGothicliteratureinthe19thcenturyAmericanliterature,withhiswell-knownworksasTheFalloftheHouseofUsher(1839),“TheBlackCat”(1843),and“TheMurdersintheRueMorgue”(1841).II.Austen’sAttitudetowardsGothicNovels“Theexcesses,stereotypes,andfrequentabsurditiesofthetraditionalGothicmadeitrichterritoryforsatire”(Skarda178-179).Asitisuniversallyacknowledged,themostfamousparodyofGothicnovelsisNorthangerAbbey.WeallsaythatNorthangerAbbeyisaparodyofGothicnovels,butdisagreeonAusten’sattitudetowardsthem.SomecriticsholdthatNorthangerAbbeyoffersarefinementonratherthandenialoftheGothic:“GothicelementsinthenovelareemployedtoexpressAusten’sfeministideasratherthanmockthem”(Chenii);“Throughparody,AustenrevisesGothicnovelsinacomicwayforthepurposeofnegotiationwithGothicnovels,aswellasinheritanceandpreservation”(Zheng89).However,someothersarguethatAustenshowshersarcasmtowardsGothicnovelsandemphasizesreasonandrealism:“[NorthangerAbbey]alsosatirizedthesentimentalnovels,especiallytheGothicnovel,whichwasverypopularatthattime”(Yang66),and“[the]mockofGothicnovelsrunsthroughthenovelfrombeginningtoend”(Sun36).18 B.A.ThesisofShandongUniversityofFinanceandEconomicsNorthangerAbbeyexpressesAusten’ssarcasmonprevailingGothicnovels,especiallyTheMysteriesofUdolpho,whichhasbeenmentionedseveraltimesinthework.WithaclosereadingofNorthangerAbbey,wecaneasilyfindtheGothiccrazesurroundingit.Firstofall,NorthangerAbbeysharessimilarplotconstructionwiththeprevailingGothicnovels;secondly,itcontainsaparodiccharacterizationofGothicnovels;thirdly,theyalldescribethefemaleprotagonist’sadventuresandherloveromancewiththemaleprotagonisteventuallyobtained.Additionally,JaneAustenadoptsanewtacticofwritingnovelsinNorthangerAbbeybyaddressingthereaderdirectly.Wecanfeelthesenseofsatireinreadingthework.ThefollowingchapterdealswithitsplotconstructionandcharacterizationtoshowJaneAusten’santi-Gothicism.18 B.A.ThesisofShandongUniversityofFinanceandEconomicsChapterTwoParodyofGothicPlotandCharactersInthischapter,wemainlyexamineAusten’sparodyofGothicnovelsthroughcomparingtheplotconstructionandcharacterizationofNorthangerAbbeywiththatofGothicnovels.ThenovelseeminglyimitatestheconstructionofGothicnovels,butitactuallysatirizestheirformatofdevelopingstoriesanddepictingcharacters.I.ParodyofGothicPlotThewidelyspreadGothicnovelsthenweresharingalmostthesameformat.Anobleheroine,whoisverybeautifulandintelligentandlovesmusicanddrawing,forsomereasonsleavesherownhometoacompletelynewplace,usuallyahauntedcastle,wheresheexperienceshorribleandscaringthingsorbeingtreatedunfairlyandcruelly.Butthereoftenappearsanunknownherowhosavestheheroineandchallengesthevillains.Theywouldbetogetherattheendofthestoryaftersomanyhardships.NorthangerAbbeyseeminglyfollowsthecommonformat.Theheroine,CatherineMorland,leavesherhometownforanewplace,Bath,andmeetswiththehero,HenryTilney.Afterundergoingsomeadventuresanddistress,thelovedonesarefinallyreunitedandgetmarried.However,JaneAustenactuallystartsmakingasharpmockeryonGothicnovelsfromthebeginningofNorthangerAbbey.DifferentfromtheGothicheroine,CatherineMorlandisaverycommonEnglishgirl,whowasborninanordinaryfamilywithherfatherasaclergymanandhermotherawomanofplainsense.Sheneitherhadabeautifulfigurenorhighintelligence.Infact,beforesheturnedfifteen,Catherinehad“athinawkwardfigure,asallowskinwithoutcolour,darklankhair,andstrongfeatures”(3;ch.1).Insteadofmusicordrawing,Catherinewasatomboyandwasveryfondofboys’plays,especiallycricket,andloved18 