第一篇：《遠(yuǎn)大前程》中皮普的人物性格分析

摘要:本文深入細(xì)致的分析了狄更斯《遠(yuǎn)大前程》一文中的主要人物皮普的生活經(jīng)歷與心路歷程,揭示了英國(guó)維多利亞時(shí)代人與人之間赤裸裸的金錢關(guān)系,展現(xiàn)了生活在那個(gè)時(shí)代的底層民眾的生存狀態(tài)。

關(guān)鍵詞:狄更斯遠(yuǎn)大前程皮普人物性格

《遠(yuǎn)大前程》是查爾斯·狄更斯藝術(shù)生涯后期最具代表性的長(zhǎng)篇小說(shuō)。小說(shuō)描述了一個(gè)名為皮普的孤兒的生活經(jīng)歷和心路發(fā)展歷程,藝術(shù)的揭示了這位孤兒從對(duì)幸福生活的期望到幻想破滅的整個(gè)過(guò)程。在這本書(shū)中“,遠(yuǎn)大前程”是一句反話,并不是真的指孤兒皮普有什么遠(yuǎn)大的前程,而恰恰是指的一種“幻滅”,一種幻想的幻滅。但如果讀者只是把本書(shū)理解成一本描寫(xiě)孤兒幻想破滅的書(shū),那就誤解也低估了作者的本意,作者是要在對(duì)孤兒皮普的描述中展現(xiàn)19世紀(jì)英國(guó)維多利亞時(shí)代的社會(huì)生活,揭露了資產(chǎn)階級(jí)金錢世界的種種罪惡。主人公皮普自幼就失去了父母,作者在小說(shuō)的開(kāi)始以第一人稱的口吻這樣敘述著主人公的身世“:我說(shuō)皮利普是我父親的姓,那是有根據(jù)的,因?yàn)槲腋赣H的墓碑上刻著他的姓,而且我姐姐也這么說(shuō)。我姐姐嫁給了鐵匠喬·葛奇里,現(xiàn)在是葛奇里夫人了。至于我,從來(lái)沒(méi)有見(jiàn)到過(guò)父親和母親,也沒(méi)有看到過(guò)他們兩位的照片。”從這里我們可以了解到,這樣一個(gè)自幼由嫁給鐵匠的姐姐撫養(yǎng)長(zhǎng)大的孤兒,在那個(gè)時(shí)代是不可能獲得什么太好的教育的。教育的缺失和家境的情況使得幼年的皮普把姐夫當(dāng)做理想的奮斗目標(biāo)。而事實(shí)上,在這個(gè)由姐姐掌握大權(quán)的家里,姐夫也是唯一可以“以誠(chéng)相待,推心置腹”的人。而“一手”撫養(yǎng)他長(zhǎng)大的姐姐呢“,我的姐姐喬·葛奇里夫人比我要年長(zhǎng)二十多歲。她一直說(shuō)我是由她一手帶大的,因此在左鄰右舍享有很大名氣,倍受夸獎(jiǎng)。從小我就想了解這里的“一手”究竟是什么含義。我所知道的她的手,是結(jié)實(shí)笨重而又冷酷嚴(yán)厲的,因?yàn)樗貏e喜歡把她的巴掌打在她丈夫的身上,當(dāng)然也喜歡打在我的身上。我想喬·葛奇里和我就是這樣由她一手帶大的吧?！弊x者可以在字里行間讀出作者的良苦用心,但即使在這樣充滿了暴力的家庭里長(zhǎng)大,皮普依然保持著天真、質(zhì)樸的性格,文中作者還特意用一段對(duì)吃面包的描述來(lái)展示皮普的天真可愛(ài)“:在吃晚餐時(shí),我們有個(gè)習(xí)慣,要比較一下吃面包的速度,不時(shí)地悄悄拿起所啃的面包比一下,并且相互會(huì)心地表示贊美。這樣,我們啃面包就越啃越有勁?！庇啄甑钠て找彩巧屏嫉?這一點(diǎn)即使是在面對(duì)逃犯時(shí)也未曾改變,也正是這種善良為他日后的命運(yùn)埋下了伏筆。哈維莎姆小姐的出現(xiàn),徹底改

變了皮普一生的命運(yùn)。在這里我們要注意一點(diǎn),那就是作者查爾斯·狄更斯的哲學(xué)思想之一是環(huán)境對(duì)人思想的影響。狄更斯認(rèn)為,不同的環(huán)境可以造就成不同的人。當(dāng)然,我們知道,內(nèi)因才是決定一個(gè)人發(fā)展的關(guān)鍵因素。皮普如果不是一個(gè)天真、質(zhì)樸的少年,而是一個(gè)成熟、倔強(qiáng)的少年,也許這個(gè)故事就不會(huì)是這樣一個(gè)結(jié)局了。對(duì)一個(gè)一心想要“報(bào)復(fù)男人”的哈維莎姆小姐來(lái)說(shuō),皮普是一個(gè)絕佳的工具和發(fā)泄對(duì)象。讓年輕漂亮的養(yǎng)女埃斯特拉去主動(dòng)接近皮普,卻又不斷的嘲笑皮普,哈維莎姆的計(jì)劃是成功的。年輕的皮普就像一個(gè)提線木偶,被哈維莎姆小姐和命運(yùn)玩弄于股掌之間。對(duì)愛(ài)斯特拉的傾慕使皮普開(kāi)始厭惡自己“那雙粗糙的手和那雙笨頭笨腦的皮靴”,用皮普自己的話說(shuō)就是“我現(xiàn)在對(duì)這些東西很是瞧不起了,這些東西過(guò)去沒(méi)有煩惱過(guò)我,現(xiàn)在卻使我煩惱了。它們確是些粗俗不堪的東西?！币查_(kāi)始埋怨起一直“以誠(chéng)相待,推心置腹”的“伙計(jì)”“我決定回家去問(wèn)問(wèn)喬,為什么他總是告訴我那些牌叫做賈克,而實(shí)際上應(yīng)該是奈夫。我想,如果當(dāng)年喬的教養(yǎng)高一些,我也不至于落到這地步。”應(yīng)該說(shuō),作為一個(gè)孩子,在虛榮面前有些抱怨還是可以理解的,畢竟這也符合人性。于此同時(shí),從這里開(kāi)始我們也以看到,狄更斯在《遠(yuǎn)大前程》中對(duì)人物心理的描寫(xiě)比之以往更加細(xì)膩、真實(shí),對(duì)人物內(nèi)心世界的探索更加堅(jiān)決、徹底。與其前期的人物形象相比,皮普的形象更加豐富逼真,這是作者擺脫了人物單一性和確定性的一種表現(xiàn)。也使得皮普這個(gè)人物更接近現(xiàn)實(shí),更能反映當(dāng)時(shí)的社會(huì)情形。在皮普的身上,我們看不到狄更斯早期作品中那種臉譜化的描寫(xiě),看不到作者直接定義的人物性格,而是一個(gè)有其自身言行舉止,內(nèi)心活動(dòng)的嶄新的形象。對(duì)皮普的是非要由讀者自己來(lái)判斷、評(píng)價(jià)。皮普是真實(shí)的,也就是從這一刻開(kāi)始,那種對(duì)虛榮的愛(ài)慕情結(jié)開(kāi)始萌動(dòng),那種擺脫現(xiàn)狀的想法開(kāi)始不可遏制的出現(xiàn),并很快的開(kāi)始實(shí)施“一兩天后的一個(gè)早晨,我醒來(lái)時(shí)突然想到一個(gè)非常好的主意。我要使自己走向不平凡,最為上策的辦法是去找畢蒂,學(xué)會(huì)她所知道的一切東西為自己所用?！睆倪@一刻開(kāi)始,皮普開(kāi)始了他的奮斗歷程。從這一刻開(kāi)始

第二篇：(英語(yǔ)畢業(yè)論文)《遠(yuǎn)大前程》中皮普的性格分析

英語(yǔ)專業(yè)全英原創(chuàng)畢業(yè)論文，是近期寫(xiě)作，公布的題目可以用于免費(fèi)參考（貢獻(xiàn)者ID 有提示）

最新英語(yǔ)專業(yè)全英原創(chuàng)畢業(yè)論文，都是近期寫(xiě)作 A Comparison between Two Chinese Versions of Uncle Tom’s Cabin 2 雙關(guān)語(yǔ)在英語(yǔ)廣告中的應(yīng)用與翻譯研究 3 從文化差異角度來(lái)分析習(xí)語(yǔ)的翻譯 4 論廣告與文化 英漢新詞理?yè)?jù)對(duì)比研究 英文商務(wù)信函中的禮貌策略研究 商務(wù)談判口譯的語(yǔ)用失誤的成因及負(fù)面影響對(duì)學(xué)習(xí)的啟示 8 動(dòng)物詞在中英文化中的喻義及其翻譯 9 對(duì)羅伯特.弗羅斯特自然詩(shī)的嘗試性研究 10 比較《百萬(wàn)英鎊》和《阿Q正傳》 11 試論英漢日常禮貌表達(dá)的異同 A Journey through Harsh Reality: Reflections on Gulliver’s Travels 13 從Salsa舞解析墨西哥人的性格 英語(yǔ)專業(yè)本科畢業(yè)論文摘要的體裁分析 15 Advertising and Its Application 16 An Analysis of Cultural Differences between China and English-Speaking Countries through Idioms 17 《名利場(chǎng)》和《嘉莉妹妹》女主角形象對(duì)比 Translation Strategy on Culturally-loaded Expressions in Prison Break 19 面部表情和目視行為的跨文化研究 從異化歸化角度看漢語(yǔ)四字詞組的英譯策略—以中國(guó)蘇州古典園林為例 21 從體育舞蹈看中西方社會(huì)的審美文化差異 22 中美兩國(guó)家庭文化差異 The Interpretation to Captain Ahab in Moby Dick through Abnormal Psychology 24 外貿(mào)英文函電中委婉語(yǔ)的特點(diǎn)及應(yīng)用研究 25 馬爾福的嫉妒 從約翰.鄧恩的“奇思妙喻”中透視他矛盾的情感觀 27 外貿(mào)企業(yè)的匯率風(fēng)險(xiǎn)規(guī)避 《大地》中賽珍珠女權(quán)主義分析 從依戀理論看《呼嘯山莊》主人公希斯克利夫悲劇性格的形成 30 中英文旅游廣告語(yǔ)言特點(diǎn)對(duì)比研究 31 淺析美國(guó)傳奇總統(tǒng)的共性 32 英語(yǔ)廣告的語(yǔ)言特點(diǎn) 33 中餐菜譜翻譯的錯(cuò)誤分析

