外國(guó)文學(xué)畢業(yè)論文開(kāi)題報(bào)告(外國(guó)文學(xué)開(kāi)題報(bào)告)

外國(guó)文學(xué)畢業(yè)論文開(kāi)題報(bào)告

外國(guó)文學(xué)畢業(yè)論文開(kāi)題報(bào)告

開(kāi)題報(bào)告是課題確定之后，研究人員在正式開(kāi)展研究之前制訂的整個(gè)課題研究的工作計(jì)劃，以下是小編搜集整理的外國(guó)文學(xué)畢業(yè)論文開(kāi)題報(bào)告，供大家閱讀參考。

一. 選題國(guó)內(nèi)外研究的現(xiàn)狀

1. 國(guó)外主要研究現(xiàn)狀

國(guó)外對(duì)薩克雷的研究很多，內(nèi)容包羅萬(wàn)象。Iran Milligan從敘事的角度探討了薩克雷的寫作技巧、風(fēng)格。Samuel C. Chew & Richard D. Altick主要從薩克雷的生平來(lái)解讀其作品，為理解其中的社會(huì)背景和人物形象提供了比較客觀的依據(jù)。Harry Blamires在分析人物形象時(shí)認(rèn)為Becky Sharp是一個(gè)極有天分、工于心計(jì)的輕佻女子(a gifted calculating minx)，靠智謀和色相謀得富有丈夫，并進(jìn)入上層社會(huì)放蕩、作惡。與之相反，Amelia Sedley 則溫柔、誠(chéng)摯、可愛(ài)(gentle, earnest and loving)。Carole Jones和Owen Knowles在Introduction說(shuō)，作為一名精明的 “strategist”， Becky總是有先見(jiàn)之明，捷足先登，因?yàn)槠渌硕加掴g、蠢笨。Edgar F Harden 的Thackeray The Writer: From Journalism to Vanity Fair 是一部全面評(píng)論薩克雷的書。最后一個(gè)章節(jié)對(duì)《名利場(chǎng)》進(jìn)行了評(píng)述，Harden認(rèn)為薩克雷對(duì)Becky的態(tài)度是肯定的，并引用作品中的話進(jìn)行論證。

EBSCOhost數(shù)據(jù)庫(kù)里共有116篇關(guān)于薩克雷的評(píng)論文章，其中五分之四與名利場(chǎng)有關(guān)，大多探討了作品的語(yǔ)言風(fēng)格、寫作技巧、歷史掌故、主題、人物刻畫等等，對(duì)Becky 的評(píng)價(jià)褒貶不一。其中John Hagan的文章長(zhǎng)達(dá)28頁(yè)，從四個(gè)方面說(shuō)明了薩克雷對(duì) Becky寄予同情的緣由并予以反駁，分析了影響B(tài)ecky性格形成的因素和社會(huì)環(huán)境以及Becky反社會(huì)的成因。在薩克雷看來(lái)，Becky is predominantly sympathetic。 Dee, Phyllis Susan從女性主義的角度通過(guò)對(duì) Amelia和 Maggie Tulliver的分析，探討了薩克雷的Vanity Fair 和艾略特The Mill on the Floss中的 female sexuality 和triangular Desir，并對(duì)之進(jìn)行描述、解讀，文章說(shuō)：“這些小說(shuō)中的女人雖然有時(shí)是男性欲望的被動(dòng)客體，但是她們抵制并修正自己作為客體的角色，擔(dān)任欲望主體的積極身份，并且設(shè)法掙脫男性主動(dòng)欲望的束縛”。 Lisa Jadwin的視角也較新，分析了《名利場(chǎng)》中的“表里不一”(duplicity or double- discourse)，認(rèn)為薩克雷對(duì)此是默許的，duplicity is both socially sanctioned and commonplace。 Lisa以為，既然男人的 “unchastities”被看成是微不足道、可以原諒的，那么，女人的“l(fā)ies”同樣可以被看成是無(wú)關(guān)緊要、可以原諒的，即“ His (Man’s) license to ‘lie’with others is matched by her(woman’s) license to ‘lie’ about her motives, designs and ambitions.”