B.A.ThesisofShandongUniversityofFinanceandEconomicsrollingdownthegreenslopeatthebackoftheirhouse.Judgingbythesedescriptions,wecanseethatCatherine’ssituationinlife,herfamily,herownpersonalityanddispositionareallagainstarealheroineinGothicnovels:“NoonewhohadeverseenCatherineMorlandinherinfancy,wouldhavesupposedherborntobeaheroine”(3;ch.1).Throughthecharacterizationoftheheroine,JaneAustenactuallycriticizesthegeneralexpectationsofawell-manneredgentleladyinGothicnovels.ThentheheroinebeginsheradventuretoBath.InGothicnovels,theheroine’sparentsshouldbeveryworriedandseverelyanxiousorintearswithsadnesswhensheisabouttoleavehome.Nevertheless,Catherine’smotherwasnotlikethat:shejustremindedherdaughterofwrappingherselfwarmandtryingtokeepaccountofthemoney,andherfatheronlyputtenguineasintoherhandandpromisedmorewhenshewantedit.DuringtheirjourneytoBath,nothingalarmingoccurredtothemexceptMrs.Allen’shavingleftherclogsataninnwhichlateronwasprovedgroundless.“Neitherrobbersnortempestsbefriendedthem,noroneluckyoverturntointroducethemtothehero”(11;ch.2).注意前两段文学作品的引文格式要求：（页码;章）。AustensatirizestheexpectedappearanceoftheherototheheroineinGothicfictions.HenryjustappearsonanordinaryballandisintroducedtoCatherinebythemasteroftheceremoniesinanormalwaywithoutanyairofromance.Henry,atfirst,wasevenpartlyjokingwithCatherineaboutthesameroutingthatyoungladiesshare.Later,CatherinemakesfriendswithIsabellaThorpe,whoisanelegantandfineyoungwoman,andtheybothconsiderthemselvesasoldfriends.ItisIsabellawhoopenstheGothicgateforCatherinebyintroducingtohertensofhorriblenovels;oneofthemisTheMysteriesofUdolpho.AfterreadingsomanyGothicnovels,Catherine’seagernesstovisitandexplorearealcastlegrowssevere.Therefore,shefeelsextremelyexcitedwhenGeneralTilney,Henry’sfather,inviteshertovisittheirhouse,theNorthangerAbbey.Additionally,thereisonepointweshouldpayattentionto,i.e.,JaneAustenhasadoptedanewtacticofwritingbyaddressingthereadersdirectly.Forexample,attheendofchapterfive,whenIsabellaandCatherineshutthemselvesuptoreadnovels,the18 B.A.ThesisofShandongUniversityofFinanceandEconomicsnarratorclearlysaysthat“[novels]haveaffordedmoreextensiveandunaffectedpleasurethanthoseofanyotherliterarycorporationintheworld”(32;ch.5),andthatnovelsareworks…inwhichthegreatestpowersofthemindaredisplayed,inwhichthemostthoroughknowledgeofhumannature,thehappiestdelineationofitsvarieties,theliveliesteffusionsofwitandhumourareconveyedtotheworldinthebestchosenlanguage.(33;ch.5)注意文学作品的引文格式要求：（页码;章）。HereAustengivesherowninsightofthevalueofnovels,andquestionsthesocialprejudiceagainstnovels.ThedirectnesswithwhichAustenaddressesthereadergivesauniqueinsightintoAusten’sthoughtsatthetime.Andherperspectivesonnovelsaresharplyincontrastwiththatofpopularwriters,especiallytheGothicnovelistsofthetime.II.ParodyofGothicCharactersAccordingtothecommonrule,Gothicnovelsnotonlyhaveasetformatinplotconstruction,butalsosharethesamecharacterization.BelowaresomeclassifiedmajorcharactersaroundtheheroineinGothicnovels:anauntoranotherolderwomanofenvy;aherowithanairofmystery;afemalefriendharborsevilintentions;avillainwhoisalwaysbotheringtheheroine;atyrant,usuallycoldandvicious,treatstheheroinecruelly.WemayfindthosefamiliararchetypesinNorthangerAbbeyaswell,butwecanalsofindacleardifferencebetweenthem.Firstofall,characterizationoftheheroine’sauntMrs.Allenisquitestriking:ItisnowexpedienttogivesomedescriptionofMrs.Allen,thatthereadermaybeabletojudge,inwhatmannerheractionswillhereaftertendtopromotethegeneraldistressofthework,andhowshewill,probably,contributetoreducepoorCatherinetoallthedesperatewretchednessofwhichalastvolumeiscapable–whetherbyherimprudence,vulgarity,orjealousy–whetherbyinterceptingherletters,ruininghercharacter,orturningheroutofdoors.