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論海明威《一天的等待》的冰山原則寫(xiě)作風(fēng)格 影響大學(xué)生英語(yǔ)自主學(xué)習(xí)的因素研究 合作原則在動(dòng)畫(huà)中的應(yīng)用

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愛(ài)恨共輝煌——淺析《呼嘯山莊》中的男主人公 英文電影片名翻譯策略研究

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《麥琪的禮物》看語(yǔ)境在中英翻譯中的影響 87 英漢顏色詞翻譯

探析王爾德童話中的死亡主題

《瓦爾登湖》與陶淵明作品中的自然觀簡(jiǎn)析 90 論歐.亨利的寫(xiě)作風(fēng)格

Development, Analysis and Prospect of Chinglish 92 從關(guān)聯(lián)-順應(yīng)理論視角研究旅游文本英譯

唯美主義與心理失衡的關(guān)系——以《道連葛雷的畫(huà)像》中人物分析為例 94 苔絲悲劇中烏托邦情結(jié)的探析 95 從文化角度對(duì)比中美兩國(guó)談判風(fēng)格 96 論《野性的呼喚》中的自然主義 97 英漢親屬稱謂的差異與翻譯技巧

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Unreliable Narration – The Approach to Irony in Pride and Prejudice 100 An Appeal for Oedipus Rex 101 The Name Translation in A Dream of Red Mansions 102 扼殺在萌芽中的期許— “一小時(shí)里故事”中的女權(quán)渴望 103 論漢語(yǔ)新詞語(yǔ)的英譯 104 《七宗罪》的人性解剖

目的論在英語(yǔ)兒歌翻譯中的應(yīng)用 106 論偵探小說(shuō)中的偵探話語(yǔ)的謊言測(cè)定

對(duì)高中學(xué)生英語(yǔ)學(xué)習(xí)動(dòng)機(jī)現(xiàn)狀及激發(fā)策略的調(diào)查分析—以屏邊高級(jí)中學(xué)為例 108 官方語(yǔ)言中的中國(guó)英語(yǔ)分析－－從目標(biāo)人群接受性角度談起 109 中西酒文化的差異對(duì)比

論《喜福會(huì)》中母女關(guān)系背后的文化沖突 111 通過(guò)《推銷員之死》探究現(xiàn)代人生存困境問(wèn)題 112 An Analysis of Self-reliance in Little Women 113 View Chinese and Western Love from Liang Shanbo and Zhu Yingtai and Romeo and Juliet 114 項(xiàng)目教學(xué)法在英語(yǔ)寫(xiě)作課中的應(yīng)用

英語(yǔ)專業(yè)學(xué)生英語(yǔ)口語(yǔ)學(xué)習(xí)動(dòng)機(jī)調(diào)查研究

基于語(yǔ)料庫(kù)的漢語(yǔ)空間隱喻認(rèn)知分析——以前后為例 117 《荊棘鳥(niǎo)》女性意識(shí)淺析

個(gè)人主義與集體主義——中美文化碰撞背后的價(jià)值觀差異 119 從文化角度看英語(yǔ)習(xí)語(yǔ)的翻譯

文化適應(yīng)性原則在食品商標(biāo)翻譯中的應(yīng)用 121 霍?！都t字》女性主義的探析

中國(guó)文化特色詞匯的音譯與中國(guó)文化的傳播 123 《霧都孤兒》中的批判現(xiàn)實(shí)主義

論托尼·莫里森《寵兒》中的模糊化現(xiàn)象

Growing Pains—An Analysis of J.D.Salinger’s The Catcher in the Rye as a Bildungsroman 126 跨文化交際中社交語(yǔ)用失誤及應(yīng)對(duì)策略 127

Domestication and Foreignization in Idioms Translation 129 論建構(gòu)主義理論指導(dǎo)下英語(yǔ)口語(yǔ)教學(xué)方法 英語(yǔ)專業(yè)全英原創(chuàng)畢業(yè)論文，是近期寫(xiě)作，公布的題目可以用于免費(fèi)參考（貢獻(xiàn)者ID 有提示）

功能對(duì)等理論下的新聞詞匯翻譯 131 濟(jì)慈六大頌詩(shī)的意象

淺析《睡谷傳奇》中的浪漫主義 133

《大學(xué)英語(yǔ)》聽(tīng)力理解中的石化現(xiàn)象與對(duì)策 135 影響中學(xué)生英語(yǔ)學(xué)習(xí)的心理因素分析 136 試析流行文化對(duì)美國(guó)青少年價(jià)值觀的影響

用本我，自我，超我的弗洛伊德理論來(lái)解析《紅字》 138 從《絕望主婦》看美國(guó)人的婚姻觀

The Symbolic Meanings of Red in The Catcher in the Rye 140 從譚恩美小說(shuō)中“家”的概念看其文化身份認(rèn)定 141 《洛麗塔》—時(shí)間的悲劇 142 “到十九號(hào)房間”的悲劇成因

中英文商標(biāo)翻譯的問(wèn)題及其解決方法

論伍爾夫《到燈塔去》女權(quán)主義主題思想及對(duì)中國(guó)女性文學(xué)之影響 145 論奧康納短篇小說(shuō)的創(chuàng)作特色

《魔術(shù)與童年》翻譯中英漢詞匯銜接對(duì)比研究 147 《哈利.波特》中斯內(nèi)普的人物分析

初中英語(yǔ)聽(tīng)力水平調(diào)查研究－－-以鋼城十二中為例的個(gè)案調(diào)查 149 騎士精神對(duì)現(xiàn)代社會(huì)的影響

論文化差異在好萊塢電影《功夫熊貓》中的表現(xiàn)

151 唯美主義理論與實(shí)踐的矛盾——解析王爾德的矛盾性 152 從及物性角度分析童話的文體特征 153 理智的動(dòng)人詩(shī)篇——《馬語(yǔ)者》

154 奈達(dá)功能對(duì)等理論指導(dǎo)下英漢廣告修辭的翻譯策略探究 155 艾米麗的心理性格分析 156 論被動(dòng)句的翻譯

157 Text Cohesion in English Business Contracts 158 從生態(tài)批評(píng)論梭羅《瓦爾登湖》中對(duì)工業(yè)化的思考 159 簡(jiǎn)與林黛玉性格及命運(yùn)對(duì)比 160 凝視與對(duì)抗：《屋頂麗人》中的兩性戰(zhàn)爭(zhēng) 161 命案現(xiàn)場(chǎng)——阿加莎死亡觀簡(jiǎn)析 162 動(dòng)物習(xí)語(yǔ)在英漢文化中的異同分析 163 傅東華譯《飄》歸化現(xiàn)象淺析

164 從“愛(ài)的習(xí)慣”看多麗絲.萊辛筆下的兩性關(guān)系

165 從精神分析學(xué)角度探究《呼嘯山莊》中的希斯克里夫 166 論《太陽(yáng)照常升起》中的象征主義 167 功能對(duì)等理論指導(dǎo)下的外貿(mào)函電翻譯 168 淺析《小婦人》中馬奇太太的教育方式 169 從《紅字》看霍桑的政治觀

170 非英語(yǔ)專業(yè)大學(xué)生聽(tīng)力課堂焦慮的影響及解決策略 171 從奧運(yùn)菜單看中式菜肴英譯名規(guī)范化程度

172 A Contrastive Analysis of Chinese and American Nonverbal Privacy 173 中美禮貌語(yǔ)中的“面子文化” 英語(yǔ)專業(yè)全英原創(chuàng)畢業(yè)論文，是近期寫(xiě)作，公布的題目可以用于免費(fèi)參考（貢獻(xiàn)者ID 有提示）

174 弗吉尼亞伍爾夫《墻上的斑點(diǎn)》的敘事技巧分析 175 《最藍(lán)的眼睛》和《寵兒》中黑人女性的悲劇根源

176 莊子和梭羅自然觀比較——以《莊子》與《瓦爾登湖》為例 177 通過(guò)對(duì)比研究看電影《小紅帽》對(duì)經(jīng)典童話小紅帽的顛覆 178 從文化視角看中西方的禮節(jié)差異 179 英漢愛(ài)情隱喻比較研究

