外國文學畢業(yè)論文開題報告

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外國文學畢業(yè)論文開題報告

　　開題報告是課題確定之后，研究人員在正式開展研究之前制訂的整個課題研究的工作計劃，以下是小編搜集整理的外國文學畢業(yè)論文開題報告，供大家閱讀參考。

外國文學畢業(yè)論文開題報告

　　一. 選題國內(nèi)外研究的現(xiàn)狀

　　1. 國外主要研究現(xiàn)狀

　　國外對薩克雷的研究很多，內(nèi)容包羅萬象。Iran Milligan從敘事的角度探討了薩克雷的寫作技巧、風格。Samuel C. Chew & Richard D. Altick主要從薩克雷的生平來解讀其作品，為理解其中的社會背景和人物形象提供了比較客觀的依據(jù)。Harry Blamires在分析人物形象時認為Becky Sharp是一個極有天分、工于心計的輕佻女子(a gifted calculating minx)，靠智謀和色相謀得富有丈夫，并進入上層社會放蕩、作惡。與之相反，Amelia Sedley 則溫柔、誠摯、可愛(gentle, earnest and loving)。Carole Jones和Owen Knowles在Introduction說，作為一名精明的 “strategist”， Becky總是有先見之明，捷足先登，因為其他人都愚鈍、蠢笨。Edgar F Harden 的Thackeray The Writer: From Journalism to Vanity Fair 是一部全面評論薩克雷的書。最后一個章節(jié)對《名利場》進行了評述，Harden認為薩克雷對Becky的態(tài)度是肯定的，并引用作品中的話進行論證。

　　EBSCOhost數(shù)據(jù)庫里共有116篇關(guān)于薩克雷的評論文章，其中五分之四與名利場有關(guān)，大多探討了作品的語言風格、寫作技巧、歷史掌故、主題、人物刻畫等等，對Becky 的評價褒貶不一。其中John Hagan的文章長達28頁，從四個方面說明了薩克雷對 Becky寄予同情的緣由并予以反駁，分析了影響B(tài)ecky性格形成的因素和社會環(huán)境以及Becky反社會的成因。在薩克雷看來，Becky is predominantly sympathetic。 Dee, Phyllis Susan從女性主義的角度通過對 Amelia和 Maggie Tulliver的分析，探討了薩克雷的Vanity Fair 和艾略特The Mill on the Floss中的 female sexuality 和triangular Desir，并對之進行描述、解讀，文章說：“這些小說中的女人雖然有時是男性欲望的被動客體，但是她們抵制并修正自己作為客體的角色，擔任欲望主體的積極身份，并且設法掙脫男性主動欲望的束縛”。 Lisa Jadwin的視角也較新，分析了《名利場》中的“表里不一”(duplicity or double- discourse)，認為薩克雷對此是默許的，duplicity is both socially sanctioned and commonplace。 Lisa以為，既然男人的 “unchastities”被看成是微不足道、可以原諒的，那么，女人的“l(fā)ies”同樣可以被看成是無關(guān)緊要、可以原諒的，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. 國內(nèi)研究現(xiàn)狀

　　相對于國外，國內(nèi)對于薩克雷的.研究極為有限。文學史和文學評論書籍的作者普遍認為他是一個資產(chǎn)階級文人，甚至“勢利”、“躲躲閃閃”，但同時也肯定了薩克雷作為一個諷刺道德家在文學史上的地位，稱他以生動形象的文筆客觀真實地再現(xiàn)了他所處的那個時代的虛偽、貪婪、金錢至上的浮華世界。在人物分析中，對Becky的評價多有貶義，說她“墮落”、“內(nèi)心世界骯臟”、“假正經(jīng)”、“人格扭曲”、“冷漠”、“一無所有”、“追名逐利醉了心”，“在資本主義社會靠姿色和詭計混世的女騙子”(朱虹，吳富恒，劉文榮，陳慧君，楊豈深)，而Amelia則“溫柔”、“純潔”、“富有獻身精神”。

　　中國期刊網(wǎng)上共有6篇。這些文章分別從翻譯、語言學和敘事學的角度對《名利場》進行分析。另外，《〈名利場〉中隱含作者的不連貫現(xiàn)象》(《外語研究》2003年第3期)從主觀不連貫性入手，探討了隱含作者的不連貫現(xiàn)象，并用“第三力量”理論分析了該現(xiàn)象的成因�！断臐娕c愛米利亞兩個女性形象比較》(《濟寧師專學報》2002年第5期)從女性主義視角揭示了夏潑與愛米利亞這兩個女性形象所反映出來的性別文化內(nèi)涵,在作者看來，薩克雷眼中的Becky Sharp是“遭貶抑”的，而Amelia是“受贊美”的，但其解讀未免膚淺空洞，根本不足以服人。

