关于网络营销的毕业论文范文

中国网络营销在4年取得了飞速的发展，可以说是自19xx年以来发展最快的一年。4年中国的网络营销尤其在网络营销服务市场、企业的网络营销基础建设等方面更为令人瞩目，这不仅是由于互联网整体环境的日益成熟，同时也取决于网络营销服务行业自身的发展，当然在这些发展热潮中也存在一些不容忽视的问题。总体说来，十个方面尤其值得在中国网络营销发展史上重点记录。

??（1）企业网站建设取得了稳步发展但仍存在明显问题

??企业网站是开展网络营销的综合性工具，专业性的企业网站是网络营销效果得以保证的基础。中国企业网站的发展首先表现在数量的稳定增加方面，其次是一些领域的网站如家电业、航空服务业等表现出整体专业性水平较高的行业特征。从《中国大型企业网络营销状况研究报告》的调查中发现，国内的大型企业在网站及其维护方面取得了可喜的进展，根据对国内11个行业的11家大型消费类企业（其中8％为上市公司）网站所进行的系统调查发现，超过半数的企业在19xx年之前就已经建立了自己 的网站，并且几年来坚持网站内容更新，曾经成为一些文章中被批评的热点问题如“信息陈旧”、“面貌象简陋”等现象，现在实际上已经不再是主要问题，在美观性方面，部分企业网站甚至已经出现了美观有余而实用不足的状况。从这些外在的方面来看，企业网络营销的基础建设状况是值得肯定的，但一个不容忽视的现实问题是，大多数企业网站网站并没有发挥应有的价值，并且从网络营销的专业性看来，这些被调查的网站从整体策划到功能、服务、信息、运营等方面都还存在很大的问题，这些被归纳为“企业网站的十大问题”。从现象来看，这种状况通常被认为是企业网站运营策略失当，如网站推广不力、信息更新不及时等，但从更深入的层次上分析，则是由于缺乏对企业网站功能、实质以及与网络营销之间关系的深入了解所致。如何认识和解决这些问题，成为企业网络营销水平是否可以得到进一步提高的基础。

??（）搜索引擎营销热度进一步提高

??搜索引擎在网络营销中的作用，有史以来从没有像4年这样被推到至高无上的地位，甚至在一定程度上让人感觉到搜索引擎推广就是网站推广的惟一方法的印象，这种情况反映了搜索引擎营销服务市场发展达到了空前的热度。搜索引擎营销市场的形成和高速发展的首要原因，得益于互联网泡沫破裂后人们对于网络营销的期望从概念向实际收益转变的历史机遇：从年后半年互联网泡沫破裂开始，企业开始重新思考和认识网络营销的价值，经过年多的实践和认识，以网站推广为基础的网络营销日益受到企业的重视，而传统的基于免费搜索引擎登录和免费信息发布等推广手段已经不适应目前的网络营销环境，因而需要更有效的推广方法，搜索引擎营销服务商适时地推出各种有效的网络营销产品，正好适应了企业的市场需求；其次，搜索引擎营销市场得以快速发展的直接推动，在很大程度上要归功于全国数以千计网络营销服务商的大力推广，这些服务商为开拓网络营销服务市场付出了艰苦的努力；第三个促成搜索引擎营销获得快速发展的重要原因，在于目前的网络营销服务市场中可供企业选择的网络营销服务产品还比较少，尤其是缺乏对于网站推广有明显效果的产品，因而为付费搜索引擎的发展提供了广阔空间，即使在付费搜索市场中，由于服务商数量少，行业呈明显的集中态势，因而行业竞争还不太显著，付费搜索在一定程度上还处于卖方市场状况。 ??（3）传统销售渠道主导网络营销产品市场

??前文述及，搜索引擎营销市场的高速发展在很大程度上得益于网络营销服务商的推动，其实不仅是搜索引擎服务市场，其他可以作为标准化定价模式进行推广的网络营销相关产品，同样主要依靠传统的销售渠道来开拓市场，这其中包括网络实名/通用网址、网络广告、域名注册、虚拟主机、企业邮箱等。不可否认传统渠道为开拓网络营销服务市场、传播网络营销服务的概念发挥了巨大作用，但一些网络营销服务产品完全依赖代理商的渠道进行销售，甚至用严格的渠道政策控制代理商的行为，例如限制代理商自行降价、限制代理商跨区域销

售产品，更杜绝用户通过服务商直接购买，这些做法在发挥一定效果的同时，显然也限制了网络营销的高效便捷、无地理区域限制等优点，使得网络营销产品的优势无法充分表现出来，并且出现了网络营销服务商自己不能采用网络营销手段的矛盾，国内网络营销市场的发展，靠的大量业务人员的推销模式，这与网络营销的思想相差甚远。随着网络营销环境的发展，灵活的市场政策和多渠道销售成为一种必然趋势，如果继续完全依赖代理渠道的传统销售方式而不考虑市场环境的变化，那么这种僵化的渠道策略将成为制约网络营销服务市场发展的因素。

??（4）基础网络营销服务全面实现电子商务化

??在网络营销服务领域，值得特别肯定的是提供域名注册、虚拟主机、企业邮局等产品在内的基础网络营销服务商，这些服务商并不完全依赖传统的代理销售渠道，而是走代理商和网上直接销售相结合的道路，并且整个业务流程的电子商务化日益完善，从域名注册、域名解析，到虚拟主机和企业邮局等产品的在线购买、在线支付等环节，都可以非常方便地实现用户自由购买、自助管理。这些基础网络营销服务商已经率先成为国内最先进的电子商务企业，这不仅代表着我国网络营销服务已经达到一个崭新的告诉，也预示着网络营销服务的电子商务化是完全可以实现的（ggle的关键词广告自助投放管理系统同样也说明了这一点）。基础网络营销服务商成功地全面实现电子商务化，也为网络营销其他领域的服务商做出了表率，这些服务商的成功经验表明，在线直接销售并未影响代理渠道的销售，因为用户的需求和购买方式毕竟是不同的，一些互联网应用水平较高的用户更希望在线购买的便捷。 ??（5）网络广告市场重新进入高速发展阶段