2. 國(guó)內(nèi)研究現(xiàn)狀

相對(duì)于國(guó)外，國(guó)內(nèi)對(duì)于薩克雷的研究極為有限。文學(xué)史和文學(xué)評(píng)論書籍的作者普遍認(rèn)為他是一個(gè)資產(chǎn)階級(jí)文人，甚至“勢(shì)利”、“躲躲閃閃”，但同時(shí)也肯定了薩克雷作為一個(gè)諷刺道德家在文學(xué)史上的地位，稱他以生動(dòng)形象的文筆客觀真實(shí)地再現(xiàn)了他所處的那個(gè)時(shí)代的虛偽、貪婪、金錢至上的浮華世界。在人物分析中，對(duì)Becky的評(píng)價(jià)多有貶義，說(shuō)她“墮落”、“內(nèi)心世界骯臟”、“假正經(jīng)”、“人格扭曲”、“冷漠”、“一無(wú)所有”、“追名逐利醉了心”，“在資本主義社會(huì)靠姿色和詭計(jì)混世的女騙子”(朱虹，吳富恒，劉文榮，陳慧君，楊豈深)，而Amelia則“溫柔”、“純潔”、“富有獻(xiàn)身精神”。

中國(guó)期刊網(wǎng)上共有6篇。這些文章分別從翻譯、語(yǔ)言學(xué)和敘事學(xué)的角度對(duì)《名利場(chǎng)》進(jìn)行分析。另外，《〈名利場(chǎng)〉中隱含作者的不連貫現(xiàn)象》(《外語(yǔ)研究》2003年第3期)從主觀不連貫性入手，探討了隱含作者的不連貫現(xiàn)象，并用“第三力量”理論分析了該現(xiàn)象的成因。《夏潑與愛(ài)米利亞兩個(gè)女性形象比較》(《濟(jì)寧師專學(xué)報(bào)》2002年第5期)從女性主義視角揭示了夏潑與愛(ài)米利亞這兩個(gè)女性形象所反映出來(lái)的性別文化內(nèi)涵,在作者看來(lái)，薩克雷眼中的Becky Sharp是“遭貶抑”的，而Amelia是“受贊美”的，但其解讀未免膚淺空洞，根本不足以服人。

二. 選題的意義、重點(diǎn)、難點(diǎn)及創(chuàng)新點(diǎn)

1. 意義

雖然國(guó)內(nèi)對(duì)薩克雷的研究由來(lái)已久，而且把他與狄更斯相提并論，對(duì)其作品的思想性和藝術(shù)性都予以高度評(píng)價(jià)。但評(píng)論中的意識(shí)形態(tài)色彩較濃，對(duì)文本的解讀比較主觀，大多認(rèn)為Becky 是薩克雷所深惡痛絕的人物，Amelia才是作者心中的“angle”。偶有從女性主義角度進(jìn)行分析的，也沒(méi)能深入挖掘作品的深刻內(nèi)涵，從而理解作者的真實(shí)意圖。事實(shí)上，Becky是一個(gè)深受作者喜愛(ài)欣賞的人物，Amelia也并非他心目中的angle，用薩克雷自己的話說(shuō) ：“I like Becky in that book.. Sometimes I think I have myself some of her tastes.”至于Amelia，作者借Becky之口說(shuō)：“You are no more fit to live in the world than a baby in arms.”對(duì)于Becky的肯定和對(duì)Amelia的否定在作品中都是較頻繁出現(xiàn)的。如，Becky和 Rawdon Crawley 新婚燕爾，Rawdon興高采烈，作者有一段議論：“The best of woman ( Ihave heard my grandmother say) are hypocrites …Why has not seen a woman hide the dullness of a stupid husband, or coax the fury of a savage one? We accept this amiable slavishness and praise a woman for it; we call this pretty treachery truth. A good housewife is of necessity a humbug”.薩克雷在作品中為什么多次發(fā)表類似的議論?為什么對(duì)“大逆不道”的Becky如此看重?為什么他的著重點(diǎn)在女性人物身上?他那個(gè)年代的女人是一種什么樣的生存狀態(tài)?本人以為從女性主義文學(xué)批評(píng)的角度，通過(guò)人物分析來(lái)探索《名利場(chǎng)》中的女性意識(shí)是有研究?jī)r(jià)值的。

2. 重點(diǎn)

