關於英國文學的論文_英國文學論文

Ⅰ 誰有關於英國文學的論文要英文的,不要給我網址! 100分

DICKINSONS BECAUSE I COULD NOT STOP FOR DEATH

作者：, M.

DICKINSONS BECAUSE I COULD NOT STOP FOR DEATH
Abstract:Analyzes the poem `Because I Could Not Stop for Death,' by Emily Dickinson. The use of remembered images of the past to clarify infinite conceptions through the establishment of a dialectical relationship between reality and imagination, the known and the unknown; The viewpoint of eternity; Understanding of the incomprehensible; The stages of existence.

DICKINSON'S BECAUSE I COULD NOT STOP FOR DEATH
In "Because I Could Not Stop for Death" (J712), Emily Dickinson uses remembered images of the past to clarify infinite conceptions through the establishment of a dialectical relationship between reality and imagination, the known and the unknown.[1] By viewing this relationship holistically and hierarchically ordering the stages of life to include death and eternity, Dickinson suggests the interconnected and mutually determined nature of the finite and infinite.[2]
From the viewpoint of eternity, the speaker recalls experiences that happened on earth centuries ago. In her recollection, she attempts to identify the eternal world by its relationship to temporal standards, as she states that "Centuries" (21) in eternity are "shorter than the [earthly] day" (22). Likewise, by anthropomorphizing Death as a kind and civil gentleman, the speaker particularizes Death's characteristics with favorable connotations. [3] Similarly, the finite and infinite are amalgamated in the fourth stanza:
The Dews drew quivering and chill-- For only Gossamer, my Gown--My Tippett--only Tulle--(14-16)
In these lines the speaker's temporal existence, which allows her to quiver as she is chilled by the "Dew," merges with the spiritual universe, as the speaker is attired in a "Gown" and cape or "Tippet," made respectively of "Gossamer," a cobweb, and "Tulle," a kind of thin, open net-temporal coverings that suggest transparent, spiritual qualities.
Understanding the incomprehensible often depends on an appreciation of the progression of the stages of existence. By recalling specific stages of life on earth, the speaker not only settles her temporal past but also views these happenings from a higher awareness, both literally and figuratively. In a literal sense, for example, as the carriage gains altitude to make its heavenly approach, a house seems as "A Swelling of the Ground" (18). Figuratively the poem may symbolize the three stages of life: "School, where Children strove" (9) may represent childhood; "Fields of Gazing Grain" (11), maturity; and "Setting Sun" (12) old age. Viewing the progression of these stages-life, to death, to eternity-as a continuum invests these isolated, often incomprehensible events with meaning.[4] From her eternal perspective, the speaker comprehends that life, like the "Horses Heads" (23), leads "toward Eternity" (24).[5]
Through her boundless amalgamation and progressive ordering of the temporal world with the spiritual universe, Dickinson dialectically shapes meaning from the limitations of life, allowing the reader momentarily to glimpse a universe in which the seemingly distinct and discontinuous stages of existence are holistically implicated and purposed.
NOTES
[1.] Others who have written on Emily Dickinson's responses to death include Ruth Miller (The Poetry of Emily Dickinson [Middletown, Conn.: Wesleyan U P, 1968]); Robert Weisbuch Emily Dickinson's Poetry [Chicago, 111.: U of Chicago P, 1975]); Carol Anne Taylor ("Kierkegaard and the Ironic Voices of Emily Dickinson ," Journal of English and German Philology 77 [1978]: 569-81); Charles Anderson ( Emily Dickinson's Poetry: Stairway of Surprise [New York: Holt, Reinhart, 1960]); Sharon Cameron (Lyric Time (Baltimore: John Hopkins U P, 1979]); Brita Lindberg-Seyersted (The Voice of the Poet: Aspects of Style in the Poetry of Emily Dickinson [Cambridge: Harvard U P, 1968]).
[2.] The theoretical foundation for aspects of this argument rests in part on the philosophies of such men as Immanuel Kant, who represents the notion of the boundary of human experience as a belt of mediation: "The sensuous world is nothing but a chain of appearances connected according to universal laws; it has therefore no subsistence by itself; it is not the thing in itself and consequently must point to that which contains the basis of this experience, to beings which cannot be cognised merely as phenomena, but as things in themselves" (Prolegomena to Any Future Metaphysics, trans. and ed. Paul Carus [Chicago: Open Court Publishing Co., 1902] 124).
[3.] In The Long Shadow, Clark Griffith grounds this poem in secular traditions, as he points out that Death's stopping for the Lady-Poet reflects a "tradition of nineteenth-century 'courtly love' " (129), an interpretation which allows the reader to evaluate "Death as either kind or malevolent" (130) and "Eternity" (131) as a "pleasant" place or realm of "nothingness" (132).
[4.] In The Rhetoric of American Romance (Baltimore: Johns Hopkins U P 1984), Evan Carton says, "To approach God, for Dickinson, is generally to shape a more satisfying . . . relationship between oneself and the universe . . ." (270).
[5.] Jane D. Eberwein, in Dickinson: Strategies of Limitation (Amherst: U of Massachusetts P, 1985). argues that Death does not "launch the persona of this poem into another world" but rather leaves the persona in a "House" (218).

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本文關鍵詞：DICKINSONS BECAUSE DEATH

Ⅱ 求英國文學論文選題，什麼比較好寫

你好：
狄更斯的文章現實性太強，我覺得以大多數人的文化背景和經歷來說，是不容易理解的。講到英國文學的話，還是Jane Austen的文章最好寫吧。主題貼近生活，從各個方面都能切入。而且研究的文章也多得很。我個人傾向傲慢與偏見和愛瑪兩本書啦。
恩，還有兩個Bronte的也行。勃朗特姐妹夠研究一陣的了。
要抓典型的話，就莎士比亞Shakespeare吧，不要去啃哈姆雷特Hamlet那種書，又難讀又出不了新意。你可以挑一篇喜歡的喜劇來寫，不難理解但也容易寫出鮮活的東西來。

我自己是寫了幾篇安吉拉·卡特，英國新銳作家，你可能不熟，才引進大陸，童話改寫著稱，有一篇還登了核心。世上無難事，只怕有心人啊。我寫的是非常新的女性主義觀點。你搜安吉拉卡特的xing意識寫作意圖可以搜到。

還有華茲華斯的詩歌也寫的很多，很好參考。

網站多了去了，光CNKI就看死你了，我常用的還有GALE文學資源資料庫，不過是全英的外文資料庫。還有讀秀，看書和引用參考文獻的。你如果在學校應該可以下載，如果不行需要什麼paper可以另開問題給我。