　　二. 選題的意義、重點、難點及創(chuàng)新點

　　1. 意義

　　雖然國內(nèi)對薩克雷的研究由來已久，而且把他與狄更斯相提并論，對其作品的思想性和藝術(shù)性都予以高度評價。但評論中的意識形態(tài)色彩較濃，對文本的解讀比較主觀，大多認為Becky 是薩克雷所深惡痛絕的人物，Amelia才是作者心中的“angle”。偶有從女性主義角度進行分析的，也沒能深入挖掘作品的深刻內(nèi)涵，從而理解作者的真實意圖。事實上，Becky是一個深受作者喜愛欣賞的人物，Amelia也并非他心目中的angle，用薩克雷自己的話說：“I like Becky in that book.. Sometimes I think I have myself some of her tastes.”至于Amelia，作者借Becky之口說：“You are no more fit to live in the world than a baby in arms.”對于Becky的肯定和對Amelia的否定在作品中都是較頻繁出現(xiàn)的。如，Becky和 Rawdon Crawley 新婚燕爾，Rawdon興高采烈，作者有一段議論：“The best of woman ( Ihave heard my grandmother say) are hypocrites …Why has not seen a woman hide the dullness of a stupid husband, or coax the fury of a savage one? We accept this amiable slavishness and praise a woman for it; we call this pretty treachery truth. A good housewife is of necessity a humbug”.薩克雷在作品中為什么多次發(fā)表類似的議論?為什么對“大逆不道”的Becky如此看重?為什么他的著重點在女性人物身上?他那個年代的女人是一種什么樣的生存狀態(tài)?本人以為從女性主義文學批評的角度，通過人物分析來探索《名利場》中的女性意識是有研究價值的。

　　2. 重點

　　薩克雷在《名利場》中自始至終對弱勢女性群體予以極大的關(guān)注和同情。對于叛逆者Becky，他的態(tài)度就總體而言是肯定、欣賞的，并在作品中有大量的描寫和議論。本文的重點即是探索薩克雷在刻畫Becky這一人物時所表現(xiàn)出的潛在女性意識。

　　3. 難點

　　薩克雷是一個冷峻的人，其寫作手法也別具一格，人稱諷刺、幽默小說家，濟sentimentalist, moralist, satirist于一身，擅長用irony, sarcasm等手法，其描寫議論中既有直白，更有弦外之音，言外之意，時常帶有較濃的主觀色彩，寓意深刻，雖然有很多心理描寫，但往往點到為止。作品中復雜的，甚至表面看來自相矛盾的人物性格還要靠讀者自己去領(lǐng)會和把握。正如“幕啟前”中作者所說：“The little Becky Puppet has been pronounced to be uncommonly flexible in the joints, and lively on the wire; the Amelia Doll, though it has had a smaller circle of admirers, has yet been carved and dressed with the greatest care by the artist”。正如作者所言，Becky這一形象flexible, round, 因此，解讀《名利場》的文本意義，分析人物性格從而揭示出作者在作品中所表現(xiàn)出來的女性意識有一定的難度。另外，傳統(tǒng)的男性作家的作品對女性形象及作用多有忽視和歪曲，而薩克雷卻客觀地再現(xiàn)了他所處時代的浮華世界的真實畫面，并表明自己的態(tài)度，故用女權(quán)主義批評理論來解讀《名利場》更增加了論文的難度。

　　4. 創(chuàng)新點

　　國內(nèi)關(guān)于薩克雷作品的研究近作不是很多，對人物的評價、評論也少有新意。偶有從女性主義視角來分析的，卻過于膚淺，主觀，似乎沒有人關(guān)注過薩克雷眼中的Becky究竟是什么樣的。用女權(quán)主義批評理論通過分析人物形象來揭示薩克雷在作品中表現(xiàn)出的女性意識應該是一個較新的評論方式。西蒙波伏娃的女權(quán)主義文學理論與《名利場》中表現(xiàn)出來的女性意識不謀而合。波伏娃的《第二性》突出表明了一種女性的辨證唯物主義觀點，它說明婦女不是作為主體而是作為客體的生存狀況主要取決于他們生存的環(huán)境，尤其是她們所處的經(jīng)濟地位使然。女性能否解放自身，也主要取決于她們在經(jīng)濟上能否擺脫自己的依附地位。波伏娃說：“By making the woman into the Other, society deprives her of her humanity. As soon as woman are the Other, they cannot form identities that depend on their own conscious being as subjects to themselves”.在薩克雷看來，如果說Amelia的悲哀在于她愛上了Osborne并完全依靠他的恩施，而他卻既不能負擔自己的命運，更不能負擔Amelia的命運，Becky的悲哀則在于她想超脫愛情，擺脫父權(quán)統(tǒng)治，靠自己的力量改變處境，卻又不得不依靠男性的尷尬境地。Becky之所以擺脫不了依附人格和邊緣身份，這是由于沒有經(jīng)濟地位所決定的，而依靠自己的力量提高經(jīng)濟地位，對于女人來說，在薩克雷那個年代的英國社會是無法實現(xiàn)的。因此，Becky的悲哀不僅僅是她個人的，同時也是整個父權(quán)社會的悲哀。Becky的掙扎抗爭雖然遭到了社會的唾棄，卻引起了薩克雷極大的關(guān)注和深深的同情。

　　三. 論文的建構(gòu)(章節(jié)目錄)及簡要說明

　　Outline of the thesis

　　On Thackeray’s Feminist Consciousness in Vanity Fair

　　1.Introduction

　　1.1 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).

　　1.2 Introduction of Vanity Fair

　　1.2.1 Main idea of Vanity Fair

　　1.2.2 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.

　　1.2.3 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.

　　1.2.4 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

　　3.1 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.

　　3.2 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.

　　3.3 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.

　　3.4 Becky as mother

　　Her life experience forbids her to be a good mother, and this is also against the conventional virtues of women

　　3.5 Becky as vagabond

　　Becky not only gets away with murder, but also profits from it.

　　4. Conclusion

　　四. 主要征引的材料及參考文獻

　　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. V.4: 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, Vol.54 Issue 4, p581, 9p.

　　10. Jadwin, Lisa. The Seductiveness of Female Duplicity in Vanity Fair.[J]. Studies in English Literature; Fall 92 Vol.32,Issue 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,Vol.35 Issue 4, p391,26p.

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