Shadowing Practice: How Jane Austen Changed Fiction Forever - Learn English Speaking with Video
Elige un modo de práctica
Cada modo abre una sala de práctica a pantalla completa.
74 oraciones
Si las oraciones son demasiado cortas o largas, haz clic en Editar para ajustarlas.
1
In the first chapter of the first book that
2
Jane Austen ever published, Sense and Sensibility, she did something that changed fiction forever.
3
The narrator of the book begins by describing the situation of the Dashwood family.
4
John Dashwood has come into a big inheritance from his father,
5
Henry, who on his deathbed makes John promise to take care of his three half -sisters.
6
When he gave his promise to his father,
7
he meditated within himself to increase the fortunes of his sisters by the present of a thousand pounds apiece.
8
He then really thought himself equal to it.
9
The prospect of four thousand a year made him feel capable of generosity.
10
Yes, he would give them three thousand pounds.
11
It would be liberal and handsome.
12
It would be enough to make them completely easy.
13
Three thousand pounds he could spare so considerable a sum with little inconvenience.
14
He thought of it all day long and for many days successively and he did not repent.
15
So what stands out in this passage?
16
Which of these things is not like the rest?
17
Well, it's this part here.
18
Before this, the narrator is describing the thoughts and feelings of John Dashwood.
19
But in the highlighted section, something changes.
20
It's suddenly as if we're inside John's mind.
21
And yet, the point of view doesn't change.
22
We're still in the third person.
23
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,
24
but she doesn't.
25
Instead, she does something new in English literature, what's called free indirect speech.
26
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.
27
And in the process, she effectively adds a new tool to the writer's toolbox. But why?
28
What is free indirect style good for?
29
Why not just use direct thought?
30
Well, if you're familiar with Jane Austen, you know that all of her books have a really strong narratorial voice.
31
The narrator has full control over the story, painting a universe of manners, making witty asides to the reader,
32
and using irony to critique characters and social conventions.
33
To accomplish her goals, Austen needed her narrator to have critical distance from the story,
34
but this ironic distance has the potentially negative side effect of distancing the characters from the reader.
35
I mean she still needs us to be emotionally involved with these people after all.
36
Free indirect speech is Austen's intuitive and revolutionary solution for having it both ways.
37
Okay, let's look at another Suttler example from Emma as the
38
matchmaking title character thinks about the suitability of Mr. Elton for her friend Harriet Smith.
39
The longer she considered it, the greater was her sense of its expediency.
40
Mr. Elton's situation was most suitable, quite the gentleman himself and without low connections.
41
He had a comfortable home for her and Emma imagined a very sufficient income, for though the vicarage of Highbury was not large,
42
he was known to have some independent property, and she thought very highly of him as a good -humored, well -meaning, respectable young man.
43
Like the first passage, this one begins firmly in the first -person narratorial voice with she considered and her sense.
44
Then in the second sentence, it seamlessly switches to free indirect speech and were inside
45
Emma's mind, which you can tell by phrasing like most suitable and quite the gentleman.
46
After this, it starts to get tricky.
47
Austin begins to weave in and out of free indirect speech within individual sentences.
48
The narrator returns with phrases like
49
Emma imagined and she thought.
50
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.
51
But then we slip right back into her spirit again, her subjectivity, subjectivity, in clauses like a good -humored, well -meaning, respectable young man.
52
In Emma especially, Austin uses free indirect speech with extraordinary finesse,
53
dipping in and out of several minds without ever interrupting the flow of narration.
54
Representing subjectivities, as Dunn says, with great immediacy, while still providing a frame within which that subjectivity can be understood.
55
At the end of the novel, we get the amazing convergence of these two voices, as Emma's self -deception becomes self -knowledge,
56
as her inner voice finally aligns with what the narrator and the reader have seen all along.
57
Free indirect speech is a formal innovation that changed the course of literature.
58
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,
59
including some of the most famous ever, like George Eliot, Henry James, James Joyce, and Virginia Woolf.
