红字不同译本研究本科论文
The Scarlet Letter, published in 1850, is an American novel written by Nathaniel Hawthorne and is generally considered to be his magnum opus. Set in 17th-century Puritan Boston, it tells the story of Hester Prynne, who gives birth after committing adultery, refuses to name the father, and struggles to create a new life of repentance and dignity. Throughout the novel, Hawthorne explores questions of grace, legalism, sin and guilt.[edit] Plot summaryThe Scarlet Letter. Painting by T. H. Matteson. This 1860 oil-on-canvas was made under Hawthorne's personal Scarlet Letter. Painting by T. H. Matteson. This 1860 oil-on-canvas was made under Hawthorne's personal supervision.[1]The novel begins in 17th-century Boston, Massachusetts, then a Puritan settlement. A young woman, Hester Prynne, is led from the town prison with her infant daughter in her arms and the scarlet letter “A” on her bosom. The scarlet letter "A" represents the act of adultery that she has committed and it is to be a symbol of her sin – a badge of shame – for all to see. A man in the crowd tells an elderly onlooker that Hester is being punished for adultery. Hester's husband, who is much older than she is, sent her ahead to America while he settled some affairs in Europe. However, her husband never arrived in Boston. The consensus is that he has been lost at sea. While waiting for her husband, Hester has apparently had an affair, as she has given birth to a child. She will not reveal her lover’s identity, however, and the scarlet letter, along with her public shaming, is her punishment for her sin and her secrecy. On this day Hester is led to the town scaffold and harangued by the town fathers, but she again refuses to identify her child’s father.[1]The elderly onlooker is Hester’s missing husband, who is now practicing medicine and calling himself Roger Chillingworth. He settles in Boston, intent on revenge. He reveals his true identity to no one but Hester, whom he has sworn to secrecy. Several years pass. Hester supports herself by working as a seamstress, and Pearl (her daughter) grows into a willful, impish child, who is more of a symbol than an actual character, said to be the scarlet letter come to life as both Hester's love and her punishment. Shunned by the community, they live in a small cottage on the outskirts of Boston. Community officials attempt to take Pearl away from Hester, but, with the help of Arthur Dimmesdale, an eloquent minister, the mother and daughter manage to stay together. Dimmesdale, however, appears to be wasting away and suffers from mysterious heart trouble, seemingly caused by psychological distress. Chillingworth attaches himself to the ailing minister and eventually moves in with him so that he can provide his patient with round-the-clock care. Chillingworth also suspects that there may be a connection between the minister’s torments and Hester’s secret, and he begins to test Dimmesdale to see what he can learn. One afternoon, while the minister sleeps, Chillingworth discovers something undescribed to the reader, supposedly an "A" burned into Dimmesdale's chest, which convinces him that his suspicions are correct.[1]Dimmesdale’s psychological anguish deepens, and he invents new tortures for himself. In the meantime, Hester’s charitable deeds and quiet humility have earned her a reprieve from the scorn of the community. One night, when Pearl is about seven years old, she and her mother are returning home from a visit to the deathbed of John Winthrop when they encounter Dimmesdale atop the town scaffold, trying to punish himself for his sins. Hester and Pearl join him, and the three link hands. Dimmesdale refuses Pearl’s request that he acknowledge her publicly the next day, and a meteor marks a dull red “A” in the night sky. It is interpreted by the townsfolk to mean Angel, as a prominent figure in the community had died that night, but Dimmesdale sees it as meaning Adultery. Hester can see that the minister’s condition is worsening, and she resolves to intervene. She goes to Chillingworth and asks him to stop adding to Dimmesdale’s self-torment. Chillingworth refuses. She suggests that she may reveal his identity to Dimmesdale.[1]Hester arranges an encounter with Dimmesdale in the forest because she is aware that Chillingworth knows that she plans to reveal his identity to Dimmesdale, and she wishes to protect him. While walking through the forest, the sun will not shine on Hester, though Pearl can bask in it. They then wait for Dimmesdale, and he arrives. The former lovers decide to flee to Europe, where they can live with Pearl as a family. They will take a ship sailing from Boston in four days. Both feel a sense of release, and Hester removes her scarlet letter and lets down her hair. The sun immediately breaks through the clouds and trees to illuminate her release and joy. Pearl, playing nearby, does not recognize her mother without the letter. She is unnerved and expels a shriek until her mother points out the letter on the ground. Hester beckons Pearl to come to her, but Pearl will not go to her mother until Hester buttons the letter back onto her dress. Pearl then goes to her mother. Dimmesdale gives Pearl a kiss on the forehead, which Pearl immediately tries to wash off in the brook, because he again refuses to make known publicly their relationship. However, he too clearly feels a release from the pretense of his former life, and the laws and sins he has lived day before the ship is to sail, the townspeople gather for a holiday and Dimmesdale preaches his most eloquent sermon ever. Meanwhile, Hester has learned that Chillingworth knows of their plan and has booked passage on the same ship. Dimmesdale, leaving the church after his sermon, sees Hester and Pearl standing before the town scaffold. He impulsively mounts the scaffold with his lover and his daughter, and confesses publicly, exposing the mark supposedly seared into the flesh of his chest. He falls dead just after Pearl kisses him.[1]Frustrated in his revenge, Chillingworth dies a year later. Hester and Pearl leave Boston, and no one knows what has happened to them. Many years later, Hester returns alone, still wearing the scarlet letter, to live in her old cottage and resume her charitable work. She receives occasional letters from Pearl, who was rumored to have married an European aristocrat and established a family of her own. Pearl also inherits all of Chillingworth's money even though he knows she is not his daughter. There is a sense of liberation in her and the townspeople, especially the women, who had finally begun to forgive Hester of her tragic indiscretion. When Hester dies, she is buried in "a new grave near an old and sunken one, in that burial ground beside which King's Chapel has since been built. It was near that old and sunken grave, yet with a space between, as if the dust of the two sleepers had no right to mingle. Yet one tombstone served for both." The tombstone was decorated with a letter "A", and it was used for Hester and Dimmesdale.[edit] Major themesNathaniel HawthorneNathaniel Hawthorne[edit] SinSin and knowledge are linked in the Judeo-Christian tradition. The Bible begins with the story of Adam and Eve, who were expelled from the Garden of Eden for eating from the Tree of Knowledge of Good and Evil. As a result of their knowledge, Adam and Eve are made aware of their disobedience, that which separates them from the divine and from other creatures. Once expelled from the Garden of Eden, they are forced to toil and to procreate – two “labors” that seem to define the human condition. The experience of Hester and Dimmesdale recalls the story of Adam and Eve because, in both cases, sin results in expulsion and suffering. But it also results in knowledge – specifically, in knowledge of what it means to be human. For Hester, the scarlet letter functions as “her passport into regions where other women dared not tread,” leading her to “speculate” about her society and herself more “boldly” than anyone else in New England.[2]As for Dimmesdale, the “cheating minister” of his sin gives him “sympathies so intimate with the sinful brotherhood of mankind, so that his heart vibrate[s] in unison with theirs.” His eloquent and powerful sermons derive from this sense of empathy.[2] The narrative of the Reverend Arthur Dimmesdale is quite in keeping with the oldest and most fully authorized principles in Christian thought. His "Fall" is a descent from apparent grace to his own damnation; he appears to begin in purity. He ends in corruption. The subtlety is that the minister is his own deceiver, convincing himself at every stage of his spiritual pilgrimage that he is saved.[3]The rosebush, its beauty a striking contrast to all that surrounds it – as later the beautifully embroidered scarlet A will be – is held out in part as an invitation to find “some sweet moral blossom” in the ensuing, tragic tale and in part as an image that “the deep heart of nature” (perhaps God) may look more kindly on the errant Hester and her child (the roses among the weeds) than do her Puritan neighbors. Throughout the work, the nature images contrast with the stark darkness of the Puritans and their systems.