呼啸山庄英文论文题目

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.

提供一些英语专业的毕业论文题目，供参考。语言学研究英语在香港的传播英语在中国文化中的重生英语帝国：是现实还是神话二战后英语发展的非正式化趋势英语的全球化和区域化英语中的性别歧视英语中的女性歧视现象英语中的性别歧视和西方妇女的社会地位女性语言特点及其社会根源论广告英语的语言特点浅析商务信函的文体特征源自英语的汉语表达为汉语和文化注入新鲜血液：一个社会语言学调查语音与语义---音义关系中的非任意性笑话致笑的原因论幽默的因素英语幽默中的语用学幽默的跨文化障碍分析拉丁文对英语词汇的深远影响英语发展史中法语对英语的影响初探网络英语词汇和构词方式网络语言对日常语言的渗透英美民族文化心理及其在词汇中的映射翻译研究浅谈中文标牌语的英译商标的文化内涵及其翻译耶希斯图尔特的短篇小说《劈樱桃树》的翻译与评析意志的力量--短篇小说《无视失败》的翻译与评析英语谚语在口语中的运用及其翻译怎样翻译英语习语隐藏的主角们——《我们的生存之道》的翻译与评析短篇小说《我的俄狄浦斯情结》的翻译与评析跨文化在中菜西译的体现文化差异对旅游翻译的影响论译者主观情感在作品中的体现科技英语中词汇翻译的技巧与策略英汉基本颜色词汇的文化差异及其翻译浅谈机器翻译文化感知与文化翻译翻译中双关语的处理在新的语言中新生---翻译中的转类跨文化研究从“赵燕在美被打”事件看跨文化交际的失败中英科普文章对比研究教育使美国移民融入主流社会：比较犹太家庭与亚裔家庭对子女的教育理念从《成长的烦恼》看中美家庭教育模式之差异奥普拉和陈鲁豫的成功范例给中西方家庭教育的启示现代中西方家庭淡化的透视中英姓名文化内涵比较中西文化礼仪的异同及其反映的文化内涵冲突与融合 —— 好莱坞与亚洲电影的互动跨文化在中菜西译的体现中西方商务礼仪的比较中美跨文化商业行为比较国际商务礼仪中的文化冲突商务礼仪差异对中国涉外商务洽谈的影响国际商务谈判中的决策因素浅析礼貌原则的不同视觉中西方广告的差异中西方时间观差异对比中美婚姻观新视角中美性状比较从文化象征意义、宗教信仰及例行仪式看中西婚礼论中西方恐怖电影的差异论英国骑士精神与中国武侠主义中希腊神话中女性形象的比较研究英汉基本颜色词汇的文化差异及其翻译中英色彩文化与语义对比的研究美国生活方式对中国年轻一代的影响及其原因论跨文化价值观对消费者行为的影响从养生观看民族特性从电影角度看决策中的文化差异幽默的跨文化障碍分析美国文化霸权下的民族文化保护策略---法国叫板美国"文化帝国主义"从＜围城＞看西方文化对中国文化的影响从王家卫电影看中西方文化交融美国华裔作家谭恩美作品中的中美文化冲突与融合文化意识与跨国交流中国古代太学与欧洲中世纪大学之比较——兼论现代大学的起源从中美英语教学的差异谈如何改进中学英语教学英语教学研究浅谈语境引入在中国高校口语教学中的应用小学英语教学中的语法意识合作学习在小学英语教学中的运用从多元智力原理分析中学生课堂英语学习策略的个体差异性交互式语言教学在乡村英语口语教学中的应用关于多媒体课件对大学英语教学影响的思考构建课堂英语教学新模式——从现代多媒体教学技术入手英语习语的理解和教学论外语习者与二语习者英语词汇扩大的途径教师在英语网络教学中的角色网络教育资源和高校英语写作教学浅谈教师在教学中的中介作用外教在当代中国英语教育中的作用背景知识和听力教学通过问卷调查对农村中学生听力问题的分析和展望英语词汇教学的问题和应用论记忆的联想策略少儿英语教育的问题及策略儿童学习第二语言的优势第二语言从儿童学起的意义寓英语教学于游戏论中国大学生英语阅读技能的提高词汇在阅读理解中的作用非英语专业大学新生的英语学习策略——一项基于实证的研究新加坡与中国在推广双语教学中具体措施的比较与分析英语演讲中的艺术与技巧大学英语写作的措辞缺陷及解决方案大学生英文作文中的中式英语现象从中美英语教学的差异谈如何改进中学英语教学“注意”的规律在中小学英语教学中的重要性及意义英国儿童文学的特色与贡献文学研究从《飘》到《冷山》：看美国南北战争文学作品的变迁俄狄浦斯情节初探论《呼啸山庄》艾米莉勃朗特的哥特情结评呼啸山庄中Katherine自我意识与传统道德间的冲突浅析艾略特诗歌的转变解析《嘉莉妹妹》中的自然主义逃离“社会”----《哈克贝利费恩历险记》主题分析荒诞与理性 --- 论《第二十二条军规》宿命与现实——从《苔丝》看哈代的宿命论从拉尔夫埃里森的《看不见的人》看美国黑人现状从《隐身人》中看爵士乐在黑人生活中的重要作用脆弱的心灵，虚伪的面孔--简析《红字》中蒂姆斯韦尔的悲剧命运《紫色》中的女性主义：至等待解放或为解放而论狄金森诗歌独特优美的意境《Mrs Dalloway》看Virginia Woolf的意识流写作存在的代价---解读海明威作品中的女色意识海明威作品悲剧因素分析从《白象似的群山》谈海明威的写作风格论《傲慢与偏见》中的女性争平等意识从Sthphen Crane 看美国自然主义的产生和发展论后现代主义中的女性主义—看美国影片《时时刻刻》从“指环王”到“龙与地下城”－奇幻作品所反映的欧洲中古文化浅论《远大前程》的理想主义倾向从“自愿贫穷”到“返朴归真”—重新发掘梭罗在瓦登湖的生活《一报还一报》——莎士比亚问题剧新解《伟大的盖茨比》：美国梦的破灭安徒生童话故事对中国儿童的影响追求自由的灵魂遭到宗教的扼杀：裘德的悲剧从《飘》的人物分析看开拓不屈的美国精神及其现实意义从雪莱的诗看英国浪漫主义福克纳献给艾米莉一朵什么玫瑰——谈威廉姆福克纳的《献给艾米莉的一朵玫瑰》文学叙事形式在侦探悬念片中的运用论《红字》中的性别错位从＜围城＞看西方文化对中国文化的影响美国华裔作家谭恩美作品中的中美文化冲突与融合苔丝的悲剧和它的社会原因英国儿童文学的特色与贡献文化研究中东文化与其商业行为民族动物与民族精神一路上的疯狂——从《在路上》看“垮掉一代”的精神实质冲破枷锁，自由呼吸—从西方服饰演变看妇女解放运动从“指环王”到“龙与地下城”－奇幻作品所反映的欧洲中古文化殖民地时期英国文化对美国的影响欧洲人的城堡心结：通过对城堡文化的研究看欧洲社会的变迁和特点美国文化霸权下的民族文化保护策略---法国叫板美国"文化帝国主义"《绝望的主妇》中的妇女形象分析——西方男权社会中女性的妥协与抗争对骑士文化的研究浅析哥特文化中的浪漫主义色彩英美民族文化心理及其在词汇中的映射论地理、政治、宗教对文化的影响韩流对中国青少年的影响朋克音乐对社会文化的影响香水文化在社会交际中的作用

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."