论文总字数：34902字

摘 要

《爱玛》这部作品对于奠定简·奥斯汀成为英国19世纪最伟大的女作家之一的地位有着不可替代的作用。在这部小说中作者运用了大量的修辞技巧去塑造《爱玛》里的人物。本篇论文，立足于韦恩·布斯的修辞理论，来分析《爱玛》这部作品中所运用的修辞技巧，力求进一步理解作者的意图，更多的了解作品中人物的性格特征，从而加深对小说的理解。

关键词：《爱玛》；修辞理论；修辞技巧

Contents

1. Introduction 1

2. Literature Review 1

2.1 The Background of the Study 1

2.2 The Review of the Rhetoric 2

2.3 The Current Study of Emma 3

3. A Brief Introduction to Austen and Emma and W.C.Booth’s Rhetoric Theory 3

3.1 Jane Austen’s Life and Career 3

3.2 An Introduction to Emma 4

3.3 W.C.Booth’s Rhetoric Theory 7

4. Analysis of Emma’s Rhetoric Techniques from the Perspective of Booth’s Rhetoric Theory 9

4.1 The Narrative Perspective of Emma 9

4.2 The Reliable Narrator—the Implied Author 11

4.3 The Distance Control in Emma 12

5. Conclusion 14

Works Cited 15

1. Introduction

Compared with other novels of Jane Austen, Emma proves to be with finer techniques in the creation of the characters, and is regarded as the most mature work of Austen. Emma, unlike the novel Pride and Prejudice which is heart-wrenching and prevailing with the fairy tale of Cinderella and prince, is equipped with more adept skills, rigorous design, and infectious expression, adequate displaying of the writer’s intelligence. Hence, it conquers numerous readers.

The theme of the novel is the maturity of female in the context of the love and marriage. The mental maturity process of the rich, beautiful, intelligent but complacent heroine Emma is neither due to her father, sister or the governess, nor due to Mr. Knightley who plays the role of both the lover and father of Emma. What really makes Emma awaken is exactly some inconspicuous subordinate role. There are several female characters, or humble, or snobbery, or poor, can not only accurately project the little-known aspects of Emma, but also provide Emma with a meaningful life lesson.

This thesis, based on the rhetoric theory of W.C.Booth, analyzes the rhetoric techniques in Emma to further understand the intention of the author, the personality traits of the characters and meanwhile to gain deep connoisseurship of the novel. The second part of the thesis gives a literature review about the study on the rhetoric techniques in Emma. The third part gives an introduction to Jane Austen and Emma and W.C.Booth’s rhetoric theory. The fourth part interprets the details of the rhetoric skills in Emma from the perspective of W.C.Booth’s rhetoric theory and the last is the conclusion of the thesis.

2. Literature Review

2.1The Background of the Study

Most of the former scholars have a little study on the rhetoric techniques in Emma, but a great many research on Jane Austen, especially on her insight of love and marriage life. Scholars tend to focus on her another novel, Pride and Prejudice. After two hundred years, Emma became a more mature work, and gradually achieved the academic recognition and affirmation. Emma may not be the most popular novel in her works, however, it’s definitely one of the most mature, the most structure-completely. In this novel, the author has a more profound understanding of reality, thinking about life, and the rhetoric techniques employed by author are more adept and infectious. The outstanding novel, Emma completely displays the author’s talent of shaping the heroine’s characters, exploring the literature. Compared with other works of Jane Austen, more and more scholars found that Emma can further show author’s personality.

2.2 The Review of the Rhetoric

The rhetoric research originated from the 4th century BC. In the middle ages and Renaissance, rhetoric has become a significant weapon of the church, as well as one of the three disciplines of the school. However, in the 18th and 19th century, as an independent field of study, rhetoric declined. With the rise of democracy and parliamentary politics, politics speech emerged in England, America, and French. (Xie Zhujun, 2002: 25) Therefore, more attention and research was given to rhetoric once again. In the 20th century, the rhetoric turned to be an important cross-discipline. Some topics, like language and meaning, ethics and ideology, argumentation and knowledge, have a correlation to the rhetoric, representing the character of the 20th new rhetoric. (Hu Shuzhong, 2000: 36)

In China, with the increasingly frequent exchanges with other countries of the world in economic, politic, education and literature, English Rhetoric takes on the new development. Currently, research on English Rhetoric in China are mainly in the following three aspects: Firstly, the scholars continue to make an analysis of the traditional rhetoric and modern rhetoric, carry forward the good tradition of English Rhetoric, meanwhile to absorb the modern rhetoric new concepts, new ideas, and new methods, so as to promote and enhance our research and teaching. Secondly, making a comparison research of the English rhetoric and Chinese rhetoric, not only can encourage the cultural communication, but also make the use of the Chinese advantages to boost English rhetoric development. Thirdly, combining the English rhetoric with other disciplines, such as cognition and rhetoric, psychology and rhetoric, communication and rhetoric, and so on, this brings about a variety of interdisciplinary research and new achievements.