??从美国网络广告市场状况来看，自从年网络广告市场跌入低谷以来，直到3年中期才开始复苏，预计4年的网络广告收入将超过9美元，达到历史最高水平。全球网络广告市场大致与美国的增长趋势相近，也就是从4年再次进入快速增长的阶段。在国内，网络广告市场的增长速度同样很快，虽然没有全国网络广告市场的可靠统计数据，不过由于国内网络广告市场具有明显的集中特征，主要门户网站垄断了绝大多数市场份额，因此从三大门户网站的财报中就可以粗略地看出国内网络广告市场的增长情况。从网络广告的广告主的构成来看，以BANNER、文字、富媒体等形式为主的基于门户网站的网络广告，仍然是大中型企业才能采用的网络营销手段，由于其相对较高的投放费用，这种“传统的”网络广告形式仍然无法为大量中小企业所采用。不过整个网络广告市场的增长仍然与大量小企业的网络营销活动密切相关，主要体现在基于搜索引擎的关键词广告份额在整个网络广告市场中的份额增长迅速，已经成为最有活力的网络广告形式。

（6）企业开展网上销售的环境日益成熟

?? 网上销售是网络营销的基本职能之一，大多数企业的网络营销通常处于信息传递的层面，这主要与在线销售环境不成熟有很大关系。随着网络环境的进一步发展，不仅上网用户数量和企业网站数量持续快速增长，而且各种相关的网上销售服务日益完善，例如6688等知名电子商务平台服务商为企业网站从信息发布到在线销售功能的升级提供更多的功能支持和更方便的应用，易趣、淘宝等大型电子商务网站的网上商店受到越来越多企业的了解，这些服务为企业从网络营销到电子商务的演变提供了便利的条件。在线支付方面同样获得了快速的发展，从提供在线支付平台服务的服务商数量变化和市场策略方面也可以得到反映：4年出现了越来越多的在线支付平台，而老牌的在线支付平台服务商也加大了市场推广的力度，这也在一定程度上说明，网上支付已经为企业开展在线销售做好了充分准备，开展网上销售的基本环境已经具备，，网上销售也将逐渐成为企业网络营销的主要内容之一。

?? （）网络营销策略期待突破

?? 当一个网络营销导向的企业网站建成发布之后，网站推广是网络营销取得成效的基础，网站推广的重要性已经为众多企业所认识，搜索引擎是常用的网站推广手段之一，从国内搜

索引擎营销市场的火爆就可以看出网站推广已经受到众多企业的重视。但是企业在网站推广方面利用各种常规的网站推广促使进行了必要的努力之后，虽然获得了一定的访问量，但是网站的访问量很难得到进一步的提升，而已经拥有的访问量也没有或者很少为企业带来实际的收益，于是很多企业的网络营销就只能停留在网站建设和网站推广的阶段。这是企业从免费网络营销阶段（主要指基于免费搜索引擎登录及免费信息发布等网络营销手段为主的网络营销）发展到网站推广阶段之后所面临的普遍问题。改变这种状况需要网络营销策略的突破，即突破将网站推广等同于网络营销的认识，并且对现有网络营销基础工具（最重要的网络营销工具之一是企业网站） 进行专业性的诊断并加以改进，必要时重新修订网络营销策略，并且加强网络营销管理和控制。（针对这种状况，网上营销新观察对网络营销研究的重点也将从网络营销基础理论和实用方法为主进行适当的调整，自5年开始逐渐增加对网络营销管理研究的力度。）

?? （8）网络会员制营销模式获得广泛应用

??自从年底网络会员制模式在国内部分电子商务网站开始应用以来，经过3年多的发展，现在各种形式的网络联盟已经在国内大型网络公司获得了广泛应用，不仅受到大型电子商务网站的重视，也扩展到其他网络服务领域，如搜索引擎的竞价广告、电子邮箱、网上商店平台等。并且专业的“第三方联盟服务”模式已经得到易趣等领先电子商务公司的应用，网络会员制营销服务已经成为一种独立的商业模式，这不仅反映出各种形式网络联盟的应用状况，而且也会推动网络会员制营销模式在国内更为广泛的应用。在网络会员制营销取得可喜进展的同时也应看到这个领域的问题依然比较多，不仅表现在技术和管理功能比较落后，如佣金、流量的查询和广告投放管理方面，与国际领先的网络会员制模式相比仍然有较大的差距（如ggle AdSense现金的广告渠道管理和个性化广告设置、几乎实时的广告浏览数量、点击数量、佣金统计等），同时在对加盟网站的培训和服务方面也大为逊色。另外，对于网络会员制营销模式的管理也需要进一步规范和完善，并且需要防微杜渐，以免一些加盟者采用大量发送垃圾邮件或者采用其他不正当手段进行推广，从而破坏网络营销模式的正常发展。 ?? （9）网络营销新概念不断出现，“博客营销”值得关注

?? 自从年“博客”概念在国内出现以来，博客已经成为互联网上非常热门的词汇之一，博客在网络营销中的应用也成为令人关注的研究领域，尽管目前“博客营销”还没有出现很系统的研究成果和成功案例，但利用博客来开展网络营销的实践早已开始，成为4年度网络营销最富吸引力的新探索领域之一。国外有文章认为，5年将成为企业博客年。在国内，由于著名IT分析家方兴东等人的积极推广，已经出现了一批有影响力的中文博客网站，国内博客的概念普及和应用保持与国际同步甚至领先的水平，因此“博客营销”也将成为最值得关注的网络营销概念之一。此外，新出现的网络概念中对网络营销有较大影响力的还包括“基于网页内容定位的关键词广告”（ggle AdSense首先倡导）、交互式搜索、桌面搜索等。 ?? （1）许可Eil营销环境进一步恶化

