第一篇：原創(chuàng)英語論文naturalism in Sister Carrie論嘉莉妹妹中的自然主義

Naturalism in Sister Carrie

Abstract: Theodore Dreiser ,the writer of Sister Carrie ,is one of the most outstanding representatives of American naturalism.In this thesis, his first novel Sister Carrie is taken as an example to analyze the features of Dreiser’s naturalism.The thesis referred to three great historical and cultural background of the novel which are Darwinism, Determinism, American Naturalism and Industrial Revolution.And the thesis analyzes three features of naturalism.At last, we pay attention to Dreiser’s exploration------human desire and revelation of the dark side of human nature Key Words: Naturalism Darwinism

desire environment human nature

Naturalism of Dreiser in Sister Carrie

Introduction Theodor Dreiser(1871-1945)，an American author, outstanding representative of naturalism, whose novels depict real-life subjects in a harsh light.Many of his works referred to the description of naturalism and weakened his critical spirit.His first novel Sister Carrie published in 1990 revealed the financial disparity and the moral decline of American society and thus regarded as forbidden book.But now the book becomes one of the best-sellers of American literature because of the naturalistic features in it.Then Dreiser is regarded as a pioneer of American naturalism and as a naturalist Dreiser expresses the characteristics of naturalism in most of his works.The themes of Darwinism and Determinism are the common features of Dreiser’s story which also characterize Sister Carrie.1 Dreiser chose to reflect life truthful in his works when other novels deal only with the beautiful aspects of life,.It is not an exaggeration to say that Dreiser's Sister Carrie clears the way for the development of American fiction.From follow analysis of three aspects and conclusion,we can find out the naturalism of Dreiser in Sister Carrie

1.The historical and cultural background for Sister Carrie Theodore Dreiser's Sister Carrie reflects the profound transformations in American life in the late nineteenth century.1.1 Darwinism and Determinism

In 1859, Darwin’s The Origin of Specie appeared.It soon changed man’s recognition.Before Darwin, human was separated from the animals because of its moral.However, at this time evolutionist considered human as a part of natural things and a member of the animal kingdom.American naturalists accepted “bestiality” and “ human beast” as an explanation of desire.They attempted to achieve extreme objectivity and frankness presenting characters of low social and economic classes who are determined by their environment and heredity.They dismissed the validity of comforting moral truth.Darwinism is the most important theory, which greatly affects Sister Carrie.Freud’s theory gives theoretic basis to Dreiser’s description of man’s desire.Freud considers man’s natural instinct as determination.To him man is a part of nature since man is a member of animals.Human mentality and action will forever be determined by instinct.Desire is just a genetic instinct in his opinion.1.2 American naturalism Sister Carrie was written and published also at the rise of American naturalism, which means a particular genre of fiction that developed in the late 19th century America, and associated principally with writers such as Jack London , Stephen Crane, Frank Norris and Theodore Dreise.2 At the end of nineteenth century came a generation of writers whose ideas of the working of the universe and whose perception of the society's disorder led them to naturalism.A new and harsher realism, naturalism was introduced to the United States, literary naturalists spoke out against the ideas that literature should present what Howells called for the “ smiling aspects of life”.Instead, they attempted to achieve extreme objectivity and frankness presenting characters of low social and economic classes who were dominated by their environment or heredity in depicting the extremes of life.American naturalists emphasized that world was amoral that men and women had no free will, that their lives were controlled by heredity and the environment, that religious “truths” were illusory, and that the destiny of humanity was misery in life and ablivion in death.1.3 Industrial Revolution Industrial Revolution brought American people a value crisis.The 19th century was the time of industrialization.Serial changes made people feel they were conquering the world and obtaining their treasures.The surprising development made people feel too close to wealth and happiness.Then appeared small amounts of industrial giants and large number of poor people, American value materialistic to the core.Living in such a society with such a value system, the human individual is obsessed with a never end, yet meaningless search for satisfaction of his desire.2.The typical characteristics of naturalism in Sister Carrie

In Sister Carrie I find out that some of its themes differ from those of other naturalistic works.2.1 The desire, instinct and the ifluence of environments

