英美文学论文(英文)
关于英美文学论文开题报告范文
关于英美文学论文开题报告范文篇一论文题目：The Destiny of Sister Carrie-An Analysis of “New Female Image” in Sister Carrie(嘉莉妹妹的命运-浅析《嘉莉妹妹》中的新女性形象)一、选题动机、可行性分析、意义、重点和创新点：1选题动机：对作者的作品比较感兴趣，而且嘉莉妹妹比较贴近现实生活。
在现今社会中有很多女性的生活与嘉莉很相近，可以引起共鸣。
I am very interested in the author’s writing themes. And Sister Carrie relatively close to real life. In today's society there are many women in the life and Carrie very close, can resonate.2可行性分析：(1)选题意义：反映现今社会的诸多问题，以启示人们树立正确的人生观和价值观。
<嘉莉妹妹>是西奥多•德莱塞的杰出代表作,该小说勾勒了人类历史发展进程中消费主义和自然主义所展示的一幅精彩画面,真实地再现了20世纪初的美国大都市生活。
Reflect the many problems of modern society, is a lesson people establish a correct outlook on life and values.(2)选题重点：对嘉莉这个主要人物的性格以及影响她的外界环境因素的分析。
The main characters of the character of Carrie and her impact on the analysis of environmental factors(3)选题创新点：从侧面反映现实生活From the side of the situation reflects real life二、本选题国内外研究现状There are not so much articles which talk about the Sister Carrie国内外研究此课题的文章并不多见, 在美国文学史上,嘉莉妹妹一直是颇具争议的人物形象.三、毕业论文研究基础及研究方法：(1)研究基础：I have read the novel before and I am very interested in the themethe novel involves ,together with we learned the novel not long before. Afterthe teacher analysizes it for us carefully, I have a further understandingto it.我以前就读过这本小说的中文版本，看完之后我对里面涉及的主题很感兴趣。
“英美社会与文化”课程论文
British generally don’t show their own inner world to others and this feature is very evident in the upper classes of society. It is difficult to know a reserved person: he never tells you anything about himself, and you may work with him for years without ever knowing where he lives, how many children he has, and what his interests are. English people tend to be like that.
英美文学英语论文范文,英语范文论文
As far as the definition of stylistics is concerned different scholars define the branch of study in different ways. Wales defines stylistics simply as “ the study of style” (1989:437), while Widdowson provides a more informative definition as “the study of literary discourse from a linguistic orientation” and takes “a view that what distinguishes stylistics from literary criticism on the one hand and linguistics on the other is that it is essentially a means of linking the two” (1975:3). Leech holds a similar view. He defines stylistics as the “study of the use of language in literature” (1969:1) and considers stylistics a “meeting-ground of linguistics and literary study”(1969:2). From what Widdowson and Leech say, we can see that stylistics is an area of study that straddles two disciplines: literary criticism and linguistics. It takes literary discourse (text) as its object of study and uses linguistics as a means to that end.
英美文学论文 Death ---the Major Theme in Emily Dickinson's Poems
华中师范大学本科课程论文（设计）题目Death ---the Major Theme in Emily Dickinson's Poems院（系）化学学院专业英语年级09级学生姓名刘璇学号2009210371任课教师赖燕、刘芳评定成绩二O一二年一月目录1. Introduction (3)1.1 General Summary Emily Dickinson and her poems (3)1.2 Emily Dickinson's attitudes toward death (4)2. Analyse the death poems (4)2.1 Synthetical analyse the death poems (4)2.2 Analyse the poem"I heard a fly buzz---when I died" (5)2.3 Analyse the poem "Becuase I could not stop for death" (6)3. Conclusion (8)4. Bibliography (9)1. Introduction1.1 General Summary Emily Dickinson and her poemsEmily Dickinson, regarded as one of America’s greatest poets, is also well known for her unusual life of self imposed social seclusion. Living a life of simplicity and seclusion, she yet wrote poetry of great power; questioning the nature of immortality and death, with at times an almost mantric quality. Her different lifestyle created an aura; often romanticised, and frequently a source of interest and speculation. But ultimately Emily Dickinson is remembered for her unique poetry. Within short, compact phrases she expressed far-reaching ideas; amidst paradox and uncertainty her poetry has an undeniable capacity to move and provoke.Dickinson's poetry is unique and unconventional in its own way. Her poems have no titles, hence are always quoted by their first lines. In her poetry there is a particular stress patten, in which dashes are used as a musical device to create cadence and ocapital letters as a means of emphasis. The form of her poetry is more or less like that the hymns in community churches, familiar, communal, and sometimes, irregular. Dickinson's irregular or sometimes inverted sentence structure also confuses readers. However, her poetic idiom is noted for short, rarely more than twenty lines, and many of them are centered on single image or symbol and focused on one subject matter. Due to her deliberate seclusion, her poems tend to be very personal and meditative. She frequently uses personae to render the tone more familiar to reader, and personification to vivify some abstract ideas. Dickinson 's poetry, despite its ostensible form simplicity, is remarkable for its variety, subtlety and richness; and her limited private word has never confined the limitless power of her creativity and imagination.Dickinson's poem are usually based on her own experience,her sorrows and joys. But within her little lyrics Dickinson addresses those issues that concern the whole human beings ,which including religion, death, immortality, love and nature. In her love poems, one group of them treats the suffering and frustration love can cause. The other group of love poems focuses on physical aspect of desire. At the same time, her also wrote many poems about nature, in which her general skepticism about the relationship between man and nature is well-expressed. However, the most prominent theme in her poem is death.In her nearly one thousand eight hundred poems , a quarter of them have involved death. She wrote poetry of death and immortality ranging over the physical as well as the psychological and emotional aspects of death. She look at death from the point of view of both the living and the dying. She even imaging her own death , the loss of her owe body, and the journey of her soul to the unknown . Perhaps Dickinson's greatest rendering of the moment of the death is to be find in " I heard a Fly buzz - when I died - ", a poem universally considered one of her masterpieces.1.2 Emily Dickinson's attitudes to deathThe question of mental cessation at death was an overtone of many of herpoems. The imminent contingency of death, as the ultimate source of awe, wonder, and endless questions, was life's most fascinating features to Dickinson. Dickinson challenges the mysteries of death with evasion, despair, curiosity or hope in her poetry in a journey or dream and on the dividing line of life and death. One can see that Dickinson points to death as the final inevitable change. The intensity of Dickinson's curiosity about dying and her enthusiasm to learn of the dying's experience at the point of mortality is evident in her poetry. She studied the effort of the death's disappearance, on the living world; in a hope to conjecture something about the new life they are experiencing after death. From this view of point, Emily Dickinson has crossed over the death.Somebody say Dickinson is an interrogator of death and immortality and death made her beauty eternal. She regards death as a fearful destroyer and a ruthless corrupter at one hand, but at the other hand regards death as a shelter from miserable life, a particular procedure of sleep and threshold to immortality. Her ambiguity attitude toward death well embodied in her many poems. In the following pragraph, I will make a detail analysis to Dickinson's death poem.2.Analyse the death poems2.1 Synthetical analyse the death poemMany of Dickenson's poems deal explicitly with concepts of death.One group of them regard death as a fearful destroyer and a ruthless corrupter. In"Death is a dialogue between", death is a defeated enemy. Dickinson tries her hand at dramatic poetry with a conversation between Death and Spirit. In "Dust is the only secret", death is once again the enemy, who is time and time again thwarted by the mercy of Christ. Dickinson personifies and employs a list of adjectives to describe death.The other group regard death as a shelter from miserable life, a special kind of honor , which represents the bright and happy future and brings hope to humans.In "Because I could not stop for death" Dickinson personifies death as a kind stage coach driver taking its visitor, not to some ghastly abode, but toward eternity with Immortality. In "Drowning is not so pitiful" , she describe death as an eternal resting place, yet few of us are in a hurry to get there. In "So proud was she to die" Dickinson uses irony to describe the living as jealous of one who is dying. Although some may regard the dying woman in the poem as suicidal, the context indicates that the dying woman has been on the brink of death for quite some time and welcomes the end of Earthly pain.In some poems, She imagines her friends' and relatives' death, and even imagines her own death and the loss of her owe body. In "If anybody's friend be dead" Dickinson comments on the grief experienced by those who have lost loved ones. In "If I should die" Dickinson reverses the roles in "If I should die." She declares that if she dies, life goes on, and she is, therefore, relieved that those left behind will continue to experience life. The most famous poem " I heard a Fly buzz - when I died - " give us the just as the real experience of death. In the following paragraphs, I will take this poem and the poem " Because I could not stop for death" for examples to doa more in-depth analysis.2.2 Analyse the poem"I heard a fly buzz--when I died"I heard a fly buzz- when I died-The Stillness in the roomWas like the Stillness in the Air-Between the Heaves of Storm-The Eyes beside-had wrung them dry-And Breaths were gathering firmFor that last Onset-when the KingBe witnessed-in the Room-I willed my Keepsakes, Signed awayWhat portion of me beAssignable-and then it wasThere interposed a Fly-With Blue, uncertain, stumbling Buzz,Between the light -and me-And then the Windows failed- and thenI could not see to see-In the first stanza the narrator states, "I heard a Fly buzz- when I died-". An annoying fly is usually not of utmost importance when one is dying. Death is perceived as a serious time in life. Emily Dickinson sets the tone of the poem intending to shock the reader, which is what happens.The speaker describes a "Stillness in the Air-/Between the Heaves of Storm-" (3-4). Furthermore, the room quiets as the narrator and the mourners are waiting for the last breath of life to leave. The atmosphere of the room is like the calm before the storm. There are no trumpets or harps from Heaven playing, God, a higher power, or any beautiful angels to be seen. In the room there is just a quiet waiting and the pesky fly. The family of the narrator are in mourning for what is to come, "The Eyes around- had wrung them dry-" (5). The family grieves and now they are waiting, "For that last Onset-when the King/ Be witnessed-in the Room-" (7-8). In the first part of this line, the author uses an oxymoron by stating "that last Onset". Last means an "end," while the definition of onset is a "beginning." The king is a symbol of God or death. The narrator is signifying a belief in religion with the mention of the "King." The writer is affirming a belief in life after death.There is sadness in the narrator stating, "I willed my Keepsakes" (9). Making a will is the last and final way of ensuring the narrator's previously-owned possessions staying with loved ones after death. Most people fear death, the tone of the narrator is merely one of sad acceptance. At the moment of disclosing the narrator's will, "There interposed a Fly-," which means the fly once again is interrupting (12). The description of the fly changes in stanza thirteen as the narrator states, "With Blue-uncertain stumbling Buzz-," thus explaining the fly is no ordinary house fly but a metaphorical figure representing death. Writers often associate flies with death and decay. Flies also feed on rotting flesh. The blue buzz indicates a noise that is blue, which is impossible because a sound cannot be a color. However, blue is often associated with the sky, which is related to thoughts of Heaven or tranquility.The fly cuts the narrator's connection with life much like the Grim Reaper might, "And then the Windows failed- and then/I could not see to see-"(16). The narrator's eyes used in this life are now closed. The narrator could not see, but could still hear. Hearing is the last of the five senses to go before death. There are odd and disconnected feelings toward death throughout the entire poem, when in fact the narrator has been dead the entire time. Ironically, the buzz from the fly seems to be the only sign of life in the entire poem. The passage of death has an unsettling, disconnected tone but is not scary or painful.Emily Dickinson's poem "I heard a Fly buzz- when I died" is told by a narrator who uses past tense to describe the final moments of their life. The poem gives the reader an inside look into the final moments of death from someone who has already died. The fly is the central figure representing the oncoming of death. The poem is full of many metaphors and similes, such as the king mentioned in the poem who represents a belief in religion. The wording of the poem affirms Emily Dickinson's belief in life after death. The poem has a short title but is deep in meaning. Death is inevitable to all who are born, although not all deaths are disturbed by a pesky fly.“I heard a Fly buzz” employs all of Dickinson’s formal patterns: trimeter and tetrameter iambic lines (four stresses in the first and third lines of each stanza, three in the second and fourth, a pattern Dickinson follows at her most formal); rhythmic insertion of the long dash to interrupt the meter; and an ABCB rhyme scheme. Interestingly, all the rhymes before the final stanza are half-rhymes (Room/Storm, firm/Room, be/Fly), while only the rhyme in the final stanza is a full rhyme (me/see). Dickinson uses this technique to build tension; a sense of true completion comes only with the speaker’s death.2.3 Analyse the poem "Becuase I could not stop for death"Because I could not stop for Death -He kindly stopped for me -The Carriage held but just Ourselves -And Immortality.We slowly drove - He knew no hasteAnd I had put awayMy labor, and my leisure too,For His Civility -We passed the school, where Children stroveAt recess - in the Ring -We passed the Fields of Gazing Grain -We passed the Setting Sun -Or rather-He passed Us -The Dews grew quivering and chill -For only Gossamer,my Gown -My Tippet -only Tulle -We paused before a house that seemedA Swelling of the Ground -The Roof was scarcely visible -The Cornice - in the Ground -Since then - 'tis Centuries - and yetFeels shorter than the DayI first surmised the Horses'Heads Were toward Eternity -In the first stanza we find that death is personified, death has been given human attributes. Death is personified as a gentleman or a suitor calling on a young lady. This seems to say that the young lady has a date with death. This is shown in lines 1 and 2, "Because I could not stop for death, / He kindly stopped for me." The poet gives death the character traits of being kind, seen in line two. It even seems that the woman is somewhat flattered in the kind nature of her suitor.In lines 3 and 4, "The carriage held but just ourselves / And Immortality." These lines give us the impression that 'Immortality' is the chaperon for this two, the lady and the gentleman. The poem written in the 19th century shows us what the norm is; that is it would be very unbecoming for a young man and lady to be alone without a chaperone.The second stanza, line 5 "We slowly drove, he knew no haste." Death has no concept of time, this is an earthly concern. This Drive could also symbolize that the young woman is slowly dying or perhaps even is already dead and in a coffin moving slowly at the speed of a funeral procession.Lines 6 and 8, "And I had put away my labor and my leisure too, / For his civility" People are too busy with their own lives to think about death. The poet however, sets aside all