1、Jane Eyre流行的原因

　　Jane Eyre(楼主的意思是不是简·爱)

　　V1

　　第二段有个单词 conflate ，当时不认识，但这个单词对理解题目蛮重要的

　　[疑似考古，未确认]

　　P1：Jane Bonte的小说在1970-1980左右的年代受到很大的欢迎(popular)而且有个相当不错的销售成绩(sale)/很畅销。有四个原因(factors)：

　　(1)价格低(low price);

　　(2)再版重印(reprint)了好多次/炒作/发行量大;

　　(3)很容易获得(available);

　　(4)文学作品的代表(referent to the literature)。

　　举例子：后来/1990年，有另一个作者叫Amilia写了一本书，和简爱有关/模仿(similarity to)这本书/这个女主角，也被认为将会大卖/于是Amilia的书也很畅销。(Q4)

　　P2：但是(But)，Jane的书卖的好更主要的原因是因为作者出书时写了一个副标题(subtitle)的自传(autobiography)/用的是笔名/匿名(anonymous)，读者很好奇作者的身世(readers are intrigued by the mysterious identity about the writer)，读者怀疑作者写女主人公有很大一部分就是在写自己，因为有很多相同经历的描述：1、作者和主人公都在一个地方学习过;2、作者和主人公都做过家庭教师(governess)。(Q5) (Q3)

　　*****Q1：以下哪个特点不是导致这个作家开始作品受欢迎的原因的?(EXCEPT)

　　选项有：

　　A、B、C是明显文章中提到的;

　　D：a clue of a social puzzle——有人选这个。

　　E：similarity to另一个作家的作品。——有人选这个

　　注意：有人选D有人选E，请确认?

　　确认选E，similarity，因为我记得D选项在第二段开头的时候有提到。比较确定。

　　本月某狗主：选E。

　　本月狗主：选E，确定。

　　**Q2：主旨题。

　　describe an evaluation of the different aspects of the phenomenon/issue

　　***Q3：为什么要写原作者有当过governess?/提到governess的作用?

　　强调作者与书中主人公的相似经历/和作者有相同的经历。

　　确认。

　　*Q4：这个例子(example)的作用?/举Amilia 这个例子是为什么?

　　证明原小说受欢迎程度大/证明发行量大很有影响力。

　　确认。

　　Q5：subtitle有什么作用?

　　选项有：

　　1、前两个说证明作者身份与小说主人公什么类似

　　2、读者认为小说主人公与作者类似的原因之一

　　注意：有人选2，但是说非常不确定。

　　*Q6：后来为什么不受欢迎?

　　猜测是个人的形象在之前有共鸣，之后不行了，上文已提及。

　　备注：

　　*文章2/3屏。

　　*知识点补充：

　　有另一个作者叫Amilia写了一本书，与简爱有关。——这里应该说的是‘简爱’作者夏洛蒂勃朗特的妹妹--艾米丽勃朗特。艾米丽在同时期写了《呼啸山庄》，亦大受欢迎。

　　文章第二段描写的对象应该还是‘简爱’这本书以及其作者夏洛蒂，因为机经中“读者怀疑作者写女主人公有很大一部分就是在写自己，因为有很多相同经历的描述：1、作者和主人公都在一个地方学习过;2、作者和主人公都做过家庭教师。”——这些都是简爱的特点。

　　背景参考：

　　Jane Eyre's currency as a literary referent perhaps helped to keep the novel in the public consciousness and certainly improved its sales throughout the 1850s. As late as 1864 a new novel by Amelia Edwards was said to "remind" the writer "strongly of Jane Eyre." "This announcement alone is a sufficient assurance for the interest of its pages."But the cultural and literary durability of Jane Eyre over the course of the decade can be explained not only as a reflection of the novel's cheapness and widespread availability as a reprint but as a result of the not uncommon conflation of Charlotte Brontë the person with Jane Eyre the literary character. In fact, I want to suggest that the novel's widespread popularity was entangled in this confusion, and that readers' identification with the "autobiographical" subject explains a great deal about the particularly powerful appeal of the novel in the United States. The confusion about the literary status of the novel, which was encouraged by its subtitle, "an Autobiography," reflects the unstable borders separating fiction, biography, and autobiography during this period. As Barbara Hochman has argued, the desire to identify the text with the author may be understood as a specific reading practice of the antebellum period. What she calls "reading for the author" or "friendly reading"—that is, a mode of reading in which "the idea of continuity between literary discourse and authorial presence" is a given—helps explain the identification of Jane with Charlotte. But there is more to the identification of Jane with Charlotte than a conventional assumption of authorial presence; the commingling of the two indicates a degree of closeness to books and to the process of reading that is at once specific to a female reader's experience of Jane Eyre and indicative of broader trends [End Page 121] in female culture that made the experience of books of all kinds particularly important instruments for the development of female subjectivity. The tension between the positive moral effects of reading and the potentially negative ones underlines the extent to which reading, domesticity, and femininity were in tension. And the onus was on books and their authors to demonstrate that the dangerously sympathetic modes of reading in which women engaged (a kind of sympathetic reading practice fueled by the ambiguous genre identification of various texts) be undertaken for moral purposes and with the edification of family, comfort, and the domestic sphere in mind.