呼啸山庄论文参考文献英语

呼啸山庄论文参考文献英语

英美文学英语毕业论文开题报告范例

一、 选题的背景与意义：

(一)课题研究来源

在考研过程中遇到类型相关的题目，本人很感兴趣，于是确定选择该题。

(二)课题研究的目的

本文通过对《呼啸山庄》中象征主义，来叙述《呼啸山庄》中文明与自然的冲突。

(三)课题研究的意义

艾米莉·勃朗特是英国维多利亚时期着名小说家和作家，是着名的勃朗特姐妹之一， 也是三姐妹中最具天赋的一个。她一生只写了一部小说《呼啸山庄》，但是这部伟大的作品却使她扬名于世。通过《呼啸山庄》，艾米莉·勃朗特以维多利亚时代为背景，通过写两个截然不同的家族，三代人之间的爱恨情仇，充分表现了维多利亚时期文明和自然之间的冲突以及怎样反映了艾米莉·勃朗特对自然的偏爱。小说中自然和文明冲突不断，艾米莉·勃朗特在小说中多次运用对比和象征来表现此冲突，例如，呼啸山庄和画眉山庄的冲突，凯瑟琳两种不同的爱情观的冲突。这种冲突正是基于艾米莉·勃朗特对自然异于常人的热爱和当时现代文明盛行的背景。英国文学史上着名的三姐妹从小生活在荒原上，自然在她们心中是神圣之物，这点很像新英格兰超验主义的观点。并且英国浪漫主义时期沃兹沃斯和柯律利治等着名诗人影响，自然，情感和哥特式元素在艾米莉·勃朗特的作品中都发挥着举足轻重的作用。而且，艾米莉·勃朗特生活在物欲横流的维多利亚时代，当时的人们以自然之情为基础的生活受到现代文明的激烈冲击。作为维多利亚时代批判现实主义的代表人物，艾米莉·勃朗特看到了现代文明带来的种种罪恶，内心更加执着于对自然的喜爱。 因此，要想真正读懂这部伟大的着作，就必须要了解小说中艾米莉·勃朗特对自然和文明的观点。只有了解艾米莉·勃朗特对自然和文明的态度，才能真正明白在这爱恨情仇下有着更深刻的寓意-人类生活应该顺应自然和本性。通过《呼啸山庄》中自然和文明的从图矛盾，由此来叙述《呼啸山庄》中回归自然的观点。

二、 国内外研究现状：

(一)国内研究现状

1.陈茂林从艾米莉·勃朗特所受的自然的影响来分析，他的《回归自然返璞归真--<呼啸山庄>的生态批评》认为《呼啸山庄》是一部自然颂歌。小说中自然有着独特的作用，它使人精神放松，包容所有人，它似乎是一个有血有肉的灵魂，分享着人的痛苦和换了。作品表达了作者对自然的深深热爱，同时也反映了自然和文明的冲突和矛盾。 叶利荣则在其《追寻自我的历程--<呼啸山庄>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.英国着名女作家弗吉尼亚·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。那种雄心壮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(Arnold Kettle)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。”

三、 课题研究内容及创新

(一)课题研究内容

艾米莉·勃朗特在《呼啸山庄》中多次运用象征主义，例如，呼啸山庄和西斯科拉里夫与儿时的凯瑟琳代表自然，他们崇尚自由，顺应自然和暴风雨似的生活原则而与呼啸山庄对立存在的画眉山庄以及林顿家庭则代表文明，他们彬彬有礼，服从一切社会原则。自然和文明表面风平浪静一直到西斯克里夫和凯瑟琳偶然闯进画眉山庄，于是冲突不断。凯瑟琳的自然之情开始受到文明的真正挑战，她开始背叛自己的内心情感，越来越像淑女，最终她舍弃对西斯克里夫的真爱嫁给埃德加·林顿，表面上文明占取了绝对优势。但是婚后的凯瑟琳被内心的自然之情折磨致死。而西斯克里夫也因为凯瑟琳的背叛自然性扭曲到极端，他变成了复仇的恶魔。文明的侵犯使人性扭曲，约束人的真实自然之情，造成了悲剧。尽管文明带来了进步，但是文明却扼杀了人性。最终，艾米莉·勃朗特让西斯克里夫在死前打开阻碍之窗-文明，让两人的游魂在荒野间游荡。种种表明艾米莉·勃朗特对两人爱情的同情以及要求人顺应人性，重返自然的思想。 本选题拟从三个部分加以阐述：

1. 自然和文明的定义

2. 自然和文明的较量： a.自然和文明的象征：呼啸山庄和画眉山庄;西斯克里夫和林顿及其哈的顿 b.自然和文明的斗争：凯瑟琳的爱情选择和西斯克里夫的疯狂报复导致人性的扭曲

3. 结论 人应该顺从自然，归顺自然。文明的侵犯使人性扭曲以及给人带来毁灭性的灾害。

(二)课题研究创新

本文主要通过对《呼啸山庄》中象征主义的运用，来解析自然和文明的冲突。艾米莉·勃朗特不仅塑造两个截然不同的庄园，分别代表自然和文明，还赋予住在两个山庄中类似他们山庄的性格，通过他们的对比以及他们交织时所产生的.矛盾分歧来说明自认和文明之间的对抗。

四、课题的研究方法：

本选题拟采用多种研究手法，然后再结合定性分析研究法、综合查找法、归纳法、翻译法、文献综述法、文献检索法等多种研究方法加以详述。主要包括： 1、定性分析法：根据主观的判断和分析能力，推断出事物的性质和发展趋势的分析方法。 2、归纳法：通过许多个别的事例或分论点，然后归纳出它们所共有的特性，得出一般性的结论。 3、文献法：即历史文献法，就是搜集和分析研究各种现存的有关文献资料，从中选取信息，以达到某种调查研究目的的方法。 4、文献综述法： 即针对某个研究主题，对与之相关的各种文献资料进行收集整理，对所负载的知识信息进行归纳鉴别，清理与分析，并对所研究的问题在一定时期内已取得的研究状况，取得的成果，存在的问题以及发展的趋势进行系统而全面的叙述，评论，建构与阐述。其中，确定一个研究主题，收集整理专题文献，阅读与挖掘文献内容，清理与记述专题研究状况，建构与阐明专题研究发展趋势。

五、 研究计划及预期成果

(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。

六、 参考文献：

[1] Bronte Emily. Wuthering Heights [M].Foreign Language Teaching and Research Press, Oxford University Press, 1999.

[2] Cecil, Victorian Novelists: Essays in Revaluation. . 1934

[3] 艾米莉·勃朗特(Emily Bronte)着，方平译。呼啸山庄[M]. 上海译文出版社， 2001

[4] 夏洛蒂·勃朗特(Charlotte Bronte)着，宋兆霖译。勃朗特两姐妹全集[M]. 河北教育出版社， 1996

[5] 陈茂林。 --回归自然 返璞归真《呼啸山庄》的生态批评 [J]. 外语教学。 2007(01)：69-73

[6] 栗华。 “野孩子”的爱与恨--对《呼啸山庄》意象和主题的一种阐释[J]. 北方论丛。 2001(6)：80-83

[7] 裴双。 --人类应有的前行姿态论《呼啸山庄》对野性与文明的取舍 [J]. 绍兴文理学院学报(哲学社会科学版)。 2007(04)：80-85

[8] 邵旭东。 何以写出《呼啸山庄》?--也谈艾米丽·勃朗特创作源泉问题[J]. 外国文学研究。1996(04)：77-81

《呼啸山庄》是艾米莉唯一的一部小说，发表于1847年12月。勃朗特姐妹生长在一个穷牧师家庭，她们的母亲在孩子们还很年幼时患肺癌去世，这使全家陷入了不幸。由于生活的凄苦，勃朗特姐妹不得不在慈善学校度过了一段童年。因为学校里的生活条件十分恶劣，夏洛蒂和艾米莉的两个姐姐先后患肺病死去。此后，夏洛蒂和艾米莉就回到家里，与弟弟勃兰威尔和妹妹安妮一起自学。她们的家居住在荒凉偏僻的山区，再加上这个家庭一向离群索居，因此她们游玩的场地只有一望无际的沼泽和西边的旷野。她们常在旷野里散步，感受着旷野的气氛，特别是艾米莉，她表面沉默寡言，内心却热情奔放，她将旷野的感受全写进了《呼啸山庄》，构成了《呼啸山庄》的独特氛围。 艾米莉·勃朗特是一位原创家。那个时代的爱情诗和歌特小说，她的确读过一些，但她的小说与此无关。或许在写小说时，哥哥布兰威尔（Branwell）正经历的恋爱也给过她一点真实的提示。但促成这本小说成型的最根本源头无从追溯。它是从艾米莉朴素、原始、火山一样奇妙的想象力中喷涌而出的。前无过人，后无来者。

