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篇1：外语专业毕业论文

ABSTRACT

On Anti-Gothicism in Northanger Abbey

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

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 [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.

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)

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, 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).

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 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).

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.

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”. Instead of music or drawing, Catherine was a tomboy and was very fond of boys’ plays, especially cricket, and loved 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” . 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” .

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 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.

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 C whether by her imprudence, vulgarity, or jealousy C whether by intercepting her letters, ruining her character, or turning her out of doors. (11; ch.2)

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 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.

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? C Have you a stout heart? C 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” (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! C What can it hold? C Why should it be placed here? … I will look into it C 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 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? C What could it contain? C 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, 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 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.

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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Zheng, Baiqing. [郑柏青], 文本的回溯: 论《诺桑觉寺》中戏仿的反思性 [J]. 解放军外国语学院院报, 6 (2008): 89-93.

Zhu, Hong. [朱虹], 奥斯丁研究 [M]. 北京: 中国文联出版公司, 1985.

篇2：外语专业毕业论文

内容摘要：外语教学中的跨文化交际的能力的培养即外语学习者要发展的是用别人的语言来表达自己的观点及文化的交际能力。外语教学过程中，我们应当有意识地同时对目的语文化和本土文化保持清醒的头脑。只有将母语文化传播出去的前提下，跨文化交际才能走得更远更好。

关键词：跨文化；外语教学；母语文化

一.前言

外语教学不仅是一个掌握语言基本技能的过程,更是一个了解不同文化、拓展思维方式以及提高人文素质的过程。通过学习外语，人们可以更直观更全面地接触和感受两种不同文化间的摩擦与融合。所以，外语教学中的跨文化交际不仅是语言的交际，更是文化的交际。

二.跨文化交际

“交际”一词本身就含有相互沟通的意思，也就是说是指交际双方“双向”的信息流通。然而，我们可以在日常生活中观察到，很多人在跨文化交际中不会用外语来表达中国文化，无法体现出中国的文化价值观等等。没有中国文化的输出，跨文化交际就成了单向的文化流动，就能不成为真正意义上的“跨文化交际”。出现这个问题，我们就要反思一下外语教学了。外语人才不仅仅是作为国际交流的桥梁和纽带，而且还应肩负着传播我国博大精深的传统文化的使命。既然是文化交流，就不能单纯是目的语文化的输入，同样需要输出我国的传统文化，让世界了解中国，让中国走向世界。刘润清先生提出，在外语教学中，西方文化和本民族文化，二者并重。跨文化交际不等同于外来文化的单向灌输，母语文化是跨文化交际的前提和基础。二者缺一不可。，从丛教授在《光明日报》明确指出了我国外语教学中普遍存在着，中国文化失语现象。随后，越来越多的学者从不同的视角探讨了这种，中国文化失语现象在外语教学中的严重性以及提出了改善这种困境的拯救措施。袁芳从外语教学的目标出发，结合我国大学英语改革指导思想，提出了在外语教学中树立知己知彼的文化观，探讨了，母语文化在外语教学中的地位和作用。李海刚通过对高校英语文化教学中母语文化缺失的现状及存在问题，提出了解决这些问题的对策及建议。这些研究和探索都为外语教学提供了非常有益的借鉴和改革的方向。

