英美文学开题报告范文 篇一
In the review of World War II, what has almost lost its direction is a post-war prank, which made Japanese military leaders chew the words "Remember Pearl Harbor": Amecan dentist Jack Mallory was in Hideki Tojo) was impsoned in occupied Japan, using Morse code to dll information into the dentes of General Hideki Tojo. Three months later, the secret leaked out and they had to be removed.
中文翻译：
在二战回顾中，几乎迷失了方向是一个战后恶作剧，这个恶作剧简直让战败军事领袖咀嚼着“记住珍珠港”这几个字：牙医杰克·马洛里（jack mallory）在英机将军（hideki tojo）被囚禁在被占领期间，用莫尔斯电码将钻入英机将军假牙上三个月后秘密泄露了，他们不得不被移除。
英美文学开题报告范文 篇二
一）研究计划
4月15日—4月18日：指定论文指导教师，学生选定题目
4月19日—4月25日：完成任务书部分和开题报告
4月26日—5月12日：完成论文第一稿
5月13日—5月22日：完成并上交论文第二稿
5月23日—5月31日完成论文三稿5月31日上午11点之前上交，以便答辩老师阅读，指导教师分组阅读论文，师生做好答辩准备
6月1日—6月9日：论文答辩答辩后，学生对教师提出的意见要及时修改，以便装订论文终稿。
6月10日—6月12日：二次答辩及论文装订、成绩评定。
二）预期成果
按照规定的时间和进度提交一份具有一定的理论或应用价值的，字数在5000英文单词左右、英美文学方向的的学术论文。
英美文学开题报告范文 篇三
1.国外主要研究现状
国外对萨克雷的研究很多，内容包罗万象。Iran Milligan从叙事的角度探讨了萨克雷的写作技巧、风格。Samuel C. Chew & Richard D. Altick主要从萨克雷的生平来解读其作品，为理解其中的社会背景和人物形象提供了比较客观的依据。Harry Blamires在分析人物形象时认为Becky Sharp是一个极有天分、工于心计的轻佻女子(a gifted calculating minx)，靠智谋和色相谋得富有丈夫，并进入上层社会放荡、作恶。与之相反，Amelia Sedley 则温柔、诚挚、可爱(gentle, earnest and loving)。Carole Jones和Owen Knowles在Introduction说，作为一名精明的 “strategist”， Becky总是有先见之明，捷足先登，因为其他人都愚钝、蠢笨。Edgar F Harden 的Thackeray The Writer: From Journalism to Vanity Fair 是一部全面评论萨克雷的书。最后一个章节对《名利场》进行了评述，Harden认为萨克雷对Becky的态度是肯定的，并引用作品中的话进行论证。
EBSCOhost数据库里共有116篇关于萨克雷的评论文章，其中五分之四与名利场有关，大多探讨了作品的语言风格、写作技巧、历史掌故、主题、人物刻画等等，对Becky 的评价褒贬不一。其中John Hagan的文章长达28页，从四个方面说明了萨克雷对 Becky寄予同情的缘由并予以反驳，分析了影响Becky性格形成的因素和社会环境以及Becky反社会的成因。在萨克雷看来，Becky is predominantly sympathetic。 Dee, Phyllis Susan从女性主义的角度通过对 Amelia和 Maggie Tulliver的分析，探讨了萨克雷的Vanity Fair 和艾略特The Mill on the Floss中的 female sexuality 和triangular Desir，并对之进行描述、解读，文章说：“这些小说中的女人虽然有时是男性欲望的被动客体，但是她们抵制并修正自己作为客体的角色，担任欲望主体的积极身份，并且设法挣脱男性主动欲望的束缚”。 Lisa Jadwin的视角也较新，分析了《名利场》中的“表里不一”(duplicity or double- discourse)，认为萨克雷对此是默许的，duplicity is both socially sanctioned and commonplace。 Lisa以为，既然男人的 “unchastities”被看成是微不足道、可以原谅的.，那么，女人的“lies”同样可以被看成是无关紧要、可以原谅的，即“ His (Man’s) license to ‘lie’with others is matched by her(woman’s) license to ‘lie’ about her motives, designs and ambitions.”
2.国内研究现状
英美文学开题报告范文 篇四
Outline of the thesis
On Thackeray’s Feminist Consciousness in Vanity Fair
Thackeray’s life and his art
Thackeray was born in India. His father died when he was 4. Then he was sent back to England to be educated and didn’t see his mother for three years. At 30: no money, mad wife never recovered and surviving Thackeray for 30 years, many dependents, debilitating ailments. It’s not surprising that he died an early death, at 52.
I f Thackeray was inhibited and emotionally constipated, he had a great deal to be inhibited and constipated about, and if his works suffer from a want of passion it is probably because his own tragic circumstances and the conventions of his era necessarily pushed passion onto the sidelines.