[4]Chillingworth’s misshapen body reflects (or symbolizes) the evil in his soul, which builds as the novel progresses, similar to the way Dimmesdale's illness reveals his inner turmoil. The outward man reflects the condition of the heart.[4]Although Pearl is a complex character, her primary function within the novel is as a symbol. Pearl herself is the embodiment of the scarlet letter, and Hester rightly clothes her in a beautiful dress of scarlet, embroidered with gold thread, just like the scarlet letter upon Hester's bosom. [2] Parallels can be drawn between Pearl and the character Beatrice in Rappaccini's Daughter. Both are studies in the same direction, though from different standpoints. Beatrice is nourished upon poisonous plants, until she herself becomes poisonous. Pearl, in the mysterious prenatal world, imbibes the poison of her parents' guilt.[edit] Past and presentThe clashing of past and present is explored in various ways. For example, the character of the old General, whose heroic qualities include a distinguished name, perseverance, integrity, compassion, and moral inner strength, is said to be “the soul and spirit of New England hardihood.” Now put out to pasture, he sometimes presides over the Custom House run by corrupt public servants, who skip work to sleep, allow or overlook smuggling, and are supervised by an inspector with “no power of thought, nor depth of feeling, no troublesome sensibilities,” who is honest enough but without a spiritual compass.[4]Hawthorne himself had ambivalent feelings about the role of his ancestors in his life. In his autobiographical sketch, Hawthorne described his ancestors as “dim and dusky,” “grave, bearded, sable-cloaked, and steel crowned,” “bitter persecutors” whose “better deeds” would be diminished by their bad ones. There can be little doubt of Hawthorne’s disdain for the stern morality and rigidity of the Puritans, and he imagined his predecessors’ disdainful view of him: unsuccessful in their eyes, worthless and disgraceful. “A writer of story books!” But even as he disagrees with his ancestor’s viewpoint, he also feels an instinctual connection to them and, more importantly, a “sense of place” in Salem. Their blood remains in his veins, but their intolerance and lack of humanity becomes the subject of his novel.[4][edit] Public responseThe Scarlet Letter was published in the spring of 1850 by Ticknor & Fields, beginning Hawthorne's most lucrative period.[5] When he delivered the final pages to James Thomas Fields in February 1850, Hawthorne said that "some portions of the book are powerfully written" but doubted it would be popular.[6] In fact, the book was an instant best-seller[7] though, over fourteen years, it brought its author only $1,500.[5] Its initial publication brought wide protest from natives of Salem, who did not approve of how Hawthorne had depicted them in his introduction "The Custom-House". A 2,500-copy second edition of The Scarlet Letter included a preface by Hawthorne dated March 30, 1850, that he had decided to reprint his introduction "without the change of a word... The only remarkable features of the sketch are its frank and genuine good-humor... As to enmity, or ill-feeling of any kind, personal or political, he utterly disclaims such motives".[8]The book's immediate and lasting success are due to the way it addresses spiritual and moral issues from a uniquely American standpoint. In 1850, adultery was an extremely risqué subject, but because Hawthorne had the support of the New England literary establishment, it passed easily into the realm of appropriate reading. It has been said that this work represents the height of Hawthorne's literary genius; dense with terse descriptions. It remains relevant for its philosophical and psychological depth, and continues to be read as a classic tale on a universal theme.[9]The Scarlet Letter was also one of the first mass-produced books in America. Into the mid-nineteenth century, bookbinders of home-grown literature typically hand-made their books and sold them in small quantities. The first mechanized printing of The Scarlet Letter, 2,500 volumes, sold out within ten days,[5] and was widely read and discussed to an extent not much experienced in the young country up until that time. Copies of the first edition are often sought by collectors as rare books, and may fetch up to around $6,000 its publication, critic Evert Augustus Duyckinck, a friend of Hawthorne, said he preferred the author's Washington Irving-like tales. Another friend, critic Edwin Percy Whipple, objected to the novel's "morbid intensity" with dense psychological details, writing that the book "is therefore apt to become, like Hawthorne, too painfully anatomical in his exhibition of them".[10] 20th century writer D. H. Lawrence said that there could be no more perfect work of the American imagination than The Scarlet Letter.[11][edit] Allusions* Anne Hutchinson, mentioned in Chapter 1, The Prison Door, was a religious dissenter (1591-1643). In the 1630s she was excommunicated by the Puritans and exiled from Boston and moved to Rhode Island.[4]* Martin Luther (1483-1546) was a leader of the Protestant Reformation in Germany.* Sir Thomas Overbury and Dr. Forman were the subjects of an adultery scandal in 1615 in England. Dr. Forman was charged with trying to poison his adulterous wife and her lover. Overbury was a friend of the lover and was perhaps poisoned.* John Winthrop (1588-1649), first governor of the Massachusetts Bay Colony.* Richard Dawkins' Out Campaign is represented with the Scarlet Letter A emblem.[edit] Film, TV and theatrical adaptationsMain article: Film Adaptations of the Scarlet Letter1995 film poster1995 film poster* 1917: A black-and-white silent film directed by Carl Harbaugh with Mary G. Martin as Hester Prynne* 1926: A silent movie directed by Victor Sjostrom and starring Lillian Gish and Lars Hanson.* 1934: film directed by Robert G. Vignola and starring Colleen Moore* 1973: Der Scharlachrote Buchstabe a film directed by Wim Wenders in German* 1979: PBS version starring Meg Foster and John Heard* 1994: A rock musical, "The Scarlet Letter" written by Mark Governor is produced in Los Angeles.* 1995: The Scarlet Letter, a film directed by Roland Joffé and starring Demi Moore as Hester and Gary Oldman as Arthur Dimmesdale. This version is "freely adapted" from Hawthorne according to the opening credits and takes liberties with the original story.* 1996: The film Primal Fear references The Scarlet Letter.* 1996: The Marilyn Manson promotional video for the song 'Man That You Fear' obliquely references the novel.* The Red Letter Plays (In The Blood produced in 1999, and F--ing A, produced in 2000) by playwright Suzan-Lori Parks, rewrote the story placing it in contemporary New York and Houston.* 2001: A musical stage adaptation which premiered at the Fringe Festival in Edinburgh, Scotland, by Stacey Mancine, Daniel Koloski, and Simon Gray.* 2004: The Scarlet Letter is a Korean noir-thriller featuring an adulteress' monologue, that mentions a plan to raise her unborn child as Pearl in America, in a desperate plea to exit her obsessive affair.* 2008: "shAme"[1], a rock opera by Mark Governor based on "The Scarlet Letter" premieres in Los Angeles. It is a major reworking of his 1994 stage musical that was also produced in Boston in 2000 and as a radio production in Berlin in 2005. The 2000 version was endorsed and presented by the Nathaniel Hawthorne Society.[edit] References to the novelLists of miscellaneous information should be avoided. Please relocate any relevant information into appropriate sections or articles. (September 2008)[edit] Literature* The 1993 novel The Holder of the World by Bharati Mukherjee re-wrote the story, placing it in present-day Boston, Colonial America, and seventeenth-century India during the spread of the British East India Company.* Deborah Noyes wrote a companion to this novel entitled Angel and Apostle with Pearl as the main character.* Postmodern writer Kathy Acker borrows from The Scarlet Letter in her novel Blood and Guts in High School. Janie, the main character, identifies with Hester Prynne and intertwines their stories in a vulgar manner.* In the novel Speak, Hairwoman, the English teacher, refers to The Scarlet Letter in her lesson. The novel's protagonist, Melinda Sordino, is a freshman in high school who is ostracized from her fellow schoolmates during the school year, much as Hester Prynne was ostracized by the Puritans in Boston.* Maryse Condé's novel I, Tituba, Black Witch of Salem, although set at the time of the Salem witch trials, also features the character Hester Prynne.* The title of Jhumpa Lahiri's 2008 novel Unaccustomed Earth comes from a passage from the introduction to The Scarlet Letter: "Human nature will not flourish, any more than a potato, if it be planted and replanted, for too long a series of generations, in the same worn-out soil. My children have had other birthplaces, and, so far as their fortunes may be within my control, shall strike their roots into unaccustomed earth."[edit] CultureRichard Dawkins's Out Campaign for atheism uses a red scarlet "A" on webpages and clothing as an emblem of atheist identification. [12]Tennessee has drivers convicted of DUI wear vests advertising this fact while on roadside litter pick-up duty. This is a badge of shame similar to the original scarlet letter.