1 曹召伦,李晓明;医学心理学的新发展[J];安徽农业大学学报(社会科学版);2002年04期 2 邹颉;;复仇者的同与异:希思克利夫和仇虎——《呼啸山庄》和《原野》中男主人公之比较[J];安徽农业大学学报(社会科学版);2006年06期 3 王喆;;《呼啸山庄》中窗意象的文化解读[J];安徽农业大学学报(社会科学版);2008年06期 4 张舒予;论伍尔夫与勃朗特的心灵与创作之关联[J];安徽师范大学学报(人文社会科学版);2003年03期 5 刘俊;;爱与恨的复合体——浅析希克厉这一人物形象[J];安徽文学(下半月);2006年09期 6 叶琴;刘爱花;;从阿德勒的人格理论谈心理健康与治疗[J];安徽文学(下半月);2006年09期 7 王华颖;;回归家庭——女性悲哀和幸福的双重所在——对《简爱》结局的新解读[J];安徽文学(下半月);2009年01期 8 肖晶;;心理学视角下的凯瑟琳·恩肖形象再议[J];安徽文学(下半月);2009年02期 9 唐正;;试分析艾米莉在《呼啸山庄》中的个性体现[J];安徽文学(下半月);2009年06期 10 唐正;;试分析《简·爱》中独特的女性主义声音[J];安徽文学(下半月);2009年07期

The Love and Hate in Wuthering HeightsShi Xueping1. IntroductionWuthering Heights, the great novel by Emily Bronte, though not inordinately long is an amalgamation of childhood fantasies, friendship, romance, and revenge. But this story is not a simple story of revenge, it has more profound implications. As Arnold Kettle, the English critic, said," Wuthering Heights is an expression in the imaginative terms of art of the stresses and tensions and conflicts, personal and spiritual, of nineteenth-century capitalist society.” The characters of Wuthering Heights embody the extreme love and extreme hate of the Introduction of the autherEmily Jane Bronte was the most solitary member of a unique, tightly knit, English provincial family. Born in 1818, she shared the parsonage of the town of Haworth, Yorkshire, with her older sister, Charlotte, her brother Branwell, her younger sister, Anne, and her father, the Reverend, Patrick Bronte. All five were poets and writers; all but Branwell would publish at least one was the Bronte children's one relief from the rigors of religion and the bleakness of life in an improverished region; they invented a series of imaginary kingdoms and constructed a whole library of journals stories, pomes, and plays around their inhabitants. Emily's special province was a kingdom she called Gondal, whose romantic heroes and exiles owed much to the poems of stays at several boarding schools were the sum of her experiences outside Haworth until 1842, when she entered a school in Brussels with her sister Charlotte. After a year of study and teaching there, they felt qualified to announce the opening of a school in their own home, but could not attract a single 1845 Charlotte Bronte came across a manuscript volumn of her sister's poems. She knew at once, she later wrote, that they were "not at all like the poetry women generally write... they had a peculiar music-wild, melancholy, and elevating." At her sister's urging, Emily's poems along with Anne's and Charlotte's, were published pseudonymously in 1846. An almost complete silence greeted this volume, but the three sisters, buoyed by the fact of publication, immediately began to write novels. Emily's effort was WUTHERING HEIGHTS; appearing in 1847, it was treated at first as a lesser work by Charlotte, whose JANE EYRE had already been published to great acclaim. Emily Bronte's name did not emerge from behind her pseudonym of Ellis Bell until the second edition of her novel appeared in the meantime, tragedy had struck the Bronte family. In Septermber of 1848 Branwell had succumbed to a life of dissipation. By December, after a brief illness, Emily too was dead; her sister Anne would die the next year. WUTHERING HEIGHTS, Emily's only novel, was just beginning to be understood as the wild and singular work of the Introduction of the storyThe beginning of the story was Mr. Lockwood’s visiting of Wuthering Heights. His amazement of Heathcliff's surliness and curiosity of beautiful Catherine's rudeness urged him to listen to a very strange and frightening love story from Nelly Dean. In the summer of 1771 Mr. Earnshaw brought home an orphan later called Heathcliff he had found in Liverpool. This waif was persecuted by young Hindley, but deeply loved by his daughter Catherine. So there was contradiction between Hindley and Heathcliff since childhood. After the death of their parents and his own marriage, Hindley treated Heathcliff as a servant, but this was relieved by the pleasant times with one of their expeditions they reached Thrushcross Grange where she stayed as the Linton’s guest for several weeks. When she returned to the Wuthering Heights, she was altered a lot: she had been deeply attracted by the dress, luxury of the Lintons, especially the handsome and gentle Edgar Linton. Although she still loved Heathcliff she could not compare Heathcliff’s snobbishness with the gentility of her new friends. Heathcliff was even more badly treated by Hindley after his wife’s death, which increased Heathcliff’s more anger. After overhearing part of Catherine’s conversation with Nelly that she would marry Edgar, Heathcliff could not bear the indignation and degradation and left Wuthering ’s conversation with Nelly was that if Heathcliff could remain, even though all else perished, she should still continue to be. She and Heathcliff belonged to the same kind. But Heathcliff didn’t hear it. So after Heathcliff’s leaving, Catherine was desperately ill and recovered by the care of Linton couple. Three years later Catherine was married to months later, Heathcliff, a different man, appeared. Catherine was so pleased at the news. But out of her surprise Heathcliff took on his two-fold revenge, first on Hindley who had treated him so badly in the past, secondly he threatened Catherine to marry Edgar’s sister Isabella fell in love with Heathcliff and Heathcliff married her out of love, but for the property of Thrush cross Grange. At the same time Catherine locked herself in the room because Edgar refused Heathcliff. The she became delirious from illness and had brain fever. Eventually she recovered but remained delicate. Edgar worried too much about Catherine’s health and Heathcliff and Catherine met again. There was a terrible scene between them. Both of them showed their anger and love to each other which worsened Catherine’s health. Then two hours after her daughter — Cathy’s birth Catherine died. When Heathcliff got the news he was desperately Catherine’s death Isabella returned to Thrushcross Grange after three months with Heathcliff. Hindley died and Heathcliff took Wuthering years later Isabella died, leaving her son Linton to Heathcliff, a weakling boy. Then Edgar Linton and young Linton died and so Heathcliff, Cathy and Hareton, an ill-assorted trio, were left at the Heights; while Thrush Grange was left to Lowood, to whom Nelly told the story ended with the death of Heathcliff and the marriage of Hareton and Cathy. This was two generations’ love story. The first generation’s love was transcendental and the second generation’s love was Introduction of social backgroundIn Viction's period, the rich are enormously proud of their success and property; the secular sense of hierarchy penetrates into the daily life of common people; money and property is nothing but everything. In literature, the smoky, threatening, miserable factory-towns were often represented in religious terms, and compared to hell. The poet William Blake, writing near the turn of the nineteenth century, speaks of England’s “dark Satanic Mills.” Therefore, under the control of this concept, the spirit of human is vehemently suppressed, and the humanity is cruelly twisted and deformed. At this time, Emily who has great rebelling spirit and strong desire of freedom, wrote WUTHERING HEIGHTS, disclosed the evilness of society. The work depicts how humanity was twisted, broken, band destroyed under the hand of violent devastation. But the great death is the steady faith of and yearns for happy life. In the world reined by Heathcliff, the bud of love, coming from Hareton and Cathy, broke through the hard soil of hatred. The betrayal of love brings the twist of humanity but pure love cures the wound, consoles the injured heart, and saves the degenerated soul. Emily shows her positive attitude to the pure love and their destructibility of Theme of the novelWuthering Heights, the creation of Emily Jane Bronte, depicts not a fantasy realm or the depths of hell. Rather, the novel focuses on two main characters' battle with the restrictions of Victorian Society. Social pressures and restrictive cultural confines exile Catherine Earnshaw and Heathcliff from the world and then from each other. Hate can't make love disappear, and love is stronger than . LoveWuthering Heights is a love novel. It has praised human’s moral excellence, has attracted the will of the people’s darkness, unfolding the human with the common custom life and pursueing the fine in the novel is manifested in many Earnshaw's love for HeathcliffForty years ago Wuthering Heights was filled with light, warmth and happiness. , a farmer, lives happily with his boisterous children Catherine and Hindley. However, being a kind and generous fellow, he can’t help rescuing a starving wretch off on the streets of Liverpool, a gypsy child named Heathcliff. In time Heathcliff becomes one member of the family, loved by all except Hindley (who nurtures the feeling of being usurped). Thus it can be concluded that Earnshaw's love for Heathcliff stems from Catherine' love for HeathcliffAs a child, her father was too ill to reprimand the free spirited child, ‘who was too mischievous and wayward for a favorite. (P46). Therefore, Catherine grew up among nature and lacked the sophistication of high society. Catherine removed herself from society and, "had ways with her such as I never saw a child take up before; she put all of us past our patience fifty times and oftener in a day; from the hour she came downstairs till the hour she went to bed, we had not a minute’s security that she wouldn’t be in mischief. Her spirits were always at high-water mark, her tongue always going--singing, laughing, and plaguing everyone who would not do the same. A wild, wicked slip she was--"(P51). Catherine further disregarded social standards and remained friends with Heathcliff despite his degradation by Hindley, her brother. ‘Miss Cathy and he [Heathcliff] were now very thick; ’(P46) and she found her sole enjoyment in his companionship. Catherine grew up beside Heathcliff, ‘They both promised to grow up as rude as savages; the young master [Hindley] being entirely negligent how they behaved, ’(P57). During her formative years Catherine’s conduct did not reflect that of a young Lady, ‘but it was one of their chief amusements to run away to the moors in the morning and remain there all day, (P57). Thus, Catherine’s behavior developed and rejected the ideals of an oppressive, over-bearing society, which in turn created isolation from the institutionalized world. Therefore, Catherine's love for Heathcliff is pure, and Heathcliff's love for Catherine is tinged with danger and Isabella's love for HeathcliffThe first time when Isabella sees Heathcliff, attracted by the charming man, she falls in love with him. No matter how Catherine persuades her, she makes her mind to get married with Heathcliff. Her love for Heathcliff is pure. While, Heathcliff just uses Catherine's sister-in-law Isabella Linton as a weapon, caring not for the poor Catherine's love for EdgarWhen Catherine and Heathcliff exist their private island unchecked until Catherine suffers an injury from the Linton's bulldog. Forced to remain at Thrushcross Grange----the Linton's home, which isolates Catherine from Heathcliff and her former world of reckless freedom. Living amongst the elegance of the Lintons transforms Catherine from a coarse youth into a delicate lady. Her transformation alienates Heathcliff, her soul mate and the love of her life. Catherine fits into society like a square peg trying to fit in a round hole. However, she feels pressure to file her rough edges and marry Edgar Linton. All in all, it is the social pressures and restrictive cultural confines that force Catherine to pretend to fall in love with Edgar. However, Edgar loves Catherine with gracious and transquility.