薩克雷在《名利場(chǎng)》中自始至終對(duì)弱勢(shì)女性群體予以極大的關(guān)注和同情。對(duì)于叛逆者Becky，他的態(tài)度就總體而言是肯定、欣賞的，并在作品中有大量的描寫和議論。本文的重點(diǎn)即是探索薩克雷在刻畫Becky這一人物時(shí)所表現(xiàn)出的潛在女性意識(shí)。

3. 難點(diǎn)

薩克雷是一個(gè)冷峻的人，其寫作手法也別具一格，人稱諷刺、幽默小說(shuō)家，濟(jì)sentimentalist, moralist, satirist于一身，擅長(zhǎng)用irony, sarcasm等手法，其描寫議論中既有直白，更有弦外之音，言外之意，時(shí)常帶有較濃的主觀色彩，寓意深刻，雖然有很多心理描寫，但往往點(diǎn)到為止。作品中復(fù)雜的，甚至表面看來(lái)自相矛盾的人物性格還要靠讀者自己去領(lǐng)會(huì)和把握。正如“幕啟前”中作者所說(shuō)：“The little Becky Puppet has been pronounced to be uncommonly flexible in the joints, and lively on the wire; the Amelia Doll, though it has had a smaller circle of admirers, has yet been carved and dressed with the greatest care by the artist”。正如作者所言，Becky這一形象flexible, round, 因此，解讀《名利場(chǎng)》的.文本意義，分析人物性格從而揭示出作者在作品中所表現(xiàn)出來(lái)的女性意識(shí)有一定的難度。另外，傳統(tǒng)的男性作家的作品對(duì)女性形象及作用多有忽視和歪曲，而薩克雷卻客觀地再現(xiàn)了他所處時(shí)代的浮華世界的真實(shí)畫面，并表明自己的態(tài)度，故用女權(quán)主義批評(píng)理論來(lái)解讀《名利場(chǎng)》更增加了論文的難度。

4. 創(chuàng)新點(diǎn)

國(guó)內(nèi)關(guān)于薩克雷作品的研究近作不是很多，對(duì)人物的評(píng)價(jià)、評(píng)論也少有新意。偶有從女性主義視角來(lái)分析的，卻過(guò)于膚淺，主觀，似乎沒(méi)有人關(guān)注過(guò)薩克雷眼中的Becky究竟是什么樣的。用女權(quán)主義批評(píng)理論通過(guò)分析人物形象來(lái)揭示薩克雷在作品中表現(xiàn)出的女性意識(shí)應(yīng)該是一個(gè)較新的評(píng)論方式。西蒙波伏娃的女權(quán)主義文學(xué)理論與《名利場(chǎng)》中表現(xiàn)出來(lái)的女性意識(shí)不謀而合。波伏娃的《第二性》突出表明了一種女性的辨證唯物主義觀點(diǎn)，它說(shuō)明婦女不是作為主體而是作為客體的生存狀況主要取決于他們生存的環(huán)境，尤其是她們所處的經(jīng)濟(jì)地位使然。女性能否解放自身，也主要取決于她們?cè)诮?jīng)濟(jì)上能否擺脫自己的依附地位。波伏娃說(shuō)：“By making the woman into the Other, society deprives her of her humanity. As soon as woman are the Other, they cannot form identities that depend on their own conscious being as subjects to themselves”.在薩克雷看來(lái)，如果說(shuō)Amelia的悲哀在于她愛(ài)上了Osborne并完全依靠他的恩施，而他卻既不能負(fù)擔(dān)自己的命運(yùn)，更不能負(fù)擔(dān)Amelia的命運(yùn)，Becky的悲哀則在于她想超脫愛(ài)情，擺脫父權(quán)統(tǒng)治，靠自己的力量改變處境，卻又不得不依靠男性的尷尬境地。Becky之所以擺脫不了依附人格和邊緣身份，這是由于沒(méi)有經(jīng)濟(jì)地位所決定的，而依靠自己的力量提高經(jīng)濟(jì)地位，對(duì)于女人來(lái)說(shuō)，在薩克雷那個(gè)年代的英國(guó)社會(huì)是無(wú)法實(shí)現(xiàn)的。因此，Becky的悲哀不僅僅是她個(gè)人的，同時(shí)也是整個(gè)父權(quán)社會(huì)的悲哀。Becky的掙扎抗?fàn)庪m然遭到了社會(huì)的唾棄，卻引起了薩克雷極大的關(guān)注和深深的同情。

