㈠ 《簡愛》的文獻綜述
應該自己去看看 仔細品位 本人很喜歡<簡愛>這部書 喜歡 簡 這個人物 喜歡作者 夏洛蒂.勃朗特
㈡ 求《簡愛》論文的參考文獻
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[2]龔明德. 李霽野譯《簡愛》與魯迅有關嗎?[J]. 魯迅研究月刊,1999,(3).
[3]李國源. 《簡愛》「婦女解放」主題淺探[J]. 安徽廣播電視大學學報,1999,(1).
[4]杜焱. 試論《簡愛》中伯莎形象[J]. 丹東師專學報,1999,(3).
[5]陳姝波. 論《簡愛》中的性別意識形態[J]. 外國文學研究,2002,(4).
[6]潘紅. 夾縫里的風景——談黃源深先生《簡愛》譯本的審美特點[J]. 福州大學學報(哲學社會科學版),2002,(2).
[7]蘆雪瑾. 試論《簡愛》與《藻海無邊》中的兩位梅森[J]. 杭州教育學院學報,2002,(2).
[8]陳小兆,蕭好章. 從「失樂園」到「復樂園」——《簡愛》故事情節的「聖經」原型意象[J]. 井岡山師范學院學報,2002,(4).
[9]宋燕. 簡愛:自強與自愛[J]. 當代電視,1999,(8).
[10]毛梅蘭,胡宜蘭. 論典型形象——簡愛(英文)[J]. 撫州師專學報,2001,(1).
[11]毛竹生. 簡愛的出走與自我實現[J]. 濟南教育學院學報,2001,(6).
[12]馬海英. 金絲鳥、菟絲和簡愛——試論南朝艷情詩與「五四」愛情詩[J]. 綿陽師范高等專科學校學報,2001,(1).
[13]毛竹生. 簡愛的成長之路及其心理機制[J]. 邯鄲師專學報,2001,(2).
[14]趙敏. 心靈的傳承——試論《簡愛》對《蝴蝶夢》的影響[J]. 文山師范高等專科學校學報,2001,(2).
[15]趙莉. 從杜十娘和簡愛的形象塑造比較東西方婦女的女性意識[J]. 新余高專學報,2001,(3).
[16]張艷. 走不出困惑——論夏綠蒂在《簡愛》中對婦女出路問題的探索[J]. 阜陽師范學院學報(社會科學版),2001,(3).
[17]王一平. 《簡愛》對《聖經》的恪守與反叛[J]. 河南師范大學學報(哲學社會科學版),2002,(5).
[18]本報記者 戴永明. 簡愛之困[N]. 貴州民族報,2010-04-09(A04).
[19]簡i7到簡愛7 以愛之名 海爾簡愛7全面升級[J]. 辦公自動化,2009,(23).
[20]孫偉民. 自卑情結造就了簡愛鮮明的人格魅力——解析《簡愛》[J]. 傳奇.傳記文學選刊(理論研究),2009,(1).
[21]陳淑婷. 獻給簡愛的一朵玫瑰——簡愛和苔絲的人物對比[J]. 文學界(理論版),2010,(7).
[22]黃興軍. 《簡愛》中的永恆魅力——解析小說《簡愛》中女性反抗性格的形成[J]. 牡丹江大學學報,2009,(4).
[23]王筠. 再讀《簡愛》：經典語言與簡愛的女性形象塑造[J]. 時代文學(理論學術版),2007,(6).
[24]李穎娟. 從英雄、非英雄到反英雄[D]. 蘭州大學: 蘭州大學,2010.
[25]王康英. 論《簡·愛》中女主人公簡愛對真愛的追求[J]. 科技信息(科學教研),2008,(23).
[26]劉麗. 一個時代的女性吶喊與追求——談《簡·愛》中的典型人物簡愛[J]. 時代文學(下半月),2009,(5).
[27]梁晨. 宿命的選擇——對《簡愛》中愛與女性獨立意識的重讀[J]. 安徽文學(下半月),2011,(5).
[28]侯靜. 淺析簡愛與愛德娜的婚姻、愛情、自由觀[J]. 安徽文學(下半月),2008,(11).
[29]田恩波. 知識決定命運——論簡愛作為羅徹斯特愛人的命運(英文)[J]. 中國科技信息,2005,(14).
[30]薛瑞東. 掙扎於傳統與現代之間的女性——簡論簡愛[J]. 江蘇教育學院學報(社會科學版),2005,(5).