呼啸山庄英语毕业论文

Wuthering Heights as a Religious NovelWuthering Heights is not a religious novel in the sense that it supports a particular religion (Christianity), or a particular branch of Christianity (Protestantism), a particular Protestant denomination (Church of England). Rather, religion in this novel takes the form of the awareness of or conviction of the existence of a overwhelming sense of the presence of a larger reality moved Rudolph Otto to call Wuthering Heights a supreme example of "the daemonic" in literature. Otto was concerned with identifying the non-rational mystery behind all religion and all religious experiences; he called this basic element or mystery the numinous. The numinous grips or stirs the mind so powerfully that one of the responses it produces is numinous dread, which consists of awe or awe-fullness. Numinous dread implies three qualities of the numinous: its absolute unapproachability, its power, and. its urgency or energy. A misunderstanding of these qualities and of numinous dread by primitive people gives rise to daemonic dread, which Otto identifies as the first stage in religious development. At the same time that they feel dread, they are drawn by the fascinating power of the numinous. Otto explains, "The daemonic-divine object may appear to the mind an object of horror and dread, but at the same time it is no less something that allures with a potent charm, and the creature, who trembles before it, utterly cowed and cast down, has always at the same time the impulse to turn to it, nay even to make it somehow his own." Still, acknowledgment of the "daemonic" is a genuine religious experience, and from it arise the gods and demons of later religions. It has been suggested that Gothic fiction originated primarily as a quest for numinous dread. For Derek Traversi the motive force of Brontë's novel is "a thirst for religious experience," which is not Christian. It is this spirit which moves Catherine to exclaim, "surely you and everybody have a notion that there is, or should be, an existence of yours beyond you. What were the use of my creation if I were entirely contained here? (Ch. ix, p. 64). Out of Catherine's–and Brontë's–awareness of the finiteness of human nature comes the yearning for a higher reality, permanent, infinite, eternal; a higher reality which would enable the self to become whole and complete and would also replace the feeling of the emptiness of this world with feelings of the fullness of being (fullness of being is a phrase used by and about mystics to describe the aftermath of a direct experience of God). Brontë's religious inspiration turns a discussion of the best way to spend an idle summer's day into a dispute about the nature of heaven. Brontë's religious view encompasses both Cathy's and Linton's views of heaven and of life, for she sees a world of contending forces which are contained within her own nature. She seeks to unite them in this novel, though, Traversi admits, the emphasis on passion and death tends to overshadow the drive for unity. Even Heathcliff's approaching death, when he cries out "My soul's bliss kills my body, but does not satisfy itself" (Ch. xxxiv, p. 254), has a religious John Winnifrith also sees religious meaning in the novel: salvation is won by suffering, as an analysis of references to heaven and hell reveals. For Heathcliff, the loss of Catherine is literally hell; there is no metaphoric meaning in his claim "existence after losing her would be hell" (Ch. xiv, p. 117). In their last interview, Catherine and Heathcliff both suffer agonies at the prospect of separation, she to suffer "the same distress underground" and he to "writhe in the torments of hell" (XV, p. 124). Heathcliff is tortured by his obsession for the dead/absent Catherine. Suffering through an earthly hell leads Healthcliff finally to his heaven, which is union with Catherine as a spirit. The views of Nelly and Joseph about heaven and hell are conventional and do not represent Brontë's views, according to has endured hell. Indeed, most of this novel becomes a test of what she can endure. Helen Burns and Miss Temple teach Jane the British stiff upper lip and saintly patience. Then Jane, star pupil that she is, exemplifies the stoicism, while surviving indignity upon indignity. Jane’s soul hunkers down deep inside her body and waits for the shelling to stop. Only at Moor’s End, where she teaches and grows, does her soul come out. She stops enduring and begins living. Jane begins to become an “I” in her 19th year. In the sentence, “Reader, I married him.” Jane makes clear who is in charge of her life and her marriage; she is. That “I” stands resolutely as the subject of the sentence commanding the verb and attaching itself to the object, “him.” She is no longer passive, waiting and sitting for Rochester’s attention. Rather, she goes out and gets him. She has gone a long way from the beginning of the novel. At Gateshead, Jane tries to direct her life. Her little “I” scolds Mrs. Reed and chastises John. Like the later Jane, she knows her mind and speaks it. Unlike the later Jane, however, she does not have the wherewithal to back up her soul. She does not have the physical strength, the mental skills, nor the finances to stand on her own. As a result, she can be thrown into the Red Room to repent her sins and can be cast into Lowood. At Lowood, her pernicious saints, Helen Burns and Miss Temple, suppress the young ego under a blanket of will, religion, and self-sacrifice. Helen teaches Jane to blame herself for everything and blame others for nothing. Helen suffers depredation upon humiliation in the name of dirty fingernails and disorganized socks, all the while chanting “Thank you sir, may I have another.” Jane internalizes this, so that she blames herself for Rochester’s faults and error and even forgives the unforgivable, Mrs. Reed. For her part, Miss Temple teaches Jane to be subversive, but charming. Rebellion is seed cake and a smile. Rebellion is not keeping the students from the ten-mile forced march to church. Jane follows these dictates as well, manipulating Rochester for scraps and sops. With one withering blast, Rochester dynamites these two icons into sanctimonious rubble and sends Jane back out into the elements. Her soul, long buried or locked away in the attic, bursts forth and sends Jane for the escape pods. Out in the moors, sucking on dirt, Jane chooses to live on and rebuilds herself. First with the help of her cousins, then with the arrogantly humble Rivers St. John, Jane rediscovers who she is and discards who she isn’t. Ironically, her final self-definition comes from Rivers when he proposes. Helen Burns and Miss Temple would have knelt at the chance, but Jane lets the cup pass by. In her rejection, she sweeps the debris away and stands by herself. So, when she returns to Thornfield, she comes with her own money and her own identity. Reduced or not, Rochester can only stand with Jane, not tower over her. She comes with a skill, cash, and self-knowledge. And under her own power, she submits herself to Rochester. She allows herself to be called Janet and to refer to him as “sir.” She willingly and momentarily drops her head. But not for long. In the ultimate chapter, Jane directly addresses her “Reader.” The final chapter takes place a year or two post-fire, as the mature Jane looks back on her life. By the act of writing, Jane has defined herself and stepped away from the saint-in-training. By writing the truth, in all of its ugliness, she separates herself from the persona. The Jane in the first 38 chapters is not the final Jane that addresses the reader. That Jane has had a child, has married a man, and has made a spot in the world. The great triumph of that line comes not from the man that she has married, but from the rediscovery and reaffirmation of the voice that once told off Mrs. Reed. The girl lost her voice at Lowood has become the woman who can tell us the story. The novel itself is Jane’s final "I."