三. 論文的建構(gòu)(章節(jié)目錄)及簡(jiǎn)要說(shuō)明

Outline of the thesis

On Thackeray’s Feminist Consciousness in Vanity Fair

1.Introduction

1.1 Thackeray’s life and his art

Thackeray was born in India. His father died when he was 4. Then he was sent back to England to be educated and didn’t see his mother for three years. At 30: no money, mad wife never recovered and surviving Thackeray for 30 years, many dependents, debilitating ailments. It’s not surprising that he died an early death, at 52.

I f Thackeray was inhibited and emotionally constipated, he had a great deal to be inhibited and constipated about, and if his works suffer from a want of passion it is probably because his own tragic circumstances and the conventions of his era necessarily pushed passion onto the sidelines.

His attitude toward women is to a large extent shaped by his experiences with them (hi mother, wife, his daughters and his female correspondents).

He is important not only as a great novelist but as a brilliant satirist(Columbia Encyclopedia).

1.2 Introduction of Vanity Fair

1.2.1 Main idea of Vanity Fair

1.2.2 The theme of Vanity Fair

Thakeray’s upper-middle-class Regency world is a noisy and jostling commercial fairground, predominantly driven by acquisitive greed and soulless materialism, in which the narrator himself plays a brilliantly versatile role as a serio-comic observer. Although subtitled “A novel without a hero”, Vanity Fair follows the fortunes of two inter-linked lives: through the retiring Amelia Sedley and the brilliant Becky Sharp, Thackeray examines the position of women in an intensely exploitative male world, and lovingly attacks a hypocritical society which advocates the Victorian Virtues of marriage and the family.

1.2.3 Literary reviews of critical articles on Vanity Fair

Vanity Fair is said to be a moralist novel. Though Thackeray’s first major work, it remains his best known and most frequently analyzed novel. And most of the articles followed one stereotype: the attack of the hypocritical society , the praise and approval of “tender, sweet, good-natured” Amelia Sedley—the “Victorian angel” and the disapproval of “calculating social-climber” or “adventuress” Becky Sharp.

1.2.4 The purpose of this thesis

It is to explore Thackeray’s feminist consciousness implied in the novel in the depiction of the heroine Becky Sharp. Thackeray’s attitude toward Becky is predominantly sympathetic or admiring.

2. Feminist literary Theories

Virginia Woolf: A Room of one’s Own

Simone De Beauvoir: The Second Sex

Elaine Showalter, Judith Fetterley, Helene Cixous

Beauvoir’s text declares that both French and Western Societies are patriarchal, that is, females are controlled by males. So, the female becomes the Other”, an object whose existence is defined and interpreted by the male, who is the dominant being in society……people are free to and must create their own existence, and thereby deconstruct the sexist notions of gender imposed on them by the society.

The task of feminist critics is to examine the female images in male writer’s literary works and uncover how they reflect and shape the attitudes that have restricted women.

Unlike other feminist critics who aim to reveal Thackeray’s negative attitude toward Becky in Vanity Fair , I’ll explore his feminist consciousness displaying in the depiction of this heroine.

3. Analysis of Thackeray’s Feminist Consciousness in Vanity Fair

3.1 Becky as maiden

The irresistible Becky Sharp enters adulthood by throwing John’s dictionary(with Miss Pinkerton’s signature in the flyleaf) out of the window, declaring a century before Mae West “I’m no angel!” Such artless (or heartless) simplicity is one of Becky’s strength. A strong-minded woman who threatens conventional Victorian notions of feminity in her rise from orphaned obscurity to considerable social status.

Much sympathy is gathered for Becky, in the first place, by virtue of the fact that, as an orphan and social outsider, she is offered such a meager selection of options by her society(as symbolized perhaps in the cast-off clothes she receives from Amelia). Upon leaving Miss Pinkerton’s, she quickly acquires a sense of what these options are: she can either marry well or consign herself to the position of governess, one of the few professions available to her.

As Amelia’s moral opposite, Becky is useful to Thackeray as a puppet-like creature who reflects in sharply-undisguised form the hypocritical pretense of Vanity Fair.