我毕业论文里的两段，希望有用 The character of Hester Prynne changed significantly throughout the novel The Scarlet Letter by Nathaniel Hawthorne. Hester Prynne, through the eyes of the Puritans, is an extreme sinner. She has gone against the Puritan ways, committing adultery. For this harsh sin, she must wear a symbol of shame for the rest of her natural life. Hester "was tall, with a figure of perfect elegance... she had dark and abundant hair, so glossy that it threw off sunshine with a gleam" . Her face was "beautiful from regularity of feature and richness of complexion" . She is a beautiful, young woman who has sinned, but is forgiven. Hawthorne makes Hester a heroin and survives to a tranquil old age just by expiating her offence. She wore the scarlet letter A, somewhat willingly, for the purpose of confessing her sin, of meditating and of reforming herself. On this point, Mark Van Doren’s comments about Hester, in my interpretation, agree with Hawthorne’s original intention. Doren said that she is “heroic in size and strength…Although she came to be Puritanism’s victim, she never surrendered the integrity of her soul. Neither did she complain of her fate. Her fate was to waste her life, yet we do not feel in the end that her life was wasted. Rather it is known, she is immortal.”⒄ Each Character has a secret sin that he or she wishes to confess and each of those sins affects the character that committed that sin as well as other characters in the story.
《红字》讲述了17世纪清教殖民统治下，在波士顿发生的一个恋爱悲剧。女主人公海丝特·白兰嫁给了医生奇灵渥斯，奇灵渥斯遭遇海难，白兰以为他在海难中已经遭遇不幸。在孤独中白兰与牧师丁梅斯代尔相恋并生下女儿珠儿。白兰被当众惩罚，戴上标志“通奸”的红色A字示众。然而白兰坚贞不屈，拒不说出孩子的父亲。后来丈夫齐灵渥斯却平安地回到了新英格兰，并隐瞒了自己的身份。当他查出白兰的情人是丁梅斯代尔，齐灵渥斯便开始折磨这位愧疚不已的年轻牧师。最终，齐灵渥斯因偏狂报复而身败名裂；丁梅斯代尔不堪愧疚，身心俱毁，临终前在公开承认了通奸事实；只有海丝特勇敢地面对未来，准备带着女儿去欧洲开始新的生活。 霍桑是美国十九世纪杰出的浪漫主义小说家。他把严肃的道德和历史内容与卓越的艺术表现形式巧妙地结合在一起；把天赋的想象力与高超的语言技巧融为一体。他是一位真正富有个性与创造力的作家，因而一直享誉英美和世界文坛，至今盛名不衰。进入二十世纪，美国的文学日趋成熟，涌现了一大批有成就的作家，如海明威、菲兹杰拉德、福克纳等。这些作家无不从霍桑那里深受教益，无怪乎有人称霍桑是“作家中的作家”。
红楼梦研究本科论文
合理，因为作品写得如实、逼真，就能使读者在意象中与艺术形象目接神交，如对生人。不但《红楼梦》，古往今来，一切优秀的现实主义艺术创术创作
红楼梦学术论文篇二 《红楼梦》词曲浅析 摘要：词曲是中国古代文学的一种重要形式，《红楼梦》一书很好地运用了词曲这一形式。本文对柳絮词进行了分析和鉴赏。中华戏曲文化博大精深,《红楼梦》整体的思想本质受到传统的戏曲等文化的影响.对此书所出现的戏曲内容进行分析，进一步联系书中的情节。词曲的不朽带来了红楼的不朽。 关键词：红楼梦 词曲 【中图分类号】I206 【文献标识码】A 【文章编号】1002-2139(2009)-07-0031-02 词曲是中国古代文学中的重要形式，也是韵文学发展史上的一个重要阶段。红楼梦一书很好地运用了词曲这一形式，从而精彩地展现了一部拥有多种文化内涵的宏伟巨著。 一.红楼梦中词的分析 红楼梦中为数不多的几首词出现在第七十回中，单从文学角度来看这些词艺术价值并不算高，却是理解这部书的重要线索。下面是对这几首词的分析。 如梦令(史湘云) 岂是绣绒残吐?卷起半帘香雾。纤手自拈来，空使鹃啼燕妒。且住，且住!莫放春光别去! 词牌来源 《如梦令》原名《忆仙姿》，为后唐庄宗李存勖所作，因嫌其名不雅遂取尾句“如梦，如梦，和泪出门相送”中的“如梦”得名。 鉴赏 词中从占春一转而为惜春、留春，而且情绪上是那样地无可奈何。湘云似乎预感到了什么，她和她的的整个家族正如这柳絮般此时正处于最美好的时光。惹得鹃啼燕妒。这样美好的时光不会停留太久，随着一阵东风的吹过，一切都会灰飞烟灭。所以她不得不乞求：“且住，且住，莫使春光别去!” 南柯子(贾探春上阕，贾宝玉下阕) 空挂纤纤缕，徒垂络络丝。也难绾系也难羁，一任东西南北各分离。 落去君休惜，飞来我自知。莺愁蝶倦晚芳时，纵是明春再见――隔年期。 词牌来源 《南柯子》，唐教坊曲名。此词有单调双调。单调者，始自温庭筠词“恨春宵”句，名《春宵曲》。张泌词，本此添字，因词有“高卷水晶帘额”句，又名《水晶帘》。双调者有平韵仄韵两体。 鉴赏 探春后来远嫁不归的意思已尽于前半阕四句之中，所谓白白挂缕垂丝，用以告知亲人不必徒然对她牵挂，即《分骨肉》中说的“告爹娘，休把儿悬念……”作者安排探春写了半首，正因为该说的已经说完。