㈠ 《简爱》的文献综述
应该自己去看看 仔细品位 本人很喜欢<简爱>这部书 喜欢 简 这个人物 喜欢作者 夏洛蒂.勃朗特
㈡ 求《简爱》论文的参考文献
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[14]赵敏. 心灵的传承——试论《简爱》对《蝴蝶梦》的影响[J]. 文山师范高等专科学校学报,2001,(2).
[15]赵莉. 从杜十娘和简爱的形象塑造比较东西方妇女的女性意识[J]. 新余高专学报,2001,(3).
[16]张艳. 走不出困惑——论夏绿蒂在《简爱》中对妇女出路问题的探索[J]. 阜阳师范学院学报(社会科学版),2001,(3).
[17]王一平. 《简爱》对《圣经》的恪守与反叛[J]. 河南师范大学学报(哲学社会科学版),2002,(5).
[18]本报记者 戴永明. 简爱之困[N]. 贵州民族报,2010-04-09(A04).
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[21]陈淑婷. 献给简爱的一朵玫瑰——简爱和苔丝的人物对比[J]. 文学界(理论版),2010,(7).
[22]黄兴军. 《简爱》中的永恒魅力——解析小说《简爱》中女性反抗性格的形成[J]. 牡丹江大学学报,2009,(4).
[23]王筠. 再读《简爱》：经典语言与简爱的女性形象塑造[J]. 时代文学(理论学术版),2007,(6).
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[42]麻秦华. 简爱性格浅析[J]. 科教导刊(中旬刊),2010,(12).
[43]薛梦茹. 《简爱》与女性尊严[J]. 才智,2011,(3).
[44]海尔简爱7D树立商务轻薄本新标杆[J]. 消费电子,2010,(6).
[45]海尔简爱三剑客寒促回馈消费者[J]. 消费电子,2011,(2).
[46]尹诗文. 从自卑到自信——解析简爱性格的两个极端[J]. 赤峰学院学报(汉文哲学社会科学版),2011,(3).
[47]董睿. 生活在平凡之间——浅析简爱的独立性格及依附心理[J]. 大舞台,2011,(4).
[48]吴蒙,贠哲. 我看简爱性格中的自卑心理[J]. 才智,2011,(8).
[49]顾国林. 薄而不贵——海尔简爱7哥笔记本电脑测试[J]. 微电脑世界,2011,(5).
[50]王若水. 叛逆者简爱[J]. 科技信息,2011,(12).
㈢ 关于Jane Eyre 人物性格分析的文献综述
吉尔伯特＆古芭的《阁楼上的疯女人》是研究《简爱〉《呼啸山庄〉等作篇比较新颖有创意的专著，找来看看可以，可以结合“穿裙子的英雄”论述，如果你在大学里，或着能去比较大型的图书馆，可以用中文期刊网搜索相关论文
㈣ 要写关于简爱中爱情观的论文，求大量有关的参考文献，最好是文学作品
首先你要去了解当时的社会背景，别说你知道，一定要自己去图书馆等地好好找一找。这些应该在文史类的图书里，然后去看看当时世界上发生的几大重要事件，看看跟作者有关的介绍。
爱情观的东西可以看看心理学的，毕竟心理学包含的东西很多，专门关于爱情的也有。最后根据你理解的简，结合人物性格特点，当时社会背景写一写就行。
㈤ 简爱性格分析 文献综述
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.
读过＜简爱＞的人都知道，简其实是一个自卑感非常强的女子。她既无财又无色，从小还在一个缺乏爱的环境中孤独地长大。立身于那样势力的社会环境中，渺小如草芥。唯一属于简的是知识和独立的个性。但知识只不过为她换来糊口的面包，能让她最后摆脱心理困境的仍是她得到的那份遗产。当她终于用自已的倔强．骄傲和残忍把爱情逼入绝境，当罗彻斯特先生终于变得面目伤残，一贫如洗，她才能够用一种正常的心态来爱他。
男人最大的财富是金钱，女人最大的财富是容貌，因此，自古以来，款哥泡小蜜，靓妞傍大款乃天经地义、顺理成章、门当户对、顺天而行，但是如果哪个武大郎偏要不自量力非要吃天鹅肉，那轻则家庭不和，重则真向武大郎一样被老婆和第三者合谋送上极乐世界，也是活该；同理，哪个丑女以为自己真的是灰姑娘，而要非王子不嫁，那么等待她的也多半是老姑娘的命运。因此，水晶鞋的故事只是个童话，谁都不会当真，但是，另一个灰姑娘的故事却不但被人当了真，甚至还成了妇女解放的典型，这个灰姑娘就是简爱。
一个最没有财富的女人要找一个最有财富的男人，其困难可想而知，于是，为了达到自己伟大的爱情目标，简爱很聪明地在自己的上帝――夏洛特小姐的帮助下，对自己和自己的目标进行了一番改造，其内容基本如下：
一， 首先，要征服男人的心。罗老板也许是山珍海味吃多了，简爱干脆以另一种面目出现，也许她并不是故意的：“我要让你离不开我，就象我离不开你”，这话攻守兼备，柔中带刚，这番铿锵有力的爱情宣言不仅打动了罗老板，甚至还打动了以后无数的小资女人，成为女性解放的传统表演项目，