三.母语文化融入到外语教学中的策略

首先，我们应对外语大纲和外语教材进行改革。增加本土文化内容，加强对中国文化的学习，重视向学生传授用外语表达中国文化现象的语言技巧，学会用外语传播中国文化。再者，语言教学不能不考虑学习者的目的和未来可能交际的对象。以英语为例，目前我国大学生学习英语都注重能满足今后的工作需要，然而，现行的大多数英语教材都是以灌输英美文化为主,只满足了学生了解西方文化的需求,却未能满足他们跨文化交际的需求。笔者认为还应适当结合学生的实际情况,开发适合本土文化的英语教材，教会学生用英语表达自己的观点及本国文化。其次，对于外语教学来说,语言能力的提高固然非常重要,人文素养的提升同样不容忽视。外语教师有责任也有义务使学生了解本国文化在世界文明发展史中的地位和作用,正确和全面认识自己的民族文化；同时要认真研究和借鉴世界各国的文明成果,善于从其他国家的文化中汲取营养,从而使自己具备更全面的人文素质。因此，外语教师在教学中应该有意识地使外语教学更接近本土文化，强化学生作为跨文化交际主体的主体文化意识，既要正视外国文化，又要重视本土文化，这样既可以对外国文化有充分的'理解，又可以增强传播本土文化的能力。当然，文化不是教师可以靠几堂课轻松传授给学生的，更需要在具体的语境里习得，外语教学应该尽可能地为学生提供多种不同语境中的语言使用操练。另外，学习一门外语，这门语言所承载的本族语使用者的价值观念、生活方式、行为方式等必然也会带到我们的身边，想要脱离它的影响是不现实也是不可取的。正确的做法是“取其精华，去其糟粕”。我们要始终记得，跨文化交际是一个双向互动的过程，我们要以平等的心态和姿态进行中西文化的交流，在以开阔的胸怀接纳多种多样的文化的同时，正确和全面地认识本土文化，从而也让外国人更全面地认识和了解中国及其文化。四.结语跨文化交际离不开母语文化，对中国学生来说，学习、理解和熟知优秀的中国文化是培养和提高跨文化交际能力的先决条件。如何一方面继承和发扬中华民族的优良文化传统,另一方面又不被自己的文化传统所限去学习和借鉴他国的优秀文化，是提高跨文化交际能力和素质教育过程中需要着力解决的问题。在跨文化交际中,中国人应当保持自身的主体文化身份，与其他文化进行平等对话，尤其是要向外国人传播中国文化，这是我国外语教师与学生的重要任务之一.

参考文献

1.李萍.多元文化背景下英语教学中的母语文化教学[J].武汉冶金管理干部学院学报,（03）.

2.李秀梅.大学英语教学中加强母语文化导入的必要性研究[J].西华大学学报,2012（05）.

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篇3：外语专业如何写出好毕业论文

了解毕业论文大纲

正所谓知己知彼，百战不殆。当学生对写论文一无概念，不知道写什么、怎样写时，可以先查阅一下毕业论文大纲。这对于任何专业要写毕业论文的学生来说，都是极有必要的。学生可以通过向导师咨询或是直接在网上检索获得。在《外语学院英语专业毕业论文大纲》上对毕业论文写作的阶段及要求、内容、毕业论文的评审、格式和质量标准都有明确的规定。因此，学生只要认真阅读一番，总会有所收获，少走弯路，避免辛苦写下来的东西因不符要求而遭“驳回”的命运。

选题目早作打算

对于英语专业来说，毕业论文题目的方向很多，选择的范围也较自由，如语言、文学、文化、社会问题、应用英语、经济、贸易、科技、社会生活等等，但有时候太自由了，很多学生会反而会抱怨挑花了眼，更没有头绪。史教授对此问题深有体会。他提示学生不要有“爆冷门”的心态，选一个自己生涩的、一无所知的题目往往让效果适得其反，最好是先确定一个自己有所了解的并对之感兴趣的大致方向，然后听听这方面的选修课，和导师多作沟通，参考一下相关的书籍、资料，都能从中获得写论文的灵感。

专家建议学生在大四起甚至更早些时候就应该对写毕业论文有所留心，早做关注和积累，千万不要临时抱佛脚，也不要随意更换主题。

写论文要有创意

“很多学生把写论文理解成各种资料堆积上的重新排列，这个理解是错误的。”

在最新的高等学校外语专业本科教学评估方案(征求意见第三稿)中，把学生的毕业论文划入到了检验教学效果下的反映学生创新能力的一栏里。这表示，写论文绝对不是资料的整理和重排。论文要反映出学生对相关问题的一定的独立见解和创新，要自圆其说，切忌空谈。