Freud’s theory gives theoretic basis to Dreiser’s description of man’s desire.Freud considers man’s natural instinct as determination.To him man is a part of nature since man is a member of animals.Human mentality and action will forever be determined by instinct.Desire is just a genetic instinct in his opinion.This thesis covers Dreiser’s meaningful ideas--desire.Man’s behavior is

dominated by instincts(desires, needs and fear)and environments(cities and consumerism)and chances.In the process of evolution, man is not able to control instincts completely.Desire is considered hereditary and instinctive.In this novel most of the central characters are hurried by a desire of personal affirmation, a desire they can neither articulate nor suppress.And Carrie Meeber is the representative.She sufferd from a need that her lives assume the dignity of dramatic form, and they suffer terribly, because they do not really understand it.Her view to money is “Money, something everybody else has and I must get.”(Theodore Dreiser, 1979, P77)Drouet then becomes her first ladder.When Drouet give her money for the first time, she hesitates.She knows clearly that no deep, sinister soul with ulterior motives could have given her fifteen cents under friendship, since “nature has taught the beasts of the beats of the field to fly when some unheralded dangers threatens”(Theodore Dreiser, 1979, P79)Here in her superego, she has a feeble instinct of self-production.However, deep in her mind, there is a strong desire for better clothes, jewelry, dinning in halls and plays in the theaters.Then preconscious becomes weak.Id gets upper hand.At last, id implies the superego and Carrie chooses to live with Drouet.When she knows that Drouet’s love is unsteady, the appearance of Hurstwood stimulates her new hope and desire.It is the new hope and desire that compels her actions.“his kind of unfulfilled dreams would beckon and lead her until death and dissolution dissolve their power and would restore her blind to nature’s heart”(Theodore Dreiser, 1979, P353)When Hurstwood can supply the life she dreams of, she stays with him, if not, she leaves.With the degradation of Hurstwood, Carrie would not endure losing her dreams.When she meets Mrs Vance, Carrie longs for the dainty decorated, beautiful clothes and genteel manners.“What a wonderful thing it was to be rich”

(Theodore Dreiser, 1979, P385)is the powerful voice of her heart.Without money,she leaves again.From the beginning to the end, Carrie is just like a machine controlled by the desires.4 2.2 The influence of the environment Environment is a tremendous thing often leads people to a wrong direction.Drouet tells Carrie that Chicago is a wonder, and that she will find lots to see.Even her siste tells her, “You'll want to see the city.” [1]She comes there.She comes to the big web of Chicago in order to pursue a happy life.The prosperous parties, lights, dinners, theatres attract her.she chooses Drouet.As soon as she sees Hurstwood, she evaluates his worth?ahis wealth, position and sexuality----by his “rich” plaid vest, mother of pearl buttons and soft black shoes “polished only to a dull shine.”

When she meets Mrs Vance, Carrie longs for the dainty decorated, beautiful clothes and genteel manners.“What a wonderful thing it was to be rich”

(Theodore Dreiser, 1979, P385)is the powerful voice from the bottom of her heart.She inters another pursuition.3.Dreiser’s exploration------human desire and revelation of the dark side of human nature From the first novel Sister Carrie on, Dreiser set himself to project the American values for what he had found them to be--materialistic to the core.Living in such a society with such a value system, the human individual is obsessed with a never-ending, yet meaningless search for satisfaction of his desires.One of the desires is for money which was a motivating purpose of life in the United States in the late l9th century.For example, in Sister Carrie, there is not one character whose status is not determined economically.Sex is another human desire that Dreiser explored to considerab1e lengths in his novels to reveal the dark side of human nature.In Sister Carrie, Carrie climbs up the social ladder by means of her sexual appeal.Also in the “Trilogy of Desire,”the possession of sexual beauty symbolizes the acquisition of some social status of great magnitude.However, Dreiser never forgot to imply that these human desires in 1ife could hardly be defined.They are there like a powerful “magnetism” governing human existence and reducing human beings to nothing.So like all naturalists he was restrained from finding a solution to the social problems that appeared in his novels and accordingly almost all his works have tragic endings.5 Conclusion This short thesis can not cover Dreiser's meaningful naturalism.His greatness is in his insight, his sympathy, and his tragic view of life.Dreiser explorated human desire and revelation of the dark side of human nature

References: [1]Bantam.Sister Carrie [M].New York: Bantam Classics , 1992.p.61.[2] Williams, M & L.B.Burden.Psychology for Language Teachers [M].Beijing: Foreign language Teaching and Research Press/Cambridge University Press, 2000.[3] Theodore Dreiser.Sister Carrie [M].Bei Jing : Foreign Language Teaching and Studing Press 1981 : 136.[1] 蔣道超.德萊塞研究[M].上海: 上海外語教育出版社, 2002 : 125.