His attitude toward women is to a large extent shaped by his experiences with them (hi mother, wife, his daughters and his female correspondents).
He is important not only as a great novelist but as a brilliant satirist(Columbia Encyclopedia).
Introduction of Vanity Fair
Main idea of Vanity Fair
The theme of Vanity Fair
Thakeray’s upper-middle-class Regency world is a noisy and jostling commercial fairground, predominantly driven by acquisitive greed and soulless materialism, in which the narrator himself plays a brilliantly versatile role as a serio-comic observer. Although subtitled “A novel without a hero”, Vanity Fair follows the fortunes of two inter-linked lives: through the retiring Amelia Sedley and the brilliant Becky Sharp, Thackeray examines the position of women in an intensely exploitative male world, and lovingly attacks a hypocritical society which advocates the Victorian Virtues of marriage and the family.
Literary reviews of critical articles on Vanity Fair
Vanity Fair is said to be a moralist novel. Though Thackeray’s first major work, it remains his best known and most frequently analyzed novel. And most of the articles followed one stereotype: the attack of the hypocritical society , the praise and approval of “tender, sweet, good-natured” Amelia Sedley—the “Victorian angel” and the disapproval of “calculating social-climber” or “adventuress” Becky Sharp.
The purpose of this thesis
It is to explore Thackeray’s feminist consciousness implied in the novel in the depiction of the heroine Becky Sharp. Thackeray’s attitude toward Becky is predominantly sympathetic or admiring.
2. Feminist literary Theories
Virginia Woolf: A Room of one’s Own
Simone De Beauvoir: The Second Sex
Elaine Showalter, Judith Fetterley, Helene Cixous
Beauvoir’s text declares that both French and Western Societies are patriarchal, that is, females are controlled by males. So, the female becomes the Other”, an object whose existence is defined and interpreted by the male, who is the dominant being in society……people are free to and must create their own existence, and thereby deconstruct the sexist notions of gender imposed on them by the society.
The task of feminist critics is to examine the female images in male writer’s literary works and uncover how they reflect and shape the attitudes that have restricted women.
Unlike other feminist critics who aim to reveal Thackeray’s negative attitude toward Becky in Vanity Fair , I’ll explore his feminist consciousness displaying in the depiction of this heroine.
3. Analysis of Thackeray’s Feminist Consciousness in Vanity Fair
Becky as maiden
The irresistible Becky Sharp enters adulthood by throwing John’s dictionary(with Miss Pinkerton’s signature in the flyleaf) out of the window, declaring a century before Mae West “I’m no angel!” Such artless (or heartless) simplicity is one of Becky’s strength. A strong-minded woman who threatens conventional Victorian notions of feminity in her rise from orphaned obscurity to considerable social status.
Much sympathy is gathered for Becky, in the first place, by virtue of the fact that, as an orphan and social outsider, she is offered such a meager selection of options by her society(as symbolized perhaps in the cast-off clothes she receives from Amelia). Upon leaving Miss Pinkerton’s, she quickly acquires a sense of what these options are: she can either marry well or consign herself to the position of governess, one of the few professions available to her.
As Amelia’s moral opposite, Becky is useful to Thackeray as a puppet-like creature who reflects in sharply-undisguised form the hypocritical pretense of Vanity Fair.
Becky as wife
Becky’s Marriage to Rawdon falls short of her anticipation by the carefully contrived withdrawal of Miss Crawley’s support.
Becky’s involvement with marriage-market is a particularly active and dynamic one. She commit herself to conquer the fashionable world and , by the exercise of her own portion of its wealth and opportunities. Thackeray’s view of a woman like Becky embodies a shrewd-and in many ways, very modern-sense of the social and economic options to all women of the time.
“I think I could be a good woman if I had five thousand a year”. Becky’s proposition that only the rich can afford to be moral involves the corollary that the simple moral life is impossible for anyone trying to gain a foothold in a society that crudely exploits all finer feelings for its own material ends; only the rich, who are protected by their wealth, can afford to be moral.
Thackeray is reported to have said in later life: “I like Becky in that book. Sometimes think I have myself some of her tastes”. Thackeray’s teasing confession paves the way for some interesting possibilities.
Becky as mistress
Lord Steyne’s relation to Becky is at least that of benefactor and sponsor in aristocratic society. Because of Marquis Steyne, Becky is deserted by her husband , becoming the laughing-stock of the fashionable society and has to go to the Continent. Mr. Fiche is sent to urge her to leave (Lord Steyne happens to be there), since she becomes a threat to the ordered corruption of his way of life.
But when lord Steyne died an worn out old man after a series of fits, an eloquent catalogue appeared in a weekly print, describing his virtues, his magnificence, his talents, his good actions…….This is the case with patriarchal society.