her on goings to go with death. She then proceeds to comment once again on death's good manners. This is the second time that she comments on his manners. This comes as a surprise, because we often consider death as grim and is almost never welcome by human beings.In the third stanza, lines 9 through 12, the poet speaks of the things that they passed as they drove. "We passed the school, where children strove/ at recess- in the ring." This symbolizes childhood. "We passed the Fields of Gazing Grain." This could symbolize maturation just as the ripening of the grain. "We passed the setting sun" This symbolizes old age. This stanza signifies the stages of life, the progression from childhood through death. Perhaps, it could also be that she now that she is dying she is now more aware of her surroundings more than ever before. Notice how the word'passed' is repeated in the stanza. It conveys the feeling of being outside time.Fourth stanza, the speaker suggests that they did not pass the sun but rather passed them. Lines 13, "Or rather, he passed us." Once again we find that death has no concept of time. The sun indicates our earthly concept of time; at the beginning of the day, it rises and in the evening, it sets. Line 14 through 15, "The dews drew quivering and chill/ For only Gossamer, my Gown/ My Tippet-only Tulle-." According to the dictionary, gossamer is a very light thin cloth, tulle is a thin fine netting used for veils and scarves while tippet is a covering for the shoulders. The speaker says that she is getting cold, this suggests that the speaker is dead.Lines 17 through 20, "We paused before a house that seemed/ a swelling of the ground-"The roof was scarcely visible-/ The Cornice-In the ground-." The 'house' symbolizes the grave. The speaker perhaps calls it a 'house' because this is where her body will be housed or will stay for eternity. The speaker describes the 'house' as a swelling of the ground, clearly giving us a picture of a fresh burial ground. We note that the speaker does not say how long that they 'paused' at this house.The last stanza, lines 21and 22 "Since then- 'tis centuries- and yet/ feels shorter than the Day." Exaggeration is clearly used as centuries can never be longer than a day. We sometimes feel that some moments are somewhat longer than the actual time frame that they actually occur. This is what maybe the speaker experiences in her last moment in this time related world; and to her this moment seems to last forever. It is as if she gets a revelation. The final two lines, "I first surmised the horses' Heads /Were toward Eternity-." The speaker guesses that the carriage is now heading to their final destination, towards eternity."Because I Could Not Stop for Death" reveals Emily Dickinson's calm acceptance of death. It is surprising that she presents the experience as being no more frightening than receiving a gentleman caller—in this case, her fiancé(Death personified). Her description of the grave as her "house" indicates how comfortable she feels about death. There, after centuries pass, so pleasant is her new life that time seems to stand still, feeling "shorter than a Day."The overall theme of the poem seems to be that death is not to be feared since it is a natural part of the endless cycle of nature. Her view of death may also reflect her personality and religious beliefs. On the one hand, as a spinster, she was somewhat reclusive and introspective, tending to dwell on loneliness and death. On the other hand, as a Christian and a Bible reader, she was optimistic about her ultimate fate and appeared to see death as a friend.3. ConclusionDeath is one of the foremost themes in Dickinson’s poetry. No two poems have exactly the same understanding of death, however. Death is sometimes gentle, sometimes menacing, sometimes simply inevitable. In "I heard a Fly buzz–when I died–" Dickinson investigates the physical process of dying. In "Because I could not stop for Death - " she personifies death, and presents the process of dying as simply the realization that there is eternal life. In"Behind Me dips - Eternity" death is the normal state, life is but an interruption. In "My life had stood - a Loaded Gun - " the existence of death allows for the existence of life. In "Some - Work for Immortality - "death is the moment where the speaker can cash their check of good behavior for their eternal rewards. All of these varied pictures of death, however, do not truly contradict each other. Death is the ultimate unknowable, and so Dickinson circles around it, painting portraits of each of its many facets, as a way to come as close to knowing it as she can.4. Bibliography张伯香英美文学选读外国教育与研究出版社1999；517-519侯斌，丁亚丽对死亡的矛盾心理—艾米莉·狄金森之死亡诗解读宜宾学院学报第三期March．2008刘其刚困惑的心灵—对比分析艾米莉·狄金森的两首死亡诗Science & Technology Informatiom 2007年第22期Wang Xinxin The Ambiguity of death in Emily Dickinson's Poetry Journal of Inner Mongolia Normal University Sep.2006 V ol.35Chen Han-ning Emily Dickinson: An Interrogator of Death and Immortality <zwwx@ >。
英语专业英美文学论文题目大全
论《雾都孤儿》的幽默艺术Tom Jones, a Dissipated but Kindhearted Man放荡而又善良的汤姆琼斯The Free Will and Rebellious Spirit in Paradise Lost《失乐园》中的自由意志和反叛精神On the Development of Shylock’s Character论夏洛克的性格发展Morality and Criticism in Tom Jones评《汤姆•琼斯》中的道德观与批评观On Imogen，the New Feminine Image in Cymbeline论《辛白林》中伊慕琴的新女性形象Burns’View on Love and Friendship论彭斯的爱情友谊观The Reflection of Art and Life in Ode on a Grecian Urn and Ode on a Nightingale《希腊古瓮颂》与《夜莺颂》中艺术与生活的对照The Womanism in "The Color Purple"On the Differences between Chinese and Westerners in Non-language Communication谈中国人和英美人非语言交际的差异On the Contribution of the American Blacks during American Civil War美国黑人在美国历史上的贡献On American Black English浅谈美国黑人英语On the Differences of the Marriage Concept between Chinese and American浅谈中美婚姻观念的差异A Contrastive Analysis of Table Manners and Culture between China and Western Countries On the Ideological Content in Bacon’s Essays论培根散文的思想性Women's Movement in 1960s in American美国六十年代的妇女运动Analysis the negative effects of violent television and movie on children浅析影视暴力对青少年儿童的负面影响The Influence of Chinese Cultural Circumstances on English Learning汉语环境对英语学习的影响A Comprehension of Male Centrad Literature through A Doll’s House黑色的坚毅——小说《飘》主人公的性格分析Black Determination——An Analysis of the Personalities of the Main Character in Gone with the Wind从浪漫走向世俗的新型女性——《理智与情感》中玛丽安的性格分析人性的扭曲信任的危机--重读《奥》剧杂感Random Thoughts on Othello爱情叙写与人性魅力--论《红与黑》中两位女主角Love Account and Human Fascination-- On the Two Heroines in "The Red and the Black"风暴之女--艾米莉·勃朗特--评析作家经历和性格对作品的影响《荒野的呼唤》中"巴克"的多重性格分析Analysis of the Complicated Nature of Buck in ″The Call of the Wild″《呼啸山庄》中希斯克利夫扭曲性格分析《裸者与死者》中的受虐性格分析Analysis of the Masochistic Character Portrayed in The Naked and the Dead压抑与扭曲的灵魂——霍桑《红字》主人公人物性格分析The Constrained and Distorted Soul ——the Analysis of the Protagonists Disposition of "The Scarlet Letter"财经类院校英语专业"体验英美文学"教学模式探究On the Teaching Strategy of Experiencing British and American Literature英美文学虚拟教学课堂的架构设计The Architecture Designing of Virtual Classroom of British and American Literature高校英语专业英美文学课程的现代教学思路增强英美文学意识促进英语语言教学当代英美文学的存在主义解读Interpreting Contemporary British and American Literature From the Angle of Existentialism奈保尔的旁观者写作视角与象征写作手法Onlooker's Perspective and Symbolism ofV.S .Naipaul's Writing福克纳小说中象征隐喻手法微探On the Skill of Symbolic Metaphor in Faulkner' Novels詹姆斯·乔伊斯作品中象征主义手法的运用有组织的混乱,制度化了的疯狂——透视《第二十二条军规》的写作手法Organized disorder and the systemized chaotic society试析《这里的黎明静悄悄》小说的写作手法中国象征派诗歌与西方象征主义之关系浅探Relation between Chinese Symbolic Poetry and the Western Symbolism战争的棋子——茨威格笔下受战争戕害的人物分析The Chess of the War——The Analysis of the Victim in the War from Zweig沉重的背叛——《生命中不能承受之轻》主人公萨宾娜人物分析The oppressive betrayal——The character analysis of the heroine, Sabina, in The Unbearable Lightness of Being Hester and Dimmesdale’s Attitudes towards Love and life in The Scarlet Letter论《红字》中海斯特和丁梅斯代尔对爱情、罪恶、生活的态度On Sister Carrie’s Criticism upon American SocietyOn Scarlett’s Attitude towards Life关于斯佳丽的生活观On the Characterization of Picaresque Huck论哈克的流浪汉形象On the Moral Spirit in the Great Gatsby.论《了不起的盖茨比》中的道德观Thomas Hardy’s Pessimism in Tess of the D’urbervellesA Study of Tom Joad in the Grapes of Wrath《愤怒的葡萄》的中汤姆•约德研究Mark Twain’s Linguistic Style in The Adventures of Tom SawyerOn the Characteristics of Uncle Tom汤姆叔叔的性格分析A Study of the Themes in a Farewell to ArmsThe Tragic Fate of “a Pure Woman”in the Conflict of the Individual and the Society“一个纯洁女人”在人与社会发展冲突中的悲剧命运On the Language Style of a Midsummer-Night's Dream论《仲夏夜之梦》的语言风格The Social Significance of Swift's Gulliver's TravelsThe Psychological Analysis in Macbeth论莎士比亚《麦克白》的心理刻画Inflexible Ada in Cold Mountain《冷山》中执著的艾达On the Romanticism and Realism of Alice in Wonderland论爱丽丝梦游仙境的童话性与现实性On the Tragicomedy of Rebecca in Vanity Fair论《名利场》中利蓓加的悲喜一生On the Humour of Oliver Twist英美文学论文题目1. A Study of The Gift of Magi2. A Brief Comment on An American Tragedy3.On Motif of The Call of the World4.Love Tragedy and War—An Analysis of A Farewell to Arms5. A Study of Sister Carrie6.The Evil of Mankind Portrayed in Moby Dick7.On Henry Heming in The Red Badge of Courage8.Emily Dickinson and her Poems9.Analysis of A Rose of Emily10.Analysis of the theme of Adventures of Huckleberry Finn11.On the symbolism of The Old Men and the Sea12.The Language of Shakespeare’s Sonnets13.Deep Love And Deep Hatred—A Brief Analysis of Wuthering Heights14.Psychological Descriptions In Hemingway’s The Snows Of Kilimajaro15.On Ernest Hemingway And His Novel The Sun Also Rises16.The Literature Characteristics in A Tale of Two Cities17.On the Symbolism of D.H. Lawrence’s The Rainbow18.Love and Loss in Alfred, Lord Tennyson’s Poetry19.How Emily Dickinson’s Lyrics Resemble Hymn20.The Humor of Robert Frost21.Folk Elements in the Poetry of Langston Hughes22.John Keats’s Sensuous Imagery23.The Vocabulary of Music in Poems of Wallace Stevens24.Non-free Verse: Patterns of Sound in three Poems of William Carlos Williamsngston Hughes, Gwendolyn Brooks, and Dudley Randall as Prophets of Social Chang26.What It Is to Be a Woman: The Special Knowledge of Sylvia Plath,Anne Sexton, andAdrienne Rich27.Popular Culture as Reflected in the Poetry of Wendy Cope, Michael B. Stillman, Gene Fehler,and Charles Martin28.The Complex Relations Between Fathers and Sons in the Poetry of Robert Hayden, AndrewHudgins, and Robert Philips29.Making up New Words for New Meanings: Neologisms in Lewis Carroli and Kay Ryan30. A Brief Analysis of the Heroine Personality in Jane Eyre 《简爱》的主人翁个性分析31. A Brief Comment on O’Henry Short Stories 亨利的短篇小说述评32. A Comment on Hardy’s Fatalism 评哈代的宿命论33. A Comparison between the Themes of Pilgrimage to the West and Pilgrim’s Progress 《西游记》与《天路历程》主题的比较34. A Probe into the Feminist Idea of Jane Eyre 《简爱》男女平等思想的探索35. A Study of Native American Literature 美国本土文学的研究36. About the Breaking of American Dream from the Great Gatsby 从《了不起的盖茨比》看美国梦的破碎37. Humor and Satire in Pride and Prejudice 《傲慢与偏见》的幽默与讽刺38.Influence of Mark Twain’s Works in China 马克吐温的作品在中国的影响39.Love Tragedy and War—An Analysis of A Farewell to Arms40.Sister Carrie and Jennie Gerhardt41.The Evil of Mankind Portayed in Moby Dick42.On Henry Heming in The Red Badge of Courage43.Emily Dickingson and her Poems44.Analy sis of “A Rose of Emily”45.The Aesthetic Interpretation of Ezra Pound's Poetry46.Symbolism in The Great Gatsby47.an Analysis of the theme of Adventures of Huckleberry Finn48.On the symbolism of The Old Men and the Sea49.Cultural Shocks in the English Language Textbooks50.Deep Love And Deep Hate—A Brief Analysis On Wuthering Heights51.Psychological Descriptions In Hemingway’s The Snows Of Kilimajaro52.On Ernest Hemingway And His Novel The Sun Also Rises53.Difference Between China And The West Reflected In Social Manners54.First Love, Lost Love in George Eliot’s Adam Bede55.鸟的赞歌--------评英国浪漫派诗歌56.《呼啸山庄》的悲剧分析57.海明威英汉形象和冰山风格58.《名利场》的现实意义59.苔丝的形象分析60.哈姆雷特的犹豫再探讨61.爱伦坡小说的艺术创作成就62.爱伦坡小说人物塑造63.O Neill剧作对美国戏剧的影响64.华兹华斯的语言风格65.华兹华斯的自然观66.诗人哈代67.简述哈代的悲剧性叙事艺术On Hardy's tragedy narrative art68.奥斯丁与勃朗特写作风格异同The comparison between Austen and Bronte in writing style69.杰克·伦敦(或某作家)《》(某作品)评述On Farewell to Arms of Hemingway70.浅析《失乐园》中撒旦的形象塑造71.《还乡》的悲剧艺术特色72.蓓基形象再解读73.蘩漪与伯莎梅森的比较研究74.爱玛形象的魅力75.海明威研究——浅析海明威笔下的女硬汉子76.《苔丝》的悲剧性与现代性Tragedy and Modernity in Tess of D’Urbervilles77.华兹华斯诗歌的和谐观On the View of Harmony in Wordsworth’s Poetry78.海明威小说的悲剧意识79.从《老人与海》看海明威的创作特点80.《红色英勇勋章》的叙述技巧分析81.论《白鲸》的象征含义82.论吴尔夫的《1间自己的房间》中的女权主义83.论简。
英美文学导论论文
Survey of British LiteratureOld and Medieval periods (450---1066)After the fall of the Roman Empire and the withdrawal of Roman troops from Albion , the aboriginal Celtic population of the larger part of the island was soon conquered and almost totally exterminated by the Teutonic tribes of Angles , Saxons and Jutes who came from the continent and settled in the island , naming its central part Anglia , or England.For nearly four hundred years prior to the coming of the English , Britain had been a Roman province . In 410 A.D. the Romans withdrew their legions from Britain to protect Rome herself against swarms of Teutonic invaders . About 449 a band of Teutons , called Jutes , left Denmark , landed on the Isle of Thanet . Warriors from the tribes of the Angles and the Saxons soon followed , and drove westward the original inhabitants.The literature of this period falls naturally into two divisions , ---Religious and Secular . In reading the earliest poetry of England it is well to remember that all of it was copied by the monks , and seems to have been more or less altered to give it a religious coloring.The Song of Beowulf can be justly termed England’snational epic and its hero Beowulf ---one of the national heroes of the English people .The only existing manuscript of The Song of Beowulf was written by an unknown scribe at the beginning of the 10th century and was not discovered until 1750 .The Song was composed much earlier , and reflects events which took place on the Continent approximately at the beginning of the 6th century , when the forefathers of the Jutes lived in the southern part of the Scandinavian peninsula and maintained close relations with kindred tribes , e.g. with the Danes who lived on the other side of the straits.Medieval periods (1066---mid-14th century)In the year 1066 , at the battle of Hastings , the Normans headed by William , Duke of Normandy , defeated the Anglo-Saxons.The Normans were originally a hardy race of sea rovers inhabiting Scandinavia . In the tenth century they conquered a part of northern France , which is still called Normandy , and rapidly adopted French civilization and the French language . Their conquest of Anglo-Saxon England under William , Duke of Normandy , began with the battle of Hastings in 1066 .The literature which they brought to England isremarkable for its bright , romantic tales of love and adventure , in marked contrast with the strength and somberness of Anglo-Saxon poetry . During the strength three centuries Anglo-Saxon speech simplified itself by dropping of its Teutonic inflection , absorbed eventually a large part of the French vocabulary , and became the English language . English literature is also a combination of French and Saxon elements . The Renaissance Period (mid-14th ---mid-17th century) The 16th century in English was a period of the breaking up of feudal relations and the establishing of the foundations of capitalism .Manufactories were developing and the wool trade was rapidly growing in bulk . The enclosure of commons drove thousands of peasants off their lands and many of them settled in towns .New social and economic conditions brought about great changes in the development of science and art .Together with the development of bourgeois relationships and formation of the English national state this period is marked by a flourishing of national culture known as the Renaissance .The greatest of all English authors , WilliamShakespeare belongs to those rare geniuses of mankind who have become landmarks in the history of world culture . The works of William Shakespeare are a great landmark in the history of world literature for he was one of the first founders of realism , a