第二篇：嘉莉妹妹文學(xué)評論

Causes of Carrie’s Disillusionment with the American Dream

At the end od the 19th century,American monopolistic capitalism developed in its full forms.Economic crisis often broke,and the number of people out of work increased.Social wealth was accumulated into the hands of a few monopolistic capitalists.Most common people lived in poverty.They were longing for the life of upper class and had a dream of pursing a luxurious and happy life.Carrie is one of such kind of people.Struck by the strong wave of the American dream, Carrie is naturally involved in this sort of illusion.What she hopes for is fame,money and love.At the beginning of the novel, she is a kind countryside girl and comes to Chicago with a dim dream of getting rich overnight.Later she becomes the mistress of Drouet and Hurstwood.Though in the end she is a famous stage star, she does not realize her dream of material comfort and spiritual love.There are many things that cause her dream to be disillusioned.The first one is her passivity.Passivity is one of the main characteristics for women.For thousands of years women have formed this habit under the control of men.The old tradition influences her thoughts and she gradually forms a timid and passive character.When her own rights are impinged, she dare not protest.As for Carrie, she shows he passivity in many cases.When she comes to Chicago in the train, she should keep silent to Drouet’s conversation.But her passivity makes her answer him.When Hurstwood first touches her hand with a passion she should hold them back and rebuke him.But her passivity stops her from doing so...All these decisions are caused by her passivity which makes her become the doll of Drouet and Hurstwood, so Drouet and Hurstwood can take advantage of her easily.The second one is her own desire for pleasure and material.At the end of the 19th century American industry developed very quickly and produced an abundance of goods.The government encouraged people to consume.The countryside girl Carrie is influenced by the massive force and hopes to possess as many things as she can.She is never satisfied with her clothes and living conditions.She uses these to create her ego and build her social status.When she gets to Chicago, she shabby clothes and small trunk decide her low social status.Dazzled by various advertisements and goods,she is pained by the fact that she is just an outsider.She can not possess what she likes.So her adventure in the cities shows her tireless efforts to become an insider.The third one is her position as the other.There is a long standing belief that women are inferior to men.They should listen to and obey men’s ideas.Their purpose for life is to please men.Therefore, when they do out they try to make up and put on beautiful clothes.They pay much attention to the popular mode and attempt to surpass the other women in clothes and appearance.The American Dream looks very beautiful but also reliable.It just gives people an illusion.Carrie’s tragedy is not only her own tragedy because she is only a representative of that time.Actually the whole society repeats her story:have a dream, pursue and lose it.Among the people,some try their best to work hard;some become disappointed and lose heart.No matter what they do, they American Dream is doomed to be ruined in the end.林絲絲

201130701139

第三篇：《嘉莉妹妹》讀后感

西奧多·德萊塞（1871～1945）美國杰出的批判現(xiàn)實(shí)主義小說家。1871年8月27日生于印第安納州的特雷霍特鎮(zhèn)，出生于破產(chǎn)小業(yè)主家庭，曾長期在社會(huì)底層勞動(dòng)掙扎。1900年，第一部作品《嘉莉妹妹》問世，引起轟動(dòng)。此書通過農(nóng)村姑娘嘉莉到芝加哥謀生而成為名演員的故事，揭露了資本主義社會(huì)繁榮的表面底下的失業(yè)、貧困和饑餓，對美國貧富對立的社會(huì)作了深刻的描寫?！都卫蛎妹谩酚冒蜖栐耸降默F(xiàn)實(shí)主義寫成為美國文學(xué)開創(chuàng)了一個(gè)新的天地。它雖在美國被禁，后來卻在英因出版。1907年終于在美國再次出版。

!}2 `(|q4 z!x;}/ ?

無論如何都不算是先鋒人物的德萊塞，在美國文學(xué)史上的地位也許就只能顯得這么尷尬。但他卻以藝術(shù)的方法表現(xiàn)主人公對女人、宅第和藝術(shù)品的追求，旨在表現(xiàn)他崇尚人的本能和享樂，表現(xiàn)他對新興的消費(fèi)意識形態(tài)的贊同和宣傳。在這種意義上說，《嘉莉妹妹》不是對資本主義制度的顛覆，而是對其進(jìn)行宣傳，因?yàn)槿藗儗κ孢m和享樂的追求無疑會(huì)刺激經(jīng)濟(jì)進(jìn)一步的發(fā)展。

此書講的是漂亮而膽小，年輕無知，美麗聰明，愛慕虛榮，對家人故土充滿了留戀之情，對大都市繁華生活的充滿了幻想，嘉莉只身來到芝加哥謀生，去投奔她的姐姐，尋求新的生活。都市耀眼的萬點(diǎn)燈火驅(qū)使她登上了去芝加哥的火車，但是她不知道那耀眼的光華掩蓋了多少謊言、謬誤、邪惡和偽善。為了生存先后成了德魯埃、赫斯特伍德的情人，最后因機(jī)緣巧合而成了紅級一時(shí)的女演員的故事。

有人說，她是個(gè)成功者，她在帶著年輕與漂亮只身來到一個(gè)全新的城市尋夢中，一步步走向輝煌；有人說，她是個(gè)失敗者，她追求的是浮華，更是虛幻，她迷戀的那些男士身上的光圈一旦隱去，她便毫不留情地飛走，最終，她只能自己坐在搖椅里幻想她永不可及的幸福；有人說，她是個(gè)禍水，因?yàn)樗?，那位很像紳士的赫斯特伍德身敗名裂、命喪他鄉(xiāng)??

