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爱伦坡论文参考文献

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爱伦坡论文参考文献

1 美国浪漫主义时期小说类型研究 卢敏 上海师范大学 【博士】上海师范大学 2006-04-01 3 971 2 爱伦·坡短篇小说的现代性 张鑫 湘潭大学 【硕士】湘潭大学 2002-04-01 1 579

我们从《创作的哲学》谈起。此篇是坡最重要的文论,它基本详细地说明了“效果论”。在此文中,坡称自己“一开始就考虑一种效果。”然后思考“我应该选择哪一种效果呢?”既而先定效果,同时也就是定下一个故事。然后开始搜索符合这样效果的“情节和情调”。他提出,不少作家都羞于说出自己是“精心修饰”文章的人,而宁愿说自己的作品出于一种灵感——一种情感。但坡不这么认为,他说追述自己如何构思作品也是一个相当有趣的过程。然后坡开始追述《乌鸦》一诗如何诞生的。(我们敢说这部分内容有些是虚构的,但它也能体现坡的写作思想。)一、诗的长度不能太长,(小说亦同)否则读者会因事务干扰完整的阅读。二、诗的基调——当然还是美。三、如何之美?悲剧之美。四、效果和基调都有了,现在开始考虑诗的声音层面。(坡的歌诗基本都是有音韵的,有高度的音乐性。)选定一个叠歌的效果。五、选择叠句用什么韵。为了有感染力,坡选择用O+R。和基调相和的,坡“绝对不可能漏掉‘Nevermore’”一词。六、怎么才能把这个词反复用出来呢?——人来念?不合理。那就动物吧?什么动物呢?鹦鹉?——哦一只乌鸦(RAVEN,有一种乌鸦会学舌)。[并且怎么说呢?乌鸦本身就就是一去不复返的意思,见于圣经·创世记。硝注]也和诗的基调很一致。七、在所有主题中,有没有非常之悲郁的主题?——死亡。谁的死亡又和美相联系呢?当然是美女之死。这样非常有诗意。于是整个诗主角被定为:“一个痛失佳人的多情男子。”八、分析随着“Nevermore”的反复使用,主角产生的反应。开始不太惊讶,然后惊醒,然后恐怖,然后开始自我折磨。九、写下其中一段,最关键的一段。同时决定句子韵律。十、选择情节发生的场景。最后选择为封闭的空间内。然后是一些情节细节分析。开始使用第八条完成情节。最后坡对全诗情节作了一个无上理性的分析——和我读到的感受根本是两回事:一位青年学者在家怀念他刚死去的妻子,乌鸦拍打他的窗户,以为是有客来的主角开了窗,乌鸦飞入。青年觉得“有趣”于是问着乌鸦的姓名,没想到学过舌的乌鸦以一句“永不复焉”回答,然后他吃惊地自语,乌鸦重复以“永不复焉”作答,诗人在恐惧之余,开始“明知故问”,进一步陷入悲伤的自我折磨境地。然后“读者将把乌鸦看作一个象征”——“没有止境的伤逝。”