我恰好也是英语专业的，已完成答辩。 首先你要做5分钟左右的presentation，那部分内容包含1 : why you choose this topic ;2:what is the main content of your thesis: 3:What is the problem still in your paper (也即是你论文中你觉得哪些需要后来的学者继续研究或者也可从你论文不足的地方讲几句）。 其次你开始回答问题，通常是3或4个问题。这部分你准备时，1. 一定要将自己论文中的各个标题记熟。很多老师就针对其问问题。2.你文中所用的术语，其definition要能说出。 3.如果你在上部分presentation未说明你为什么选择这个论题时。老师也可能对此提出问题。4.也有可能询问你撰写的论文对语言学习有什么帮助。 嘿嘿 ，个人看法。你的格式最好要少些瑕疵，有些老师就专挑格式错误，他们认为这能反映你的态度是否端正。还有答辩老师未必有那么多时间看。而这个错误最为明显。 提前将abstract和conclusion背一背。答辩时态度谦逊些。自信些，老师都不大会为难我们。祝你好运。

'Thrushcross Grange is my own, sir,' he interrupted, wincing. 'I should not allow any one to inconvenience me, if I could hinder it - walk in!' The 'walk in' was uttered with closed teeth, and expressed the sentiment, 'Go to the Deuce:' even the gate over which he leant manifested no sympathising movement to the words; and I think that circumstance determined me to accept the invitation: I felt interested in a man who seemed more exaggeratedly reserved than myself. When he saw my horse's breast fairly pushing the barrier, he did put out his hand to unchain it, and then sullenly preceded me up the causeway, calling, as we entered the court, - 'Joseph, take Mr. Lockwood's horse; and bring up some wine.' 'Here we have the whole establishment of domestics, I suppose,' was the reflection suggested by this compound order. 'No wonder the grass grows up between the flags, and cattle are the only hedge- cutters.'

你应该跟你的论文指导老师讨论这个事情，她很清楚地。一般简单的就会问你这篇论文的中心是什么啊，为什么写这篇文章，你对这个论题的理解之类。。。全英文哦，记得把开题报告的内容记一下，还有你的摘要和简介，结论~ 貌似可以带底稿进去的，也不用那么紧张，多跟同学交流交流，顺其自然，good luck~

呼啸山庄英语毕业论文答辩

英语专业毕业论文任务书格式模板

一段忙碌又充实的大学生活要即将结束，大家都知道毕业前要通过最后的毕业论文，毕业论文是一种有准备的'检验大学学习成果的形式，来参考自己需要的毕业论文吧！下面是我帮大家整理的英语专业毕业论文任务书格式模板，希望能够帮助到大家。

课题名称

Catherine：the Lost Soul

学生姓名

学号

专业、年级

英语20xx届

课题任务：

艾米莉勃朗特是19世纪英国文坛中独具创作性的作家。她一生中唯一的作品《呼啸山庄》被人们认为是英国文学史上一部“最具奇特的小说”。本课题将从语言方式、行为举止、情感经历的角度，对凯瑟琳出身环境和生活环境的空间上的不同以及婚前婚后时间上的不同进行对比分析，揭示天性倔强善良，追求自由却又虚荣的性格形成的必然性。此外，本课题还研究了导致凯瑟琳性格的根本原因。

进度计划：

20xx年01 月10日 上交开题报告

20xx年02 月26日 开题

20xx年03 月31日 初稿（打印件或电子文档）

20xx年04 月08日 中期检查

20xx年04 月15日 二稿（打印件或电子文档）

20xx年04 月29日 终稿（打印件和电子文档）

20xx年05 月09日 论文评阅

20xx年05 月14日 论文答辩

提交文档：

选题编制报批表

任务书

开题报告

开题记录表

一稿

二稿

终稿

答辩记录表

评审表

成绩表

呼啸山庄由四场斗争组成， 你选取一个你喜欢的角色，然后从他的角度讨论一下他在每场斗争中的策略和他心中的仇恨就可以了，比如说你写Nelly Dean。 提纲可以是这样： 1.人物Nelly生平概述，Nelly和夏洛特·Bront以及简爱的联系，以及和都铎王朝的关系。以及作家三姐妹笔名的由来。 2.着重分析Nelly在第一场的表现3.着重分析Nelly在第二场的表现 4.着重分析Nelly在第三场的表现5.着重分析Nelly在第四场的表现6.赞美一下叙事风格和故事情节的旋律美。 如果你选择其它人物的话也可以参照以上格式顺序，比如Catherine和Isabella.

如果你们老师不是刻意为难的话，只会问一些基本的问题，比如说：为什么会选择这个作为论文题目；这个作者一共有多少作品，因为艾米莉·勃朗特是女作家而且家中姐妹也都有过好的作品，所以可能会问及她是否有姐妹，叫什么，有什么作品； 然后会关于《呼啸山庄》本身所反映的问题，所隐射的社会问题，你对此的感想；剩下的回到论文本身，对你论文的那个part或者是句子进行提问...差不多就这些。

可以写人与人之间的关系 比如 恨 和 爱恩萧先生，呼啸山庄主人 对 希克厉 一个养子的关爱 希克厉和卡瑟琳对彼此的爱 小卡瑟琳和哈里顿 的爱 还有就是 希克厉 对别人的恨 对享德莱 对哈里顿 等等我觉得 呼啸山庄 就像是情感大剧，结尾我很喜欢，不是很沉重 后一代没有重复上辈的悲剧而是幸福的在一起 很好啊 这就说明人与人之间有爱才会和谐 论文我还没到写的时候，不知道怎么弄写写比如恨永远比爱多一点 我们不能让仇恨蒙蔽了双眼啊善良是化解冰山的好办法 呵呵 希望帮到你

呼啸山庄论文参考文献是什么

恩，，，没问题的，，我来

摘要：《呼啸山庄》是艾米莉·勃朗特的唯一一部小说，其内容和形式都十分独特。在呼啸山庄中极多的意象，都有着丰富的意蕴。其中，“窗子”这一意象，具有强烈的、深刻的象征意义。本文从两代人与窗子这一象征的联系之中对这部作品进行分析，探讨丰富的象征内涵，尤其是对两代主人公命运轨迹和内心情感变化的象征意义。  关键词：艾米莉·勃朗特；呼啸山庄；象征；窗       艾米莉·勃朗特的《呼啸山庄》被戴维·塞西尔认为是“唯一一部没有被时间的尘土遮没了的光辉的杰出作品”，其内容和形式都十分独特。小说中的象征、隐喻等手法，将一部暴风骤雨式的小说主题烘托的无比浓烈，显示出独特的魅力。     韦勒克、沃伦在《文学理论》中曾经指出：“一个意象可以被转换成隐喻一次，但如果它作为呈现或再现不断重复，那么它就变成了一个象征，甚至是一个象征系统的一部分。而作为背景的意象很容易具有象征性，甚至会变成‘气氛’、‘情调’,进而会被看做是人物的转喻性或隐喻性表现，或一个人的意志的表现”。《呼啸山庄》里的各种象征，或许是主人公内心心境的外化，又或者暗示着情节的突变。在呼啸山庄中有着极多的意象，有着丰富的意蕴。其中，“窗子”这一意象，具有强烈的、深刻的象征意义，巧妙地暗示着主人公命运轨迹和内心情感的变化，对情节的发展起着重要的作用。 一、第一代人与窗 窗子作为一种禁锢的象征，它隔断着象征文明的画眉田庄和象征原始的呼啸山庄，窗子的打开，象征着这种禁锢的松开。在第一代人凯瑟琳和希思克利夫的爱情命运和人生轨迹中，伴随着非常多的“窗子”的象征。 希思克利夫和凯瑟琳隔膜的开始，便是二人跑去画眉田庄透过窗户偷窥，凯瑟琳被窗户里那个温暖文明的世界所吸引，而希思克利夫曾表示“就是再让我活一千次，我也不要拿我在这儿的地位和埃德加在画眉田庄的地位交换”。从此，一扇大玻璃窗将“野小子”和小姐分离开来。凯瑟琳渐渐变得举止文雅而外表整洁，男女主人公第一次感到了地位上的差异。这扇窗使希凯的爱情命运发生变化，而这时候的凯瑟琳走向了与自己天性和内心相背离的文明一方。当希思克利夫回来的前夕，凯瑟琳透过画眉田庄窗户看见呼啸山庄隐藏在银白色的雾气中。银白色的雾气象征着凯瑟琳内心的彷徨和迷茫，她在文明与原始之间不知何去何从。而这扇窗子，使凯瑟琳看不见呼啸山庄，象征她无法追求自我的原始本性。 凯瑟琳生病时，精神已经失常的她坚信：“只要让我一到那些小山上的石楠丛中，我马上就会恢复到我本来的样子。再把窗子打开，开大！把打开的窗子钩上！”病重的凯瑟琳竟然挣扎着下床，把窗子一把推开，然后大口大口的呼吸起从荒原刮来的凛冽的寒风。凯瑟琳此时认识到了自己的原始本性，她渴望重回呼啸山庄，挣脱文明的束缚，获得灵魂的自由。如艾米莉·勃朗特诗中所写，“我若祈祷/那唯一启动我双唇的祷文只有/请别扰乱我心/给我自由”。  为凯瑟琳守灵之夜，希思克利夫通过内莉的帮助，从一扇窗子里跳进画眉田庄，去见凯瑟琳的遗容，做最后的告别。在这里，窗子不仅是一个象征或隐喻，同时还有着作为窗子本身的现实功用。窗子的敞开终于消泯了希思克利夫和凯瑟琳肉体的距离，但实际上，此时二人之间却已经又竖起一道生与死的障碍。  凯瑟琳死去之后，成为孤魂野鬼，一直想进呼啸山庄而不得。小说开篇，洛克伍德夜宿山庄，暴风雪使得树枝不停敲打窗户，他打碎玻璃，想要去抓树枝，却握到了一只冰凉的小手，一个声音呜咽着说：“让我进去——让我进去吧！”二十年来，凯瑟琳一直在荒原上游荡，而她想要回到呼啸山庄，追求自由原始的渴望总是被阻隔。 而在小说的结尾，希思克利夫死亡之后，窗子的意象又再次出现，“我根本没有想到他会死去,可是他的脸上,咽喉上,全都淋满雨水,床单也在滴水,他却一动不动。窗子来回摇摆,刮着了他搁在窗台上的一只手,可是刮破的皮肤上不见渗出血来。”希思克利夫在死之前，打开窗子，消除了窗子对凯瑟琳的阻隔，至此，自由与禁锢的冲突，生与死的障碍，都消失不见，凯瑟琳和希思克利夫的灵魂终于重新在一起，都回归到了自由的荒原之上。   二、第二代人与窗  相比较第一代人，第二代人故事的叙述中并没有太多的象征，但是，我们可以发现，窗子这个意象依旧被延续着。 在小凯瑟琳被希思克利夫软禁起来之后，凯瑟琳迫切想见濒死的父亲一面，在她的苦苦哀求之下，良知未泯的小林敦将她偷偷放走。凯瑟琳溜进母亲小时候住的那个房间，悄悄从窗子钻出，回到了画眉田庄。这里的窗子同样有着象征意义与现实功用。小凯瑟琳更向往文明，而不是原始的野蛮。这是她与上一代人不同的地方。她被禁锢在呼啸山庄，凯瑟琳囿于画眉田庄，于她们，都是与内心的渴望追求相悖的。 而当小说的结尾，洛克伍德最后一次访问呼啸山庄之时，山庄里门户大开，畅通无阻，空气中传来花朵的芬芳，一派文明景象。这与希思克利夫在世时的门窗紧闭的阴郁场景完全不同。窗子打开，象征着古老的呼啸山庄接纳了文明的画眉田庄，敞开了通向文明之窗。文明与原始的冲突，也随着第二代人的对文明的自觉选择而消失殆尽。自此，窗内窗外终于和谐统一，无论是活着的或者死去了的灵魂都自由无拘。   参考文献：[1]艾米莉·勃朗特著.宋兆霖译.呼啸山庄[M].中国书籍出版社,2005.                      [2]杨静远.勃朗特姐妹研究[M].社会科学出版社,1983.                       [3]张静波.《呼啸山庄》中窗的意象[J].世界文化,2007.                      [4]张帆.窗内与窗外的世界——《呼啸山庄》中窗的意象解析[J].大家,2012.