+ e1 c' P]0 |!f, [5 p9 ~0 H

她愛過那個(gè)給予她物質(zhì)享受的德魯埃嗎？沒有，她和德魯埃同居只不過是因?yàn)樗o她的錢超過了她辛苦賺來的周薪四塊！可她就是惡毒的嗎？當(dāng)然不是，她本善良，只是善良經(jīng)不住虛榮的誘惑，為了物質(zhì)的豐盈，出賣良知，她也在所不惜，這是社會(huì)背景造成的，不如此，她的出路就涉茫得近乎于無。C1 ]“ T1 i% d7 ~.@;A

她愛過那個(gè)為了她身敗名裂的前經(jīng)理赫斯特伍德嗎？或許有過，只不過更多的是她用色作了一筆骯臟的交易。本來，她渴慕幸福的婚姻，只是那個(gè)為了她攜款私奔的赫斯特伍德并不是真心地愛她，在他們中間，愛是遙遠(yuǎn)的，飄渺的。

有人會(huì)說“戲子本無情”，可是又是誰造就了所謂的“戲子無情”，是這些戲子們造就了無情，還是無情造就了這樣戲子他們，難道他們不想有情有愛嗎？如果他們無情無愛又怎么能夠把自己的全部感情用在戲中演得栩栩如生，他們只是經(jīng)歷了太多太多的生活的折磨，無法把自己的真情用于現(xiàn)實(shí)生活，無法把自己真愛托于一個(gè)人的身上罷了。)w/ ?* {# M+ m4 p, a7 [)Q)o$ X/ W

嘉莉這位天真善良的小姑娘，原本可以生活得更美好，可是得到心中完美的愛情，可是她為了生活的付出使她失去了自己心中的那份真愛，讓自己一直生活在空虛、孤獨(dú)之中。結(jié)局她能夠紅級一時(shí)的女演員，能夠靠自己獨(dú)立生活這并不能不說明她的生存力量是無窮的。有人會(huì)說既然她有無窮的生存力量又為何當(dāng)初讓別人來包養(yǎng)，可是又有誰想過一個(gè)天真善良的小姑娘孤身來到一個(gè)陌生城市生活的可怕，如果她不這么選擇，那她也就只能一直生活在暗無天日的陰暗的工作棚里，每天過著無知無覺的生活罷了，又有誰愿意過這樣的生活呢？(c2 u2 }' l6 q2 m:

她的離開，或許是無情的，可是她真的無情嗎？我想不是的，我想不難看出當(dāng)初的她對德魯埃、赫斯特伍德是有些愛情的，只是現(xiàn)實(shí)的生活不讓她擁有那份愛，那些生活在所謂上流社會(huì)中的男人又怎么可能因?yàn)樗@么一個(gè)農(nóng)村的無知的小姑娘而放棄那些放蕩的生活呢？他們不過是想時(shí)不時(shí)地?fù)Q一種口味罷了，讓自己多擁有一件向別人炫耀的物品而已?？墒沁@個(gè)初來社會(huì)的姑娘不明白這些，她也不想看到自己的窮苦的樣子，更不愿意去過那種生活，她的虛榮之心不容許她再次回到那樣的生活當(dāng)中去，所以她要改變自己過去的生活，為此而付出自己的青春與肉體。如果當(dāng)初德魯埃不是看中嘉莉的相貌，那他還會(huì)幫助她嗎？如果赫斯特伍德不是因?yàn)樗南嗝捕鴣頎帄Z她的話，她又會(huì)有如此的成就嗎？我想這些都是不會(huì)的，不正是因?yàn)檫@兩個(gè)所謂的上層社會(huì)的男人讓這位小姑娘擁有了更多的社會(huì)經(jīng)驗(yàn)嘛，不正是他們才造就了今天的嘉莉嗎？可惜的是嘉莉滿懷希望的打開命運(yùn)的門，又滿懷信心地穿過它去開另一扇門，她用青春作賭注，賭來的仍舊是滿滿的孤單。社會(huì)造就了嘉莉這樣的悲哀，嘉莉自己復(fù)制了這樣的悲哀，讓自己一步一步走向生活的深淵，她的遭遇也只能說是她自找的，她為何要輕易相信一個(gè)與自己本無多少了解男人的甜言蜜語。e!F' v!w, Y1 [