二， 其次，搞掉他的财产。你那么NB，不是就有点钱吗？很好，一场天知道怎么回事的大火，烧掉你几乎所有的财产，弄得你比我也强不了多少，至少你再不能凭你的几个臭钱在我面前摆谱，好了，现在比较平衡（注意：不是平等）了；
三， 弄光你的钱还不够，你不是嫌俺丑吗？于是罗老板在大火中很不幸地加入了残联，成功地成为二等公民。弄瞎眼睛真的是个最好的结果，反正未来老婆长得不怎么漂亮，少看几眼也没什么损失，而且从此爱情还平添了几分浪漫，至少比断腿少胳膊要好得多。
四， 你没几个钱了，可俺却有钱了。“三十年河东，三十年河西”，夏小姐让简爱突然钻出来一有钱的亲戚，留给她一笔不大不小的遗产，现在俺也是属于资产阶级了，简爱小姐在金钱的武装下底气足了不少，于是可以光明正大地衣锦荣归了。
五， 你不要俺，有的是好男人要俺。夏小姐聪明地给简爱安排了一个立志献身上帝的表哥――圣约翰。维多利亚时代的英国人经常分不清爱情与宗教的区别，就象几十年前的中国人分不清爱情与政治的区别，连情书里都必以语录开头一样，这个选择在当时人的眼里比你那NB的罗老板好多了，你要不识货，自然有竞争者排着队在后面等着，看你着急不着急！
六， 俺可不想回来，这都是上帝叫俺回来的。简爱离开罗老板一段时间后，她听到了来自远方深情的呼唤：“简、简、简！”据说同时罗老板也听到了回应：“俺来也、俺来也、俺来也！”这可是给足了简小姐面子：神灵在上，天作之合，违天不祥，机不可失，时不再来，简爱小姐于是顺理成章地荣归故里，得到爱情。
其实我并没有调侃或者讥讽简爱或者夏洛特的意思，我只是觉得，简爱有限的挣扎实际上并不能是所谓的妇女解放，如果真是这样的话，女同胞早就解放了。简爱与罗切斯特最后的结合，实际上是建立在双方地位的改变（一方上升，一方下降）而带来的平衡上。所谓人格的平等，在人类社会永远是一个可望而不可及的梦。
原来，在爱情上，平等是那么难
㈥ 简爱的双重性格分析文献综述怎么写
简爱的双重性格分析文献综述
《简·爱》（Jane Eyre）是十九世纪英国著名的女作家夏洛蒂·勃朗特的代表作，讲述一位从小变成孤儿的英国女子在各种磨难中不断追求自由与尊严，坚持自我，最终获得幸福的故事。人们普遍认为《简·爱》是夏洛蒂·勃朗特“诗意的生平写照”，是一部具有自传色彩的最佳作品。
这个“浪漫主义”来源于中世纪的传奇一词。最早使用是在18世纪的晚期，当时人们对古代的冒险离奇故事发生普遍的兴趣。以后人们就把那些同传奇故事、离奇遭遇、想象色彩相联系的事统统成为浪漫主义。浪漫主义通常包含两个涵义：一个涵义指一种创作方法，他同现实主义创作方法并存，即按照生活应该有的思想化的样子去描绘生活；另一种涵义是指18世纪末至19世纪上半叶盛行于欧洲各国的文学艺术思想。浪漫主义是文艺的基本创作方法之一，与现实主义同为文学艺术上的两大主要思潮。作为创作方法，浪漫主义在反映客观现实上侧重从主观内心世界出发，抒发对理想世界的热烈追求，常用热情奔放的语言、瑰丽的想象和夸张的手法来塑造形象。浪漫主义的创作倾向由来已久，早在人类的文学艺术处于口头创作时期，一些作品就不同程度地带有浪漫主义的因素和特色。但这时的浪漫主义既未形成思潮，又不是自觉为人们掌握的创作方法。
我想通过对浪漫主义的分析与探讨，分析《简·爱》中的一些浪漫主义的因素。作为十九世纪二三十年代的产物，《简·爱》和浪漫主义在同一个大环境中，彼此相互影响，互相借鉴。
《简·爱》中的很多场景描述，都有强烈的浪漫主义气息，不仅仅是从文学手法上，甚至是在描述的场景的色调，背景，冷暖度，角度以及人物表情上等等视觉因素上，都深受当时浪漫主义的很大影响。
㈦ 请问有简爱的英文参考文献资料吗
外文文献有，翻译没有，翻译得靠你自己了，希望能满足你的需要，能帮到你，如果需要直接网络Hi中留言同时贴出问题的链接地址和邮箱地址即可，或者告知其他安全可靠方式提供，多多给点悬赏分吧，急用的话请多选赏点分吧，这样更多的知友才会及时帮到你，我找到也是很花时间的如果需要直接网络Hi中添加我好友，留言同时贴出问题的链接地址和邮箱地址即可，或者告知其他安全可靠方式提供
相关外文文献已发送邮箱，翻译没有，翻译得靠你自己了，希望能满足你的需要，能帮到你，多多给点悬赏分吧，急用的话请多选赏点分吧，这样更多的知友才会及时帮到你，我找到也是很花时间的
㈧ 求《简爱》相关的英语文献。。（论文结尾处参考文献）
mark 一下， 我的毕业论文就写的简爱 回家翻给你
㈨ 简爱的相关参考文献
从普通人角度出发，所谓的“现代女性意识”怎么在一个普通女人身上体现
建议与易卜生〈娜拉〉对照研究，最好再参看像西蒙·波娃的〈第二性——女人〉这类研究著作
别把她当英雄，当成个普通女孩，以这种前提看法再细读，必有收获。....
女性独立意识——《简爱》1847年夏洛蒂