(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）。InGothicnovels,theheroine’smisfortuneispartlycausedbyheraunt’seviljealousy,butinNorthangerAbbey,Mrs.Allenisnotthatevilorblood-heartedtoCatherine.Mrs.Allenmaytrulybealittlevulgarandcareless.Shehasagreatpassion18 B.A.ThesisofShandongUniversityofFinanceandEconomicsindressand“hadamostharmlessdelightinbeingfine;andourheroine’sentréeintolifecouldnottakeplacetillafterthreeorfourdayshadbeenspentinlearningwhatwasmostlyworn”(12;ch.2).Wemaysaythatshedoesn’tfulfillherresponsibilitiesasaseniorcompanionbycarefullyandwhole-heartedlylookingafterCatherine,butwecannotsaythatsheshowsanevilorjealousytowardsCatherine.Shehasnothingtodowithwhathappenedtoourheroinelateron,andthisisentirelyironicwhencomparedwiththeusualGothicaunt.Inaddition,HenryTilneyisdifferentfromtheheroinGothicnovels.Generallyspeaking,aGothicheromustatfirstbemysteriousabouthisidentityandlaterfoundborninthepurple.ButHenrywasnomysterysincehisappearanceinthenovel.Attheverynightwhentheymet,Mr.Allenlearntthathewas“aclergyman,andofaveryrespectablefamilyinGloucestershire”(23;ch.3).Moreover,HenryTilneydidn’tfallinlovewithCatherineatthefirstsightnordidheeverholdastrongaffectionforher,whichwasreallyweirdforsupposedGothicreadersbecause“noyoungladycanbejustifiedinfallinginlovebeforethegentleman’sloveisdeclared”(23;ch.3).AsforwhyHenryfinallyfellinlovewithCatherine,thenarratorsaid:Imustconfessthathisaffectionoriginatedinnothingbetterthangratitude,or,inotherwords,thatapersuasionofherpartialityforhimhadbeentheonlycauseofgivingheraseriousthought.Itisanewcircumstanceinromance…anddreadfullyderogatoryofaheroine’sdignity.(284;ch.30)ApartfromMrs.AllenandHenryTilney,therearethreeothernegativeprotagonists:IsabellaThorpe,JohnThorpe,andGeneralTilney.Althoughthereareflawsintheirpersonalities,theyareneverthoseGothicvillainswhoareextremelysinisterortreacherous.Isabellawasbeautifulbutaselfishandpitifulyoungladywhoalwayswantedtomarryarichman.Likehissister,JohnThorpewasmerelyavulgarandimprudentyoungmanandwasalwaystryingtobehandsomeandgentle.TheonlybadthinghehasdonetoCatherinewastellingGeneralTilneythatCatherinewasnotatallrichsothattheGeneralangrilypushedCatherineoutofNorthangerAbbey.GeneralTilneywasamoney-drivenmanwithaverystrictsenseoffamilystatusandwantedallhischildrentomarryrichfamilies.Thesethreenegativecharacterswereneversetup,orthreatened,ortriedtomurderCatherine,theywerequiteunlikethoseviciousvillainsinGothicnovels.18 B.A.ThesisofShandongUniversityofFinanceandEconomicsChapterThreeCatherine’sAdventuresWehavediscussedthedifferencesofplotconstructionandcharacterizationbetweenNorthangerAbbeyandGothicnovelsintheprecedingchapter.Inthelastchapter,wearegoingtotakeacloserlookattheheroine’sadventuresinNorthangerAbbey,theestateoftheTilneys’,whichistheclimaxofthenovelandthroughwhichJaneAustenshowsustheabsurdnessofGothicnovelsandthesignificanceofreallife.I.OntheWaytoNorthangerAbbeyDuringtheirjourneytoNorthangerAbbey,HenryTilneydeliberatelymakesfunofCatherine’sinnocentbeliefinGothicnovels,andsaystoher:“[a]ndareyoupreparedtoencounterallthehorrorsthatabuildingsuchas‘whatonereadsabout’mayproduce?–Haveyouastoutheart?–Nervesfitforslidingpanelsandtapestry?”