?? Eil营销环境的恶化是中国网络营销乃至全球网络营销发展历程中最为令人遗憾的事情。基于用户许可的、规范的Eil营销一直是网络营销中最有效的方式之一，然而这种有效的网络营销手段正在逐渐丧失其威力，甚至有遭到灭顶之灾的可能。垃圾邮件泛滥是破坏网络营销环境的罪魁祸首，但目前对这个问题似乎并没有什么有效的办法，无论是从法律角度还是从技术角度都无法阻止垃圾邮件泛滥对网络信息空间所产生的影响。对Eil营销环境的破坏并不仅仅限于垃圾邮件本身，也受到各种反垃圾邮件措施的影响，其中邮件服务商对邮件的屏蔽已经成为制约许可Eil营销的严重问题之一。为了保护自己的服务器不至于受到垃圾邮件的威胁，许多服务商都采取了对一些怀疑为垃圾邮件源的屏蔽措施，但这种屏蔽实际上并非很好的解决办法，这从垃圾邮件的数量仍然在不断增长的现状中就可以得到证实，更为糟糕的是，许多合法的许可邮件往往成为被屏蔽的对象，让大量正规的电子邮件无法传递给用

户，使得许可Eil营销难以发挥应有的作用，而一些真正的垃圾邮件通过一些巧妙的发送手段往往能避开这种屏障长驱直入用户的电子邮箱。与这种状况相对的是电子邮箱服务商仍在用各种手段刺激用户的应用，自从ggle提供1G超大空间的免费电子邮件服务以来，众多电子邮件服务商群起而效仿，国内一些服务商甚至将免费邮箱的空间直接扩大到15G、G的水平以吸引更多的用户，这虽然为更多的用户使用大空间电子邮箱提供了方便，但这些举措无法改变许可Eil营销环境日益恶化的状况，也并没有对许可Eil营销产生直接的促进作用，因此超大空间的免费电子邮箱能为服务商带来什么实质价值也成为一个难以下定论的问题。 ?? 除了前面提到的十个方面之外，在4年的网络营销发展历程中，值得关注的还有不少领域和动向，如网络广告形式的革新，尤其是视频网络广告、基于内容定位的网络广告、网络营销专业分析工具不断出现、提供网络营销专业顾问服务的企业数量明显增加等，这些方面在5年的网络营销中的影响将逐步表现出来，并将发挥越来越显著的作用。

 

第二篇：英语专业毕业论文范文2

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山东财经大学

本科毕业论文(设计)

范文2

题目： 论《诺桑觉寺》的反哥特观念

学 院 外国语学院

专 业 英语

班 级 英语0801 （注意原山经、原山财班级名称不同）

学 号 2008110067

姓 名 李晓慧

指导教师 王俊华

山东财经大学教务处制

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On Anti-Gothicism in Northanger Abbey

by

Li Xiaohui

Under the Supervision of

Wang Junhua

Submitted in Partial Fulfillment of the Requirements

for the Degree of Bachelor of Arts

School of Foreign Studies

Shandong University of Finance and Economics

May 2012

B. A. Thesis of Shandong University of Finance and Economics

Acknowledgements

It would not be possible for me to complete the thesis without the generous help of many. First and foremost, I would like to take this opportunity to convey my sincere gratitude and appreciation to my supervisor Dr. Wang Junhua, under whose supervision I have obtained valuable ideas and precious suggestions. He is very intelligent on thesis instruction and also shows his great patience to me during my writing. I also want to thank all the teachers in the School of Foreign Studies of Shandong University of Finance and Economics for their beneficial courses I have attended during my college life. Besides, I owe my deep thanks to my roommates who have been encouraging me all the time, and to my colleagues at Jinan Longre Foreign Language Training Center who willingly took my part of duties so that I could have enough time for thesis writing.

L. X. H.

(名字的第一个字母)

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ABSTRACT

On Anti-Gothicism in Northanger Abbey

Li Xiaohui

Northanger Abbey, one of Jane Austen‘s famous works, mainly tells the story of an innocent girl, a Gothic novel fan, who treats herself as the heroine of a Gothic novel and makes many ridiculous adventures by taking Gothic stories as real happenings, but finally learns to distinguish between the imaginary life in novels and the real life of her own. The novel criticizes the ridiculousness and meaninglessness of Gothic novels in a satirical way. The thesis analyzes Austen‘s parody of Gothic plot, characterization, and the heroine‘s Gothic adventures in Northanger Abbey, and argues that the work reveals her anti-Gothicism through a comparison with the typical features of prevailing Gothic novels in her age.

Key words: Northanger Abbey; Jane Austen; anti-Gothicism

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摘要

论《诺桑觉寺》的反哥特观念

李晓慧

《诺桑觉寺》是奥斯汀的一部著名作品。小说讲述了一位沉迷于哥特小说的天真女孩，把自己想象成作品的女主角，误把小说情节当做真实的生活，经历了一系列的荒谬历险；但她最终走出幻想，学会了分辨哥特小说的荒诞情节和现实生活的区别。小说以反讽的方式批评了哥特小说的可笑和荒诞。本文通过分析该小说对哥特式情节和人物的戏仿以及女主角的哥特式历险，并与当时盛行的哥特小说的典型特征相对比，认为奥斯汀通过《诺桑觉寺》表达了自己的反哥特观念。

关键词：《诺桑觉寺》；奥斯汀；反哥特

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CONTENTS

Acknowledgements…………………………………………………ii Abstract………………………………………………………….…iii Abstract in Chinese………………………………………………iv Introduction…………………………………………………………1 Chapter One Gothic Novels and Northanger Abbey...…………3

