长城 文化遗产（附1） 北京故宫、沈阳故宫 文化遗产（附7） 陕西秦始皇陵及兵马俑 文化遗产 甘肃敦煌莫高窟 文化遗产 北京周口店北京猿人遗址 文化遗产 山东泰山 文化与自然双重遗产 安徽黄山 文化与自然双重遗产 湖南武陵源国家级名胜区 自然遗产 四川九寨沟国家级名胜区 自然遗产 四川黄龙国家级名胜区 自然遗产 西藏布达拉宫 文化遗产（附2、附3） 河北承德避暑山庄及周围寺庙 文化遗产 山东曲阜的孔庙、孔府及孔林 文化遗产 湖北武当山古建筑群 文化遗产 江西庐山风景名胜区 文化景观 四川峨眉山—乐山风景名胜区 文化与自然双重遗产 云南丽江古城 文化遗产 山西平遥古城 文化遗产 江苏苏州古典园林 文化遗产(附4) 北京颐和园 文化遗产 北京天坛 文化遗产 重庆大足石刻 文化遗产 福建武夷山 文化与自然双重遗产 四川青城山和都江堰 文化遗产 河南洛阳龙门石窟 文化遗产 明清皇家陵寝：明显陵（湖北钟祥市）、清东陵（河北遵化 市）、清西陵（河北易县）、盛京三陵 文化遗产(附5、附6)（附8） 安徽古村落：西递、宏村 文化遗产 山西大同云冈石窟 文化遗产 云南三江并流 自然遗产 高句丽王城、王陵及贵族墓葬 文化遗产 澳门历史城区 文化遗产
The Imperial Summer Villa of Chengde Introduction The Imperial Summer Villa, located in the city of Chengde in northeastern Hebei province, is China’s largest imperial garden. Twice the size of Beijing’s Summer Palace, construction spanned nearly ninety years, beginning under Emperor Kangxi in 1703 and lasting through the greater part of Emperor Qianlong’s reign. The Imperial Summer Villa often saw use as a de facto second capital as Kangxi set a precedent followed by Qianlong and a succession of other Qing emperors of spending much of the year at the garden. In 1994, the Imperial Summer Villa became a UNESCO World Heritage Site. Layout The Imperial Summer Villa covers some 564 hectares featuring well-manicured gardens and over 110 architectural structures surrounded by a 10-km-long outer wall that rises and falls with the surrounding hills. The Imperial Summer Villa can be divided into two sections: a palace section and a garden section. Palace SectionThe palace section is where Qing emperors would dispose of state affairs and live during their stays at the Imperial Summer Villa. A plaque inscribed with four characters by Emperor Kangxi hangs above the vermilion front gate. Bi Shu Shan Zhuang it reads, or “Mountain Villa to Flee the Summer Heat”. Walking through the gateway, Danbomingcheng comes into view, or the “Hall of Simplicity and Reverence”. The name comes from an ancient Chinese saying roughly translated as, “Only a simple lifestyle can help one realize his true life-goal.” Also known as Nanmu Hall, because it was built with nanny, a fragrant, fine-grained hardwood unique to China, the hall was used by the emperor to carry out official state Danbomingcheng, stands Yanbozhishuang Hall, or “Cool on a Misty Lake” Hall, which was used as the emperor’s living quarters. Today, most of the hall has become a museum with