(178;ch.20).HenryalsojokinglydescribessomehorriblescenestoCatherine,suchas“anapartmentneverusedsincesomecousinorkindiedinitabouttwentyyearsbefore,”or“gloomychamber…withonlythefeebleraysofasinglelamp…wallshungwithtapestryexhibitingfiguresaslargeaslife,andthebed,ofdarkgreenstufforpurplevelvet,presentingevenafuneralappearance”(179;ch.20).Infact,CatherineMorlandwasalreadyveryeagertotakeheradventuresintheabbeythoughshesaidtoHenrythatsheshouldn’tbeeasilyfrightenedandthoughttheabbeyhasneverbeeninhabitedandleftdesertedforyears.Astheydrewneartheabbey,Catherine’simpatienceforalookattheabbeygrew,andinaccordancewithhernovelreading,shethoughtNorthangerAbbey,byitsname,asaplacewith“massywallsofgreystone,risingamidstagroveofancientoaks,withthelastbeamofthesunplayinginbeautifulsplendouronitshighGothicwindows”18 B.A.ThesisofShandongUniversityofFinanceandEconomics(182;ch.20).Buttoherdisappointment,thebuildingstandstoolowandevenwithoutanantiquechimneyforhertodiscern.What’smore,unlikethoseheroinesinGothicnovels,shejustpassesbetweenmodernlodgesand“alongasmooth,levelroadoffinegravel,withoutobstacle,alarmorsolemnityofanykind,struckherasoddandinconsistent”(183;ch.20).GeneralTilneyEleanor,Henry’ssister,arewaitingtowelcomeheronthehall,andsheisshownintoacommondrawing-roomwherethefurnitureisineleganceofmoderntasteandpanesofthepointedarch,whichCatherinehopedthemtobetheheavieststoneworkandpaintedglasswithdirtandcobwebs,are,onthecontrary,large,clear,andlight.Theabbeyisjustamodernfamilyhousewithlargeandloftyhall,broadstaircaseofshiningoak,longwidegallery,ect.,andthepeopleareallsofriendlythatshecan’tfeelanyawfulfuturemiserythatwouldhappentoherselflikewhatthoseheroinesusuallyundergoinGothicnovels.Thedifferencebetweenherimaginationandtheabbey’srealconditionisverydistressingforCatherine.II.ThreeAdventuresinNorthangerAbbeyAlthoughfeelingalittledisappointedatthefirstsightonNorthangerAbbey,outofherimagination,CatherinewasdelightfultobereallyinanabbeyandbeganherimaginedGothicadventureswithherobservation.Whenshewasaloneinherapartment,Catherinefoundthatthewalls,thefloor,thewindows,andthefurniturewereallhandsomeandcomfortablewhichmadeheratease.Butshedecidedtolosenotimeinexamininganythingstrangeandshesuddenlynoticedalargehighchestthatwasstandingonthebackinadeeprecessofthefire-place.ThesightofthechestmadeCatherineforgeteverythingelse,andshestoodstill,justgazingatitandwondering:“Thisisstrangeindeed!…Animmenseheavychest!–Whatcanithold?–Whyshoulditbeplacedhere?…Iwilllookintoit–costmewhatitmay”(187;ch.21).Drivenbycuriosity,sheadvancedandexaminedthechestclosely.Thechestwasmadeofcedar,inlaidwithsomedarkerwood,andraisedonacarvedstandofthesame,witharustysilverlockandbrokensilverhandles.Withtremblinghandsandgreat18 B.A.ThesisofShandongUniversityofFinanceandEconomicsdifficultyaswell,shefinallyraisedupthelid,buttoherastonishment,therewasonlyawhitecottoncounterpanethatwas“properlyfolded,reposingatoneendofthechestinundisputedpossession”(188;ch.21).Catherinefeltblushedatthesightofitbutshedidn’tloseherheartformorefascinatingadventures.ThefirstnightinNorthangerAbbeywasstormy,thewindblewstronglythewholeafternoon,anditrainedviolently.ThosecharacteristicsoundsbroughttoherthedreadfulsituationsandhorriblescenesinGothicnovels,andforthefirsttimeshefeltshewasreallyinanAbbey.ButCatherineknewthatshehadnothingtodreadfromortoexploreortosufferbecausethehousewas“sofurnished,andsoguarded”(191;ch.21).However,shestilllookedaroundtheroomandcourageouslybutfearfullypeepedbehindeachcurtain,hopingtoseesomeonesittingtheretoscareherorahandplacedagainsttheshutter.However,therewasnothing.Thenshewasthinkingtogotobed.Atthatmoment,amysteriouscabinetappearedandsuddenlycaptivatedhereyes.Itwasahigh,old-fashionedblackcabinet,beingplacedinaconspicuoussituationandthusescapedfromhernotice.Thecabinet,withitskeyinthedoor,arousedhergreatinterestandshecouldnotsleeptillshehadexaminedit.Catherineplacedthecandleonachairwithcautionandtriedtoturnthekey“withaverytremuloushand”(192;ch.21).Atfirst,shethoughttherecouldbenothinginit,andshedidfindnothingaftercheckingthedoublerangeofdrawers.Butlater,shesurprisinglyfoundarollofpaperinsideasmalldoorinthecenterofthecabinet.Atthatmoment,“[her]heartfluttered,herkneestrembled,andhercheeksgrewpale”(194;ch.21)asshethoughtthatthepaperwassomepreciousmanuscriptandgraspedtightlyinherunsteadyhand.Asshesnuffedthecandleandwasabouttoreadthepaper,thecandlesuddenlyextinguished.Forafewmoments,Catherinefeltawfulwithhorrorand“trembledfromheadtofoot”(194;ch.21).Shehastilyjumpedontobedandkeptwondering“howwasit[themanuscript]tobeaccountedfor?–Whatcoulditcontain?–towhomcoulditrelate?”(195;ch.21).Whenshewokeuponlytofindthatmanypaperswerejustwashing-bills,shefelthumbledtothedust:“Nothingcouldnowbeclearerthantheabsurdityofherrecentfancies”(197;ch.22).18 B.A.ThesisofShandongUniversityofFinanceandEconomicsAftertwoadventuresinvain,Catherineseemedtobecomealittlesober.However,whensheheardaboutthedeathofHenryandEleanor’smother,andnoneofthethreechildrenwasathomeandonlyGeneralTilneywaswithMrs.Tilney,herimagination,whichwasheavilyinfluencedbyGothicnovels,begantoexercise.ShethoughtGeneralTilneywasjustlikeMontoni,theprototypicalGothicvillaininTheMysteriesofUdolpho,whoimprisonedtheheroineEmilyandhiswifeMadameCheroninUdolphowithanattempttoacquiretheirfortune.CatherinebelievedthatGeneralTilneywascold,pitiless,andcruel;andthathehadmurderedhiswifeandprobablyimprisonedherinsomehiddenchambersomewhereinNorthangerAbbey.Sodespitetwofailuresbefore,Catherineoncemorefeltshockedandchilledatthethoughtoftheguiltysceneofmurderandimprisonment.Sherememberedthattherewasaforbiddengallerywherelaythedoors“ofwhichtheGeneralhadgivennoaccount”(217;ch.23).ShethoughtfirmlythatunfortunateMrs.Tilney’sconfinementmustbeoneofthem,andshewassoeagertoexaminethosemysteriousapartments.Onemorning,theGeneral’searlywalkhasprovidedCatherineafavorabletimewhensheproposedtoMissTilneytoshowhermother’sportraitandapartment.Butwhentheywerejustabouttoturnthelockwithfearfulcaution,“thedreadedfigure”(221;ch.23)ofGeneralTilneyhimselfsuddenlystoodbeforethemandheloudlyandangrilyorderedEleanortocomewithhim,leavingCatherinestayinherownroomforsafety.Asabravereflectionofthemorning’sexperience,Catherinebecameresolutetomakeherseconddetectionontheforbiddendooralonebecauseshethought“theexaminationitselfwouldbemoresatisfactoryifmadewithoutanycompanion”(222;ch.23).Shewasfinallyaloneandgotthetimetocarryoutheradventure.Shequietlyslippedthroughthefoldingdoorsandtip-toedintotheroom;beforeherwas“alarge,well-proportionedapartment”(223;ch.24),warmandneat,likethemostcomfortableapartmentinthehouse,withnothingextraordinary,anywherebutancient,gloomy,andawfulplaceforimprisonment.Catherinefeltasenseofbitteremotionsofshameandherheartwassickofitsfolly.What’sworse,Henryjustcamebackatthatmomentandsurprisinglyranacrossherinhismother’sroom.OnhearingCatherine’ssuspicionof18 