I. Origin and Development of Gothic Novels……………………3 II. Austen‘s Attitude towards Gothic Novels……………………5

Chapter Two Parody of Gothic Plot and Characters…………..7

I. Parody of Gothic Plot…………………………………………7 II. Parody of Gothic Characters…………………………………9 Chapter Three Catherine’s Adventures………………………11

I. On the Way to Northanger Abbey……………………………11 II. Three Adventures in Northanger Abbey…………………….12 III. Catherine‘s Coming back to Reality…………………………15 Conclusion…………..……………………………….……………16 Works Cited……………………………………………………..…17

如有三级标题，可以i. ii. iii. iv. 编写，为简明，建议目录中尽量不要写三级标题，正文中可有三级标题。注意各级标题大小写，确保目录中的标题、页码与正文中的标题、页码保持对应。

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注意每段的首行缩进、行距、字体、字号等要保持全文一致

Introduction

Jane Austen (1775~1817), who lived at the turn of the 18th and 19th century, is the most distinguished as well as the most widely read female novelist in British literature. She was born on December 16, 1775, at Steventon rectory in Hampshire, England, and died in Winchester on July 18, 1817, and was buried in Winchester Cathedral. Austen lives in a large family with six brothers and one sister. Her father, George Austen was a rector for much of his life. Her sister, Cassandra Elizabeth, was her best friend. She was educated primarily by her father and older brothers, and her own reading also helped a lot with her writing. During Austen‘s education and writing life, her father was the most important guide, for he not only provided her with a well-stocked family library, but also supported her writing with much effort. He had created a democratic and easy intellectual atmosphere at home. They often talked about different political or social ideas, and any personal opinions would be accepted and discussed. Jane Austen began to write when she was only about thirteen and the everlasting support of her family was crucial to her development as a professional writer.

Austen‘s personal experiences have a great influence on her writing. ―Of events her life was singularly barren: few changes and no great crisis even broke the smooth current of its course‖ (James 11). Austen‘s works are usually confined to a limited circle. In a letter to her nephew Edward, Austen made comments on her own work as ―[h]ow could I possibly join them on to the little bit of Ivory on which I work with so fine a Brush, as produces little effect after much labor?‖ (Lefroy 160). Liu Bingshan appraised that ―[t]he comparison is true. The ivory surface is small enough, but the woman who made drawings of human life on it is a real artist‖ (309). Some critics accuse Jane Austen of writing with a narrow vision, and that her novels are all about love, marriage, money and rich relations, but Austen‘s works show their values on reflecting the social realities of her day. As Zhang Dingquan and Wu Gang comment in their book that ―her

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[Jane Austen‘s] unique sensitivity to human emotions, her careful observation … made her one of the finest novelists of the age‖ (202).

Austen wrote six complete novels during her literary career. They are: Sense and Sensibility (1811); Pride and Prejudice (1813); Mansfield Park (1814); Emma (1816); Northanger Abbey (1818); and Persuasion (1818). Her literary works have been attracting more and more readers from home and abroad since their publication. Jane Austen is considered as ―a genius that appeals to any generation‖ (Qiao iv). The British female writer Virginia Woolf said that ―[o]f all great novelists, Jane Austen is the most difficult to catch in the act of greatness‖ (Zhu 5).

The work discussed in this thesis is Northanger Abbey, which tells a story of the naive protagonist with a very over-active imagination, Catherine Morland, a Gothic novel aficionado, who treats herself as the heroine of a Gothic novel, takes stories in Gothic novels as happened in her real life and makes many ridiculous adventures, but finally learns to distinguish between the imaginary life in Gothic novels and her own ordinary life situations. Although Northanger Abbey was the first to be completed by Jane Austen, it had neither been given enough attention nor been adequately studied for some considerable time in the past. In fact, Northanger Abbey has its unique research value, particularly the author‘s attitude towards Gothic novels, which has aroused more and more critical attention and debates in recent years (see Chapter One).

This thesis argues that Northanger Abbey shows Jane Austen‘s anti-Gothicism through her satirical criticism of the prevailing Gothic novels in her times. In addition to Introduction and Conclusion, the thesis consists of three chapters. The first chapter briefly introduces Gothic novels, illustrates different viewpoints on the relationship between Northanger Abbey and Gothic novels as discussed by some critics and scholars. The second chapter analyses Jane Austen‘s parodic anti-Gothicism by comparing the plot arrangement and characterization of the novel with that of Gothic novels. The third chapter discusses Jane Austen‘s criticism of Gothic novels through focusing on Catherine‘s ridiculous adventures.

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Chapter One

Gothic Novels and Northanger Abbey

Northanger Abbey is a parody of Gothic novels. The first part of this chapter briefly introduces the origin, development and typical features of Gothic novels; the second part mainly illustrates different viewpoints on Austen‘s attitude towards Gothic novels.

I. Origin and Development of Gothic Novels

The word ―Goth,‖ coming from the name of an ancient tribe in Europe, and its derivative form ―Gothic,‖ which reminds people of mysticism, terror, and dark, were frequently used to describe medieval things in the 18th century. According to a highly-popular dictionary, the word ―Gothic‖ means

a kind of architecture built in the style that was popular in Western Europe

from the 12th century to the 16th centuries, and which has pointed arches, windows, and tall thin pillars and a novel written in the style popular in the 18th and 19th centuries, which described romantic adventures in mysterious or frightening surroundings. (Hornby 883) 注意引语段格式

Now it generally refers to a genre of literature, which is ―full of depicts of murders and supernatural things to thrill readers‖ (Han 36), combines both horror and romance and ―deals with the strange, mysterious, and supernatural designed to invoke suspense and terror in readers‖ (Zhao 283).

From the above quotes, it is known that some basic elements in Gothic novels include: setting in a castle, which often contains secret passages and staircases, dark or hidden rooms; an atmosphere of mystery and suspense that arouses fear and terror; supernatural events, such as ghosts or unknown giants coming to human life; high and overwrought emotion, like anger, sorrow, especially terror from which the characters suffer; heroine in distress, which appeals to the sympathy of the readers; and romance,

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such as powerful love between the heroine and the hero.