2.3 The Current Study of Emma

One important reason for Emma’s popularity lies in that it contains many themes that closely related to the real life, such as love and marriage, sexual relationships, personal growth, and so on, which are vital issues about female, that’s still true today. Nowadays, Emma has become a gem in the treasure house of literature and accepted wide recognition and has achieved its remarkable literary value and social meaning. The year’s transition could not deny its contribution to the realism, then, Jane Austen’s achievement will also be remembered by glorious history. Scholars will continue to explore and study her outstanding work.

In recent years, there are more and more study on Emma by Chinese scholars. For example, Wang Hongli’s work, The precious flaws-----Analysis on Heroine Emma, came out in 2007. This work gives an interpretation of Emma’s personality to display her flawed character.

Besides, more scholars are inclined to compare the writing skills employed in Emma and Pride and Prejudice to find the difference. What’s more, some scholars have made a research on the effects of irony techniques used in Emma.

In this thesis, based on the rhetoric theory of W·C·Booth, the author tries to analyze the rhetoric techniques in Emma to further comprehend the intention of the author, the personality traits of the characters and meanwhile to gain deep connoisseurship of the novel.

3. A Brief Introduction to Austen and Emma and W.C.Booth’s Rhetoric Theory

3.1 Jane Austen’s Life and Career

Jane Austen (1775-1817), the famous British female novelist, was born as the daughter of the clergyman in North Hampshire. She received a good education but lived an uneventful life in rural town, especially Bath, Southampton, and the village of chaw ton close to Alton. Besides one sister she had six brothers, whose more active lives gave her some knowledge of the greater world. Her family was on terms with the gentry of Hampshire which provided her with the parties and outings on which many scenes in her novels are based.

She spent her lifetime in the countryside and had a penetrating insight of love and marriage life in the village. Jane Austen was writing before was twelve years old. Her first attempts to get a work published, however, were failed, and she was thirty-five when Sense and Sensibility appeared in 1810. Thereafter she published Pride and Prejudice (1813), Mansfield Park (1814), and Emma (1816). She died unmarried at the age of forty-two, leaving to appear posthumously Persuasion and the early Northanger Abbey. (Zuo Jinmei, 2011: 245)

These novels give priority to rural middle-class neighborhood life, and mainly focus on the marital life of the squire and female, with female peculiar meticulous observation and witty sentences to describe the world around her. However, her work is anything but tedious; on the contrary, her works reflect the country’s social life with which she was very familiar. With precise plot, witty and reasonable design, vivid and profound characterization, brilliant and comic opening up, ingenious dialogue, Jane Austen’s style can be described as concise, intriguing and half-ironic which makes her popular among the British and welcomed by the Chinese.

In writing novels with a realistic and ordinary setting about the reconciliation of the claims of the individual and of the society, and in which the concluding marriage is a symbol that that harmony has been reached, Jane Austen was in a tradition of the English novel which lasted throughout the nineteenth century to die out, if indeed it has, only in the modern world.

3.2 An Introduction to Emma

Emma, one of the most influential long novels of Jane Austen, was composed in 1815, being regarded as the most mature and sophisticated novel of Jane Austen. It’s a realistic novel with no much dramatic ingredient. It is a piece of unique genius. If Emma were not a novel which illustrated social values and concerns by interpersonal relationship, especially marriage, we could hardly imagine what it is. (Kettle, 1972: 399) The comic ambiance pervades the whole book, which make Emma an excellent novel. The style of the work, without any mincemeat, properly stirs the readers’ mind from time to time with refined rhetoric techniques. Jane Austen, as a female novelist, being equipped with meticulous and sensitive sagacity, uncompromising attitude, confident moral consciousness and reckless boldness, eulogize Kindness, beauty and truth with a romantic manner in her works and flog the artificial, evil and ugly at the same time. (Wang Shouren, 2001: 143)