masterhand at realistic portrayal of human characters and relations .His first original play written in about 1590 was King HenryⅥ,parts two and three , the first part having been written earlier by another dramatist and only retouched by Shakespeare . During the twenty-two years of his literary work he produced 37 plays , two narrative poems and 154 sonnets .His literary work may be divided into three major periods : the first period from 1590 to 1600 , the second from 1601 to 1608 , and the third from 1609 to 1612 .Hamlet is considered to be summit of Shakespeare’s art . It was written in 1602-1620 and first published in 1603 . Shakespeare took a certain story of Prince Amleth from old sources which can be traced to the 12th century .Under Shakespeare’s pen the medieval story assumed new meaning and significance . Danish names could not hide from the spectators and readers the fact that it was English which the great writer described in his play . The whole tragedyis permeated with the spirit of Shakespeare’s own time . Hamlet is the profoundest expression of Shakespeare’s humanism and his criticism of contemporary life .A study of Bacon takes us beyond the limits of the reign of Elizabeth , but not beyond the continued influences of that reign . Bacon belongs with Sidney and Raleigh in that group of Elizabethans who aimed to be men of affairs , politicians , reformers ,explorers , rather than writers of prose or poetry . He was of noble birth , and from an early age was attached to Elizabeth’s court . Bacon was the son of Sir Nicholas Bacon , Lord Keeper of the Seal , and of the learned Ann Cook ,sister-in-law to Lord Burleigh , greatest of the queen’s statesmen . From these connections , as well as from native gift , he was attracted to the court , and as a child was called by Elizabeth her “Little Lord Keeper” .On a December day in 1680 , while Shakespeare was still writing his great plays , another great English poet was born in London . He was John Milton .Milton’s father made a business of preparing law papers , and was a prosperous man . He was a prosperous man .He was a Puritan , but not so harsh as most of the Puritans of his day , for he loved music and taught his boy to love it . He also lovedbooks , and young John Milton began to show , when a very small boy , that he loved them , too . His father had a private teacher for him , and when scarcely more than ten years old the boy wrote good verses and sat up later than was good for him over his studies .The Neoclassical Period(1660-1700)The 17th century was one of the most tempestuous periods in English history . It was a period when absolute monarchy impeded the further development of capitalism in English and the bourgeoisie could no longer bear the sway of landed nobility . The contradictions between the feudal system and the bourgeoisie had reached its peak and resulted in a revolutionary outburst .To Defoe is often given the credit for discovery of the modern novel ; but whether or not he deserves that honour is an open question . Even a casual reading of Robinson Crusoe (1719), which generally heads the list of modern fiction , shows that this exciting tale is largely an adventure story , rather than the study of human character which Defoe probably intended it to be .The drama of the eighteenth century was extensive , but very little of it has permanent literary or acting value . We havenoted the dramatic work of Addison and Steele in the early part of the century . Within the Age of Johnson several men tried their hands at dramatic work . Thomson , the poet , wrote dramas which are now all but forgotten . Young produced a tragedy called The Revenge . Johnson , who appears in all forms of literature , was the author of a cold and stately classical tragedy named Irene . Fielding wrote a number of comedies before he found his true vocation as a novelist , but none of them would have preserved his fame to posterity . Of the many minor dramatists there is no occasion to speak . Only two men , Goldsmith and Sheridan , produced works which are of high literary quality and which still retain their interest upon the stage . Goldsmith’s two comedies The Good-Natured Man and She Stoops to Conquer , having already received due attention , and it only remains to speak briefly of the dramatic works of Sheridan.The Romantic Period (1798---1832)Romanticism as a literary movement came into being in English early in the latter half of the 18th century . It first made its appearance in English as a renewed interest in medieval literature . The movement was ushered by Thomas Percy , James Macpherson and Thomas Chatterton . William Blake and RobertBurns represented the spirit of what is usually called Pre-Romanticism .George Gordon , Lord Byron , was born in 1788 , of a noble family notorious for their passionate temper , their amatory adventures , and their thriftlessness . To his extraordinary physical beauty , his lameness added a touch of pathos . Personal fascination was his from the first . He mastered his little world of school-fellows at Harrow with the same power of personality which later took captive the imagination of Europe . His first volume of poems , Hours of Idleness , an immature little book , was mercilessly ridiculed in the Edinburgh review . Byron nursed his revenge , and in 1809 he published a vigorous onslaught upon his critics , entitled English Bards and Scotch Reviewers .This poem is written in the manner of Pope , for whom Byron always professed admiration , and is not unworthy of his school , either in mastery of the heroic couplet or in energy of satire . It is significant that Byron’s first performance should have been conceived in a satiric vein , and educed by a blow to his personal pride .Percy Bysshe Shelley was born in 1972 , just when the eyes of all Europe were fixed in hope and fear upon France , and the stars fought in their courses for the triumph of a new order .The short remainder of his life is marked by many great poems , some of considerable length , like the Sensitive Plant and Adonais ; others shorter , among them the wonderful Old to the West Wind , and the best known of all Shelley’s lyrics , To a Sky Lark .The Victorian Period (1836---1901)The precisian may limit the Victorian period to the years between the Queen’s accession in 1837 and her dearth in 1901 , but a new era really began with the passage of the Reform Bill in 1832 and closed at the end of the Boer War in 1902 . The seven decades between these two dates are often divided into three phrases of national life , what is called the “Mid-Victorian” period being considered as embracing the years 1855 to 1879 from the ascendancy of Palmerston to the great economic depression .Out of the vast host of Victorian novelists , the three greatest , Dickens , Thackeray , and George Eliot , will be selected for special study . The first of these to achieve fame was Charles Dickens . This man , who was to become a great portrayer of child life , had a sad , painful childhood . His industry was tremendous , and before Pickwick was finished , Oliver Twist , 1837—1838 , began to appear in a monthlymagazine .Charlotte and Emily Bronte were born in Thornton , Yorkshire , but they were undoubtedly of Celtic blood , for their mother came from Cornwall and their father was born in Ireland . Charlotte set to work on a new novel , Jane Eyre , which was published in August , 1847 . This poetic , imaginative story of the love of a young governess for her married employer also has undoubted connections with Charlotte’s experiences in Brussels . It was an immediate success with both readers and most of the critics . Emily and Anne had been more successful in getting their first novels accepted , and in December , 1847 , a joint book appeared , containing Anne’s Agnes Grey and Emily’s only novel , Wuthering Heights ; neither work attracted much attention . Like Jane Eyre , they were published under the sister’s pseudonyms .Twentieth Century LiteratureThe long and progressive reign of Queen Victoria came to a climax in the Diamond Jubilee Year , a time of peace and plenty when the British Empire seemed to be at the summit of its power and security . Of the discord that soon followed we shall here note only two factors which had large influence on contemporary English literature .英美文学导论论文Only a nation that enters on a dangerous course with eyes wide open has any chance of a safe way out , and the imperialistic nations were all alike blind . An inevitable result was the First World War and the greater horror of a Second World War , the two calamities being different acts of the same tragedy of imperialism , separated only by a breathing spell .Another factor that influenced literature for the worse was a widespread demand for social reform of every kind ; not slow and orderly reform , which is progress , but immediate and intemperate reform , which breeds a spirit of rebellion and despair .班级：广告1102姓名：周萌萌学号：2011013273 第11 页共11 页。
英美文学论文-汤姆叔叔的小屋
Comparative Study of Uncle Tom’s Compromise and Harris’s Spirit of Resistance in Uncle Tom’s CabinBy10-3，A paper submitted in partial fulfillment ofthe requirements for literature classto the Qinggong CollegeHebei United UniversityJune 2013ABSTRACTHarriet Beecher Stowe is a famous writer in The Civil War of America. The abolitionist system problems became a central issue of American progressive public opinion since 1920s. At that time, many famous American writers were for the abolitionist movement and called on liberating the black slavers, among whom Harriet Beecher Stowe is the most famous one. The Uncle Tom’s Cabin mainly tells that Uncle Tom’s experience sold and finally died. This paper mainly studys the contrast of Uncle Tom’s compromise and Harris’s spirit of resistance in Uncle Tom’s Cabin and eventually comes a conclusion: We just get the freedom by fighting.KEY WORDS:The Civil War Abolitionist System Black Slavers The Uncle Tom’s F ighting Freedom摘要哈丽叶特·比切·斯托夫人是美国南北战争时期的著名作家。
英美文学的论文题目
《最蓝的眼睛》中佩克拉的悲剧
25Who is Tar Baby----A Study of Toni Morrison’s Tar Baby
谁是柏油孩子——浅析托尼莫里森的《柏油孩子》
7. On the Feminism in The Scarlet Letter
《红字》中的女性主义分析
8. An Angel Without Wings --- On the Image of Catherine Barkley in A Farewell to Arms
无翼的天使——《永别了，武器》中的凯瑟琳的形象分析
13.《远大前程》中匹普的性格发展与社会环境的关系
The Relationship between Social Circumstances and the Development of Pip's Character in Great Expectations
14.《远大前程》的空间叙事
意群翻译在翻译中的重要性
6. The Learning Strategy in Enhancing English Extensive Reading Ability
提高英语泛读能力的学习技巧
7. The Influence of the West Culture to English Language Development
《麦田里的守望者》中主人公的性格特点
5. The Stream of Consciousness in A Rose for Emily
《献给爱米莉的玫瑰》中的意识流
6. On Edna’s Inner Awakening in The Awakening
关于《简爱》全英文论文
On Analysis of Jane’s Love View（简析简的爱情观）摘要《简爱》是英国文学史上的一部经典传世之作，它成功地塑造了英国文学史中第一个对爱情、生活、社会以及宗教都采取了独立自主的积极进取态度和敢于斗争、敢于争取自由平等地位的女性形象。
简是一个意志坚强，追求独立，敢于反对封建礼教，敢于抵制封建宗教的压迫与束缚的女孩。
正是因为简的独特而高尚的性格特点深深的吸引了罗切斯特，而简爱上罗切斯特并不是因为他的财富，身份地位，而是他的才华。
简追求的是纯洁而特别的爱情，在简的眼里，爱情就是爱情，与金钱，身份，地位毫无关系。
即使自己是一个地位低下的家庭教师，而罗切斯特却是一个有身份，地位的贵族，但是简并没有因为这些因素放弃对罗切斯特的爱，爱了就爱了，后来一场大火毁了罗切斯特的一切，他不再是那个拥有一切的完美的人，而是一个落魄的残疾人，但是让我们钦佩的是简却选择了与罗切斯特同甘共苦。
就这样简谱写了一段美好的爱情，她向我们诠释了什么是真爱，她让我们明白了爱情的真谛。
关键词:简.爱，坚强，独立，反抗的精神，纯洁的爱ABSTRACTJane Eyre is a classic literature masterpieces in the history of English, as it shaped the history of English literature, as it the first taken on love, life, social and religious independent proactive attitude.It dare to struggle, fight for freedom and pursue the equality of status of the female .Jane is a girl who has strong will and pursue independence, she is a woman who against feudal ethics and resist the feudal oppression bravely. It is because of Jane’s special and noble character that attract s Robert’s deeply, while Jane falls in love with Robert not because of his wealth, and social status, but his talent. Jane pursues pure and special love, in Jane’s eyes, love is love, and it has nothing to do with wealth, social status which he has. Though she is a tutor with low status, while Robert is a man with noble status, Jane does not give up her love because of all of these elements. Later, a fire ruin everything of Robert, he lose most of his glamour which many girls are longing for, he is a disabled man with nothing, however, what makes our admire is that Jane choose to share ups and downs with Robert. In her life, Jane composes a beautiful love, which shows to us what true love is, and makes us know the true meaning of love.Keywords: Jane Eyre,Strong, independent, Rebellious spirit, pure love1.IntroductionJane Eyre is a classic literature masterpieces of Charlotte Bronte’s of the British in the 19th century. Jane Eyre is widely acknowledged that it is a biography of poetic portrayal of Charlotte Bronte “poetic portrayal”, which is an autobiographical work.It is a story which an orphaned of British woman who suffer from all kinds of hardships, constantly pursuit of freedom and dignity, adhere to herself, and ultimately get happiness.As we know, Jane pursues a noble love. In her eyes ,love itself is love, it has nothing with money, power and status. She is humble, but she can attract all thepeople with her own unique qualities. In the today's world, people are crazy about money and status seems rather drown love. In their most people would choose the rich rather than the poor Few people would choose true love and give up everything without any hesitation. Jane makes us believe, as a women who has an independent personality and self-esteem, self-love, self-reliance, even if she is a wild lily, she also have their own pride. Jane simple love set us an example to inspire modern people pursue the true love. So in Jane Eyre, love is pure and great.2. A brief introduction of the author and background.2.1 A brief introduction of the authorCharlotte Bronte(1816-1854) was born on April 21 1816, third of the six children of Patrick Bronte. The major event of her young life was the death of her mother in 1821, which created a lot of chaos. In 1824, Charlotte and her two older sisters, Maria and Elizabeth, were sent to the newly-opened Cowan Bridge Clergy Daughters' School. Conditions there were bad even by the standards of the time, and it was not long before both Maria and Elizabeth became ill enough to be sent home, where they both died of consumption in the spring of1825. Patrick brought Charlotte and her younger sister Emily, who had recently joined them at the school, back home as soon as the other girls became ill, but Charlotte in particular never forgot what the school had been like.Charlotte's next adventure was going to school in Brussels with Emily in 1842. Charlotte's time there was brief, less than two years, but it led to her eventual writing of Villette beginning in 1852.Back home, Charlotte lapsed into chronic unemployment and severe hypochondria, actually thinking she was going blind, just like her father was. In 1846 the three sisters published a book of Poems, and though sales were very slow, the reviews weregood and spurred on further literary endeavors. Charlotte's novel of this time, The Professor, was actually rather bad, suffering from a less-than believable main character. In August of 1846 Charlotte began work on Jane Eyre. Though it was published in 1847, Charlotte didn't tell her father about it until the next year, when the novel's success was plain. Jane Eyre is a classic literature masterpieces of Charlotte Bronte’s of the British in the 19th century.2.2 Background“Jane Eyre is a classical work produced in Victorian time by Charlotte Bronte. This novel has attracted widely attention and discussions for over 150 years after its publishment”. 张伯香.英美文学选读.