還有一些比如中外文學講壇之類的博客，可以關注一下，主要大概作品確定以後要找一些新的理論來支撐，這樣才能把論文寫好。

書的話南京大學出版社《歐美文學研究導引》不錯，裡面的思考題都是很好的論文選題，還有《文學理論名詞解釋》，相關的批評論文也看一些，注意要找權威期刊的做引用。

-----------------------------------------------------------------
五星級回答，一定要採納哦，不要辜負我的辛苦勞動！

【來自英語牛人團】
——————————————————————
最詳細的文學解答，最專業的閱讀指導
【來自世界文學知道點團隊】

（因為你這個問題涉及到英美還有文學，我就把我帶的兩個團隊都寫上了，熬夜幫你打的哦，這個必須採納啊~~有其他問題以後直接點擊我名字提問就可以，兩個答案都是我幫你回答的，放心採納。我是【阿美莉貓】）

Ⅲ 急求一篇英國文學內關於一篇小說之類的的英文小論文，1200字左右。

學位論文網
www.xwlunwen.com
有論文詳細內容
，論文內容原創，豐富，新穎，高質量高效率，我也寫過一篇，覺得不錯，你可以去看下

Ⅳ 英國文學論文

The term English literature refers to literature written in the English language, including literature composed in English by writers not necessarily from England; Joseph Conrad was Polish, Robert Burns was Scottish, James Joyce was Irish, Dylan Thomas was Welsh, Edgar Allan Poe was American, Salman Rushdie is Indian, V.S. Naipaul was born in Trinidad, Vladimir Nabokov was Russian. In other words, English literature is as diverse as the varieties and dialects of English spoken around the world. In academia, the term often labels departments and programmes practising English studies in secondary and tertiary ecational systems. Despite the variety of authors of English literature, the works of William Shakespeare remain paramount throughout the English-speaking world.

This article primarily deals with literature from Britain written in English. For literature from specific English-speaking regions, consult the see also section at the bottom of the page.

Contents [hide]
1 Old English
2 Renaissance literature
3 Early Modern period
3.1 Elizabethan Era
3.2 Jacobean literature
3.3 Caroline and Cromwellian literature
3.4 Restoration literature
3.5 Augustan literature
4 18th century
5 Romanticism
6 Victorian literature
7 Modernism
8 Post-modern literature
9 Views of English literature
10 See also
11 External links

Old English
Main article: Anglo-Saxon literature
The first works in English, written in Old English, appeared in the early Middle Ages (the oldest surviving text is Cædmon's Hymn). The oral tradition was very strong in early British culture and most literary works were written to be performed. Epic poems were thus very popular and many, including Beowulf, have survived to the present day in the rich corpus of Anglo-Saxon literature that closely resemble today's Norwegian or, better yet, Icelandic. Much Anglo-Saxon verse in the extant manuscripts is probably a "milder" adaptation of the earlier Viking and German war poems from the continent. When such poetry was brought to England it was still being handed down orally from one generation to another, and the constant presence of alliterative verse, or consonant rhyme (today's newspaper headlines and marketing abundantly use this technique such as in Big is Better) helped the Anglo-Saxon peoples remember it. Such rhyme is a feature of Germanic languages and is opposed to vocalic or end-rhyme of Romance languages. But the first written literature dates to the early Christian monasteries founded by St. Augustine of Canterbury and his disciples and it is reasonable to believe that it was somehow adapted to suit to needs of Christian readers. Even without their crudest lines, Viking war poems still smell of blood feuds and their consonant rhymes sound like the smashing of swords under the gloomy northern sky: there is always a sense of imminent danger in the narratives. Sooner or later, all things must come to an end, as Beowulf eventually dies at the hands of the monsters he spends the tale fighting. The feelings of Beowulf that nothing lasts, that youth and joy will turn to death and sorrow entered Christianity and were to dominate the future landscape of English fiction.

Renaissance literature
Main article: English Renaissance
Following the introction of a printing press into England by William Caxton in 1476, vernacular literature flourished. The Reformation inspired the proction of vernacular liturgy which led to the Book of Common Prayer, a lasting influence on literary English language. The poetry, drama, and prose proced under both Queen Elizabeth I and King James I constitute what is today labelled as Early modern (or Renaissance).

Early Modern period
Further information: Early Modern English and Early Modern Britain

Elizabethan Era
Main article: Elizabethan literature
The Elizabethan era saw a great flourishing of literature, especially in the field of drama. The Italian Renaissance had rediscovered the ancient Greek and Roman theatre, and this was instrumental in the development of the new drama, which was then beginning to evolve apart from the old mystery and miracle plays of the Middle Ages. The Italians were particularly inspired by Seneca (a major tragic playwright and philosopher, the tutor of Nero) and Plautus (its comic cliché, especially that of the boasting soldier had a powerful influence on the Renaissance and after). However, the Italian tragedies embraced a principle contrary to Seneca's ethics: showing blood and violence on the stage. In Seneca's plays such scenes were only acted by the characters. But the English playwrights were intrigued by Italian model: a conspicuous community of Italian actors had settled in London and Giovanni Florio had brought much of the Italian language and culture to England. It is also true that the Elizabethan Era was a very violent age and that the high incidence of political assassinations in Renaissance Italy (embodied by Niccolò Machiavelli's The Prince) did little to calm fears of popish plots. As a result, representing that kind of violence on the stage was probably more cathartic for the Elizabethan spectator. Following earlier Elizabethan plays such as Gorboc by Sackville & Norton and The Spanish Tragedy by Kyd that was to provide much material for Hamlet, William Shakespeare stands out in this period as a poet and playwright as yet unsurpassed. Shakespeare was not a man of letters by profession, and probably had only some grammar school ecation. He was neither a lawyer, nor an aristocrat as the "university wits" that had monopolised the English stage when he started writing. But he was very gifted and incredibly versatile, and he surpassed "professionals" as Robert Greene who mocked this "shake-scene" of low origins. Though most dramas met with great success, it is in his later years (marked by the early reign of James I) that he wrote what have been considered his greatest plays: Hamlet, Romeo and Juliet, Othello, King Lear, Macbeth, Antony and Cleopatra, and The Tempest, a tragicomedy that inscribes within the main drama a brilliant pageant to the new king. This 'play within a play' takes the form of a masque, an interlude with music and dance coloured by the novel special effects of the new indoor theatres. Critics have shown that this masterpiece, which can be considered a dramatic work in its own right, was written for James's court, if not for the monarch himself. The magic arts of Prospero, on which depend the outcome of the plot, hint at the fine relationship between art and nature in poetry. Significantly for those times (the arrival of the first colonists in America), The Tempest is (though not apparently) set on a Bermudan island, as research on the Bermuda Pamphlets (1609) has shown, linking Shakespeare to the Virginia Company itself. The "News from the New World", as Frank Kermode points out, were already out and Shakespeare's interest in this respect is remarkable. Shakespeare also popularized the English sonnet which made significant changes to Petrarch's model.