宝玉的后半阕似乎在安慰她：“不要叹息它的落去，它还是会回来的。然而再见时却又要隔上一年的时间。”这又在暗示探春的远嫁，虽然要离去，但不必过分的悲伤 ，还有再见的时候，只不过要隔上不知多少时间了。 唐多令(林黛玉) 粉堕百花洲，香残燕子楼。一团团、逐对成球。漂泊亦如人命薄，空缱绻，说风流! 草木也知愁，韶华竟白头。叹今生、谁拾谁收!嫁与东风春不管，凭尔去，忍淹留! 词牌来源 一作《糖多令》;周密因刘过词有“二十年重过南楼”句，名《南楼令》;张翥词，有“花下钿箜篌”句，又名《箜篌曲》。 鉴赏 在黛玉这首缠绵凄恻的词中，不但寄寓着她对自己不幸的身世的深切哀愁，而且也有着那种预感到爱情理想行将破灭而发自内心的悲愤呼声。从小父母双亡，寄人篱下的生活让她感叹：“叹今生谁舍谁收。”全词语多双关，作者借柳絮隐说人事的用意十分明显。如“草木也知愁，韶华竟白头”，不但以柳絮之色白比人因悲愁而青春老死，完全切合黛玉，而且也能与她曾自称“草木之人”巧妙照应。 西江月(薛宝琴) 汉苑零星有限，隋堤点缀无穷。三春事业付东风，明月梅花一梦。 几处落红庭院，谁家香雪帘栊?江南江北一般同，偏是离人恨重! 词牌来源 词牌名的由来:“西江月”取自李白《苏台览古》“只今唯有西江月，曾照吴王宫里人”。西江是长江的别称，吴王西施的故事。唐教坊曲，用作词调。又名《白苹香》、《步虚词》、《晚香时候》、《玉炉三涧雪》、《江月令》。 鉴赏 如果把薛宝琴这首小令与她以前所作的《赋得红梅花》诗、她口述的《真真国女儿诗》对照起来看，就不难相信朱楼梦残、“离人恨重”正是她未来的命运。就连异乡思亲，月夜伤感，在词中也可以找到暗示。此外，从宝琴的个人萧索前景中也反映出当时的一些大家族已到了风飘残絮、落红遍地的没落境地了。“三春事业付东风，明月梅花一梦。”这是宝琴的惆怅，同时也是作者的叹息。 临江仙(薛宝钗) 白玉堂前春解舞，东风卷得均匀。蜂围蝶阵乱纷纷。几曾随逝水?岂必委芳尘? 万缕千丝终不改，任他随聚随分。韶华休笑本无根。好风凭借力，送我上青云。 词牌来源 唐教坊曲，用作词调。又名《谢新恩》、《鸳鸯梦》、《玉连环》等。敦煌曲两首，任二北《敦煌曲校录》定名《临江仙》，王重民《敦煌曲子词集》作《临江仙》。至今影响最大的《临江仙》，就是杨慎写的《三国演义》的主题词。 鉴赏 宝钗与黛玉这两个人物的思想、性格是对立的。作者让宝钗作欢愉之词，来翻黛玉之所作情调缠绵悲戚的案，这是作者借以刻画不同的思想性格特征的一种艺术手段。她对于人的聚散分离没有太多的感觉，因此显得很随意“任他随聚随分。”她秀外慧中：作诗唯一能和黛玉争高下的只有她，她冰肌雪肤，面若银盘，目如水杏，在贾府中博得一片欢欣。正因为如此，她对一切都充满了自信“好风凭借力，送我上青云。”在众女儿中她是唯一一个没有透露出伤感之情的人，一切就在她掌握之中，根本没有什么可以忧伤的。然而事情的发展并没有像她想象的那样。她的梦想在她的不可一世中终于被毁灭了。 二.关于戏曲 中华戏曲文化博大精深,《红楼梦》整体的思想本质受到传统的戏曲文化的影响很深. 在《红楼梦》的创作中,曹雪芹直接运用了大量的戏曲剧目和戏词,来安排故事情节的发展,塑造人物的性格形象,预示人物的命运等.通过高超的语言艺术的发挥，将戏曲自然地融到小说里，完成了全书的悲剧故事结局。这些戏剧大都融合在全书的情节当中，是我们理解书中内容的一个重要线索。 以下是在宴会中所出现的主要戏目： 十一回 庆寿辰宁府排家宴 “于是凤姐点了一出《还魂》、一出《弹词》，说，现在唱的这《双官诰》完了，再唱这两出。” 《双官诰》写婢女碧莲完节教子，使之一举成名的故事。碧莲因尽节抚幼，终获父子之双官诰。此剧影响较大，也称《三娘教子》。这是红楼梦中正式出现的第一场戏。这不由得让我们想到贾府的荣华是怎样来的，是否也跟戏曲中一样贾府的某个祖先在艰辛之中一举成名，之后给后代们带来了无尽的繁华。这出戏无疑暗示了读者贾府走向荣华的历程。 《还魂》写杜丽娘为情而死又因情而生，出自《牡丹亭》。由死到生这一过程不禁让我们联想到宝玉这块顽石本是无用之才，在神仙道士的点化下在红尘之中游览了一趟，完成了它的使命。这一过程的情节占据了红楼内容的大部分。 《弹词》弹词，也叫“南词”。是清代民间很流行的兼有说唱的曲艺形式,此词所说的弹词是写唐朝李龟年流落江南，弹唱天宝遗事，唱昔日的繁华，今日的衰落，此出出自《长生殿》。在红楼一梦结束之时也应有个像李龟年这样的人来凭吊贾府昔日的繁华，这个人会不会就是宝玉，想必已猜到几分。 十八回 元春归省庆元宵 元妃点了四出戏： 第一出《豪宴》，第二出《乞巧》，第三出《仙缘》，第四出《离魂》。 “豪宴”是戏曲《一捧雪》的一出。处于《一捧雪》第五回，戏中出现了这么一个非常重要的情节：莫怀古讲自己收留的一个裱糊匠汤勤举荐给了权臣严世蕃，并第二次交代了汤勤的出身。而《红楼梦》第一回介绍了贾雨村的来历。这两段文字都极为相像。脂批：《一捧雪》中伏贾家之败，而败的一个重要原因应是贾雨村这个看似不大重要的人物在暗中使奸。 《乞巧》，乃清初洪�所撰传奇(戏曲)《长生殿》中一折，讲述唐明皇和杨贵妃的故事，脂砚斋指出“《长生殿》中伏元妃死。”乞巧一出说的是，贵妃娘娘遭到冷落之后在七月七日这一天上天台祈愿，因为七月七日是天上牛郎和织女鹊桥相会的日子。在这里刘心武认为是元贵妃在皇帝进行“春�”(春季狩猎)时被缢死在樯木林中。 《仙缘》是《邯郸梦》中的一出。讲述天门少了一个扫花的人，吕洞宾无奈之下来到凡间寻找替身，找了半天，相中卢生。卢生贪恋红尘，吕洞宾三醉岳阳楼，无法可想，情急之下，只有送他一个枕头，在梦里泄露天机。然后有了美梦的故事，卢生终于大悟，决定跟吕洞宾来到天庭，出任扫花一职。在这里我们可以看到邯郸梦也是一梦，红楼梦也是一梦，卢生和宝玉都是梦中之人，不免又给人以联想。宝玉最终的结局也应和卢生一样看破红尘，拂袖而去。 《离魂》是《牡丹亭》里一出，写的是杜丽娘生病魂离，沉沦于对柳梦梅刻骨铭心的思念。黛玉之死也一定是由于对宝玉的执著追求而不得，最后魂归西天。 贵妃归省本是件欢庆的事情，可所点戏目并非喜庆之剧，却是些含义深远，另人沉思甚至哀愁的曲目，这一点曹雪芹作到了不出一言而含义深远。 十九回 宁国府新年演戏 演的是《丁郎寻父》、《黄伯英大摆阴魂阵》、《孙行者大闹天宫》、《姜太公斩将封神》。书中描写到“：倏尔神鬼乱出，忽又妖魔毕露，内中扬幡过会，号佛行香，锣鼓喧叫之声，远闻巷外，满街上都赞好热闹戏，别人家断不能有的。”独宝玉的感受是：“繁华热闹到如此不堪的田地”。这四出戏均为弋阳腔剧目，并且都是清初的宫廷戏。是以金鼓为主，音调高亢，具有通俗、粗犷、热闹的特点，但不免大锣大鼓，感到嘈杂，而且有的戏文荒诞之弊，无足文人观赏，但比较适应低俗口味。宁府所上演的剧目，说明了贾珍一族的欣赏趣味。这与荣国府里所上演的戏形成鲜明对比。 