[M] 外语教学与研究出版社1999年版. On the surface, Jane Eyre is a love story about a poor young woman Jane Eyre and a rich man Mr. Rochester. But when we read it carefully, we can find out much deeper connotation, and we can understand that this work is not only a simple love story, but also reflects some social situations. Especially was the problem of the relationship between women and the traditional morality in Victorian time. In this novel, Bronte expresses strong dissatisfaction for females’ unequal social status, and Jane Eyre was her own embodiment to resist the oppression of the social traditional morality and to break the ag e’s fetter. And this novel also reflects that at that time, women have been already realized they should struggle for their independence of spirit and equal rights on many aspects in the social life. This thesis according to expounding the females’ situati ons under the traditional morality in Victorian age and the analysis of heroine’s behavior and thinking which broke the traditional morality at that time in Jane Eyre, to find the appearance of feminine consciousness and the demands of women for having equal social status like men in society and getting independence of life and spirit. Jane Eyre is a famous work written by Charlotte Bronte, and this novel was published in 1847 and became an immediate success. This thesis will research the “unwomanly” character of the heroine under the Victorian traditional morality. ”胡珊珊Analysis of Jane Eyre Purpose and Significance of study[J]2010 第四期All ofJane’s behaviors showed her difference from traditional morality. In such a period, a little girl struggled for h er equal rights in her guardian’s family, a student made efforts to improve the living condition of school, a young governess pursued her real love and refused the proposal of the man she did not love. All of these behaviors disobeyed the traditional moral ity in Victorian age. She broke the model of “angel in the house” throughout her life. Her “unwomanly” character was also showed obviously.3. The love view of Jane from following perspectives3.1 The analysis of Jane’s Love View from Jane’s independent charactersWhen Jane was a litter girl, she was so unlucky and depended on others. she had no friend, whatever she did, she just do it by herself. So she built up independent character on everything from her young age. Mrs.Reed did not allow her children to associate with Jane, so, she had ever said：“They are not fit to associate with me” These words is the best illustrated fact that she is an independent girl in her inner world, including love. Jane pursues happiness, looking forward to get happiness and achieve the true love. In her inner world, she wishes that she can communicate with others’ sincerity, not rather than rely on others to love or belong to others. She has her own soul. She wants to control the master of her spirit, stick to her own personality dignity.When Mrs Fairfax knew that Jane and Rochester had fallen in love and prepared to get married, Mrs Fairfax thinks its unbelievable, she just says some words：“he has Do you belive him? Have you accept him? Mrs Fairfax looked at me bewildered I could have thought it He is a proud man all Rochesters were proud : and his father at least, liked money. After a later Mrs Fairfax repeated :‘Equality of position and fortune is often advisable in such cases, and there are twenty years of difference in yourages .He might almost be your father’”. 《简爱》p388-389 From Mrs Fairfax’s words, it is easy to know that Jane and Rochester is not match. Their love would not have a good result because of the difference of the position and status. But Jane give me a sur prise with her answer,she said: “No, indeed , he is nothing like my father! No one, who saw us together, would suppose it for an instant.” 《简爱》p390. From m Mrs Jane’s words, it is easy to know that Jane never care their positions, ages and status. In his eyes, she and Rochester, they are equal, they love each other so deeply. She believe that their love will be last forever.So, no matter what happened, Jane always live independently. Later, she met her cousin, St. John. St. John hopes that Jane should marry him, and help him to finish the religious career and god’s mission. Because there is no love between them. So Jane refuses St. John.She needs truly love,not mission. In England, religion always plays a very important role.But Jane was able to break the shackles of religion, and pursue the independent love and independent world. So we have to say, Jane was an independent girl. Unfortunately, everything is not always smooth sail. When Jane knew that Rochester had got married, At that moment, she said:“Mr Roc hester I must leave you, I must leave you. I must part with you for my whole life. I must begin a new existence among strange faces and strange scenes”.《简爱》p449 From Jane’s these words, we know that true love just belong to two people, it not contain the third person to share their love. Even though Jane loves Rochester so much.But at last, she would rather choose to give up. Because Jane pursue love which is a kind of independent love, not become someone else’s shadow. we can easily know from Jane’s leavin g that Jane advocates independence of love, pursue the independent personality dignity. “However, I could not help ask that only this step can prove that does Jane is a independent girl. I don’t think so, after all, female independence needs a great courag e, it is a long and complex course.” 张颖刘妍胡珊珊浅析《简爱》中的女性主义精神[J] 2011 第十期It needs more courage to give up loves. I think it is the most important step to gain free and independence. Jane’s independent love had become theclassical example of independent female. So I hope this world would appear many Janes. No matter she is rich or poor, I hope they can live strongly and independently.3.2 The analysis of Jane’s Love View form her Strong-willedJane was a weak and short girl, but she has a strong heart and soul. she has no mony, position, and status. But sha has extremely personal temperament and very rich emotional world. After the temper of life, she abandoned the natural weak of female and cowardice which belongs to many females. Then Jane developed the strong and independent personal characters gradually. When she was a young girl, she lived with her aunt. They treated Jane badly, they often brings force on her. But Jane never willing to accept any insult, instead struggling to them try her best. Even though the result are not satisfactory, but she never give up sticking to her own opinion. When Jane leaves her aunt’s home and comes into school, Mr. Brocklehursts said:“this girl, this child, the native of a Christian land, worse than many a little heathen who says its prayers to Brahma and kneels before Juggernaut -- this girl is --a big lairs!” 简爱P92 Facing the cold and cruel of Mr. Brocklehursts, Jane has no feeling of fear, instead Jane calmly accepted it. She developed the strong, self-esteem, and independent personal characters through a series of unlucky things. Which arouse her infinite courages and indomitable spirits. She did not lose hope. Instead, she becomes strong and independent to face the irregularly scheduled unlucky things. Even though she never lose personal pure characters.“ Jane clearly knew that she had no beautiful appearance and noble position and status, so she must study hard. She try her best to study all courses, including music,French and art. She clearly knew, as a person, you can have no beautiful appearance, many many money, noble position and status, but you can not have no personal ideas and personal dignity.李佳欣杨柳论<简爱>所诠释的独特女性人格魅力[J] 2012 第三期In her aunt’s home, in order to maintain her dignity, even she resisted aunt’s opinions or fight with her cousin. All of her actions are the best illustrated fact that she is an independent and strong girl in herinner world.After reading Jane Eyre, she choose to be resolute when suffering from maltreat and insult.I appreciated J ane’s strong and independent personal characters and self-esteem which shows in facing the noble and elegant person and upper class. All people loved the spirits of self-esteem and strong of Jane when she fell into love. All people admired her courage of leaving Mr Rochester because she was unwilling to be a love puppet. All people appreciated her brave personal character, in order to find truly love, she climbed the hills and went across the rivers to find Mr Rochester. Which find in who dare to could put themself in danger in order to find truly love. At Thornfield, she was not feel Self-abasement because of she profession on the contrary, she thinks they are equal. Mr Rochester was infatuated with her and love her deeply from his inner heart. Mr Rochester rather likes Jane’s elf-esteem, independent and strong personal characters.“Her character attracts so many reader, so many women regard her as an example ” 张颖刘妍胡珊珊自卑：简爱鲜明的人格特征.[J] 2011 第十期In other words, there is no Jane’s elf-esteem, independent and strong personal characters, there is no the pure and special love between Jane and Rochester.3.3 The analysis of Jane’s Love View from Rebellious spirit of Jane The Rebellious spirit of Jane is natural. When Jane was a litter girl, she lives with her aunt who was very hate her, so they treat badly to her, even screw and beat her. So rebellion came naturally to her heart, when facing unfair treatment which comes from her cousin and her aunt.“After so many unfair treatment She never feel scare and intend to retreat. Instead, she chooses to resist”.谭蒙革.简爱女性独立形象分析.[J] 2011年. 第5期Jane had ever said：“I was conscious that a moment’s mutiny had already rendered me liable to strange penalties, and , like any other rebel slave, I felt resolved, in my desperation, to go all lengths.” 刘丽一个时代的女性呐喊与追求[J] 2009 第十期From these words, we know that the revolt has become mainstream in her character, a person want to get freedom, firstly, he must have awareness ofresistance. “After the end of each resistance, my mind had a sense of satisfaction before never appear, a sense of victory began to expand, rising, as if an invisible shackles broke free, finally struggling to slightly have always dreamed of freedom hall.” 刘丽一个时代的女性呐喊与追求[J] 2009 第十期This time I remembered, the real world is a vast field, where people are encouraged to break the resistance. And Jane is such a person. Jane’s consciousness of resistance grow with increasing age when she was a child. She resist injustice and oppression of her aunt and cousins, in schools, in order to prove that she was not a lair,she debated openly with schoolmaster. When she knows Rochester had married, she refused to Rochester’s request without any hesitation. W hen St John wants to possess Jane through the guise of religion, she openly refused St. John’s on behalf of the British religious faction. Jane did these simply searching freedom, for pursuing true love, she oppose religious bondage and control without hesitation.Jane is not a gentlewomen from the aesthetic standards of social lady, but the readers and Mr Rochester love her because of her spirit revolt and the constant pursuit of freedom and equality.“The charm is a very rich vocabulary, a woman was praised the charm, it is apparently much more abundant than simply admire her beauty.”《浅析<简爱>主人公的性格魅力》However，the indomitable character of Jane, the goodness, the pursuit of freedom, the pursuit of true love character of Jane made her become an attractive and charm woman.4. The analysis of Jane’s special and pure love view4.1Love itself is love, it is not relate to religionIn Victorian period of England, critical realism had been on the stage of history, but religion still played a very important role. However, Jane was able to break the traditional ideas of feudalism. She thinks that religion is faith, and it is elusive. As shethought the psalm in the Bible is very boring. She once had such a conversation with headmaster Mr. Brocklehurst before she went to school. From her words, we can draw a conclusion that Jane was against to religion, which can be proved that Jane was not under the influence of England religion. It also can say she dares to struggle change with religion and the word. Later, Jane met her cousin that she never met before, St. John who is a typical representative of traditional literati, with religion as his life career, and live to accomplish the mission of god to live. When he need assistant, Jane appears. So an idea strikes to his mind, namely, he wants Jane to stay with his as a helper, and help him to complete the mission of god. When St.John told this idea to Jane, Jane hesitates because of her kindness. Jane is respect St. John, so she did not want to hurt him. But she also cannot marry to him, she did not want such a result because she did not love John. So Jane was determined to be his helper instead of his wife, but St. John said, ：“A part of me you must become”P605.《简爱》Actually St John just wants to possess Jane through the guise of religion so that he has ignoring other’s feeling, and ignored Jane’s idea about love. Jane once said to John.“ I scorn your idea of love, I scorn the counterfeit sentiment you offer：yes St John, and I scorn you when you offer it ”. Finally, Jane refuses John’s request without hesitation and starts to look for her true lo ve. “Because the different opinion of Love I think Jane has refused not only the John's request, but also refused the repression of the feudal moral. Jane, with a thin body and lower identity, in order to seek her own love, she is willing to struggle with feudalism.”于秋谭.简论女性意识在简爱中的体现.[J] 文学评论.2002年第4期. No matter how many difficulties and obstacles she must face, it can not stop her confidence and courage to pursue true love. It's enough to see that how noble and pure the Jane’s love view is, nothing can sto p her to find the pace of love in her heart.4.2 Love itself is love, it is not related to money, power and status. In Jane Eyre, the authors suggests that the basis of marriage is love, not material,money and so on. The failure of the first marriage of Rochester had proved that marriage was not base on material,money and status. And a true love is not depend on any external factors, which are not subject.It just say that Jane get married for love, not because of the material and other factors betray her love. As we all known, Jane is in pursuit of a noble love. In her eyes, love itself is love, it have nothing to do with money, power, and status. In her eyes, love is in each other's heart and it is soul communication. Even though Jane just was a ordinary tutor, but she never give up her love. She thought everyone is equal, everyone has rights to get the true love. When Jane and Rochester decided to get married, Rochester brings Jane to the town, to bought gold and silver jewelry, but it is not make Jane happy, on the contrary, Jane hate these. “Oh sir1—never mind jewels !I don’t like to hear them spoken of. Jewels for Jane Eyre sounds unnatural and strange: I would rather not have them”.From her words , We knows that Jane was not like other woman, who likes to wear jewelry.P381《简爱》Since I had read Jane Eyre,I also dumped for Jane. Like her in high position than her in front of the so-called high society people show the kind of supercilious attitude . Like her in the face of love showed that self-esteem self-improvement of the spirit, I can not help but sigh in the distance she progressed fort he age two hundreds, How many girls have the courage to say not to a beloved and rich man? Jane can be! In her eyes constantly with a kind of independent personality grandeur and noble!Do you think, I am a poor obscure, plain and little, I am soulless and heartless? You think wrong! I have as much as you and full as much heat! Each time reading Jane Eyre, I will shock by these words. This is a strong sense of self-release, a sad overarching overcome all overriding intertwined with love force. Form her behaviors and words can show everyone has right to pursue one of their own love. She was not beautiful, humble, but attracting all the people with their own unique qualities. Female and male is equal, only an independent and self-release that did she could get respect, love,and happiness. Rochester would not love Jane if she had not noblepersonality. Jane Eyre is the idol of women generation in that period, her shadow is released into the atmosphere around us, so many people regarded her as a criterion, we all can live the confident and magnanimous, we all can find our true happiness along the fate are given clues.In the today's world, people