The Love and Hate in Wuthering HeightsShi Xueping1. IntroductionWuthering Heights, the great novel by Emily Bronte, though not inordinately long is an amalgamation of childhood fantasies, friendship, romance, and revenge. But this story is not a simple story of revenge, it has more profound implications. As Arnold Kettle, the English critic, said," Wuthering Heights is an expression in the imaginative terms of art of the stresses and tensions and conflicts, personal and spiritual, of nineteenth-century capitalist society.” The characters of Wuthering Heights embody the extreme love and extreme hate of the Introduction of the autherEmily Jane Bronte was the most solitary member of a unique, tightly knit, English provincial family. Born in 1818, she shared the parsonage of the town of Haworth, Yorkshire, with her older sister, Charlotte, her brother Branwell, her younger sister, Anne, and her father, the Reverend, Patrick Bronte. All five were poets and writers; all but Branwell would publish at least one was the Bronte children's one relief from the rigors of religion and the bleakness of life in an improverished region; they invented a series of imaginary kingdoms and constructed a whole library of journals stories, pomes, and plays around their inhabitants. Emily's special province was a kingdom she called Gondal, whose romantic heroes and exiles owed much to the poems of stays at several boarding schools were the sum of her experiences outside Haworth until 1842, when she entered a school in Brussels with her sister Charlotte. After a year of study and teaching there, they felt qualified to announce the opening of a school in their own home, but could not attract a single 1845 Charlotte Bronte came across a manuscript volumn of her sister's poems. She knew at once, she later wrote, that they were "not at all like the poetry women generally write... they had a peculiar music-wild, melancholy, and elevating." At her sister's urging, Emily's poems along with Anne's and Charlotte's, were published pseudonymously in 1846. An almost complete silence greeted this volume, but the three sisters, buoyed by the fact of publication, immediately began to write novels. Emily's effort was WUTHERING HEIGHTS; appearing in 1847, it was treated at first as a lesser work by Charlotte, whose JANE EYRE had already been published to great acclaim. Emily Bronte's name did not emerge from behind her pseudonym of Ellis Bell until the second edition of her novel appeared in the meantime, tragedy had struck the Bronte family. In Septermber of 1848 Branwell had succumbed to a life of dissipation. By December, after a brief illness, Emily too was dead; her sister Anne would die the next year. WUTHERING HEIGHTS, Emily's only novel, was just beginning to be understood as the wild and singular work of the Introduction of the storyThe beginning of the story was Mr. Lockwood’s visiting of Wuthering Heights. His amazement of Heathcliff's surliness and curiosity of beautiful Catherine's rudeness urged him to listen to a very strange and frightening love story from Nelly Dean. In the summer of 1771 Mr. Earnshaw brought home an orphan later called Heathcliff he had found in Liverpool. This waif was persecuted by young Hindley, but deeply loved by his daughter Catherine. So there was contradiction between Hindley and Heathcliff since childhood. After the death of their parents and his own marriage, Hindley treated Heathcliff as a servant, but this was relieved by the pleasant times with one of their expeditions they reached Thrushcross Grange where she stayed as the Linton’s guest for several weeks. When she returned to the Wuthering Heights, she was altered a lot: she had been deeply attracted by the dress, luxury of the Lintons, especially the handsome and gentle Edgar Linton. Although she still loved Heathcliff she could not compare Heathcliff’s snobbishness with the gentility of her new friends. Heathcliff was even more badly treated by Hindley after his wife’s death, which increased Heathcliff’s more anger. After overhearing part of Catherine’s conversation with Nelly that she would marry Edgar, Heathcliff could not bear the indignation and degradation and left Wuthering ’s conversation with Nelly was that if Heathcliff could remain, even though all else perished, she should still continue to be. She and Heathcliff belonged to the same kind. But Heathcliff didn’t hear it. So after Heathcliff’s leaving, Catherine was desperately ill and recovered by the care of Linton couple. Three years later Catherine was married to months later, Heathcliff, a different man, appeared. Catherine was so pleased at the news. But out of her surprise Heathcliff took on his two-fold revenge, first on Hindley who had treated him so badly in the past, secondly he threatened Catherine to marry Edgar’s sister Isabella fell in love with Heathcliff and Heathcliff married her out of love, but for the property of Thrush cross Grange. At the same time Catherine locked herself in the room because Edgar refused Heathcliff. The she became delirious from illness and had brain fever. Eventually she recovered but remained delicate. Edgar worried too much about Catherine’s health and Heathcliff and Catherine met again. There was a terrible scene between them. Both of them showed their anger and love to each other which worsened Catherine’s health. Then two hours after her daughter — Cathy’s birth Catherine died. When Heathcliff got the news he was desperately Catherine’s death Isabella returned to Thrushcross Grange after three months with Heathcliff. Hindley died and Heathcliff took Wuthering years later Isabella died, leaving her son Linton to Heathcliff, a weakling boy. Then Edgar Linton and young Linton died and so Heathcliff, Cathy and Hareton, an ill-assorted trio, were left at the Heights; while Thrush Grange was left to Lowood, to whom Nelly told the story ended with the death of Heathcliff and the marriage of Hareton and Cathy. This was two generations’ love story. The first generation’s love was transcendental and the second generation’s love was Introduction of social backgroundIn Viction's period, the rich are enormously proud of their success and property; the secular sense of hierarchy penetrates into the daily life of common people; money and property is nothing but everything. In literature, the smoky, threatening, miserable factory-towns were often represented in religious terms, and compared to hell. The poet William Blake, writing near the turn of the nineteenth century, speaks of England’s “dark Satanic Mills.” Therefore, under the control of this concept, the spirit of human is vehemently suppressed, and the humanity is cruelly twisted and deformed. At this time, Emily who has great rebelling spirit and strong desire of freedom, wrote WUTHERING HEIGHTS, disclosed the evilness of society. The work depicts how humanity was twisted, broken, band destroyed under the hand of violent devastation. But the great death is the steady faith of and yearns for happy life. In the world reined by Heathcliff, the bud of love, coming from Hareton and Cathy, broke through the hard soil of hatred. The betrayal of love brings the twist of humanity but pure love cures the wound, consoles the injured heart, and saves the degenerated soul. Emily shows her positive attitude to the pure love and their destructibility of Theme of the novelWuthering Heights, the creation of Emily Jane Bronte, depicts not a fantasy realm or the depths of hell. Rather, the novel focuses on two main characters' battle with the restrictions of Victorian Society. Social pressures and restrictive cultural confines exile Catherine Earnshaw and Heathcliff from the world and then from each other. Hate can't make love disappear, and love is stronger than . LoveWuthering Heights is a love novel. It has praised human’s moral excellence, has attracted the will of the people’s darkness, unfolding the human with the common custom life and pursueing the fine in the novel is manifested in many Earnshaw's love for HeathcliffForty years ago Wuthering Heights was filled with light, warmth and happiness. , a farmer, lives happily with his boisterous children Catherine and Hindley. However, being a kind and generous fellow, he can’t help rescuing a starving wretch off on the streets of Liverpool, a gypsy child named Heathcliff. In time Heathcliff becomes one member of the family, loved by all except Hindley (who nurtures the feeling of being usurped). Thus it can be concluded that Earnshaw's love for Heathcliff stems from Catherine' love for HeathcliffAs a child, her father was too ill to reprimand the free spirited child, ‘who was too mischievous and wayward for a favorite. (P46). Therefore, Catherine grew up among nature and lacked the sophistication of high society. Catherine removed herself from society and, "had ways with her such as I never saw a child take up before; she put all of us past our patience fifty times and oftener in a day; from the hour she came downstairs till the hour she went to bed, we had not a minute’s security that she wouldn’t be in mischief. Her spirits were always at high-water mark, her tongue always going--singing, laughing, and plaguing everyone who would not do the same. A wild, wicked slip she was--"(P51). Catherine further disregarded social standards and remained friends with Heathcliff despite his degradation by Hindley, her brother. ‘Miss Cathy and he [Heathcliff] were now very thick; ’(P46) and she found her sole enjoyment in his companionship. Catherine grew up beside Heathcliff, ‘They both promised to grow up as rude as savages; the young master [Hindley] being entirely negligent how they behaved, ’(P57). During her formative years Catherine’s conduct did not reflect that of a young Lady, ‘but it was one of their chief amusements to run away to the moors in the morning and remain there all day, (P57). Thus, Catherine’s behavior developed and rejected the ideals of an oppressive, over-bearing society, which in turn created isolation from the institutionalized world. Therefore, Catherine's love for Heathcliff is pure, and Heathcliff's love for Catherine is tinged with danger and Isabella's love for HeathcliffThe first time when Isabella sees Heathcliff, attracted by the charming man, she falls in love with him. No matter how Catherine persuades her, she makes her mind to get married with Heathcliff. Her love for Heathcliff is pure. While, Heathcliff just uses Catherine's sister-in-law Isabella Linton as a weapon, caring not for the poor Catherine's love for EdgarWhen Catherine and Heathcliff exist their private island unchecked until Catherine suffers an injury from the Linton's bulldog. Forced to remain at Thrushcross Grange----the Linton's home, which isolates Catherine from Heathcliff and her former world of reckless freedom. Living amongst the elegance of the Lintons transforms Catherine from a coarse youth into a delicate lady. Her transformation alienates Heathcliff, her soul mate and the love of her life. Catherine fits into society like a square peg trying to fit in a round hole. However, she feels pressure to file her rough edges and marry Edgar Linton. All in all, it is the social pressures and restrictive cultural confines that force Catherine to pretend to fall in love with Edgar. However, Edgar loves Catherine with gracious and transquility.