Qing relics and artwork on exhibit. Visitors are rewarded with a glimpse into the lifestyle of Qing royalty. Other famous halls in the palace section include Wanhesongfeng, which stands by the lakeside, encircled by pine trees, and was used as an imperial study, and Songhezhai, which housed the emperor’s mother as well as his SectionThe garden section can be further divided into a lake section, plains section, and mountain SectionThe lake section is north of the palace section and covers about 80 hectares. Unlike the Summer Palace’s Kunming Lake, which is an open expanse of water, the lakes here are smaller, more-complicated, interconnected affairs, and come in a variety of shapes and sizes and feature islets, causeways, bridges, pavilions, etc. One of the most beautiful sites in the lake section is the “Moon Color and River Sound” Islet. When night falls, the surrounding waters shimmer with moonlight. It is so peaceful and picturesque. The lakeside buildings were designed in the style of southern Chinese architecture, and look transplanted from Jiangsu or Zhejiang. Flatland SectionThe flatlands north of the lake section are covered with both grassland and forest. There are no buildings here with the exception of a few Mongolian yurts. The southwest corner of this section was devoted to horse riding. Emperor Qianlong often entertained Mongolian princes here, with barbeque dinners, wrestling, horse racing, and archery. He also hosted grand banquets here for such distinguished guests as the sixth Panchen Lama and envoys from foreign countries. Mountain SectionFour-fifths of the Imperial Summer Villa is mountainous, sloping down from the northwest to the southeast. The mountain section is merely the most mountainous area. Sites to visit here include the Qingchui Sunset Glow Pavilion, which offers gorgeous views of Qingchui Peak at sunset, which glows under the golden rays of the setting sun. The most breathtaking pavilion of the entire garden is perhaps the Snow Covered South Mountain Pavilion. Located high on a mountain in the garden, it offers panoramic views that include the entire Imperial Summer Villa, much of the surrounding countryside, and downtown Chengde. ( Text by Han Yueling and Allen Chai)
