❶ 哪裡有寫《飄》的畢業論文用的參考資料
[1]陳木茵. 論《飄》成功的語言運用[J]安徽工業大學學報(社會科學版), 2002, (01) .
[2]張京晨. 《飄》中的戰爭與女性[J]北京市計劃勞動管理幹部學院學報, 2006, (01) .
[3]鄧波. 解讀《飄》的女性話語[J]成都大學學報(社會科學版), 2005, (04) .
[4]王春霞. 歸化與異化的完美結合——評傅東華譯作《飄》[J]重慶廣播電視大學學報, 2005, (04) .
[5]劉真彪. 試論語用學在文學翻譯中的作用——《飄》的中譯本實例剖析[J]鄂州大學學報, 2004, (02) .
[6]劉兵,顏雪紅. 在激進的理論中尋找啟示──讀Mies與Shiva的《生態女性主義》[J]婦女研究論叢, 1999, (01) .
[7]韋震華. 解讀斯佳麗的「明天」心緒[J]廣西財政高等專科學校學報, 2002, (06) .
[8]韋清琦. 方興未艾的綠色文學研究——生態批評[J]外國文學, 2002, (03) .
[9]梁坤. 瑪格麗特互文性研究——兼論瑪格麗特魔性特徵[J]外國文學, 2005, (04) .
[10]許紅娥. 試論《飄》標題的深刻內涵[J]高等函授學報(哲學社會科學版), 2006, (02) .
❷ 英語論文亂世佳人的參考文獻
《飄》（Gone With The Wind）是一部出版於1936年的美國小說，作者為瑪格麗特·米契爾，在1937年獲得普利茲獎。這本小說是其作者活著時出版的唯一一部作品，但它成了美國史上最為暢銷的小說之一
Margaret Munnerlyn Mitchell (November 8, 1900 – August 16, 1949) was an American author, who won the Pulitzer Prize in 1937 for her novel Gone with the Wind. The novel is one of the most popular books of all time, selling more than 30 million copies (see list of best-selling books). An American film adaptation, released in 1939, became the highest-grossing film in the history of Hollywood, and received a record-breaking ten Academy Awards. She has been honored by the United States Postal Service with a 1￠ Great Americans series postage stamp.
Early life
Margaret Mitchell was born in Atlanta, Georgia to Eugene Mitchell, a lawyer, and Mary Isabelle, much referred to as Maybell, a suffragist of Irish Catholic origin. Mitchell's brother, Stephens, was four years her senior. Her childhood was spent in the laps of Civil War veterans and of her maternal relatives, who had lived through the Civil War.[citation needed]
After graating from Washington Seminary (now The Westminster Schools), she attended Smith College, but withdrew ring her freshman year in 1918. She returned to Atlanta to take over the household after her mother's death earlier that year from the great Spanish flu pandemic of 1918.
Shortly afterward, she defied the conventions of her class and times by taking a job at the Atlanta Journal. Under the name Peggy Mitchell she wrote a weekly column for the newspaper's Sunday edition, thereby making her mark as one of the first female columnists at the South's largest newspaper. Mitchell's first professional writing assignment was an interview with an Atlanta socialite, whose couture-buying trip to Italy was interrupted by the Fascist takeover.[citation needed]
Mitchell married Berrien 「Red」 Upshaw in 1922, but they were divorced after it was revealed that he was a bootlegger and an abusive alcoholic. She later married Upshaw's friend, John Marsh, on July 4, 1925; Marsh had been best man at her first wedding and legend has it that both men courted Mitchell in 1921 and 1922, but Upshaw proposed first.[citation needed]
She is also the distant cousin to famous gunfighter/dentist, Doc Holliday, who participated in the Gunfight at the O.K. Corral. It is also thought that she modeled Ashley Wilkes, a main character in Gone with the Wind, after Holliday.
Occupation
Using Mitchell's scrapbooks from the Hargrett Rare Book and Manuscript Library at the University of Georgia, editor Patrick Allen collected 64 of the columns Mitchell considered her best work. They were published in 2000 under the title Margaret Mitchell, Reporter.[1]
Her portraits and personality sketches in particular show a promise of her skill to portray the kind of characters who made Gone With the Wind the second best-selling book, next to the Bible, at the time of publication.[bious – discuss][2] Even as a supposedly neutral reporter, her irrepressible personality shines through. This collection of Mitchell's journalism transcends fact-gathering, showing Mitchell as a young woman and providing a compelling snapshot of life in the Jazz Age South.