其實(shí)嘉莉的形象、化身在現(xiàn)實(shí)的生活中已經(jīng)變得越來越多，讓人們對她不再有大驚小怪，更不會(huì)有太多的關(guān)注，誰不希望自己擁有華麗的生活，誰不想自己一夜成名萬事無憂，可是誰又不想擁有自己的那一份真愛，只是現(xiàn)實(shí)生活并不能讓我們擁有自己想要的東西，為了生活必須要放棄愛情，大家都知道愛情不能當(dāng)飯吃，只有愛情是不可能存活在這個(gè)世上的，更何況現(xiàn)在的愛情也只不過是一筆交易罷了！要想得到愛情、地位就必須要放棄一些東西，你只有先付出才能夠得到。德魯埃這個(gè)秉性溫和、沉靜，富有自信心，喜歡對女人獻(xiàn)殷勤推銷員，他是走遍了大江南北，擁有太多社會(huì)經(jīng)驗(yàn)的人，如果不是他嘉莉又怎么可能擁有這樣的結(jié)局呢？可是他不過把嘉莉看作一個(gè)自己人生當(dāng)中的過客罷了，其實(shí)像他這樣

一個(gè)男人又怎么可能把真心放在嘉莉身上。我們不難看來這個(gè)男人同樣擁有虛榮之心和想讓別人記住自己大恩之人，當(dāng)初和嘉莉吵架之時(shí)，說自己給了她很大的幫助，她應(yīng)該記住他給予的恩惠，可是到后來嘉莉成名之后，他居然厚著臉去找嘉莉希望她可以重新回到自己的身邊，以便以此來顯示自己是多么地有能力罷了，更何況他去找她并不是真心的，不然的話他又怎么可能在找她的同一天而和別的女人鬼混呢？這更說明了這個(gè)男人的虛偽之心。

至于赫斯特伍德這個(gè)前酒店經(jīng)理他是個(gè)老于世故、舉止隨和、通達(dá)善變的人，可是他同樣也受不了嘉莉美貌這一關(guān)，被她那種獨(dú)特的吸引力給征服了。可是他的性格卻是由他的職業(yè)逐漸形成的，其后果在他緩慢、痛苦而又悲慘的墮落過程始終有著影響。他的結(jié)局是最悲哀的，別人過著豐裕的生活，可是自己卻變得越來越糟糕，到最后不得不用死以此來解決自己的生命和悲哀。也可以說他的結(jié)局是咎由自取，誰叫他有那貪欲有惡念，因?yàn)樽约阂粫r(shí)的貪欲而毀了自己的一生和前途，更可悲的是他沒有勇氣向自己一時(shí)所愛的人坦白心聲，更沒有放下自己的架子來為今后的生活而著想和努力。他的改變是一個(gè)男人墮落的經(jīng)過，想要擁有別人，想過上那些豐裕、上流社會(huì)的生活，可是卻又不愿意放下自己的架了，不愿用自己的勞力來賺取面包，可是心中卻又一直放不下自己輝煌的過去，認(rèn)為自己是最優(yōu)秀，是應(yīng)該得到更好的生活，只是機(jī)會(huì)還沒有到來罷了，只可惜的是他的這種念頭和行為最終毀了自己，他不知道只有自己的努力才能夠得到更好的生活，只有自己放下一切為生活努力才會(huì)有機(jī)會(huì)。最終混到了靠向別人乞討生活的份兒，過著戚戚慘慘的生活，就這樣他的心還是一直沒有把嘉莉給忘記，在自己最困難的時(shí)候無法活下去的時(shí)候想去乞求她，給他一些活命的錢，開始以愛之心去乞求，后來慢慢變成了恨和憤怒。其實(shí)不如說他不知道自己一旦丟掉了自己在芝加哥的社會(huì)角色之后，他的悲劇便接踵而至了。

如果一個(gè)男人活到了如此地步，我想他還不如不活在這個(gè)世上，因?yàn)檫@樣不但給自己丟臉對不起自己的過去，更會(huì)給別人增添負(fù)擔(dān)，可以說他的死也是一種很好的解脫的辦法，最起碼不用出賣自己的勞力，不用再看別人的臉氣，更不用再吃乞求之食了。男人要活就要活得有尊嚴(yán)，你自己都不尊敬自己又怎么能夠得到別人的尊重呢？只有放下過去重新開始，努力地為自己的生活奔波努力，以不至于浪費(fèi)自己在這世上的日子。