The sonnet was introced into English by Thomas Wyatt in the early 16th century. Poems intended to be set to music as songs, such as by Thomas Campion, became popular as printed literature was disseminated more widely in households. See English Madrigal School. Other important figures in Elizabethan theatre include Christopher Marlowe, Thomas Dekker, John Fletcher and Francis Beaumont. Had Marlowe (1564-1593) not been stabbed at twenty-nine in a tavern brawl, says Anthony Burgess, he might have rivalled, if not equalled Shakespeare himself for his poetic gifts. Remarkably, he was born only a few weeks before Shakespeare and must have known him well. Marlowe's subject matter, though, is different: it focuses more on the moral drama of the renaissance man than any other thing. Marlowe was fascinated and terrified by the new frontiers opened by modern science. Drawing on German lore, he introced Dr. Faustus to England, a scientist and magician who is obsessed by the thirst of knowledge and the desire to push man's technological power to its limits. He acquires supernatural gifts that even allow him to go back in time and wed Helen of Troy, but at the end of his twenty-four years' covenant with the devil he has to surrender his soul to him. His dark heroes may have something of Marlowe himself, whose untimely death remains a mystery. He was known for being an atheist, leading a lawless life, keeping many mistresses, consorting with ruffians: living the 'high life' of London's underworld. But many suspect that this might have been a cover-up for his activities as a secret agent for Elizabeth I, hinting that the 'accidental stabbing' might have been a premeditated assassination by the enemies of The Crown. Beaumont and Fletcher are less-known, but it is almost sure that they helped Shakespeare write some of his best dramas, and were quite popular at the time. It is also at this time that the city comedy genre develops. In the later 16th century English poetry was characterised by elaboration of language and extensive allusion to classical myths. The most important poets of this era include Edmund Spenser and Sir Philip Sidney. Elizabeth herself, a proct of Renaissance humanism, proced occasional poems such as On Monsieur』s Departure.

Canons of Renaissance poetry

Jacobean literature
After Shakespeare's death, the poet and dramatist Ben Jonson was the leading literary figure of the Jacobean era (The reign of James I). However, Jonson's aesthetics hark back to the Middle Ages rather than to the Tudor Era: his characters embody the theory of humours. According to this contemporary medical theory, behavioral differences result from a prevalence of one of the body's four "humours" (blood, phlegm, black bile, and yellow bile) over the other three; these humours correspond with the four elements of the universe: air, water, fire, and earth. This leads Jonson to exemplify such differences to the point of creating types, or clichés.

Jonson is a master of style, and a brilliant satirist. His Volpone shows how a group of scammers are fooled by a top con-artist, vice being punished by vice, virtue meting out its reward.

Others who followed Jonson's style include Beaumont and Fletcher, who wrote the brilliant comedy, The Knight of the Burning Pestle, a mockery of the rising middle class and especially of those nouveaux riches who pretend to dictate literary taste without knowing much literature at all. In the story, a couple of grocers wrangle with professional actors to have their illiterate son play a leading role in a drama. He becomes a knight-errant wearing, appropriately, a burning pestle on his shield. Seeking to win a princess' heart, the young man is ridiculed much in the way Don Quixote was. One of Beaumont and Fletcher's chief merits was that of realising how feudalism and chivalry had turned into snobbery and make-believe and that new social classes were on the rise.

Another popular style of theatre ring Jacobean times was the revenge play, popularized by John Webster and Thomas Kyd. George Chapman wrote a couple of subtle revenge tragedies, but must be remembered chiefly on account of his famous translation of Homer, one that had a profound influence on all future English literature, even inspiring John Keats to write one of his best sonnets.

The King James Bible, one of the most massive translation projects in the history of English up to this time, was started in 1604 and completed in 1611. It represents the culmination of a tradition of Bible translation into English that began with the work of William Tyndale. It became the standard Bible of the Church of England, and some consider it one of the greatest literary works of all time. This project was headed by James I himself, who supervised the work of forty-seven scholars. Although many other translations into English have been made, some of which are widely considered more accurate, many aesthetically prefer the King James Bible, whose meter is made to mimic the original Hebrew verse.

Besides Shakespeare, whose figure towers over the early 1600s, the major poets of the early 17th century included John Donne and the other Metaphysical poets. Influenced by continental Baroque, and taking as his subject matter both Christian mysticism and eroticism, metaphysical poetry uses unconventional or "unpoetic" figures, such as a compass or a mosquito, to reach surprise effects. For example, in "A Valediction: Forbidding Mourning", one of Donne's Songs and Sonnets, the points of a compass represent two lovers, the woman who is home, waiting, being the centre, the farther point being her lover sailing away from her. But the larger the distance, the more the hands of the compass lean to each other: separation makes love grow fonder. The paradox or the oxymoron is a constant in this poetry whose fears and anxieties also speak of a world of spiritual certainties shaken by the modern discoveries of geography and science, one that is no longer the centre of the universe. Apart from the metaphysical poetry of Donne, the 17th century is also celebrated for its Baroque poetry. Baroque poetry served the same ends as the art of the period; the Baroque style is lofty, sweeping, epic, and religious. Many of these poets have an overtly Catholic sensibility (namely Richard Crashaw) and wrote poetry for the Catholic counter-Reformation in order to establish a feeling of supremacy and mysticism that would ideally persuade newly emerging Protestant groups back toward Catholicism.

Caroline and Cromwellian literature
The turbulent years of the mid-17th century, ring the reign of Charles I and the subsequent Commonwealth and Protectorate, saw a flourishing of political literature in English. Pamphlets written by sympathisers of every faction in the English civil war ran from vicious personal attacks and polemics, through many forms of propaganda, to high-minded schemes to reform the nation. Of the latter type, Leviathan by Thomas Hobbes would prove to be one of the most important works of British political philosophy. Hobbes's writings are some of the few political works from the era which are still regularly published while John Bramhall, who was Hobbes's chief critic, is largely forgotten. The period also saw a flourishing of news books, the precursors to the British newspaper, with journalists such as Henry Muddiman, Marchamont Needham, and John Birkenhead representing the views and activities of the contending parties. The frequent arrests of authors and the suppression of their works, with the consequence of foreign or underground printing, led to the proposal of a licensing system. The Areopagitica, a political pamphlet by John Milton, was written in opposition to licensing and is regarded as one of the most eloquent defenses of press freedom ever written.

