Shadowing-Übung: How Jane Austen Changed Fiction Forever - Englisch Sprechen Lernen mit Video
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In the first chapter of the first book that
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Jane Austen ever published, Sense and Sensibility, she did something that changed fiction forever.
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The narrator of the book begins by describing the situation of the Dashwood family.
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John Dashwood has come into a big inheritance from his father,
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Henry, who on his deathbed makes John promise to take care of his three half -sisters.
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When he gave his promise to his father,
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he meditated within himself to increase the fortunes of his sisters by the present of a thousand pounds apiece.
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He then really thought himself equal to it.
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The prospect of four thousand a year made him feel capable of generosity.
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Yes, he would give them three thousand pounds.
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It would be liberal and handsome.
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It would be enough to make them completely easy.
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Three thousand pounds he could spare so considerable a sum with little inconvenience.
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He thought of it all day long and for many days successively and he did not repent.
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So what stands out in this passage?
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Which of these things is not like the rest?
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Well, it's this part here.
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Before this, the narrator is describing the thoughts and feelings of John Dashwood.
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But in the highlighted section, something changes.
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It's suddenly as if we're inside John's mind.
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And yet, the point of view doesn't change.
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We're still in the third person.
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Now, Austin could have reported John's thoughts directly here, writing, I will give them 3 ,000 pounds or I can spare so considerable a sum,
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but she doesn't.
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Instead, she does something new in English literature, what's called free indirect speech.
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Now, Austen isn't the first to use this technique, but she's the first author to do so consistently, the first to really explore its possibilities.
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And in the process, she effectively adds a new tool to the writer's toolbox. But why?
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What is free indirect style good for?
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Why not just use direct thought?
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Well, if you're familiar with Jane Austen, you know that all of her books have a really strong narratorial voice.
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The narrator has full control over the story, painting a universe of manners, making witty asides to the reader,
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and using irony to critique characters and social conventions.
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To accomplish her goals, Austen needed her narrator to have critical distance from the story,
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but this ironic distance has the potentially negative side effect of distancing the characters from the reader.
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I mean she still needs us to be emotionally involved with these people after all.
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Free indirect speech is Austen's intuitive and revolutionary solution for having it both ways.
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Okay, let's look at another Suttler example from Emma as the
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matchmaking title character thinks about the suitability of Mr. Elton for her friend Harriet Smith.
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The longer she considered it, the greater was her sense of its expediency.
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Mr. Elton's situation was most suitable, quite the gentleman himself and without low connections.
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He had a comfortable home for her and Emma imagined a very sufficient income, for though the vicarage of Highbury was not large,
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he was known to have some independent property, and she thought very highly of him as a good -humored, well -meaning, respectable young man.
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Like the first passage, this one begins firmly in the first -person narratorial voice with she considered and her sense.
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Then in the second sentence, it seamlessly switches to free indirect speech and were inside
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Emma's mind, which you can tell by phrasing like most suitable and quite the gentleman.
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After this, it starts to get tricky.
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Austin begins to weave in and out of free indirect speech within individual sentences.
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The narrator returns with phrases like
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Emma imagined and she thought.
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And as critic Daniel Gunn points out, this return and the distance it creates reminds us to be wary of Emma's judgments and imaginings.
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But then we slip right back into her spirit again, her subjectivity, subjectivity, in clauses like a good -humored, well -meaning, respectable young man.
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In Emma especially, Austin uses free indirect speech with extraordinary finesse,
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dipping in and out of several minds without ever interrupting the flow of narration.
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Representing subjectivities, as Dunn says, with great immediacy, while still providing a frame within which that subjectivity can be understood.
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At the end of the novel, we get the amazing convergence of these two voices, as Emma's self -deception becomes self -knowledge,
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as her inner voice finally aligns with what the narrator and the reader have seen all along.
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Free indirect speech is a formal innovation that changed the course of literature.
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Now, it's impossible to say who Austen influenced directly, but she effectively created a tool that thousands and thousands of authors used and still use,
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including some of the most famous ever, like George Eliot, Henry James, James Joyce, and Virginia Woolf.
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Unlike these other authors, Jane Austen is often belittled for her seemingly lightweight marriage comedies,
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but that critique misses the complex formal dynamics that are working under the surface.
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If you really want to see Austen's genius, you have to look deeper.
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You have to look at the language.
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Hey everybody, thank you so much for watching.
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If you like this video, check out my book of essays, Escape into Meaning, which is currently on sale at the link below.
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i'll see you next time.
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Wortschatz und Sprechhinweise zu dieser Lektion
Diese Sprechübung basiert auf dem Video „How Jane Austen Changed Fiction Forever“. Diese Wörter kommen am häufigsten vor: indirect, Austen, squarespace, narrator, thousand. Dieses Video enthält 74 Sätze und 1007 Wörter zum Nachsprechen. Der gesprochene Teil dauert 5:45. Der Sprecher spricht in natürlichem Tempo, etwa 175 Wörter pro Minute, ähnlich wie im Alltagsgespräch. Nur 80 % der Wörter gehören zu den 3.000 häufigsten im Englischen, der Wortschatz ist also anspruchsvoll.