are crazy about money and status. Choosing rich between the poor and the rich, choosing not love between love and not love. Few people would choose true love and give up everything without any hesitation. Maybe when people have nothing but money, they will go to the pursuit of “true love”. Maybe simplify getting back to basics. Perfusing some truth and warmth in the pursuing true love.It should be regarded as a beautiful life. Please spun off from the hustle and bustle of the glitz of the secular, stop and carefully read of Jane Eyre, and communicating with the soul of Jane Eyre. Jane Eyre is a fairy tale, she makes us believe, as a women who has an independent personality and self-esteem, self-love, self-reliance, even if she is a wild lily, she also have their own pride. Jane slightly love set us an example to inspire modern people pursue the true love.5. ConclusionThe appears of Jane Eyre was a sensation the literary world of the 19th century, with its irresistible beauty it has attracted thousands of readers, it has an irrepressible urge to drive people to pick up this book, along with deeply moved,and soul thrilled. Jane Eyre shows to us a simple love which is a return to nature, without taking into account the feelings of the pros and cons .It is like as a glass of ice water which can clean the mind of every reader.Through research and analysis of Jane Eyre, I learned that she is a strong, independent, girls and she dare to pursue the true love. Her special and noble concept of love set an example for us, in her eyes, love is the exchange of two hearts and souls, love is not controlled by external factors. Her love encourage us to pursue freedom, equality, rue love bravely. And at the same time she was able to help us to understand the true meaning of love.AcknowledgementMy greatest debt, both intellectual and personal, is to my supervisor Song fengli and Lu yuna With their inspiration and encouragement, they has led me into this amazing scientific field. Without they instruction, my career would have been radically different; and this work would obviously have not appeared. Mrs. Song has supported with sage advice, heartfelt encouragement and has recommended me some papers and dissertations which has saved me considerable amount of time and effort in doing such a job. I am deeply indebted to Mrs. Song for her enlightening instructions, critical comments, and especially his kindness and patience in examination my work in detail.I am also grateful to all the teachers in English department. Thanks to my dear classmates and roommates for their sincere help and friendship during my stay at Xing Yi Normal University for Nationalities.My heartfelt thanks go to my families for their persistent support and encouragement through the years.References1、夏洛蒂.勃朗特.简爱. [M] 世界图书出版公司 2008 年版.2、张伯香.英美文学选读.[M] 外语教学与研究出版社1999年版.3、谭蒙革.简爱女性独立形象分析.[J] 2011年. 第5期4、刘丽一个时代的女性呐喊与追求 [J] 2009 第十期5、张颖刘妍胡珊珊自卑：简爱鲜明的人格特征.[J] 2011 第十期6、于秋谭.简论女性意识在简爱中的体现.[J] 文学评论.2002年第4期7、胡珊珊Analysis of Jane Eyre Purpose and Significance of study [J]2010 第四期8、李佳欣杨柳论<简爱>所诠释的独特女性人格魅力 [J] 2012 第三期9、张颖刘妍胡珊珊浅析《简爱》中的女性主义精神 [J] 2011 第十期。
英美文学莎士比亚论文
英美文学莎士比亚论文【篇一：英美文学莎士比亚论文】美国梦是一个术语，它第一次1931年由james adams在他的书美国史诗中创造。
美国梦是一个希望在这片土地上人们生活更好，更富有。
根据个人的能力和成就，每个人都有机会。
这是一个社会秩序的梦想，男人和女人有最高地位，他们是天生的，他论文类别：文学人气：2589 论文属性：短文 essay[内容预览]免费论文 free thesisliterature essay-wings of fire book review这本书是 a.p.j abdul kalam博士写的，他是印度的名誉主席。
”火之翼”是一部自传，它能够激励甚至一个普通人成为一个技术专家。
这本小说围绕著名科学家mr. kalam的生活和他分享他的经验和微小的他生活细节所写的。
我喜欢这本书把他个人生活的微妙的事实都放在一起。
他的家庭背景，他经历的痛苦和折磨，回忆这些是需要勇气的。
我读完这本书的那天，这样一个有影响力的人格深深地影响了我，它让我瞥见了积极思维的力量是如何帮助实现所有的可能性。
论文类别：文学人气：1470 论文属性：书评影评 book report/review, movie review [内容预览]免费论文 free thesis对比比较a rose for emily与a amp;p表现手法的异同做到让所有人满意所有人是非常困难的。
很多时候，人们以不同的他们认为好的方式行为对待他们认为值得他们这么多的人。
当这些行为的接受者并不认同他们所做的时往往会转而对抗他们。
“a rose for emily” 和“a amp;p”中萨米的行为，这两篇短文都对于故事如何发展探索构建不同的情节设计。
情节设计是在故事中一系列的事件和如何展开这些事件引起读者对这些事件所表达的内容有清晰的理解。
情节是清晰表现作者故事的导线，为它构建一个鲜活论文类别：文学人气：3045 论文属性：书评影评book report/review, movie review [内容预览]免费论文 free thesis赏析经典文学作品《伊利亚特》中男女性角色的差异随着对女性抱怨她们的社会处境问题的极大关注，女性在社会中的地位已经改变，她们在社会中扮演着所有重要角色，促进了社会的持续发展。
英文论文雾都孤儿性格分析
A Character Analysis of the Heroes of Oliver Twist and GreatExpectationsAbstractOliver Twist and Great Expectations are famous books of Charles Dickens, who is a great critic of reality. Both stories mainly describe the miserable lot of heroes, Oliver Twist and Pip. They both met with various peoples, some of them treat them bad or involve them into crime. However, some persons always help them and treat them well. During that time, they show many kinds of characters. Among this, the most especial ones are kindness and being grateful.Key words: kindness, grateful, ambition, innocenceⅠIntroductionOliver Twist was Dickens’ second novel, which marked the beginning of Dickens’ literary life. It concentrates on the hard years of an orphan, Oliver Twist, who was against the criminal world of London. It is the first novel that readers are led to a very sad world. The hero of this novel was Oliver Twist, an orphan, while reading the tragic experiences of the little Oliver; he was thrown into a world full of poverty and crime. He suffered big pain, such as hunger, thirst, beating; I was shocked by his sufferings. I felt sorry for the poor boy, but at the same time I detested the evil Fagin and the brutal Bill. To my relief, as was written in all the best stories, the goodness eventually conquered evil and Oliver lived a happy life at the end.Pip in the Great Expectations is at heart a very generous and sympathetic young man, a fact that can be witnessed in his numerous acts of kindness throughout the book(helping Magwitch, secretly buying Herbert’s way into business, etc) and his essential love for all those who love him. Pip’s main line of development in the novel may be seen as the process of learning to place his innate sense of kindness conscience above his immature idealsm.ⅡOliver’s Kindness2.1 His Kindness to the PoorIn the life of his working in the coffin shop, he expressed sympathy to the poor who were more misfortune than him. For example,” A man and an old woman stood near the body, Oliver was afr aid to kook at them.” why did Oliver don’t want to see them? That’s because he was too kind to have the heart to the poor. The society was full of selfishness and crimes, people in that time were mostly poor. The people’s relationship were desolated, this relationship can be seen in adults abundantly. However as a child who was only ten years old, he was kindhearted to the poor, he wasn’t influenced by that world. T hat’s valuable.2.2 His Kindness to CompanionOliver regarded of their position was good or bad, he was always thinking about his friend whose name was Dick in the slum study. As he was detained by Mr. Brown, I thought: if we are him, we will fell so gratified flexibly, but Oliver didn’t like that, he always thought that if he could had a look at little Dick, who was willing to endure hunger beaten; the small Dick probably just cried at that moment, after that, he still wanted to go to help him. This properly showed his kindness. He was so good, because he couldn’t forget his companion even though he was only in a better place than before. Undoubted that from what did Oliver just said, it can be seen that Oliver was various to his friend, That’s Oliver, that’s his Kindness to his friend.ⅢPip’s KindnessPip’s inner value, innocenceThe theme of crime, guilt, and innocence is explored throughout the novel largely through the characters of the convicts and the criminal lawyer Jaggers. From the handcuffs Joe mends at the smithy to the gallows at the prison in London, the imagery of crime and crim inal justice pervades the book, becoming an important symbol of Pip’s inner struggle to reconcile his own inner moral conscience with the institutional justice system. In general, just as social class becomes a superficial standard of value that Pip must learn to look beyond in finding a better way to live his life, the external trappings of the criminal justicesystem (police, courts, jails, etc.) become a superficial standard of morality that Pip must learn to look beyond to trust his inner conscience.Ⅳ ConclusionCharles Dickens is one of the greatest critical realists in English literature history. Oliver Twist is his masterpiece. It is Dickens’ favorite novel. Oliver Twist is a very moving story, it is the first novel that readers are led to a very sad world, and Oliver is such a role who has so many characters brave, kindness, innocence and so on. They are all showed from his attitudes towards the peoples and things around him. No matter whom they are, Oliver always expresses his kindness to them, no matter what the things are, difficult or good, he also showed brave. That’s the reason that he gets a good and happy life finally.While the most important theme in Great Expectations is that no external standard of value can replace the judgments of one’s own conscience. Characters such as Joe and Biddy know this instinctively; for Pip, it is a long and hard lesson, the learning of which makes up much of the book.When we think of the boys, their characters will give a deep impression on us .and they can be the positive sprit for us.Reference[1]孙华祥英国文学选读中国社会科学出版社2010[2]徐葆耕. 西方文学十五讲. 北京大学出版社, 2003[3]魏健英美文学鉴赏导读浙江大学出版社2008[4]Catherine Peters, Charles Dickens. Xi an World Publishing Corporation, 1998。
文学英语论文范文3篇
⽂学英语论⽂范⽂3篇⽂学圈课外阅读中学英语论⽂⼀、扣准概念，是⽂学圈在英语课外阅读中应⽤的基础毫⽆疑问，⽂学圈是核⼼概念。
根据丹尼尔的描述，笔者以为其所说的“⼀⼩群”与当前英语课堂上的⼩组类似，⼀个⼩组的成员即可成为这⼀⼩群学⽣（当然也可以是课后⾃由组合），“读⼀本书”保证了这⼀⼩群学⽣能够围绕同⼀个话题进⾏“深度研讨”“，圈”即“群体”，是学习的主体体现。
课外阅读是⽂学圈在本研究中赖以存在的基础，也是促进学⽣英语阅读能⼒的重要途径。
从当前中学英语教学的情形来看，因为英语作为⼀种语⾔，其能⼒提升更多地发⽣在学⽣课后的英语意识与英语交流上。
但第⼆语⾔的学习⼜决定了学⽣不⼤可能有⼀个良好的英语交流情境，⽽⽂学圈恰恰可以提供这样的情境。
这样，将⽂学圈与课外阅读紧密联系起来，就形成了⼀个可以利⽤前者促进后者的情境，从⽽在理论上进⼀步厘清两者之间的关系，亦为实践奠定基础。
⼆、精设步骤，是⽂学圈在英语课外阅读中应⽤的途径有了上述的理论基础，具体到实践中，⽂学圈⼜应当如何应⽤呢？笔者通过研究，寻找到了重要步骤。
⼀是基于共同爱好，共选⼀本书，共建⼀个组。
在学⽣进⼊初⼀时，笔者就注意帮学⽣形成良好的课外阅读习惯。
基于⽂学圈的思想，笔者推荐学⽣以《悦读联播》作为阅读材料，并根据⾃⼰的朋友圈去初步形成阅读圈，教师根据学⽣⾃主建⽴的阅读圈中成员的英语学习能⼒进⾏调整，让阅读圈成为⽂学圈。
这样，通过⼀本⼤家都愿意阅读（这⼀点很重要）的书，将⽂学圈形成。
⼆是围绕⼀个话题，从⽂学解读的⾓度深⼊阅读。
笔者以为⽂学圈是离不开对⽂学的研读的，尽管初⼀学⽣能⼒有限，但这样的要求可以给学⽣培养⼀种意识。
从英语⾏⽂特点的⾓度去阅读，去理解，然后在⽂学圈内交流，这样学⽣的阅读就不只是浅显的“读”的层次，更能抵达理解、运⽤的层次。
值得强调的是，这⼀过程中不能完全局限于学⽣理解后再交流再应⽤，因为语⾔有⼀个特点，即其有可能在应⽤中加深理解。
三是教师适度介⼊。
英语论文：英美文学作品中隐喻的翻译手法探析
英语论文：英美文学作品中隐喻的翻译手法探析摘要：隐喻的表现手法在英美文学中运用得非常广泛,隐喻也是一种思维方式和认知手段,本文对英美文学中隐喻词的翻译分析涉及到隐喻的理论概念等,对英美文学作品实例的运用进行了深入的探讨,进一步深化我们对于隐喻的认识,同时介绍了隐喻的三种翻译方法。
关键词：英美文学; 隐喻词; 翻译分析;隐喻是英美文文学中使用非常广泛的一种表现手法,能够让语言变得更加生动形象,而在翻译中,如何将隐喻翻译出来是我们研究的热点。
国内有关隐喻的研究主要是对于英汉成语或谚语中的习用性比喻的喻体进行比较,并分析了如何进行隐喻的翻译,能够准确地表达其中的含义。
目前国内有关隐喻的研究范围较窄,仅仅是针对诗学、修辞用语的隐喻翻译。
本文的研究扩大了研究范围,将对英美文学作品中隐喻的普遍运用进行了探讨和说明,通过实例分析提出了三种隐喻翻译的方法。
一、隐喻的定义及其特点隐喻作为一种修辞手法,能够是语言文字更加生动活泼,提升语言文字的魅力。
《朗文当代高级词典》对隐喻的定义是:“将一物比喻为具有相似品质的另一物,如她阳光般的微笑。
”《现代汉语词典》对隐喻的解释是:“隐喻是把某事物比拟成和它有相似关系的另一事物。
”虽然两种定义说法上有所区别,但是意思还是相近的,总的来说就是隐喻表现手法需要源域和目标域,源域和目标域之间需要有一定的相似之处或者有一定的联系,不能够毫无关系,将源域映射到目标域上,让人们能够通过目标域对源域有更加新颖和深刻的认识。
隐喻又称为暗喻,通过英文like和as表现出来的叫做明喻,而隐喻则是一种隐藏式的比喻,隐喻更加隐晦,难以琢磨,理解起来有一定的难度,但是会给文章增添更加丰富的色彩。
隐喻的表达方式是通过目标域的特征来反映出源域的各种特征或者本质。
隐喻的使用通常是通过动词或者名词、形容词等,在欧美文学作品中的具体表现形式也不外乎这几种,隐喻具有多样化的特点,更加委婉含蓄。
二、英美文学作品中隐喻的翻译手法隐喻这种表现手法深得创作者的喜爱,在古今中外很多文学作品中都能看到隐喻的身影。
英美文学论文
Name：符佩Study number: 32010013126Course name：English and American LiteratureInstructor：Professor PanDate：2011/11/10The Characters’ Influence on Pip in 《GreatExpectations》【Abstract】Charles Dickens has disclosed the insincerity of capitalistic society by describing Pip’s pursuing Great Expectations. So it is of great value to analyze the influence which the characters in it impose on pip’ personality development【Key Words】Pip; Influences ; Capitalistic Society; Personality Development; Charles Dickens; Great Expectations;1. Literature ReviewZhangjian. “He has analyzed deeply the major characters-Pip’s life and emotional development to reveal the unclad monetary of people and display the existence of paupers in the Victorian Age.” Analysis o f Characters in《Great Expectations》.Science and Technology Innovation Herald.Nei Monggol: 2010. NO.0.Zhuonifang、Lixin. “Charles Dickens was a master of characterization, skillful in drawing vivid caricature sketches by exaggerating some peculiarities. The paper describes Pip’s growth and maturity of soul and gives teenagers some advices on howto achieve our value of life.” Analysis of Characters in《Great Expectations》.China Academic journal electronic publishing house.1994-2010.Guorong. “Charles Dickens disclosed the inclemency of capitalist society by describing the break of Pip’s great expectation. It is meaningful to analyze the relationship between Pip and four female characters in《Great Expectations》” Study on thg Relatioship Between Pip and Four Female Characters. Hunan: Journal Of Harbin University. Öo* l 30 No . 5 May 2009.2．Brief introductions2.1 The plotThe story is divided into three phases of Pip's life expectations.In the first expectation, Pip lives with his ill-tempered older sister and her husband, Joe Gargery. Pip is satisfied with this life until he is hired by an wealthy woman, Miss Havisham, as an occasional companion to her and her beautiful daughter, Estella. From that time on, Pip aspires to leave behind his simple life and be a gentleman. The life is suddenly turned upside down when he is visited by a London attorney, Mr. Jaggers, who informs Pip that he is to come into the "Great Expectation" .The second stage of Pip's expectations has Pip in London, learning the details of being a gentlemen. He now is supported by a generous allowance, which he frequently lives beyond. He learns to fit in this new milieu, and experiences not only friendship but rivalry as he finds himself in the same circles as Estella. As he adopts the physical and cultural norms of his new status, he also adopts the class attitudesthat go with it, and when Joe comes to visit Pip, Pip is embarrassed to the point of hostility by Joe's unlearned ways, despite his protestations of love and friendship for Joe. At the end of this stage, Pip is introduced to his benefactor, again changing his world.2.2 Charles Dickens (1812-1870)Called “the Shakespeare of the Novel” by F. R. and Q. D. Leavis, Dickens left to the world a rich legacy of 15 novels, and a number of short stories, which offer a most complete and realistic picture of English society of his age and remain the highest achievement in the 19th century English novel.Very few English writers have created such a great number of living characters as Dickens. There are about 19 hundred figures, some of them are really "typical characters under typical circumstances," that they become proverbial or representative of a whole group of similar persons. Dickens was a master of characterization, skillful in drawing vivid caricatural sketches by exaggerating some peculiarities, and in giving them exactly the actions for the right person. George Eliot wrote that he "can with a phrase make a character as real as flesh and blood."2. The creator of “Great Expectations”-----Abel MagwitchAbel Magwitch is a convict who escaped from the prison. The first time Pip was scared by him but helped him .Pip’s kindness made a deep impression on the convict who determined to help pip become a rich gentleman by his hand.A fearful man , all in coarse gray, with a great iron on his leg. A man with no hat, and with broken shoes, and with an old rag tied round his head. A man who had been soaked in water, and smothered in mud, and lamed by stones, and cut by flints, and stung by nettles, and torn by briars; who limped, and shivered, and glared, and growled; and whose teeth chattered in his head as he seized me by the chin. （Charles Dickens Page 3）From the first describe of the convict，we can see that the initial personality of Pip which is innocent, kind-hearted and timid. However, with the assistant of the convict, pip become snobbish and money worship. As the saying goes “money is so powerful for someone.”, the convict’s money has turned Pip into a selfish and snobbish man from a innocent kid.3. Joe Gargery and Mrs Joe shape the original goodness of PipJoe is a kind blacksmith. He is willing to do anything for his loving person such as Pip and his wife. He treat Pip as his brother and always protect him from Mrs Joe’s abuse. Under the influence of Joe, Pip learn to put up with all the hardship of life and never hurt others. At this time，he is innocent and virtuous and just want to become a helpful blacksmith like Joe.Besides Pip’s elder sister was described by Charles Dickens like that “My sister, Mrs. Joe, with black hair and eyes, had such a prevailing redness of skin that I sometimes used to wonder whether it was possible she washed herself with a nutmeg-grater instead of soap. She was tall andbony, and almost always wore a coarse apron, fastened over her figure behind with two loops, and having a square impregnable bib in front, that was stuck full of pins and needles.”