二十二回 宝钗生日 宝钗点了一折《西游记》。凤姐知贾母喜热闹，更喜谑笑科诨，便点了一出《刘二当衣》。《刘二当衣》是产生于乾隆年间的一出弋阳腔。内容是写穷汉刘二清早就上当铺扣门，但当铺大门尚未开启，他就站在门外，一边等待，一边唱着好几段弋阳腔来消磨时光。由这两出戏可看出宝钗知戏懂戏，更能揣测人的心思。至上酒席时，宝钗又点一出《鲁智深醉闹五台山》。当宝玉和宝钗谈戏到“宝玉听了，喜的拍膝画圈，称赏不已，又赞宝钗无书不知”时，黛玉的“安静看戏罢，还没唱《山门》，你倒《妆疯》了。”说的大家都笑啦，继续看戏。通过这些人物的看戏评戏，反映出来黛玉的醋意，是轻松有趣的一个场景。宝钗对宝玉念一段《寄生草》，黛玉讥讽宝玉《妆疯》。《寄生草》出自明末清初剧作家邱园的《虎囊弹》之《山门》一出。通过此戏表现了宝姑娘的渊博和与二玉间的微妙关系。戏中的一曲《寄生草》暗示了宝玉后来的结局――“赤条条来去无牵挂”。 四十四回 宝玉祭奠金钏 第四十三、四回王熙凤过生日，“尤氏操办得十分热闹”，演的却是悲剧《荆钗记・男祭》，贾母薛姨妈等都看的心酸落泪，也有叹的，也有骂的。《荆钗记》，无名氏作。内容写的是王十朋与钱玉莲夫妇婚姻遭遇变故的故事。其中《男祭》演的是王十朋在江边祭奠亡妻之场景……雪芹先生为凤姐过生日的喜庆之时安排这样一出戏，似乎有点儿“别有用心”。在江边祭奠这一场景让我们联想到金川的投井自杀，宝玉这一去应该是去祭奠金钏了。 以上是对红楼梦前八十回戏曲的总结。明毛晋编有一套传奇剧本集《六十种曲》，囊括了元明优秀戏曲60部，红楼梦中几乎大部分都提到了。有些戏剧大还融合在全书的情节当中，成为书中的重要组成部分。一部小说中上演到这么多剧目，可见作者对戏曲的研究颇深。 词曲这一中国传统的文学形式，一经曹雪芹的奇特构思和巧妙运用，使得全书倍添光彩，可谓是画龙点睛之笔。正因为词曲这一形式有着不朽的艺术价值，才使得红楼梦一书的价值传承至今。 参考文献：: [1] 《红楼梦》岳麓书院出版社 [2] 姚民治，略论红楼梦中的戏曲文化内涵，内蒙古民族大学学报，2003，29(4),31-33 [3] 《红楼梦大辞典》 [4] 《钦定词谱》 看了“红楼梦学术论文”的人还看： 1. 关于红楼梦的学术论文 2. 关于管理学的学术论文 3. 中文学术论文范文 4. 关于机械电子工程学术论文 5. 红楼梦人物形象分析范文2篇
曹雪芹呕心沥血，披阅十载，增删五次，创作了不朽的现实主义巨著《红楼梦》，书中不可思议的出现了两个“宝玉”：贾宝玉和甄宝玉。这两个宝玉不但相貌酷似，而且从小性情亦十分相同，“一味的诚实，从小儿只管和那些姐妹们在一处玩”，更为奇怪的是，都做过一个谒访“太虚幻境”的梦。其中贾宝玉系书中主人公，甄宝玉在与贾宝玉会见之前，书中皆是虚写，似是无关紧要，只是在《红楼梦》最后结局才出场和贾宝玉见过一面，且话不投机，两人貌似神离，一个出家当了和尚，一个考中举人走向仕途生涯。 对这两个人物的塑造，曹雪芹是出自什么本意呢？我认为：贾宝玉即“假宝玉”，甄宝玉即“真宝玉”，“真假宝玉”凸显曹雪芹思想深处的激烈斗争，是他对濒于崩溃的世家显族前途的探索，是摆在处于十字路口的一条左右为难的桥梁，是他如何应对败落家族前途的两个影子。 众所周知，曹雪芹生活在一个“百年望族”的大官僚地主家庭，从曾祖父起三代世袭江宁织造达60年之久。祖父曹寅当过康熙的“侍读”，曾祖母又是康熙的乳母，曹家与皇室的关系非常密切。少年时代，他“锦衣纨绔”、“饫甘餍肥”，那段豪门公子的奢侈生活与《红楼梦》里贾宝玉的生活如出一辙。贾宝玉和甄宝玉的少年时期即是曹雪芹的美好童年。曹雪芹写《红楼梦》，一般善用谐音寓意，如甄士隐即“真事隐”，甄英莲即“真应怜”，霍启即“祸起”，元、迎、探、惜即为“原应叹息”，照此推理，若宝玉即曹雪芹本人的化身的话，贾宝玉即“假宝玉”，甄宝玉即“真宝玉”。而“真宝玉”才是曹雪芹骨子里的真思想，是他梦中所盼，虽然他总觉得这是他不可能实现的梦想。 和荣宁两府的遭遇一样，曹雪芹家败落于雍正五年（1727），他父亲曹頫因事受到株连，被革职抄家。从此，家族的权势和财产都丧失殆尽。他的家庭居处屡迁，生活极不安定，有时甚至不得不投亲靠友，以维持生活，还常常受到歧视和凌辱。经历了由锦衣玉食到“举家食粥”的贫民百姓的沧桑之变，使他对封建统治阶级的没落命运有了切身感受，对社会上的黑暗和罪恶有了全面而深刻的认识。他在《红楼梦》一书中，以自家生活素材为基础，以贾宝玉和林黛玉的爱情悲剧及贾宝玉与薛宝钗的婚姻悲剧为经线，纵向剖析了造成悲剧的深刻社会根源；同时，以贾府的兴衰为纬线，通过贾、史、王、薛四大家族间卫道者与叛逆者之间的矛盾冲突，横向展示了由众多人物构成的广阔的社会生活环境。由此揭露了封建社会的种种罪恶及其不可克服的内在矛盾。广泛深刻地反映了当时中国的社会现实，有力抨击了封建家庭的荒淫、腐败，展示出封建制度濒于崩溃和必然灭亡的历史趋势。 但曹雪芹又是生活在封建社会的一个没落地主官僚，并没有掌握强大的无产阶级思想武器，他虽明知封建社会必会崩溃败落，讨厌封建制度的腐朽，但如何拯救社会他是没有办法的。曹雪芹是一个伟大的文学家和一个不成熟的思想家，生活在那个时代那个家庭没有也不可能掌握先进的思想武器与封建制度作斗争，想像让他参加革命党走上什么“辛亥革命”的道路是不可能的。面对封建社会的日薄西山，他只有两条路可走，一是逃避，即“假宝玉”出家走的路，这条路在曹雪芹内心里是不愿走的，象阿Q所想的一样，“我的祖先比你们风光多了”，曹雪芹也是很留恋童年时期锦衣玉食的生活的，只要有一点可能，他就会重入仕途，再振家风，这就是“真宝玉”走的路，改掉过去的纨绔子弟习气，走寒门学子科举入仕之路。红楼梦中贾赦大罪被赦，贾珍贾政重获宁国公荣国公世袭，“真假宝玉”都考中举人，乃至将来的“兰桂齐芳”，何尝不是曹雪芹心中所想呢？ 所以甄宝玉这个形像不是可有可无的，而是曹雪芹刻意塑造的，虽然他只在红楼梦大结局时出场一次，但他反映的“真假宝玉”的最后对话恰是曹雪芹内心深处的思想交锋，是曹雪芹最后一次寻求对自我的审视：是改悟前情，留意于孔孟之间，委身于经济之道呢？还是为情出家盾入佛门，为情死，为情化灰、化烟呢？曹雪芹摆出了两条道路，让世间凡夫自己去做意味深长的猜想了。人生的追求，还真的是“假作真时真亦假，无为有处有还无”，象范伟在广告中说的“一般人我不告诉他”。 贾家的兴盛是归功于贾家老祖宗的武功，可吃老本能吃几代呢？贾家目前的承袭爵位的是贾珍和贾赦，你看书里面对他俩有什么好的描写，无非吃喝玩乐，败家而已。而且，他们还交通外官，聚众赌博，放高利贷（贾赦之媳王熙凤），所以，闹的也太不堪了，皇帝不治他们的罪治谁的？关于这一点，高鹗是看的很准的，写的也不错，基本能符合曹雪芹的原意。 其次，目前撑贾府门面的是贾政之长女贾元春，被皇帝宠幸，封凤藻宫尚书，也就是贵妃娘娘，之后，红楼梦里才写到，贾政才能够得到重用，不再只任闲差，先后任工部侍郎、外放学政等实差，如果按红楼梦第5回所写的，贾元春娘娘早死的话，贾家的繁荣又能持续多久呢？中国人不是早有名言嘛，人一走茶就凉啊。没碰到事情便罢，碰到事情，皇帝老儿就把脸一变，翻脸不认人了。 第三，你看红楼梦中贾家有没有可持续发展的人力资源呢？以贾珍为首的宁国府就别提了，不仅自己闹的门风不好听，连薛蟠等亲戚都给带累的比以前更坏了；至于荣国府，贾琏也不过是贾珍一路人物，贾宝玉又一味的风花雪月，厌恶读书上进，贾环是庶出，不被人瞧的起，而且为人猥琐不堪，贾兰又年纪太小，一时半刻是接不上班的，所以，贾家后继乏人，如何能兴旺的了呢。 所以，贾家的衰败是必然的，更不用提红楼梦的成书年代是在清乾隆年间，正是封建制度由兴盛转变为衰败的转折点，有先见之明的曹雪芹老先生正是看到了封建大家族比如贾家的由兴转衰的必由之路。至于由什么事件作导火索引发了贾家的巨变就显得不那么重要了。