60
Unlike these other authors, Jane Austen is often belittled for her seemingly lightweight marriage comedies,
61
but that critique misses the complex formal dynamics that are working under the surface.
62
If you really want to see Austen's genius, you have to look deeper.
63
You have to look at the language.
64
Hey everybody, thank you so much for watching.
65
If you like this video, check out my book of essays, Escape into Meaning, which is currently on sale at the link below.
66
This episode was brought to you by Squarespace.
67
If you don't know, Squarespace is the all -in -one website platform for entrepreneurs to stand out and succeed online.
68
Whether you're just starting out or managing a growing brand, Squarespace makes it easy to create a beautiful website, engage with your audience,
69
and sell anything from products to content to time all in
70
one place all on your terms their templates are flexible their blogging tools are super easy to use
71
and squarespace provides you with all the analytics you need to iterate
72
and grow your business head over to squarespace .com for a free trial and
73
when you're ready to launch go to squarespace .com nerdwriter for 10 off your first purchase thanks guys
74
i'll see you next time.
Descargar app
Todo lo que necesitas para hablar con fluidez
Pronunciación con IAEvalúa cada oración
Práctica de IPADomina cada sonido
VocabularioConstruye tu banco de palabras
Juego de vocabularioAprende mientras juegas
Mismo canal
FOR YOU
Recomendar Video
C12
47 oraciones
Pride and Prejudice | Summary & Analysis | Jane Austen
Daily ConversationUniversity Students
C13
272 oraciones
Highly Intelligent Women Have These 10 Strange Habits (Backed by Psychology)
Daily ConversationUniversity StudentsWorking Adults
C19
347 oraciones
Horse at Night: On Writing Audiobook by Amina Cain
Daily ConversationUniversity Students
C13
83 oraciones
3 Books That Will Change Your Life
Daily ConversationUniversity StudentsWorking Adults
C110
42 oraciones
Story Structure: Advice
Daily ConversationUniversity Students
C11
504 oraciones
The Great Gatsby Chapter 1 | Audiobook
Daily ConversationUniversity Students
C17
141 oraciones
Can You Speak Like This? | Victorian Era Shadowing
British AccentTravel EnglishDaily ConversationUniversity Students
C11
28 oraciones
Middlemarch by George Eliot | Brief Plot Summary
Daily ConversationUniversity Students
B22
119 oraciones
Why Jane GAVE UP on Nicole — The Mentalist Moment Fans STILL Argue About
Daily ConversationUniversity StudentsWorking Adults
C15
46 oraciones
The Heart Structures and Agency
Daily ConversationUniversity Students
C11
224 oraciones
Fluent Forever
American AccentDaily ConversationUniversity StudentsWorking Adults
B2122
33 oraciones
ANNE WITH AN E "No one but you is allowed to dictate what you're worth"
Business EnglishTeensDaily Conversation
Vocabulario y notas de pronunciación para esta lección
Esta lección de conversación se basa en el vídeo “How Jane Austen Changed Fiction Forever”. Las palabras que más se repiten: indirect, Austen, squarespace, narrator, thousand. Este vídeo tiene 74 frases y 1007 palabras para practicar shadowing. La parte hablada dura 5:45. El hablante habla a un ritmo natural de unas 175 palabras por minuto, cercano a una conversación cotidiana. Solo el 80 % de las palabras está entre las 3.000 más comunes del inglés, por lo que el vocabulario es exigente.
