Pratica di Shadowing: How Jane Austen Changed Fiction Forever - Impara a parlare inglese con i video
Scegli una modalità di pratica
Ogni modalità apre una sala di pratica a schermo intero.
74 frasi
Se le frasi sono troppo corte o troppo lunghe, clicca su Edit per modificarle.
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.
Scarica l'app
Tutto ciò che serve per parlare fluentemente
Pronuncia con IAVoto per ogni frase
Pratica IPAPadroneggia ogni suono
VocabolarioCostruisci il tuo lessico
Gioco di vocabolarioImpara giocando
Stesso Canale
FOR YOU
Video consigliato
C12
47 frasi
Pride and Prejudice | Summary & Analysis | Jane Austen
Daily ConversationUniversity Students
C13
272 frasi
Highly Intelligent Women Have These 10 Strange Habits (Backed by Psychology)
Daily ConversationUniversity StudentsWorking Adults
C19
347 frasi
Horse at Night: On Writing Audiobook by Amina Cain
Daily ConversationUniversity Students
C13
83 frasi
3 Books That Will Change Your Life
Daily ConversationUniversity StudentsWorking Adults
C110
42 frasi
Story Structure: Advice
Daily ConversationUniversity Students
C11
504 frasi
The Great Gatsby Chapter 1 | Audiobook
Daily ConversationUniversity Students
C17
141 frasi
Can You Speak Like This? | Victorian Era Shadowing
British AccentTravel EnglishDaily ConversationUniversity Students
C11
28 frasi
Middlemarch by George Eliot | Brief Plot Summary
Daily ConversationUniversity Students
B22
119 frasi
Why Jane GAVE UP on Nicole — The Mentalist Moment Fans STILL Argue About
Daily ConversationUniversity StudentsWorking Adults
C15
46 frasi
The Heart Structures and Agency
Daily ConversationUniversity Students
C11
224 frasi
Fluent Forever
American AccentDaily ConversationUniversity StudentsWorking Adults
B2122
33 frasi
ANNE WITH AN E "No one but you is allowed to dictate what you're worth"
Business EnglishTeensDaily Conversation
Vocabolario e note di pronuncia per questa lezione
Questa lezione di conversazione si basa sul video “How Jane Austen Changed Fiction Forever”. Le parole che ritornano più spesso: indirect, Austen, squarespace, narrator, thousand. Questo video contiene 74 frasi e 1007 parole da ripetere con lo shadowing. Il parlato dura 5:45. Chi parla ha un ritmo naturale di circa 175 parole al minuto, vicino a una conversazione quotidiana. Solo il 80% delle parole rientra nelle 3.000 più comuni dell’inglese, quindi il lessico è impegnativo.
Vocaboli chiave di questo video
15 parole del video che vale la pena imparare, con pronuncia e significato:
| Parola | Pronuncia | Significato |
|---|---|---|
| indirect aggettivo | /ˌɪn.daɪˈɹɛkt/ | indiretto |
| narrator sostantivo | /ˈnæˌɹeɪ.təɹ/ | narratore, narratrice |
| reader sostantivo | /ˈɹi.dɚ/ | lettore, lettrice |
| formal aggettivo | /ˈfɔɹməl/ | formale |
| suitable aggettivo | [ˈsjuː.tə.bɫ̩] | adatto, idoneo |
| phrase sostantivo | /ˈfɹeɪ̯z/ | espressione, polirematica |
| spare aggettivo | /spɛɚ/ | superfluo, ulteriore |
| passage sostantivo | /ˈpæsɪd͡ʒ/ | passo |
| considerable aggettivo | /kənˈsɪdəɹəbl̩/ | considerabile |
| gentleman sostantivo | /ˈd͡ʒɛn.təl.mən/ | gentiluomo, galantuomo |
| respectable aggettivo | [ɹɪˈspɛk.tə.bl̩] | rispettabile |
| technique sostantivo | /tɛkˈniːk/ | tecnica |
| fiction sostantivo | /ˈfɪkʃən/ | finzione |
| potentially avverbio | /pəˈtɛnʃ(ə)li/ | potenzialmente |
| remind verbo | /ɹəˈmaɪnd/ | ricordare |
I phrasal verb che sentirai
| Parola | Significato |
|---|---|
| check out verbo | investigare |
| point out verbo | additare |
La grammatica di questo video
Le strutture che chi parla usa di più, con le parole esatte del video:
| Struttura | Nel video |
|---|---|
| Forma passiva be + participio passato — conta ciò che accade, non chi lo fa | be emotionally involved · was known · can be understood |
| Present perfect have/has + participio passato — un’azione passata che conta ancora adesso | has come · have seen |
Pronuncia a cui fare attenzione
Chi parla usa 10 contrazioni e forme ridotte, come you're, doesn't, we're. Pronunciale nella forma breve, così come le senti.
- I suoni “sh” e “zh”: fiction /ˈfɪkʃən/, potentially /pəˈtɛnʃ(ə)li/, innovation /ˌɪn.əˈveɪ.ʃən/, sufficient /səˈfɪʃənt/, revolutionary /ˌɹɛvəˈluʃənɛɹi/
- Parole lunghe — attenzione all’accento: considerable /kənˈsɪdəɹəbl̩/, potentially /pəˈtɛnʃ(ə)li/, extraordinary /ɪksˈtɹɔːrdɪn(ə)ɹi/, innovation /ˌɪn.əˈveɪ.ʃən/, consistently /kənˈsɪstəntli/
I suoni difficili per chi parla italiano:
- /h/ — va soffiata, non è muta: handsome /ˈhæn.səm/, highlight /ˈhaɪˌlaɪt/, inheritance /ɪnˈhɛɹɪtəns/
- Consonante finale — senza aggiungere una vocale dopo: indirect /ˌɪn.daɪˈɹɛkt/, pound /ˈpaʊ̯nd/, phrase /ˈfɹeɪ̯z/, passage /ˈpæsɪd͡ʒ/, critique /kɹɪˈtiːk/
- /æ/ — più aperta della “e”: narrator /ˈnæˌɹeɪ.təɹ/, passage /ˈpæsɪd͡ʒ/, handsome /ˈhæn.səm/, dynamics /dɑɪˈnæm.ɪks/, analytics /ˌæn.əˈlɪt.ɪks/
Come esercitarsi con questo video
- Ascolta tutto il video una volta senza parlare e annota le parole che non conosci.
- Inizia a velocità 0,75×, fai shadowing frase per frase e torna alla velocità normale quando diventa facile.
- Registrati e confronta con l’originale, facendo attenzione a parole come indirect, narrator, reader.
Cos'è la tecnica dello Shadowing?
Shadowing è una tecnica di apprendimento delle lingue supportata da studi scientifici, originariamente sviluppata per la formazione dei traduttori professionisti e resa popolare dal poliglotta Dr. Alexander Arguelles. Il metodo è semplice ma potente: ascolti un audio in inglese di madrelingua e lo ripeti immediatamente ad alta voce — come un'ombra che segue il parlante con un ritardo di solo 1–2 secondi. A differenza dell'ascolto passivo o degli esercizi di grammatica, lo shadowing costringe il tuo cervello e i muscoli della bocca a elaborare e riprodurre simultaneamente i modelli di discorso reale. La ricerca dimostra che migliora significativamente la precisione della pronuncia, l'intonazione, il ritmo, il discorso connesso, la comprensione dell'ascolto e la fluidità del parlato — rendendolo uno dei metodi più efficaci per la preparazione alla prova di speaking dell'IELTS e per la comunicazione reale in inglese.