浅析_名利场_中两位主要女性形象_李敏 - 副本.docx
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1、学 号 : _ 分 类 号 :H叫密 级 : 学 校 代 码 : 10636,; /四川师范大学硕 士 学 位 论 文A Brief Study of Two Women Characters inVanity Fair浅析名利场中两位主要女性形象t t. . ; *: . . / / /李 敏学 生 类 别 科 学 硕 士 _培 养 单 位_四 川 师 范 大 学 外 国 语 学院指 导 教 师 张 顺 赴 _职 称 副 教 授专 业 名 称 _英 语 语 言 文 学 _研 究 方 向 _英 美 文 学 _论 文 完 成 日 期 2011 年 6月 7日浅析名利场中两位主要女性形象研究研究生
2、:李敏 指导教师:张顺赴威廉梅克皮斯萨克雷是英国批判现实主义代表作家之 一,名利场被公认为他的代表作。作品刻画了两位截然不同的 女性的形象贝基夏普和艾米丽亚、亚塞得利。通过这两个女性 角色,萨克雷关注的是金钱至上和强烈阶级意识的男权社会中女 人的地位的角色,抨击了提倡维多利亚婚姻家庭观的腐朽、虚伪 的社会。文章将从女性主义角度解读名利场,以波伏娃的女性主义 批评理论为依据,探讨萨克雷在作品中对女性的态度。通过分析 作者认为,由于其自身的生活经历,与女性的密切关系以及对所 处时代女人的生存状况和所受到得偏见和歧视的观察,萨克雷对 女性的态度是同情的。作者论证了萨克雷对两位女性人物的同情 集中表现
3、在对她们各自性格特点的肯定和否定上。萨克雷肯定了 贝基敢于向维多利亚习俗挑战,她的自我意识,勇气和胆量,独 立自主、沉着冷静以及身处逆境却不屈不扰;否定了艾米丽亚的 软弱、柔顺、无用。通过文本分析和解读,作者得出结论:萨克 雷对贝基的态度是同情赞赏的;对艾米利亚的态度是同情否定的。本文分为四个部分:首先是对全文的总体介绍,包括萨克雷的艺术成就,有关名 利场的文学评论,对波伏娃的女性主义批评理论的简单回顾以 及此文的目的。第一章主要探讨萨克雷对女性所持的同情态度。第二章分析了主要人物之一贝基的形象和萨克雷对她的态 度。贝基是一个敢于向维多利亚习俗挑战的女性。她有自己意识, 勇气和胆量;她独立自主
4、,不屈不挠。她的形象推翻了男权社会 对女性的典型认识.女性天生不如男性。萨克雷对贝基的态度是 同情赞赏的。第三章分析另一女性形象艾米H!亚以及萨克雷对M 的态度。 她完全遵守维多利亚时代阶级和社会赋予她的角色;她顺从,柔 顺,软弱,无用。她成为别人的女儿,妻子,母亲,却从来没有 过自己的意识。她的命运由所在的社会阶级和身边的男人决定。 尽管他最终宽恕了了懂得爱的艾米丽亚,但萨克雷对艾米丽亚的 主要态度是同情否定的。第四部分是全文的结论:一方面萨克雷对贝基的态度同情赞 赏的;对艾米利亚的同情否定的。关键字:萨克雷名利场女性主义维多利亚时代A Brief Study of Two Women Ch
5、aracters in Vanity FairtAbstractMA Candidate: Li Min Advisor: Zhang ShunfuWilliam Makepeace Thackeray, the English critical realistic writer, created two impressive and contrasting female figures in Vanity Fair: Becky Sharp and Amelia Sedley. The novel explores the money-oriented Victorian patriarch
6、al system and the status-conscious world in which women were confined to roles that require their submissiveness and deprive them of power. In the novel, Thackeray attacks the corrupt and hypocritical society, the root of the Victorian virtues of marriage and family.The thesis intends to reinterpret
7、 the novel from the feminist approach, and explore Thackerays attitude towards women. The author suggests that it is Thackerays sympathy for women that provokes him to create these two main women characters in Vanity Fair. Becky and Amelia. Thackeray sympathy for women comes from his own life experi
8、ence, his close relationship and familiarity with them. Whats more, womens living conditions and the prejudice and discrimination against them from the Victorian society also invite his sympathy. The author argues that Thackeray sympathy for the two female characters mainly lies in his appreciation
9、as well as disapproval of the qualities displayed by them. He approves ofBeckys rebellious behaviors against the Victorian conventions, her self-consciousness, courage, self-reliance, self-possession and indomitability in times of adversity, and disapproves of Amelias weakness, passiveness, unworthi
10、ness and parasitism. Through textual analysis and interpretation, the author arrives at the conclusion that Thackerays attitude toward Becky is predominantly sympathetic or admiring; and his pity and disapproval for Amelia is equally apparent. However, despite his sympathy for women in Vanity Fair,
11、the author has noted that as a traditional male writer,Thackeray still adheres to the established ictorian values in a patriarchal society, which might also stem for his own life experience as well as his view of domestic life. That may account for his forgiving of Amelia for all her weak points.Thi
12、s thesis develops its arguments in the following four parts:Firstly the thesis gives a general introduction including Thackerays life and art, literary reviews on FGZV,a brief review of Beauvoirs feminist literacy theories and the purpose of the thesis.The first chapter mainly deals with Thackerays
13、sympathy with women in general.The second chapter analyzes one of the main characters Becky, and Thackeray attitude toward Becky. Becky is an image who has her own desire and tries to pursue the life of her ideal. She is intelligent, capable and indomitable. Thackeray holds sympathy for her and appr
14、eciates her intelligence, courage and indomitable spirit.The third chapter focuses on the image of Amelia and Thackeray attitude toward Amelia. Amelia is an image confined to the role designated to role in the Victorian era. She is passive, submissive, vacuous and powerless. She lives as a daughter,
15、 a wife, and a mother, but never has her own will. Thackeray holds sympathyfor her and disapproves her weakness and powerlessness. He forgives Amelia in the end because as a conventional male writer, he to some extent still adheres to the established Victorian values in a patriarchal society.Finally
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