警惕翻译的痕迹

与其他专业的毕业论文不同，英语专业的毕业论文是要求用英语来写作的。它一般要求正文长度在5500―8500个单词以内。论文的内容丰富、资料翔实、论证有力，不仅观点正确，在逻辑性、叙述层次清晰、语言表达的正确上都有一定的要求。但是，“为了讲究逻辑而采用中译英写论文的方式是不提倡的。”史教授这样说道，“先写好中文再用英语翻过去，往往带有很明显的翻译痕迹，内行人很容易看出来。如果实在需要采用这种方法，那也要注意不要使这种痕迹太过明显。当然写英文论文最好还是用英语思路来写比较好。”

侥幸心理不可存

史教授认为要想毕业论文得到A并不难，就是看谁的功夫深。但是，当谈到有些学生不愿自己下功夫而去窃取别人的“果实”时，史教授说：“任何学问都应当是以诚实为基础的。即使这些‘幸运’学生毕业出去了，一旦被查出作假，文凭会随时被取消的。

篇4：外语专业毕业论文开题报告

论文题目 Influences of Non-intellectual Factors on College Students' Writing Ability

一、选题的意义和研究现状

选题的目的、理论意义和现实意义

This article aims to heighten the students’ ability of writing. In order to reach this, a questionnaire has been designed. 300 students have taken part in the research. With the method of research, I can get the answer how to improve the students’ ability of writing.

Theoretical significance: Non-intellectual factors belong to the category of psychology. The concept can be divided into three levels of the investigation. The first level of generalized non-intelligence factor. The second level is narrow sense of non-intellectual factors. The third level for specific non-intelligent factor. This article tries to find a connection between nonintellectual factors and students’ writing ability.

Practical significance: with the way of research, analysis and summary the literatures and information, we can find that many factors will affect the students’ writing abilities. If the issue I study is established, it will be helpful and useful for improving the ability of students’ writing.

1. 与选题相关的国内外研究和发展概况

At present, the development of students’ non-intelligence factors in the domestic schools is not good. It’s worrying. They are influenced by genetic factors, family education and society, which leads the students' writing level to go down. And the phenomenon in foreign countries is worse than that in our country. Few students know how to write.

To improve the students’ writing ability, many experts and scholars at home and abroad put forward some measures. They devote to the study of how to improve writing level. There are lots of literatures at home and abroad，such as 《the research about influence factors of college Students' English writing ability》,《The affective factors in the university English Writing》, 《Writing on the non-intellectual factors》, 《College students' English writing ability in the influence 》, 《 influence factors on Chinese writing ability》, 《How to improve students' English writing ability》, and so on. All the research results are in order to improve the students' writing ability

二、研究方案

1.研究的基本内容及预期的结果(大纲)

the basic content：

1， Introduction

1.1, what is the non-intellectual factor?

1.2, related studies in this field

1.3, college students’ writing situation

2，Research design

2.1, object of the research: the college students

2.2, research tool：questionnaire form attached

2.3, the research process：data collection, sort out the data, and analyse

2.4, the influences of non-intellectual factors on college students’ writing ability: needs, interests, motivation, emotion, will, character

3，Results and discussion

The influences of nonintellectual factors on college students’ writing ability:

3.1, interests and habits

3.2, emotion and personality

3.3, will: achievement motive, seeking knowledge desire, learning enthusiasm persistence, self-control

4, Conclusion： With the method of data research, data analysis and discussion, we can get the answer what the influences of non-intellectual factors on college students’ writing ability are. Then we can better help students improve their writing ability.

2.拟采用的研究方法

1, questionnaire

2, gather information online

3.研究所需条件和可能存在的'问题

Research conditions：

1, 300 copies of questionnaire

2, some literatures and information

Possible problems:

1, It may be difficult to collect the questionnaire completely.

2, People may refuse to finish the questionnaire.

3, people may fill in the information in the questionnaire causally.

三、研究进度安排、参考文献及审查意见

1. 研究进度安排

By the November , questionnaire design

By the December 2011, hand out the questionnaires to the students on the campus or to some people on the street.

By the end of December 2011, collect the questionnaires at least 300 copies.