Specifically in the reign of Charles I (1625 – 42), English Renaissance theatre experienced its concluding efflorescence. The last works of Ben Jonson appeared on stage and in print, along with the final generation of major voices in the drama of the age: John Ford, Philip Massinger, James Shirley, and Richard Brome. With the closure of the theatres at the start of the English Civil War in 1642, drama was suppressed for a generation, to resume only in the altered society of the English Restoration in 1660.

Other forms of literature written ring this period are usually ascribed political subtexts, or their authors are grouped along political lines. The cavalier poets, active mainly before the civil war, owed much to the earlier school of metaphysical poets. The forced retirement of royalist officials after the execution of Charles I was a good thing in the case of Izaak Walton, as it gave him time to work on his book The Compleat Angler. Published in , the book, ostensibly a guide to fishing, is much more: a meditation on life, leisure, and contentment. The two most important poets of Oliver Cromwell's England were Andrew Marvell and John Milton, with both procing works praising the new government; such as Marvell's An Horatian Ode upon Cromwell's Return from Ireland. Despite their republican beliefs they escaped punishment upon the Restoration of Charles II, after which Milton wrote some of his greatest poetical works (with any possible political message hidden under allegory). Thomas Browne was another writer of the period; a learned man with an extensive library, he wrote prolifically on science, religion, medicine and the esoteric.

Restoration literature
Main article: Restoration Literature
Restoration literature includes both Paradise Lost and the Earl of Rochester's Sodom, the high spirited sexual comedy of The Country Wife and the moral wisdom of Pilgrim's Progress. It saw Locke's Treatises on Government, the founding of the Royal Society, the experiments of Robert Boyle and the holy meditations of Boyle, the hysterical attacks on theatres from Jeremy Collier, the pioneering of literary criticism from Dryden, and the first newspapers. The official break in literary culture caused by censorship and radically moralist standards under Cromwell's Puritan regime created a gap in literary tradition, allowing a seemingly fresh start for all forms of literature after the Restoration. During the Interregnum, the royalist forces attached to the court of Charles I went into exile with the twenty-year old Charles II. The nobility who travelled with Charles II were therefore lodged for over a decade in the midst of the continent's literary scene. Charles spent his time attending plays in France, and he developed a taste for Spanish plays. Those nobles living in Holland began to learn about mercantile exchange as well as the tolerant, rationalist prose debates that circulated in that officially tolerant nation.

The largest and most important poetic form of the era was satire. In general, publication of satire was done anonymously. There were great dangers in being associated with a satire. On the one hand, defamation law was a wide net, and it was difficult for a satirist to avoid prosecution if he were proven to have written a piece that seemed to criticize a noble. On the other hand, wealthy indivials would respond to satire as often as not by having the suspected poet physically attacked by ruffians. John Dryden was set upon for being merely suspected of having written the Satire on Mankind. A consequence of this anonymity is that a great many poems, some of them of merit, are unpublished and largely unknown.