Writing Gone with the Wind
Mitchell is reported to have begun writing bedridden with a broken ankle. The house where Mitchell lived while writing her manuscript is known today as The Margaret Mitchell House and located in Midtown Atlanta. A museum dedicated to Gone with the Wind lies a few miles north of Atlanta, in Marietta, Georgia. It is called "Scarlett On the Square", as it is located on the historic Marietta Square. It houses costumes from the film, screenplays, and many artifacts from Gone With the Wind including Mitchell's collection of foreign editions of her book. The house and the museum are major tourist destinations
Publication
Mitchell lived as a modest Atlanta newspaperwoman until a visit from Macmillan editor Harold Latham, who visited Atlanta in 1935.[3] Latham was scouring the South for promising writers, and Mitchell agreed to escort him around Atlanta at the request of her friend, Lois Cole, who worked for Latham. Latham was enchanted with Mitchell, and asked her if she had ever written a book. Mitchell demurred. "Well, if you ever do write a book, please show it to me first!" Latham implored. Later that day, a friend of Mitchell, having heard this conversation, laughed. "Imagine, anyone as silly as Peggy writing a book!" she said. Mitchell stewed over this comment, went home, and found most of the old, crumbling envelopes containing her disjointed manuscript. She arrived at The Georgian Terrace Hotel, just as Latham prepared to depart Atlanta. "Here," she said, "take this before I change my mind!"[citation needed]
Latham bought an extra suitcase to accommodate the giant manuscript. When Mitchell arrived home, she was horrified over her impetuous act, and sent a telegram to Latham: "Have changed my mind. Send manuscript back."[citation needed] But Latham had read enough of the manuscript to realize it would be a blockbuster. He wrote to her of his thoughts about its potential success. MacMillan soon sent her a check in advance to encourage her to complete the novel — she had not composed a first chapter. She completed her work in March 1936.
Herschel Brickell, a famous literary critic for the New York Evening Post, reviewed Mitchell's book in an article titled " 「Margaret Mitchell』s First Novel, 『Gone With the Wind,』 a Fine Panorama of the Civil War Period.」 His review helped launch Mitchell's career by calling attention to what would become one of the best novels of the Southern Renaissance. Over time, Brickell and Mitchell became extremely close; much of their correspondence has been published and is available in the archives at the University of Mississippi. Brickell was also a correspondent, friend, and adviser to other southern writers including Eudora Welty, Truman Capote, William Alexander Percy, Marjorie Kinnan Rawlings, Zora Neale Hurston, Stark Young and Allen Tate.[4]
Gone With the Wind was published on June 30, 1936. The book was dramatized by David O. Selznick, and released three years later. The premiere of the film was held in Atlanta on December 15, 1939.
Gone with the Wind was such an overnight success that its publisher George Platt Brett, President of Macmillan Publishing, gave all its employees an 18% bonus in 1936.
Death
Mitchell was struck by a speeding automobile as she crossed Peachtree Street at 13th Street with her husband, John Marsh, on her way to see the British film A Canterbury Tale at The Peachtree Art Theatre in August 1949. She died at Grady Hospital five days later without regaining consciousness. The driver, Hugh Gravitt, was an off-ty taxi driver. He was driving his personal vehicle at the time, but his occupation led to many erroneous references over the years to Mitchell』s having been struck by a taxi. After the accident, Gravitt was arrested for drunken driving and released on a $5,450 bond until Mitchell's death several days later. Georgia Gov. Herman Talmadge announced that the state would tighten regulations for licensing taxi drivers.
Gravitt was later convicted of involuntary manslaughter and served 11 months in prison. His conviction was controversial because witnesses said Mitchell stepped into the street without looking, and her friends claimed she often did this.
She was buried in Oakland Cemetery in Atlanta.
1936 original cover of Gone with the Wind
Author Margaret Mitchell
Country United States
Language English
Genre(s) Historical fiction, Romance, Drama, Novel
Publisher Macmillan Publishers
Publication date May 1936
Media type Print (hardcover and paperback)
Pages 1037 (first edition)
1024 (Warner Books paperback)
ISBN ISBN 0-446-36538-6 (Warner)
OCLC Number 28491920
Followed by Scarlett
作者 瑪格麗特·米契爾
出版地 美國
語言 英文
類型 歷史小說
出版者 Macmillan 出版商
出版日期 1936年6月30日
媒介 圖書
頁數 1037頁（首版）
1024頁（平裝版，華納出版社）
ISBN ISBN 0446365386 （華納出版社）
❸ 求《飄》中斯嘉麗婚姻觀的文獻綜述，1500字英文的哦！
Having read the novel Gone With The Wind written by American writer Margaret Mitchell,I was deeply shocked. The novel, which Margaret spent about 10 years on, not only created a myth,but also show her own personal charm to the world. Novel's underground is based on the Civil War which happened in the United States, according to the changes of the Civil War starts the circumstances, so it has divided the macro history into micro history of personal experience. We can realise that misty thinking of Margaret through characters changes of people.