3.2 Becky as wife

Becky’s Marriage to Rawdon falls short of her anticipation by the carefully contrived withdrawal of Miss Crawley’s support.

Becky’s involvement with marriage-market is a particularly active and dynamic one. She commit herself to conquer the fashionable world and , by the exercise of her own portion of its wealth and opportunities. Thackeray’s view of a woman like Becky embodies a shrewd-and in many ways, very modern-sense of the social and economic options to all women of the time.

“I think I could be a good woman if I had five thousand a year”. Becky’s proposition that only the rich can afford to be moral involves the corollary that the simple moral life is impossible for anyone trying to gain a foothold in a society that crudely exploits all finer feelings for its own material ends; only the rich, who are protected by their wealth, can afford to be moral.

Thackeray is reported to have said in later life: “I like Becky in that book. Sometimes think I have myself some of her tastes”. Thackeray’s teasing confession paves the way for some interesting possibilities.

3.3 Becky as mistress

Lord Steyne’s relation to Becky is at least that of benefactor and sponsor in aristocratic society. Because of Marquis Steyne, Becky is deserted by her husband , becoming the laughing-stock of the fashionable society and has to go to the Continent. Mr. Fiche is sent to urge her to leave (Lord Steyne happens to be there), since she becomes a threat to the ordered corruption of his way of life.

But when lord Steyne died an worn out old man after a series of fits, an eloquent catalogue appeared in a weekly print, describing his virtues, his magnificence, his talents, his good actions…….This is the case with patriarchal society.

3.4 Becky as mother

Her life experience forbids her to be a good mother, and this is also against the conventional virtues of women

3.5 Becky as vagabond

Becky not only gets away with murder, but also profits from it.

4. Conclusion

四. 主要征引的材料及參考文獻(xiàn)

1. John M. Ellis. The Theory of Literary Criticism: A Logical Analysis. [M]. Berkely:University of California Press, 1974.

2. Edgar F. Harden. Thackeray The Writer: From Journalism to Vanity Fair. [M]. London: Macmillan Press Ltd, 1998.

3. Iran Milligan. The Novel in English: An Introduction. [M]. London: Macmillan Press,1983.

4. Hawthorn, Jeremy. The Nineteenth Century British Novel. [M]. London: Edward Arnold,1986.

5. Samuel C. Chew & Richard D. Altick. A Literary History of England. 2nded. V.4: the 19th Century & after. (1789-1939)[M]. London: RKP, 1978.

6. Harry Blamires. A Short History of English Literature. [M]. London: The Chaucer Press Ltd,Bungay,Suffolk.

7. William Makepeace Thackeray. Vanity Fair. [Z]. Introduction, Bibliography and Notes by Carole Jones 7& Owen Knowles. London: Wordsworth Editions Limited, 2001.

8. John Hagan. Vanity Fair: Becky Brought To Book Again. [J]. Studies in the Novel; Winter 75. Vol. Issue 4, p479, 28p.

9. Mullen, Alexandra. Vanity Fair and Vexation of Spirit.[J]. Hudson Review; Winter 2002, Vol.54 Issue 4, p581, 9p.

10. Jadwin, Lisa. The Seductiveness of Female Duplicity in Vanity Fair.[J]. Studies in English Literature; Fall 92 Vol.32,Issue 4.

11. Dee, Phyllis Susan. Female Sexuality and Triangular Desire in Vanity fair and The Mill on the Floss. [J]. Papers on Language & Literature; Fall 99,Vol.35 Issue 4, p391,26p.

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13. 敏琴.《名利場(chǎng)》中隱含作者的不連貫現(xiàn)象[J]. 外語(yǔ)研究，2003，(3).

14. 鄧含能.《名利場(chǎng)》與《圍城》敘事藝術(shù)比較[J]. 四川外語(yǔ)學(xué)院學(xué)報(bào)，2002，(2.).

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16. 袁佳玲. 論作為社會(huì)諷刺作品的《名利場(chǎng)》[J]. 邵陽(yáng)高專學(xué)報(bào)，1997，(1).

17. 吳磊.《名利場(chǎng)》主題矛盾淺析[J]. 河北工程技術(shù)職業(yè)學(xué)院學(xué)報(bào)，2003，(3).