Ⅳ 誰有關於英國文學小說的完整論文

2006 年1 月
Jan. 2006
天津外國語學院學報
Journal of Tianjin Foreign Studies University
第13 卷第1 期
Vol . 13 No. 1
收稿日期:2005 - 08 - 29
作者簡介:梁曉暉(1970 - ) ,女,副教授,研究方向:西方文論、英語文體學
從女主人公的性格矛盾
看《傲慢與偏見》的自我解構
梁曉暉
(國際關系學院英文系,北京100091)
摘要: 《傲慢與偏見》歷來被認為是作者為謳歌女性追求幸福婚姻的不懈努力而作。而從分析
女主人公在小說關鍵情節中的矛盾性格,可以透析作者真正的初衷其實與歷來的解讀恰恰相反,
她原是為更淋漓地揭露女子在當時的條件下難以得到理想婚姻這一社會現實,於是作家實際要
表達的思想對作品表面上展現的意義形成了解構。
關鍵詞: 《傲慢與偏見》;性格矛盾;解構
Abstract : Pride and Prejudice has traditionally been interpreted as a work praising those women who fought
for a happy marriage. However ,when observed from the conflicting character of the heroine Elizabeth , the
work is found to contain a contrary underlying message ,which deconstructs the obvious significance of the
novel . In fact , the author intends to expose a reality that a woman at the end of the 18th century can find no
freedom at all to challenge the social convention.
Key words : Pride and Prejudice ;charater conflict ; deconstruction
中圖分類號: I106. 4 文獻標識碼:A 文章編號:1008 - 665x(2006) 01 - 0049 - 06
一、對《傲慢與偏見》的傳統認識
《傲慢與偏見》自誕生不久就成為家喻戶曉
的作品,並吸引了歷代評論家的關注。很多對
這部作品的評注與關於莎翁、狄更斯、勃朗特姐
妹的文評在數量上同時名列榜首。在眾多對這
部小說的述評中,關注的焦點大多集中在作品
女主人公伊麗莎白( Elizabeth Bennet) 的性格展
開上,以及她在婚姻中對金錢與愛情的抉擇而
體現的作品意義上;對人物的觀察也從小說的
小環境指向當時社會的大背景: 18 世紀末19
世紀初的英國,婦女在經濟上從而也在社會與
家庭地位上附屬於男性(Brown ,1985 :1 - 26) ,
這一點在財產傳男不傳女的制度上可見一斑。
小說中伊麗莎白的父親因無男性子嗣,如果過
世之後,家庭財產將劃歸其侄子所有,而妻子及
親生女兒則無權問津。對於像伊麗莎白這樣中
產階級出身但財產微薄的知識女性,要想獲得
一種體面的生活和地位,唯一的途徑就是嫁給
一個好男人。與此相矛盾的是,社會等級制度
森嚴,婚姻講究門當戶對,於是這些中產階級的
姑娘們也只能在中產階級內部依照個人條件優
劣盡量擇優錄取配偶了。總之,婚姻是人們尋
求經濟保障及社會地位的途徑。伊麗莎白的堂
兄柯林斯(Collins Bennet) 深知這一點,所以經濟
殷實但庸俗不堪的他在向才貌出眾的伊麗莎白
求婚時,認為自己這是便宜了伊麗莎白;伊麗莎
白的好友夏綠蒂(Charlotte Lucus) 也深知這一
點,所以在柯林斯向好友伊麗莎白求婚未果轉
而隔天就向自己求婚時她也欣然應允。達西
(Darcy) 、賓禮小姐(Miss Bingley) 都深知這一點,
這兩個上流社會的寵兒曾極力想要拆散伊麗莎
白的姐姐珍妮與賓禮先生的結合———珍妮個人
9 4
無論有多麼優秀,她的中產階級身份是難以彌
補的。
只有伊麗莎白鄙視這一點,在歷來評注者
的心目中她崇尚以愛情為基礎的婚姻,反對以
經濟條件或社會地位作為擇偶標准(Jones ,
1987 : 28) 。所以她首先不顧母親的極力反對
拒絕了能給自己帶來殷實生活的柯林斯的求
婚;之後又因誤解拒絕了能給自己帶來奢華生
活及顯赫地位的達西的第一次求婚,盡管後者
正在努力逾越等級差別的藩籬。在她周圍人包
括在她自己眼中,她都是出類拔萃、與眾不同
的。她父親評價說,自己的女兒們「沒有哪一個
值得誇獎的⋯⋯她們跟人家的姑娘一樣,又傻,
又無知;倒是麗萃(伊麗莎白昵稱) 要比她的幾
個姐妹伶俐些」(Austen ,1991 :3) 。在與達西盡
釋前嫌後, 當伊麗莎白問及達西喜歡上自己的
原因時,達西說是她的「腦子靈活」吸引了自己,
伊麗莎白自己更補充說「你對於殷勤多禮的客
套已經感到膩煩。天下有種女人,她們無論是
說話、思想、表情,都只是為了博得你稱贊一聲,
你對這種女人已經覺得討厭。我所以會引起你
的注意,打動了你的心, 就因為我不像她們」
(Austen ,1991 :338) 。奧斯汀(Jane Austen) 筆下
的這位女子,在批評家眼裡是追求自由與平等
的楷模,她「從不允許讓他人左右自己的意志,
也從不屈從於傳統上婦女的從屬地位(does not
permit her『will』to be dictated to by another ,and she
will never admit the submissive role traditionally as2
cribed to women. . . ) 」(Hardy ,1984 :47) 。在讀者
心目中她是漂亮、聰慧、勇敢的化身,她不慕金
錢,不依權貴,在200 多年前就敢於沖破世俗的
偏見追求並得到了自己理想中的幸福。
那麼,這種美滿的結局在當時的英國社會
真的能夠出現嗎? 一個鄉村女性真的能夠沖破
等級差別的束縛嗎? 在隨後半個多世紀里的作
家們的筆下,婦女地位都遠沒有提升到能夠這
樣隨心所欲的地步。《名利場》( Vanity Fair) 中
的夏普(Miss Sharp) 為尋求一個經濟上得以依
賴的伴侶可謂機關算盡也未有所果; 《福羅斯河
上的磨坊》( The Mill on the Floss) 中的瑪琪(Mag2
gie) 為追求一份符合道德的情感付出了生命的
代價;簡·愛(Jane Eyre) 必須要嫁給一個失去了
健康的老男人才算擁有了一份幸福的婚姻;而
苔斯(Tess) 這樣的出水芙蓉也與理想的愛人失
之交臂,花折玉損。那麼,奧斯汀為何遠在世紀
的交界就編造出這種理想式的神話呢? 這位鄉
間的小女子是否真如那些大評論家所言,不諳
世事、不食人間煙火呢(Gillie ,1997 :142) ? 這些
應該能從作品本身找到答案。
二、伊麗莎白的性格矛盾
伊麗莎白是否真如讀者及她自己認為的那
樣不依權貴,不慕金錢,不媚世俗? 評論家們都
喜歡從她與達西的關系發展中分析出她的上述
性格。