爱伦全家于1820年7月回到里士满,埃德加在当地私立学校继续学业。表现出学习拉丁文以及对戏剧表演和游泳的天赋。写双行体讽刺诗。诗稿除《哦,时代!哦,风尚!》一首外均已遗失。倾慕一位同学的母亲简·斯坦纳德,后来把她描写为“我心灵第一个纯理想的爱”,并把她作为1831年发表的《致海伦》一诗的灵感来源。爱伦的商行在连续两年经济不景气后于1824年倒闭,但1825年他叔叔之死又使他成了一名富人,他在市中心买下了一幢房子。埃德加不顾双方家庭的强烈反对与爱弥拉·罗伊斯特私定终身。1826进入(一年前由托马斯·杰斐逊创办的)弗吉尼亚大学,古典,语言及现代语言成绩出众。发现爱伦提供的生活费不够开销,常参加赌博并输掉2000美元。爱伦拒绝为他支付赌债,坡回到里士满,发现罗伊斯特夫妇已成功地废除了他与爱弥拉的婚约。1827抱怨爱伦无情,不顾弗朗西丝·爱伦的一再劝慰于三月离家出走。化名“亨利·勒伦内”乘船去波士顿。五月应募参加美国陆军,报称姓名“埃德加·A·佩里”,年龄22岁,职业“职员”,被分派到波士顿港独立要塞的一个海岸炮兵团。说服一名年轻的印刷商出版了他的第一本书《帖木儿及其它诗》,作者署名为“波士顿人”,这本薄薄的诗集没引起人们注意。11月坡所在部队移防到南卡罗来纳州的莫尔特雷要塞。1828—29在一连串提升之后,坡获得了士兵中的最高军衔军士长。怀着当职业军人的打算谋求约翰·爱伦帮助谋求进入西点军校的机会。爱伦夫人于1829年2月28日去世,坡从军队荣誉退伍,居住在巴尔的摩几位父系亲戚家。在等候西点军校答复期间写信求爱伦出钱资助第二本诗集的出版,信中说“我早已不再把拜伦当作楷模。”爱伦拒绝资助,但《阿尔阿拉夫、帖木儿及小诗》仍于1829年12月由巴尔的摩的哈奇及邓宁出版社出版,这次坡署上了他自己的姓名。包括修改后的《帖木儿》和六首新作的该书样本得到著名评论家约翰·尼尔的认可,他为此书写了一篇虽短但却不乏溢美之词的评论。1830—311830年5月入西点军校;语言学识过人,因写讽刺军官们的滑稽诗而在学员中深得人心。约翰·爱伦于1830年10月再次结婚,婚后不久读到坡以“A先生并非经常清醒”开篇的来信,因此立即与坡断绝了关系。坡故意“抗命”(缺课,不上教堂,不参加点名)以求离开军校,1831年1月受军事法庭审判并被开除。2月到纽约。用军校同学捐赠的钱与一出版商签约出版《诗集》第二版。该书被题献给“合众国士官生”,内容包括《致海伦》、《以色拉费》、以及他第一次发表的评论性文章,即作为序的《致XX先生的信》。在巴尔的摩与姨妈玛丽亚,克蒂姆和她八岁的女儿弗吉尼亚同住;住姨妈家的还有坡的哥哥威廉·亨利,他于8月病逝,此外还有坡的祖母伊丽莎白·凯恩斯·坡,她因亡夫在独立战争中的贡献而领取的一点抚恤金弥补了这个家庭收入之不足。送交五个短篇小说参加费城《星期六信使报》主办的征文比赛;小说无一中奖,但全部被《信使报》于次年发表。1832—33住姨妈家,教表妹弗吉尼亚念书。写出六个短篇小说,希望加上《信使报》发表的5篇以《对开本俱乐部的故事》为书名结集出版。1833年夏天送交这六篇小说参加由巴尔的摩《星期六游客报》举办的征文比赛。《瓶中手稿》赢得五十美元的头奖,同时《罗马大圆形竞技场》在诗歌比赛中名列第二。两篇获奖作品均于1833年10月由《游客报》刊登。

你的论文准备往什么方向写,选题老师审核通过了没,有没有列个大纲让老师看一下写作方向? 老师有没有和你说论文往哪个方向写比较好?写论文之前,一定要写个大纲,这样老师,好确定了框架,避免以后论文修改过程中出现大改的情况!!学校的格式要求、写作规范要注意,否则很可能发回来重新改,你要还有什么不明白或不懂可以问我,希望你能够顺利毕业,迈向新的人生。1、论文题目:要求准确、简练、醒目、新颖。2、目录:目录是论文中主要段落的简表。(短篇论文不必列目录)3、提要:是文章主要内容的摘录,要求短、精、完整。字数少可几十字,多不超过三百字为宜。4、关键词或主题词:关键词是从论文的题名、提要和正文中选取出来的,是对表述论文的中心内容有实质意义的词汇。关键词是用作机系统标引论文内容特征的词语,便于信息系统汇集,以供读者检索。 每篇论文一般选取3-8个词汇作为关键词,另起一行,排在“提要”的左下方。主题词是经过规范化的词,在确定主题词时,要对论文进行主题,依照标引和组配规则转换成主题词表中的规范词语。5、论文正文:(1)引言:引言又称前言、序言和导言,用在论文的开头。 引言一般要概括地写出作者意图,说明选题的目的和意义, 并指出论文写作的范围。引言要短小精悍、紧扣主题。〈2)论文正文:正文是论文的主体,正文应包括论点、论据、 论证过程和结论。主体部分包括以下内容:a.提出-论点;b.分析问题-论据和论证;c.解决问题-论证与步骤;d.结论。6、一篇论文的参考文献是将论文在和写作中可参考或引证的主要文献资料,列于论文的末尾。参考文献应另起一页,标注方式按《GB7714-87文后参考文献著录规则》进行。中文:标题--作者--出版物信息(版地、版者、版期):作者--标题--出版物信息所列参考文献的要求是:(1)所列参考文献应是正式出版物,以便读者考证。(2)所列举的参考文献要标明序号、著作或文章的标题、作者、出版物信息。