180 《喧嘩與騷動(dòng)》中沒(méi)落的悲劇 181 論莎士比亞十四行詩(shī)的特征

182 論教師的非語(yǔ)言行為在課堂教學(xué)中的作用 183 論中英文習(xí)語(yǔ)翻譯的處理技巧及文化差異 184 《圍城》英譯本中文化負(fù)載詞的翻譯研究 185 論苔絲悲劇的成因

186 從詞匯對(duì)等角度看《紅樓夢(mèng)》中“笑”一詞的英譯 187 A Comparative Study of Jane Austen and Emily Dickinson 188 從翻譯目的論角度分析商務(wù)廣告翻譯 189 第二次世界大戰(zhàn)中的溫斯頓丘吉爾 190 如何激發(fā)初中生學(xué)習(xí)英語(yǔ)的興趣

191 從《肖申克的救贖》看美國(guó)的個(gè)人英雄主義 192 化妝品說(shuō)明書(shū)特征及其漢譯技巧 193 威廉?？思{作品中的悲劇美學(xué)思想

194 《哈克貝里·費(fèi)恩歷險(xiǎn)記》中哈克和吉姆的人物形象分析

195 The Blacks’ Soul Under the Impact of the White Culture in The Bluest Eye 196 A Reflection upon American Heroism Based on Reviews of Hollywood Movies 197 美國(guó)動(dòng)畫(huà)片名的翻譯 198 A Study of Neo-Classicism 199 英語(yǔ)中的女性歧視

200 血性意識(shí)—D.H.勞倫斯的自然主義愛(ài)情觀

第三篇：淺析《遠(yuǎn)大前程》中皮普的個(gè)人抱負(fù)與自我完善

英語(yǔ)專業(yè)全英原創(chuàng)畢業(yè)論文，是近期寫(xiě)作，公布的題目可以用于免費(fèi)參考

最新英語(yǔ)專業(yè)全英原創(chuàng)畢業(yè)論文，都是近期寫(xiě)作 淺析《遠(yuǎn)大前程》中主人公皮普性格發(fā)展的形成因素 2 禮儀在商務(wù)談判中的應(yīng)用 A Study on the Cross-Cultural Management in the Sino-American Joint-Venture Enterprises－－With Special Reference to Changan & Ford Motor Company 4 An Analysis of American and Chinese Culture in Kung Fu Panda 5 文化與幽默欣賞 文化差異對(duì)中美商務(wù)談判的影響 7 農(nóng)村學(xué)生英語(yǔ)學(xué)習(xí)情感障礙分析 8 跨文化交際中的肢體語(yǔ)言差異 《當(dāng)幸福來(lái)敲門》之美國(guó)文化價(jià)值觀分析 10 英語(yǔ)中稱謂語(yǔ)的性別歧視現(xiàn)象 Cultural Input and Syllabus in English Teaching 12 Strategies of Trademark Translation from Cross-cultural Perspective 13 《簡(jiǎn)愛(ài)》中的人文主義思想述評(píng) 14 《等待野蠻人》中的寓言式寫(xiě)作手法 勃萊特.阿什利－－《太陽(yáng)照常升起》中的新女性 16 英語(yǔ)中的性別歧視 論《寵兒》中社區(qū)與逃離的關(guān)系 弗吉尼亞?伍爾夫《達(dá)洛衛(wèi)夫人》的生態(tài)女性主義解讀 19 《永別了武器》中戰(zhàn)爭(zhēng)對(duì)人類所造成的毀滅 20 課堂英語(yǔ)教學(xué)與網(wǎng)絡(luò)英語(yǔ)教學(xué)的對(duì)比 21 《苔絲》中的女性與自然 教師身勢(shì)語(yǔ)在英語(yǔ)口語(yǔ)教學(xué)中的應(yīng)用 An Analysis of Hemingway’s Attitude towards War in For Whom the Bell Tolls 24 淺談大學(xué)英語(yǔ)教育的文化融入 論漢語(yǔ)成語(yǔ)中數(shù)字英譯的語(yǔ)用等效性 《戀愛(ài)中的女人》歐秀拉和古迪蘭的性格對(duì)其愛(ài)情觀的影響 27 論《雙城記》中卡登形象的塑造及其意義 28 英漢習(xí)語(yǔ)淵源對(duì)比及其常用分析方法 29 論英語(yǔ)稱謂語(yǔ)中的性別歧視現(xiàn)象 The Study of English Film Title Translation Methods and Some Requirements to the Translators 31 從《嘉莉妹妹》看本性與理性的斗爭(zhēng)

農(nóng)村初中英語(yǔ)口語(yǔ)教學(xué)現(xiàn)狀的調(diào)查與分析——以xx中學(xué)為例

路易斯——現(xiàn)實(shí)世界在非現(xiàn)實(shí)世界的投影——解讀《夜訪吸血鬼》的現(xiàn)代性 34 英漢語(yǔ)中恐懼隱喻的認(rèn)知分析 35 《老人與?！分械暮椭C關(guān)系

The Inconsistencies between Margaret Mitchell’s Gone with the Wind and Alexandra Ripley’s Scarlett

探究希臘神話對(duì)英國(guó)戲劇及詩(shī)歌的影響

《弗朗西斯麥康伯短促的幸福生活》中麥康伯個(gè)性轉(zhuǎn)變之分析 39 從功能對(duì)等理論角度看校訓(xùn)的漢英翻譯原則 英語(yǔ)專業(yè)全英原創(chuàng)畢業(yè)論文，是近期寫(xiě)作，公布的題目可以用于免費(fèi)參考

中英報(bào)刊新聞標(biāo)題語(yǔ)言特色探討 《紫色》中“家”的解讀

The Application of Task-based Approach to Improving Speaking Ability in Middle School 淺析文化語(yǔ)境對(duì)翻譯的影響

禮貌原則在英漢語(yǔ)言文化差異中的應(yīng)用 英漢語(yǔ)言中的性別歧視現(xiàn)象

由中國(guó)的圣誕節(jié)“熱”來(lái)看中美文化的沖突及融合 《秀拉》的女性主義解讀

英語(yǔ)教學(xué)中合作學(xué)習(xí)策略的初步研究 論《睡谷傳奇》中的幽默元素

《魔術(shù)與童年》翻譯中英漢詞匯銜接對(duì)比研究 文化適應(yīng)性原則在食品商標(biāo)翻譯中的應(yīng)用 高中英語(yǔ)新課標(biāo)在xx中實(shí)施情況調(diào)查與分析 小說(shuō)《飄》中斯嘉麗的人物性格分析

《荊棘鳥(niǎo)》中的三位女性形象——追尋荊棘的女人

試比較《湯姆索亞歷險(xiǎn)記》與《哈克貝利芬歷險(xiǎn)記》中主人公性格異同點(diǎn) 《德拉庫(kù)拉》中病態(tài)感情和正常感情的對(duì)比和碰撞

農(nóng)村初中學(xué)生英語(yǔ)學(xué)習(xí)策略應(yīng)用情況的調(diào)查分析——以xx初中為例 《傲慢與偏見(jiàn)》中的女性意識(shí)分析 解析《紫色》中婦女意識(shí)的形成

An Analysis of the Tragic Fate of Mary Turner in The Grass Is Singing 悲劇英雄—赫爾曼梅爾維爾筆下的比利巴德形象分析 順應(yīng)論視角下的電影片名翻譯

從功能對(duì)等角度看信用證英語(yǔ)的翻譯 功能對(duì)等理論視角下的英文歌曲漢譯探究 探討《根》中黑人與美國(guó)人的根

增譯法在《水晶宮》英譯漢翻譯中的應(yīng)用 冰山原則在《老人與?！分械捏w現(xiàn)

從保羅的戀母情結(jié)角度分析勞倫斯的《兒子與情人》 論英語(yǔ)課堂教學(xué)中的非語(yǔ)言交際 論《女巫》中的成人形象

《圣誕歡歌》中斯克羅吉的性格分析

從傳播美學(xué)分析國(guó)內(nèi)暢銷知名化妝品廣告中的譯文

簡(jiǎn)奧斯汀眼中的理想男人——試析《傲慢與偏見(jiàn)》的男主人翁 中西方常用標(biāo)語(yǔ)分析

從關(guān)聯(lián)理論看中國(guó)電影名稱的翻譯 漢英翻譯中的中式英語(yǔ)的成因及對(duì)策

英語(yǔ)演講語(yǔ)篇中的parallelism及其漢譯策略—以?shī)W巴馬就職演說(shuō)稿為例 不同國(guó)家的商務(wù)談判風(fēng)格及其對(duì)策

An Analysis of Sexism in English Advertisements 淺析《他們眼望上蒼》中女性意識(shí)的覺(jué)醒

從中國(guó)傳統(tǒng)民居喬家大院和西方哥特式教堂看中西文化差異(英語(yǔ)系經(jīng)貿(mào)英語(yǔ))論蘋(píng)果公司的撇脂定價(jià)策略 英語(yǔ)專業(yè)全英原創(chuàng)畢業(yè)論文，是近期寫(xiě)作，公布的題目可以用于免費(fèi)參考