首先,伊麗莎白一直宣稱自己不在乎達西
的評判,這是否就能夠說明她不慕權貴? 達西
是貴族的代表,不在乎達西,當然是夠有骨氣的
了。自從舞會上第一次見面被達西冷落之後,
伊麗莎白就一直對達西沒有好感,對她而言「達
西只是個到處不討人喜歡的男人,何況他曾經
認為她不夠漂亮不配跟她跳舞」(Austen ,1991 :
19) ,在隨後的交往中伊麗莎白抓住所有機會對
達西貴族式的傲慢冷嘲熱諷,頗失禮貌;她甚至
在一次聚會中回絕了威廉爵士的撮合,拒絕與
達西跳舞。至此,伊麗莎白的性格是統一的:她
率真,甚至有些剛烈。
但不久,伊麗莎白因要照顧病在賓禮家的
姐姐也滯留在那裡時,與達西等人有了幾天近
距離接觸後,對達西的態度發生了一些轉變。
她開始關注達西了:她會一邊做針線活一邊聆
聽賓禮小姐與達西的談話,甚至開始主動參與
達西等人的聊天,她還注意到達西在關注自己。
故事中說達西對伊麗莎白的關注引起了賓禮小
姐的嫉妒。這對三角關系的對台戲在下面這段
引文中演繹得頗為生動:
賓禮小姐⋯⋯不大一會兒工夫,就站起身
來,在房間里踱來踱去,故意在達西面前賣弄她
優美的體態和矯健的步伐,只可惜達西只顧在
那裡一心一意地看書,因此她只落得枉費心機。
她絕望之餘,決定再作一次努力,於是轉過身來
對伊麗莎白說:
「伊麗莎白·班納特小姐,我勸你還是學學
我的樣子,在房間里走動走動吧。告訴你,坐了
那麼久,走動一下可以提提精神。」
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天津外國語學院學報 2006 年第1 期
伊麗莎白覺得很詫異,可是立刻依了她的
意思。於是賓禮小姐獻殷勤的真正目的達到了
⋯⋯達西先生果然抬起頭來⋯⋯(Austen ,
1991 :48 - 49)
正如申丹教授所澄清的,敘事聲音與敘事聲音
是兩回事(申丹,1998 :208) 。加點部分的敘事
聲音儼然是來自作者,但敘事眼光卻可以有兩
種理解:如果是作者的敘事眼光, 伊麗莎白當
然是透明的了;但如果作者在此使用了伊麗莎
白的敘事眼光,即這一段是伊麗莎白所觀察到
的或是她接受完邀請一起在屋子裡溜達後的頓
悟———以她的敏銳及近來對達西和賓禮小姐的
關注,這也是完全有可能的———那麼,她的這種
揣摩背後就有了另一層意思:她也在嫉妒賓禮
小姐,在不停地評判賓禮小姐。否則,在接下來
達西笑說她倆在賣弄身姿而賓禮小姐叫著要懲
罰他時,她就不會話里帶刺兒了:
「噢,嚇壞人!」賓禮小姐叫了起來。「我從
來沒聽到過這么毒辣的話。⋯⋯虧他說得出,
該怎麼罰他呀?」
「要是你存心罰他,那是再容易不過的事,」
伊麗莎白說。「彼此都可以罰來罰去,折磨來折
磨去。作弄他一番吧⋯⋯譏笑他一番吧。你們
既然這么相熟,你該懂得怎麼對付他呀。」(Aus2
ten , 1991 :49)
這儼然是在說「你要想懲罰他當然是有辦法的
嘍,又何必問我呢? 不過你們倆關系那麼親密,
你是捨不得懲罰他的呀」。賓禮小姐一直在露
骨地追求達西,這話(加點部分) 跟她說是沒有
問題的。但伊麗莎白已經看出來達西並不怎麼
喜歡這位朋友的妹妹,與她毫無親密可言,這話
沖達西一說就有點挑唆的味道了———對並不怎
么動心的一方說你與另一方多好只能拉遠雙方
的距離。這與賓禮小姐就達西對伊麗莎白的青
睞而挑釁達西的話簡直是異曲同工:
為了挑撥達西厭惡這位客人,她(賓禮小
姐) 常常閑言閑語,說他跟伊麗莎白終將結成美
滿良緣,而且估料著這一門良緣會給達西帶來
多大幸福。
第二天賓禮小姐跟達西兩人在矮樹林里散
步,她說:「我希望將來有一天好事如願的時候,
你得委婉地奉勸你那位岳母出言吐語要謹慎
些,還有你那幾位小姨子,要是你能力辦得到,
最好也得把她們那種醉心追求軍官的毛病醫治
好。還有一件事我真不好意思說出口;尊夫人
有一點兒小脾氣,好像是自高自大,又好像是不
懂禮貌,你也得盡力幫助她剋制一下。」(Aus2
ten ,1991 :45)
當然,伊麗莎白比賓禮小姐聰明,說的話遠沒有
後者這么直白。但她那段話顯然在影射賓禮小
姐對達西的糾纏,這只能引起達西對賓禮小姐
的反感。作為兩個漂亮的女性,她們自覺不自
覺地在互相嫉妒,互相攀比,甚至有點互相排
擠。賓禮小姐企圖用伊麗莎白不熟悉的話題
(如關於達西小姐的近況) 不讓伊麗莎白參與自
己和達西的談話,伊麗莎白則用智慧使達西的
注意點一直在自己的話題之內而把賓禮小姐排
除在外。
在單獨與達西、賓禮這些上流社會的人在
一起的這段時間里,從她態度的些許轉變可以
看出伊麗莎白在潛意識中調整了自我,她對達
西不再那麼不屑一顧了。正如拉康在自己的鏡
像理論中所提及的:人的自我是他者眼中自我
的體現( Eagleton ,1983 ,5 Chaper) 。伊麗莎白的
新自我正是在與賓禮小姐的競爭與認同中建立
起來的:她對達西近來的關注直接產生於賓禮
小姐對達西的追求及對自己的妒忌。在心理
上,她一直討厭卻又轉而關注達西是對以賓禮
小姐為代表的上流社會觀念最明顯的附庸!
伊麗莎白對上流社會觀念的附庸,還體現
於她對媽媽在達西等上流人物面前違背禮儀的
行為的過度緊張上;而在中產階級面前,如與盧
科斯(Lucus) 一家的交往中,她卻放鬆得多。她
對權貴的依附遠比她自己認為的嚴重!
從此出發,就容易解釋伊麗莎白在拒絕達
西的第一次求婚後的反常行為了。上次從賓禮
家回來後,伊麗莎白受韋翰(Mr. Wickham) 的蒙
惑,相信達西曾毫無道理地剝奪了他父親給韋
翰的重報,於是開始鄙視達西的為人。再加上
後來她無意中得知是達西拆散了姐姐與賓禮,
對他就更產生了怨恨之情。在這種情緒中,依
她一貫的性格與作風,她面對達西的求婚拒絕
起來應該是坦然而輕松的。但聽完達西的求婚
陳詞後,她的反應卻遠沒有那麼簡單:
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從女主人公的性格矛盾看《傲慢與偏見》的自我解構
盡管她對他的厭惡之心根深蒂固,她究竟
不能對這樣一個男人的一番盛情漠然無動於
衷;雖說她的意志不曾有過片刻的動搖,可是她
開頭倒也體諒到他將會受到痛苦,因此頗感不
安,然而他後來的那些話引起了她的怨恨,她那
一片憐惜之心便完全化成了憤怒。
In spite of her deeply - rooted dislike , she
could not be insensible to the compliment of such a
man』s affection , and though her intentions did not
vary for an instant , she was at first sorry for the pain
he was to receive ; till , roused to the resentment by
his subsequent language , she lost all compassion in
anger. (Austen , 1991 :168 - 169)
這一段表現出伊麗莎白的心情是矛盾的。如果
按照伊麗莎白的不同情緒重新排列這段文字,
更可以看清她此時心情的矛盾性:
她同情或傾心於達西她憎惡達西