Emma is a novel focusing on the development and moral growth of its heroine. Received well education by the governess Taylor, Emma Woodhouse, the youngest of the two daughters of a most affectionate, indulgent and affluent father, being handsome, clever, and rich, unite some of the best blessings of existence. So she formed the character of self-glorification and pretentiousness. Being a one hundred percent visionary, she claims that she has a penetrating insight of love and marriage and will never fall in love with anyone else. (Wang Shouren, 2001: 205)

When Emma was twenty, Miss Taylor leaves the household to marry a neighbor, Mr. Weston. Being thrown into a feeling of loneliness, Emma got acquainted with Harriet Smith, an illegitimate girl of no social standing, and gradually they became good friends. Emma tried all means to make a couple of Harriet Smith and Mr. Elton, a young gentleman. But in fact Mr. Elton was interested in Emma, not Harriet Smith. Emma failed at the first try and she planned another match for Harriet, this time she selected Frank Churchill, son of Mr. Weston by his first marriage. However Frank was already engaged with Jane Fairfax, the niece of Miss Bates whose family fortunes declined, George Knightly, a friend of the family, disapprove of Emma’s attempts to manipulate Harriet. Emma’s intervention on other’s marriage caused her old friend George Knightley’s dissatisfaction. He warned Emma that she should not meddle in other people’s marriage life. Mr. Knightley, on the one hand thought highly of Robert Martin, on the other hand often gave Harriet a helping hand when necessary, which made Harriet generate a feeling of respect and affection for him. Astonished at the fact that Harriet was attached to Mr. Knightley, Emma realized that she has been in love with Mr. Knightley all the time. In the end, both Emma and Harriet find their desirable lifelong companions.

Emma is a heroine with various merits and shortcomings. On the one hand, she is over confident, self-approbation, a little bit snobbish and lack of self-acknowledge. Even though she mess things up, she would not admit her own defects. On the other hand, Emma also possesses some positive and charming personalities. Being quick-minded, graceful, straightforward and humorous, Emma is a creative lively creature with flesh and blood. She seldom complains, instead she is optimistic, delightful and energetic.

Mr. Knightley, a well-cultivated gentleman who receives a good education and possesses great fortune, is the representative of the traditional values of England. He plays an indispensable role in Emma’s life. It is Mr. Knightley who could exert a great influence on Emma. It’s Mr. Knightley’s instruction and admonishment that make Emma come to realize her own disadvantages and weakness. In other words, the development and mental growth of Emma can not be accomplished without Mr. Knightley’s guidance. In reality, Mr. Knightley could always sincerely point out her mistakes and shortcomings, and help her overcome them, which promote the growth of Emma. Thus, Emma has finished her process of moral growth. Additionally, another important role Mr. Knightley plays is the spokesperson of Jane Austen. Being kind-hearted, honesty, hospitable, Mr. Knightley lead the role of a gentleman who is full of humanitarian care for the weak and responsible for the society. He is the representative of the union of principle, responsibility and humanitarian care for others. As the spokesperson for Austin, the character of Mr. Knightley reflects the social condition of British in the 18th and 19th century, especially his attention to social ethics and evaluation.

The theme of the novel Emma is the development and mental growth of the heroine, and the narration of marriage leads the cardinal line. The story has a happy ending. The couples of the three, Emma and Mr. Knightley, Frank Churchill and Jane Fairfax, Harriet and Martin, finally overcome all the obstacles and get married. A large part of the novel is given priority to the description of Emma’s shortcomings, defects and her disillusion and maturity finally achieved by her, which makes the readers be overwhelmed by ambivalent feeling for Emma, hoping that Emma could become mature and gain happiness.

3.3 W.C.Booth’s Rhetoric Theory

W.C.Booth, a pluralistic scholar of teacher, literary critic and rhetor, is one of the most important and influential critics in the western world. He has a large number of theories that related to literature criticism, rhetoric and education. The rhetoric theory of Booth invigorates literature, and branches out the range of narrative theory. Booth’s rhetoric theory of narrative is mainly represented in his famous work The Rhetoric of Fiction which makes an embedded research on the relation among authors, narrators, texts and readers. This part will explore into Booth’s rhetorical theory of narrative, so as to make preparations for us to understand the rhetoric techniques employed by Jane Austen in Emma, and appreciate her excellent artistic skills.