Heroine Scarlett is a simple but very complex figure. On the surface she has kinds of good quality,quiet, good-hearted, full of ability like her mother Aland, but the vast majority of cases, the restless temperamenrd to her behavior. Contacting her at first, I thought that she is just a beautiful, stubborn and proud princess. She 's so beautiful that almost all the young men in the book are tempated by her. She seems to have become accustomed to dealing within these young men, like a cold hot fire but locked of love to blame, which almost makes many men crazy. She has strong cravings in all the good things, and she wants to take away all the boy's
Such blatant selfishness seems exaggerated. But her exaggerated and performance doesn't work on Rhett Butler and Ashley Wilkes, and makes a completely different effects. Scarlett can't grasp the heart of Ashley Wilkes, who is out of her control. To my surprise, she proced some mystical love toward him. But to nigmatic Rhett Butler,she gain the feeling of hate. These two feelings, as the main theme of the novels from beginning to end.hearts around her, even her older sister's valentine's .
Scarlett's hasty makes her pay a great price! In order to show that she is not 「no buyer」 to Ashley Wilkes, she get married with Charlesa Hamilton who she doesn't like. Soon after the war broke out, Charles die, Scarlett become a widow. At that time, she is just a willful child, consequences and responsibility don't seem to have relations to her. Due to her rebelious character,the 「moral standard」 doesn't work on her, but keep widow life away from plain and boring. So she continues to show her own charm and still attracts a lot of men.
War has changed Scarlett, and it also enables me to a better understanding toward her. She kills the Northen soliders at the critical moment, and creats a causein extreme poverty. It all reflects her strong, courage, indomitable. In order to protect her families and instries, she had to get married with Frank Kennedy, which shows her spirit of sacrifice to us. Business established period, her unique wision of the economic, commercial talent, the spirit of daring to struggle, in fact , those advantages are very common of traditional women, but easily overlooked in the past time. Scarlett is a proud woman after all, she turn a blind eye to many beautiful things around her, such as Melanie Hamilton Wilkes' love, and Rhett Butler's care, not to mention the treasure! Instead, she constants to pursuit the Unreal misty love toward Ashley. When she grasps, Melanie Hamilton Wilkeshas been dead, Rhett Butler's love burst. But Scarlett is still so strong, it seems that nobody can see through her.
I am so deeply shocked by the indomitable spirit of Scarlett facing difficulites. But to attain her end by hook, I feel offensive. And I am so angry with her infatuation attitude to Ashley Wilkes. While the more care Rhett Butler give to Scarlett, the more joy I get. But at last, Rhett fell dispointment and left Scarlett, what a pity!
I think every one of us has her own desires, each person is serching for her own happniess . The desire will be a driving force for us, and the desire can improve the development of culture. Science and technology may also lead to crime and war. Though desires may have some bad effects on us, it very important. We will pursue our own happiness, although we there might be some difficulties and disputes, we should not give up our desire!
❹ 《飄》的文獻綜述
The Integrity of Human and Nature
——— An Analysis of Gone with the Wind from the Perspective of Eco-feminism
It』s generally accepted that Gone with the Wind is a popular novel except a few people thought it is not worth reading. Due to some controversial problems had been discussed in the book so the novel was neglected for a long time by critics, such as its descriptions of the black, of the reconstruction after the war and of ku klux klan and so on. However, Donald W. Miller praised the book as a great epic which influences a number of people of different generations and nations. Recently people come to realize there is something significant behind the big work so that more and more people are addressing themselves to study it from many perspectives.
Firstly, there are some essays about the relationship between Margaret Mitchell and Scarlett. Carolyn Gage, described a true-life Mitchell who suffered great grief after her fiancé』s death and then got flash marriage to a bootlegger which took her little happiness, later, even though she enjoyed a fast pace of life she could not escape the stigma of her gender, so when Mitchell reinvested herself in the novel she rewrote life the way she thought it should have been, therefore, she created a right man instead of the dashing and sexually charismatic alcoholic. In this way, Gage concluded that Mitchell』s writing purpose was to reveal the delusion of female life and escape from her shadowy preceding life, so Gage appealed that females should not live in dream under the patriarchal society, but take Scarlett for example, to live in present and pursue what they need.
Secondly, female consciousness of tomorrow catches people』s attention. Luo Minyu considered Scarlett』s consciousness of tomorrow as a kind of expectation: expecting the equality between men and women, a peaceful world and happy homeland and a true love.