1. In spite of her deeply - rooted dislike ,
she could not be insensible
to the compliment of such
a man』s affection , 2. and though her intentions did not vary for an instant ,
she was at first sorry for
the pain he was to receive ; 3. till ,roused to the resentment by his subsequent language ,she lost
all compassion in her anger.
以上三個句子中表達兩種情感的分句之間形成
了極其平衡的句式,展現出女主人公內心兩種
情感在激烈地斗爭。而且除了最後一句,分號
之前的兩句都是以對達西的同情為句子重心的
(出現在主句中) 。如果不是被達西隨後的言語
激怒,伊麗莎白對達西的同情很可能在最後一
句也占據上風,而對他的宿怨卻淡化為「雖然」、
「盡管」後的次要分句了。
我們不禁要問,對於一個自己本來就不喜
歡而且又傷害了自己心上人和親姐姐的人,這
種宿怨難道能夠淡化和抹殺? 更令人不解的
是,達西走後伊麗莎白為了這個自己「不在乎」
的人心潮澎湃、大哭不已。
她心裡紛亂無比。她不知道如何撐住自
己,她非常軟弱無力,便坐在那兒哭了半個鍾
頭。她回想到剛才的一幕,越想越覺得奇怪。
達西先生竟會向她求婚,他竟會愛上她好幾個
月了! 竟會那樣地愛她,要和她結婚,不管她有
多少缺點,何況她自己的姐姐正是由於這些缺
點而受到他的阻撓,不能跟他朋友結婚,何況這
些缺點對他至少具有同樣的影響⋯⋯這真是一
件不可思議的事! 一個人能在不知不覺中博得
別人這樣熱烈的愛慕,也足夠自慰了。可是他
的傲慢,他那可惡的傲慢,他居然恬不知恥地招
認他自己是怎樣破壞了珍妮的好事,他招認的
時候雖然並不能自圓其說,可是叫人難以原諒
的是他那種自以為是的神氣,還有他提到韋翰
先生時那種無動於衷的態度,他一點兒也不打
算否認對待韋翰的殘酷⋯⋯一想到這些事,縱
使她一時之間也曾因為體諒到他一番戀情而觸
動了憐憫的心腸,這時候連絲毫的憐憫也完全
給抵消了。(Austen ,1991 :172 - 173)
這位一向快樂、開朗、堅強的姑娘表現得極其反
常。我們不禁懷疑,奧斯汀是否向我們隱瞞了
伊麗莎白的真實情感,伊麗莎白本人是否也沒
有向自己坦白自己的真實心聲? 從引文中可以
看出,達西在她心目中的地位遠遠要比她所承
認的要高,她早已把他看作是一個不同凡響的
人物了。這樣一個人向她求婚本是很讓人自得
的,可偏偏這個人又傷害了自己愛的人,同時還
以傲慢的態度傷害著自己的自尊。不拒絕不可
以,拒絕了心裡又覺得遺憾,這就是她內心情感
斗爭的原因,她性格的矛盾所在。而達西能在
她的心中舉足輕重,當然不會是她所一直看中
的人品方面的原因———她現在有足夠的理由懷
疑他的人品。可如果拋開了人品,那麼除了他
英俊瀟灑之外,只能是他那她一向聲稱嗤之以
鼻的貴族身份在起作用了,所以她才會驚諤,
「達西先生竟會向她求婚!」
看來,雖然伊麗莎白在努力蔑視權貴(而且
她比小說中幾乎所有人做得都好,這一點可以
從她在女貴族凱瑟琳·達西家的自持舉止中窺
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天津外國語學院學報 2006 年第1 期
視一二) ,但她骨子裡還是有崇拜貴族的觀念
的。讓一個18 、19 世紀的年輕女子做到完全摒
棄等級觀念談何容易!
其次,再來看看伊麗莎白在擇偶過程中對
金錢的態度。對柯林斯的態度最能展現她不慕
金錢的氣節了。在母親與柯林斯一齊對她軟硬
兼施下,她依然不為柯林斯的地位及金錢所動,
拒絕了他的求婚,放棄了這個當時看來益處頗
多的機會。幾天後好友夏綠蒂與柯林斯意外訂
婚讓她吃驚得不敢相信:
她現在聽到這件事,不禁大為驚訝,連禮貌
也不顧了,竟大聲叫了起來:
「跟柯林斯先生訂婚! 親愛的夏綠蒂,那怎
么行!」⋯⋯
她不僅為這樣一個朋友的自取其辱、自貶
身份而感到難受,而且她還十分痛心地斷定,她
朋友拈的這一個鬮兒,決不會給她自己帶來多
大的幸福。(Austen ,1991 :112 - 113)
此時,伊麗莎白對愛情與金錢的態度是非常明
朗的,夏綠蒂只重經濟地位不重情感的婚姻選
擇在伊麗莎白看來是自我羞辱,不配再與自己
為友的。她不會靜下心來為夏綠蒂考慮一下:
姿色平平的夏綠蒂幾乎毫無資產,又將過了待
嫁的年齡,可她也需要吃喝生活呀。
不久伊麗莎白為當地新來的軍官韋翰的風
度談吐所折服,並著迷於他對自己的追求。舅
媽發現了她的感情端倪,勸她不要對沒有經濟
來源的韋翰用情無攔,她表示會慎重考慮,並保
證起碼不再鼓勵韋翰追求自己。這時伊麗莎白
對金錢的態度儼然有了松動。
更為突出的是,伊麗莎白對夏綠蒂以金錢
為基礎的婚姻選擇的嚴酷態度與後來對韋翰為
了金錢選擇了金小姐的寬容態度形成了強烈反
差。韋翰這么快就停止對伊麗莎白的追求而與
金小姐訂婚,舅媽指責他貪圖金錢,伊麗莎白卻
為他辯解說:
美少年和凡夫俗子一樣,也得有飯吃,有衣
穿。⋯⋯拿婚姻問題來講,見錢眼紅與動機正
當究竟有什麼不同? 做到什麼地步為止就算知
禮,打哪兒起就要算是貪心? (Austen , 1991 :
137)
伊麗莎白為韋翰所作的開脫依照她本來的原則
是牽強的。這里,她顯然已經接納了金錢也可
以成為婚姻中所考慮的因素這一觀念。
如果說針對韋翰與金小姐訂婚一事,她從
原來的反對態度到接納了在婚姻中對金錢的選
擇,那麼隨後在她自己的婚姻中她可以說是親
自作出了與金錢有關的選擇。
達西第一次求婚失敗後寫給伊麗莎白一封
信,盡述了韋翰的為人和自己拆散珍妮與賓禮
的原因。兩人誤解得以消除。次年春天,伊麗
莎白與舅舅、舅媽一齊遊玩路過達西的庄園,里
面的秀麗風景及高雅布置深深打動了伊麗莎
白,其中的建築更是一下子吸引了她的注意。
比起建築的外觀房屋裡面的陳設更是讓人心
怡,她不禁想到,「我本可以在這兒當個主婦
的!」伊麗莎白這些想法是在再次見到達西之前
產生的。她與達西雖已前嫌盡釋,但也還談不
上感情頗深。這個時候就有了想當達西太太的
想法,物質利益起到了相當重要的作用。
更為關鍵的是,當伊麗莎白的妹妹莉迪亞
與韋翰私奔之後,達西出高價收買了韋翰,讓他
與莉迪亞完婚。達西是用金錢保住了伊麗莎白
本人及其她家人的名譽,從而為兩人的婚姻鋪
平了道路。在那個年代,有了名譽才有獲得婚
姻及幸福的可能,而金錢在這段故事裡成了不
可或缺的東西。聰明的伊麗莎白在受惠於金錢
之後是否意識到自己先前對金錢的鄙夷有多麼
幼稚,多麼不切實際?
小說似在宣揚伊麗莎白一向追求以愛情為
基礎的婚姻,應該說她最後得到了愛情。但在
她的擇偶過程中,隨著性格的發展變化,她對物
質條件有了越來越多的考慮,也在無意中讓金
錢成就了自己的愛情。
三、《傲慢與偏見》作品意義的自我解構
《傲慢與偏見》歷來被認為是推崇了以愛情
為基礎的婚姻,同時批評了以金錢或社會地位
為追求目標的婚配。女主人公伊麗莎白的理想
與追求正是作者所要提倡的觀念。然而,從對
伊麗莎白的性格分析中可以看出,任何人的性