（Charles Dickens Page 7）. From the appearance and dressing of Mrs Joe ,we can infer that she is rude、doughty and irascible. But at least she has replaced Pip’s mother and build the basis of Pip’s future.4. The bad influence on Pip form Miss HavishamHaving been abandoned by her first lover, Miss Havisham has been in a despair for love. The failure in love made she lose confidence and control of life. She begin to retaliate all the man. Unfortunately Pip become the victim. Miss Havisham use Estella’s beauty to play man’s affection. Estellla is a cool beauty who absorbed Pip at the first time. Face up with Pip’s sorrow, Miss Havisham just say“love her ,love her, love her! If she like you, love her! If she hurts you, love her! If she tears you heart to pieces, love her! 0 [ 2 ] ( P254)”. Because of Miss Havisham, Pip’s amour-propre begin to germinate and put all irons in the fire to entre the upper society.5.Estellla causes Pip’s avaricious and arrogant personality.Estellla is a orphan without any families. She is just a tool of Miss Havisham to retaliate all the man. With the attractive appearance，it is easy for her to absorb any boy she wants. But she is cold-blooded and live just like a machine.When the first time Pip saw Estellla, she was like a beautiful but arrogant peafowl. “she was beautiful, and as proud as a queen. We went through many dark passages until we reached a door, where she left me, taking her candle with her. ” After it, Pip fell in love at first sight despite her mock. Gradually, Pip becomes selfish and arrogant to appeal for Estellla. He look down on his poor family and degrade tast friends. This is the reflection of the vice of Pip’s heart. HoweverEstellla is of course the culprit of Pip’s change. She make him crazy for money and being a generous gentleman.6.ConclusionsCharles Dickens is one of the famous critical realists in England. In Great Expectations, Dickens port rays the vanishing process of Pip s great expectations and exposes hypocrisy and danger of the capitalist society. Analyzing the influence of characters on the development of Pip’s personality in Great Expectations has important significance on exposing the relationship between disillusionment of Pip’s great expectations. Pip’s cragged life and the break of great expectations reflect his change of personality from naivete to apartness, which is mainly associated with the major characters in his life. Beside every role in this famous novel has its own feature and meaning.Bibliography ReferencesSanved, ed. The Oxford Book of American Literary Anecdotes[C]. New York: OUP, 1981.Charles Dickens The Great Expectations Oxford University PressCharles Dickens Wangkeyi The Great Expectations [M ]. Shanghai Shanghai Translation Publishing House, 1980 .Aixiaoling. The feature of 《The Great Expectations 》[ J] Sichuan University Press 2000.Symons J . Introduction to Great Expectations [M ]. London : Pan Books Ltd , 1974Charles Dickens The Great Expectations Yilin PressCharles Dickens The Great Expectations FOREIGN LANGUAGETEACHING AND RESEARCHPRESS PPT of professor Pan。
英语本科专业英美文学方向毕业论文选题参考
1. An Analysis of Hardy’s Comparisons in Tess of the d'Urbervilles浅析哈代在《德伯家的苔丝》中对比手法的运用2. The Use of Hemingway’s Iceberg Theory in The Old Man and the Sea海明威“冰山原理”在《老人与海》中的运用3. An Analysis of Alec’s Personalities in Tess of the d'Urbervilles解读《德伯家的苔丝》中阿雷克的性格4. An Interpretation of the Female Character Estella in Great Expectations《远大前程》中女性形象艾丝黛拉解读5. An Interpretation of the Female Character Miss Havisham in Great Expectations《远大前程》中女性形象郝维辛小姐解读6. The Use of Stream of Consciousness in Mrs. Dalloway浅析《达洛维夫人》中的意识流运用7. Fatalism in Tess of the d'Urbervilles by Thomas Hardy哈代的宿命论在《德伯家的苔丝》中的体现8. An Analysis of Thomas Hardy’s Attitudes towards the Heroine in Tess of the d'Urbervilles哈代对《德伯家的苔丝》中女主人公的态度解读9. An Interpretation on the Themes of the Poems Written by Emily Dickenson艾米莉·狄金森诗歌主题解读10. A Comparative Study between the Heroines’ Personalities in Jane Eyre and Wuthering Heights 《简·爱》与《呼啸山庄》女主人公性格对比研究11. An Analysis on the Causes of Tess's Tragedy苔丝悲剧人生的成因分析12. An Interpretation of the 18th-cen tury English Female’s Choice of Husbands from Jane Austen’s Novels从简·奥斯丁作品解读十八世纪英国女性择偶观14. A Comparative Study of Three Chinese Versions of “Of Studies”《论学习》三种汉译本比较研究15. Translation Strategies and Techniques of Long Sentences in TEM 8英语专业八级中长句的翻译策略与技巧16. A Survey on the Status of English and American Literary Classics’ Reading of English Majors英语专业学生阅读英美文学名著状况调查17. A Survey on the Current Teaching Situation of English and American Literatures in Universities of China关于我国高校英美文学教学现状的调查报告18. A Survey on the English Majors’ Current Learning Situation of English and American Literatures in Universities of China高校英语专业学生英美文学学习现状调查报告19. A Survey on the Current Situation and Countermeasures of the Course of English and American Literatures’ Marginalizatio n英美文学课程“边缘化”现状调查与对策研究20. A Survey on the English Majors’ Use of Electronic Dictionaries in Learning English and American Literatures英语专业学生在英美文学学习中使用电子辞典情况调查分析21. An Analysis of the Writing Features of the Short Stories by O. Henry欧亨利短篇小说写作手法分析22. An Interpretation on the Themes of the Poems Written by Edgar Allan Poe爱伦坡诗歌主题解读23. An Interpretation on the Views of Nature from the Poems Written by William Wordsworth浅析华兹华斯诗歌中的自然观24. An Interpretation of the Female’s Images in Hamlet《哈姆雷特》中的女性形象解读25. An Analysis of the Male Protagonist’s Personality Development from Great Expectations《远大前程》男主人公性格发展分析26. A Comparative Study between the Two Heroines of Vanity Fair《名利场》两位女主人公比较研究27. An Analysis on the Causes of Heathcliif's Tragedy from Wuthering Heights《呼啸山庄》男主人公悲剧人生原因分析28. A Survey on the Status of English and American Literary Classics’ Reading of English Majors驻保高校英语专业学生阅读英美文学名著状况调查29. A Survey on the English Majors’ Current Learning Situation of English and American Literatures in Universities of China驻保高校英语专业学生英美文学学习现状调查报告30. A Survey on the Current Situation and Countermeasures of the Course of English and American Literatures’ Marginalization英美文学课程“边缘化”现状调查与对策研究31. A Survey on the Influence of Movies Adapted from Literary Works on the Current Learning Situation of English and American Literatures文学名著改编电影对改善英美文学学习现状的调研报告32. An Analysis of Symbolism in “A Rose for Emily”浅析《献给艾米丽的一朵玫瑰》中的象征意义33. A Comparative Study of Three Chinese Versions of “Of Studies”《论学习》三种汉译本比较研究本文档部分内容来源于网络，如有内容侵权请告知删除，感谢您的配合！。
英美文学论文
英国文学之杰弗里·乔叟 (Geoffrey Chaucer.1343-1400)摘要: 杰弗里·乔叟（Geoffrey Chaucer，1340年—1400年），英国中世纪著名作家，中世纪最伟大的诗人，出生于一个酒商家庭。
1359年随爱德华三世的部队远征法国，被法军俘虏，不久以黄金赎回。
乔叟当过国王侍从，出使许多欧洲国家，两度访问意大利，发现了但丁、薄伽丘和彼特拉克的作品，对他的文学创作起了极大的作用。
代表作：《坎特伯雷故事集》（The Canterbury Tales）其他作品《公爵夫人之书》(Book of the Duchess)、《声誉之宫》(The House of Fame)、《百鸟会议》(The Parliament of Fowles)、《贤妇传说》(The Legend of Good Women)以及《特洛伊罗斯与克丽西达》(Troilus and Criseyde)。
乔叟于1400年10月25日在伦敦逝世，葬于威斯敏斯特教堂里的“诗人之角”。
乔叟的死因不明，可能死于谋杀。
关键字：杰弗里·乔叟《坎特伯雷故事集》中世纪的最后一位诗人。
莎士比亚或许是英国最有名的诗人，可是他却无缘于英国诗人之父这个称号，为英国诗歌导路的是在他200年前的诗人乔叟，一个姓乔的老头。
1343年出生的乔叟是伦敦酒商的儿子，十几岁起进入宫廷当差。
1359年随爱德华三世的部队远征法国，被法军俘虏，不久赎回。
乔叟与宫廷往来密切，当过廷臣、关税督察、肯特郡的治安法官、郡下议院议员。
他曾因外交事务出使许多国家和地区，到过比利时、法国、意大利等国，有机会遇见薄伽丘与彼特拉克，这对他的文学创作产生了很大的影响。
乔叟在庇护者失宠期间，被剥夺了官位和年金，经济拮据。
他曾写过打油诗《致空囊》，给刚登基的亨利四世，申诉自己的贫穷。
1400年乔叟逝世，安葬在伦敦威斯敏特斯教堂的“诗人之角”。
他首创的英雄双韵体为以后的英国诗人广泛采用，因而被后人誉为“英国诗歌之父”。
英美文学论文___到灯塔去
Analysis of Stream of Consciousness and Feminism inTo the LighthouseBy10-3，名字(No.201015310325)A paper submitted in partial fulfillment ofthe requirements for literature classto the Qinggong CollegeHebei United UniversityDecember 2012ABSTRACTVirginia Woolf is one of leading writers through Europe in the beginning of 20th century, who is one of the famous writers like George Eliot, Jane Austin. To the Lighthouse is one of famous works, which hasn’t complete and complex plots. Stream of consciousness is previous characteristic of her works. She pays more attention to describing internal emotion of characters; meanwhile, she also uses symbolism, and lighthouse is hope to people. She is also a feminist, and she thinks female should have independence, only like that, could female have real life of themselves. The paper mainly studies feminist and stream of consciousness of Woolf’s novel of To the Lighthouse.KEY WORDS:Stream of Consciousness To the Lighthouse Feminist摘要弗吉尼亚·伍尔夫是英国20世纪初期风靡欧美的意识流小说的开山鼻祖之一，与乔治·艾略特﹑简·奥斯丁同为英国最杰出的女作家。
英语语系下英美文学对比与分析的论文
英语语系下英美文学对比与分析的论文本文从网络收集而来，上传到平台为了帮到更多的人，如果您需要使用本文档，请点击下载按钮下载本文档（有偿下载），另外祝您生活愉快，工作顺利，万事如意！英语语系下英美文学对比与分析一引言英美文学是当今世界上最具影响力的文学代表,文学史上诞生了一批世界闻名的文学家及经典作品,如:英国的莎士比亚( shakespeare,1564-1616),主要作品有《罗密欧与朱丽叶》、《哈姆雷特》、《麦克白》等。
美国作家马克•吐温,(mark twain l835-1910),其作品有《汤姆•索耶历险记》、《败坏了哈德莱堡的人》、《密西西比河的往事》。
海明威的长篇小说《过河入林》和中篇小说《老人与海》。
这些优秀的作品影响了几代人,经久不衰。
外国文学及欣赏也早已成为一门高级文化课程(high culture)。
文学是对人生体验的文化表征。
文学作品隐含对生活的思考、价值取向和特定的意识形态。
阅读英美文学作品,不仅是提高英语学习水平的一种方法,也是了解西方文化的一条重要途径,可以接触到支撑表层文化的深层英美语言文化,即西方文化中带根本性的思想观点、价值评判、西方人经常使用的视角,以及对这些视角的批评。
还能有助于我们开阔眼界,了解外国文化,丰富我们的知识,启迪我们的智慧,繁荣我们国家的文学创作。
二英美文学发展史及特点英美文学是对时代生活的审美表现,是英国人民和美国人民创造性使用英语语言的产物。
英语表意功能强,文体风格变化多,或高雅、或通俗、或含蓄、或明快、或婉约、或粗犷,其丰富的表现力和独特的魅力,在英美作家的作品里得到了淋漓尽致的发挥。
阅读优秀的英美文学作品,可以感受到英语音乐性的语调和五光十色的语汇,回味其“弦外之音”,吸取精华,促进中国文学发展。
就英美文学而言,可选择小说、诗歌、戏剧、文学批评理论、作家作品、文学流派、文学史、中外文学比较等作为讲授对象。
1 英国文学史特点英国文学渊源流长,经历了长期、复杂的发展演变过程。
经典英文论文模版
Blue Order: Wallace Stevens’s Jazz Experiments Corey M. TaylorJournal of Modern Literature, Volume 32, Number 2, Winter 2009, pp.100-117 (Article)Published by Indiana University PressDOI: 10.1353/jml.0.0048For additional information about this articleAccess Provided by Purdue University at 08/22/12 4:11PM GMT/journals/jml/summary/v032/32.2.taylor.htmlBlue Order:Wallace Stevens’s Jazz ExperimentsCorey M. TaylorRose-Hulman Institute of TechnologyWallace Stevens, one of America’s most recognizable modernist poets, separated himself from social, political, cultural, and even aesthetic milieus of the modernist era. His aloof-ness notwithstanding, modern tenets such as meditations on reality, debates about culture, and experimentation with music occur in Stevens’s poetry. Critics often, and rightly, align the musical qualities of Stevens’s verse with classical motifs. This article places the musi-cality of Stevens’s poetry in a jazz context, and contends that poems from throughout his career — especially in Harmonium (1923) and Ideas of Order (1936) — contain jazz elements and can be read as jazz texts. Stevens employs linguistic repetitions, thematic variations, improvisatory flourishes, allusions, and wordplay that indicate the influence and presence of jazz, without ever mentioning the music by name. Ultimately, Stevens can be considered a poet who experimented with jazz, giving his work additional sonic and contextual resonance.Keywords: Wallace Stevens / modernism / jazz / poetry / improvisationI n 1900, a degree from Harvard in hand, Wallace Stevens lived in Lower Man-hattan and worked the graveyard shift at the New York Tribune. He enrolled in New York Law School in 1901, graduated in 1903, joined the New York bar in 1904, and traded law for the insurance business in 1908 (Kermode and Richard-son 960–61). Despite his formal education and employment, Stevens lived like a bohemian during these years. He attended and wrote plays, immersed himself in politics, and drank a good deal. In the 1910s, he established friendships with modernist artists and critics including William Carlos Williams, Marcel Duchamp, Carl Van Vechten, and Walter Conrad Arensberg. These and other individuals first exposed Stevens to cubism and surrealism, movements which Glen MacLeod claims profoundly impacted Stevens’s development as a poet (58).1 Thus began one of twentieth-century literature’s double lives: Wallace Stevens — insurance company man and inventive modernist poet.Ironically, when he was in his twenties, Stevens wrote little of anything and published no poetry. He did, however, develop an affinity for one of the early twentieth century’s most popular musical styles. According to Linda DuRose,Blue Order: Wallace Stevens’s Jazz Experiments 101 after leaving Harvard “the young Stevens . . . was struck by the playful tempos and irregular rhythms of a new style of music played by African Americans” (7). DuRose refers to ragtime, the immediate predecessor of jazz, which is perhaps the quintessential American (and modernist) art form. Living and working in New Y ork City provided Stevens with several opportunities to listen to ragtime and early jazz, and to establish connections with musicians and other artists. Indeed, both ragtime and jazz would have a definite effect on Stevens’s poetry.It must be said, though, that associating Stevens and his work with ragtime, jazz, or any facet of African American culture presents certain problems. Even though his first collection, Harmonium, appeared in 1923 — the same year as Jean Toomer’s Cane unofficially initiated the Harlem Renaissance — little evidence exists that Stevens felt any interest in or camaraderie with young African American artists. C. Barry Chabot wonders how Stevens could remain detached from authors and socio-aesthetic movements that resided in such close proximity to him (142). Rachel Blau DuPlessis echoes Chabot’s sentiment, noting that in his personal and public writings Stevens rarely contemplated contemporary artistic, social, and political movements involving African Americans (195 n.12). Nevertheless, references to race and jazz occur in Stevens’s poetry. A consideration of Stevens’s uses of African American music affords a unique opportunity to reassess his work.Stevens’s name does not often arise during discussions about jazz poetry. Given his personal taste in music, this seems understandable. He was not a professionally-trained musician, but Stevens sang and played piano, harmonium, and guitar. Stevens also cultivated a refined musical ear. He admired classical European com-posers, often attending recitals and symphonies and, according to Michael Hertz, sometimes altering his business itineraries to do so (231).2 He also accumulated a music library of works by notable nineteenth-century composers, supplemented by only a few twentieth-century musicians (Stegman 79–80). Avant-garde music and especially jazz are conspicuously absent from Stevens’s record collection. We can safely assume that Stevens knew of jazz, especially if, as DuRose mentions, he listened to ragtime.Stevens’s concertgoing schedule and record collection help explain jazz’s understated, yet vital, presence in his poetry. He listened to classical music, but acknowledged the import of ragtime without ever overtly saying so; indeed, it is not difficult to imagine Stevens listening to Scott Joplin or W. C. Handy in social settings, even if he owned none of their records and attended none of their concerts. His predilection for classical music aside, Stevens exhibited what Barbara Hol-mes calls “an aesthetic based at once on mobility, changefulness, and apposition,” and “an improvisatory and generally varying attitude” (16). Stevens’s approach to poetry allowed him to incorporate elements of ragtime and jazz. By and large, in the 1920s jazz was considered a “low” style of music that connoted decadence and depravity; not until the advent of bebop in the middle of the twentieth century was it considered a serious (“high”) art form, as classical music once was. Dur-ing the modernist era, some composers defended jazz against spurious charges, including James Weldon Johnson and Antonin Dvorák. Similarly, Igor Stravinsky102Journal of Modern Literature Volume 32, Number 2 and George