有关呼啸山庄的英语毕业论文

可以写人与人之间的关系 比如 恨 和 爱恩萧先生，呼啸山庄主人 对 希克厉 一个养子的关爱 希克厉和卡瑟琳对彼此的爱 小卡瑟琳和哈里顿 的爱 还有就是 希克厉 对别人的恨 对享德莱 对哈里顿 等等我觉得 呼啸山庄 就像是情感大剧，结尾我很喜欢，不是很沉重 后一代没有重复上辈的悲剧而是幸福的在一起 很好啊 这就说明人与人之间有爱才会和谐 论文我还没到写的时候，不知道怎么弄写写比如恨永远比爱多一点 我们不能让仇恨蒙蔽了双眼啊善良是化解冰山的好办法 呵呵 希望帮到你

英美文学英语毕业论文开题报告范例

一、 选题的背景与意义：

(一)课题研究来源

在考研过程中遇到类型相关的题目，本人很感兴趣，于是确定选择该题。

(二)课题研究的目的

本文通过对《呼啸山庄》中象征主义，来叙述《呼啸山庄》中文明与自然的冲突。

(三)课题研究的意义

艾米莉·勃朗特是英国维多利亚时期着名小说家和作家，是着名的勃朗特姐妹之一， 也是三姐妹中最具天赋的一个。她一生只写了一部小说《呼啸山庄》，但是这部伟大的作品却使她扬名于世。通过《呼啸山庄》，艾米莉·勃朗特以维多利亚时代为背景，通过写两个截然不同的家族，三代人之间的爱恨情仇，充分表现了维多利亚时期文明和自然之间的冲突以及怎样反映了艾米莉·勃朗特对自然的偏爱。小说中自然和文明冲突不断，艾米莉·勃朗特在小说中多次运用对比和象征来表现此冲突，例如，呼啸山庄和画眉山庄的冲突，凯瑟琳两种不同的爱情观的冲突。这种冲突正是基于艾米莉·勃朗特对自然异于常人的热爱和当时现代文明盛行的背景。英国文学史上着名的三姐妹从小生活在荒原上，自然在她们心中是神圣之物，这点很像新英格兰超验主义的观点。并且英国浪漫主义时期沃兹沃斯和柯律利治等着名诗人影响，自然，情感和哥特式元素在艾米莉·勃朗特的作品中都发挥着举足轻重的作用。而且，艾米莉·勃朗特生活在物欲横流的维多利亚时代，当时的人们以自然之情为基础的生活受到现代文明的激烈冲击。作为维多利亚时代批判现实主义的代表人物，艾米莉·勃朗特看到了现代文明带来的种种罪恶，内心更加执着于对自然的喜爱。 因此，要想真正读懂这部伟大的着作，就必须要了解小说中艾米莉·勃朗特对自然和文明的观点。只有了解艾米莉·勃朗特对自然和文明的态度，才能真正明白在这爱恨情仇下有着更深刻的寓意-人类生活应该顺应自然和本性。通过《呼啸山庄》中自然和文明的从图矛盾，由此来叙述《呼啸山庄》中回归自然的观点。

二、 国内外研究现状：

(一)国内研究现状

1.陈茂林从艾米莉·勃朗特所受的自然的影响来分析，他的《回归自然返璞归真--<呼啸山庄>的生态批评》认为《呼啸山庄》是一部自然颂歌。小说中自然有着独特的作用，它使人精神放松，包容所有人，它似乎是一个有血有肉的灵魂，分享着人的痛苦和换了。作品表达了作者对自然的深深热爱，同时也反映了自然和文明的冲突和矛盾。 叶利荣则在其《追寻自我的历程--<呼啸山庄>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.英国着名女作家弗吉尼亚·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。那种雄心壮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(Arnold Kettle)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。”

三、 课题研究内容及创新

(一)课题研究内容

艾米莉·勃朗特在《呼啸山庄》中多次运用象征主义，例如，呼啸山庄和西斯科拉里夫与儿时的凯瑟琳代表自然，他们崇尚自由，顺应自然和暴风雨似的生活原则而与呼啸山庄对立存在的画眉山庄以及林顿家庭则代表文明，他们彬彬有礼，服从一切社会原则。自然和文明表面风平浪静一直到西斯克里夫和凯瑟琳偶然闯进画眉山庄，于是冲突不断。凯瑟琳的自然之情开始受到文明的真正挑战，她开始背叛自己的内心情感，越来越像淑女，最终她舍弃对西斯克里夫的真爱嫁给埃德加·林顿，表面上文明占取了绝对优势。但是婚后的凯瑟琳被内心的自然之情折磨致死。而西斯克里夫也因为凯瑟琳的背叛自然性扭曲到极端，他变成了复仇的恶魔。文明的侵犯使人性扭曲，约束人的真实自然之情，造成了悲剧。尽管文明带来了进步，但是文明却扼杀了人性。最终，艾米莉·勃朗特让西斯克里夫在死前打开阻碍之窗-文明，让两人的游魂在荒野间游荡。种种表明艾米莉·勃朗特对两人爱情的同情以及要求人顺应人性，重返自然的思想。 本选题拟从三个部分加以阐述：

1. 自然和文明的定义

2. 自然和文明的较量： a.自然和文明的象征：呼啸山庄和画眉山庄;西斯克里夫和林顿及其哈的顿 b.自然和文明的斗争：凯瑟琳的爱情选择和西斯克里夫的疯狂报复导致人性的扭曲

3. 结论 人应该顺从自然，归顺自然。文明的侵犯使人性扭曲以及给人带来毁灭性的灾害。

(二)课题研究创新

本文主要通过对《呼啸山庄》中象征主义的运用，来解析自然和文明的冲突。艾米莉·勃朗特不仅塑造两个截然不同的庄园，分别代表自然和文明，还赋予住在两个山庄中类似他们山庄的性格，通过他们的对比以及他们交织时所产生的.矛盾分歧来说明自认和文明之间的对抗。

四、课题的研究方法：

本选题拟采用多种研究手法，然后再结合定性分析研究法、综合查找法、归纳法、翻译法、文献综述法、文献检索法等多种研究方法加以详述。主要包括： 1、定性分析法：根据主观的判断和分析能力，推断出事物的性质和发展趋势的分析方法。 2、归纳法：通过许多个别的事例或分论点，然后归纳出它们所共有的特性，得出一般性的结论。 3、文献法：即历史文献法，就是搜集和分析研究各种现存的有关文献资料，从中选取信息，以达到某种调查研究目的的方法。 4、文献综述法： 即针对某个研究主题，对与之相关的各种文献资料进行收集整理，对所负载的知识信息进行归纳鉴别，清理与分析，并对所研究的问题在一定时期内已取得的研究状况，取得的成果，存在的问题以及发展的趋势进行系统而全面的叙述，评论，建构与阐述。其中，确定一个研究主题，收集整理专题文献，阅读与挖掘文献内容，清理与记述专题研究状况，建构与阐明专题研究发展趋势。

五、 研究计划及预期成果

(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。

六、 参考文献：

[1] Bronte Emily. Wuthering Heights [M].Foreign Language Teaching and Research Press, Oxford University Press, 1999.

