If we give them more inner descriptions and readers know them well, we will lose a lot of suspense and make the plot seem dull. ? (3) some people (such as e? m？ Harry) has done some similar analysis from the perspective of observation, but they all stop there, failing to point out what this narrative angle setting means to the expression of the theme and ideas of the work. Naturally, it would be superficial to only understand Elizabeth's narratology as moving from the narrative edge to the narrative center. As we all know, so far, the study of narratology has gone beyond the scope of aesthetics and art. Critics such as Rico, White and Jameson pay attention to the role of narration in the formation of people's social and psychological consciousness, especially in the formation of people's values and understanding. In their view, narrative is no longer a simple aesthetic concept, but a cognitive concept? ④。

Different narrative behaviors can make the same narrative content produce different narrative discourse and spiritual orientation, and there are often profound subtext about who and from whom behind the story. The shift of narrative perspective in Pride and Prejudice makes it logical to focus on all Elizabeth's external activities, and also provides readers with an opportunity to explore her subtle emotional world of songs. Susan. Langer believes that a symbol always expresses its meaning in a concise form, which is why we can grasp it. ? ⑤ From the internal mechanism of symbol transformation, the process of artistic creation is an abstract formal process. Artistic abstraction is not a mirror expression and reflection of life, but a process of choice. It tries to reveal meaningful things from the chaos of things and phenomena in the form of concrete perceptual symbols, so as to achieve the essence of things and phenomena. It is not difficult for readers to conclude that the novel Pride and Prejudice is a story about Elizabeth. Because the writer endowed her with great narrative enthusiasm and interest, the whole narrative gradually unfolded in her field of vision, making it not only a veritable image and narrative center of the story hero, but also a yardstick of the novel art world because the writer pinned his own value judgment and ideal pursuit on her. It is true that Elizabeth is not as beautiful and gentle as her sister Jane, nor as talented and elegant as Miss Bingley, but she is the proudest daughter in her father's eyes and has irresistible charm for the arrogant Darcy. Of course, there are various reasons for this, such as her lively nature, intelligence and generosity, but more importantly, she has keen observation and judgment, strong self-confidence and spiritual superiority, and even some charming rebellious characters. She is no longer the foil and vassal of the male world, let alone the object of male desire. On the contrary, she shows a high degree of self-confidence and independence in intelligence and spirit, which reflects the writer's own ideal of female personality and a brand-new view of women. In a word, Elizabeth became the spokesman of the implied author to some extent. No wonder Austin said that Elizabeth is the cutest creation in all printed matter. She can't stand people she doesn't even like. Heidegger emphasized the ontology of language. In his view, life exists in language, and the historical existence of human beings is possible because of the existence of language, so language is the home of human existence. Language is not only a channel connecting people with the world, but also language ability implies the right to speak. If you lose control of words, you almost lose control of the world. The indescribable world is an uncontrollable world. French scholar Roland? Barthes devotes himself to the ideological study of language symbols, and writing occupies a special position in his theory of language symbols. In his opinion, writing should be regarded as a subversive act permeating all kinds of symbolic activities, belonging to a language city? Trojan horse ",because it can attack the existing language system from the inside. With the centralization and centralization of language, meaning has been monopolized, but words can destroy meaning and produce meaning at the same time, which breeds the diversity and ambiguity of meaning. Therefore, Barthes further pointed out that the process of writing is the process of crushing meaning monopoly and artificial limitation, and the essence of writing is that it is a way to construct meaning diversity.