論流行網(wǎng)絡(luò)詞匯的漢英翻譯

淺析《德伯家的苔絲》中兩位男主人公

從漢英動(dòng)物詞匯的文化內(nèi)涵看中西方文化差異 87 從宴客角度探究中西方文化理念的差異 88 商務(wù)英語(yǔ)新詞構(gòu)詞研究

淺析文化差異對(duì)國(guó)際貿(mào)易的影響

從語(yǔ)境視角淺析《生活大爆炸》中反語(yǔ)的幽默屬性 91 紅字中的象征意義

An Analysis of Gender in Oh,Pioneers!93 論女性主義對(duì)翻譯標(biāo)準(zhǔn)的影響 94 論概念隱喻視角下的隱喻翻譯

淺析奧斯卡?王爾德童話作品中的唯美主義思想

A Study of Angel Clare’s Multiple Personalities in Tess of the D’Urbervilles 97 《霧都孤兒》中的反猶主義

從奧運(yùn)菜單看中式菜肴英譯名規(guī)范化程度

The Lost Generation—“Nada” in Hemingway’s “A Clean, Well-Lighted Place” 100 春節(jié)與圣誕節(jié)的對(duì)比研究

美國(guó)電影中的大眾文化價(jià)值觀研究 102 從接受美學(xué)視角看中式菜肴的英譯

格賴斯會(huì)話合作原則與莎士比亞喜劇中的幽默解讀 104 論中學(xué)英語(yǔ)教學(xué)中學(xué)生文化意識(shí)的培養(yǎng) 105 中英語(yǔ)言中動(dòng)物詞匯的文化含義對(duì)比

The Loneliness in Far From the Madding Crowd 107 從譯者主體性視角探析《紅樓夢(mèng)》中概念隱喻的翻譯策略 108 詞匯負(fù)遷移對(duì)漢譯英的影響 109 肢體語(yǔ)言在英語(yǔ)教學(xué)中的應(yīng)用 110 中西方禮儀文化差異比較

概念隱喻在英語(yǔ)汽車廣告中的應(yīng)用 112 《傲慢與偏見(jiàn)》中的三層反諷

Verification of Soft Term in Letter of Credit 114 淺析英語(yǔ)廣播新聞的語(yǔ)言特色

Cultural Elements in Chinese Film Subtitles and Their Translation Strategies 116 試論班揚(yáng)《天路歷程》中基督徒的精神歷程 117 旅游英語(yǔ)翻譯的研究

試論用英語(yǔ)電影進(jìn)行英語(yǔ)文化教學(xué) 119 母語(yǔ)負(fù)遷移對(duì)中學(xué)英語(yǔ)寫(xiě)作的影響 120 論翻譯美學(xué)視角下的公示語(yǔ)翻譯

從翻譯審美分析食品品牌名稱翻譯的原則及策略 122 從中西思維差異角度看漢英翻譯中的中式英語(yǔ)現(xiàn)象

A Study on the Effectiveness of Cooperative Learning in Junior High School 124 從女性主義視角分析《飄》中斯佳麗人物形象 125 組織學(xué)習(xí)障礙及相應(yīng)的對(duì)策 126 商務(wù)信函的寫(xiě)作原則與技巧

中英婚禮習(xí)俗中的紅和白顏色文化的研究 英語(yǔ)專業(yè)全英原創(chuàng)畢業(yè)論文，是近期寫(xiě)作，公布的題目可以用于免費(fèi)參考

論中美文化差異對(duì)其商務(wù)談判的影響及策略 129 從童話看中西方兒童教育的差異

《推銷員之死》中主角威利的性格分析 131 淺析威廉?？思{的《喧嘩與騷動(dòng)》 132 英漢恭維語(yǔ)及其應(yīng)答的對(duì)比分析 133 文化意識(shí)與外語(yǔ)教學(xué)

托妮?莫里森《寵兒》中的主角賽絲的女性形象研究 135 淺談商務(wù)英語(yǔ)于商務(wù)信函中的運(yùn)用 136 論希斯克利夫出走的必然性

The Linguistic Features of American Inaugural Address 138 論愛(ài)倫坡小說(shuō)中的哥特式風(fēng)格 139 英漢基本顏色詞對(duì)比研究

論建構(gòu)主義理論下初中英語(yǔ)教師的課堂角色定位

英語(yǔ)流行歌曲中隱喻的功能分析——以后街男孩的歌曲為例 142 On the Difference of Family Education between China and America 143 漢語(yǔ)對(duì)英語(yǔ)語(yǔ)法學(xué)習(xí)的負(fù)遷移 144 論《達(dá)芬奇密碼》中的基督教元素 145 外交語(yǔ)言策略中的合作原則

試論任務(wù)型教學(xué)法在英語(yǔ)閱讀教學(xué)中的應(yīng)用

試析《哈克貝利費(fèi)恩歷險(xiǎn)記》中主人公沖破種族主義桎梏追求自由的精神 148 中餐菜譜翻譯的錯(cuò)誤分析

卡特福德的等值翻譯理論與名詞化翻譯——以《入鄉(xiāng)隨俗》英譯漢為例 150 論商標(biāo)名稱漢英翻譯中的合作原則

151 從跨文化的角度研究故事影片名字的英漢翻譯 152 文化差異對(duì)國(guó)際商務(wù)談判的影響 153 論英語(yǔ)習(xí)語(yǔ)的語(yǔ)言和文化功用

154 男權(quán)社會(huì)女性意識(shí)的覺(jué)醒——弗吉尼亞·伍爾夫女性主義文學(xué)研究 155 論羅伯特?佩恩?沃倫《國(guó)王的人馬》中對(duì)真理與自我認(rèn)知的追求 156 情感在中學(xué)英語(yǔ)教學(xué)中的應(yīng)用

157 On Relationship Between Mothers-and-Daughters-in-Law in China and the West 158 跨文化交際中的語(yǔ)用失誤與避免方法

159 從《篡奪》中看辛西婭奧茲克作品中的反偶像崇拜精神

160 從道德角度分析簡(jiǎn)?奧斯丁《勸導(dǎo)》中的女主人公安妮?艾略特 161 《荊棘鳥(niǎo)》的女性主義解讀

162 場(chǎng)獨(dú)立和場(chǎng)依存對(duì)不同主題閱讀材料的影響研究 163 英漢禮貌原則的比較分析

164 淺析英語(yǔ)專業(yè)學(xué)生在聽(tīng)力理解中的策略運(yùn)用 165 英漢習(xí)語(yǔ)對(duì)比研究及其對(duì)高中英語(yǔ)教學(xué)的啟示

166 《呼嘯山莊》和《遠(yuǎn)離塵囂》中女主人公的女性意識(shí)的對(duì)比 167 Purity and Doom: on Thomas Hardy’s Tess’s of the d’Urbervilles 168 從現(xiàn)代主義角度分析《無(wú)名的裘德》中裘德的無(wú)根性 169 On the Anti-traditional Factors of Feminism Translation 170 《阿甘正傳》承載的美國(guó)青年價(jià)值觀 171 中西校園流行語(yǔ)的文化對(duì)比 英語(yǔ)專業(yè)全英原創(chuàng)畢業(yè)論文，是近期寫(xiě)作，公布的題目可以用于免費(fèi)參考

172 淺析當(dāng)今網(wǎng)絡(luò)英語(yǔ)交流中的縮略語(yǔ)

173 《哈利波特》系列里哈利波特與伏地魔的二元對(duì)立分析 174 逆成構(gòu)詞的分類及其認(rèn)知機(jī)制和規(guī)律 175 從《西風(fēng)頌》看英國(guó)積極浪漫主義的特征

176 美國(guó)電影與文化霸權(quán)—以好萊塢大片《阿凡達(dá)》為例 177 從《動(dòng)物莊園》看喬治·奧威爾反極權(quán)主義思想 178 中西方婚禮禮服顏色的對(duì)比研究

179 Two Trapped Roses—A Comparative Study on Emily and Miss Havisham 180 英漢白色詞的文化象征意義及翻譯 181 中式英語(yǔ)的潛在價(jià)值

182 On the Feminist Consciousness Reflected in Pride and Prejudice 183 Analysis of Advertisements Based on the Cooperative Principle 184 翻譯中的性別－－《簡(jiǎn)?愛(ài)》幾個(gè)中譯本的女性主義解讀 185 論《海狼》中拉爾森船長(zhǎng)本性的雙重性 186 從《美國(guó)的悲劇》解析美國(guó)夢(mèng)

187 用本我，自我，超我的弗洛伊德理論來(lái)解析《紅字》 188 從生態(tài)女性主義角度解讀《苔絲》

189 鼓勵(lì)性教學(xué)方法在中學(xué)英語(yǔ)教學(xué)中的應(yīng)用

190 On Translation of Culture-Loaded Words in Subtitle of Ashes of Time Redux 191 The Awakening of the Female Consciousness in Pride and Prejudice 192 中美文化差異對(duì)商務(wù)談判的影響

193 從《好事一小件》和《洗澡》的對(duì)話對(duì)比分析看人物形象塑造的差異 194 英漢形狀類量詞的隱喻認(rèn)知分析 195 對(duì)《憤怒的葡萄》中圣經(jīng)原型的分析