人们读《红楼梦》，常常有这样的体验：仿佛不是在读虚构的小说，而是在读一些曾经活过或还在活着的人们的心灵与事迹的实录。何其芳同志在《论<红楼梦>》中，有一段话，真切地描述了《红楼梦》的读者与书中人物发生关系的这种情形。我们少年时候，我们还没有读这部巨著的时候，就很可能听到某些年纪较大的人谈论它。他们常常谈论得那样热烈。我们不能不吃惊了，他们对它里面的人物和情节是那样熟悉，而且有时爆发了激烈的争辩，就如同在谈论他们的邻居或亲戚，一如同为了什么和他们自己有密切关系的事情而争辩一样。这种情形颇为令人寻味。包括《红楼梦》在内的一切文学艺术作品，本来是观念形态的东西，是社会生活在作家头脑中的反映，是作家的创造物。然而有时候，文学艺术的创造物竟然与客观现实生活取得某种同一性或统一性，读者把文艺作品中的人物看作生活中实有的、具有客观实在的认识价值的对象。这是怎么回事呢?这是怎样产生的呢?一般说，这是艺术描写的真实性在起作用。因为作品写得如实、逼真，就能使读者在意象中与艺术形象目接神交，如对生人。不但《红楼梦》，古往今来，一切优秀的现实主义艺术创造，都是凭借着艺术形象的真实性而打动读者，达到艺术形象、实际生活、读者感受这三者之间的互相联结、互相渗透、互相贯通与互相转化的。但我们还应再深入一步探究一下，现实主义形象的真实性，在艺术表现上最主要的标志是什么?我以为，那就是形象的客观性。只有那些不带作者的主观随意性而具有客观的生活具体性的形象，才能被称为现实主义的真实的形象。现实主义艺术创造区别于非现实主义(例如浪漫主义)艺术创造的主要特点，就在形象的客观性上。现实主义艺术形象的真实性，既主要表现为形象的客观性，又依存于形象的客观性。对于现实主义艺术创造来说，失去了形象的客观性，也就失去了形象的真实性。如果说形象的真实性是现实主义艺术的生命的话，那么形象的客观性就是现实主义真实性的生命。因此，形象的客观性应该成为我们深入研究现实主义理论和创作的一个课题。《红楼梦》是我们研究这个课题的一份至为博大渊深的教材。《红楼梦》在人物形象的物质可感性、客观可信性上所达到的卓越成就，是文学史上罕见的，是举世公认的。正是通过形象的客观性这个媒介，万万千千的读者情不自禁地同《红楼梦》中的人物发生这样那样的精神交感以致言行交通的关系，在阅读、研究和日常生活中自觉不自觉地进入《红楼梦》的艺术世界，在读者的感受中实现了观念形态的这部作品与物质形态的社会生活的统一
老子不同版本的研究论文
注音全译老子
《注音全译老子》这个书不错，推荐给大家，
有王弼的《老子道德经注》内容，
有苏辙的《老子解》，
还有拼音、原文、译文、注释。
地下出土的《老子》都什么样？——从北京大学藏西汉简说起 北京大学在2009年接受了一批捐赠品，这是一批从海外回归的西汉竹简。这批简其中完整的大约有1600余枚，加上残简总计有3000多枚。整批简全为竹质，书体全为隶书，墨迹清晰，书写精美，内容丰富。 在出土的简牍中，竹简上的文字通常要比木简水平高，而且典籍类文献通常是抄在竹简上，当然这与编连有一定关系，因为竹简薄，编连后卷册不会太粗太沉重，木简不容易做到又薄又轻。 北大入藏的汉简内容十分丰富，可以说涵盖了《汉书·艺文志》所载"六艺"各个门类。这对研究先秦秦汉史，以及古代思想、科学、医学、书法等领域，都具有非常重要的学术价值。目前北大汉简已经全部公布完毕，共发表了五卷，最先发表的是第二卷《老子》。 到目前为止，出土的《老子》已经有四种，按照时间顺序分别为： 第一种和第二种是1973年出土于湖南省长沙市马王堆汉墓的帛书甲乙本《老子》。出土时同一个墓中有两种写本，根据字体、用字避讳的不同情况，分别称之为甲本和乙本。其中甲本不避汉高祖刘邦讳，乙本避汉高祖刘邦讳，但不避汉惠帝刘盈讳，可知甲本早一些，但二者都是汉初的抄写的。 长沙市马王堆汉墓的帛书本《老子》局部 第三种是湖北荆州郭店楚简《老子》；郭店简《老子》是1993年出土于湖北省荆门市郭店村的楚墓中，这个墓是战国晚期墓，因此墓中出的《老子》成书应该更早一些，大概成书于战国中前期或者更早，但抄写时间应该是战国晚期，约在公元前300年左右。楚简本《老子》是目前所见最早、最原始的《老子》抄本，但篇幅较小，仅为今本的五分之二，所反映的思想观点也与今本《老子》有很大差别。 郭店楚简《老子》局部 第四种就是北大藏汉简中的《老子》。北大汉简《老子》现存完整简176枚，残断简105枚，拼合后总计211枚，共5200多字，是四种古本《老子》中字数最多、保存最完整的版本。 北大汉简《老子》分上、下两篇，简背后题有“老子上经”、“老子下经”。上经相当于传世本的《德经》，下经相当于传世本的《道经》。以前传世文献的《老子》标题有《道经》、《德经》，但北大汉简《老子》称上经、下经，这是在出土文献中的首次发现。全书保存了《老子》完整的篇章结构，共分77章，为研究古本《老子》分章问题提供了宝贵资料。 北大汉简《老子》的文句、用字与传世本和其他出土《老子》有很多不同之处，已经有不少专家指出差异，比如今天通行本《老子》里“化而欲作，吾将镇之以无名之朴”，这句话中的“镇”，北大汉简《老子》写作“寘”，郭店楚简《老子》写作“贞”，马王堆帛书《老子》乙本写作“阗”。不过，寘、贞、阗、镇”，古代读音都相同或相近，这在古代汉语中叫通假，这可能是不同方音或地域用字差异的表现。再比如今天通行本《老子》里“持而盈之，不如其已；揣而梲之，不可长保”，这句话中的“揣”，北大汉简《老子》写作“梪”， 郭店楚简《老子》写作“湍”，马王堆帛书《老子》乙本写作“扌短”。这类字词差异在四种版本中非常多。这种差异对研究《老子》成书及字词的历史变化都有非常重要的作用。从文字和书法角度来说，北大简《老子》抄写精美，也完全可以作为书法史上西汉中期的代表，这对书法研究同样有重要参考作用。 我们常说出文献很重要，但如何重要，出土各种版本《老子》就是一个典型例子。从战国时期湖北荆州的郭店楚简本《老子》，到秦末汉初马王堆帛书甲乙本《老子》，再到西汉中期的北大汉简《老子》，然后是传世魏晋时期的王弼本《老子》，形成了一条完整的不同年代《老子》版本序列，可以说这对探讨《老子》形成和演变有着非同寻常的重要意义。 参考文献 《北京大学藏西汉竹简（贰）》，上海古籍出版2012年。 《北大藏西汉竹书<老子>价值重大》,《人民日报》2012年12月21日海外版。
