将范妮、埃德蒙等人物分析和小说主旨联系起来,并借助当时英国的宗教背景和奥斯丁传记材料,探求《曼斯菲尔德庄园》的宗教意涵。《曼斯菲尔德庄园》算不上"福音主义小说",只是较为温和地回应了英国19世纪初的福音主义运动。奥斯丁并非道德论者,而是小说家,且信仰问题在当时还没有成为一般小说主题,不宜详细讨论。奥斯丁笔下的年轻牧师,往往作为情人去扮演世俗角色;对于牧师的描绘,也多限于社会和家庭生活,并未有意识地深入探究牧师的宗教思想。

The religious dimension in Mansfield Park may be best appreciated by combining character analysis and discussion of the themes, and also by examining the contemporary religious context of England and biographical facts about Jane Austen. Mansfield Park is not an ‘evangelical’novel, but only a moderate response to the ideas and conduct manifested by Evangelical zealots in the first decade of the 19th century. As a novelist, especially a novelist writing before the problems of belief came to be themes in fiction, Austen treated her young clergymen as lovers in their social and secular roles, confining her portraits to their social and domestic lives, without going further in delving into their personal religious concerns.

运用成长小说理论分析简·奥斯丁代表作《曼斯菲尔德庄园》中所具有的成长小说特征,探索这部小说的成长主题,以期证明此书是一部典型的成长小说,从而为读者欣赏这部小说提供一个新的角度。

A specific analysis is made about Mansfield Park by using the theory of bildungsroman in the exploration of the theme of bildungsroman. This is to prove that Mansfield Parke is a typical bildungsroman and to provide a new perspective for the readers.

凯瑟琳·曼斯菲尔德是20世纪新西兰伟大的小说家，与契科夫一样以短篇小说见长。其短篇小说在题材选择上脱离了传统小说的题材形式，在细节描写上注重涵义深度上的刻画，小说结尾的处理也是曼斯菲尔德作品的一大特色。在女作家一些作品中，死亡往往是矛盾冲突的解决途径，而《幸福》这篇作品则以人物的幻灭感、甚至其他幻想成分的介入而告终，特别是在对幻想的巧妙处理堪称别具一格。通过对女主人柏莎公时而幸福溢溢而时而空虚失落的冲突描写，侧面表现柏莎过于完美幸福的危机感，最终结局证明那幸福感不过是像海市蜃楼一样不堪一击，从而进一步隐射出当时社会中女性命运的思考，无奈她们挣脱不开现实生活枷锁。

Katherine Mansfield is a great New Zealand writer in 20 century, who excels at writing short stories as Chekhov. The sto?ries she wrote are different from those traditional novels on subject forms. The profound detail descriptions and the unexpected end?ings are another two characteristics of her works. In some female writers’works, death often is the final solution to the conflicts. On the contrary, Bliss ends with the collapse of heroine’s blissful feeling, intervened by some fantasy components, which are particu?larly handled by writers. On the detailed descriptions of heroine’s brimming cup of bliss sometimes, her void and loses sometimes, Bliss reflects a sense of crisis of Bertha’s perfect bliss. The ending of the story proves the outcome of the feeling of bliss is just as a Mirage, collapsing at the first blow and further consideration on female’s destiny at that time, their struggle to free themselves in so?cial reality.

凯瑟琳·曼斯菲尔德一直以其在短篇小说叙事方式上的创新为评论界所称道,她打破了传统小说以情节为基础的叙事框架,注重挖掘人物的内心世界,不断变换叙事视角;运用叙述者内隐的自由间接引语模式,传达出叙述者和人物的双声效果,使小说融入朦胧的审美色彩;采用透视人物意识活动的意识流手法,重新组合时空秩序,模糊了现实和心理的界限,增强了作品的张力;描写印象式人生场景的片段,捕捉心灵瞬间的顿悟,利用声、光、色等意象和自然景物的象征赋予了作品散文诗的意蕴。

Katherine Mansifeld is well known for her innovative narrative techniques employed in her short stories. The traditional plot-based f ramework is broken. Mansifeld f ocuses on discovering the characters'' inner world and changes the narrative perspective frequently. Free indirect speech is applied to convey a binaural effect, which covers the novel with a hazy aesthetic color. The adoption of stream of consciousness and the recombination of space-time order blurs the boundaries between reality and psychology, thus enhancing the work’s extensibility. With the depiction of the impressionistic f ragment, the capture of the momentary epiphany, the use of such imageries as sound, light, and color, and the description of the symbolic scenery, Mansifeld’s works are given poetic conception.