196 守望何物－－《麥田里的守望者》中霍爾頓的困惑 197 《野性的呼喚》中自然主義探析

198 從《老人與?！分锌春Ｃ魍娜松軐W(xué) 199 《貴婦畫(huà)像》主題和寫(xiě)作藝術(shù)特征

200 淺析《遠(yuǎn)大前程》中皮普的個(gè)人抱負(fù)與自我完善

第四篇：簡(jiǎn)愛(ài)中主要人物性格分析

摘要《簡(jiǎn)·愛(ài)》以19 世紀(jì)早期英國(guó)偏遠(yuǎn)鄉(xiāng)村為背景以女主人公簡(jiǎn)·愛(ài)的經(jīng)歷講述了一個(gè)堅(jiān)強(qiáng)、獨(dú)立、自尊與自信的女性的愛(ài)情故事塑造了一個(gè)具有頑強(qiáng)生命力、值得贊美的女性形象。通過(guò)對(duì)這部小說(shuō)中簡(jiǎn)·愛(ài)的人格魅力以及從她身上獲取的某些思想啟示分析進(jìn)一步謳歌平等與自立尊嚴(yán)與愛(ài)情的永恒主題。關(guān)鍵詞《簡(jiǎn)·愛(ài)》人格魅力平等尊嚴(yán)叛逆精神 《簡(jiǎn)·愛(ài)》的意義不僅在于英國(guó)文壇發(fā)現(xiàn)了夏洛蒂·勃朗特而且使全世界千千萬(wàn)萬(wàn)的女性從女主人公身上找到追求平等和自立的精神源泉。對(duì)正在戀愛(ài)或即將戀愛(ài)的年輕人了解、認(rèn)識(shí)、矯正自己的愛(ài)情心理及培養(yǎng)理性健全的人格也會(huì)有所啟發(fā)。長(zhǎng)久以來(lái)簡(jiǎn)·愛(ài)一直被稱為神奇的女性是一代又一代女性心目中的偶像。無(wú)論何時(shí)簡(jiǎn)·愛(ài)的文學(xué)形象總是能促使人們反思尊嚴(yán)與愛(ài)情能不能兼得當(dāng)人們?cè)庥隹部狼鄣娜松?jīng)歷時(shí)要如何激勵(lì)自我而非墮落毀滅當(dāng)人們擁有金錢和地位時(shí)能否操縱一切為所欲為在今天全球金融危機(jī)的大環(huán)境下人的精神世界變得越來(lái)越脆弱物質(zhì)世界變得越來(lái)越強(qiáng)大作為凡夫俗子的我們能否為不安的心靈留下點(diǎn)什么呢帶著這些困惑的思緒我們重拾19 世紀(jì)英國(guó)現(xiàn)實(shí)主義作家夏洛蒂·勃朗特的小說(shuō)《簡(jiǎn)·愛(ài)》女主人公簡(jiǎn)·愛(ài)身上獨(dú)具特色的人格魅力無(wú)法不讓人贊賞嘆服也讓人們得到很多思想啟發(fā)找到叛逆與平等、貧窮與自立、尊嚴(yán)與愛(ài)情的精神動(dòng)力。簡(jiǎn)·愛(ài)———這位瘦小、貧窮、長(zhǎng)相平庸但自尊、自愛(ài)、自立和自信的女性將為人們逐一解惑。

一、尊嚴(yán)與金錢的對(duì)抗 現(xiàn)實(shí)生活往往是殘酷或不盡人意的誰(shuí)都有他人難以理解的難處如果金錢和尊嚴(yán)不能兼而有之不同的人會(huì)有不同的選擇。細(xì)細(xì)品味簡(jiǎn)的人生經(jīng)歷對(duì)于人們?cè)谧饑?yán)和金錢之間如何抉擇有著一定意義上的啟示。首先簡(jiǎn)自幼便成為一個(gè)孤女被拋擲給了冷酷無(wú)情的舅母———里德太太。在這里她飽受欺辱。一天還是小孩子的簡(jiǎn)看到一本英國(guó)禽鳥(niǎo)史的書(shū)覺(jué)得好玩就躲在窗簾后頭入神地看被她野蠻的表兄發(fā)現(xiàn)便一把搶過(guò)她手中的書(shū)說(shuō)“你沒(méi)有資格拿我們家的書(shū)你是靠人養(yǎng)活的媽媽說(shuō)過(guò)?你沒(méi)錢你父親一文也沒(méi)留給你。?你本該去要飯不該在這兒跟我們這樣上等人家的孩子在一起生活跟我們吃一樣的飯穿媽媽買的衣服?6?7?6?7滾站到門口去別站在鏡子和窗子跟前?！?這話意味著什么呢意味著那種沒(méi)有錢就沒(méi)有尊嚴(yán)可談的觀念這在當(dāng)時(shí)的社會(huì)是普遍的。就像里德這樣一個(gè)十四五歲孩子的頭腦中此觀念也根深蒂固他覺(jué)得簡(jiǎn)跟他們不一樣還罵簡(jiǎn)是“耗子”是偷吃別人東西的耗子。他之所以這樣鄙視簡(jiǎn)沒(méi)有別的理由就是因?yàn)楹?jiǎn)沒(méi)有錢是貧窮沒(méi)有地位的下等人她應(yīng)該去要飯她沒(méi)有資格過(guò)上等人的生活。簡(jiǎn)到了寄宿學(xué)校以后這種觀念的沖擊更為突出。因?yàn)榧乃迣W(xué)校里都是些沒(méi)有錢的窮孩子或者是根本沒(méi)有父母的孤兒是這個(gè)社會(huì)上被鄙視的一群。老師鄙視他們主教、學(xué)校的負(fù)責(zé)人更鄙視他們隨便地加以處罰。簡(jiǎn)只是由于不留神把寫(xiě)字板摔落在地上便被罰站在高凳上示眾并不許所有學(xué)生和她說(shuō)話。這對(duì)簡(jiǎn)來(lái)說(shuō)無(wú)疑是對(duì)她尊嚴(yán)的無(wú)情踐踏所以從小她就產(chǎn)生了為捍衛(wèi)尊嚴(yán)而不屈服于現(xiàn)實(shí)的巨大勇氣。其次磨難中頑強(qiáng)長(zhǎng)大的簡(jiǎn)最終憑借優(yōu)異的學(xué)業(yè)和出色的才華從寄宿學(xué)校畢業(yè)她很快謀到了一份家教的工作來(lái)到了桑菲爾德給當(dāng)?shù)馗挥械那f園主羅切斯特先生的女兒當(dāng)家庭教師。在羅切斯特家的生活給她提供了一種前所未有的際遇尤其是簡(jiǎn)和羅切斯特從陌生到了解然后相愛(ài)。羅切斯特起初的高傲冷漠并沒(méi)有使簡(jiǎn)對(duì)他阿諛?lè)畛姓~媚討好。面對(duì)主人說(shuō)話時(shí)的專橫粗魯她依然保持自我不卑不亢?！拔覜](méi)吭聲只是微微一笑那微笑既不顯得很得意也不表示要順從”。簡(jiǎn)給人們展示出了一個(gè)個(gè)性鮮明自尊自信的女性形象。那時(shí)社會(huì)中已經(jīng)充斥了太多的物質(zhì)元素金錢的作用和等級(jí)的觀念也被大大地神圣化。面對(duì)貧困的現(xiàn)實(shí)又有多少人可以像簡(jiǎn)一樣堅(jiān)強(qiáng)地捍衛(wèi)做人的尊嚴(yán)堅(jiān)守內(nèi)心那一片精神的凈土對(duì)簡(jiǎn)而言她決不能因?yàn)椤案F”因?yàn)樯硖幠婢尘蛠G棄了人格、丟棄了尊嚴(yán)、丟棄了良知。如果說(shuō)沒(méi)有金錢是萬(wàn)萬(wàn)不能的現(xiàn)實(shí)中沒(méi)有幾個(gè)人能夠真正做到視金錢為糞土但若當(dāng)一個(gè)人“窮”得只剩下錢的時(shí)候那將是何等的悲哀。試想一個(gè)渾身上下珠光寶氣的行尸走肉又怎能比得上有高尚靈魂的窮人簡(jiǎn)仍然是原來(lái)的簡(jiǎn)在生活中選擇了尊嚴(yán)自立這既是她面對(duì)殘酷現(xiàn)實(shí)的抗?fàn)幒妥詮?qiáng)也是她高尚靈魂的折射。再次從另一個(gè)角度來(lái)看如果簡(jiǎn)很有錢是否就一定能夠獲得人們的尊敬并且擁有尊嚴(yán)我們知道莊園主羅切斯特雖然不年輕帥氣卻是位很富有的紳士。漂亮的塞莉娜因他有錢而贊美他說(shuō)“你有體育家的身材和氣度所以我愛(ài)你”。羅切斯特信以為真。塞莉娜跟另一個(gè)男人卻說(shuō)他是丑八怪。他原以為只要有錢人家就會(huì)尊重他但事實(shí)上并不是這樣。為了錢有人當(dāng)面總說(shuō)好話實(shí)際上卻會(huì)背后捅刀、詆毀或者蔑視你。由此可見(jiàn)金錢并不能買到真正的尊嚴(yán)。