The first Gothic novel is The Castle of Otranto: A Gothic Story, written by the English author Horace Walpole. The work is remarkable because it is the first attempt to find ―a tale of amusing fiction upon the basis of the ancient romance of chivalry‖ (Walter 115) and it ―start[s] a fashion and set[s] an example for other Gothic novelists‖ (Zhang 5). In addition, the novel was ―an attempt to blend the two kinds of romance, the ancient and the modern‖ (Horace 19). Horace Walpole opens the door of Gothic novels and a lot of other Gothic novelists follow suit. Among them, Ann Radcliff and Mathew Gregory Lewis are two most famous ones for their respective work The Mysteries of Udolpho and The Monk. The Mysteries of Udolpho (1794), through which Ann Radcliff made the Gothic novel socially acceptable, was an unparalleled success at that time, and was also frequently referred to by Jane Austen in Northanger Abbey. In the mid-1790s the Gothic novel reaches its summit, and David Punder comments, probably an exaggeration, that ―this body of fiction may well have established the popularity of the novel-form‖ (David 61). 注意文内引文规范。每个文献须在文末参考书目中出现。

Besides its popularity among the public, the Gothic novel has a notorious fame for a long time and has been criticized as crude by many critics. In the preface of Lyrical Ballads, Wordsworth commented on Gothic novels as:

The invaluable works of … Shakespeare and Milton are driven into

neglect by frantic novels, sickly and stupid German Tragedies, and deluges of idle and extravagant stories in verse. (Wordsworth and Coleridge 248-249)

In spite of criticism from many literary figures, Gothic novels still attracted a lot of readers and the Gothic influence was amazingly continuing. ―It has been estimated that the reading population of Britain increased from one and a half million in 1780 to between seven and eight million by 1830‖ (Lin 24), and ―Gothic novels have exerted significant influence on the literature of later generations and on every European literature. They have exerted great effect on the American literature, Hawthorn and Allen Poe in particular‖ (Zhao 283). It is not so hard for us to find out that many works of great literary celebrities bear Gothic elements. In the Romantic period, some famous

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works are: Percy Bysshe Shelley‘s first published work, Zastrozzi (1810), was publicly-known as a Gothic novel; Mary Shelley‘s Frankenstein, or, The Modern Prometheus (1818); Coleridge‘s The Rime of the Ancient Mariner (1798) and Christabel (1816); Keats‘ La Belle Dame sans Merci (1819) and Isabella (1820); and The Vampyre (1819) by John William Polidori. Charlotte Bront?‘s Jane Eyre (1847) and Emily Bront?‘s Wuthering Heights (1847) are also acknowledged as Gothic novels as well as Elizabeth Gaskell‘s tales ―The Doom of the Griffiths‖ (1858), ―Lois the Witch‖ (1861), and ―The Grey Woman‖ (1861). Charles Dickens is another mainstream writers heavily influenced by Gothic novels. In his great works, such as Oliver Twist (1837-8), Bleak House (1854), Great Expectations (1861) and The Mystery of Edwin Drood (1870), we can easily feel the Gothic mood and themes. Edgar Allan Poe was a prominent and innovative re-interpreter of Gothic literature in the 19th century American literature, with his well-known works as The Fall of the House of Usher (1839), ―The Black Cat‖ (1843), and ―The Murders in the Rue Morgue‖ (1841).

II. Austen’s Attitude towards Gothic Novels

―The excesses, stereotypes, and frequent absurdities of the traditional Gothic made it rich territory for satire‖ (Skarda 178-179). As it is universally acknowledged, the most famous parody of Gothic novels is Northanger Abbey. We all say that Northanger Abbey is a parody of Gothic novels, but disagree on Austen‘s attitude towards them. Some critics hold that Northanger Abbey offers a refinement on rather than denial of the Gothic: ―Gothic elements in the novel are employed to express Austen‘s feminist ideas rather than mock them‖ (Chen ii); ―Through parody, Austen revises Gothic novels in a comic way for the purpose of negotiation with Gothic novels, as well as inheritance and preservation‖ (Zheng 89). However, some others argue that Austen shows her sarcasm towards Gothic novels and emphasizes reason and realism: ―[Northanger Abbey] also satirized the sentimental novels, especially the Gothic novel, which was very popular at that time‖ (Yang 66), and ―[the] mock of Gothic novels runs through the novel from beginning to end‖ (Sun 36).

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Northanger Abbey expresses Austen‘s sarcasm on prevailing Gothic novels, especially The Mysteries of Udolpho, which has been mentioned several times in the work. With a close reading of Northanger Abbey, we can easily find the Gothic craze surrounding it. First of all, Northanger Abbey shares similar plot construction with the prevailing Gothic novels; secondly, it contains a parodic characterization of Gothic novels; thirdly, they all describe the female protagonist‘s adventures and her love romance with the male protagonist eventually obtained. Additionally, Jane Austen adopts a new tactic of writing novels in Northanger Abbey by addressing the reader directly. We can feel the sense of satire in reading the work. The following chapter deals with its plot construction and characterization to show Jane Austen‘s anti-Gothicism.

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Chapter Two

Parody of Gothic Plot and Characters

In this chapter, we mainly examine Austen‘s parody of Gothic novels through comparing the plot construction and characterization of Northanger Abbey with that of Gothic novels. The novel seemingly imitates the construction of Gothic novels, but it actually satirizes their format of developing stories and depicting characters. I. Parody of Gothic Plot

The widely spread Gothic novels then were sharing almost the same format. A noble heroine, who is very beautiful and intelligent and loves music and drawing, for some reasons leaves her own home to a completely new place, usually a haunted castle, where she experiences horrible and scaring things or being treated unfairly and cruelly. But there often appears an unknown hero who saves the heroine and challenges the villains. They would be together at the end of the story after so many hardships. Northanger Abbey seemingly follows the common format. The heroine, Catherine Morland, leaves her hometown for a new place, Bath, and meets with the hero, Henry Tilney. After undergoing some adventures and distress, the loved ones are finally reunited and get married. However, Jane Austen actually starts making a sharp mockery on Gothic novels from the beginning of Northanger Abbey.