Thirdly, another popular topic is the comparison between Scarlett and some females in other works, such as Jane Eyre or Wang Xifeng. Zhai Xu compared Scarlett and Wang Xifeng and thought that they were a typical paragon of feminism who possessed the awareness of Women』s Awakening; both were brave, strong-minded, independent and rebellious against the restrictions which set against the females by the society of their own time. Fourth, the Tara Theme is also noticeable, and Vicki L. Eaklor pointed out that 「Tara Theme」 was the story』s musical leitmotif as Tara was repeated frequently in the novel and it was Scarlette』s spiritual pillar. The war destroys Scarlett』s family as well as her happy life, but it did not defeat Scarlett as she had Tara beside her which gave her strength, every time she got into trouble she turned to Tara for comfort and encouragement, while Tara had trouble, Scarlett safeguarded it by all means.
Besides, a majority of professors analyzed the novel from the perspective of feminism. Both Gu Shaoyang and Wang Yanli acclaimed the novel was a great one, not only because it reflected female』s self-awareness, especially after the war broken out and women had to go out to realize their economic independence, but also because it confirmed women』s contribution to the society, praised their fraternity, selflessness and rebellious spirit, and revealed the belief that women should be liberated from families. Wu Shijuan and Xie Jing also thought that Scarlett was a heroic female since she dared to break the traditional prejudice that 「females are inferior to males」. She was brave enough to walk out of the house and entered into the 「patriarchy』s world」 and competed against the men for her economic independence. In Liu Xiaoyong』s essay, he pointed out that Scarlett was increasingly maturing and in the end became a Southern new woman with strong feminist leanings along with the advance of war and instrialization. When it comes to Zhou Yaming, he deeply analyzed Scarlett』s struggle, success and failure and her psychical conflict in her pursuit of material and love, and then he put forward that Rhett, one of the representatives of male, his leaving possibly meant the male』s loss to conquer female; meanwhile, Scarlett suffered great loss: she lost her true love and happy life. And in the game no one won. Therefore, Zhou concluded that this complex bisexual relationship reflected Mitchell』s desire, rebel, conquer and regression toward male, and her wish of a harmony bisexual relationship.
In addition, some critics tried to analyze the novel from the perspective of eco-feminism, which studies the close relationship between female and nature. This is a most novel and interesting way to analyze the book. Zhen Jigen generalized that Tara and the lumber mill were the resources for Scarlett』s eco-feminism, in which it was not the male who conquered and oppressed the land as well as conquered the female, but a young lady who called Scarlett conquered the land and men』s will, as Scarlett unexpectedly disobeyed her second husband』s will to operate the lumber mill and proved rather successfully; when she came back to Tara ring the war she could manage the plantation without the help of man and finally possessed the supreme dominion. So Zhen concluded that these behaviors were a good match with the ecofeminist』s opinion, that female and nature were linked together in the term of creating and maintaining life, and natural process abode by female principles of motile creativity, diversity, integrity, sustainability and sanctity of life. When it came to Cao Peihong, she focused on the three kinds of links between nature and women. First link was a symbolic one which stated women』s 「naturalized」 and nature』s 「feminized」; second one was the experiential link about the hardships and humiliation suffered by women and nature in patriarchal societies; third one was about females and nature』 status link which embodied in females』 folly and nature』 identification as the field and background of human activities. Then she discussed in detail about their mutual dependence —— females were caretakers of nature while nature was the haven for females. Take house (which was an important part of nature according to eco-feminist) for example, Cao acclaimed women playing a great role in managing the house and plantation before, ring and after the war; and the reasons why women were willing to commit any kind of sacrifice lied in houses』 illustration of women』s beauty and traits, as houses were the place for women to convey their feeling through the order and decorations and furniture; but the most important thing was women had a deep love for those dwellings, in a word, houses as well as nature were haven for women in hard time.
To sum up, the above critical reviews on Gone with the Wind may represent the major achievements of the studies of this novel in the recent decades. These studies have effectively advanced the exploration of the novel, broadened readers』 vision as well as deepened readers』 comprehension of it. The eco-feminism theory sums up early scholars』 two separate topic of feminism and Tara Theme, and then analyzes the novel from a new way which links nature and female together. However, the essays of eco-feminism only use the theory to analyze Scarlett』s eco-feminism thoughts and her relative manifestations, in the novel it appears as Scarlett』s deep attachment to Tara and her every endeavor to protect it from being destroyed, in turn, Tara is her spiritual pillar which will help her come through every difficulty. But the purpose and significance of the eco-feminism have not been further exposited. On the one hand, the reason why Scarlett tried her best to strive for more rights and final say was not only to satisfy her vanity but to be as free as men and to be treated equally as men. On the other hand, the purpose of eco-feminism is not to establish a society where female are at last over or conquer male, but pursue the balance between female and male, human and nonhuman nature, especially nowadays, e to many reasons, women haven』t fully displayed their talents to better the world which suffers the crises of ecological environment and threat of wars, which shows the relationship between nature and human beings is not so harmonious.