18. 高麗萍. 夏潑與愛(ài)米利亞兩個(gè)女性形象比較[J]. 濟(jì)寧師專學(xué)報(bào)，2002，(5)

19. 西蒙波伏娃. 第二性[M]. 北京：西苑出版社，2004

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《外國(guó)文學(xué)畢業(yè)論文開(kāi)題報(bào)告》相關(guān)文章：

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外國(guó)文學(xué)開(kāi)題報(bào)告

外國(guó)文學(xué)開(kāi)題報(bào)告

開(kāi)題報(bào)告是用文字體現(xiàn)的論文總構(gòu)想,因而篇幅不必過(guò)大,但要把計(jì)劃研究的課題、如何研究、理論適用等主要問(wèn)題。以下是小編收集整理的外國(guó)文學(xué)開(kāi)題報(bào)告，和大家一起分享。

1.選題的目的和研究現(xiàn)狀

1)選題的目的

長(zhǎng)時(shí)期以來(lái)， 人們視艾米莉?勃朗特為英國(guó)文學(xué)中的“斯芬克斯”.關(guān)于她本人和她的作品都有很多難解之謎， 許多評(píng)論家從不同的角度、采用不同的方法去研究， 得出了不同的結(jié)論， 因而往往是舊謎剛解， 新謎又出， 解謎熱潮似永無(wú)休止。

本文立足于歐美文學(xué)中的`哥特傳統(tǒng)研究《呼嘯山莊》的創(chuàng)作源泉， 指出艾米莉?勃朗特在主題、人物形象、環(huán)境刻畫、意象及情節(jié)構(gòu)造等方面都借鑒了哥特傳統(tǒng)， 同時(shí)憑借其超乎尋常的想象力， 將現(xiàn)實(shí)與超現(xiàn)實(shí)融為一體， 給陳舊的形式注入了激烈情感、心理深度和新鮮活力， 達(dá)到了哥特形式與激情內(nèi)容的完美統(tǒng)一， 使《呼嘯山莊》既超越了哥特體裁的“黑色浪漫主義”, 又超越了維多利亞時(shí)代的“現(xiàn)實(shí)主義”, 從而展現(xiàn)出獨(dú)具一格、經(jīng)久不衰的藝術(shù)魅力。

2) 與選題相關(guān)的國(guó)內(nèi)外研究和發(fā)展概況

各民族的文學(xué)中都有許多驚險(xiǎn)、恐怖的故事， 但似乎沒(méi)有哪一種文學(xué)像英美文學(xué)那樣不僅創(chuàng)作出數(shù)量眾多、質(zhì)量?jī)?yōu)秀的恐怖文學(xué)作品， 而且還形成了一個(gè)持續(xù)發(fā)展、影響廣泛的哥特傳統(tǒng)( Gothic tradition) .哥特文學(xué)現(xiàn)在已經(jīng)成為英美文學(xué)研究中的一個(gè)重要領(lǐng)域。對(duì)哥特文學(xué)的認(rèn)真研究開(kāi)始于20 世紀(jì)二三十年代， 到70 年代以后， 由于新的學(xué)術(shù)思潮和文學(xué)批評(píng)觀念的影響， 該研究出現(xiàn)了前所未有而且日趨高漲的熱潮。根據(jù)在國(guó)際互聯(lián)網(wǎng)上的搜索， 到2000 年9月為止， 英美等國(guó)的學(xué)者除發(fā)表了大量關(guān)于哥特文學(xué)的論文外， 還至少出版專著達(dá)184部， 其中1970 年以后為126 部， 僅90 年代就達(dá)59 部， 幾乎占總數(shù)的三分之一。當(dāng)然，近年來(lái)哥特文學(xué)研究的狀況不僅在于研究成果迅速增加， 更重要的是它在深度和廣度方面都大為拓展， 并且把哥特傳統(tǒng)同英美乃至歐洲的歷史、社會(huì)、文化和文學(xué)的總體發(fā)展結(jié)合起來(lái)。

2.研究思路與方法

1)研究的基本內(nèi)容及預(yù)期的結(jié)果(大綱)