[31]時玉珍. 簡愛 人見人愛[J]. 電影評介,1996,(2).
[32]趙華. 有關李霽野與祝慶英《簡愛》節選譯文的評述[J]. 湖北經濟學院學報(人文社會科學版),2010,(5).
[33]易文琴. 《傲慢與偏見》和《簡愛》中婚姻觀之比較[J]. 北方文學(下半月),2010,(3).
[34]胡彥霞. 女性的力量:簡愛和郝思嘉[J]. 社會科學戰線,2011,(6).
[35]趙竹軒. 《簡愛》的敘述語言與主人公的個性發展[J]. 安徽文學(下半月),2011,(8).
[36]張慧瑩. 一場不同尋常的大火——原型批評視角下《簡愛》中的火災[J]. 宜賓學院學報,2011,(7).
[37]張默. 商務新標桿——海爾簡愛7D筆記本[J]. 消費電子,2010,(12).
[38]海爾簡愛7G、7D雙獲「紅棉獎」[J]. 消費電子,2010,(12).
[39]林丹. 夏洛蒂·勃朗特《簡愛》與托馬斯·哈代《德伯家的苔絲》之比較[J]. 黑龍江教育學院學報,2010,(12).
[40]勁薄新商務——海爾簡愛7D筆記本電腦[J]. 微電腦世界,2011,(1).
[41]王秀娟. 《簡愛》中譯本語言風格比較[J]. 科學大眾(科學教育),2011,(2).
[42]麻秦華. 簡愛性格淺析[J]. 科教導刊(中旬刊),2010,(12).
[43]薛夢茹. 《簡愛》與女性尊嚴[J]. 才智,2011,(3).
[44]海爾簡愛7D樹立商務輕薄本新標桿[J]. 消費電子,2010,(6).
[45]海爾簡愛三劍客寒促回饋消費者[J]. 消費電子,2011,(2).
[46]尹詩文. 從自卑到自信——解析簡愛性格的兩個極端[J]. 赤峰學院學報(漢文哲學社會科學版),2011,(3).
[47]董睿. 生活在平凡之間——淺析簡愛的獨立性格及依附心理[J]. 大舞台,2011,(4).
[48]吳蒙,貟哲. 我看簡愛性格中的自卑心理[J]. 才智,2011,(8).
[49]顧國林. 薄而不貴——海爾簡愛7哥筆記本電腦測試[J]. 微電腦世界,2011,(5).
[50]王若水. 叛逆者簡愛[J]. 科技信息,2011,(12).
㈢ 關於Jane Eyre 人物性格分析的文獻綜述
吉爾伯特＆古芭的《閣樓上的瘋女人》是研究《簡愛〉《呼嘯山莊〉等作篇比較新穎有創意的專著，找來看看可以，可以結合「穿裙子的英雄」論述，如果你在大學里，或著能去比較大型的圖書館，可以用中文期刊網搜索相關論文
㈣ 要寫關於簡愛中愛情觀的論文，求大量有關的參考文獻，最好是文學作品
首先你要去了解當時的社會背景，別說你知道，一定要自己去圖書館等地好好找一找。這些應該在文史類的圖書里，然後去看看當時世界上發生的幾大重要事件，看看跟作者有關的介紹。
愛情觀的東西可以看看心理學的，畢竟心理學包含的東西很多，專門關於愛情的也有。最後根據你理解的簡，結合人物性格特點，當時社會背景寫一寫就行。
㈤ 簡愛性格分析 文獻綜述
Edward Rochester called Jane his "faerie," his "elf," and accused her of "waiting for her people.... The men in green" the night she first encountered him. Indeed, in his adaptation of Jane Eyre he was not mistaken, for the entire proction has a quality of magic about it.
If any actor or actress could be said to be born to play a certain character, that adage must apply to Timothy Dalton and Zelah Clarke. The chemistry between them as the two stars of this lavish BBC proction is nothing short of magical: their relationship is alive with passion and the fiery conflict of two tormented souls imprisoned by Fate and the morals of their time.
The story is a classic one: Jane Eyre, an unloved orphan is sent to school, where she is ecated in a strict, cruel manner, there growing to althood learning little of life in the world. When her only friend marries, Jane advertises, and is accepted as governess to the ward of rich, enigmatic Edward Fairfax Rochester. From their first meeting in Hay Lane, where Jane "bewitches" his horse, there is between them an unspoken bond of kinship that slowly blossoms into true love and devotion.