By the beginning of January , after collecting questionnaires, I will begin to sort out, analyse and discuss the data. Then, get the result.

By the middle of January 2012, begin to write the paper with the research result during February.

2.应收集资料及主要参考文献(不少于8条)

[1], 杨智 浅谈写作的非智力因素[J]. 北京教育学院学报，1995(4)13-14+45

[2], 马广惠 文秋芳 大学生英语写作能力的影响因素研究[J]. 外语教学与研究， (4)35-39 5

[3], 刘翠芳 影响中国英语学习者英语写作的因素[D].江西：江西师范大学

[4],胡翠柏，徐旭红 浅析影响写作的心理因素[J]. 博士专家论坛(科技信息)，(16)35-37

[5], 贾玉琢 文化差异对高中生英语写作影响的调查与分析[D]. 东北：东北师范大学， 2009

[6], 林巧文 非语言因素对大学英语写作影响的研究[D].福建：福建师范大学，

[7], 张锦 大学英语写作中的情感因素[J]. 合肥学院学报(社会科学版)，(2)143-14

[8], 文秋芳 英语学习者动机观念策略的变化规律与特点[J]. 外语教学与研究(外国语文双月刊)，(2)105-110+160

[9], 王春梅 自我调节能力与英语专业学生英语写作能力的关系[D].北京:首都师范大学，2008

[10], 张海燕 试探如何切实提高大学生的英语写作能力[J]. 科技信息，2008(11), 266+235

[11], 孙君 论英语专业四级考试对学生英语学习和心理的影响[J]. 辽宁工程技术大学学报(社会科学版)，2001(3)95-97

[12], 张海燕 试探如何切实提高大学生的英语写作能力[J].外语教研(科技信息)，2008(11)266+235

[13], 文秋芳 王海啸 学习者因素与大学英语四级考试成绩的关系[J].外国教学与研究，(4)33-39+80

[14], 林峻 Productive Vocabulary Development in Chinese Learners’ Writing: A Corpus-Based Study[D].南京：南京师范大学外国语学院英语语言文学，2008

[15] Rod Ellis. The Study of Second Language Acquisition[M]. USA: Oxford University Press,.6-8

[16] Patsy M. Lightbown, Nina Spada. How languages are learned[M]. USA :Oxford University Press, 1999,49-68

篇5：外语专业简历

姓 名：   国籍： 中国

目前所在地： 天河区 民族： 汉族

户口所在地： 湖南 身材： 160 cm?44 kg

婚姻状况： 未婚 年龄： 22 岁

培训认证：   诚信徽章：

求职意向及工作经历

人才类型： 普通求职?

应聘职位： 贸易/进出口专员/助理：外贸跟单（日语）、采购员、家教：

工作年限： 1 职称： 无职称

求职类型： 全职 可到职日期： 随时

月薪要求： 1500-- 希望工作地区： 广州

个人工作经历： 公司名称： 起止年月：2009-08 ～ -08苏州明治日语培训学校

公司性质： 私营企业所属行业：教育/培训/院校

担任职务： 教师

工作描述： 担任初级日语的单词，语法，听力课程

离职原因： 公司另有发展

教育背景

毕业院校： 湖南师范大学

最高学历： 大专 毕业日期： 2009-07-01

所学专业一： 日语 所学专业二： 英语

受教育培训经历： 起始年月 终止年月 学校（机构） 专 业 获得证书 证书编号

2006-09 2009-07 湖南师范大学 日语 日语2级等级证书 N2A022054A

语言能力

外语： 日语 优秀

其它外语能力： 略懂英语，熟练办公文件

国语水平： 优秀 粤语水平： 一般

工作能力及其他专长

在职期间对工作非常认真，经常得到老板的表扬，上课对待学生严格要求，课互相倾诉，也得到了学生的认可。

详细个人自传

本人性格开朗，思维活跃，极富创造力，易于沟通，具有较强团队精神，做事踏实，自觉服从公司纪律，对公司忠诚，注重理论联系实际，培养自己的'自学能力以及分析，解决问题的能力，积极参加校内外活动，重视团队精神，在过去的一年工作经历中，表现出与人密切沟通的能力和良好的环境适应能力，从中也锻炼和提高了自己的组织和领导能力。希望从事外贸跟单或者相关的工作。

