《呼啸山庄》:一部女性哥特小说
论文作者:佚名论文属性:短文 essay登出时间:2009-04-09编辑:刘宝玲点击率:15451
论文字数:26000论文编号:org200904091351307059语种:中文 Chinese地区:中国价格:免费论文
关键词:《呼啸山庄》女性哥特小说魔鬼式人物梦魇Wuthering HeightsFemale Gothic noveldevilish charactersnightmares
Abstract: Wuthering Heights: a Female Gothic Novel[Abstract] Wuthering Heights is the only novel by Emily Bront?, an English woman writer in the 19th century. Also it is a piece of exquisite works of the world’s literature, which displays a sea of Gothic colors. This paper tries to make a research on the production of Wuthering Heights, basing on Gothic tradition of European and American literature. Emily Bront? makes use of and breaks through Gothic tradition in the facets of the portrayal of the characters and the use of image. Drawing on her extraordinary imagination, Emily succeeds in merging reality with Gothic techniques like symbolism, terror, and mystery, inputs the passionate feelings and energy into the old modes, and perfectly unites the Gothic form with passionate contents. The
thesis aims at digging out some hidden implications in the novel from a new and different perspective to provide the reader with more enlightenment and speculation and tries at the same time to help the readers reread this novel from the angle of Female Gothic by displaying the surrealistic description of the devilish characters and the nightmares.
【摘 要】 《呼啸山庄》是19世纪英国女作家艾米莉·勃朗特的惟一的一部小说,也是世界文学园地中的一朵奇葩,其中展现了大量的哥特色彩。本文立足于欧美文学中的哥特传统研究《呼啸山庄》的创作,作家艾米莉在人物形象和意象等方面都借鉴了哥特传统并有所突破;她凭借超乎寻常的想象力,将现实与象征、恐怖、神秘等哥特手法完美地结合在一起,给陈旧的形式注入了激烈情感和活力,达到哥特形式与激情内容的完美统一。笔者试图从一个新的角度——女性哥特来挖掘出《呼啸山庄》中尚未被挖掘出的一些新的意蕴和内涵。同时也希望通过展示魔鬼式人物和梦魇的超现实主义描写,使我们能够从女性哥特的角度解读这部小说。
1. Introduction Emily Bront? is an English woman writer of superb talent during the Victorian Age. She is well known for her only novel Wuthering Heights, a strange and powerful book, said by many to be the finest novel in the English language. Yet shortly after the desolate and shocking masterpiece comes out, it is attacked and blamed to be flooded with morbid psychology and paganism. “Anyone who did read it was repulsed by the brutality and violence of the characters”[1] and by the fact that it differed so much from the romantic novels of the day. They do not want realism as Emily depicts it, and they do not want wild, fierce antiheroes like Heathcliff-who is more like a villain-or willful, passionate heroines like Catherine Earnshaw. And that is the reason why she is kept away from the mainstream of the nineteenth century literature, and do not receive her fair fame until the coming of the twentieth century.
Both Emily and her works are mysterious and unique. There are various approaches applied by the critics to study Wuthering Heights from the aspects of the theme, the writing technique, love and revenge, and so on. However, there is hardly any attempt to research Wuthering Heights by combining its Gothic context with the feminist viewpoint. In view of this blank, the author is trying to reread this work as a Female Gothic novel mainly based on the following three facets: Firstly, in the
history of English literature the early Gothic novels originated in the latter half of the eighteenth century. It was opportune that the whole story happened, developed, and ended in the period from 1771 to 1802. At that time, the English Gothic novels were catching on like fire throughout the country. With the development of Gothic novels people gradually forgot the early Gothic novels. Yet from the Bront? sisters’ Jane Eyre and Wuthering Heights we can still find the Gothic features evidently. Secondly, since the Industrial Revolution in the second half of the eighteenth century, the class structure and people’s way of livin
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