Therefore, in this thesis, the eco-feministic point of view will be used to figure out the close relationship between female and nature in the novel to encourage the society especially the patriarchy-centered society to treat feminism seriously and respect them; to encourage the feminists to care for the ecology, and to do more by their strength to be against wars in the world since wars destroy the lands and kill people which both belong to the nature；to encourage the society to build a new environment where female and male, human and nonhuman nature are equal and harmonious.
❺ 誰能幫我找幾篇《飄》外文參考文獻啊
推薦到OA圖書館查詢。
輸入英文關鍵詞即可。
❻ 求《飄》中斯佳麗性格分析文獻綜述。
斯佳麗
一個貓一樣的女人。有著貓一樣的目光，貓一樣的微笑，貓一樣的步伐和貓一樣的敏捷。那麼，這個貓一樣的女人提供給我們是怎樣的一些對待生活、對待愛情、對待困難和挫折的態度和經驗呢？
第一她在困難的時候敢於承擔責任，雖然也有動搖，但最後仍然承擔責任,比如她救了玫蘭妮，她重振塔拉庄園,後來長期扶助阿希禮一家等等。
第二她敢於去愛、無怨無悔，她的整個青春都在愛著阿希禮，沒有回報但她仍沒有放棄努力，直到能力的極限為止。
第三知錯能改，當她最後明白她之前所為是錯誤時，她馬上向瑞特道歉，請求原諒。
總的來說，斯佳麗堪稱巾幗不讓須眉的奇女子，人中龍鳳，難怪瑞特這樣的牛人也拜倒在她的石榴裙下。每次看《亂世佳人》，每次都有不同的收獲。年輕時看，討厭虛榮愛出風頭的斯佳麗，喜歡純潔善良的玫蘭妮，不喜歡油腔滑調的瑞特巴特勒，喜歡溫文爾雅的阿希禮，喜歡南方如畫的景緻和田園牧歌式的生活，不喜歡北方的浮華和放盪。後來看了多次之後，不由得對斯佳麗敬佩起來，原本是一個弱女子，任性而年青，第一次結婚是一時的沖動報復，嫁給了不愛的男孩，讓自己成為了年輕的寡婦。第二次結婚是為了一家人的生存，搶走了妹妹的心上人，肯尼迪。肯尼迪雖然是一個半老頭子，卻不是斯佳麗的對手，面對她的冷酷和無情，他束手無策。最終為了斯佳麗差點遭受的侮辱去報復窮白人而被人擊斃，不幸枉死，卻從未享受過斯佳麗的一點愛。於是斯佳麗再次成為寡婦，而且還是個有錢的寡婦。在那個戰火紛飛的年代，為了答應過阿希禮照顧玫蘭妮的一句承諾，在北軍就要攻佔亞特蘭大的時候，斯佳麗又果斷地替玫蘭妮接生，並找到瑞特沖破重重阻礙和關卡，回到了鄉下老家－－塔拉庄園。在又飢又餓之時，她又遭受了母親病亡、父親痴呆、家裡被劫，一窮二白的多重打擊，她不屈不撓，帶頭種田幹活，喝令妹妹下床摘棉花，並照顧玫蘭妮和小波，支撐一家人的生計，那時她頂多也不過是個二十來歲的小姑娘，本應是個在母親懷里撒嬌的小姑娘。可是面對如此巨大的困難，她沒有選擇逃避，而是勇敢挑起家裡的重擔，以常人難以企及的毅力抗爭命運，每每看到斯佳麗舉著蘿卜向天盟誓，決不願讓家人再受苦挨餓時，我總是覺得拍片導演對光線和背景的運用是那麼巧妙和藝術， 它那麼生動地刻劃了思嘉渴望安定、渴望生存、渴望富裕的強烈而真實的內心情感。我覺得那時的她，已完成了最艱難的嬗變，由一隻醜陋的毛毛蟲破繭而出變成了美麗的蝶，自由而高貴，那時的思嘉就像一個女神－－－渴望富有、並為此能不擇手段的慾望女神。
剛強、堅韌
無論是面對戰爭的廢墟和硝煙、母親和父親的去世、生活的貧窮艱難還是女兒的夭折，在和她承受同樣的痛苦和艱難的人們當中，她都是最剛強、最堅韌的一個和最先從痛苦和艱難中走出來的一個。當斯佳麗面對著已是滿目傷痕泰勒庄園時，她的堅韌和剛強令她這個家中的長女擔起家長的重擔。在影片的末尾，她還堅定地告訴我們：Tomorrow is another day。