格發展都是很難脫離他的時代背景的:在18 世
紀末19 世紀初的英國,一個沒有財產的女性是
難以完全擺脫世俗的束縛的,無論她有多麼出
眾、多麼努力。
3 5
從女主人公的性格矛盾看《傲慢與偏見》的自我解構
伊麗莎白不例外,她首先對社會觀念作出
了妥協,先是依從了達西的地位並接受了達西
的金錢,而後才確保了與達西的婚姻,從而最終
得到了愛情。小說中女主人公性格的矛盾性實
現了作品意義的自我解構:這部提倡以愛情為
婚姻目標的作品最後竟要書中的楷模附庸權
貴、接受金錢———剛烈如斯也逃脫不了順應社
會規約的結局。
奧斯汀本人也不例外,否則這位情感無比
豐富的美麗女性怎會一生未嫁,我們很難想像
她在情感的路途中有過怎樣與現實難以調和的
理想和難盡人意的無奈。她早期就創作出《傲
慢與偏見》這樣一部作品,表達她的理想,暗藏
她的無奈,從反面構成了與她之後人生的巧合:
要麼如伊麗莎白選擇妥協,要麼如自己選擇孤
守一生;反叛而擁有幸福是不可能的。這位一
貫描寫鄉紳、淑女理想式戀愛生活的作家經常
被批駁為與社會現實脫節( van Ghent , 1953 :
99) 。是的,我們在她的作品裡確實找不到狄更
斯筆下社會風雲的波瀾壯闊,哈代那裡工業化
的城市對農業化的鄉村的侵蝕,喬治·艾略特對
人與社會關系的深入透析。而奧斯汀作品對社
會風潮的隻字不提,其實恰恰形成了對社會現
實的有力揭露。為什麼呢? 這里存在一個有趣
的悖論:
奧斯汀是位反諷大師,她那開篇名句「凡是
有錢的單身漢,總想娶位太太,這已經成了一條
舉世公認的真理」中男人想討老婆的願望與其
反語女人對男人的追求同時在篇中得到了體現
———我們要習慣她在文中言於此而意於彼。於
是大家注意到:小說在人物語言、故事敘述中都
充滿了反諷,而小說在人物塑造乃至作品意義
上的自我解構才是作者最大的反諷:作者塑造
了一個敢於蔑視社會規約的女子,而她的性格
發展和結局又告訴我們,一個18 世紀末的年輕
女子是不能逃脫社會規約的。福科在談到「性」
與「社會權力」時說,人們敢於談論性的問題,似
乎在表明自己敢於藐視社會權力。而實際上人
們口頭上的這一點點大逆不道並不妨礙行為上
的循規蹈矩,同時口頭上的假自由又讓人們誤
以為社會規約有松動性,是民主的,是可以接納
的———人們是在用自己的貌似反叛維護著社會
規約(Culler ,1997 :5 - 6) 。伊麗莎白正是用自
己的貌似反叛維護著社會規約。
同時,作家奧斯汀則以她注入人物的貌似
反叛實則順從反叛著這個社會———伊麗莎白的
經歷證明了人們無論怎樣奮斗還是不得不回到
社會規約之中。這就是奧斯汀這位反諷大師展
現現實的方式:她讓人物以貌似反叛順應了現
實,又讓自己以筆下人物的最終順從批判了現
實。
參考文獻:
[1 ] Austen ,Jane. Pride and Prejudice[M] .Beijing :Foreign Language Teaching and Study Press ,1991.
[2 ] Brown ,Julia. A Reader』s Guide to the Nineteenth Century English Novel [M] . New York :Macmillian ,1985.
[3 ] Butler ,Marilyn. Romantics , Rebels & Reactionaries [M] .London :Oxford University Press ,1981.
[4 ] Cluysenaar ,Anne. Introction to Literary Stylistics :A Discussion of Dominant Structures in Verse and Prose[M] .London :B. T.Batsford ,1976.
[5 ] Culler ,Jonathan. Literary Theory ———A Very Short Introction[M] .London :Oxford ,1997.
[6 ] Eagleton ,Terry. Literary Theory[M] . Oxford :Basil Blackwell Publisher Ltd. ,1983.
[7 ] Gillie ,Christopher. A Preface to Jane Austen[M] .London :Longman ,1974.
[8 ] Hardy ,John. Jane Austen』s Heroines [M] .London :Routledge & Kegan Paul ,1984.
[9 ] Jones ,Vivien. How to Begin Studying English Literature[M] .London :Macmillian ,1987.
[10 ] Selden ,Raman. A Reader』s Guide to Contemporary Literary Theory[M] . Kentucky :The University Press of Kentucky ,1985.
[11 ] Van Ghent ,Dorothy. The English Novel [M] . New York :Harper Thorchbooks ,1953.
[12 ] Wellek ,Rene. Concepts of Criticism[M] . Yale University Press ,1963.
[13 ] 申丹. 敘述學與小說文體學研究[M] . 北京:北京大學出版社,1998.
[14 ] 韋勒克·沃倫. 文學理論[M] . 劉象愚等譯. 北京:三聯書店,1984.
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天津外國語學院學報 2006 年第1 期

Ⅵ 英語論文選題——關於英國文學的，要用英文寫的

寫哈姆雷特。要是能把哈姆雷特的復雜寫出來，你就狠了。哈姆雷特一般的論題探討復仇(revenge)，出賣背叛(betrayal)，他的軟弱和沖動(balanced man)，他的戀母情結(oedipus complex)，女人的軟弱(frailty, thy name is a woman!)，表面和真實(appearances vs reality)，人們應有的位置(reversal of moral order)

這些都是很常見的，你去搜索一下就能找到成千上萬。基本上哈姆雷特的爸爸被他的叔叔殺了，他叔叔還把他媽媽娶了。哈姆雷特遇到了他爸爸的鬼魂跟哈姆雷特說讓他報仇，然而哈姆雷特卻一再猶豫，並且傷害周圍對他好的人，他的性格很復雜，值得探討。最後全都被滅了，都死了。所以是莎士比亞的悲劇。

Ⅶ 英語文學小論文選題，關於英國文學的

從大衛科波菲爾里的人物形象看查爾斯狄更斯的naive optimism。
今天剛好上狄更斯這一刻~老師有提到這個你看過大衛科比菲爾的話可以考慮啊。~

Ⅷ 我需要關於英國文學的英語論文1500詞

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