B.A.ThesisofShandongUniversityofFinanceandEconomicshismother’sdeath,HenryangrilyandfirmlyinformedherthatMrs.Tilneydiedofasuddenmaladyafterbeingcarefullytreatedbyarespectablephysician,andthathisfather,GeneralTilney,lovedhiswifesincerelyinhisownwayandwasgreatlyafflictedbyherdeath.BeingcriticizedbyHenryforherwildandridiculousideas,Catherinethenfeltextremelydepressedandranintoherroomwithtearsofshame.III.Catherine’sComingbacktoRealityBeforecomingintoNorthangerAbbey,Catherinethoughtitmightbeahauntedplacefullofhorroranddanger,butafterherthreeso-called“Gothicadventures”wereallprovedinvainandwasmildlycriticizedbybelovedHenry,shefinallyrealizedhowfoolishshehadbeenandcametobelievethatthecontentsofthoseGothicnovelshavenothingtodowithhumanbeing’severydaylife.HereJaneAustenshowshersatireonGothicnovelsandhersarcasmmaybeillustratedmuchmoreclearlythroughHenry’swords:DearMissMorland,considerthedreadfulnatureofthesuspicionsyouhaveentertained.Whatyouhavebeenjudgingfrom?Rememberthecountryandtheageinwhichwelive.RememberthatweareEnglish,thatweareChristians.Consultyourownunderstanding,yourownsenseoftheprobable,yourownobservationofwhatispassingaroundyou—Doesoureducationprepareusforsuchatrocities?Doourlawsconniveatthem?Couldtheybeperpetratedwithoutbeingknown,inacountrylikethis,wheresocialandliteraryintercourseisonsuchafooting;whereeverymanissurroundedbyaneighbourhoodofvoluntaryspies,andwhereroadsandnewspaperslayeverythingopen?(228-229;ch.24)WemayseeHenryasthespokesmanofJaneAustenandhiswordsasAusten’santi-GothicmanifestototheprevailingGothicnovelsandhermockeryattheirabsurdityandremotenessfromourdailylifeandthedangersresultedfromGothic-craze.18 B.A.ThesisofShandongUniversityofFinanceandEconomicsConclusionInconclusion,itisobviousthatNorthangerAbbeyshowsJaneAusten’santi-Gothicismbyherparodyoftheplot,characterizationandadventureoftheprevailingGothicnovelsinhertimes.InNorthangerAbbey,AustendeliberatelyimitatestheGothicformatofplotarrangement,thecharacterizationandthedescriptionofheroine’sadventures,butmakesthemverydifferent,ortheoppositetothoseintheGothicfictioninherownstyle.TheheroineCatherineMorlandiswhatsheisnot,neitherbeautifulnordestinedforafantasticfate,andhercrazyloveforGothicnovels,inparticular,makesherthetypicalrepresentativeoftheordinaryreaders.Catherinewasatfirstaninnocentandsimple-mindedgirl,butafterreadingTheMysteriesofUdolphoandmanyotherGothicnovelsintroducedbyIsabellaThorpe,shetookNorthangerAbbeyastheimaginedUdolpho.AttheabbeyCatherinehadherimaginedGothicadventuresandundergonesomeunpleasantexperiencesresultedfromherridiculousadventures.Fortunately,shefinallylearntherlessonandgotoutofherGothicillusionsandshehasindeedbecomethetrueheroinebytheendofthestory.Throughtheheroine’sbacktoreallife,AustenshowsusthedangerousandridiculousconfusionbetweenordinarylifeandGothicimagination,andtheimportanceofbeingrealisticandreasonable.18 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B.A.ThesisofShandongUniversityofFinanceandEconomicsYang,Yong.[杨勇],丧钟为哥特小说而鸣[J].阜阳师范学院学报(社会科学版),6(2004):65-66.Zhang,Dingquan,andWuGang.ANewConciseHistoryofEnglishLiterature.Shanghai:ShanghaiForeignLanguageEducationP,2002.Zhang,Linlin.“ACharmingFlowerofTerrorandBeauty:AnAnalysisoftheInfluenceoftheGothicNovelonSomeofKeats’NarrativePoems.”Diss.HebeiU,2003.Zhao,Hongying.[赵红英],英国文学简史学习指南[M].北京:中国传媒大学出版社,2006.Zheng,Baiqing.[郑柏青],文本的回溯:论《诺桑觉寺》中戏仿的反思性[J].解放军外国语学院院报,6(2008):89-93.Zhu,Hong.[朱虹],奥斯丁研究[M].北京:中国文联出版公司,1985.WorksCited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”。18'