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JaneAusten(1775-1817)Theonlyimportantfemaleauthorinthe18-19thcenturyThefirstwriterwhoexamineswomen’spositionandtheirproblemsinthesocietyLife•JaneAusten(1775—1817)wasborninacountryclergyman'sfamily.•Shewaseducatedathomewithhersisterandnevermarried.•Inherlifelongcareer,JaneAustenwrotealtogethersixcompletenovels.Herbest-knownbooksincludePrideandPrejudice(1813)andEmma(1816).•TheAustensweremoderatelywelloff.Theykeptacarriageandpair双驾马车and‘enjoyed…someoftheconsiderationsusuallyawardedtolandedproprietors土地所有者’.•Thehouseholdwaslivelyandbookish.•Thefamilyalsoenjoyedwritingandperformingplaysforeveningentertainment.•Whenyoungshewenttoballsandpicnics,andpaidvisitslikeanyothergirlofherclass.•Once,itseems,shemayhavebeenseriouslyinlove,butthemandied.•Shenevermarried.JaneAusten（1775～1817）Englishwriter,whofirstgavethenovelitsmoderncharacterthroughthetreatmentofeverydaylife.AlthoughAustenwaswidelyreadinherlifetime,shepublishedherworksanonymously.HerPositioninEnglishLiteratureOneofthefewnovelistswhohavemanagedtosatisfytherequirementsintheartofnovelwriting;RankedamongthetrulygreatBritishnovelists.•JaneAustenwasextremelymodestaboutherowngenius,describingherworktohernephewEdwardasThatlittlebit(twoincheswide)ofivory,inwhichIworkwithsofineabrushasproduceslittleeffectaftermuchlabor.“Miniatureon2inchesofivory.”“2寸象牙上的雕刻”•VirginiaWoolf(弗吉尼亚·伍尔夫)callsher:“Themostperfectartistamongwomen”JaneAusten’sQuotes.•“Alady‘simaginationisveryrapid;itjumpsfromadmirationtolove,fromlovetomatrimony结婚inamoment.”•“AlargeincomeisthebestrecipeforhappinessIeverheardof.”•“Anengagedwomanisalwaysmoreagreeablethanadisengaged.Sheissatisfiedwithherself.Hercaresareover,andshefeelsthatshemayexertallherpowersofpleasingwithoutsuspicion.Allissafewithaladyengaged;noharmcanbedone.”•PrideandPrejudice1796(Pub.1813)•SenseandSensibility1797(Pub.1811)•NorthhangerAbbey1798(Pub.1818)•MansfieldPark(Pub.1814)•Emma(Pub.1815)•Persuasion(Pub.1818)Austen’sNovels摄政式风格——时尚历史•JaneAustenlivedandwroteintheveryearlynineteenthcentury,alsoknownastheRegencyperiod,andthat'swhenhernovelswereset.•ThestoryofPrideandPrejudicetookplaceinthetimeoftheRegencyinBritain.HistoricalBackgroundofhernovelsTheRegencyPeriod摄政时期•TheRegencyperiodintheUnitedKingdomistheperiodbetween1811and1820,whenKingGeorgeIIIwasdeemedunfittoruleandhisson,laterGeorgeIV,wasinstatedtobehisproxyasPrinceRegent.•Thetermisoftenexpandedtoapplytotheyearsbetween1795and1837,atimecharacterisedbydistinctivefashions,politicsandculture.•Inthissense,itcanbeconsideredtobeatransitionalperiodbetweenGeorgianandVictorianeras.Theerawasdistinctiveforitsarchitecture,literature,fashions,andpolitics.•1811—1820年摄政时期1811年约翰·纳什（JohnNash）开始实施中伦敦的改进措施，绝大多数古典风格的建筑都在这一期间建造。其中包括横贯伦敦城的皇家哩路（TheRoyalMile）,皇家哩路的中心地带就是摄政街（RegentStreet），摄政街的尽头是宽广的摄政王公园（Regent'sPark），这里很多地方还保存着遗留下来的古典风格的艺术作品。人们称1811年—1820年的这段时间为摄政时期（TheRegency）。•Regencysocialmannerswereallpolitenessandgentility.Therewasprotocolforeverysocialinteraction.•Thesocialhierarchywasthecoreofeverything,andeveryoneknewtheirplace,whethertheyagreedwithitornot.•Womenlargelydidnotinheritwealth,norweretheyopenlyallowedtofindtheirownmeans;somarriagewasoneofthefewoptionsshehadtosecureacomfortablefuture.AmarriagebasedonlovewasrarelyanoptionforaRegencywoman,incomewasthefirstconsideration.•Itisprobablywhythisperiodyieldedsomeofthebestliteraryromanceavailabletoday.SocialCustoms•DancesfigureprominentlyinJaneAusten’snovels.•Whetherperformedinpublicassemblyroomsorinprivate,dancesofferedsocialopportunitiesforyoungpeopletomixandmingleandconverseinanacceptablefashion.•Inanerawhenayoungladyofgoodbreedingwasstrictlyescortedeverywhereshewent,shewouldfinditdifficultduringaroutinedaytomeetprivatelywithasinglegentleman,evenonewhowascourtingher.•Sinceadancewouldoftenlastforhalfanhour,thedancershadampletimetoconverse,flirt,andeventouchoneanotherinanacceptedmanner.•Agentlemanwould,ofcourse,neveraskayoungladytodanceunlesshewasfirstintroducedtoher.•Duringthiserapeoplewereoftenjudgedfortheirabilitytodanceskilfully,andagentlemanwaspressuredtocutafinefigure引人注目,超群出众onthedancefloor.LookoutforMrCollins’dancingtechniqueinthenovel!Generallyspeaking,sheholdstheidealsofthelandlordclassinpolitics,religionandmoralprinciples;Sheconsidersitherdutytoexpressadiscriminatedandseriouscriticismoflife,andtoexposethefolliesandillusionofmankind;Shefirmlybelievesinthepredominanceofreasonoverpassion,thevalueofrationandsenseoverthatofsentimental,Gothicandromantictendencies;Instyle,sheisaneo-classicismadvocatorandbelievesinorder,reason,accuracyandgracefulness.ArtisticPointsofViewNarrowliteraryfieldconfinedtoprovincialorvillagelifeof19thcenturyEngland;Asarealisticnovelist,shedrawsvividandrealisticpicturesofeverydaylifeofthecountrysociety;MajorFeaturesofHerWritingHerfictionalworld:Shecalledherwork“smallsquaretwoinchesofverycountrygentlemenandladiestogetherwithsnobs,boresandsocial“climbers”,“threeorfourfamiliesinavillage”.Shewroteaboutparishlifewithcalls,walks,picnics,conversations,parties,balls,marriages.Snobbery势利,smugness装模作样,condescension傲慢,andlackofconsidera