爱伦坡论文文献综述

推荐你看 《哥特之魂》,您绝对会受益匪浅的,相信我。。。我也正在写哥特的论文,虽然是 in English的><

埃德加·爱伦坡(Edgar Allan Poe,1809—1849),美国小说家、诗人、批评家。提倡“为艺术而艺术”,宣扬唯美主义、神秘主义。受西欧尤其是法国资产阶级文学颓废派影响大。小说有《怪诞故事集》、《黑猫》、《莫格街谋杀案》等。论文有《写作的哲学》、《诗歌原理》等。 爱伦·坡被誉为“侦探小说的鼻祖”。《莫格街谋杀案》、《罗杰疑案》和《失窃的信》被奉为侦探小说的先河。《莫格街谋杀案》写密室凶杀,凶手居然是猩猩。《罗杰疑案》借新闻报道,纯粹用推理形式破案。《失窃的信》是对人类心理进行解剖与逻辑演示的范本。在这三篇小说中塑造了业余侦探杜宾的形象,将科学精神和诗意灵韵融于这个理想的侦探身上,可以说他是柯南道尔笔下福尔摩斯的前辈

"The Black Cat" is a short story by Edgar Allan Poe. It was first published in the August 19, 1843, edition of The Saturday Evening Post. It is a study of the psychology of guilt, often paired in analysis with Poe's "The Tell-Tale Heart".[1] In both, a murderer carefully conceals his crime and believes himself unassailable, but eventually breaks down and reveals himself, impelled by a nagging reminder of his guilt. The story is presented as a first-person narrative using an unreliable narrator. The narrator tells us that from an early age he has loved animals. He and his wife have many pets, including a large black cat named Pluto. This cat is especially fond of the narrator and vice versa. Their mutual friendship lasts for several years, until the narrator becomes an alcoholic. One night, after coming home intoxicated, he believes the cat is avoiding him. When he tries to seize it, the panicked cat bites the narrator, and in a fit of rage, he seizes the animal, pulls a pen-knife from his pocket, and deliberately gouges out the cat's eye.From that moment onward, the cat flees in terror at his master's approach. At first, the narrator is remorseful and regrets his cruelty. "But this feeling soon gave place to irritation. And then came, as if to my final and irrevocable overthrow, the spirit of PERVERSENESS." He takes the cat out in the garden one morning and hangs it from a tree, where it dies. That very night, his house mysteriously catches on fire forcing the narrator, his wife and their servant to flee.The next day, the narrator returns to the ruins of his home to find, imprinted on the single wall that survived the fire, the figure of a gigantic cat, hanging by its neck from a rope.At first, this image terrifies the narrator, but gradually he determines a logical explanation for it, that someone outside had thrown the dead cat into the bedroom to wake him up during the fire, and begins to miss Pluto. Some time later, he finds a similar cat in a tavern. It is the same size and color as the original and is even missing an eye. The only difference is a large white patch on the animal's chest. The narrator takes it home, but soon begins to loathe, even fear the creature. After a time, the white patch of fur begins to take shape and, to the narrator, forms the shape of the gallows.Then, one day when the narrator and his wife are visiting the cellar in their new home, the cat gets under its master's feet and nearly trips him down the stairs. In a fury, the man grabs an axe and tries to kill the cat but is stopped by his wife. Enraged, he kills her with the axe instead. To conceal her body he removes bricks from a protrusion in the wall, places her body there, and repairs the hole. When the police came to investigate, they find nothing and the narrator goes free. The cat, which he intended to kill as well, has gone missing.On the last day of the investigation, the narrator accompanies the police into the cellar. There, completely confident in his own safety, the narrator comments on the sturdiness of the building and raps upon the wall he had built around his wife's body. A wailing sound fills the room. The alarmed police tear down the wall and find the wife's corpse, and on her head, to the horror of the narrator, is the screeching black cat. As he words it: "I had walled the monster up within the tomb!" Like the narrator in Poe's "The Tell-Tale Heart", the narrator of "The Black Cat" has questionable sanity. Near the beginning of the tale, the narrator says he would be "mad indeed" if he should expect a reader to believe the story, implying that he has already been accused of madness.[2]One of Poe's darkest tales, "The Black Cat" includes his strongest denouncement of alcohol. The narrator's perverse actions are brought on by his alcoholism, a "disease" and "fiend" which also destroys his personality.[3] The use of the black cat evokes various superstitions, including the idea voiced by the narrator's wife that they are all witches in disguise. The titular cat is named Pluto after the Roman god of the Underworld. Publication history"The Black Cat" was first published in the August 19, 1843 issue of The Saturday Evening Post. At the time, the publication was using the temporary title United States Saturday Post.[4] Readers immediately responded favorably to the story, spawning parodies including Thomas Dunn English's "The Ghost of the Grey Tadpole".[5][edit] Adaptations [edit] In film "The Black Cat" was adapted into a film starring Bela Lugosi and Boris Karloff in 1934 and another with Lugosi and Basil Rathbone in 1941, although neither version bears much resemblance to the original story.[5] Many other adaptations exist but the most faithful to the original is the middle segment of Roger Corman's trilogy film Tales of Terror in 1962.[5] Although the overall film was cast with Vincent Price as the lead, in this segment, he was in a supporting role with Peter Lorre as the main character. The 1934 film Maniac also loosely adapts the story. This version follows a former vaudeville actor who kills a doctor and takes the doctor's place to hide his crime. "The Black Cat" was also adapted into a film of the same name by Italian horror director Lucio Fulci in 1981. Film director Dario Argento presented his own loose adaptation of the story in the 1990 anthology film Two Evil Eyes.[edit] In television "The Black Cat" is the eleventh episode of the second season of Masters of Horror. The plot essentially retells the short story in a semi-autobiographical manner, with Poe himself undergoing a series of events involving a black cat which he used to inspire the story of the same name.[edit] Recordings In 1997, a compilation of Poe's work was released on a double CD entitled Closed on Account of Rabies, with various celebrities lending their voices to the tales. The Black Cat was read by avant-garde performer Diamanda Galás.[edit] References in literary works In 1970, Czech writer Ludvík Vaculík made many references to "A Descent into the Maelstr�0�2m" as well as "The Black Cat" in his novel The Guinea Pigs.[edit] References in art In 1910-11 Futurist artist Gino Severini painted "The Black Cat" in direct reference to Poe's short story. An illustration and description can be found at this site