[2] Cecil, Victorian Novelists: Essays in Revaluation. . 1934

[3] 艾米莉·勃朗特(Emily Bronte)着，方平译。呼啸山庄[M]. 上海译文出版社， 2001

[4] 夏洛蒂·勃朗特(Charlotte Bronte)着，宋兆霖译。勃朗特两姐妹全集[M]. 河北教育出版社， 1996

[5] 陈茂林。 --回归自然 返璞归真《呼啸山庄》的生态批评 [J]. 外语教学。 2007(01)：69-73

[6] 栗华。 “野孩子”的爱与恨--对《呼啸山庄》意象和主题的一种阐释[J]. 北方论丛。 2001(6)：80-83

[7] 裴双。 --人类应有的前行姿态论《呼啸山庄》对野性与文明的取舍 [J]. 绍兴文理学院学报(哲学社会科学版)。 2007(04)：80-85

[8] 邵旭东。 何以写出《呼啸山庄》?--也谈艾米丽·勃朗特创作源泉问题[J]. 外国文学研究。1996(04)：77-81

The Love and Hate in Wuthering HeightsShi Xueping1. IntroductionWuthering Heights, the great novel by Emily Bronte, though not inordinately long is an amalgamation of childhood fantasies, friendship, romance, and revenge. But this story is not a simple story of revenge, it has more profound implications. As Arnold Kettle, the English critic, said," Wuthering Heights is an expression in the imaginative terms of art of the stresses and tensions and conflicts, personal and spiritual, of nineteenth-century capitalist society.” The characters of Wuthering Heights embody the extreme love and extreme hate of the Introduction of the autherEmily Jane Bronte was the most solitary member of a unique, tightly knit, English provincial family. Born in 1818, she shared the parsonage of the town of Haworth, Yorkshire, with her older sister, Charlotte, her brother Branwell, her younger sister, Anne, and her father, the Reverend, Patrick Bronte. All five were poets and writers; all but Branwell would publish at least one was the Bronte children's one relief from the rigors of religion and the bleakness of life in an improverished region; they invented a series of imaginary kingdoms and constructed a whole library of journals stories, pomes, and plays around their inhabitants. Emily's special province was a kingdom she called Gondal, whose romantic heroes and exiles owed much to the poems of stays at several boarding schools were the sum of her experiences outside Haworth until 1842, when she entered a school in Brussels with her sister Charlotte. After a year of study and teaching there, they felt qualified to announce the opening of a school in their own home, but could not attract a single 1845 Charlotte Bronte came across a manuscript volumn of her sister's poems. She knew at once, she later wrote, that they were "not at all like the poetry women generally write... they had a peculiar music-wild, melancholy, and elevating." At her sister's urging, Emily's poems along with Anne's and Charlotte's, were published pseudonymously in 1846. An almost complete silence greeted this volume, but the three sisters, buoyed by the fact of publication, immediately began to write novels. Emily's effort was WUTHERING HEIGHTS; appearing in 1847, it was treated at first as a lesser work by Charlotte, whose JANE EYRE had already been published to great acclaim. Emily Bronte's name did not emerge from behind her pseudonym of Ellis Bell until the second edition of her novel appeared in the meantime, tragedy had struck the Bronte family. In Septermber of 1848 Branwell had succumbed to a life of dissipation. By December, after a brief illness, Emily too was dead; her sister Anne would die the next year. WUTHERING HEIGHTS, Emily's only novel, was just beginning to be understood as the wild and singular work of the Introduction of the storyThe beginning of the story was Mr. Lockwood’s visiting of Wuthering Heights. His amazement of Heathcliff's surliness and curiosity of beautiful Catherine's rudeness urged him to listen to a very strange and frightening love story from Nelly Dean. In the summer of 1771 Mr. Earnshaw brought home an orphan later called Heathcliff he had found in Liverpool. This waif was persecuted by young Hindley, but deeply loved by his daughter Catherine. So there was contradiction between Hindley and Heathcliff since childhood. After the death of their parents and his own marriage, Hindley treated Heathcliff as a servant, but this was relieved by the pleasant times with one of their expeditions they reached Thrushcross Grange where she stayed as the Linton’s guest for several weeks. When she returned to the Wuthering Heights, she was altered a lot: she had been deeply attracted by the dress, luxury of the Lintons, especially the handsome and gentle Edgar Linton. Although she still loved Heathcliff she could not compare Heathcliff’s snobbishness with the gentility of her new friends. Heathcliff was even more badly treated by Hindley after his wife’s death, which increased Heathcliff’s more anger. After overhearing part of Catherine’s conversation with Nelly that she would marry Edgar, Heathcliff could not bear the indignation and degradation and left Wuthering ’s conversation with Nelly was that if Heathcliff could remain, even though all else perished, she should still continue to be. She and Heathcliff belonged to the same kind. But Heathcliff didn’t hear it. So after Heathcliff’s leaving, Catherine was desperately ill and recovered by the care of Linton couple. Three years later Catherine was married to months later, Heathcliff, a different man, appeared. Catherine was so pleased at the news. But out of her surprise Heathcliff took on his two-fold revenge, first on Hindley who had treated him so badly in the past, secondly he threatened Catherine to marry Edgar’s sister Isabella fell in love with Heathcliff and Heathcliff married her out of love, but for the property of Thrush cross Grange. At the same time Catherine locked herself in the room because Edgar refused Heathcliff. The she became delirious from illness and had brain fever. Eventually she recovered but remained delicate. Edgar worried too much about Catherine’s health and Heathcliff and Catherine met again. There was a terrible scene between them. Both of them showed their anger and love to each other which worsened Catherine’s health. Then two hours after her daughter — Cathy’s birth Catherine died. When Heathcliff got the news he was desperately Catherine’s death Isabella returned to Thrushcross Grange after three months with Heathcliff. Hindley died and Heathcliff took Wuthering years later Isabella died, leaving her son Linton to Heathcliff, a weakling boy. Then Edgar Linton and young Linton died and so Heathcliff, Cathy and Hareton, an ill-assorted trio, were left at the Heights; while Thrush Grange was left to Lowood, to whom Nelly told the story ended with the death of Heathcliff and the marriage of Hareton and Cathy. This was two generations’ love story. The first generation’s love was transcendental and the second generation’s love was Introduction of social backgroundIn Viction's period, the rich are enormously proud of their success and property; the secular sense of hierarchy penetrates into the daily life of common people; money and property is nothing but everything. In literature, the smoky, threatening, miserable factory-towns were often represented in religious terms, and compared to hell. The poet William Blake, writing near the turn of the nineteenth century, speaks of England’s “dark Satanic Mills.” Therefore, under the control of this concept, the spirit of human is vehemently suppressed, and the humanity is cruelly twisted and deformed. At this time, Emily who has great rebelling spirit and strong desire of freedom, wrote WUTHERING HEIGHTS, disclosed the evilness of society. The work depicts how humanity was twisted, broken, band destroyed under the hand of violent devastation. But the great death is the steady faith of and yearns for happy life. In the world reined by Heathcliff, the bud of love, coming from Hareton and Cathy, broke through the hard soil of hatred. The betrayal of love brings the twist of humanity but pure love cures the wound, consoles the injured heart, and saves the degenerated soul. Emily shows her positive attitude to the pure love and their destructibility of Theme of the novelWuthering Heights, the creation of Emily Jane Bronte, depicts not a fantasy realm or the depths of hell. Rather, the novel focuses on two main characters' battle with the restrictions of Victorian Society. Social pressures and restrictive cultural confines exile Catherine Earnshaw and Heathcliff from the world and then from each other. Hate can't make love disappear, and love is stronger than . LoveWuthering Heights is a love novel. It has praised human’s moral excellence, has attracted the will of the people’s darkness, unfolding the human with the common custom life and pursueing the fine in the novel is manifested in many Earnshaw's love for HeathcliffForty years ago Wuthering Heights was filled with light, warmth and happiness. , a farmer, lives happily with his boisterous children Catherine and Hindley. However, being a kind and generous fellow, he can’t help rescuing a starving wretch off on the streets of Liverpool, a gypsy child named Heathcliff. In time Heathcliff becomes one member of the family, loved by all except Hindley (who nurtures the feeling of being usurped). Thus it can be concluded that Earnshaw's love for Heathcliff stems from Catherine' love for HeathcliffAs a child, her father was too ill to reprimand the free spirited child, ‘who was too mischievous and wayward for a favorite. (P46). Therefore, Catherine grew up among nature and lacked the sophistication of high society. Catherine removed herself from society and, "had ways with her such as I never saw a child take up before; she put all of us past our patience fifty times and oftener in a day; from the hour she came downstairs till the hour she went to bed, we had not a minute’s security that she wouldn’t be in mischief. Her spirits were always at high-water mark, her tongue always going--singing, laughing, and plaguing everyone who would not do the same. A wild, wicked slip she was--"(P51). Catherine further disregarded social standards and remained friends with Heathcliff despite his degradation by Hindley, her brother. ‘Miss Cathy and he [Heathcliff] were now very thick; ’(P46) and she found her sole enjoyment in his companionship. Catherine grew up beside Heathcliff, ‘They both promised to grow up as rude as savages; the young master [Hindley] being entirely negligent how they behaved, ’(P57). During her formative years Catherine’s conduct did not reflect that of a young Lady, ‘but it was one of their chief amusements to run away to the moors in the morning and remain there all day, (P57). Thus, Catherine’s behavior developed and rejected the ideals of an oppressive, over-bearing society, which in turn created isolation from the institutionalized world. Therefore, Catherine's love for Heathcliff is pure, and Heathcliff's love for Catherine is tinged with danger and Isabella's love for HeathcliffThe first time when Isabella sees Heathcliff, attracted by the charming man, she falls in love with him. No matter how Catherine persuades her, she makes her mind to get married with Heathcliff. Her love for Heathcliff is pure. While, Heathcliff just uses Catherine's sister-in-law Isabella Linton as a weapon, caring not for the poor Catherine's love for EdgarWhen Catherine and Heathcliff exist their private island unchecked until Catherine suffers an injury from the Linton's bulldog. Forced to remain at Thrushcross Grange----the Linton's home, which isolates Catherine from Heathcliff and her former world of reckless freedom. Living amongst the elegance of the Lintons transforms Catherine from a coarse youth into a delicate lady. Her transformation alienates Heathcliff, her soul mate and the love of her life. Catherine fits into society like a square peg trying to fit in a round hole. However, she feels pressure to file her rough edges and marry Edgar Linton. All in all, it is the social pressures and restrictive cultural confines that force Catherine to pretend to fall in love with Edgar. However, Edgar loves Catherine with gracious and transquility.