个人联系方式

通讯地址： 广州天河区

联系电话：   家庭电话：

手 机：   QQ号码：

电子邮件：   个人主页：

篇6：外语专业自荐信

尊敬的贵校领导：

您好！

感谢您在百忙之中垂阅我的自荐书。当您开启这份自荐书时，将是对我大学学习生活的检阅；当您最终合上这份自荐书，也许又将决定我人生新的征程。

我是安庆师范学院20xx届英语教育专业应届专科毕业生。即将面临就业的选择，我十分想到贵单位供职。希望与贵单位的同事们携手并肩，共扬希望之帆，共创事业辉煌。

十年磨一剑，今日把示君。经过五年多的专业学习和大学生活的磨炼，我自信、沉着、冷静、真诚、宽容、勤劳，有不畏艰难，锲而不舍的顽强意志。为了立足社会，为了自己的事业成功，五年中我不断努力学习，取得了较好的成绩。大学期间通过了全国普通话测试二级乙等考试，并多次获得校一等奖学金等。同时为了不断扩大知识面，我还利用课余时间辅修了教师职业技能（三字一画），熟练掌握了从师的基本技能。熟练掌握专业课应具备听、说、读、

写、译的能力，熟悉Windows操作系统，掌握office20xx办公软件和运用软件Powerpoint制作课件，进行多媒体教学。

学习固然重要，但能力培养也必不可少。四年多来，为提高自己的授课力，积累教育经验，从大二开始，我在学好各门专业课的同时，还利用课余时间积极参加家教实践活动。为进一步积累系统的教育经验，我到桐城市实验小学进行了长达两个月的教育实习工作，在两个月的实习时间，我积极向有经验的老师请教，注意学习他们的教学艺术，提高自身的业务水平和授课表达技巧，力争使自己的教学风格做到知识性和趣味性并举。通过自己不断的努力和教学实践，我已具备一名优秀教师素质，过硬的工作作风，扎实的教学基本功，较强的自学和适应能力，良好的沟通和协调能力，使我对未来的教育工作充满了信心和期望。

十多年的寒窗苦读，现在的我已豪情满怀、信心十足。事业上的成功需要知识、毅力、汗水、机会的完美结合。同样，一个单位的荣誉需要承载她的载体——人的无私奉献。我恳请贵单位给我一个机会，让我有幸成为你们中的一员，我将以百倍的热情和勤奋踏实的工作来回报您的知遇之恩。

期盼能得到您的回音！

此致

篇7：外语专业自荐信

尊敬的各位公司领导：

您们好.

本人是华中师范大学英语系06级地一名毕业生,即将于明年七月完成本科学业,真正地步入社会,开始人生地新一段征程.感谢您能翻阅我的自荐书.

上大学后,本人最郑重地告诉自我地一句话是：学通您地专业,利用它为您地人生开辟道路.于是本人以交际英语为方向,首先侧重于打好基础,从听,说,读,写几方面训练基本技能,在达到自如地运用英语地基础上,本人涉猎了英美概况,英美文学,语言学等相关专业知识.同时,本人还自学了部分经贸英语知识,这些努力不仅使本人地专业水平每年都有相应提高,而且扩

展了视野,丰富了头脑,并使本人于大二时以良好地成绩通过了英语专业四级考试,还将于明年三月参加专业八级测试.

深知语言交际作用地重要性,本人特别注重学以致用.除了积极地,有选择地参加院,校组织地活动外,本人还时常参加英语角,陪同外国访问团,翻译一些资料,在课外辅导班做兼职教师等.这让本人有机会结交了很多朋友,丰富了阅历,而且感到生活更加充实.