道德经版本问题可以说是道德经独有的现象，据统计，清代之前，《道德经》版本有103种之多。古书在上千年的传抄、刻印过程中难免出现错误，迄今为止，校订本共三千多种。学术界较为重视的版本，是王弼的版本，长沙马王堆出土的两个抄本，称为帛书甲本、乙本。帛书道德经，早王弼本400余年，近些年许多学者推崇帛书，但甲本缺字1400，乙本缺字600。我们今天所能见到的最早的《道德经》版本，是在湖北荆门郭店楚墓中出土的战国竹简本。历史上流传最广的版本是汉代河上公注本和曹魏王弼注本。其他重要的版本还有西汉严遵注本、唐代傅奕所校古本、唐代所刻《道德经》石幢等。市面上销售的书籍，版本之间差别很大；甚至章节顺序也不一样。其中，台湾陈鼓应教授《老子今注今译》选用的校订版本还是相当客观的，参考了历代版本和注家，偏重于哲学研究；萧天石先生的《道德经圣解》偏重于道教修炼，被誉为近代第一注家；冯海涛先生的《道德经智慧日用贯通》一书，则着眼于人们的寻常日用，经文前后文印证，以老解老，摆脱了历史上以庄解老、以儒解老、以佛解老、以西方哲学解老、以易解老之窠臼，值得一读。《道德经》的版本有多种，傅本、河本、想本、王本、今本都、郭店楚简本等不同年代王公贵族随葬的《道德经》版本。现在可以看到的最初的版本，是1993年湖北荆门郭店楚墓出土的竹简《老子》，比马王堆帛书本的《道德经》年代早100多年，其它版本，傅本、河本、想本、王本、今本都是汉代以後的版本。1973年长沙马王堆3号汉墓出土的甲乙两种帛书《老子》，是西汉初年的版本，把《德经》放在《道经》之前，也受到学者的重视
光明网02-23 13:53《老子》版本之芜杂，在中国学术界罕有出其右者。王弼注本、河上公注本、严遵《老子指归》、傅奕本合称传世本中的四大体系。其中王弼注本和河上公注本的影响尤其广泛。河上公本多被道教人士和下层民众所推崇，王弼本则广为文人学士所喜好。此外，还有唐代景龙碑本等版本也有一定影响。20世纪以来，马王堆帛书《老子》甲乙本、郭店竹简本、西汉竹书本（又名北大竹简本）等文献资料先后问世，为老学研究增加了新材料，带来了新活力。以下依据学界现有研究成果，撮其要点加以综述，旨在为初学者提供一个参考坐标。一《汉河上公老子道德经章句》。河上公又称河上丈人，姓名不详，其生活的时代有秦、西汉、东汉、魏晋诸说。“详其词旨，不类汉人，殆道流之所依托欤？相传已久，所言颇有发明，姑存以备一家可耳。”（《钦定四库全书总目》，中华书局，1997年版，第1934页）《老子河上公章句》把《老子》分为81章，前37章为《道经》，后44章为《德经》，合称为《道德经》，并在每章的前面冠以章题。这是现存最早的《老子》注本。今传有敦煌六朝唐写本、宋刊本、明刊本、道藏本等，通称河上本。现有中华书局“道教典籍选刊”本。河上公注中用“气”来充实“道”，其中多有神仙思想，如第六章注“谷神不死”曰：“谷，养也。人能养神则不死。”第十三章注“及吾无身，吾有何患”曰：“使吾无有身体，得道自然，轻举升云，出入无间，与道通神，当有何患。”反映了东汉黄老思想的特征。推荐阅读：（汉）河上公注，王卡点校，《老子道德经河上公章句》，中华书局，2009年。严遵《道德经真经指归》。严遵（或曰严尊），字君平。汉成帝时成都人。生平事迹见《汉书·王贡两龚鲍传》。“此书又名《老子指归》《道德指归论》，史籍多有著录，然卷数、版本颇有差异。《隋书》《旧唐书》《新唐书》《宋史》分别著录为十一卷、十四卷、十四卷、十三卷，宋以后则多为十三卷。据《君平说二经目》可知，此书原分《老子》为上下篇、七十二章；《德》经四十章在上，《道》经三十二章在下。此书融通《易》《老》，不仅以阴阳之数裁制经文，亦以《易》理解之。……旨在劝诫天下君臣、父子尊道行德，无为守分，以使上下玄通，四海平和。”（傅璇琮主编《续修四库全书总目提要·子部》，上海古籍出版社，2015年，第59页）推荐阅读：（汉）严遵著，王德有译注，《老子指归译注》，商务印书馆，2004年。该书注释详细，便于阅读。《老子想尔注》。该书作者一说是张陵，一说是张陵之孙张鲁。《老子想尔注》早已散失，《隋书·经籍志》和新、旧《唐书》都未记载，《道藏》中也未收录。清末敦煌莫高窟发现的古本典籍中，有《老子道经想尔注》残本，全本共五百八十行。注与经文连写，字体不分大小，章次不分，过章不另起一行。据考证，它是六朝钞本。此残卷在1905年失窃，现收藏在大不列颠博物馆，编号为斯氏（斯坦因）六八二五。该残卷始自《老子》第三章“不见可欲，使心不乱”，终至第三十章“无欲以静，天地自止（正）”，大致反映了《想尔注》的基本思想内容，是研究早期道教思想的珍贵资料。今人饶宗颐据《河上公注本》分章排列整理。推荐阅读：饶宗颐《老子想尔注校证》，上海古籍出版社，1991年。王弼《老子注》。王弼（226—249），山阳高平（今山东邹城、金乡一带）人。魏晋玄学家。《隋书·经籍志》：“《老子道德经》二卷（王弼注。梁有《老子道德经》二卷，张嗣注；《老子道德经》二卷，蜀才注。亡。）”王弼的《老子注》也分为81章，但没有章题，现在的传本也是在古本基础上经后人加工调整过的版本。学界认为从版本的角度看，王弼本与河上公本区别不太大，王弼本的字数虽然多于河上公本，但多出的字主要是虚词。河上公注以修身炼气为本，王弼注以谈玄说虚为主。王弼不是通过文字训诂力求恢复《老子》的本义，而是创造性地提出了名教本于自然的基本原理，进而成功地构筑了一个玄学化的老学体系。推荐阅读：王弼著，楼宇烈校释《老子道德经注校释》，中华书局，2008年；或王弼著，楼宇烈校释《老子道德经注》，中华书局，2011年。傅奕《道德经古本篇》。唐初傅奕据北齐时项羽妾墓出土的“项羽妾本”，与几种流传版本参合校订,组合成《道德经古本篇》,人称“傅奕本”，学界称之为善本。傅奕本保存了较多的古句、古语、古字。傅奕本有许多优点，但因其是根据几个旧本参校的，这些旧本本身就存在不少讹误，且傅奕本在流传过程中，被后人改动的地方也很多，存在讹文、衍文、脱文、倒置的情况，且有些篇次及文章内容也非《老子》原貌。推荐阅读：傅奕《道德经古本篇》，见刘笑敢《老子古今》，中国社会科学出版社，2006年。景龙本《道德经碑》。唐代道观中流行刻立《道德经》，现存最早的是唐景龙二年（708）河北易州龙兴观的《道德经碑》。该碑简称景龙碑本、景龙本、碑本、易州本。此碑正面（阳面）刻道经，阴面刻德经。严可均《铁桥金石跋》谓：“世间真旧本，必以景龙碑本为最。其异同数百事，文谊简古，远胜今本者甚多。”