After what appeared to be a brief engagement to the Honourable Miss Blanche Ingram, whom all the county expects him to marry, Rochester mysteriously calls off his marriage plans, and proposes to Jane, the only woman who is his equal - who could be his best earthly companion. At the altar, however, it is tragically revealed that Rochester already has a wife, still living: he is forced by this revelation to lead Jane, and those who would judge him harshly, back to Thornfield Hall, where he unhesitatingly and bitterly shows them the lunatic his father, without Edward's prior knowledge, arranged for him to marry.
Realizing her position is now untenable, Jane flees, nearly dying of hunger and lack of shelter, before she is befriended by a clergyman and his two sisters. It is subsequently found that Jane is related to this family, as their mother was Jane's father's sister. When their uncle dies, leaving Jane his entire fortune, she divides it equally among the four of them, and prepares to lead a close and affectionate life within the small family unit.
It is St. John Rivers, the clergyman, who unsettles Jane, by offering her marriage, and requesting her to accompany him to India, where he has decided to make a new life for himself as a missionary. Believing Mr. Rochester lost to her forever, Jane finally and reluctantly accepts his proposal, only to psychically hear Rochester's voice calling to her.
Abandoning St. John, Jane rushes back to Thornfield Hall, where she discovers, to her great horror, it had burned nearly to the ground. The innkeeper, a former butler at the house, informs her that Rochester was nearly killed in the fire while unsuccessfully attempting to save the life of his lunatic wife, who, it was later learned, had set the blaze. While he did not die, Rochester lost his left hand and eye, the right eye being so badly inflamed as to render him almost totally blind.
Jane hurries to Rochester, at a remote piece of property, where she discovers him broken down and dispirited, believing Jane to be forever lost to him, and suffering from the physical punishments God has inflicted upon him for trying to fly in the face of morality. They are reunited, and after he proposes again - now a man free to do so - they are married.
This 239-minute proction is incredibly faithful to the novel, differing in but few, minor points: it is practically stated in the movie that Rochester is the father of Adele, whom he refers to as his ward, while in the text, the question of fatherhood is left open; Adele's mother, a French opera dancer, is alluded to be his only mistress, while Bronte lists three; the passage in the Bible St. John reads before Jane tentatively accepts his proposal of marriage is different (and quite improved); then, most significantly, is Jane's end narration. Here she states, "Edward regained the sight of one eye just before our first child was born." In Charlotte Bronte's novel, the line is, "just before our first son was born." This sensitive change from "son" to "child" completes the love story, becoming the finishing touch which makes this proction truly immortal, and all-inclusive.
The supporting cast is excellent: the locations capture the feel of the early 1800's, drawing the viewer into the bleak, grim world of Lowood Institution, then into the splendor of Thornfield Hall. But the uniqueness of this Jane Eyre, that which sets it apart from any adaptation that went before or came after, are the performances of Dalton and Clarke. Despite the fact that she is not "plain," and he is handsome, the two actors lend their bodies and voices to the characters, making them real beyond a shadow of a doubt. Every moment they are on screen together is arresting, from their initial contact, to the end credits.
Several scenes that stand out come to mind: Jane has just saved Rochester from being badly burned, most likely fatally, and tells him she must return to her room. He holds onto her hands; every time she attempts to pull away, he makes as though to let her, then reneges, finally compelling her to use the ploy of saying she hears the housekeeper stirring. One can readily imagine the resolve of Zelah Clarke's Jane melting, and Rochester never letting her go.
There is a beautiful, poignant moment when Rochester first proposes to Jane by baring his soul to her, allowing her to look, not into his eyes, but into his soul, where he reveals not the worldly exterior and the miseries with which life has saddled him, but the true, pure being beneath. When she accepts him, they embrace: their magic and love are palpable. Here, indeed, are two kindred souls uniting. It is a moment of beauty rarely captured by any two actors, and causes the events that follow almost too tragic to bear.
There is the delightful scene after Jane must ask for a leave of absence, and Dalton "gets the giggles" twice, the second time after accusing Jane of being "niggardly." It is a professional and magical moment, watching Clarke struggle to maintain a straight face as they continue, with Dalton grinning mischievously for most of the remainder of the scene. Again, when Rochester must confront Jane after his previous marriage has been exposed, the deep, abiding sadness of his youth, the moral depths to which he has fallen are heart-rending. Jane's refusal to go away with him (specifically chronicled in the book to emphasize the correctness of this decision) just barely holds up here, for you cannot believe Dalton's Rochester would eventually fall out of love with Jane for becoming his mistress, rather than his wife.