Becky as mother
Her life experience forbids her to be a good mother, and this is also against the conventional virtues of women
Becky as vagabond
Becky not only gets away with murder, but also profits from it.
4. Conclusion
英美文学开题报告范文 篇五
1. John M. Ellis. The Theory of Literary Criticism: A Logical Analysis. [M]. Berkely:University of California Press, 1974.
2. Edgar F. Harden. Thackeray The Writer: From Journalism to Vanity Fair. [M]. London: Macmillan Press Ltd, 1998.
3. Iran Milligan. The Novel in English: An Introduction. [M]. London: Macmillan Press,1983.
4. Hawthorn, Jeremy. The Nineteenth Century British Novel. [M]. London: Edward Arnold,1986.
5. Samuel C. Chew & Richard D. Altick. A Literary History of England. 2nded. : the 19th Century & after. (1789-1939)[M]. London: RKP, 1978.
6. Harry Blamires. A Short History of English Literature. [M]. London: The Chaucer Press Ltd,Bungay,Suffolk.
7. William Makepeace Thackeray. Vanity Fair. [Z]. Introduction, Bibliography and Notes by Carole Jones 7& Owen Knowles. London: Wordsworth Editions Limited, 2001.
8. John Hagan. Vanity Fair: Becky Brought To Book Again. [J]. Studies in the Novel; Winter 75. Vol. Issue 4, p479, 28p.
9. Mullen, Alexandra. Vanity Fair and Vexation of Spirit.[J]. Hudson Review; Winter 2002, Issue 4, p581, 9p.
10. Jadwin, Lisa. The Seductiveness of Female Duplicity in Vanity Fair.[J]. Studies in English Literature; Fall 92 4.
11. Dee, Phyllis Susan. Female Sexuality and Triangular Desire in Vanity fair and The Mill on the Floss. [J]. Papers on Language & Literature; Fall 99, Issue 4, p391,26p.
12. 钟海英. 称谓的语用含义及翻译——谈《名利场》人物对话称谓sir的汉译[J]. 西南交通大学学报, 2003, (4).
英美文学开题报告范文 篇六
一）国内研究现状
叶利荣则在其《追寻自我的历程——主题探析》一文中提出：艾米莉勃朗特在小说中塑造的两个富于激情和叛逆的人物形象——希斯克里夫和凯瑟琳，展示了他们在迷失之后寻找自我回归的艰难历程表现了处于自我冲突中的'人的内心世界。他们充满抗争的一生是生命个体追寻自我历程的真实写照。
2、王宏洁则在《自然与文明的冲击》中认为，自然和文明的冲突矛盾也就是《呼啸山庄》中的其中一个重要主题。自然，要求人们生活需要顺从内心情感和自然本性，得到自然错给予的舒适和自得。而文明，则是不同于自然的一种新的生活方式，要求人们生活遵从道德和理智。文明由此带来了物欲横流的社会以及追逐自身利益的人类，因此纯净自然之人被文明所污染。而自然不会随着文明的出现和进步消失，自然会一直存在。所以自文明诞生开始，文明和自然的冲突就不断。
二）国外研究现状
1、英国著名女作家弗吉尼亚伍尔夫在一九一六年就写过《〈简爱〉与〈呼啸山庄〉》一文。她写道：“当夏洛蒂写作时，她以雄辩、光彩和热情说‘我爱’，‘我恨’，‘我受苦’。她的经验，虽然比较强烈，却是和我们自己的经验都在同一水平上。但是在《呼啸山庄》中没有‘我’，没有家庭女教师，没有东家。有爱，却不是男女之爱。艾米莉被某些比较普遍的观念所激励，促使她创作的冲动并不是她自己的受苦或她自身受损害。她朝着一个四分五裂的世界望去，而感到她本身有力量在一本书中把它拼凑起来。那种雄心塣志可以在全部小说中感觉得到——一种部分虽受到挫折，但却具有宏伟信念的挣扎，通过她的人物的口中说出的不仅仅是‘我爱’或‘我恨’，却是‘我们，全人类’和‘你们，永存的势力……’这句话没有说完。”
2、英国进步评论家阿诺凯特尔ArnoldKettle在《英国小说引论》一书中第三部分论及十九世纪的小说时，他总结说：“《呼啸山庄》以艺术的想象形式表达了十九世纪资本主义社会中的人的精神上的压迫、紧张与矛盾冲突。这是一部毫无理想主义、毫无虚假的安慰，也没有任何暗示说操纵他们的命运的力量非人类本身的斗争和行动所能及。对自然，荒野与暴风雨，星辰与季节的有力召唤是启示生活本身真正的运动的一个重要部分。《呼啸山庄》中的男男女女不是大自然的囚徒，他们生活在这个世界里，而且努力去改变它，有时顺利，却总是痛苦的，几乎不断遇到困难，不断犯错误。”