3.3.1 Narrative Perspectives

Narrative perspective is the way of how the story is developed and the angle from which the story is unfolded, in this way, the author portrays the events, introduces the background information to the readers, then takes the reader into a new and magnificent world of the novel from the best perspective by the choice and control of narrative perspective. That’s to say, Narrative perspective can also be defined as the author’s selection of who should tell the story and from what perspective the story should be told in the process of writing. To put it more clearly, the author choose who should narrate the story and from this point of view often shows the author’s emotion attitudes and values, which will directly exert an significant influence on the readers’ understanding and evaluation of the whole story and the characters and events described in the novel. Therefore, the choice of the narrative angle of view is of great importance and significance to the arrangement of the narrative, the plot of the novel and the characterization of the character. The enormous rhetorical function and value of narrative perspective can not be ignored. A great number of literary critics have always been attached importance to narrative perspective.

Based on the narrative perspective theory of W.C.Booth, more weight has been put on the relationship between the specific attributes of the narrator and the readers’ reading expectation. Booth drew a clear wedge between dramatic narrator and non-dramatic narrator, which further analyze the selection and adaption of narrative perspective from a more micro and detailed level. According to Booth, the shift of narrative perspectives is reasonable and necessary. The narrator of a novel or even a piece of article is not completely fixed, which means the conversion of view is in process as the story unfolds. As one of the rhetoric techniques employed by the novels, the shift of narrative perspectives happens all the time. What has to be kept in mind is that the shift of point of view should not be disorganized. The conversion of view should be in strict accordance with the needs of the narrative and follow certain principles. The most important principle is it need to be all-sided, namely, the author ought to achieve consistency of logical in the process of selection and shift of perspective. It is the author’s obligation to make overall arrangements on the perspective of characters in the novel (internal point of view) and the author’s point of view (external point of view), which makes the novel to achieve the effect of consistency of logical and flexibility of expression, in order to benefit for the readers to complete the full grasp of characters and events in the story. The narrative perspective theory of W·C·Booth possesses greater theoretical and practical value which makes the traditional perspective lagged behind. (Hua Ming, 1987: 176)

3.3.2 The Implied Author

Implied author was first proposed by Wayne Booth in 1961, being considered as an important concept in classical narratology. It is an important concept in the theory of western literature, and will soon be widely accepted and adopted by the academic community. However, with the popularity of political criticism and cultural studies, this concept, which was derived from a context put more focus on the research of the interior structure of the text, was fallen into question. Wayne Booth made a meticulous analysis of the relation of the real author and the narrator. Implied author, as a joint of the text and the writer, it would fall under the influence of the real author and other complicated elements outside the text, which is an imaged picture that the author projects in the text and the personification image of the text. According to the analysis of several critical factors, I maintain the opinion that the concept of the implied author is not only indispensible, but also impose a significant influence on the concrete textual criticism methodologically.

3.3.3 Distance Control

The distance control employed by the author can affect the readers’ reading feelings in a direct way. The readers’ response to which aspects of the characters and plots of the novel and on what scale has much to do with the distance control adopted by the author. In a word, the control of various distances is effective for the author to use to manipulate the readers’ response. Moreover, choosing the appropriate character for narrative perspective, the author has to clarify the distance between the various characters and him in the aspects of cognition, emotion, moral, etc. The author also has to make a distinction that the most obvious distance felt is the distance between the readers, the narrator and the characters in the novel, namely the distance between the readers and the work among the distance between the four participants of author, the narrator, the characters and the readers. The distance between them can be alterable. The different inclination of literature is one of the major reasons for the distance exists between the readers and the author. If the author alienates the character for a long time in the novel, the distance between the character and the reader increases to some extent; if the author makes direct comments, carried out inner observation of the character and so on, the distance between the character and the reader decreases. Excellent writers can always control the distance to reach his or her own purpose freely and properly.

4. Analysis of Emma’s Rhetoric Techniques from the Perspective of Booth’s Rhetoric Theory

4.1 The Narrative Perspective of Emma

Jane Austen molds a flawed heroine at the risk of losing the reader’s sympathy. That’s to say, It is high likely that the reader would not like Emma because of her shortcomings in character. But Jane Austen tends to bound Emma’s destiny and the readers’ psychology together, employing the internal-visual-angle to narrate the story tactfully. On the one hand, the reader can scoff at Emma, on the other hand, they have always had sympathy for Emma, understood the mental growth of Emma, with the hope that Emma could obtain the access to growth and happiness. By the adoption of internal-visual-angle in the novel, the characters in the novel plays the role of the narrator to tell the story, which means the readers have as much information as the narrator. The narrator portrays the plot from the visual, hearing and emotional aspects of a certain character based on his sense and consciousness. Not being omniscient, the narrator can’t provide the information that have not known to the characters, or make explanations in any means.