二、叛逆精神———對(duì)平等自由的向往追求 人類的思想是最不應(yīng)該受到束縛的叛逆也是最不該受到壓制的。如果一個(gè)社會(huì)是兼容的就完全能把叛逆精神看作是一種合理看作是一種必然。否則這個(gè)社會(huì)本身就是一種不合理或者不能稱之為健康的社會(huì)。人類的本性促使簡(jiǎn)對(duì)她的命運(yùn)進(jìn)行不屈不饒的抗?fàn)帍亩鴮?shí)現(xiàn)她對(duì)平等自由夢(mèng)想的追求。首先簡(jiǎn)在羅沃德學(xué)校曾對(duì)海倫說(shuō)“當(dāng)我們無(wú)緣無(wú)故挨打的時(shí)候我們應(yīng)該狠狠地回?fù)粑铱隙ㄎ覀儜?yīng)該回?fù)簟莺莸鼗負(fù)艚逃?xùn)教訓(xùn)打我們的那個(gè)人叫他永遠(yuǎn)不敢再這樣打人?！薄昂莺莸鼗?fù)簟?這便是簡(jiǎn)的叛逆精神。驕橫殘暴的約翰把她看作丫頭一樣可是簡(jiǎn)不畏強(qiáng)暴怒斥這個(gè)迫害她的小魔王“你這男孩真是又惡毒又殘酷你像個(gè)殺人犯———你像個(gè)虐待奴隸的人———你像羅馬的皇帝”3。接著便和他扭打起來(lái)。其次當(dāng)羅切斯特第一次看到簡(jiǎn)時(shí)他就感到有一種全新的東西———一種新的活力和新的感覺(jué)不知不覺(jué)傳遍了他的全身。這種感覺(jué)和簡(jiǎn)所預(yù)見(jiàn)的一樣。在羅切斯特假裝要娶英格拉姆小姐從而試探簡(jiǎn)時(shí)簡(jiǎn)心中的哀傷和愛(ài)戀把她的情緒推向高潮“你以為我能夠留下來(lái)成為一個(gè)對(duì)你來(lái)說(shuō)無(wú)足輕重的人嗎你以為我是一架自動(dòng)機(jī)器———一架沒(méi)有感情的機(jī)器任憑別人從我嘴里搶走我那一口面包把我杯子里的活命水倒掉我也能夠忍受嗎你以為就因?yàn)槲腋F、地位低下、相貌平凡而且身材矮小我就沒(méi)有靈魂沒(méi)有一顆心了嗎你想錯(cuò)了我的靈魂和你的一樣———我的心也和你一樣富于情感如果上帝賜給我一點(diǎn)美再加上大量的財(cái)富我會(huì)讓你同樣難以離開(kāi)我就像我現(xiàn)在難以離開(kāi)你一樣”4。這段經(jīng)典的表白道出了簡(jiǎn)內(nèi)心中最誠(chéng)摯最真實(shí)的感情它使人們產(chǎn)生共鳴?？梢哉f(shuō)簡(jiǎn)和羅切斯特相見(jiàn)、相識(shí)到相愛(ài)的過(guò)程里她的叛逆精神、自強(qiáng)自尊的品質(zhì)無(wú)不深深地征服了他。再次我們不能否認(rèn)簡(jiǎn)有自己的尊嚴(yán)在追求愛(ài)情上雖然她沒(méi)有甜膩的贊美、溫柔的話語(yǔ)但其感情足夠真誠(chéng)熾烈尤其是她從沒(méi)有忘記平等的要求。簡(jiǎn)和羅切斯特談到婚姻時(shí)曾義正詞嚴(yán)地對(duì)他說(shuō)“你以為因?yàn)槲腋F低微不美矮小就沒(méi)有靈魂了嗎你想錯(cuò)了我跟你一樣有靈魂也同樣有一顆心我現(xiàn)在不是憑著肉體凡胎跟你說(shuō)話而是我的心靈與你的心靈在說(shuō)話就好像我們都已經(jīng)離開(kāi)人世兩人平等地站在上帝面前———因?yàn)槲覀儽緛?lái)就是平等的”5。以上充分體現(xiàn)出簡(jiǎn)的叛逆精神、堅(jiān)決維護(hù)婦女獨(dú)立人格、主張婚姻獨(dú)立自主以及男女平等的主張也可以看成她對(duì)整個(gè)人類社會(huì)的平等自由的向往追求。

三、尊嚴(yán)與愛(ài)情的完美結(jié)合 尊嚴(yán)本身不是孤立存在的它是人與人交往中獲得別人的肯定才能擁有的。馬克思曾談及人首先是把自己反映在另一個(gè)人身上一個(gè)名叫彼得的人所以會(huì)把自己當(dāng)作另一個(gè)人來(lái)看只是因?yàn)樗岩粋€(gè)名叫保羅的人看作自己的同種。也就是說(shuō)一個(gè)人只有在另外一個(gè)人身上才能獲得對(duì)自己的肯定。首先簡(jiǎn)和羅切斯特的首次交往對(duì)人們是非常有啟示的。兩人在山里不期而遇當(dāng)羅切斯特問(wèn)簡(jiǎn)“你覺(jué)得我英俊嗎”簡(jiǎn)當(dāng)時(shí)脫口而出“不先生。”這句話對(duì)羅切斯特的震動(dòng)很大。于是他進(jìn)一步追問(wèn)“你覺(jué)得哪里不好看呢”簡(jiǎn)意識(shí)到自己說(shuō)的話有點(diǎn)不禮貌向他道歉并解釋道“先生我太直率了請(qǐng)?jiān)?。我本?lái)應(yīng)該說(shuō)問(wèn)到外貌問(wèn)題是很不容易當(dāng)場(chǎng)就隨口做出回答的應(yīng)當(dāng)說(shuō)各人有個(gè)人的審美觀說(shuō)美并不重要或者諸如此類的話”2。簡(jiǎn)的兩個(gè)回答對(duì)羅切斯特了解她至關(guān)重要使羅切斯特認(rèn)識(shí)到簡(jiǎn)是一個(gè)可以和自己在精神上平等交談的人。羅切斯特心中有道傷口就是塞莉娜當(dāng)面吹捧他卻背后嘲笑他。可今天這個(gè)其貌不揚(yáng)、平民模樣的女子當(dāng)面這樣的直率和真誠(chéng)一下子抬高了簡(jiǎn)在他心目中的地位。而道歉更使他感覺(jué)到眼前這個(gè)女子不僅誠(chéng)實(shí)還有教養(yǎng)。其次精神上的平等使得他們處在平等的地位相互尊重相互理解從對(duì)方那里取得了一種人的尊嚴(yán)感的滿足在這樣的基礎(chǔ)上兩人產(chǎn)生了戀情。但是當(dāng)簡(jiǎn)準(zhǔn)備和羅切斯特結(jié)婚時(shí)卻知道了他已有妻室擁有強(qiáng)烈尊嚴(yán)感的她盡管痛苦卻還是毅然選擇離開(kāi)桑菲爾德遠(yuǎn)離她深愛(ài)著的人。此刻簡(jiǎn)覺(jué)得“它再也不能去求助于他 啦因?yàn)橹艺\(chéng)已遭到破壞———信任已經(jīng)喪失對(duì)我來(lái)說(shuō)羅切斯特已不是過(guò)去的他因?yàn)樗瓉?lái)不像我過(guò)去所想象的那樣我不想把他看成邪惡我不愿意說(shuō)他欺騙了我。不過(guò)他在我心中已失去了正直不欺的屬性因此我必須離開(kāi)他這一點(diǎn)我看得很清楚”1。簡(jiǎn)還是原來(lái)的那個(gè)簡(jiǎn)她極不愿意未婚夫把她當(dāng)作玩偶一樣打扮不在乎羅切斯特先生能給她買多少漂亮的飾品更沒(méi)有把他當(dāng)作跨入貴族社會(huì)的階梯。在非常強(qiáng)大的愛(ài)情力量的包圍之下在美好、富裕生活的誘惑下簡(jiǎn)依然要堅(jiān)持自己作人的尊嚴(yán)。她所要的只是一顆真心一顆沒(méi)有被大量的恩惠壓倒的心。結(jié)果簡(jiǎn)將夢(mèng)想中的婚禮變成了她和羅切斯特的訣別?？梢?jiàn)既便是在愛(ài)情面前她選擇的依然是人的尊嚴(yán)。簡(jiǎn)這樣做并不是過(guò)于愛(ài)惜自己也不是過(guò)于畏懼道德。恰恰是由于愛(ài)要求她這么做。愛(ài)要求她追隨美好要求她必須和自己的所愛(ài)保持平等這是他們進(jìn)行最高層次愛(ài)之交流的根本前提。如果沒(méi)有這些愛(ài)只能使她墮落。這正是簡(jiǎn)所具有的值得贊美的精神魅力使她能夠成為獨(dú)立女性的代表。再次離開(kāi)后的簡(jiǎn)遇見(jiàn)了表兄圣約翰———忠誠(chéng)的基督教徒。他眼中的尊嚴(yán)境界超越了人是一種和神結(jié)合而產(chǎn)生的尊嚴(yán)感。簡(jiǎn)的堅(jiān)韌個(gè)性贏得了他的欣賞于是他便向簡(jiǎn)求婚。但是簡(jiǎn)的內(nèi)心依然牽掛著羅切斯特對(duì)他的愛(ài)一刻也未曾中止過(guò)。而她又很清楚表哥結(jié)婚的目的只是為了上帝。她拒絕了她永遠(yuǎn)不可能接受沒(méi)有愛(ài)情的婚姻。不能再猶豫徘徊了簡(jiǎn)重返莊園卻意外地獲知莊園被羅切斯特發(fā)瘋的妻子放火燒毀她也因大火而亡羅切斯特則丟掉了財(cái)富截?cái)嗔耸直圻€失去了光明。然而他身體上的傷殘抵不過(guò)精神上的痛苦對(duì)簡(jiǎn)的日夜思念使他孤寂的生活備受煎熬。這時(shí)面對(duì)深愛(ài)的人簡(jiǎn)更加確信他自己的重要她回到了羅切斯特的懷抱。歷經(jīng)磨難的兩人終于結(jié)婚簡(jiǎn)既擁有了尊嚴(yán)同時(shí)也獲得了真愛(ài)。簡(jiǎn)憑借她的人格魅力收獲了羅切斯特深沉純凈的感情和真正屬于她的尊嚴(yán)幸福。簡(jiǎn)的人格魅力就像沙漠中的泉水滋潤(rùn)著人們干涸的心靈。其實(shí)一個(gè)人即使擁有再多的財(cái)富和整個(gè)世界的財(cái)富比起來(lái)不過(guò)是滄海一粟即使一株生長(zhǎng)在山谷里的野合也會(huì)有自己的驕傲也會(huì)找到屬于自己的美好春天。精神世界是可以平等的。無(wú)論你是什么人只要你對(duì)大自然的生靈懷有同樣的敬畏之心只要你對(duì)人世間的不幸懷有同樣的悲憫之心人人都是平等的。不管是貧窮還是富有不管是貌美如花還是相貌平平只要擁有健康的心靈和充實(shí)的胸懷擁有獨(dú)立的人格和堅(jiān)強(qiáng)的個(gè)性不屈不撓勇于奮斗深處苦海卻沒(méi)有迷失自我純真的本性就能擁有人的尊嚴(yán)和幸福的生活。參考文獻(xiàn) 1 夏洛蒂·勃朗特.簡(jiǎn)愛(ài)M.北京譯林出版社1994.2 夏洛蒂·勃朗特.簡(jiǎn)愛(ài)M.北京人民文學(xué)出版社1991.3 路文彬.閱讀愛(ài)情M.廣州花城出版社2004.4 徐葆耕.西方文學(xué)十五講M.北京北京大學(xué)出版社2003.5 徐晴謝麗娜.外國(guó)文學(xué)名著快讀M.北京中國(guó)婦女出版社2001.