虛榮
這應該是一個貶義詞了，可是，斯佳麗的虛榮心似乎格外的可愛，在她的身上，虛榮似乎也變成了褒義詞。有位名模曾說：「女孩子總是要有一點虛榮心的，無論這虛榮心表現在什麼方面。」當斯佳麗扯下母親唯一的遺物——窗簾，無論如何也要用它做一件漂亮的衣服，還將它披在身上憧憬著新衣服的樣子時，她的虛榮心使她成了一個看起來不孝的女兒，但她的這種做法（也就是她的虛榮心）是當時拯救全家的唯一出路。由虛榮心而使全家人都有了生存下去的希望，這樣的虛榮心也不應該算是值得摒棄的。
貪婪
這總應該是個貶義詞了。但是，斯佳麗的貪婪不僅是有情可原的，在某種程度上來講還是難能可貴的。戰後的泰勒庄園在北方軍的控制之下，母親的去世和父親的崩潰使斯佳麗——家中的長女擔起了「家長」的重擔。斯佳麗一家人過著艱辛的生活。戰爭使她貧窮，貧窮繼之以飢餓。然而最可怕的是無錢交稅險些失去生活來源的土地，為了借錢交稅，斯佳麗勾引了妹妹的情人，繼而當起了一家小店的老闆娘。在經歷這一切後，她明白了她所處的是一個什麼樣的社會以及在這個社會中錢的重要性。所以，當她擁有了當前她所需要的錢之後，她自然會想擁有更多的錢。在她追求「更多的錢」的過程中，她表現出了一個早期資本主義的資本家所必須具有的優秀品質——貪婪。
殘忍與自私
這兩個詞無論用在什麼人身上似乎都應該是表貶義的詞語，特別是以溫和、善良為美德的女性。但是，斯佳麗的殘忍與自私在某種適度上卻是值得褒揚的。首先，在社會轉型的時期，人的觀念需要從傳統的觀念轉變成為新型的、與社會發展相適應的觀念。不能在第一時間內轉變觀念的人就失去了領導時代的主動權。斯佳麗就是一個在第一時間內轉變觀念，接受了新的社會和社會制度、新的價值觀念、新的生活方式，並且成為了一個小資本家的女人，在這一點，她是非常了不起的。而且，在剛剛建立了資本主義制度時，自私和殘忍對於一個資本家來說是生存和發展的關鍵。在資本主義社會，對世界的博愛已經是阻礙資本的自身生存和發展的一個因素，此時，自私與殘忍就成了強者的優點。
美麗
斯佳麗為我們提供了一種對待愛情的態度。她美麗，但她只是適當地運用她的美麗來得到她所喜愛的東西，從來不用自己的美貌來玩弄愛情，無論是自己的還是他人的愛情。斯佳麗是美麗的，但美麗不是擁有愛情的必備條件——你可以沒有斯佳麗那樣美麗動人，但你也有權利去追求屬於自己的愛情。
綜上所述，我們得出了這樣的一個結論：
斯佳麗，貓一樣的女人，剛強的、堅韌的、虛榮的、貪婪的、殘忍的、自私的女人，女人的典範。
❼ 寫論文 《飄》中斯嘉麗的性格分析 有哪些參考文獻 要中文的！
幫你下載：知網/萬方/維普/龍源期刊/豆丁/網路文庫/道客巴巴的文檔！
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❽ 找關於亂世佳人的文獻綜述，急求
前年我將《吉訶德先生傳》續譯完書之後，便頗倦於譯事，以為這種工作究屬太機械，於人於己都沒有多大好處，不如趁我這無幾的余年，多做一點不為他人作嫁的筆墨，或許可以比較心安理得。所以當時我曾對朋友們宣說：《吉訶德先生傳》是我最後一部譯稿了。 今年夏初，由本書拍攝成的電影《亂世佳人》(前曾譯作《隨風而去》)在上海上映四十餘日，上海的居民大起其哄，開了外國影片映演以來未有的紀錄，同時本書的翻印本也成了轟動一時的讀物，甚至有人採用它做英文教科書了，我卻還象一個初到上海的鄉下人，全不曉得這回事。當電影開映的前幾日，有些朋友慫恿我譯這本書，意思甚是殷切，彷彿這書的翻譯非我莫屬似的。那時我厭倦譯書工作的心理並未改變；又以為一部時髦書未必一定就是一部好書，所以遲疑不決，停頓了近一月。直至書的內容涉獵過了，電影也領教過了，才覺得它雖不能和古代名家的傑作等量齊觀，卻也斷不是那種低級趣味的時髦小說可比——它的風行不是沒有理由的，它確實還值得一譯。同時那位慫恿我譯的朋友又告訴我，這書日本已經有兩個譯本，都銷得很好。於是我就發了一股傻勁，把事情決定下來—— 他們有，我們怎麼能沒有? 但是這么一部百餘萬言的巨著，碰在這么一個紙昂墨貴的時期，即使我自己不怕精力的中折，又哪有不怕資本虧折的出版家呢?真是事有湊巧，那時節國華編譯社剛剛組織起來，聽到我有意思要譯這部書，立即派代表跟我接洽。我們彼此至誠相見，三言兩語就把事情商妥了。於是我從六月二十五日動起筆來，現在邀天之倖，總算可以如期出版上冊了，下冊的時間比較從容，而且已經駕輕就熟，大約可以不成問題的。 