Wichtiger Wortschatz in diesem Video
15 lernenswerte Wörter aus dem Video, mit Aussprache und Bedeutung:
| Wort | Aussprache | Bedeutung |
|---|---|---|
| indirect Adjektiv | /ˌɪn.daɪˈɹɛkt/ | indirekt |
| narrator Substantiv | /ˈnæˌɹeɪ.təɹ/ | Erzähler, Erzählerin |
| reader Substantiv | /ˈɹi.dɚ/ | Leser, Leserin |
| formal Adjektiv | /ˈfɔɹməl/ | formal, formell |
| suitable Adjektiv | [ˈsjuː.tə.bɫ̩] | geeignet, passend |
| phrase Substantiv | /ˈfɹeɪ̯z/ | Redewendung, Phrase |
| spare Adjektiv | /spɛɚ/ | überschüssig, überflüssig |
| passage Substantiv | /ˈpæsɪd͡ʒ/ | Passus |
| considerable Adjektiv | /kənˈsɪdəɹəbl̩/ | erheblich, beträchtlich |
| gentleman Substantiv | /ˈd͡ʒɛn.təl.mən/ | Herr |
| critique Substantiv | /kɹɪˈtiːk/ | Kritik |
| respectable Adjektiv | [ɹɪˈspɛk.tə.bl̩] | angesehen, geachtet |
| technique Substantiv | /tɛkˈniːk/ | Technik |
| fiction Substantiv | /ˈfɪkʃən/ | Fiktion, Belletristik |
| remind Verb | /ɹəˈmaɪnd/ | erinnern, in Erinnerung bringen |
Phrasal Verbs, die du hören wirst
| Wort | Bedeutung |
|---|---|
| check out Verb | überprüfen |
| point out Verb | hinweisen |
Grammatik in diesem Video
Die Strukturen, die der Sprecher am häufigsten verwendet, mit den genauen Worten aus dem Video:
| Struktur | Im Video |
|---|---|
| Passiv be + Partizip Perfekt – wichtig ist, was geschieht, nicht wer es tut | be emotionally involved · was known · can be understood |
| Present Perfect have/has + Partizip Perfekt – eine vergangene Handlung, die jetzt noch wichtig ist | has come · have seen |
Aussprache, auf die du achten solltest
Der Sprecher verwendet 10 Kurzformen und abgeschwächte Formen, zum Beispiel you're, doesn't, we're. Sprich sie in der kurzen Form, so wie du sie hörst.
- Die Laute „sh“ und „zh“: fiction /ˈfɪkʃən/, potentially /pəˈtɛnʃ(ə)li/, innovation /ˌɪn.əˈveɪ.ʃən/, sufficient /səˈfɪʃənt/, revolutionary /ˌɹɛvəˈluʃənɛɹi/
- Lange Wörter – auf die Betonung achten: considerable /kənˈsɪdəɹəbl̩/, potentially /pəˈtɛnʃ(ə)li/, extraordinary /ɪksˈtɹɔːrdɪn(ə)ɹi/, innovation /ˌɪn.əˈveɪ.ʃən/, consistently /kənˈsɪstəntli/
Laute, die Deutschsprachigen schwerfallen:
- /w/ — mit runden Lippen, nicht wie das deutsche „w“ (/v/): lightweight /ˈlaɪt.weɪt/, wary /ˈwɛɚ.i/, witty /ˈwɪti/, weave /wiːv/
- Stimmhafter Auslaut — /b/, /d/, /g/, /z/, /v/ am Wortende nicht verhärten: pound /ˈpaʊ̯nd/, phrase /ˈfɹeɪ̯z/, passage /ˈpæsɪd͡ʒ/, remind /ɹəˈmaɪnd/, engage /ɪnˈɡeɪd͡ʒ/
- /æ/ — offener als „ä“: narrator /ˈnæˌɹeɪ.təɹ/, passage /ˈpæsɪd͡ʒ/, handsome /ˈhæn.səm/, dynamics /dɑɪˈnæm.ɪks/, analytics /ˌæn.əˈlɪt.ɪks/
So übst du mit diesem Video
- Höre dir das ganze Video einmal an, ohne zu sprechen, und notiere die Wörter, die du nicht kennst.
- Beginne mit 0,75-facher Geschwindigkeit, sprich Satz für Satz nach und wechsle zur normalen Geschwindigkeit, sobald es leichtfällt.
- Nimm dich auf und vergleiche mit dem Original; achte dabei auf Wörter wie indirect, narrator, reader.
Was ist die Shadowing-Technik?
Shadowing ist eine wissenschaftlich fundierte Sprachlerntechnik, die ursprünglich für die professionelle Dolmetscherausbildung entwickelt und durch den Polyglotten Dr. Alexander Arguelles populär gemacht wurde. Die Methode ist einfach aber wirkungsvoll: Du hörst englisches Audio von Muttersprachlern und wiederholst es sofort laut — wie ein Schatten, der dem Sprecher mit nur 1–2 Sekunden Verzögerung folgt. Anders als passives Hören oder Grammatikübungen zwingt Shadowing dein Gehirn und deine Mundmuskulatur, gleichzeitig echte Sprachmuster zu verarbeiten und zu reproduzieren. Studien zeigen, dass es Aussprachegenauigkeit, Intonation, Rhythmus, verbundene Sprache, Hörverständnis und Sprechflüssigkeit signifikant verbessert — was es zu einer der effektivsten Methoden für die IELTS Speaking-Vorbereitung und reale englische Kommunikation macht.