Different from the Gothic heroine, Catherine Morland is a very common English girl, who was born in an ordinary family with her father as a clergyman and her mother a woman of plain sense. She neither had a beautiful figure nor high intelligence. In fact, before she turned fifteen, Catherine had ―a thin awkward figure, a sallow skin without colour, dark lank hair, and strong features‖ (3; ch.1). Instead of music or drawing, Catherine was a tomboy and was very fond of boys‘ plays, especially cricket, and loved

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rolling down the green slope at the back of their house. Judging by these descriptions, we can see that Catherine‘s situation in life, her family, her own personality and disposition are all against a real heroine in Gothic novels: ―No one who had ever seen Catherine Morland in her infancy, would have supposed her born to be a heroine‖ (3; ch.1). Through the characterization of the heroine, Jane Austen actually criticizes the general expectations of a well-mannered gentle lady in Gothic novels.

Then the heroine begins her adventure to Bath. In Gothic novels, the heroine‘s parents should be very worried and severely anxious or in tears with sadness when she is about to leave home. Nevertheless, Catherine‘s mother was not like that: she just reminded her daughter of wrapping herself warm and trying to keep account of the money, and her father only put ten guineas into her hand and promised more when she wanted it. During their journey to Bath, nothing alarming occurred to them except Mrs. Allen‘s having left her clogs at an inn which later on was proved groundless. ―Neither robbers nor tempests befriended them, nor one lucky overturn to introduce them to the hero‖ (11; ch.2). 注意前两段文学作品的引文格式要求：（页码; 章）。

Austen satirizes the expected appearance of the hero to the heroine in Gothic fictions. Henry just appears on an ordinary ball and is introduced to Catherine by the master of the ceremonies in a normal way without any air of romance. Henry, at first, was even partly joking with Catherine about the same routing that young ladies share.

Later, Catherine makes friends with Isabella Thorpe, who is an elegant and fine young woman, and they both consider themselves as old friends. It is Isabella who opens the Gothic gate for Catherine by introducing to her tens of horrible novels; one of them is The Mysteries of Udolpho. After reading so many Gothic novels, Catherine‘s eagerness to visit and explore a real castle grows severe. Therefore, she feels extremely excited when General Tilney, Henry‘s father, invites her to visit their house, the Northanger Abbey.

Additionally, there is one point we should pay attention to, i.e., Jane Austen has adopted a new tactic of writing by addressing the readers directly. For example, at the end of chapter five, when Isabella and Catherine shut themselves up to read novels, the

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narrator clearly says that ―[novels] have afforded more extensive and unaffected pleasure than those of any other literary corporation in the world‖ (32; ch.5), and that novels are works

…in which the greatest powers of the mind are displayed, in which the

most thorough knowledge of human nature, the happiest delineation of its

varieties, the liveliest effusions of wit and humour are conveyed to the world in

the best chosen language. (33; ch.5) 注意文学作品的引文格式要求：（页码; 章）。

Here Austen gives her own insight of the value of novels, and questions the social prejudice against novels. The directness with which Austen addresses the reader gives a unique insight into Austen‘s thoughts at the time. And her perspectives on novels are sharply in contrast with that of popular writers, especially the Gothic novelists of the time.

II. Parody of Gothic Characters

According to the common rule, Gothic novels not only have a set format in plot construction, but also share the same characterization. Below are some classified major characters around the heroine in Gothic novels: an aunt or another older woman of envy; a hero with an air of mystery; a female friend harbors evil intentions; a villain who is always bothering the heroine; a tyrant, usually cold and vicious, treats the heroine cruelly. We may find those familiar archetypes in Northanger Abbey as well, but we can also find a clear difference between them.

First of all, characterization of the heroine‘s aunt Mrs. Allen is quite striking:

It is now expedient to give some description of Mrs. Allen, that the reader

may be able to judge, in what manner her actions will hereafter tend to promote

the general distress of the work, and how she will, probably, contribute to

reduce poor Catherine to all the desperate wretchedness of which a last volume

is capable – whether by her imprudence, vulgarity, or jealousy – whether by

intercepting her letters, ruining her character, or turning her out of doors. (11;

ch.2) 注意引语段的格式要求，以及文学作品的引文格式要求：（页码; 章）。

In Gothic novels, the heroine‘s misfortune is partly caused by her aunt‘s evil jealousy, but in Northanger Abbey, Mrs. Allen is not that evil or blood-hearted to Catherine. Mrs. Allen may truly be a little vulgar and careless. She has a great passion

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in dress and ―had a most harmless delight in being fine; and our heroine‘s entrée into life could not take place till after three or four days had been spent in learning what was mostly worn‖ (12; ch.2). We may say that she doesn‘t fulfill her responsibilities as a senior companion by carefully and whole-heartedly looking after Catherine, but we cannot say that she shows an evil or jealousy towards Catherine. She has nothing to do with what happened to our heroine later on, and this is entirely ironic when compared with the usual Gothic aunt.