本人没有任何引人注目地特长,也不善于领导人,因此三年多来只是通过尽心尽职地学习与工作而得到了大家地认可,但有一点本人绝对可以保证,了解本人地人也定会认可,那就是只要本人接手地事,本人一定会付出百分之百地精力去做好,凭着这股劲儿与几年来地知识经验,本人地第一次试讲被指导教师作为典范讲评,本人在今年九月地实习中获得优异成绩. 大学四年里,有收获也有遗憾,但欣慰地是,这些经历使本人学会了冷静,执着,使本人变得愈加独立,坚韧；教本人学会在人生地坐标上寻找适合自我地位置,并不断调整与完善自本人；更让本人意识到要勇于在人生地不同阶段迎接新地挑战.因此当又一次走到人生地十字路口时,本人诚挚地希望能加入您们这群充满生命力,竞争力与挑战力地精英当中,在各方英才地领导与帮助下,为单位地再度发展与腾飞推波助澜.

祝贵单位事业蒸蒸日上.

此致：敬礼.

自荐人：XXX

20xx年6月19日

篇8：外语专业自荐信

尊敬的领导：

您好！

首先感谢您在百忙之中抽出宝贵的'时间来阅读这封自荐信。

我是XX大学商务外语专业应届毕业生。在此临近毕业之际，我期望能得到贵单位的赏识与栽培。为了发挥自己的才能，特向贵单位自荐。

我以“严”字当头，在学习上勤奋严谨，对课堂知识不懂就问，力求深刻理解。在掌握了本专业知识的基础上，不忘拓展自己的知识面。同时，为了全面提升个人素质，我积极参加各种活动，经过长期刻苦的训练。经历使我认识到团结合作的重要性，也学到了很多社交方面的知识，增加了阅历，相信这对我今后投身社会将起重要作用。

我是一个做任何事都充满激情的人，如果我能喜获您的赏识，我一定会尽职尽责地用实际行动向您证明。我一定会不负所望的做好每一件事的。公司的未来，我愿奉献我毕生的心血和汗水。

希望贵公司能给我一个发展的平台，我会好好珍惜它，并全力以赴，为实现自己的人生价值而奋斗，为贵公司的发展贡献力量。

祝贵公司事业欣欣向荣，业绩蒸蒸日上，也祝您身体健康，万事如意！

此致

敬礼！

求职人：

XXX年XX月XX日

篇9：外语专业自荐信

尊敬的领导：

您好！

非常感谢您在百忙之中阅读我的简历，给我一个展现自我的机会。

我叫黎xx，是广州大学（原广州师范学院）外国语学院一名应届毕业生，主修英语师范专业。本着“学高为师，身正为范”的信念，凭着对知识的渴求，对理想的向往，在四年丰富多彩的大学生活中，我一直在努力尝试，全情投入，不断提高，努力把自己培养成一名充满自信、具有竞争力的新世纪人才。

大学四年，我认真对待学习，刻苦努力，上课认真听讲，认真思考问题，每次考试都取得优异的成绩，并很好地掌握本专业的基本技能，英语的听说读写方面基础扎实。我利用空余时间阅读外国名著，从中积累了不少英文知识。同时，我还选修了多门实用的非专业课程，扩充自己的知识面。我还利用课余时间自学Windows与Office软件的运用。

在工作上，我具有较强的独立工作能力和组织协调能力，善于与人沟通合作，具有良好的文字及语言表达能力。曾担任班上的生活委员，学校球迷协会组织部的干事，学校马列主义读书小组干事。此外，我有较强的社会实践能力，并且热心公益活动。在大四的教学实习期间，积极认真，在仔细研究、熟悉教材的基础上，多方面搜集资料进行备课，采用多种教学手段和方法授课，表达清晰，重难点突出，能调动学生积极性，使课堂气氛活跃，受到科任老师和学生的好评。班主任工作细心到位，主动了解学生的学习情况和心理状况，与学生建立和谐关系。