第五篇：論遠(yuǎn)大前程中社會(huì)因素對(duì)皮普愛(ài)慕虛榮性格的影響

Social factors on the development of pip’s vanity in Great

Expectations

Abstract

This paper studies the social factors on the development of pip’s vanity in Charles Dickens’ Great Expectations.It argues that, compared with other factors that affect pip’s vanity, social factors has its own distinguishing affects, and that is, it straightly pushes pip to be a vanity man with various ways.The combination of the social factors and pip’s vanity through the exploration of the following three aspects, namely social factors with his terrible educational background, social factors combined with his poor family situation and social factors tinted with the cruelty of the bourgeoisie will be closely examined in this paper.In this way it plans to prove that social factors are the factor that straightly pushes pip to be a vanity man.Keywords: social factors;terrible educational background;poor family situation;cruelty of the bourgeoisie

論遠(yuǎn)大前程中影響皮普虛榮性格發(fā)展的社會(huì)因素

摘要

本文研究社會(huì)因素對(duì)遠(yuǎn)大前程中皮普虛榮性格的形成的影響。筆者認(rèn)為，與其他影響皮普虛榮性格的因素相比，社會(huì)因素有著非常獨(dú)到的地方，即它直接的從各個(gè)方面把皮普塑造成了一個(gè)虛榮的人。本文從皮普教育的缺失，貧困的家庭環(huán)境，資本主義的殘酷三個(gè)方面對(duì)皮普虛榮性格的形成進(jìn)行了考察，從而證明社會(huì)因素直接地把皮普塑造成了一個(gè)虛榮性格的人。

關(guān)鍵詞：社會(huì)因素，教育的缺失，貧困的家庭，資本主義的殘酷

Contents

Number of pages: 16 Introduction.................................................................................................................1 2 Pip’s Character of Vanity............................................................................................2 2.1 A Brief Introduction to the Victorian Age............................................................3 2.2 The Prototype of Pip in Great Expectation..........................................................4 2.3 His Vanity in Great Expectations.........................................................................5 3 The Social Factors that Mold Pip’s Vanity..................................................................6 3.1 His Terrible Educational Background..................................................................7 3.2 His Poor Family Situation....................................................................................8 3.3 The Cruelty of the Bourgeoisie............................................................................9 3.3.1 Vengeful and Wealthy Miss Havisham......................................................10 3.3.2 Indulgent and Hypocritical Mr.Jaggers.....................................................11 4 Conclusion................................................................................................................12 Notes............................................................................................................................13 References....................................................................................................................14 Acknowledgement.......................................................................................................15 Declaration...................................................................................................................16

1.Introduction Dickens was one of the most influential writers of the 19th century, played a crucial Great Expectations was written by Charles Dickens(7 February 1812–9 June 1870).He contributed greatly to the development of the writing style in British Literature.Through his numerous works，he exposed the readers to different aspects of the times he lived in and explored the unfairness and hypocrisy of the capitalist society and he analysis that the social factors that we lived in influences the formation of our characters.The social factors can be reflected in various ways such as education, families, friends and the living experiences.Pip is the hero in Great Expectations, whose life has through several changes.Each change is a new development for him and last forging a new Pip: The one who is fall in love with the beautiful Estella, the love drives him to run after the knowledge and fame;the one who gains a big fortune to have a gentleman cultivation in London;the one whose dreams fall into fallacy, which lets him realizes his guilty and starts repentance.Every stage Pip’s character is under subtle change that is related to the things happened around him.To say it in different way, pip’s change in every stage is influenced by the social factors especially let him to chase after the vanity like the upper class gentlemen life and wealth.Thus, this paper mainly studies the social factors on the development of pip’s vanity in Charles Dickens’ Great Expectations with the factors of terrible education, the poor family and the friends around him who live in the cruelty Bourgeoisie.In this way to prove that social factors are the factor that straightly pushes pip to be a vanity man.2.Pip’s Character of Vanity

Pip is the hero in Great Expectations who is also a victim.His life reflects the background of the Victorian age when the society is dark and the people there all chase after the vanity of the wealth and the social status.It is also mirrored the life experiences of Charles Dickens.Pip actually is living in the lower class who has no good education and the rich family.When he lives with Joe, his dream is to be a balcksmith.But when he falls in love with the girl, he begins to hate his dirty hand that using to strike the iron.Apart from that, when he is in the cultivation for a gentleman, he begins to escape to meet the low class: Joe, though he is actually not a gentleman there.All the change of Pip’s character reflects the common features of the people in Victorian age and mirrored the life experiences of Charles Dickens.2.1A Brief Introduction to the Victorian Age In Great Expectation, Charles Dickens showed us a lively picture, which gave us a rough sketch of The Victorian Age.The country was ruled by Queen Victorian from 1837 to 1901, and during this period, the cruelty and the greedy of the Bourgeoisie that deeply affect everyone’s character.In society, the wealth and the greedy are like an evil.The distribution of wealth is always unequal and the contrast of the rich and the poverty is very sharp.On one hand, there excises the noble manor life and the comfortable life of the landlord;on the other hand, it is the farmer’s dilapidated cottage and the unemployed worker’s desperation.Family life for the middle and upper class was extremely important, as the families were large and living together in big houses, life was very comfortable for them and enjoyable.Poor and working class families, such as Dickens's were forced to work in factories doing dangerous jobs.Children were being exploited, into doing harsh dangerous work, for little pay and no gratitude.Besides, the Industrial Revolution of the late eighteenth and the early nineteenth centuries had transformed the social landscape, enabling capitalists and manufacturers to amass huge fortunes.Although social class was no longer entirely dependent on the circumstances of one’s birth, the divisions between rich and poor remained nearly as wide as ever.London, a teeming mass of humanity lit by gas lamps at night and darkened by black clouds from smokestacks during the day, formed a sharp contrast with the nation’s sparsely populated rural areas.More and more people moved from the country to the city in search of greater economic opportunity.Throughout England, the manners of the upper class were very strict and conservative: gentlemen and ladies were expected to have thorough classical educations and to behave appropriately in innumerable social situations.2.2 The Prototype of Pip in Great Expectation The prototype of the pip in great expectation should trace back to the purpose of Charles Dickens to write Great Expectations.In the Victorian Age, the contrast of wealthy and poverty is sharp and the cruelty and the exploitation is everywhere, which let all the lower class form a wrong value: run after the wealth and the upper class.Therefore, the vanity breeds out.So as Charles Dickens, he wrote Great Expectation to draw a picture of the people who run after the vanity through Dickens’ own life experiences.When Dickens was young, his parents had troubles in finance and disasters in the social, so they lived a rough live and had to change their living-quarters frequently for the lack of money which could be used to pay the rents.Dickens wasn't an orphan, as Pip is, but he may well have felt like one.His parents were sociable, pleasant people, but when Charles, who was the eldest boy, was nine, the Dickens’s pulled up roots and moved to London to try to live more cheaply.Charles was appalled by the cramped, grubby house they lived in there, and even more ashamed when his father was arrested and taken to debtors' prison.The rest of the Dickens’s were allowed to move into prison with their father, but twelve-year-old Charles had to live on his own outside.Therefore, the expectations of pip to get the social advancement and the wealth are the mirror of Dickens himself to make a great expectation to change his life style.2.3 His Vanity in Great Expectations In Great Expectations, Pip, the novel’s protagonist, lives in the marsh country, works at a job he feel enough, considers himself too good for his surroundings as shown by the following account in the book Great Expectations.“Joe was a fair man, with high brown hair and blue eyes.He was a mild, good-natured, dear fellow Joe and I being fellow-sufferers……”