In addition, Henry Tilney is different from the hero in Gothic novels. Generally speaking, a Gothic hero must at first be mysterious about his identity and later found born in the purple. But Henry was no mystery since his appearance in the novel. At the very night when they met, Mr. Allen learnt that he was ―a clergyman, and of a very respectable family in Gloucestershire‖ (23; ch.3). Moreover, Henry Tilney didn‘t fall in love with Catherine at the first sight nor did he ever hold a strong affection for her, which was really weird for supposed Gothic readers because ―no young lady can be justified in falling in love before the gentleman‘s love is declared‖ (23; ch.3). As for why Henry finally fell in love with Catherine, the narrator said:

I must confess that his affection originated in nothing better than gratitude,

or, in other words, that a persuasion of her partiality for him had been the only cause of giving her a serious thought. It is a new circumstance in romance…and dreadfully derogatory of a heroine‘s dignity. (284; ch.30)

Apart from Mrs. Allen and Henry Tilney, there are three other negative protagonists: Isabella Thorpe, John Thorpe, and General Tilney. Although there are flaws in their personalities, they are never those Gothic villains who are extremely sinister or treacherous. Isabella was beautiful but a selfish and pitiful young lady who always wanted to marry a rich man. Like his sister, John Thorpe was merely a vulgar and imprudent young man and was always trying to be handsome and gentle. The only bad thing he has done to Catherine was telling General Tilney that Catherine was not at all rich so that the General angrily pushed Catherine out of Northanger Abbey. General Tilney was a money-driven man with a very strict sense of family status and wanted all his children to marry rich families. These three negative characters were never set up, or threatened, or tried to murder Catherine, they were quite unlike those vicious villains in Gothic novels.

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Chapter Three

Catherine’s Adventures

We have discussed the differences of plot construction and characterization between Northanger Abbey and Gothic novels in the preceding chapter. In the last chapter, we are going to take a closer look at the heroine‘s adventures in Northanger Abbey, the estate of the Tilneys‘, which is the climax of the novel and through which Jane Austen shows us the absurdness of Gothic novels and the significance of real life. I. On the Way to Northanger Abbey

During their journey to Northanger Abbey, Henry Tilney deliberately makes fun of Catherine‘s innocent belief in Gothic novels, and says to her: ―[a]nd are you prepared to encounter all the horrors that a building such as ?what one reads about‘ may produce? – Have you a stout heart? – Nerves fit for sliding panels and tapestry?‖ (178; ch.20). Henry also jokingly describes some horrible scenes to Catherine, such as ―an apartment never used since some cousin or kin died in it about twenty years before,‖ or ―gloomy chamber … with only the feeble rays of a single lamp … walls hung with tapestry exhibiting figures as large as life, and the bed, of dark green stuff or purple velvet, presenting even a funeral appearance‖ (179; ch.20). In fact, Catherine Morland was already very eager to take her adventures in the abbey though she said to Henry that she shouldn‘t be easily frightened and thought the abbey has never been inhabited and left deserted for years.

As they drew near the abbey, Catherine‘s impatience for a look at the abbey grew, and in accordance with her novel reading, she thought Northanger Abbey, by its name, as a place with ―massy walls of grey stone, rising amidst a grove of ancient oaks, with the last beam of the sun playing in beautiful splendour on its high Gothic windows‖

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(182; ch.20). But to her disappointment, the building stands too low and even without an antique chimney for her to discern. What‘s more, unlike those heroines in Gothic novels, she just passes between modern lodges and ―along a smooth, level road of fine gravel, without obstacle, alarm or solemnity of any kind, struck her as odd and inconsistent‖ (183; ch.20). General Tilney Eleanor, Henry‘s sister, are waiting to welcome her on the hall, and she is shown into a common drawing-room where the furniture is in elegance of modern taste and panes of the pointed arch, which Catherine hoped them to be the heaviest stonework and painted glass with dirt and cobwebs, are, on the contrary, large, clear, and light. The abbey is just a modern family house with large and lofty hall, broad staircase of shining oak, long wide gallery, ect., and the people are all so friendly that she can‘t feel any awful future misery that would happen to herself like what those heroines usually undergo in Gothic novels. The difference between her imagination and the abbey‘s real condition is very distressing for Catherine. II. Three Adventures in Northanger Abbey

Although feeling a little disappointed at the first sight on Northanger Abbey, out of her imagination, Catherine was delightful to be really in an abbey and began her imagined Gothic adventures with her observation.

When she was alone in her apartment, Catherine found that the walls, the floor, the windows, and the furniture were all handsome and comfortable which made her at ease. But she decided to lose no time in examining anything strange and she suddenly noticed a large high chest that was standing on the back in a deep recess of the fire-place. The sight of the chest made Catherine forget everything else, and she stood still, just gazing at it and wondering: ―This is strange indeed! … An immense heavy chest! – What can it hold? – Why should it be placed here? … I will look into it – cost me what it may‖ (187; ch.21). Driven by curiosity, she advanced and examined the chest closely. The chest was made of cedar, inlaid with some darker wood, and raised on a carved stand of the same, with a rusty silver lock and broken silver handles. With trembling hands and great difficulty as well, she finally raised up the lid, but to her astonishment, there was only a

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white cotton counterpane that was ―properly folded, reposing at one end of the chest in undisputed possession‖ (188; ch.21). Catherine felt blushed at the sight of it but she didn‘t lose her heart for more fascinating adventures.

The first night in Northanger Abbey was stormy, the wind blew strongly the whole afternoon, and it rained violently. Those characteristic sounds brought to her the dreadful situations and horrible scenes in Gothic novels, and for the first time she felt she was really in an Abbey. But Catherine knew that she had nothing to dread from or to explore or to suffer because the house was ―so furnished, and so guarded‖ (191; ch.21). However, she still looked around the room and courageously but fearfully peeped behind each curtain, hoping to see someone sitting there to scare her or a hand placed against the shutter. However, there was nothing. Then she was thinking to go to bed. At that moment, a mysterious cabinet appeared and suddenly captivated her eyes. It was a high, old-fashioned black cabinet, being placed in a conspicuous situation and thus escaped from her notice. The cabinet, with its key in the door, aroused her great interest and she could not sleep till she had examined it. Catherine placed the candle on a chair with caution and tried to turn the key ―with a very tremulous hand‖ (192; ch.21). At first, she thought there could be nothing in it, and she did find nothing after checking the double range of drawers. But later, she surprisingly found a roll of paper inside a small door in the center of the cabinet. At that moment, ―[her] heart fluttered, her knees trembled, and her cheeks grew pale‖ (194; ch.21) as she thought that the paper was some precious manuscript and grasped tightly in her unsteady hand. As she snuffed the candle and was about to read the paper, the candle suddenly extinguished. For a few moments, Catherine felt awful with horror and ―trembled from head to foot‖ (194; ch.21). She hastily jumped onto bed and kept wondering ―how was it [the manuscript] to be accounted for? – What could it contain? – to whom could it relate?‖ (195; ch.21). When she woke up only to find that many papers were just washing-bills, she felt humbled to the dust: ―Nothing could now be clearer than the absurdity of her recent fancies‖ (197; ch.22).