以上就是我翻譯這書的緣起。讀者諸君如果讀了之後覺得還不大失望，那我可以代替諸君謝謝那幾位慫恿我譯的朋友，以及國華編譯社的諸君，因為沒有他們的慫恿和幫忙，這一個譯本是無從產生的。 照理，譯者已將一部譯本奉獻在讀者面前，他的任務就已算盡了，無須再說什麼了。但是為對讀者諸君特別表示殷勤起見，有幾句話似乎不能不說一說。 從前我們的詩人李義山指出「殺風景」的事情一共十二件，如「花間喝道」、「月下把火」之類(見(《雜纂》)。我現在要給他補上一件，就是「給藝術品戴帽子」。譬如我們從前的老先生們不許年青人看《紅樓夢》、《水滸》．(雖然他們自己都是看過的，並且也喜歡看的，不然的話，他們怎麼知道應該不許人看呢)，說它們是一「誨淫誨盜之書」，便是「給藝術品戴帽子」的一種方式。現在這種方式的帽子已經沒有人戴了，但是紅紅綠綠的新式帽子仍舊是層出不窮。雖則凡是好的藝術品總一定是真金不怕火，絕決不是一頂帽子所掩沒得了的；但是，譬如是一塊純凈無瑕的白璧，憑空給它塗上了一筆顏色，那也不是大殺風景嗎? 凡是真正的藝術品，它的結構必定都是極復雜極精微的，盡可由鑒賞者自己去見仁見智，但決不容人一眼看穿。單以好的小說而論，你若要從人物方面去看它，你總可以看出裡面有一些是你在哪裡見過的，有一些是你的朋友，甚至有一些就是你自己。但是實際上，那些人物決不會和你所見過的人或是你的朋友或是你自己完全一樣。你在那些人物身上見出來的你見過的人或是你的朋友或是你自己，都不過是那些人物的—部分，決不是那些人物的全體。因若不然，那部小說就沒有具備創造性，因而也不能成其偉大了。就如本書的女主人公郝思嘉，你有時覺得她很面熟，有時又覺得她很陌生，有時你很能諒解她，有時卻要覺得莫名其妙，然而你始終都會覺得她十分真實，始終都會覺得作者的寫法無懈可擊。這一點就是一個人物描寫成功的要素，而唯其具有這一種要素，這一個人物就不容你給它戴帽子了。 再從小說的情節方面看，那就比較容易引起歪曲的解釋。歪曲解釋的一個極普通的方式，就是從情節里去斷章取義，不加分析地抽取教訓，或抽取批判的標准。即如現在這本書，我已經聽見有人給它加上「和平主義」四字的考語了。究竟這一個帽子是榮是辱，當然要看那給與者的心理為轉移，客觀上是無從論定的。但是我極不願意給這本書戴上這樣一個帽子，更不願意讀這書的人先有這一句考語橫梗在胸中。因為本書的作者不過要借一段真實的史跡來烘托幾個特殊的人物，來刻畫一番普遍的人情，此外並無任何的主義，也根本不想宣傳什麼，鼓吹什麼，我們何苦要這樣誣陷她呢?何況她這書里所描寫的是美國的南北戰爭，和我們現在時隔八十年，地隔數萬里，又跟我們自己的事情有什麼相干呢?所以我對於這種斷章取義的考語家，唯有名之日「殺風景」而已。 關於這書的譯法，我得向讀者諸君請求一點自由權。因為譯這樣的書，與譯Classics究竟兩樣，如果一定要字真旬確地譯，恐怕讀起來反要沉悶。即如人名地名，我現在都把它們中國化了，無非要替讀者省一點氣力。對話方面也力求譯得象中國話，有許多幽默的、尖刻的、下流的成語，都用我們自己的成語代替進去，以期閱讀時可獲如聞其聲的效果。還有一些冗長的描寫和心理的分析，覺得它跟情節的發展沒有多大關系，並且要使讀者厭倦的，那我就老實不客氣地將它整段刪節了。但是這樣的地方並不多。總之，我的目的是在求忠實於全書的趣味精神，不在求忠實於一枝一節。倘使批評家們要替我吹毛求疵，說我某字某旬譯錯了，那我預先在這里心領謹謝。 最後關於本書的譯名，也得稍稍解釋一下。原名「Gone With The Wind」取義見於本書的第二十四章，原意是說本書主人公的故鄉已經「隨風飄去」了。上海電影院起初譯為「隨風而去」，與原名固然切合，但有些不象書名；後來改為「亂世佳人」，那是只好讓電影去專用的。現在改為 「飄」，「飄」的本義為「回風」，就是「暴風」，原名Wind本屬廣義，這里分明是指暴風而說的；「飄」又有「飄揚」、「飄逝」之義，又把Gone的意味也包含在內了。所以我覺得有這一個字已經足夠表達原名的蘊義 。 傅東華 一九四零年九月十五日
❾ 速求<飄>的參考文獻,有知道的朋友告訴我網址!!!謝謝了
那個年輕，美麗的女人用她那雙如鷹般的眸子，搜尋這離她遠去的愛人。縱使倩影被湮沒於黑夜中，她卻極力穿透黑夜，翹首光明。尖銳的眸光折射除不滅的冀望，然而又掩飾不住幾許的絕望.