Writing itself has long been a discourse privilege. Since ancient Greece, men have been defined as the essence of creating everything in metaphysics, and even formed that women are men? Inoculation? Outside my head. Aristotle's view can be said to represent the essence of male chauvinism in western culture: men are complete, and women are only incomplete versions, not only less intelligent than men, but also less intelligent than men. Male-dominated culture rationalizes gender discrimination with some innate differences in biology, and legitimizes social oppression through the distinction between primary and secondary sex and the distinction between superiority and inferiority. Therefore, it is gender rather than biological gender that determines the difference between men and women. The traditional family's positioning of women's functions, malicious ridicule of women's intelligence and taking women as the object of desire have made women lose their subjectivity and have been lost in the depths of history. After the invention of writing, written literature replaced oral literature as the dominant style. In the traditional era, literacy and education are social privileges, so only the privileged class can engage in literary activities and monopolize literary creation by using words, thus controlling the form of human spiritual activities and dominating the right to interpret meaning and value. As a woman with a long history? Voice group? It's almost silent. Come? Second sex? Be excluded from social, economic, political and public life, including the literary world. Virginia? Woolf once pointed out bitterly that women's intellectual freedom is not as good as that of the descendants of Greek slaves, so women have absolutely no chance to write poems. Due to the lack of language and expressive ability of women in history, they failed to establish their own value system to comment on, further marginalizing the female world. In this sense, it is a great progress in history for female writers to enter the symbol system of literary creation. However, even in the era when women can write, the road of female literature is difficult, and the sky of writing is still low. In18th century England, all the literary training a woman received was at most observing her personality, analyzing her emotions and expressing herself in a personal way. The romantic narrative of the ancient Greek lyric poetess Sappho, as well as her gentle, sweet and pure writing characteristics in her works, have been pointed out by later male critics as the standard of female creation. Simple and elegant style, implicit and modest writing style and the pursuit of moral theme have gradually internalized into a conscious pursuit of female writers. Narrative discourse and language skills are limited to writing about love and parents' shortcomings, and leisure, recreation and release of mind are natural writing purposes. Women's discourse patterns and ways of thinking have long been fixed under the norms of male discourse, and they are forced to lose themselves. In order to get the recognition of male discourse, women's characteristics are often hidden and follow the writing paradigm of male writers to imitate male writing or transsexual writing. However, the consciousness of stylistic consciousness seems impossible, and the concern and vivid expression of female consciousness is even more inappropriate. To change this state of nothingness, women must have their own language and expression, and present themselves clearly in this language. Only in this way can we get out of the historical narrative of women? Lose your voice? The embarrassing situation rewrites the objectified and objectified existence of women, and even conveys the subjective consciousness of women that has been concealed.

/kloc-At the end of 0/8th century, with the development of capitalist economy and the development of overseas colonies, social wealth increased continuously, and middle-class women in Britain emerged as a prominent social class. Their demand for reading and writing makes female writers emerge from the surface of history and quietly appear on the edge of the cultural field constructed by male writing. In the last quarter of18th century, English novels were almost monopolized by women. But objectively speaking, these novels still follow the trend in the barrier of male writing, which is far from the real female writing and the expression of female consciousness. Aphra? Ben, Della Revere? Mary and Eliza? Heywood is one of the three British women writers who preceded Austin. When their novels are all against the tradition of male-dominated writing, it is inevitable that there will be? Out of line? With what? Weird? At that time, they all suffered fierce criticism and even personal attacks. They were classified as depraved and shameless porn writers and were almost expelled from the literary world until they? Right? It was re-accepted by the literary world. However, Austin in this period was unique, contrary to the prevailing at that time? Gothic novels? 、? Sentimental novel? His writing style, with its unique and ingenious text strategy, is different from later Bronte, George? Eliot and George? Sang, together with other writers, impacted the established writing paradigm and literary order, and made English literature move towards culture? Patricide? Time magazine. Virginia? Woolf was deeply moved by this: If I can rewrite history, I will describe this change more carefully and think it is more important than the Crusades and wars of the roses. This is why women in middle-class society began to write. ? ⑥ Kristeva, a French feminist critic, pointed out that if women want to enter the discourse system mastered by men, they should either speak in a way recognized by his symbol system with his tone, concept and position, or speak in an abnormal language, with gaps, gaps and abnormal arrangements in the discourse system. What about aphra? Our writers belong to the former, while Austin's creation undoubtedly represents the latter. The display of female consciousness and the struggle against literary discourse hegemony in Pride and Prejudice are precisely due to the setting of special narrative perspective, the construction of its own discourse mode and its possible production significance, although women began to consciously change from the object of being portrayed and written to the subject of self-writing. This change has special significance, through a? Meaningful form? Rewrite the passive narrative mode of women in literary tradition and dispel it? Male/female? 、? Subject/object? 、? Center/edge? The writing mode of.