After two adventures in vain, Catherine seemed to become a little sober. However,

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when she heard about the death of Henry and Eleanor‘s mother, and none of the three children was at home and only General Tilney was with Mrs. Tilney, her imagination, which was heavily influenced by Gothic novels, began to exercise. She thought General Tilney was just like Montoni, the prototypical Gothic villain in The Mysteries of Udolpho, who imprisoned the heroine Emily and his wife Madame Cheron in Udolpho with an attempt to acquire their fortune. Catherine believed that General Tilney was cold, pitiless, and cruel; and that he had murdered his wife and probably imprisoned her in some hidden chamber somewhere in Northanger Abbey. So despite two failures before, Catherine once more felt shocked and chilled at the thought of the guilty scene of murder and imprisonment. She remembered that there was a forbidden gallery where lay the doors ―of which the General had given no account‖ (217; ch.23). She thought firmly that unfortunate Mrs. Tilney‘s confinement must be one of them, and she was so eager to examine those mysterious apartments.

One morning, the General‘s early walk has provided Catherine a favorable time when she proposed to Miss Tilney to show her mother‘s portrait and apartment. But when they were just about to turn the lock with fearful caution, ―the dreaded figure‖ (221; ch.23) of General Tilney himself suddenly stood before them and he loudly and angrily ordered Eleanor to come with him, leaving Catherine stay in her own room for safety. As a brave reflection of the morning‘s experience, Catherine became resolute to make her second detection on the forbidden door alone because she thought ―the examination itself would be more satisfactory if made without any companion‖ (222; ch.23). She was finally alone and got the time to carry out her adventure. She quietly slipped through the folding doors and tip-toed into the room; before her was ―a large, well-proportioned apartment‖ (223; ch.24), warm and neat, like the most comfortable apartment in the house, with nothing extraordinary, anywhere but ancient, gloomy, and awful place for imprisonment. Catherine felt a sense of bitter emotions of shame and her heart was sick of its folly. What‘s worse, Henry just came back at that moment and surprisingly ran across her in his mother‘s room. On hearing Catherine‘s suspicion of his mother‘s death, Henry angrily and firmly informed her that Mrs. Tilney died of a

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sudden malady after being carefully treated by a respectable physician, and that his father, General Tilney, loved his wife sincerely in his own way and was greatly afflicted by her death. Being criticized by Henry for her wild and ridiculous ideas, Catherine then felt extremely depressed and ran into her room with tears of shame.

III. Catherine’s Coming back to Reality

Before coming into Northanger Abbey, Catherine thought it might be a haunted place full of horror and danger, but after her three so-called ―Gothic adventures‖ were all proved in vain and was mildly criticized by beloved Henry, she finally realized how foolish she had been and came to believe that the contents of those Gothic novels have nothing to do with human being‘s everyday life. Here Jane Austen shows her satire on Gothic novels and her sarcasm may be illustrated much more clearly through Henry‘s words:

Dear Miss Morland, consider the dreadful nature of the suspicions you

have entertained. What you have been judging from? Remember the country and the age in which we live. Remember that we are English, that we are Christians. Consult your own understanding, your own sense of the probable, your own observation of what is passing around you—Does our education prepare us for such atrocities? Do our laws connive at them? Could they be perpetrated without being known, in a country like this, where social and literary intercourse is on such a footing; where every man is surrounded by a neighbourhood of voluntary spies, and where roads and newspapers lay everything open? (228-229; ch.24)

We may see Henry as the spokesman of Jane Austen and his words as Austen‘s anti-Gothic manifesto to the prevailing Gothic novels and her mockery at their absurdity and remoteness from our daily life and the dangers resulted from Gothic-craze.

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Conclusion

In conclusion, it is obvious that Northanger Abbey shows Jane Austen‘s anti-Gothicism by her parody of the plot, characterization and adventure of the prevailing Gothic novels in her times. In Northanger Abbey, Austen deliberately imitates the Gothic format of plot arrangement, the characterization and the description of heroine‘s adventures, but makes them very different, or the opposite to those in the Gothic fiction in her own style. The heroine Catherine Morland is what she is not, neither beautiful nor destined for a fantastic fate, and her crazy love for Gothic novels, in particular, makes her the typical representative of the ordinary readers. Catherine was at first an innocent and simple-minded girl, but after reading The Mysteries of Udolpho and many other Gothic novels introduced by Isabella Thorpe, she took Northanger Abbey as the imagined Udolpho. At the abbey Catherine had her imagined Gothic adventures and undergone some unpleasant experiences resulted from her ridiculous adventures. Fortunately, she finally learnt her lesson and got out of her Gothic illusions and she has indeed become the true heroine by the end of the story. Through the heroine‘s back to real life, Austen shows us the dangerous and ridiculous confusion between ordinary life and Gothic imagination, and the importance of being realistic and reasonable.

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Works Cited按字母排序，每一条文献都应该是正文中出现过的，切勿随便列一些正文没有出现过的文献。格式问题十分复杂，学生和指导老师务必认真对待，如有疑问，可进一步查阅“MLA格式学位论文写作规范（供查询用）”和“英语本科毕业论文撰写指南”。

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