Gershwin caused outrage when they incorporated jazz elements in their symphonic works.3 Improvisation, variation, and repetition — all hall-marks of jazz — occupy central positions in Stevens’s musical taste and are keys to understanding his jazz experiments.Recent criticism has emphasized the influence of African American music and culture on Stevens’s work, but stops short of naming him a jazz poet. Michael Soto, for instance, counts Stevens among the modernist authors who worked in a jazz idiom, alongside contemporaries ranging from Gertrude Stein and Richard Wright (176). He also acknowledges the difficulty faced by Stevens and other modernists in treating jazz music, culture, and performers without making dubious assumptions. Jazz, Soto claims, “provides U.S. writers with an illustration of what is assumed to be a racial connection between American identity and American cultural expres-sion” (167). Stevens’s oblique references to and employment of jazz can be read as establishing a genuinely American type of poetic expression, as Dvorák wanted to do with slave spirituals and American music (Horowitz B18). But what of the racial implications of such an establishment?DuPlessis explores a similar question, finding Stevens’s use of black cultural forms ambivalent at best. In letters, Stevens both identified himself with and used racial epithets against African Americans; in poems such as “Two Figures in Dense Violet Night,” Stevens created vivid, earthy, and mystical African American characters that provide poetic inspiration, even as his poetry contains problematic instances of racial language (DuPlessis 3, 119). Stevens, like several of his con-temporaries, proved incapable of establishing a poetic jazz discourse that did not rely somewhat on primitivist, animalistic, or even racist vocabulary.4 Nevertheless, readers cannot ignore his subtle adaptations of African American music. We are thus left with a vexing situation when analyzing Stevens’s jazz experiments: On the one hand, readers can hear jazz in his poetry; on the other, racial insensitivity and an ostensible favoring of classical music also crop up consistently. How, then, can we take seriously the presence of jazz in Stevens? What does this paradox do to our conception of Stevens as a “high” modernist poet?Answers to these questions may be found through a cursory examination of Stevens’s conception of a “modern” poet. When he won the 1951 National Book Award for The Auroras of Autumn (1950), Stevens announced that Sir Walter Scott was no longer relevant to the mid-twentieth century. Scott’s work resembles “the scenery of a play that has come to an end. . . . In short, the world of Sir Walter Scott no longer exists. It means nothing to compare a modern poet with the poet of a century ago. It is not a question of comparative goodness” (Collected Poetry and Prose 835).5 While the speech seemingly endorses modernism, Stevens deflates modernism’s importance shortly thereafter. He defines a “modern poet” as “nothing more than a poet of the present time,” and argues that a modern poet must “find, by means of his own thought and feeling, what seems to be to him the poetry of his time as differentiated from the poetry of the time of Sir Walter Scott, or the poetry of any other time, and to state it in a manner that effectively discloses it to his readers” (CPP 835). Stevens acknowledges modern poets, and yet delineates theirBlue Order: Wallace Stevens’s Jazz Experiments 103 function in a simple manner. He also succinctly defines the task of modern poets in “Mozart, 1935”: “Poet, be seated at the piano. / Play the present” (CPP 107). He does so again in “Of Modern Poetry,” referring to the poet as “A metaphysician in the dark, twanging / An instrument, twanging a wiry string” (CPP 219). Both of these passages contain musical references that allude to both classical and jazz, and perhaps even the blues (“the piano,” “twanging a wiry string”).The exclusions from Stevens’s definition of “modern poetry” — fragmentation, disillusionment, and jazz, among other things — prove just as telling as his inclu-sions. Stevens’s comments and elisions demonstrate his distance from traditional modernist devices, and that he fashioned himself peripheral to modernism as an overall movement. Stevens remained content to write and publish poetry without joining political parties or aesthetic movements (Chabot 193). He conferred in person with and wrote letters to radical modernists, he knew of and employed modernist artistic practices, but Lee Margaret Jenkins points out that Stevens himself was never an avant-garde in terms of politics or art (18). He borrowed, too, from jazz musicians, just as he did from the painters he met through the Arensberg Circle. Stevens’s simultaneous engagement with and distance from modernist practices helps explain why African American music in his work remains largely unnoticed. Hence the phrase “jazz experiments,” as if Stevens were unsure of how to approach jazz poetically.The aloof Stevens produced poetry without an obvious larger context. Gener-ally, when his poems utilize jazz techniques, they do so surreptitiously; when his poems tackle larger issues, they do so abstractly. As such, he cultivated an indirect relationship with African Americans and with the poetic use of African American materials. The presence of jazz techniques in Stevens’s work also speaks to the mat-ter of cultural ownership. Stevens was not the first or only white author to employ African American music, or to rely on primitivist discourse. Critical interpretations of Stevens’s references to race run from DuRose’s claim that his poems show him “applying blackface” in the guise of a minstrel (8), to Michael North’s assessment that Stevens performed “rebellion through racial ventriloquism” (9). These terms and their connotations are borne out in several poems. Moreover, poems in which Stevens uses racial slurs could be criticized in much harsher terms. It is too simple, though, to dismiss Stevens as a minstrel, a puppeteer, or a racist. Racial ambiguities and poor word choice should not be ignored, but more often than not, Stevens pays homage to black music when he rags or jazzes his lines.6Stevens’s partial alignment with modernism allowed him to adopt an impro-visatory stance, commingling contradictory musical elements in his poetry to cre-ate something new and different. Throughout his poetic career, Stevens relied on linguistic repetitions, thematic variations, improvisational flourishes, allusions, and wording that indicate jazz’s presence, even if it is not explicitly named.7 Further-more, Stevens’s jazz experiments suggest — in modernist fashion — an alternative ordering principle, a means by which people can make sense of the tumultuous world. I call Stevens’s principle a “blue order,” with a nod to the African American musical techniques with which he experiments. Jazz, concurrently flaunted and104Journal of Modern Literature Volume 32, Number 2 obscured, functions as a philosophical (rather than a social or a political) order-ing principle, meaning that music can fundamentally change how people engage with “reality.” When Stevens employs repetition, variation, and other techniques, he indicates jazz’s ability to provide listeners with a means to understand their existence. In the following discussion, I will explore seven poems that demonstrate Stevens’s unique jazz poetry. Two are taken from Harmonium, three come from Ideas of Order, and the two final examples are little-known poems, “Banjo Boomer” and “The Sick Man.” While these are not the only jazz poems in Stevens’s canon, I choose to discuss them because they seem to best demonstrate jazz’s pervasiveness in his poetry as a whole.In Harmonium, Stevens plays with musical ideas and themes that would recur in his work. His musical poetry, which includes poems that sound musical and poems that concern music, constitute a series of variations on a theme, lending his poetic output a jazz shape. The expanded editions of Harmonium (1931 and 1936) underscore the prevalence of repetition and variation, as do his rejected suggestions that Harmonium be called The Grand Poem: Preliminary Minutiae and that his Collected Poems be called The Whole of “Harmonium” (Blessing 3). Even the title suggests his overarching poetic and musical intentions. As Anca Rosu writes, Stevens’s title carries a dual meaning, “through its reference, on the one hand, and through its sound, on the other, and the difficulty is that the two are inextricable” (ix). Harmony puns on “harmonium” and acquires added significance in poems that deal with musical subjects or that exhibit musical language. The harmony between the musical language and subjects of “Sad Strains of a Gay Waltz” and “Banjo Boomer,” for instance, renders the poems doubly musical. The principle of harmony also provides a means for classical and jazz elements to cross-pollinate. Consider-ing the resonances of “harmonium” — the sign that signifies a keyboard instrument and the sound of the sign — allows for the treatment of Stevens’s poems as songs.But how do a harmonium and Harmonium operate in a jazz context? Explica-tions of Stevens’s poetic idiosyncrasies and techniques — repetitions and variations, whether linguistic or thematic — should elucidate his jazz experiments. While not every repetition or variation relates specifically to jazz, in several poems Stevens employs these techniques in conjunction with or in close proximity to musical references. Repetition and variation hold significant places in African American music. James A. Snead argues that “[w]ithout an organizing principle of repeti-tion, true improvisation would be impossible, since an improviser relies upon the ongoing recurrence of the beat” (70). That repetitions and variations could help organize a poem — or a musical composition, or one’s perception of reality — was not lost on Stevens. Even words that lack a denotative meaning contribute to Stevens’s jazz experiments. Irvin Ehrenpreis contends that “nonsense” language connotes folk music, jazz dancing, avant-garde poetry, and the music of nature, all of which involve some level of spontaneity (224–25).8 Linguistic approximations of sounds and instruments could prove significant, if fraught with racial tension.A seemingly meaningless word could be an attempt by Stevens to obtain African American cultural material, or even to adopt a black identity (DuPlessis 81–82).Blue Order: Wallace Stevens’s Jazz Experiments 105 Problems aside, repetitions, variations, and “nonsense” in Stevens’s work all signal the presence of jazz. These techniques resemble riffs on preexisting melodies and chord sequences, which provide the backbeat to Stevens’s improvisations.Harmonium utilizes jazz overtly and covertly, fusing music and metaphysics, evoking music through variation and repetition, and exploring the abstract rela-tionship between reality and the imagination. In “A High-Toned Old Christian Woman,” Stevens considers the clash of old (classical) and new ( jazz) music, favoring the latter. The speaker explains to the eponymous woman that poetry, “the supreme fiction,” can “Take the moral law and make a nave of it / And from the nave build haunted heaven. Thus, / The conscience is converted into palms” (CPP 47). Human minds, to which the speaker refers as “conscience,” and the information that they process can be ordered (“converted”) by poetry, music, and other art forms. However, art can also subvert, or even undo, the power of traditional religious and social mores. When poetry considers “[t]he opposing law,” meaning anything secular, a transformation occurs: “Thus, our bawdiness, / . . . Is equally converted into palms, / Squiggling like saxophones” (CPP 47). “Squiggling” does not ring negative, but instead connotes both playfulness and seriousness. Indeed, one could describe the instrument’s sounds or the performances of some jazz saxophonists as “squiggling.” Stevens describes the musical and extra-musical effects that art, no matter the genre, has on the listener. Art that treats secular subjects, which oppose the Christian Woman’s standpoint, can “project a masque / Beyond the planets” and sanctify the universe (CPP 47). Here, Stevens may be performing a task similar to one undertaken by blues and jazz musicians — playing the sacred and secular realms off of each other. Many bluesmen and blueswomen could play spirituals as easily as songs about lost love and bad whiskey. Several Saturday-night juke joint patrons and cabaret dwellers could be found at church on Sunday.9 Stevens likely never spent time in a juke joint, but in “A High-Toned Old Christian Woman,” he casts his lot with the secular over the sacred, with jazz over classical music.The mention of a saxophone marks the poem’s first instance of jazz. With tongue in cheek, the speaker equates “saxophones” with “bawdiness,” but deflates that charge by endowing saxophone music with the “fictive” power to entertain, enlighten, and shape the surrounding world into a form that makes sense (CPP 47). The poem does not equate jazz with the false charges levied against it dur-ing the 1920s, such as its association with bootlegged liquor during Prohibition and the decline of morality (Crawford 349). Instead, the narrator rebukes jazz’s perceived hedonism by embracing its imaginative and reality-ordering qualities. Religion, the system espoused by the poem’s addressee, no longer seems useful to the speaker. The narrator wants to substitute music in its place, since it performs a similar function, which would horrify the woman: “This will make widows wince. But fictive things / Wink as they will. Wink most when widows wince” (CPP 47). The “widows” might listen to classical music and hymns, but certainly not to jazz. The “fictive things” likely refer to art in general, although it could mean jazz in particular.10 Bizarre imagery, improvisational flourishes, and syncopated rhythms are features of jazz that older generations and the faithful would not understand106Journal of Modern Literature Volume 32, Number 2 and thus brand as evil, designed to beguile American youths into drinking, dancing, and fornicating. Such a standpoint denied jazz’s imaginative and “fictive” qualities. Jazz can “Wink most when widows wince,” one of its greatest powers (CPP 47). The poem’s alliterative, nonsensical closing lines — “tink and tank and tunk-a-tunk tunk” (CPP 47) — solidifies the music’s ability to transmute the secular (profane) into the sacred.