中国十大名胜古迹 1.北京故宫：北京故宫古称紫禁城，是明清两朝的24代皇帝的宫殿，也是我国现存最完整的宫殿的群体。 2.八达岭长城：八达岭长城被列入了《世界遗产名录》的中国古代伟大的万里长城，它体现了我们国古代人民的智慧结晶！ 3.承德避暑山庄：承德避暑山庄位于河北省，又称热河行宫，建于清朝是皇家别园。 4.兵马俑：兵马俑是中国第一个封建皇帝的皇陵，修建了36年之久，是一座雄伟的地下皇宫。 5.长江三峡：长江三峡西起重庆白帝城，全长204千米，称峡江。 6.桂林山水：桂林山水是我国著名的风景城市。因为多玉桂树而得名，有“桂林山水甲天下”之称。 7.苏州园林：苏州是我们国著名的历史古城，有园林城市之称。 8.黄山：黄山是我国著名的风景名山，它有泰山之雄，峨嵋之秀，华山之险，衡山之烟云，庐山之瀑布等。 9.杭州西湖：杭州西湖为与杭州西部，又称西湖子，风景秀丽，具山水之胜，园林之美。 10.日月潭：日月潭位于台湾省南投县东玉山之北，是台湾最大的天然湖泊，被誉为“双潭秋月”是台湾八大景点之一。直饮水。中国旅游十大风景旅游区：①.作为中华民族象征的万里长城居于榜首②.“江作青罗带，山如碧玉簪”的桂林山水列为第二③.“淡妆浓抹总相宜”的杭州西湖 ④.标志着祖国悠久文化传统，显示着劳动人民在建筑上卓越成就的北京故宫 ⑤.曲径通幽，巧夺天工，使人叹为观止的苏州园林 ⑥.以奇松、怪石、云海、温泉著称于世的安徽黄山 ⑦.水险山雄、涛飞浪卷，令人驰魂夺魄的长江三峡；直饮水。⑧.湖光山色、风韵幽绝，象一颗璀璨明珠闪耀在宝岛台湾中部的日月潭 ⑨.集秀美雄浑的自然景观和别具神韵的寺宙宅院为一身的承德避暑山庄 ⑩.颇具历史价值和艺术价值，被誉为“世界第八奇迹”的秦陵兵马俑
The Mountain Resort in Chengde (Chinese: 避暑山庄; pinyin: Bìshǔ Shānzhuāng; literally: Mountain Resort for Avoiding the Heat; Manchu: Halhūn be jailara gurung) or Ligong (Chinese: 离宫; pinyin: Lígōng, the Qing Dynasty's summer palace) situated in the city of Chengde in Hebei Province, China, is the world's largest existing imperial between 1703 and 1792, the Mountain Resort took 89 years to complete. It covers a total area of km�0�5, almost half of Chengde's urban area. It is a vast complex of palaces and administrative and ceremonial buildings. Temples of various architectural styles and imperial gardens blend harmoniously into a landscape of lakes, pastureland and Kangxi, Qianlong and Jiaqing Emperors often spent several months a year here to escape the summer heat in the capital city of Beijing and the palace zone in the southern part of the resort was therefore designed to resemble the Forbidden City in Beijing. It consists of two parts: a court in front, where the emperor received high officials, nobles of various minority nationalities, and foreign envoys; and bed chambers in the rear, which were the imperial family's living quarters. Emperor Jiaqing and Xianfeng both died while staying at Chengde in 1820 and 1861 spots The Mountain Resort is most famous for the 72 scenic spots which were named by the Kangxi and Qianlong Emperors. Many of the scenic spots around the resort's lake area were copied from famous landscaped gardens in Southern China. For instance, the main building on Green Lotus Island, "Tower of Mist and Rain," (Chinese: 烟雨楼; pinyin: Yānyǔ Lóu) is a copy of a tower in Nanhu Lake at Jiaxing in Zhejiang Province. The resort's plain area also possesses characteristics of the scenery of the Mongolian grasslands. Forested mountains and valleys are dotted with various buildings. This includes a 70 m tall stone Chinese pagoda built in the year 1751 during the reign of the Qianlong Emperor. The pagoda is shaped with an octagonal base, while the pagoda's nine stories are decorated with colorful glazed tiles and the steeple is crowned with a gilded round spire. 希望能帮的到你，祝开心快乐每一天o(~_~)o