Vocabulario clave de este vídeo
15 palabras del vídeo que vale la pena aprender, con su pronunciación y significado:
| Palabra | Pronunciación | Significado |
|---|---|---|
| indirect adjetivo | /ˌɪn.daɪˈɹɛkt/ | indirecto |
| narrator sustantivo | /ˈnæˌɹeɪ.təɹ/ | narrador |
| reader sustantivo | /ˈɹi.dɚ/ | lector, lectora |
| formal adjetivo | /ˈfɔɹməl/ | formal |
| suitable adjetivo | [ˈsjuː.tə.bɫ̩] | indicado, idóneo |
| phrase sustantivo | /ˈfɹeɪ̯z/ | frase |
| spare adjetivo | /spɛɚ/ | de reserva, de repuesto |
| passage sustantivo | /ˈpæsɪd͡ʒ/ | pasaje |
| considerable adjetivo | /kənˈsɪdəɹəbl̩/ | considerable |
| gentleman sustantivo | /ˈd͡ʒɛn.təl.mən/ | caballero, gentilhombre |
| critique sustantivo | /kɹɪˈtiːk/ | crítica |
| respectable adjetivo | [ɹɪˈspɛk.tə.bl̩] | respetable |
| technique sustantivo | /tɛkˈniːk/ | técnica |
| fiction sustantivo | /ˈfɪkʃən/ | ficción |
| potentially adverbio | /pəˈtɛnʃ(ə)li/ | potencialmente, presuntamente |
Phrasal verbs que vas a escuchar
| Palabra | Significado |
|---|---|
| check out verbo | investigar, chequear |
| point out verbo | señalar, apuntar |
Gramática en este vídeo
Las estructuras que más usa el hablante, con las palabras exactas del vídeo:
| Estructura | En el vídeo |
|---|---|
| Voz pasiva be + participio pasado — importa lo que ocurre, no quién lo hace | be emotionally involved · was known · can be understood |
| Present perfect have/has + participio pasado — una acción pasada que sigue importando ahora | has come · have seen |
Pronunciación a tener en cuenta
El hablante usa 10 contracciones y formas reducidas, como you're, doesn't, we're. Dilas en su forma corta, tal como las oyes.
- Los sonidos de “sh” y “zh”: fiction /ˈfɪkʃən/, potentially /pəˈtɛnʃ(ə)li/, innovation /ˌɪn.əˈveɪ.ʃən/, sufficient /səˈfɪʃənt/, revolutionary /ˌɹɛvəˈluʃənɛɹi/
- Palabras largas — cuida el acento: considerable /kənˈsɪdəɹəbl̩/, potentially /pəˈtɛnʃ(ə)li/, extraordinary /ɪksˈtɹɔːrdɪn(ə)ɹi/, innovation /ˌɪn.əˈveɪ.ʃən/, consistently /kənˈsɪstəntli/
Sonidos difíciles para hispanohablantes:
- s + consonante al inicio — sin añadir una “e” delante: spare /spɛɚ/, slip /ˈslɪp/
- /v/ — no es /b/: los dientes tocan el labio inferior: innovation /ˌɪn.əˈveɪ.ʃən/, revolutionary /ˌɹɛvəˈluʃənɛɹi/, inconvenience /ɪnkənˈvinjəns/, intuitive /ɪnˈtjuːɪtɪv/, weave /wiːv/
- /z/ — sonora, no /s/: phrase /ˈfɹeɪ̯z/, clause /klɔːz/
Cómo practicar con este vídeo
- Escucha el vídeo entero una vez sin hablar y anota las palabras que no conoces.
- Empieza a velocidad 0,75×, haz shadowing frase por frase y vuelve a la velocidad normal cuando te resulte fácil.
- Grábate y compara con el original, prestando atención a palabras como indirect, narrator, reader.
¿Qué es la Técnica de Shadowing?
Shadowing es una técnica de aprendizaje de idiomas respaldada por la ciencia, desarrollada originalmente para la formación de intérpretes profesionales y popularizada por el políglota Dr. Alexander Arguelles. El método es simple pero poderoso: escuchas audio en inglés nativo y lo repites en voz alta de inmediato, como una sombra que sigue al hablante con solo 1-2 segundos de retraso. A diferencia de la escucha pasiva o los ejercicios de gramática, el shadowing obliga a tu cerebro y músculos de la boca a procesar y reproducir simultáneamente patrones de habla reales. Las investigaciones muestran que mejora significativamente la precisión de la pronunciación, la entonación, el ritmo, el habla conectada, la comprensión auditiva y la fluidez al hablar, convirtiéndola en una de las metodologías más efectivas para la preparación del IELTS Speaking y la comunicación en inglés en el mundo real.