But when he meet the Estella at Miss Havisham’s house, he suddenly feels shame about his surrounding and from this time his vanity breed out from his brain: he want to be a rich, a gentle and a uncommon man, though it is just a expectation that is impossible for him now as shown by the following account.“Being alone in the courtyard I looked at my coarse hands and my thick boots.They had never troubled me before, but they troubled me now.I wished Joe had been rather more genteelly brought up, and then I should have been so too.” page 49

“……and that I hadn’t been able to explain myself to Mrs.Joe and Pumblechook, and that there had been a beautiful young lady at Miss Havisham’s who was dreadfully and proud, and that she had said I was common……”page 70

“I had never thought of being ashamed of my hands before, but I began to consider them rather a bad pair.Here contempt was so strong that it became infectious and I caught it”chapter7 page47

When Pip comes to London to have the cultivation for the gentleman, he begin to look down upon the low class, even his best friend: joe.As shown in the book.“One Monday morning I received a letter from Biddy in which she informed me of Joe’s intention to visit me at Barnard’s in the next morning.I did not look forward with pleasure to this visit, and if I could have kept him away by paying money……but I had the sharpest sensitiveness to his being seen by Drummle, whom I held in contempt because he was idle, stupid and haughty.” Chapter 15Page 114

It’s no doubt that there are a lot of words and description of Pip’s mental.All that gives the impression that Pip is a vanity man.The Social Factors that Mold Pip’s Vanity

The social factors can be reflected in various ways such as education, families, friends and the living experiences.This paper mainly studies the social factors on the development of pip’s vanity in Charles Dickens’ Great Expectations with the factors of terrible education, the poor family and the friends around him who live in the cruelty Bourgeoisie.3.1 His Terrible Educational Background In Pip’s family in Great Expectations, the rough sister couldn’t gives Pip chances to satisfy his curiosity for knowledge．Although Joe is a good man and expects Pip to learn, but he is helpless.As to he is almost an illiterate.When Pip attends a night class，he sadly find it is not a school, where has no textbooks and no teacher in the real sense as shown in Great Expectations.“During this period I attended an evening school kept by Mr.Wopsle’s great-aunt.Her method of education was peculiar, for she usually went to sleep from six to seven every evening, leaving her pupils to improve themselves as best they could by seeing her do it.Mr.Wopsle’s great-aunt, besides keeping this Education Institution, kept in the same room a little general shop.”Chapter 6 page 33

The terrible education background couldn’t cultivate Pip to have the right value to the society and the life.So Pip wants to study hard just because of his vanity: the love for Estella．Pip wants to learn and become a gentle man.When Pip later becomes a London gentleman，he learns from Mr.Pocket．At this time，the purpose of receiving education is only to decorate the gentleman’s status.Thus throughout Pip’s receiving education, He learns only a little from his teachers.His real teachers are his sufferings．Pip’s process of being taught is mainly the process of his teaching himself.He is thirsty for knowledge but his teachers never satisfies his intellectual need or tell him the math of life．From the beginning to the end of the book．Originally, he wants education because of his love for Estella．There are great gaps between Pip and Estella, Pip wants to narrow these gaps by learning more．All those are driven by his vanity for the beautiful Estella and for the upper class life.3.2 His Poor Family Situation Pip was an orphan who lived with his sister and brother in law.The poor living condition made him quite sensitive, which also made him feel shame of his family situation when with Estella and the friends.Although Joe treated Pip as his best friend who he could believe in and give sincerity and comfort to, what Joe could do was too little to help Pip, not the good living situation and the good education.Thus, Pip formed the false values about the wealth, the social status and the wrong outlook about the world.Pip couldn’t refuse the temptation around so he lost his balance in mind because he always thinks he is poor and common man.He was eager to be a gentleman and the husband of Estella, though it is impossible of the family situation for him.However, he lived in his dream.His sister punished him in lots of ways such as using the tar water as medicine, her ring and thimble as torture instruments.Mrs.Joe liked to tell others that it was her that brought Pip up and she suffered a lot for this.However, she never gave Pip any good family situation to have a good education and the good value about the life and the wealth.What Pip felt was the following:

“My sister’s bringing up had made me sensitive.In the little world in which children have their existence, whoever brings them up, there is nothing so finely perceived and so finely felt, as injustice.”(69)

Therefore, when Pip got the information that he had come into handsome property, he feel that he have the chance to be a gentle man and will not to be the low class of the society.And then, he waste the money every day and persist in he will be the upper class man.However, all that is because of his poor family situation that couldn’t give him the good education and had the right value of life and the wealth, which straightly let him got the vanity that he come into handsome property to have the chance to be a gentle man and the upper class of the society.3.3 The Cruelty of the Bourgeoisie In the Victorian Age, because of the Industrial Revolution and the development of the society, the Bourgeoisie is very cruelty for the wealth and the social advancement.Sometimes they are ruthless for the low class to reach their own purpose.3.3.1 Vengeful and Wealthy Miss Havisham In Great Expectations, Miss Havisham is a mad, vengeful, a wealthy old lady, who lives in a rotting mansion and wears an old, smelly wedding dress, which she never takes off in her rest of life.She is a poor role in the novel.Miss Havisham’s life is dominated by a disobliging man who named Compeyson, who leaves her alone on their wedding day.From then on, Miss Havisham turns all the clocks in her house at twenty minutes to nine, the moment when Compeyson dumps her, and she wears only one shoe, because when she is informed of his betrayal, she had not yet put on the other shoe.With such kind of manic, obsessive cruelty and miserable suffering, Miss Havisham adopts Estella and raises her as a gun to fire the men.Miss Havisham is an example of single-minded vengeance pursued destructively: both Miss Havisham and the friends in her life suffer painfully things because of her quest for revenge.Miss Havisham completely hasn’t seen that her actions are great hurtful to Pip and Estella.She is redeemed at the end of the novel when she realizes that she has broken Pip’s heart in the same manner as her own;rather than achieving any kind of personal revenge, she has only caused more pain.Miss Havisham’s begging for forgiveness reinforces the theme that bad behavior can be redeemed by contrition and sympathy.But Miss Havisham has also done the worse thing for Pip.She not only gives Pip the expectations to catch Estella, but also give Pip’s expectations to be a gentleman of the upper class, which indulges Pip’s vanity to chase after the illusory dreams.She knows that Pip is from the low class and Pip sometimes is self-contemptuous as shown in the book Great Expectations.“……my dream had come true, my wild fancy was surpassed by reality;Miss Havisham was going to make my fortune.” chapter 13 Page 92

Miss Havisham’s revenge straightly put Pip to run after the wealth and the social advancement.To say it in different way, Miss Havisham straightly put Pip to be a vanity man for the wealth and the social advancement.3.3.2 Indulgent and Hypocritical Mr.Jaggers In the beginning, Pip’s vanity is buried in his heart as shown in the book: “one morning after I wake up, a good idea comes into my heart: I’ll let myself uncommon.”, but when he meets Mr.Jaggers his vanity comes into a summit.Mr.Jaggers as a represent of the decaying legal system of British also gives Pip a dream to be the upper class of the society.The dream let Pip got the expectation.On the contrary, in London, Pip has never studied the knowledge and the manner of the upper class, but the luxury of the upper class as shown in the book:

“We always derived great satisfaction from making an appointment for this purpose.We ordered something special for dinner, with an expensive bottle of wine, in order that our minds might be fortified for the occasion.Dinner over, we produced pens and paper.I would then take a sheet of paper and write across the top of it, in neat hand writing, “Memorandum of Pip’s Debts” chapter 19 page 145

That is the indulgence of Mr.Jaggers who hasn’t paid the responsibility to Pip’s development, which is also because of his hypocritical.To say it in other words, Mr.Jaggers is an irresponsible lower.What he wants is just the attorney fees.Mr.Jaggers is also a vanity man as shown in the book:

“Now, I have nothing to say to you,” said Mr.Jaggers, throwing his finger at them.I want to know no more that I know.As to the result, it’s a toss-up.I told you from the first it was a toss-up.Have you paid Wemmick?”

From this point of view, Pip is also a victim.Although he is vanity after suffering Miss Havisham and Estella, the greatest culprit is Mr.Jaggers indulgent and hypocritical.It is his indulgent and hypocritical put Pip’s vanity to the summit.4 Conclusion The development of Pip’ vanity has a deep relationship with the social factors such as education, family and social activities.In the thesis we’ve talked about many aspects that influenced the development of Pip’s vanity.Pip lost his nature in his own life is because he has got the wrong value towards wealth, love and social status.Then the terrible education condition was an important aspect that Pip learnt little useful knowledge from the school or the teacher.Wemmick helped Pip when Pip faced the difficulties.He gave his true love to Pip who once saved his life.At last, Pip knew that he should abandon the wrong value and find back his natural character.The novel tells us that we must establish the right value for the wealth and the social status and shouldn’t be mislead by the wrong value from the social factors.The social factors can be the good thing for our development and can also mislead us to the abyss.To say it in other words, they can be educational and destructive.Of course, different people will lead different lives in the same social factors.But the most important factor is our own nature.