朱麗婭這個(gè)前經(jīng)理赫斯特伍德的夫人是個(gè)冷酷、自私自利、好嫉妒、愛虛榮的女人，為了自己的權(quán)利不惜把自己丈夫趕出家門，其實(shí)可以說她嫁給赫斯特伍德并不是有真正的愛，而是為了滿足自己的虛榮心，為了金錢和地位罷了，她是個(gè)女人同樣逃脫不了世俗的光暈。至于那個(gè)前經(jīng)理的女兒杰西嘉是個(gè)嬌生慣養(yǎng)、虛榮而又沒孝心的貴族小女孩，她們的結(jié)局很好，擁有自己所希望的那份有價(jià)愛情，讓自己成為了有錢人的妻子與丈母娘。萬斯太太這個(gè)年輕漂亮、喜好狂歡、應(yīng)酬交際、愛看戲的年輕少婦和愛玩的羅拉應(yīng)是嘉莉的常來往的朋友，有時(shí)會(huì)給她空虛的內(nèi)心世界來一滴清泉享受一會(huì)的快樂。;on” [4 n-N-X, H1 S9 k8 U5 8 P5 g& U7 t(F: ^)

享受物質(zhì)生活的嘉莉?yàn)槭裁床恍腋Ｄ?？任何一個(gè)在城市生活的人，都想過富裕的生活，希望自己有房、有車、有存款，為什么得到這些條件的嘉莉不幸福呢？其實(shí)，她剛到芝加哥的時(shí)候，在火車上，她也是對目前的生活非常執(zhí)著的向往，真正得到的今天，卻不幸福，感到孤單？

為什么？到底生活最終的目標(biāo)應(yīng)該是什么，才能讓人真正感到幸福呢？ 9 r0 o' D$ J;y3 R% F!_0 L, L7 ]0 S2

其實(shí)追求高標(biāo)準(zhǔn)、高品位的生活，永遠(yuǎn)都不會(huì)錯(cuò)。物質(zhì)生活的追求需要，但不是目的，人應(yīng)該過有意義的生活，有真正推心置腹的朋友，有一個(gè)和睦溫馨的家，有自己的責(zé)任和義務(wù)，這樣的生活，才是幸福的。# [4 l/ I+ I" a3 D6 a.@

艾姆斯這個(gè)小伙子對一切獨(dú)特的見解吸引著嘉莉，但她不會(huì)因?yàn)榇硕竭^雷池，她對自己的生活和大都市都已經(jīng)有了太多的了解有了豐富的社會(huì)經(jīng)驗(yàn)，不再會(huì)輕易地獻(xiàn)出自己的愛，但也可以說是這個(gè)小伙子讓嘉莉去用心體味更多書中的內(nèi)容、故事和情感，讓自己生活在一片書的海洋之中，讓自己在書中得到安慰。

在這個(gè)世界上，要想做成功一件事，就需要你為此付出一些珍貴的東西，同樣也需要勇氣，富裕的生活誰都想擁有，可是這種富裕的生活真的誰都能夠擁有嘛！我想這是不可能的，如果人人都如此富裕的話，那又有誰來顯示這些人的富裕生活呢？物質(zhì)的追求是不可避免的，但它卻并不是萬能的，擁有豐富的它我們可以生活，沒有豐富的它我們同樣也能生活，不要因?yàn)槲镔|(zhì)的利益而蒙蔽了自己的心，不要因?yàn)樽非笪镔|(zhì)的利益而放棄了自己有意的生活。對人、對事要用自己的一片真心，要用自己的真情去對待，只有這樣才能活出自己來，才能讓自己不至于在此世上白走一回。

其實(shí)人活著的時(shí)間說長不長，說短也不短，就看你是如何生活的，人的心死與孤獨(dú)、寂寥和只追求物質(zhì)的生活才是最苦的。除了表面的東

西以外，我們還有許多的內(nèi)在東西需要追求，我們?yōu)楹尾荒軌蚝侠淼刈非筮@些，讓自己成為一個(gè)真正地活人呢？

嘉莉妹妹》英語讀后感

Vivid Heroine

――On Sister Carrie

Carrie was such an ordinary rural girl at the beginning of the story.Sitting on the seat of a bus, she couldn’t help feeling exciting at the sight of the metropolis’ spectacle.She was impressed deeply by large crowd on the avenue, the spacious square or tall buildings.Far more different from other heroines, Carrie was not a plain pure angel like Snow-white, nor was she brave enough to be a heroine of revolutionist or even a reformer, nor was she so clever as to be a successful career woman who start from scratch.What attracted her most, after her entering this huge metropolis was the incredible fineries, fashion shoes, smart handbags displaying in the shop windows, the jewellerys shining brightly behind the glass.She dreamed that one day, she could wear all of these, jogging gracefully into the most luxurious hotel with focused sights of admiration.And this was not merely a dream.Because she had large eyes which can earn others’ sympathy, even love.She had wonderful figure which can win others’ hearts.However, anything she got, anywhere she reached, had not come from her ambition.Things happened, and then she accepted.That’s what she had just done ― just to accept willingly from the bottom of her heart.She was not at all