In his book The Rhetoric of Fiction, Wayne Booth makes comments on the narrative perspective of the novel Emma. According to Wayne Booth, Emma had made serious mistakes, but Jane Austen utilized the internal-visual-angle to endow Emma with the role of the narrator, which can bound Emma’s destiny and the readers’ psychology together. Although the novel employed the third person to narrate, it has been centered on Emma. So the effects of the internal perspective is that the characters can tell their own experiences, which calls on the reader to feel intimate and real about the character. Even if in an exaggerated or modest way, as long as the character is willing to share deep and hidden emotion, the reader may take it as the character’s explicit response, rather than being nitpicking all the time as an omniscient narrator would do. In Emma, the application of the internal-visual-angle is prevalent, especially after Emma made a stupid mistake, she would make self-examination. The novel unfolds before the readers’ eyes the growth and mature process of Emma through the technique of internal point of view, the inner thought of Emma makes the reader realize her heavy mental burden, which reflects Emma’s kindness and makes the readers like her from the bottom of heart.

The application of internal point of view can demonstrate hidden psychological state of the character, but it is submitted to the prerequisite of the character, for example, gender, age, personal temperament, education edification, character thought, etc. This makes the accounts of the other accounts and events misleading or unreliable, and the narrator describes the plots from the point of Emma rather than the omniscient perspectives, which may consequently deceive the readers. (Wiltshire, 2003: 407). In order to compensate for the deficiency, Jane Austen makes the best of the reliable narrator carefully to replenish what can not be performed by Emma’s perspective.

4.2 The Reliable Narrator—the Implied Author

The reliable narrator in Emma is another rhetoric technique employed by Jane Austen, which plays the role of the implied author. The reliable narrator and the implied author have something in common, such as moral, intellect and cognition. The reliable narrator is also related to the readers, on the one hand, they are familiar with all the flaws possessed by Emma, on the other hand, and they value her inner beauty. From the very beginning, Emma was introduced to the reader as “ Emma woodhouse, handsome, clever, and rich, with a comfortable home and happy disposition, seemed to unite some of the best blessings of existence; and had lived nearly twenty-one years in the world with very little to distress or vex her” by the reliable narrator. And then the reliable author pointed out that “the real evils, indeed, of Emma’s situation were the power of having rather too much her own way, and a disposition to think too well of herself; these were the disadvantages which threaded ally to her many enjoyments. The danger, however, was at present so unperceived that they did not by any means rank as misfortunes with her”. (Shen Dan, 2004: 327)

Most of the plots of the novel were bound together by Emma’s perspective, whereas the reliable narrator functions as an appropriate supplementary role to point out the information that can’t be realized or represented by Emma due to her own defects. And the application of the reliable is very cautious, and at a lower level. The reliable narrator appears only in the early period of Emma’s growth process to tell the reader what can’t be described by Emma.

Emma herself can’t describe her appearance directly, nor realize her own defects at the very beginning of the novel, nor jump out to point out her father’s weakness; otherwise it would appear to be unnatural or even artificial for Emma. So the reliable narrator appears from the first sentence to depict Emma’s good appearance and superior upbringing, followed by the description of Emma’s disadvantages, namely her wayward and self-conceit. But with the development of the novel and the mental growth of Emma, the implied author appears at a lower rate, and eventually the perspective of the implied author and that of Emma unites as one. The application of the implied author in Emma is aimed to avoid the limitations of the omniscient perspective. If the narrator is omniscient, the imagination of the reader will be damaged. (Shen Dan, 2005: 368)

According to Booth’s comment on the function of the reliable narrator, the author is not equal to Jane Austen, but an implied author. In Emma the implied author is represented by the reliable narrator who can provide the readers with the rational, moral and emotional guide to improve the effect of the novel. The most important function of the reliable narrator is twofold: the readers’ observation of the inner value possessed by Emma and the objective observation of her mistakes.

The numerous application of the internal perspective and the careful adoption of the reliable narrator integrate harmoniously with each other by Jane Austen. Due to the integration of the two narrative techniques, the readers tend to accept Emma and like Emma. Emma herself is indeed not an ideal heroine, and she has many disadvantages which throw her into lots of troubles and embarrassments, but the usage of the internal perspective provide the reader with the opportunity to observe her inner world and to witness the process of her growth. Most part of the story is represented in Emma’s perspective, in the way, Jane Austen makes the readers supportive of Emma rather than against her. The reliable narrator can introduce the readers into an objective world.