Wuthering Heights as a Religious NovelWuthering Heights is not a religious novel in the sense that it supports a particular religion (Christianity), or a particular branch of Christianity (Protestantism), a particular Protestant denomination (Church of England). Rather, religion in this novel takes the form of the awareness of or conviction of the existence of a overwhelming sense of the presence of a larger reality moved Rudolph Otto to call Wuthering Heights a supreme example of "the daemonic" in literature. Otto was concerned with identifying the non-rational mystery behind all religion and all religious experiences; he called this basic element or mystery the numinous. The numinous grips or stirs the mind so powerfully that one of the responses it produces is numinous dread, which consists of awe or awe-fullness. Numinous dread implies three qualities of the numinous: its absolute unapproachability, its power, and. its urgency or energy. A misunderstanding of these qualities and of numinous dread by primitive people gives rise to daemonic dread, which Otto identifies as the first stage in religious development. At the same time that they feel dread, they are drawn by the fascinating power of the numinous. Otto explains, "The daemonic-divine object may appear to the mind an object of horror and dread, but at the same time it is no less something that allures with a potent charm, and the creature, who trembles before it, utterly cowed and cast down, has always at the same time the impulse to turn to it, nay even to make it somehow his own." Still, acknowledgment of the "daemonic" is a genuine religious experience, and from it arise the gods and demons of later religions. It has been suggested that Gothic fiction originated primarily as a quest for numinous dread. For Derek Traversi the motive force of Brontë's novel is "a thirst for religious experience," which is not Christian. It is this spirit which moves Catherine to exclaim, "surely you and everybody have a notion that there is, or should be, an existence of yours beyond you. What were the use of my creation if I were entirely contained here? (Ch. ix, p. 64). Out of Catherine's–and Brontë's–awareness of the finiteness of human nature comes the yearning for a higher reality, permanent, infinite, eternal; a higher reality which would enable the self to become whole and complete and would also replace the feeling of the emptiness of this world with feelings of the fullness of being (fullness of being is a phrase used by and about mystics to describe the aftermath of a direct experience of God). Brontë's religious inspiration turns a discussion of the best way to spend an idle summer's day into a dispute about the nature of heaven. Brontë's religious view encompasses both Cathy's and Linton's views of heaven and of life, for she sees a world of contending forces which are contained within her own nature. She seeks to unite them in this novel, though, Traversi admits, the emphasis on passion and death tends to overshadow the drive for unity. Even Heathcliff's approaching death, when he cries out "My soul's bliss kills my body, but does not satisfy itself" (Ch. xxxiv, p. 254), has a religious John Winnifrith also sees religious meaning in the novel: salvation is won by suffering, as an analysis of references to heaven and hell reveals. For Heathcliff, the loss of Catherine is literally hell; there is no metaphoric meaning in his claim "existence after losing her would be hell" (Ch. xiv, p. 117). In their last interview, Catherine and Heathcliff both suffer agonies at the prospect of separation, she to suffer "the same distress underground" and he to "writhe in the torments of hell" (XV, p. 124). Heathcliff is tortured by his obsession for the dead/absent Catherine. Suffering through an earthly hell leads Healthcliff finally to his heaven, which is union with Catherine as a spirit. The views of Nelly and Joseph about heaven and hell are conventional and do not represent Brontë's views, according to has endured hell. Indeed, most of this novel becomes a test of what she can endure. Helen Burns and Miss Temple teach Jane the British stiff upper lip and saintly patience. Then Jane, star pupil that she is, exemplifies the stoicism, while surviving indignity upon indignity. Jane’s soul hunkers down deep inside her body and waits for the shelling to stop. Only at Moor’s End, where she teaches and grows, does her soul come out. She stops enduring and begins living. Jane begins to become an “I” in her 19th year. In the sentence, “Reader, I married him.” Jane makes clear who is in charge of her life and her marriage; she is. That “I” stands resolutely as the subject of the sentence commanding the verb and attaching itself to the object, “him.” She is no longer passive, waiting and sitting for Rochester’s attention. Rather, she goes out and gets him. She has gone a long way from the beginning of the novel. At Gateshead, Jane tries to direct her life. Her little “I” scolds Mrs. Reed and chastises John. Like the later Jane, she knows her mind and speaks it. Unlike the later Jane, however, she does not have the wherewithal to back up her soul. She does not have the physical strength, the mental skills, nor the finances to stand on her own. As a result, she can be thrown into the Red Room to repent her sins and can be cast into Lowood. At Lowood, her pernicious saints, Helen Burns and Miss Temple, suppress the young ego under a blanket of will, religion, and self-sacrifice. Helen teaches Jane to blame herself for everything and blame others for nothing. Helen suffers depredation upon humiliation in the name of dirty fingernails and disorganized socks, all the while chanting “Thank you sir, may I have another.” Jane internalizes this, so that she blames herself for Rochester’s faults and error and even forgives the unforgivable, Mrs. Reed. For her part, Miss Temple teaches Jane to be subversive, but charming. Rebellion is seed cake and a smile. Rebellion is not keeping the students from the ten-mile forced march to church. Jane follows these dictates as well, manipulating Rochester for scraps and sops. With one withering blast, Rochester dynamites these two icons into sanctimonious rubble and sends Jane back out into the elements. Her soul, long buried or locked away in the attic, bursts forth and sends Jane for the escape pods. Out in the moors, sucking on dirt, Jane chooses to live on and rebuilds herself. First with the help of her cousins, then with the arrogantly humble Rivers St. John, Jane rediscovers who she is and discards who she isn’t. Ironically, her final self-definition comes from Rivers when he proposes. Helen Burns and Miss Temple would have knelt at the chance, but Jane lets the cup pass by. In her rejection, she sweeps the debris away and stands by herself. So, when she returns to Thornfield, she comes with her own money and her own identity. Reduced or not, Rochester can only stand with Jane, not tower over her. She comes with a skill, cash, and self-knowledge. And under her own power, she submits herself to Rochester. She allows herself to be called Janet and to refer to him as “sir.” She willingly and momentarily drops her head. But not for long. In the ultimate chapter, Jane directly addresses her “Reader.” The final chapter takes place a year or two post-fire, as the mature Jane looks back on her life. By the act of writing, Jane has defined herself and stepped away from the saint-in-training. By writing the truth, in all of its ugliness, she separates herself from the persona. The Jane in the first 38 chapters is not the final Jane that addresses the reader. That Jane has had a child, has married a man, and has made a spot in the world. The great triumph of that line comes not from the man that she has married, but from the rediscovery and reaffirmation of the voice that once told off Mrs. Reed. The girl lost her voice at Lowood has become the woman who can tell us the story. The novel itself is Jane’s final "I."