Throughout the entire proction, the viewer identifies with both the main characters, feeling their hopes, aspirations, confusion, jealousy, and eventually, their love. Had the movie not provided us with a happy ending (despite the Gothic penalty Rochester is forced to pay for attempting to break the rules of morality), viewers would be compelled to demand Dalton and Clarke reprise their roles for a re-shoot. Never were two characters meant more for each other; never have two actors captured these sentiments so beautifully and so sincerely.
Thus, Jane Eyre is a classic story, enring both as a novel, and as a film adaptation (or, in this case, video), presenting a rare instance of allowing the reader to lay down the novel and move from the printed word to vivid, arresting performances, or, in reverse, to go from this exquisite proction to the book with no disappointments in either interpretation or content. If anything, the novel becomes more "visible," moving and unique, for now the reader will irrevocably see and hear Zelah Clarke and Timothy Dalton in their masterful and passionate living and breathing characters of Jane Eyre and Edward Rochester.
讀過＜簡愛＞的人都知道，簡其實是一個自卑感非常強的女子。她既無財又無色，從小還在一個缺乏愛的環境中孤獨地長大。立身於那樣勢力的社會環境中，渺小如草芥。唯一屬於簡的是知識和獨立的個性。但知識只不過為她換來糊口的麵包，能讓她最後擺脫心理困境的仍是她得到的那份遺產。當她終於用自已的倔強．驕傲和殘忍把愛情逼入絕境，當羅徹斯特先生終於變得面目傷殘，一貧如洗，她才能夠用一種正常的心態來愛他。
男人最大的財富是金錢，女人最大的財富是容貌，因此，自古以來，款哥泡小蜜，靚妞傍大款乃天經地義、順理成章、門當戶對、順天而行，但是如果哪個武大郎偏要不自量力非要吃天鵝肉，那輕則家庭不和，重則真向武大郎一樣被老婆和第三者合謀送上極樂世界，也是活該；同理，哪個醜女以為自己真的是灰姑娘，而要非王子不嫁，那麼等待她的也多半是老姑娘的命運。因此，水晶鞋的故事只是個童話，誰都不會當真，但是，另一個灰姑娘的故事卻不但被人當了真，甚至還成了婦女解放的典型，這個灰姑娘就是簡愛。
一個最沒有財富的女人要找一個最有財富的男人，其困難可想而知，於是，為了達到自己偉大的愛情目標，簡愛很聰明地在自己的上帝――夏洛特小姐的幫助下，對自己和自己的目標進行了一番改造，其內容基本如下：
一， 首先，要征服男人的心。羅老闆也許是山珍海味吃多了，簡愛乾脆以另一種面目出現，也許她並不是故意的：「我要讓你離不開我，就象我離不開你」，這話攻守兼備，柔中帶剛，這番鏗鏘有力的愛情宣言不僅打動了羅老闆，甚至還打動了以後無數的小資女人，成為女性解放的傳統表演項目，
二， 其次，搞掉他的財產。你那麼NB，不是就有點錢嗎？很好，一場天知道怎麼回事的大火，燒掉你幾乎所有的財產，弄得你比我也強不了多少，至少你再不能憑你的幾個臭錢在我面前擺譜，好了，現在比較平衡（注意：不是平等）了；