4.3 The Distance Control in Emma

Jane Austen is a master who is good at the control of distance. In Emma，she employed ingenious rhetoric techniques such as the observation of the inner world and the reliable narrator to control the distance between the readers, the heroine Emma and the work itself appropriately. With strong artistic appeal, the distance between them can be both small and great, which make the readers obtain a feeling of aesthetic pleasure in the process of reading. (Booth, 1972: 419) The heroine, Emma is beautiful, charming, rich and of high social status, but the biggest threat to Emma is herself. She is so conceited that she would like to impose her thoughts on others. Only when she almost destroyed the happiness of her close friend and that of her own did she realize and correct her disadvantages. While the readers laugh at the foolish mistakes made by Emma and the punishment that she had, they cherish great hope for Emma, with the wish to see the growth of Emma. This kind of dual attitude of the readers comes from the distance control by Jane Austen. (Shen Dan, 2008: 315)

Jane Austen takes the advantage of observation of the inner world aimed at taking the control of distance. The heroine plays the role of the narrator for the novel, although the novel is narrated in the third person, most of the description is about Emma herself. The story is told through Emma’s perspective, which makes the reader travel along with Emma rather than against her. In this way, the observation of Emma’s constant inner activities leads the reader to cherish great hope for Emma. Every aspects of Emma’s conceit cover her good nature. Every time when Emma realized the mistakes she had made, she would reproach herself and feel regret, which made the distance between Emma and the readers become small. While the readers laugh at Emma, they are delight to witness her growth. In the process of narration, Emma reveals her inner world constantly, which functions as a shelter for Emma when she has made a mistake. The inner heart activities prove that Emma can smooth her disadvantages, which makes the reader gradually have a deeper affection for Emma because of her innocence and straightforwardness instead of detesting her. The readers always stand behind Emma, hoping to witness her growth and maturity. In the readers’ eyes, Emma is not a spoiled and arrogant person, but a kind-hearted woman full of mercy, compassion and enthusiasm. When she knows the sufferings of the poor, she would like to take care and pay attention them, providing advice and constant help. Thus the distance between Emma and the readers decrease. All these due to Austen’s appropriate control of distance. (Chen Qiaoru, 2010: 271)

The psychological distance is dynamic and changeable into the process of literary reading. It can drop sharply from the top to the bottom; it can also change from integration to fracture. The distance in the aspects of values, morality and intellect mainly refers to the difference of beliefs and norms shared by the character and the reader. The author, the narrator, the characters and the reader always tend to have great difference on their own beliefs and norms, and the aim of the novel is to eliminate their difference and make them to reach a consensus. Jane Austin skillfully controlled the distance between the readers and the work the heroine Emma, which improved the aesthetic beauty of Emma, showing the aesthetic effect and the artistic appeal of the novel.

5. Conclusion

As an outstanding female novelist, Jane Austen is admired worldwide. Emma, among Jane Austen’s best novels, reflects her principal artistic features. This paper, based on W.C.Booth’s rhetoric theory, means to make a tentative study of her characterization and writing techniques. Jane Austen’s attentively presented scenes, tactfully developed plots, properly arranged dialogues and excellent language skills, what is more important, the techniques of the narrative perspective, the reliable narrator and the distance control, largely ensure her success in creating characters. The artistic achievements of Jane Austen will make her literary position safe as a great novelist in the history of English literature.

Works Cited

[1] Austen, Jane. Emma. New York: Airmont Publishing Company, Inc, 1966.

[2] Booth, Wayne. Control of Distance in Jane Austen’s Emma. New York: W.W. Norton

Company, Inc, 1972.

[3] Kettle, Arnold. Jane Austen: Emma. New York: W.W. Norton ＆Company, Inc, 1972.

[4] Wiltshire, John. Mansfield Park. Emma, Persuasio. Shanghai: Shanghai Foreign

Language School Education Press, 2003.

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[6] 陈巧如.《爱玛中的审美距离》. 山东农业管理干部学院学报，2010（7）：271-273

[7] 胡曙中.《现代英语修辞学》.上海：上海外语教育出版社，2000.

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[9] 申丹. 《叙述学与小说文体学研究》. 北京：北京大学出版社, 2004.

[10] 申丹. 《英美小说叙事理论研究》. 北京：北京大学出版社, 2005.

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