an evil woman who would give anything for the fortune or fame.However, she would give uo something for a better life when her instinct defeated her intellect.That was Carrie, a girl had her own desire, a human being just like many others in the realistic world.There’s one sentence written in chapter VIII:” When this jangle of free-will instinct shall have been adjusted, when perfect

understanding has given the former the power to replace the latter entirely, man will no longer vary.” However, how many people can go that further.And I want to quote another sentence to wind up my essay: “In Carrie ― as in how many of our wordings do they not? ― instinct and reason, desire and understanding, were at war for the mastery.”

第四篇：《嘉莉妹妹》讀后感

前幾天，媽媽為我買了一本《嘉莉妹妹》，讀了它，我仿佛對社會(huì)有了一定的了解。它告訴我：現(xiàn)實(shí)社會(huì)是非常殘酷的，沒有我想象中的那樣簡單，它是一個(gè)非常復(fù)雜的東西。不信？那就讓我們一起走進(jìn)嘉莉妹妹的生活中去吧。

書中塑造了這樣一個(gè)人物，描述了這樣一個(gè)故事：嘉莉懷著對大城市物質(zhì)生活的向往，獨(dú)自離家闖蕩。首先，她住在表姐敏妮家，嘗盡苦衷。后來，她以自己的美貌博得了推銷員杜洛埃的愛慕，成為他的情婦，逐漸變成了一個(gè)揮金如土的闊太太。又由于更大的誘惑跟著酒店經(jīng)理赫斯渥私奔，由于當(dāng)時(shí)失業(yè)的人居多，赫斯渥的酒店也散伙了，工作難找，于是晃蕩在家，想靠著嘉莉掙的微薄工資來維持生活。在一次偶然的機(jī)會(huì)中，嘉莉竟然成了走紅的演員，倍受關(guān)注，薪水豐厚，擠進(jìn)了上流社會(huì)，并拋棄了家庭逐漸貧困的赫斯渥，以不自覺地殘忍將他推上了絕望之路。

故事揭露了資本主義社會(huì)繁榮表面底下的失業(yè)、貧困和饑餓，對美國貧富對立的社會(huì)作了深刻的描寫。只有有本事的人將來才能有所作為，才有膽量跟別人競爭，才可能有豐厚的薪水，不至于失業(yè)。天啊，現(xiàn)實(shí)社會(huì)就是那么殘酷！知識，是一筆無法掂量的財(cái)富，也是一筆無形的財(cái)富，成功之神絕不會(huì)把燦爛的霞光灑向想不勞而獲的人，而給那些有知識，有膽識的人。我堅(jiān)信，如果你有了一定的知識和膽識，是絕對會(huì)得到成功之神的眷顧的！

謹(jǐn)記：不爭饅頭爭口氣，將來好要靠自己。我以后一定好好學(xué)習(xí)，天天向上，做一個(gè)有知識，有膽識的人；更要做一個(gè)對社會(huì)有用的人。今天是祖國的花朵，明天成為祖國的棟梁。

第五篇：《嘉莉妹妹》讀后感

《嘉莉妹妹》讀后感1

《嘉莉妹妹》主要講嘉莉長得美貌過人，還有些鋒芒畢露的敏感，但對身邊的一切際遇卻顯得相當(dāng)被動(dòng)，她首先以自己的美貌博得了推銷員杜洛的愛慕，成為她的情人，不久又由于更大的欲望而跟隨酒店經(jīng)理赫斯渥私奔。在偶然的機(jī)會(huì)里，嘉莉竟又成了走紅的演員，擠進(jìn)上流社會(huì)，并以不自覺的殘忍將赫斯渥推上了絕望，她對自己的欠缺可謂無知只是天真的沉浸在自己追求的生活和幻想中，無法想象別人怎么樣去生活。