推荐阅读：朱谦之《老子校释》，中华书局，1984年。该书在选本方面以唐易州龙兴观《道德经》碑文为主，次取敦煌写本与遂州碑本参订。此外还参考旧抄本、佚本、正统《道藏》本诸刻本共100余种。本书校勘精审，训诂严谨。范应元《老子道德经古本集注》。宋范应元字善甫，号果山，又号谷神子。此书依范氏所藏古本《老子》作注，其经文上《道》下《德》，作八十一章，各章次序与通行本相同。该书征引古本及前人音训注释凡40余家，附以范氏本人的见解。其内容体现由精气至性命，最后归结为修心的解《老》思路。此书《道藏》失收，焦竑《老子翼》采摭时也没有涉及。现存版本有国家图书馆藏宋刻本、《续古逸丛书》所录宋刻本等。二帛书《老子》甲乙本。1973年，湖南长沙马王堆汉墓出土了帛书《老子》甲乙本。湖南长沙马王堆汉墓3号墓出土的帛书《老子》有两种抄本，分别被称为甲本和乙本。专家认为：两种抄本内容大体相同。甲本不避讳“邦”字，其抄写年代应在刘邦称帝之前；乙本避讳“邦”字而不避汉惠帝刘盈之讳，其抄写年代应是刘邦在位之时。甲、乙本皆分二篇，乙本篇末标出《德》3041字，《道》2426字，合计5467字。甲本尾题残缺不明。两本都不分章次。帛书《老子》保留了许多虚词。马王堆本虽是全本，但残破较甚，在甲、乙两本可互为补充的情况下，仍有不少残缺的文句。西汉时期，《老子》中《德经》在前，《道经》在后。有人认为道上德下出自西汉刘向之手。西汉时期的《老子》乙本无分章，甲本有划分章节的符号。此时的《老子》并非八十一章。到了西汉时期，《老子》文本基本定型。高明《帛书老子校注序》曰：“帛书《老子》甲乙本在当时只不过是一般的学习读本，皆非善本。书中不仅有衍文脱字、误字误句，而且使用借假字也极不慎重，出土时又因自然损坏，经文均有残缺，但是，它的珍贵，主要是抄写的时间早，近古必存真，因而较多地保存《老子》原来的面貌。尤其是同墓出土两个来源不同的古本，不仅可相互印证，而且同时用两个古本一起勘校今本，对订正今本讹误，更有价值。”（高明《帛书老子校注》，中华书局，1996年）推荐阅读：高明《帛书老子校注》，中华书局，1996年。该书将甲、乙两本的文字,逐句与王弼注本及敦煌卷本、道观碑本、历代刊本（共33种）相互参校,最后复原帛书甲、乙本《老子》,堪称这一版本研究的压卷之作。楚简《老子》摘抄本。1993年，湖北荆门郭店村一号楚墓出土三种《老子》摘抄本。专家认定：墓主人入葬于战国中期，大约为公元前300年左右。郭店楚简《老子》书写于形制各异的甲、乙、丙三组竹简上。这是迄今为止我们所能看见的《老子》一书的最原始的文本。郭店楚简本的简文不分章，次序和文字与通行本有较大差异。郭店本的内容仅为传世本的五分之二。思想上并不激烈地抨击儒家的仁义观念。郭店楚简本是战国时期《老子》的三种全文本的摘录本呢？还是当时并没有完整的文本？在今天依然存在争议。有人认为当时已经有完整的《老子》全文本，也有人认为，今天我们看到的《老子》，在起始阶段只有一些简单的格言，后人慢慢添加，从而形成了今天的全文本。真相究竟如何，还有待于进一步研究。推荐阅读：《郭店楚墓竹简》，文物出版社，1998年。廖名春《郭店楚简老子校释》，清华大学出版社，2003年。李若晖《郭店竹书老子论考》，齐鲁书社，2004年。李零《郭店楚简校读记》（增订本），中国人民大学出版社，2007年。西汉竹简本。北京大学藏西汉竹书是北京大学于2009年1月接受捐赠的一批从海外回归的西汉竹简。据介绍北大简本《老子》经拼缀后共有完整简218枚，保存近5300字，对理解文意有影响的阙文仅占全书篇幅的百分之一。其中还保存了“老子上经”和“老子下经”的篇题，“上经”相当于传世本《德经》，“下经”相当于传世本《道经》。北大简本《老子》每章之前均有分章符号，其章节划分与传世本有所不同，为探讨古本《老子》分章问题提供了最为齐备的资料。西汉竹书约抄写于汉武帝时期。推荐阅读：韩魏编《北京大学西汉竹书（老子卷）》，上海古籍出版社，2012年。二十世纪以来，我们有幸发现了帛书本竹简本和西汉竹简本等出土文献，对于《老子》研究来说，值得庆贺。在看到出土文献与传世本的不同之时，也要看见它们之间的相同点。对于《老子》研究而言，探寻不同版本的相同点和不同点是同样重要的。三20世纪以来，众多学者赓续传统进行考据释义的工作，出现了一大批《老子》整理本和译注本，例如马叙伦的《老子覈诂》和《老子校诂》、杨树达的《老子古义》、高亨《老子正诂》和《老子注译》、蒋锡昌《老子校诂》、于省吾的《老子新证》、任继愈的《老子今释》、严灵峰的《老子达解》和《老子章句新编》、陈鼓应的《老子今注今译》（后改为《老子注译及评介》）、陆永品的《老子通解》、王凯《老子〈道德经〉解释》、牛贵琥《老子通释》等。推荐阅读：陈鼓应《老子注译及评介》，中华书局，2015年。该书是一本经过作者数十年反复打磨的老学著作，已行销四十余年，成为人们研习老子的经典读本。该书先后多次在台湾商务印书馆、北京中华书局和商务印书馆出版。原文部分以中华书局张氏所刊王弼注本为底本，参照帛书及郭店本等做了校对。对于初学者是一本入门的必读书，对于老子和道家思想研究者是一本必不可少的参考书。需要说明的是该书附录三为“《老子》校定文”。作者希望通过自己的努力构建一个理想的文本，作为《老子》研究的定本，其想法可以理解，其做法让人钦佩，但所谓理想的定本目前还是一个遥不可及的梦。（作者为清华大学人文学院教授）
本科论文格式和研究所有什么不同
在内容上，当然有区别了，博士，硕士本科的论文在内容的要求上，字数会不一样，他又所展现的内容的深度也会不一样，本科硕士博士会随着学历的增加，而论文的难度有所增加，只有这样才能更好的展示出各个学历层次之间的不同。
当然这两者会在细节上是有差距的，具体的格式要求你可以来58期刊网看看。
本科毕业论文与硕士论文的结构没有差异，差异在选题的深浅、宽窄。本科毕业论文一般包括：论文摘要，关键词、目录、正文、注释、参考资料等
字数 结构同结构没有明显区别。1是一般套路，学校常用的习惯性的格式。2是根据论文倾向是研究还是应用，这两个方向不同，在具体二级标题上会有不同。总之，一定要强调你论文的主旨核心。
本科毕业论文抄同届不同校的
如果是进入知网库的，是会被查出来重复
这个多半要看运气,如果运气好的话,就查不出来了.
一般不会的，你的查重通过了就没事的论文选题是非常关键，需要根据你平时的学习情况，擅长哪些题目进行命题如果学校提供题目最好选择数据好找的课题来做，不然可能会找不到数据，导致失败选题前，多查下文献，进而来确定那个题目更加适合自己论文其实就是一篇稿子，用来作为你毕业的依据，所以要认真对待，要积极学会查找资料整理要点，统计数据，学会论证进而来提高论文档次
会的，现在老师都有种软件，一查来源什么的都能知道了，劝你不要浪费时间，省的被打回来，还被骂，可以参考些资料，自己再写点，一般都能过的，祝你好运！