《飄》，淋漓盡致的描繪出了思嘉麗顛沛流離的青春歷程也流露出她獨到的魅力。
她長的並不美麗，但是男人一旦未她的魅力迷住往往就理會不到這一點。
瞧！艾希禮的訂婚宴上，思嘉麗迷倒了幾乎全場的紳士們。不過她的目的不在此，而在於得到宴會上男主角的心。孿生兄弟為你鬧翻臉；對你一見鍾情的說要娶你。這些還不夠嗎？何必執著於一個艾希禮呢？看似相貌堂堂，器宇軒昂，卻是白人渣滓。
思嘉麗你知道嗎？為了艾希禮，你的可貴青春，你的終身幸福，你的純潔靈魂都如家園塔拉一樣隨風飄逝了，即時你嫁給再多的弗蘭克也是徒然。為報復，屈身嫁給媚蘭妹妹的情人；為金錢；使計勾引親妹妹的戀人。到頭來，還是一場空。一切的一切都僅僅為了艾希禮，你確實愛他嗎？不！你不懂事，你不懂他。在紳士群集的宴會上，你注視到了那個始終愛你，在你結婚來結婚去之間放逐希望的瑞德嗎？
瑞德從容，練達，睿智。只有你才配的起他，也只有他才會愛你這樣可愛的人。可惜，你沒有珍惜他。瑞德的離開時對你的最大懲罰。然而人總是在失去了才懂得擁有的可貴。『『眾里尋他千網路，驀然回首，那人卻在燈火闌珊處』』轉瞬間，已無蹤可覓了。
這天夜裡，我背倚著床，沉思……
驀地看見思嘉麗端坐在我的窗沿。她憔悴了，臉上不再容光煥發，頰畔的兩行淚痕尚未風干；頭發凌亂，不再金絲閃閃。纖纖素手已不復存在，戰爭的殘酷讓雙手又粗又大。倒是那條17英寸的柳腰依然尚存，我想瑞德一定會喜歡的。
她的雙手倚在牆上，臉上是異常的懊喪，悒鬱。她是在追悔那3段不完美的婚姻，抑或是瑞德無情的離開？
我奢望幫思嘉麗找回瑞德，我輕聲說：
「其實，瑞德一定在哪裡想著你的！」
她潸然淚下，用最絕望的語氣說道：
「不會的，他肯定恨死我了。他不會原諒我的」
我真懊惱自己說了不該說的話，勾起了思嘉麗心地最脆弱的弦，斷了。剎那間，崩潰了。狠狠的撕破了夜的寧靜，那聲音，叫天不應叫地不聞……
月光流淌在她身上，沿著那柔軟的弧線傾斜，無法言說……
瑞德走了，只留下痛苦，寂寞。如果我見到瑞德，我會勸他回到思嘉麗身邊，至少不要讓兩個相愛的人苦苦思戀。
思嘉麗垂淚斜睨扣在書桌上的《飄》，始終不敢正眼細看。也許是不敢面對自己。對於思嘉麗，我既是恨又是憐憫，這兩種感情在我心中不斷掙扎著。
我，徹夜無眠。
第二天醒來，思嘉麗已不見了。也許是找她的瑞德去了吧！夜裡也不見她的倩影，我還有好多問題想問她呢。窗沿上空空盪盪，只剩窗幔與風低聲調著情。桌上的《飄》被一頁一頁的掀開了。
一個女人再壞，也總又令人可敬的一面；
一個女人再強，始終需要愛情的包庇；
一個人，撐不了一片天。
思嘉麗，如果你願意，我願帶著你，攜著書中情節去尋找你的瑞德……