“Two Figures in Dense Violet Night” also considers jazz in unique and dif-ferent ways. The poem addresses a woman, but not as “A High-Toned Old Chris-tian Woman” does. In “Two Figures,” the woman (especially her voice) vacillates between muse and siren. It is a wooing poem, although Stevens recasts the genre to fit his purpose: “Speak, even, as if I did not hear you speaking, / But spoke for you perfectly in my thoughts, / Conceiving words” (CPP 69). The woman’s voice pleases the speaker so much that it seems to originate in his mind rather than in the physical world. Stevens’s syntax suggests the possibility that the woman may be imaginary, or that the poem’s persona speaks for her. But the tone of the line, “Speak, even, as if I did not hear you speaking,” sounds more akin to a plea than a command. The female voice acts freely and has a sonorous, musical tone, even though Stevens describes it indirectly. He compares the woman’s voice to his thoughts, “as if” he did not hear her. It is almost as if the speaker mistakes his companion’s voice for his own.Stevens draws a thin line between real and imagined in “Two Figures.” Ironi-cally, the very thing that at first confounds the speaker ultimately gives him solace. The narrator likens the effect of the woman’s voice to “the [way] night conceives the sea-sounds in silence, / And out of their droning sibilants makes / A serenade” (CPP 69). Nature orchestrates its own music and arranges its own reality, but sometimes the human voice can perform a similar function. The alliteration conveys the sea’s hissing, faint yet audible, and orders the speaker’s reality at that moment. While on the surface “Two Figures” appears unrelated to jazz, an element of the music manifests itself in a specific subtext: call and response. The sea’s disordered sounds, mediated by the woman’s voice and the narrator’s imagination, behave in a call and response manner. The overlapping voices order a confusing reality, a phenomenon witnessed again in “The Idea of Order at Key West.” Voices, styles, and instruments speak back and forth to each other in blues and jazz songs; call and response can occur between a blues singer and his guitar, between the rhythm section and soloists in a jazz orchestra, between the lines of a stanza, and even between a human voice and the sound of the ocean.Different shades of blue, patterns of light and dark, and the image of palm trees create a rich visual palette in “Two Figures” that matches its sonic qualities. Colors also contribute to the poem’s musicality. The night is dark, but its scant moonlight and violet hues are enough to illuminate the two (technically, three) personae. The woman’s voice makes “the palms clear in a total blue, / [both] clear and obscure” (CPP 70). Palm trees allude to the imagination, as in “A High-Toned Old Christian Woman.” Here in “Two Figures,” the woman’s voice allows the speaker to view palm trees in both a “clear and obscure” manner. While the woman does not sing, theBlue Order: Wallace Stevens’s Jazz Experiments 107 musicality of her voice simultaneously elucidates and clouds the speaker’s percep-tion, rendering the nighttime scene “in a total blue.” Blue in Stevens’s poems, claims George McFadden, often alludes to the imagination’s power to order the natural world, to reconfigure reality (192). The palm trees may be distinct or indistinct, Key West may be near or far, and there may or may not be “buzzards crouch[ing] on the ridge-pole” — these all depend on the woman’s voice (CPP 69–70). Imagery and language in “Two Figures” are thus created by the competing instruments of the woman and the ocean. The repetition of “blue” makes it difficult not to think of the blues, even though the poem uses few repetitions and variations. When Stevens mentions blue, it is the closest he would come to mentioning the blues; even in “The Sick Man,” as we will see, he does not mention African American music by name. The ocean’s music could remind the speaker of blue notes, the musical foundation for the blues and jazz described by Richard Crawford as “third and seventh scale degrees in major mode, shaded or flattened for expression” (344).Perhaps the most troubling and un-musical facets of “Two Figures” occur in stanzas one and two. Stevens writes, “I had as lief be embraced by the porter at the hotel / As to get no more from the moonlight / Than your moist hand” (CPP 69). Irony and playfulness do not register here. The speaker conveys romantic sentiments towards the woman, but his attitude regarding “the porter at the hotel” carries classist overtones and perhaps racist implications. The porter is the third figure in violet night, insubstantial in that Stevens describes him only by his job, but substantial in that if he is black, the poem acquires an unsavory flavor. The porter does not inspire the speaker to flights of fancy; conversely, he functions as the negation of the speaker’s desire for the woman. In the next stanza, the speaker requests to the woman, “Use dusky words and dusky images, / Darken your speech” (CPP69). “Darken” and “dusky,” occurring in close proximity to “porter” and considering the poem’s southern setting, problematize the poem’s racial and musical content. The request seems puzzling: Does the speaker want his companion to speak as if she were black? What would that do to the effects of her voice on his mind? “Two Figures” demonstrates what DuPlessis identifies as Stevens’s “ideological contradiction around black speech — [it is] evoked and necessary, but absent” (116).11Thirteen years passed between the first edition of Harmonium and the publica-tion of Stevens’s second collection, Ideas of Order, in 1936. By then, the Jazz Age had passed and World War II began looming in the distance. Stevens, far removed from his bohemian lifestyle, mourned the loss of that era. In those days, he wrote, “People said that if the war continued it would end civilization, just as they say now that another will end civilization. . . . We have a sense of upheaval. We feel threat-ened. We look from an uncertain present toward a more uncertain future” (CPP 788).12 Ideas of Order reflects the complexity and uneasiness of the time. It consid-ers contemporary issues in the same abstract fashion that characterizes Stevens’s stance on modernism and jazz aesthetics. Ironically, Ideas of Order contains fewer jazz-influenced poems than Harmonium, and yet music plays a more prevalent role. Specifically, Stevens explores more thoroughly the confluence of “new” music108Journal of Modern Literature Volume 32, Number 2 ( jazz) and “old” music (classical), and how their melding affects human perception. Again, Stevens sides with jazz.A poet, claimed Stevens, should vocalize social and cultural concerns in tur-bulent times, but as a poet and not as a politician. The dust jacket statement for Ideas of Order read, in part:We think of changes occurring today as economic changes, involving social and politi-cal changes. . . . While it is inevitable that the poet should be concerned with such[changes], this book . . . is primarily concerned with ideas of order of a different nature,as, for example, . . . the idea of order arising from the practice of any art[.] . . . Ideas ofOrder attempts to illustrate the role of the imagination in life, and particularly life atthe present. (Opus Posthumous 222–23)Stevens’s reticence to name specific social and political “changes” reaffirms his detachment from contemporary American life, even though unrest permeates the book. He concerns himself with “different” types of order, those artistic products that rely on imagination instead of political dogma. Stevens holds more confidence in music and poetry than in politics to explain the world. Perhaps he was drawn to music, especially jazz, as a metaphor and as a poetic form because it captures a paradoxical sense of order and disorder: A particularly up-tempo jazz song can sound like and represent chaos, but is in fact highly organized.Stevens’s doubts that classical music could speak to the modern condition and his ultimate endorsement of modern music emerge in “Sad Strains of a Gay Waltz.” The poem opens with a declaration of music’s decreased importance in contempo-rary society: “The truth is that there comes a time / When we can mourn over music / That is so much motionless sound” (CPP 100). The only specific musical reference in the poem is the waltz, a dance and a style of music (like jazz), but with high-culture associations (unlike jazz). While the poem could argue that modern society is poorer for believing classical music to be “motionless sound,” without value or meaning, “Sad Strains” suggests more strongly that waltz dancing and music cannot represent the modern condition. Just as Sir Walter Scott’s poetry has lost its relevance, the waltz and other classical styles of music and dance do not exist under the same extra-musical conditions, and thus have no more power. Stanza two furthers the conflict between classical music and modern times, and opens with a variation on an earlier line: “There comes a time when the waltz / Is no longer a mode of desire, a mode / Of revealing desire and is empty of shadows” (CPP 100). The waltz has become his-torical, out of step with the present age. “Sad Strains” considers this question: Now that classical styles of dance seem passé, what will fill the empty space? While the speaker remains obscure on this point, the implication is that a replacement style could be the cakewalk, the Charleston, or another type of jazz dancing.The waltz’s loss of meaning shares an explicit link with the general loss of meaning in the natural and human worlds. “There is order in neither sea nor sun. / The shapes have lost their glistening,” and things fare worse on the streets: “There are these sudden mobs of men, / These sudden clouds of faces and arms, / An immense suppression, freed” (CPP 100). Humans cannot look to nature for。
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A Analysis of the Women Charactersin David CopperfieldClass:09商务Name: 唐东No.0907030044 Abstract:David Copperfield was written by Charles Dickens,who is the greatest representative of English critical realism in the nineteenth century. One of Dickens's favorite novels,David Copperfield is known all over the world for the well-portrayed characters based on the writer's own life.In David Copperfield,dozens of women characters are portrayed ranging from rich women to poor servants.This paper analyzes some of the women characters in the novel,through which Dickens reveals his attitude toward marriage..Key words:women characters love family marriageⅠ、The goddessThe representative figure of The goddess are Peggotty,the loyal maidservant and David’aunt Miss Betsey Trotwood.Peggotty is Dav id’s first goddess,she is not beautiful and fat.But she is loyal.She treated David as her own son,and David regards her as his mother or maybe his father.She treats David full of sympathy and cherish.She see through Mr Murdstone’s conspiracy,and give David help and protect when he was in danger.In an other hands,Peggotty was lack of culture so she only tell David in emotional .Let David know there also love in the world althought his mother was died.‘Master David ,my love. But don't forget，I'll take care of your mother. She needs her cross old Peggotty！I'll stay with her，although I hate these Murdstones. And remember，David, I love you as much as I love your mother，and more. And I'll Write to you.’Miss Betsey Trotwood,David’s aunt is another goddess in his life.She meet David’s mother at the night which David born,but go away never look back.Maybe she is a little eccentric.‘You were talking about the baby．I'm sure it'll be a girl．Now，as soon as she’ s born…’ ‘He，perhaps，’ said my mo ther bravely．‘Don’ t be stupid，of course it’ll be a she．I'm going to send her to school，and educate her well．I want to prevent her from making the mistakes I've made in life．’‘But she，the baby，how is she？’ cried Miss Betsey.The doctor looked strang ely at Miss Betsey.‘It's a boy，madam，’ he replied．Miss Betsey said nothing，but walked straight out of the house，and never came back.’When David’s mother’s death and his stepfather arranges for him to start work.He tried to ask Miss Betsey to help him.Miss Betsey Trotwood take David in and send him to school.She give David many vital suggests in learn ,live and love.Peggotty and Miss Betsey Trotwood ‘s help have a great influence on David’s personality.They were the goddess in David’s life.Ⅱ、The angleThe representative figure of the angle are little Emily and his first wife DoraWhen David first meet little Emily he fall love with her‘Emily was a beautiful，blue-eyed little girl. They all welcomed Peggotty and me warmly．I spent a wonderfully happy two weeks there，playing all day on the beach with Emily，and sleeping in my own little bed on the ship. I am sure I was in love with little Emily in my childish way，and I cried bitterly when we had to say goodbye at the end of the holiday．’Emily looked like an angle but in her mind she yearn for freedom that it is why she abardons her family and go to the Continent with James Steerforth,a prodigal.Fortunately,she come back and her foster father find her in time.They go to Australia and have made friends there and are happy．The second angel in David’s life was his first wife—Dora.‘Dora！’I thought．‘What a beautiful name！’We went in to the sitting-room，and I suppose Mr Spenlow introduced me．I did not notice，because nothing mattered at that moment．I just stared stupidly at his daughter Dora，lost in wonder at her beauty，and unable to say anything．I had fallen in love in a second．As I stared，I heard a voice speaking to me，but it was not Dora's．It was her companion，whom I had not noticed at all while Mr Spenlow was making the introductions.Nothing could take my attention away from Dora for more than a second or two．As for me，the rest of the weekend passed in a kind of fog．We ate meals，and went for walks．People spoke to me，and I answered．But I have no idea what I actually said．All I remember was Dora's golden hair，and Dora's blushing face，and Dora'sbeautiful blue eyes！Occasionally I was lucky enough to speak to her alone，and then I was so shy that I blushed as much as Dora herself．I was very jealous of the little dog that she carried everywhere with her．Sometimes I thought she liked me a little，and at other times I was sure she would never love me．I was wildly，desperately in love！’Dora’s beautiful made David forget himself and the world all around.Dora was beautiful,kind, gentle and sweet.David's falling in love with her was understandable.But when David and Dora got married by overcome many obstacles,David realized that Dora didn’t fit daily routine.It is too difficult to her.In the end of the story Dora died, perhaps it is a good result to Dora and David.To Dora she died in her youngage ,she was always beautiful untill she died.To David he found Agnes to live like an ordinary person.David’s mother and Agnes are the unify of The goddess and The angle.David’s mother’s life is a tragedy,Her husband died before David was born.And the second husband regard her bad.‘She was ill for a long time，Master David. She got worse after the baby was born，you see. She was sometimes unhappy and forgetful，but she was always the same to me, her old Peggotty. Those two downstairs often spoke crossly to her and made her sad，but she still loved them，you know—she was so sweet and loving！I always sat beside her while she went to sleep. It made her feel better，she said. There was a short silence while Peggotty dried her eyes，then took both my hands in hers.‘On the last night，she asked me for some water, and then gave me such a patient smile！She looked so beautiful！The sun was beginning to rise，and she put her head on my arm，on her stupid cross old Peggotty's arm, and died like an innocent child going to sleep！’Even though destiny made her suffering,she still love the person around her ,and made David believe there’s love in the world.After Dora ‘s death ,Da vid married with Agnes.‘As the light died out of the sky，and I watched the colour of the snow on the mountain tops change，I felt I was waking from my unhappy dream，and I began to understand how much I loved Agnes．She had been the one who had always guided and supported me，and now I realized I needed her love for the rest of my life．Had falling in love with Dora been a mistake？We had both been very young，it is true．I had always called Agnes sister，and now perhaps I no longer had the right to ask whether her love for me was more than sisterly．’David said ‘I love little Emily,don’t love Agnes’ He really don’t love her?I don’t think so.He love Agnes,but this love didn’t like the one he felt with Emily.This love was maturer than before.Agnes was a perfect female in this story .She is wisdom, inexcitable and tough.When David was in trouble she usually gave him rightsuggestion like his elder sister.Like David said ‘I hope that when my life comes to its end,she will be with me in the shadows，pointing upwards to the light！’She help David in his career,her encouragment make David succeed at last.Maybe she is David’s lucky goddess and guardian angel.Ⅲ、The witchThe representative figure of The witch is Miss Murdstone,the elder sister of David’s stepfather.The witch was malicious and uglyMiss Murdstone was a tall balck lady，with a stern，frowning face，she looked and sounded very much like her brother．’Ⅳ.Conclusion:These perfect women characters were Charles Dickens’ dream.This dream made him feel lost in his real life.It is also made these characters lack of personality.But Charles Dickens was still one of the greatest author of critical realism.。