天道酬勤，四年的大学生活锻炼了我各方面的能力，提高了我的综合素质。我知道，以上取得的成绩只是我日后工作的新起点，我非常希望用学到的知识和技能回报社会。相信，凭着我对教育事业的执着和热诚，凭着我积极进取的心态和扎实的知识，我将会在工作岗位上表现得更加出色！恳请您给我一个机会！

此致！

敬礼！

自荐人：黎xx

篇10：外语专业自荐信

大学四年，我日趋成熟，师大的人文学术气氛培养了我的道德情操、养成了我独到的一套学习方法，我时时严格要求自己，事事严格要求自己，使我在多个方面都有了飞跃的进步。

在学习上，我深知学习是学生的天职，如果不努力学习将不能胜任未来工作的挑战。本人除努力学习自己的专业英语外，还积极的拓展知识面，在各阶段考试中，已良好的成绩全都通过，在校期间，曾获得三等奖学金，除此之外，为了适应日新月异的新时代发展的需要，再加上自身的兴趣，大一期间，参加了系里的计算机培训，掌握了基本操作，大二，大三期间，在吉林工业大学辅修计算机专业，并以优异的成绩结业。

在工作方面，我已初步显示了自己在协调学生工作方面的才能。从大一开始，我一直担任寝室长之职，积极配合系里的辅导员作好学生工作。

敬业方面，在东北师大附中实习期间，我不断向老师们虚心请教，认真工作，获得了老师和同学们的好评，取得了“优”的成绩。三年中我未间断过家教工作，我教过各个年龄段的学生，从中获益匪浅，一方面，我了解了不同学生男睦矸⒄辜把舛晕蠢吹慕逃吧系囊乱担螅硪环矫妫猿酢⒏咧械目伪居兴

醪秸莆眨嵊泻艽蟀镏在文娱体育方面，我积极参加体育锻炼，三年中，体育成绩一直是优等，曾任班级中的体育委员。不仅如此，我对舞蹈有着浓厚的兴趣，并自学多年，积极参加学校的文娱活动，另外，我还擅长于绘画，为班级出墙报、板报。

在思想道德方面，对教育事业，我充满热情，深知“十年树木，百年树人”的道理，教育事业的兴衰成败关系到一个国家、一个民族的兴衰成败，我愿在教育事业中尽一份绵薄之力。而且，我信奉师大附中校训中的一句话：要做教育家，而不仅仅是教书匠。所以，在未来的教育工作中，我会不断地为此努力。

贵校在教学上严谨求实的风格吸引了我，我很希望我能有幸的成为贵校中的一员，我会为贵校的教育发展而努力，我相信，我会成为一名合格的教师。最后，恳请贵校给我一个机会来证明自己的能力。

祝贵校事业蒸蒸日上，百尺竿头更进一步。

篇11：外语专业自荐信

尊敬的领导：

您好！

感谢您在百忙之中审阅我的求职申请。

入校以来，我坚持刻苦学习，通过四年的积累，拥有了作为一名跨世纪师范大学生应该掌握的理论基础知识和专业知识。在担任班级干部期间，注重锻炼自己的组织领导和协调合作的能力，积极热情地开展工作，在同学中享有一定的威望。

同时，我也利用课余时间加强对自己实践能力的培养，积极参加各种社团活动，全方位充实自己。四年中，我一直在英语学会工作，通过和他们的语言交流，拓宽了自己的文化视野，提高了自己的英语运用能力。(Motivational model yuedu.mipang.com)我在XX中实习期间，落落大方的教态，明晰清楚的讲解，认真负责的态度获得了指导老师和学生们的一致好评。

天行健，君子当自强不息。我深信我会一步一个脚印走得更好！但我也明白自己的平凡，知道自己在各方面还需要进一步提高。或许在贵校的求职者中我并不是最优秀的，但我相信自己的综合实力，更相信您的慧眼。

大学之道，止于至善。恳切盼望您详考、慎虑，使我与贵校共同发展，求至善、创辉煌！

我的过去正是为贵校的发展准备、积蓄；

我的未来正是为贵校奋斗、拼搏、奉献。

此致

敬礼

求职人：XXX

XXXX年XX月XX日

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