长城 文化遗产（附1） 北京故宫、沈阳故宫 文化遗产（附7） 陕西秦始皇陵及兵马俑 文化遗产 甘肃敦煌莫高窟 文化遗产 北京周口店北京猿人遗址 文化遗产 山东泰山 文化与自然双重遗产 安徽黄山 文化与自然双重遗产 湖南武陵源国家级名胜区 自然遗产 四川九寨沟国家级名胜区 自然遗产 四川黄龙国家级名胜区 自然遗产 西藏布达拉宫 文化遗产（附2、附3） 河北承德避暑山庄及周围寺庙 文化遗产 山东曲阜的孔庙、孔府及孔林 文化遗产 湖北武当山古建筑群 文化遗产 江西庐山风景名胜区 文化景观 四川峨眉山—乐山风景名胜区 文化与自然双重遗产 云南丽江古城 文化遗产 山西平遥古城 文化遗产 江苏苏州古典园林 文化遗产(附4) 北京颐和园 文化遗产 北京天坛 文化遗产 重庆大足石刻 文化遗产 福建武夷山 文化与自然双重遗产 四川青城山和都江堰 文化遗产 河南洛阳龙门石窟 文化遗产 明清皇家陵寝：明显陵（湖北钟祥市）、清东陵（河北遵化 市）、清西陵（河北易县）、盛京三陵 文化遗产(附5、附6)（附8） 安徽古村落：西递、宏村 文化遗产 山西大同云冈石窟 文化遗产 云南三江并流 自然遗产 高句丽王城、王陵及贵族墓葬 文化遗产 澳门历史城区 文化遗产
【老龙湾】在山东临胸县东南海浮山下。系地下泉水涌出地表汇流而成。郦道元《水经注》载，此处原有冶官祠，为古代冶官驻地。传春秋时吴越间人欧冶子曾铸剑于此，因称熏冶泉。当地民间还有神龙潜居的传说，故又名“老龙湾”。水面40余亩，深数丈，清澈见底，冬暖夏凉，主要泉水有熏冶泉、万宝泉、青年泉、八角湾等，地下泉眼，多不胜数。泉水喷涌，犹如珍珠万串，熠熠生光。冬日湾上云雾蒸腾，烟霞蔽天，尤为壮观。熏冶泉南有磐石横卧，侧镌明末雪蓑道人书“铸剑池”三字，字体遒劲，气势飞动。旁镌一联，“天丁叮（呵）护阴阳剑：鬼斧凿开混沌池。”池东有一石桥，旧时桥石微露水面。降雪时雪飘至桥面即为泉温溶化。因名雪化桥，1958年重修。桥南立清人陈向荣画竹石刻，高米，宽1米，镌竹数竿，枝叶劲峭，甚洒脱。湾北岸有清漪亭（后改名“芳洲”），为明末礼部尚书冯琦创建。南岸有江南亭，为明代散曲家冯惟敏所建，并自题“即江南”三字匾。亭前点缀八角湾、太湖石、小云桥、卧柳等。西、北两面临水，凭栏北望，天光云影，碧波荡漾，沿岸种竹植柳，为老龙湾胜境。解放后，凿新泉，修亭阁，已成风景区。【沂山】旧称东泰山，又名东小泰山，为沂蒙山主脉之一。主峰玉皇顶在山东临胸县城南50公里，海拔米。周围有峰二十九座，幢盖纵横。山中万松凝寒，千流沸漾，沂、沭、。。、汶四河均源出于此，蜿蜒回环群峰间，气势磅礴，风景绍佳。自汉代以后历代帝王多立祠祭祀，素有“泰山为五岳之尊，沂山为五镇（东镇沂山，西镇吴山，南镇会稽山，北镇医巫闾山，中镇霍山）之首”之说。宋初于东麓建东镇庙，祀沂山王，殿宇已圮。尚余元明石碑，龟趺龙首，古朴浑厚；壁上镶嵌历代祭文、游人题咏石刻。院内松、槐、银杏龙蟠虬结，参天蔽日。由此上行四五里，峭壁摩天，危崖若坠，瀑布飞溅，是为“百丈崖”。再上为法云寺旧址，相传建于东汉。玉皇顶高耸于群峰之上，峰顶有巨石探出，名“探海石”，可观东海日出。迤西，狮子崮、歪头崮突兀对峙，宛如天阙。登临崮顶，山风劲厉，烟云缥缈，暮色中诸峰皆凝碧如黛，“沂山晚翠”胜景即此。有公路直通玉皇顶。【百丈崖】在沂山东镇庙上行约2公里处。崖高65米，绝壁如削，山陡谷深。雨季水泉四出，激流喷涌，至崖腾空飞溅而下，形成瀑布，如白练悬空。晨曦初上，水雾中虹霓七色，尤为胜景。崖下积雪，春未犹未消融，寒气逼人，古人有“百丈瀑布六月寒”之句。悬崖中腰原有仙客亭，明雪蓑道人题傅希盂所撰联云：“山静凝神气；泉高识道源。”崖北有吕祖洞，古松横出石隙，夭矫凌空，称“万年松”。石壁上镌“海岳”二字，径逾丈。近年利用瀑布水源，修建水电站，入夜灯光灿烂，星斗罗布，颇为壮观。
中国古典园林的意境美①中国古典园林充满了诗情画意。它历来受到人们的喜爱。那么古典园林是如何巧妙地体现它的意境美的呢？②首先，它崇尚自然，注重意境美。 在中国传统文化理念中，优雅的环境具有调节生活、怡情养性的功能。而环境之美，莫过于自然景色之美。大自然集中了一切美好的东西，山川江河、日月星辰、奇花异木构成了千姿百态、变化无穷的诗情画意。可以说，中国古典园林不仅是一笔珍贵的文化遗产，而且是人类珍视环境、保护环境、善于利用自然环境的典范。承德避暑山庄展示了我国北方古典园林的自然本色。③其次，它巧妙置景，酿造意境美。在中国古典园林的造园艺术中，置景取得了最高的艺术成就，成为中国古典园林的精华所在。置景又称“造景”，是按艺术构思对景物进行巧妙布局，突破空间局限，使有限的空间表现出无限丰富的园景。常用的置景手法有借景、分景、隔景、对景等。④借景是中国古典园林中运用最普遍的手法，它是把园林以外或近或远的风景巧妙地“借”到园林中来，成为园景的一部分。 “窗含西岭千秋雪，门泊东湖万里船”，这是古代诗人的“远借”。中国古典园林借鉴的这种诗情画意，也常常出现在邮票上。⑤分景是运用廊、园门、假山、墙垣等形式，把园林分成一个个相对独立的景区，形成曲折多变、层层深入的艺术空间。岭南庭园中的“余荫山房”，以亭桥为界，将园林景色分成东西两区，东区以玲珑水榭（八角亭）为中心，水池绕亭与外界沟通；西区的深柳堂、临池别馆，中间隔以荷花；各建筑又以风雨廊相连，极富岭南特色。⑥隔景是在园林中另辟相对独立的小空间，也就是大园林中的小园林。扬州瘦西湖的岛屿、土岗、湖滨等处，因地制宜地建造了许多各具特色的小园，以湖水相连，引人入胜。⑦对景是于景之间，动与静、大与小、曲与直、虚与实相互对应，丰富景观的内蕴。⑧此外，它还利用建筑风格，烘托意境美。中国古典园林特别善于利用具有浓厚民族风格的各种建筑物，如亭、台、楼、阁、轩、榭、廊、桥等，配合山水花木，曲径通幽，组成不同的园景，体现情趣各异的诗情画意。颐和园便是无数民间建筑家集体智慧的结晶。全园不求规则对称，随意挥洒，形散而意不散；而留园的长廊环绕全园而建，廊壁上镶嵌着异第彩纷呈的中国历代书法家的碑贴石刻，营造了一种独特的氛围。人们于观景之外，怎能不受到浓厚的历史文化的陶冶呢?⑨中国古典园林中特色纷呈的建筑，是观赏景致的最佳视点，也是园林景观的精彩之笔，它所构成的艺术形象和艺术境界往往总是匠心独运，使环境的建筑美与园景的自然美互为映衬，融为一体。⑩中国古典园林显示了我国劳动人民的聪明智慧和卓越的审美意识，是中国传统文化中的璀璨明珠。——————————————————————————————你看看这篇行吗？
论文的写作格式、流程与写作技巧 广义来说，凡属论述科学技术内容的作品，都称作科学著述，如原始论著（论文）、简报、综合报告、进展报告、文献综述、述评、专著、汇编、教科书和科普读物等。但其中只有原始论著及其简报是原始的、主要的、第一性的、涉及到创造发明等知识产权的。其它的当然也很重要，但都是加工的、发展的、为特定应用目的和对象而撰写的。下面仅就论文的撰写谈一些体会。在讨论论文写作时也不准备谈有关稿件撰写的各种规定及细则。主要谈的是论文写作中容易发生的问题和经验，是论文写作道德和书写内容的规范问题。 论文写作的要求 下面按论文的结构顺序依次叙述。 (一)论文——题目科学论文都有题目，不能“无题”。论文题目一般20字左右。题目大小应与内容符合，尽量不设副题，不用第1报、第2报之类。论文题目都用直叙口气，不用惊叹号或问号，也不能将科学论文题目写成广告语或新闻报道用语。 (二)论文——署名科学论文应该署真名和真实的工作单位。主要体现责任、成果归属并便于后人追踪研究。严格意义上的论文作者是指对选题、论证、查阅文献、方案设计、建立方法、实验操作、整理资料、归纳总结、撰写成文等全过程负责的人，应该是能解答论文的有关问题者。现在往往把参加工作的人全部列上，那就应该以贡献大小依次排列。论文署名应征得本人同意。学术指导人根据实际情况既可以列为论文作者，也可以一般致谢。行政领导人一般不署名。 (三)论文——引言 是论文引人入胜之言，很重要，要写好。一段好的论文引言常能使读者明白你这份工作的发展历程和在这一研究方向中的位置。要写出论文立题依据、基础、背景、研究目的。要复习必要的文献、写明问题的发展。文字要简练。 (四)论文——材料和方法 按规定如实写出实验对象、器材、动物和试剂及其规格，写出实验方法、指标、判断标准等，写出实验设计、分组、统计方法等。这些按杂志 对论文投稿规定办即可。 (五)论文——实验结果 应高度归纳，精心分析，合乎逻辑地铺述。应该去粗取精，去伪存真，但不能因不符合自己的意图而主观取舍，更不能弄虚作假。只有在技术不熟练或仪器不稳定时期所得的数据、在技术故障或操作错误时所得的数据和不符合实验条件时所得的数据才能废弃不用。而且必须在发现问题当时就在原始记录上注明原因，不能在总结处理时因不合常态而任意剔除。废弃这类数据时应将在同样条件下、同一时期的实验数据一并废弃，不能只废弃不合己意者。 实验结果的整理应紧扣主题，删繁就简，有些数据不一定适合于这一篇论文，可留作它用，不要硬行拼凑到一篇论文中。论文行文应尽量采用专业术语。能用表的不要用图，可以不用图表的最好不要用图表，以免多占篇幅，增加排版困难。文、表、图互不重复。实验中的偶然现象和意外变故等特殊情况应作必要的交代，不要随意丢弃。 (六)论文——讨论 是论文中比较重要，也是比较难写的一部分。应统观全局，抓住主要的有争议问题，从感性认识提高到理性认识进行论说。要对实验结果作出分析、推理，而不要重复叙述实验结果。应着重对国内外相关文献中的结果与观点作出讨论，表明自己的观点，尤其不应回避相对立的观点。 论文的讨论中可以提出假设，提出本题的发展设想，但分寸应该恰当，不能写成“科幻”或“畅想”。 (七)论文——结语或结论 论文的结语应写出明确可靠的结果，写出确凿的结论。论文的文字应简洁，可逐条写出。不要用“小结”之类含糊其辞的词。 (八)论文——参考义献 这是论文中很重要、也是存在问题较多的一部分。列出论文参考文献的目的是让读者了解论文研究命题的来龙去脉，便于查找，同时也是尊重前人劳动，对自己的工作有准确的定位。因此这里既有技术问题，也有科学道德问题。 一篇论文中几乎自始至终都有需要引用参考文献之处。如论文引言中应引上对本题最重要、最直接有关的文献;在方法中应引上所采用或借鉴的方法；在结果中有时要引上与文献对比的资料；在讨论中更应引上与 论文有关的各种支持的或有矛盾的结果或观点等。 一切粗心大意，不查文献；故意不引，自鸣创新；贬低别人，抬高自己；避重就轻，故作姿态的做法都是错误的。