三， 弄光你的錢還不夠，你不是嫌俺丑嗎？於是羅老闆在大火中很不幸地加入了殘聯，成功地成為二等公民。弄瞎眼睛真的是個最好的結果，反正未來老婆長得不怎麼漂亮，少看幾眼也沒什麼損失，而且從此愛情還平添了幾分浪漫，至少比斷腿少胳膊要好得多。
四， 你沒幾個錢了，可俺卻有錢了。「三十年河東，三十年河西」，夏小姐讓簡愛突然鑽出來一有錢的親戚，留給她一筆不大不小的遺產，現在俺也是屬於資產階級了，簡愛小姐在金錢的武裝下底氣足了不少，於是可以光明正大地衣錦榮歸了。
五， 你不要俺，有的是好男人要俺。夏小姐聰明地給簡愛安排了一個立志獻身上帝的表哥――聖約翰。維多利亞時代的英國人經常分不清愛情與宗教的區別，就象幾十年前的中國人分不清愛情與政治的區別，連情書里都必以語錄開頭一樣，這個選擇在當時人的眼裡比你那NB的羅老闆好多了，你要不識貨，自然有競爭者排著隊在後面等著，看你著急不著急！
六， 俺可不想回來，這都是上帝叫俺回來的。簡愛離開羅老闆一段時間後，她聽到了來自遠方深情的呼喚：「簡、簡、簡！」據說同時羅老闆也聽到了回應：「俺來也、俺來也、俺來也！」這可是給足了簡小姐面子：神靈在上，天作之合，違天不祥，機不可失，時不再來，簡愛小姐於是順理成章地榮歸故里，得到愛情。
其實我並沒有調侃或者譏諷簡愛或者夏洛特的意思，我只是覺得，簡愛有限的掙扎實際上並不能是所謂的婦女解放，如果真是這樣的話，女同胞早就解放了。簡愛與羅切斯特最後的結合，實際上是建立在雙方地位的改變（一方上升，一方下降）而帶來的平衡上。所謂人格的平等，在人類社會永遠是一個可望而不可及的夢。
原來，在愛情上，平等是那麼難
㈥ 簡愛的雙重性格分析文獻綜述怎麼寫
簡愛的雙重性格分析文獻綜述
《簡·愛》（Jane Eyre）是十九世紀英國著名的女作家夏洛蒂·勃朗特的代表作，講述一位從小變成孤兒的英國女子在各種磨難中不斷追求自由與尊嚴，堅持自我，最終獲得幸福的故事。人們普遍認為《簡·愛》是夏洛蒂·勃朗特「詩意的生平寫照」，是一部具有自傳色彩的最佳作品。
這個「浪漫主義」來源於中世紀的傳奇一詞。最早使用是在18世紀的晚期，當時人們對古代的冒險離奇故事發生普遍的興趣。以後人們就把那些同傳奇故事、離奇遭遇、想像色彩相聯系的事統統成為浪漫主義。浪漫主義通常包含兩個涵義：一個涵義指一種創作方法，他同現實主義創作方法並存，即按照生活應該有的思想化的樣子去描繪生活；另一種涵義是指18世紀末至19世紀上半葉盛行於歐洲各國的文學藝術思想。浪漫主義是文藝的基本創作方法之一，與現實主義同為文學藝術上的兩大主要思潮。作為創作方法，浪漫主義在反映客觀現實上側重從主觀內心世界出發，抒發對理想世界的熱烈追求，常用熱情奔放的語言、瑰麗的想像和誇張的手法來塑造形象。浪漫主義的創作傾向由來已久，早在人類的文學藝術處於口頭創作時期，一些作品就不同程度地帶有浪漫主義的因素和特色。但這時的浪漫主義既未形成思潮，又不是自覺為人們掌握的創作方法。
我想通過對浪漫主義的分析與探討，分析《簡·愛》中的一些浪漫主義的因素。作為十九世紀二三十年代的產物，《簡·愛》和浪漫主義在同一個大環境中，彼此相互影響，互相借鑒。
《簡·愛》中的很多場景描述，都有強烈的浪漫主義氣息，不僅僅是從文學手法上，甚至是在描述的場景的色調，背景，冷暖度，角度以及人物表情上等等視覺因素上，都深受當時浪漫主義的很大影響。
㈦ 請問有簡愛的英文參考文獻資料嗎
外文文獻有，翻譯沒有，翻譯得靠你自己了，希望能滿足你的需要，能幫到你，如果需要直接網路Hi中留言同時貼出問題的鏈接地址和郵箱地址即可，或者告知其他安全可靠方式提供，多多給點懸賞分吧，急用的話請多選賞點分吧，這樣更多的知友才會及時幫到你，我找到也是很花時間的如果需要直接網路Hi中添加我好友，留言同時貼出問題的鏈接地址和郵箱地址即可，或者告知其他安全可靠方式提供
相關外文文獻已發送郵箱，翻譯沒有，翻譯得靠你自己了，希望能滿足你的需要，能幫到你，多多給點懸賞分吧，急用的話請多選賞點分吧，這樣更多的知友才會及時幫到你，我找到也是很花時間的
㈧ 求《簡愛》相關的英語文獻。。（論文結尾處參考文獻）
mark 一下， 我的畢業論文就寫的簡愛 回家翻給你
㈨ 簡愛的相關參考文獻
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建議與易卜生〈娜拉〉對照研究，最好再參看像西蒙·波娃的〈第二性——女人〉這類研究著作
別把她當英雄，當成個普通女孩，以這種前提看法再細讀，必有收獲。....
女性獨立意識——《簡愛》1847年夏洛蒂