研究的基本內(nèi)容：本文立足于歐美文學(xué)中的哥特傳統(tǒng)研究《呼嘯山莊》的創(chuàng)作源泉， 指出艾米莉?勃朗特在主題、人物形象、環(huán)境刻畫、意象及情節(jié)構(gòu)造等方面都借鑒了哥特傳統(tǒng)， 同時(shí)憑借其超乎尋常的想象力， 將現(xiàn)實(shí)與超現(xiàn)實(shí)融為一體， 給陳舊的形式注入了激烈情感、心理深度和新鮮活力， 達(dá)到了哥特形式與激情內(nèi)容的完美統(tǒng)一， 使《呼嘯山莊》既超越了哥特體裁的“黑色浪漫主義”, 又超越了維多利亞時(shí)代的“現(xiàn)實(shí)主義”, 從而展現(xiàn)出獨(dú)具一格、經(jīng)久不衰的藝術(shù)魅力。

預(yù)期的結(jié)果(大綱)：

1、哥特式的調(diào)查

1.1哥特式的定義

1.2哥特小說(shuō)的起源

1.2.1歷史原因

1在日爾曼民族民俗

對(duì)戲劇的復(fù)興

1.2.1.3圣經(jīng)和基督教的傳說(shuō)

1.2.2小說(shuō)本身的發(fā)展

1.2.2.1挑戰(zhàn)浪漫主義對(duì)理性主義

1.2.2.2崇高和美麗

2。艾米麗的哥特傳統(tǒng)

2.1主題

2.1.1善惡

2.1.2復(fù)仇

2.2性狀描述

2.2.1惡棍英雄

2.2.2微妙的年輕女孩

2.3氛圍、環(huán)境和情節(jié)

2.3.1恐怖

2.3.2神秘

2.3.3超自然

3艾米麗的哥特式創(chuàng)新

3.1浪漫主義與現(xiàn)實(shí)主義的結(jié)合

3.1.1改變背景

3.1.2使用象征主義

3.1.3意識(shí)流

3.1.4幻覺(jué)和潛意識(shí)

3.2人物情緒和心理描寫

工具書類

2)擬采用的研究方法

主要有資料查找、理論探討研究、閱讀法

3)研究所需條件和可能存在的問(wèn)題

研究所需條件：紙張、打印設(shè)備、圖書館、互聯(lián)網(wǎng)上獲取國(guó)內(nèi)外文獻(xiàn)資料;

可能存在的問(wèn)題：

(1)文獻(xiàn)不足;

(2) 由于個(gè)人的觀點(diǎn)和能力，使對(duì)研究對(duì)象分析不夠全面和深入。

3.研究進(jìn)度安排

20xx年11月中旬：確定論文題目

12月初：確定提綱并上交開(kāi)題報(bào)告

20xx年12月底-20xx年1月初： 查找，收集，整理資料

1月中旬：完成初稿

1月底至3月10日：修改論文，確定終稿

4. 應(yīng)收集資料及主要參考文獻(xiàn)(不少于10條)

[1] D.H.Lawrence. Sons and Lovers [M]. Beijing: Chinese Drama Press, 2005.

[2] Elizabeth B,Booz. A Brief Introduction to Modern English Literature [M]. Shanghai: Shanghai Foreign Language Education Press, 1982

[3] Frederick J. Hoffman. Freudianism and the Literary Mind[M]. Baton Rouge: Louisiana State University Press, 1945.

[4] Gamini Salgado. A Preface to Lawrence[M]. London: Longman Group Limited, 1982.

[5] Sigmund Freud. The Interpretation of Dreams[M]. New York: Avon Books, 2000.

[6] 陳曉燕。 從人際功能角度看《兒子與情人》中主要人物的關(guān)系[J]. 宜賓學(xué)院學(xué)報(bào)， 2008,(2)： 47-49

[7] 蔣炳賢。勞倫斯評(píng)論集[M].上海：上海文藝出版社，1995.

[8] 蔣家國(guó)。 試論《兒子與情人》人物關(guān)系的雙環(huán)結(jié)構(gòu)[J]. 湘南學(xué)院學(xué)報(bào)，2007,28(6)： 59-63

[9] 李維屏。英美現(xiàn)代主義文學(xué)概觀[M].上海：上海外語(yǔ)教學(xué)出版社，1998.

[10] 單敏。 勞倫斯與弗洛伊德主義[J]. 湖南農(nóng)業(yè)大學(xué)學(xué)報(bào)(社會(huì)科學(xué)版)，2004,4(4)： 61-63