而这种现象现在在很多论文中还是时有所见的，这应该看成是利研工作者的大忌。其中，不查文献、漏掉重要文献、故意不引别人文献或有意贬损别人工作等错误是比较明显、容易发现的。有些做法则比较隐蔽，如将该引在引言中的，把它引到讨论中。这就将原本是你论文的基础或先导，放到和你论文平起平坐的位置。又如 科研工作总是逐渐深人发展的，你的工作总是在前人工作基石出上发展起来做成的。正确的写法应是，某年某人对本题做出了什么结果，某年某人在这基础上又做出了什么结果，现在我在他们基础上完成了这一研究。这是实事求是的态度，这样表述丝毫无损于你的贡献。有些论文作者却不这样表述，而是说，某年某人做过本题没有做成，某年某人又做过本题仍没有做成，现在我做成了。这就不是实事求是的态度。这样有时可以糊弄一些不明真相的外行人，但只需内行人一戳，纸老虎就破，结果弄巧成拙，丧失信誉。这种现象在现实生活中还是不少见的。 (九)论文——致谢 论文的指导者、技术协助者、提供特殊试剂或器材者、经费资助者和提出过重要建议者都属于致谢对象。论文致谢应该是真诚的、实在的，不要庸俗化。不要泛泛地致谢、不要只谢教授不谢旁人。写论文致谢前应征得被致谢者的同意，不能拉大旗作虎皮。 (十)论文——摘要或提要：以200字左右简要地概括论文全文。常放篇首。论文摘要需精心撰写，有吸引力。要让读者看了论文摘要就像看到了论文的缩影，或者看了论文摘要就想继续看论文的有关部分。此外，还应给出几个关键词，关键词应写出真正关键的学术词汇，不要硬凑一般性用词。 希望采纳
康熙认为此是避暑之避，不是避难之避。皇上是忌讳避字有逃避的意思，不吉利，所以大笔一挥加上一横。
康熙帝是中国历史上在位时间最长的皇帝，他奠定了清朝兴盛的根基，开创出康乾盛世的局面，将清朝推到了最为强盛的时期。因此他也被称为千古一帝。
康熙皇帝不仅政治才能卓越，他在书法上也很有造诣。我们熟知的著名旅游景点承德避暑山庄就是康熙皇帝亲爱题字。细心的人发展避暑上庄这四个字中有错别字。康熙皇帝文采出众，难道真的是康熙皇帝故意写错，还是另有原因？承德避暑山庄是皇室别苑，所以皇帝每年夏季都会在这里处理军政要务，以及接见外国使节和边疆少数民族政教首领，避暑山庄又被称为清朝皇帝的夏宫。康熙皇帝是最喜欢这里的，所以为避暑山庄题字并挂了匾额。在这四个字中，避暑的“避”字右边的“辛”字下竟多了一横笔，这个字和我们字典中的避字是不一样的。到底是字典有误还是康熙皇帝真的写错了？
其实在清朝“避”字有两种写法，无论哪一种写法都是正确的，这是一种异体字写法。康熙皇帝在这个“避”字上特意多加了一笔，并不是写错，而是他认为避字有逃避和避难的意思，不吉利，所以在上面多加了一笔。康熙皇帝的书法很好，也可能是为了追求书法美才这样写的。古代的书法中也常出现异体字现象，古人称这种写法为“添笔”或“缺笔”，多是为了避讳或者其他原因，并不是写错。康熙帝这样写也是为了效仿古法，何错之有。
不管是哪种原因，避暑山庄匾额上的题字都成为历史抹不去的痕迹，是对历史故事的传承。也成为避暑山庄最为有特点的地方，有机会希望大家也可以亲自去领略这道独特的风景。关于承德避暑山庄你还有什么故事，快来留下你的评论吧。
周敦颐的《爱莲说》让荷花成了君子的化身，无论是皇亲国戚，达官贵人，还是文人士大夫，乃至寻常百姓，都喜欢养荷赏荷。避暑山庄是我国现存最大的园林，应该用更盛来形容更为妥帖，完全可以说，避暑山庄因“荷”更美丽。 避暑山庄里山峦、沟壑、湖沼、平原无所不有；楼、台、亭、榭、阁等，广泛吸收中国南北建筑特色，因山就势，相得益彰，朴素自然，吸引着全世界的人到这里来观光游览。承德虽只与北京相差不到200公里，但它位于燕山山脉的一个小盆地中，气候倒比北京晚约一月余，荷花开放的时间也要晚一些，8月中旬才是盛花期。避暑山庄中因有热河暖泉流淌，又称热河行宫，其特殊的地理优势，使这里的荷花衰败的又较别处晚一些，可以一直持续到10月，这边菊花已绽放，那边荷花仍未谢，也是山庄的一大奇观。 作为中国封建社会最后一个盛世的开创者和延续者，康熙帝和乾隆帝也深受儒家思想的影响，对象征君子的荷花也深爱有加。在避暑山庄的康乾七十二景中以荷命名的就有五处之多，祖孙二人也写下了多首咏荷的诗句。与美景相互印证，增色不少。我们现在就随康熙和乾隆两位帝王的脚步，一起去看一看这五处美景。第一处是曲水荷香 当年的某一天，小雨淅淅沥沥地下个不停，坐在文津阁房中看书的圣祖康熙皇帝也有点心烦意乱。忽然一阵淡淡的荷香飘来，让他心甚喜之。忙叫人拿来雨具，出门寻香。在文津阁南，一片奇石参差，碧溪清浅，涧水潺潺……康熙被眼前这一切感染了，就命名为“曲水荷香”，这也是康熙三十六景第十五景。并即兴作诗一首： 碧溪清浅，随石盘折，流为小池，藕花无数，绿叶高低。每新雨初过，平堤水足，落红波面，贴贴如泛怀。兰亭觞咏，无此天趣。 荷气参差远益清，兰亭曲水亦虚名。 八珍旨酒前贤戒，空设流觞金玉羹。 多年之后，乾隆帝也游玩至此，看如此美景，赏祖父诗作，不禁诗兴大发，赋诗如下： 镜面铺霞锦，芳飙习习轻。花常留待赏，香是远来清。 缃盖迎秋直，珠囊带露擎。楚人休制服，同此乐衢亨。 借景也不忘对盛世加以夸赞。第二处是香远益清 在万树园的东南，金山的北面，有一组宫殿群。香远益清位于最前方，这里也是康熙三十六景第二十三景。康熙帝不仅写了“香远益清”的匾额，语出周敦颐《爱莲说》，体现的也是周老夫子的情致和韵味。圣祖还赋诗一首： 出水涟漪，香清益远，不染偏奇。 沙漠龙堆，青湖芳草，疑是谁知？ 移根各地参差，归何处？那分公私。 楼起千层，荷占数顷，炎景相宜。 在诗的小引中清晰地描绘了优美的景色：曲水之东，开凉轩，前后临池，中杆重台、千叶诸名种，翠盖凌波，朱房含露，流风冉冉，芳气竟谷。 