讀完這本小說，我對文中女主人公嘉莉的虛榮心感到了無奈，虛榮心人人都有，因?yàn)槊總€(gè)人都有追求美好的幻想，但是很多人卻不知道怎樣才能去實(shí)現(xiàn)自己的夢想，經(jīng)驗(yàn)只有一句話——磨難是人生必備經(jīng)歷。人只有經(jīng)過磨難，才能得到收獲。就拿我爸爸來說吧。我爸爸是農(nóng)村里的，他小時(shí)候早上3、4點(diǎn)鐘起來種地放牛、掏大糞，直到晚上才能點(diǎn)微弱的煤油燈，在細(xì)小的燈光下看書、寫字，有時(shí)家里實(shí)在沒油了，還得偷偷的跑出家門在路燈底下看書。

這種磨難使爸爸有一種不同平常人的堅(jiān)強(qiáng)的毅力，最后爸爸憑著自己的堅(jiān)強(qiáng)意志考上了研究生，這不就是美好的回報(bào)嗎?現(xiàn)在我們這個(gè)社會(huì)的人都只盼望著不勞而獲，盼望著有一天不費(fèi)吹灰之力去過富人家的生活，這根本就是不可能實(shí)現(xiàn)的?，F(xiàn)在，我想真心的對所有人說：“這個(gè)世界根本不會(huì)存在不勞而獲，只會(huì)存在靠自己的磨難來獲得成果。”

《嘉莉妹妹》讀后感2

十八歲的嘉莉離開了自己的父母和家鄉(xiāng)，到芝加哥找姐姐，謀求一份適合自己的工作，到芝加哥，工作十分不順，付完每周的住宿費(fèi)后，只有五美分的利用空間，而這些并沒有擋住她對大城市的紅燈酒綠，富人生活的誘惑。

這個(gè)故事描述的是十九世紀(jì)末的美國成都市，文中的嘉莉就像是現(xiàn)在中國社會(huì)中許許多多離開家鄉(xiāng)的打工妹，不同的是嘉莉的才華或許真的很高，她的運(yùn)氣也十分的好，她最后的結(jié)局也如電影那樣美好，但是平心而論，成功的機(jī)會(huì)太少，真的幾乎不可能出現(xiàn)，就像第一章中的一句話，一個(gè)好孩子十八歲離家出門，結(jié)局只有兩種之一，要么遇到好人搭救而越變越好，要么很快接受了大都市道德標(biāo)準(zhǔn)而越變越壞。我認(rèn)為是她并沒有錯(cuò)，表面上她可以選擇。文中的一句話讓我記憶深刻，有朝一日，某個(gè)女人應(yīng)該就是這個(gè)專題撰寫哲學(xué)論文。不管她多么年輕。衣著打扮一事她總是完全懂得，品評男人服飾時(shí)候，有一條幾乎看不見的'界限她能在男人中間區(qū)分出來，哪些值得她看上一眼，而哪些根本不屑一顧。一個(gè)男人的一旦滑到了這條幾乎看不見的界限以下，那就休想得到婦人的青睞。男人的服飾還有另一條界限，可使女人琢磨她自己的衣著打扮。

這句話中字里行間充滿了物質(zhì)，我想社會(huì)是物質(zhì)的，只有人在社會(huì)物質(zhì)上面，才會(huì)做社會(huì)中美好的公益。《嘉莉妹妹》我并沒有讀完，也希望在讀完時(shí)會(huì)有新體會(huì)。

《嘉莉妹妹》讀后感3

在假期里，《嘉莉妹妹》這本書是名著，在文章中有許多的道理和人生哲理。這本書使我受益匪淺。這本書的作者是美國著名的現(xiàn)實(shí)主義作家——西奧多·德萊塞。

這本書主要講了：嘉莉十八歲那年她就獨(dú)自一人從自己的家鄉(xiāng)離開，去往芝加哥生活。她向往物質(zhì)生活，所以才離開家鄉(xiāng)的。

她的姐姐敏妮住在芝加哥公寓的凡步侖街，嘉莉去姐姐家住。她姐姐家很簡陋房間的墻是拼湊的紙糊，顏色很不協(xié)調(diào)。地板上鋪的是草席，只有起居室鋪了一塊薄薄的破地毯。嘉莉在姐姐家的附近找了自己能干的一份工作，她自己長的很漂亮，推銷員杜洛埃很喜歡她，所以嘉莉變成了杜洛埃的情婦。但是后來嘉莉又由于更大的誘惑，跟隨自己住的酒店里的經(jīng)理赫斯渥私奔。

在一次很好的機(jī)會(huì)中，嘉莉竟然辦成了走紅的演員，在上流的社會(huì)中，完成了她的愿望。讓赫斯渥陷入貧困，并又殘忍的把他推上了絕路。

讀完這本書，我覺得嘉莉只是沉浸在自己追求的生活和想象之中，她從未替別人著想過。她的這種性格是由于貧困所造成的。自己一無所有，卻只是期求這幸福。