跟读练习: How Jane Austen Changed Fiction Forever - 通过视频学习英语口语
选择练习模式
每种模式都会打开全屏练习室。
74 句
如果句子过短或过长，请点击 Edit 进行调整。
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.
同频道
FOR YOU
推荐视频
C12
47 句
Pride and Prejudice | Summary & Analysis | Jane Austen
Daily ConversationUniversity Students
C13
272 句
Highly Intelligent Women Have These 10 Strange Habits (Backed by Psychology)
Daily ConversationUniversity StudentsWorking Adults
C19
347 句
Horse at Night: On Writing Audiobook by Amina Cain
Daily ConversationUniversity Students
C13
83 句
3 Books That Will Change Your Life
Daily ConversationUniversity StudentsWorking Adults
C110
42 句
Story Structure: Advice
Daily ConversationUniversity Students
C11
504 句
The Great Gatsby Chapter 1 | Audiobook
Daily ConversationUniversity Students
C17
141 句
Can You Speak Like This? | Victorian Era Shadowing
British AccentTravel EnglishDaily ConversationUniversity Students
C11
28 句
Middlemarch by George Eliot | Brief Plot Summary
Daily ConversationUniversity Students
B22
119 句
Why Jane GAVE UP on Nicole — The Mentalist Moment Fans STILL Argue About
Daily ConversationUniversity StudentsWorking Adults
C15
46 句
The Heart Structures and Agency
Daily ConversationUniversity Students
C11
224 句
Fluent Forever
American AccentDaily ConversationUniversity StudentsWorking Adults
B2122
33 句
ANNE WITH AN E "No one but you is allowed to dictate what you're worth"
Business EnglishTeensDaily Conversation
本课的词汇与口语要点
这节口语课以视频“How Jane Austen Changed Fiction Forever”为素材。 视频中反复出现的词有：indirect, Austen, squarespace, narrator, thousand。 这段视频共有 74 个句子、1007 个单词可供跟读。 讲话部分时长为 5:45。 说话人语速自然，每分钟约 175 个词，接近日常对话。 只有 80% 的单词属于英语最常用的 3,000 词，词汇难度较高。
视频中的重点词汇
视频中 15 个值得学习的单词，附发音和释义：
| 单词 | 发音 | 释义 |
|---|---|---|
| indirect 形容词 | /ˌɪn.daɪˈɹɛkt/ | 間接 /间接 |
| narrator 名词 | /ˈnæˌɹeɪ.təɹ/ | 敘述者 /叙述者, 講述者 /讲述者 |
| reader 名词 | /ˈɹi.dɚ/ | 讀者 /读者 |
| formal 形容词 | /ˈfɔɹməl/ | 正式 |
| suitable 形容词 | [ˈsjuː.tə.bɫ̩] | 合適 /合适, 適當 /适当 |
| phrase 名词 | /ˈfɹeɪ̯z/ | 短語 /短语, 片語 /片语 |
| passage 名词 | /ˈpæsɪd͡ʒ/ | 片斷 /片断, 片段 |
| considerable 形容词 | /kənˈsɪdəɹəbl̩/ | 可觀 /可观 |
| gentleman 名词 | /ˈd͡ʒɛn.təl.mən/ | 先生 |
| respectable 形容词 | [ɹɪˈspɛk.tə.bl̩] | 受人尊敬的, 可敬 |
| technique 名词 | /tɛkˈniːk/ | 技術 /技术, 技巧 |
| fiction 名词 | /ˈfɪkʃən/ | 虛構文學 /虚构文学, 小說 /小说 |
| remind 动词 | /ɹəˈmaɪnd/ | 提醒 |
| extraordinary 形容词 | /ɪksˈtɹɔːrdɪn(ə)ɹi/ | 非凡, 了不起 |
| genius 名词 | /ˈd͡ʒin.jəs/ | 人才, 天才 |
视频中出现的短语动词
| 单词 | 释义 |
|---|---|
| check out 动词 | 退房 |
| point out 动词 | 指, 指出 |
视频中的语法
说话人最常用的结构，并附上视频中的原话：
| 结构 | 视频中的用法 |
|---|---|
| 被动语态 be + 过去分词 — 强调发生了什么，而不是谁做的 | be emotionally involved · was known · can be understood |
| 现在完成时 have/has + 过去分词 — 过去发生但与现在仍有关联的事 | has come · have seen |
需要注意的发音
说话人用了 10 次缩略和弱读形式，例如 you're, doesn't, we're。请按听到的简短形式来说。
- “sh” 和 “zh” 音: fiction /ˈfɪkʃən/, potentially /pəˈtɛnʃ(ə)li/, innovation /ˌɪn.əˈveɪ.ʃən/, sufficient /səˈfɪʃənt/, revolutionary /ˌɹɛvəˈluʃənɛɹi/
- 长单词——注意重音位置: considerable /kənˈsɪdəɹəbl̩/, potentially /pəˈtɛnʃ(ə)li/, extraordinary /ɪksˈtɹɔːrdɪn(ə)ɹi/, innovation /ˌɪn.əˈveɪ.ʃən/, consistently /kənˈsɪstəntli/
中文母语者容易读错的音：
- /v/ — 不要读成 /w/，上齿轻触下唇: innovation /ˌɪn.əˈveɪ.ʃən/, revolutionary /ˌɹɛvəˈluʃənɛɹi/, inconvenience /ɪnkənˈvinjəns/, intuitive /ɪnˈtjuːɪtɪv/, weave /wiːv/
- 词尾辅音 — 要读清楚，后面不要加元音: indirect /ˌɪn.daɪˈɹɛkt/, pound /ˈpaʊ̯nd/, phrase /ˈfɹeɪ̯z/, passage /ˈpæsɪd͡ʒ/, critique /kɹɪˈtiːk/
- /r/ 和 /l/ 的区别: formal /ˈfɔɹməl/, considerable /kənˈsɪdəɹəbl̩/, respectable [ɹɪˈspɛk.tə.bl̩], explore /ɪkˈsploɹ/, revolutionary /ˌɹɛvəˈluʃənɛɹi/
如何用这段视频练习
- 先完整听一遍视频，不要开口，记下不认识的单词。
- 先用 0.75 倍速逐句跟读，熟练之后再回到正常速度。
- 录下自己的声音并与原声对比，特别注意 indirect, narrator, reader 这类单词。
什么是跟读法？
跟读法 (Shadowing) 是一种有科学依据的语言学习技巧，最初开发用于专业口译员的培训，并由多语言者Alexander Arguelles博士普及。这个方法简单而强大：您在听英语母语原声的同时立即大声重复——就像是一个延迟1-2秒紧跟说话者的影子。与被动听力或语法练习不同，跟读法强迫您的大脑和口腔肌肉同时处理并模仿真实的讲话模式。研究表明它能显着提高发音准确性，语调，节奏，连读，听力理解和口语流利度——使其成为雅思口语备考和真实英语交流最有效的方法之一。