凡事向祖父看齐的乾隆当然不会放过与圣祖和诗的机会，当他来到这里时，也作诗一首： 春光六月天，照影濯清涟。 逸韵风前别，生香雨后鲜。 扬猗明塞日，标倩暗溪烟。 松岛莲花寺，空间十景传。 如果你也是农历六月来到这里，恰好也赶上微风细雨，是否会看到乾隆帝眼中荷花风前的妩媚和雨后的鲜嫩。 前两处都是康熙帝建并命名的景，也有诗作，乾隆帝因之而附。后边三处由是乾隆帝建并命名的景，诗也就只有他自己的了。第三处是冷香亭 在月色江声岛上静寄山房西侧临下湖岸边，建有一座面向东的十六柱歇山式卷棚顶大方亭，有回廊与岛上建筑相连。亭上有乾隆帝御笔题写的匾额：冷香亭。“冷香”出自唐代王建的诗《野菊》：“晚艳出荒篱，冷香著秋水。忆向山中见，伴蛩石壁里。”这也从另一方面证明了山庄菊与荷共存的奇特景观。坐在亭上可赏荷、观菊、闻香，静夜可听水心榭下的流水声，是清帝秋季赏荷观菊的好地方。 没有了祖父的限制，乾隆对此景作了三首七言律诗： 其一： 四柱池亭绕绿荷，冷香雨后袭人多。 七襄可时天孙锦，弥望盈盈接绛河。 其二： 潦水寒潭芦获苍，汀沙白露欲为霜。 晚荷几朵支欹影,风韵今朝挹冷香。 其三： 亭枕莲塘环水芳，十分花带五分凉。 因之悟得迟禁久，两字名真副冷香。 三首诗都强调这里是观晚荷的好地方，说的是这湖中稠密的荷花如同织女织出的锦缎，一眼望不到边，像是要与天上的银河连接在一起了。现在，这里的荷花已不如当年之多，但敖汉莲尚存，秋后还可闻到“冷香”。第四处是采菱渡 在避暑山庄如意湖与上湖之间，有一座宛如芝英的小岛，因其四周被碧水环绕，取名环碧。它是避暑山庄湖区“一池三山”中的三座仙山之一，也是避暑山庄中最小的一个岛。环岛的北面，频临湖畔建有一座圆亭，通过游廊与东西庭园后面的围廊相连通。圆亭格外引人注目。此亭的特别之处在于，整个亭子它的基座是圆形，上有六根亭柱支撑，亭顶不铺砖瓦，而是用茅草覆盖，其形状好像一顶大斗笠。此亭是一个渡口，建于康熙四十二年，是因为每到夏季，皇帝和他的嫔妃们经常从此泛舟采菱角，所以乾隆皇帝将这座圆亭命名为“采菱渡”。其名来自唐代山水诗人王维的《田园乐》中的诗句“采菱渡头风急，策杖林西日斜。杏花坛边渔夫，桃花源里人家”。这里也是乾隆三十六景之第十三景。 历史上留诗最多的帝王当然不会放过表现的机会，他用诗来盛赞这里的美景： 菱花菱实满池塘，谷口风来指棹香。 何必江南罗绮月，请看塞北水云乡。第五处就是观莲所 在避暑山庄如意湖南岸，临湖边建有一座三开间的方型大亭。亭前湖中种植从关内和北方敖汉等地移植的荷花万柄，随风摇曳，散发出阵阵清香，使人神清气爽。康熙题额为“观莲所”，并撰写一付楹联：“能解三庚暑，还生六月秋。”这里是乾隆三十六景第十四景，乾隆对这里也深感最深，作诗也最多，有五首并一小序： 平湖曲渚，在在荷香，景中以之标名者不一。此间云廊䆗窱，方亭虚敞，圣祖题额在焉，洵为甲观。 其一： 宝题恒焕圣人宇，冰牖仍凭君子花。 助感每教惊逝水，追欢曾未泛流霞。 其二： 撷芳倚槛暂徘徊，叶是仙盘花是杯。 不为灵根能驻岁，称觥曾献圣人来。 其三： 濯清偏称过秋雾，廿二年前未解吟。 一段横塘烟雨意，好教他日验斯今。 其四： 不染由来是染尘，谁能拈出此花真？ 秋风过处香盈袖，暂许诗人对碧沦。 其五： 亭亭写照镜池宽，微露承晖意未阑。 应是葩仙具神解，每留颜色待人看。 据记载，康熙六十年（1721年），当时还只有11岁的弘历随康熙一起游山庄。游到观莲所时，康熙就让弘历背诵《爱莲说》。弘历背的非常熟练，不遗一字，当时周围的人都很惊讶也很高兴。乾隆继位后每次来此观荷都想起祖父的恩情，崇敬与感激之情便悠然而起，又建花神庙敬荷花神。从诗中也可看出乾隆对康熙的那份深情。
中国历史名城承德避暑山庄外八庙楹联 承德避暑山庄外八庙普佑寺楹联1、大方广殿前檐联 妙相现庄严仁敷华梵, 慧因资福德喜洽人天注释： 妙相：即佛相。 敷：市施，遍布。 华梵：中，印两国。 慧因：观达佛法为慧，依靠佛力为因。即依靠佛法之助得福。释文： 佛相美妙庄严，仁德遍布中、印。以佛的智慧、神力助长福德，人天欢喜。李建力手墨
呼啸山庄英文简介：
Wuthering Heights is the work of Emily Bronte, one of the Bronte sisters, and one of the representative works of English literature in the 19th century. The novel describes the abandoned Gypsy son Heathcliff, who was adopted by the old owner of the villa, went out to become rich because of humiliation and failed love.
When he returned, he retaliated against Linton, the landlord who married his girlfriend Catherine, and his children. The whole article is full of a strong spirit of struggle against oppression and happiness, and is always covered with a strange and tense romantic atmosphere. This work has been adapted into film works many times.
呼啸山庄中文简介：
《呼啸山庄》是英国女作家勃朗特姐妹之一艾米莉·勃朗特的作品，是19世纪英国文学的代表作之一。小说描写吉卜赛弃儿希斯克利夫被山庄老主人收养后，因受辱和恋爱不遂，外出致富。
回来后，对与其女友凯瑟琳结婚的地主林顿及其子女进行报复的故事。全篇充满强烈的反压迫、争幸福的斗争精神，又始终笼罩着离奇、紧张的浪漫气氛。此作品多次被改编成电影作品。
扩展资料：
《呼啸山庄》创作背景：
艾米丽生性寂寞，自小内向的她，缄默又总带着几分以男性自居的感觉，诚如夏洛蒂所说的：“她的性格是独一无二的。”
少女时代，当她和姐妹们在家里“编造”故事、写诗的时候，她就显得很特别，后来收录在她们诗歌合集中艾米丽的作品总是如同波德莱尔或爱伦·坡那样被“恶”这一主题所困惑，在纯净的抒情风格之间总笼罩着一层死亡的阴影。
在她写作《呼啸山庄》时，这种困惑与不安的情绪变得更加急躁，她迫切需要创造一个虚构的世界来演绎它，把自己心底几近撕裂的痛苦借小说人物之口淋漓尽致地发泄出来。因此《呼啸山庄》是饱含作者心血与情感的作品。
参考资料来源：百度百科—呼啸山庄 （艾米莉·勃朗特著长篇小说）
楼上的看作者名字就知道不是外国人写的吧？=.=这个网址有超多资料的，有每一章节的分析、人物分析、故事总结等，绝对实用，以前我考试的时候用过。这个网址主要是分析《呼啸山庄》的中心思想和艺术元素，很有用，以前我考试的时候常常用。这个只是一篇相关的文章，随便在网上找的，看了一下，感觉还行，你也可以参考一下。
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.
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
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."
The narrative is non-linear, involving several flashbacks, and involves two narrators - Mr. Lockwood and Nelly Dean. The novel opens in 1801, with Lockwood arriving at Thrushcross Grange, a grand house on the Yorkshire moors he is renting from the surly Heathcliff, who lives at nearby Wuthering Heights. Lockwood spends the night at Wuthering Heights and has a terrifying dream: the ghost of Catherine Earnshaw, pleading to be admitted to the house from outside. Intrigued, Lockwood asks the housekeeper Nelly Dean to tell the story of Heathcliff and Wuthering Heights while he is staying at the Grange recovering from a takes over the narration and begins her story thirty years earlier, when Heathcliff, a foundling living on the streets of Liverpool, is brought to Wuthering Heights by the then-owner, Mr. Earnshaw, and raised as his own. Earnshaw's daughter Catherine becomes Heathcliff's inseparable friend. Her brother Hindley, however, resents Heathcliff, seeing him as an interloper and rival. Mr. Earnshaw dies three years later, and Hindley (who has married a woman named Frances) takes over the estate. He brutalises Heathcliff, forcing him to work as a hired hand. Catherine becomes friends with a neighbor family, the Lintons of Thrushcross Grange, who mellow her initially wild personality. She is especially attached to the refined and mild young Edgar Linton, whom Heathcliff instantaneously year later, Hindley's wife dies, apparently of consumption, shortly after giving birth to a son, Hareton; Hindley takes to drink. Some two years after that, Catherine agrees to marry Edgar. Nelly knows that this will crush Heathcliff, and Heathcliff overhears Catherine's explanation that it would be "degrading" to marry him. Heathcliff storms out and leaves Wuthering Heights, not hearing Catherine's continuing declarations that Heathcliff is as much a part of her as the rocks are to the earth beneath. Catherine marries Edgar, and is initially very happy. Some time later, Heathcliff returns, intent on destroying those who prevent him from being with Catherine. He has, mysteriously, become very wealthy, and has duped Hindley into making him the heir to Wuthering Heights. Intent on ruining Edgar, Heathcliff elopes with Edgar's sister Isabella, which places him in a position to inherit Thrushcross Grange upon Edgar's becomes very ill after Heathcliff's return and dies a few hours after giving birth to a daughter also named Catherine, or Cathy. Heathcliff becomes only more bitter and vengeful. Isabella flees her abusive marriage a month later, and subsequently gives birth to a boy, Linton. At around the same time, Hindley dies. Heathcliff takes ownership of Wuthering Heights, and vows to raise Hindley's son Hareton with as much neglect as he had suffered at Hindley's hands years years later, the dying Isabella asks Edgar to raise her and Heathcliff's son, Linton. However, Heathcliff finds out about this and takes the sickly, spoiled child to Wuthering Heights. Heathcliff has nothing but contempt for his son, but delights in the idea of him ruling the property of his enemies. To that end, a few years later, Heathcliff attempts to persuade young Cathy to marry Linton. Cathy refuses, so Heathcliff kidnaps her and forces the two to marry. Soon after, Edgar Linton dies, followed shortly by Linton Heathcliff. This leaves Cathy a widow and a virtual prisoner at Wuthering Heights, as Heathcliff has gained complete control of both Wuthering Heights and Thrushcross Grange. It is at this point in the narrative that Lockwood arrives, taking possession of Thrushcross Grange, and hearing Nelly Dean's story. Shocked, Lockwood leaves for his absence from the area, however, events reach a climax that Nelly describes when he returns a year later. Cathy gradually softens toward her rough, uneducated cousin Hareton, just as her mother grew tender towards Heathcliff. When Heathcliff realizes that Cathy and Hareton are in love, he abandons his life-long vendetta. He dies broken and tormented, but glad to be rejoining Catherine, whose ghost had haunted him since she died. Cathy and Hareton marry. Heathcliff is buried next to Catherine (the elder), and the story concludes with Lockwood visiting the grave, unsure of what to fe
'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.'
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