爱伦坡黑猫论文文献综述

一个人由于酗酒从善良变得暴躁,将他原本珍爱的黑猫普路托剜去了眼睛,黑猫从此对他敬而远之,然后,此人将黑猫吊死在树枝上,当晚,这人家里起火,烧得家财散尽,只有一面白墙壁不倒,上面有一层浅浮雕,赫然是一只猫,脖子上还挂着绳索。

他虽然用科学向自己解释了一通,但还是心存害怕,后来又从酒吧带回了一只与普路托相似的猫,这猫被带回家的第二天就不知被谁剜掉了一只眼睛,这使得他对这猫又深恶痛绝又害怕。一天他失手杀死了自己的妻子,然后想出了一个绝妙的隐藏尸体的方法——把尸体砌进墙壁。

之后他发现黑猫竟同时不见了,心里充满了恐惧,在警察搜查他的家时,墙壁里发出了猫叫,原来他在慌乱中将猫与尸体一起砌进了墙壁。

拓展资料:

埃德加·爱伦·坡(EdgarAllanPoe)(1809~1849),19世纪美国诗人、小说家和文学评论家,美国浪漫主义思潮时期的重要成员。

埃德加·爱伦·坡1809年1月19日生于马萨诸塞州的波士顿,他年幼时父母双亡,随即被弗吉尼亚州里士满的约翰和弗朗西丝斯·爱伦夫妇收养,在弗吉尼亚大学就读了短暂的一段时间后辍学,之后从军,爱伦·坡离开了爱伦夫妇。爱伦坡低调地开始了他的写作生涯,匿名出版了诗集《帖木尔和其它的诗》。

1835年他在巴尔的摩和13岁的表妹弗吉尼亚·克莱姆结婚。1838年《阿瑟·戈登·皮姆的故事》出版并被受到了广泛的关注。1839年夏天,爱伦·坡成为《伯顿绅士杂志》(Burton'sGentleman'sMagazine)的助理编辑。

这期间他发表了的随笔、小说,和评论,加强了他在《南方文学信使》工作时期开始确立的敏锐批评家的声誉,同期,《怪异故事集》上下卷在1839年出版。1845年1月,爱伦·坡发表诗歌"乌鸦",一时声誉鹊起。1849年10月7日逝于巴尔的摩。

《黑猫》是爱伦坡的恐怖小说名作之一。它讲述一个人杀了一只黑猫,後来另一只黑猫以奇特的方式复仇的故事。全文一字不及幽灵鬼怪,但在描述人们内心邪恶的念头时,却令人不寒而栗。

爱伦·坡有一篇侦探小说《黑猫》,写的是一个人由于酗酒从善良变得暴躁,将他原本珍爱的黑猫普路托剜去了眼睛,黑猫从此对他敬而远之,在这里爱伦·坡有一段话是这样的:“我毕竟天良未泯,因此最初看见过去如此热爱我的畜生竟这样嫌恶我,不免感到伤心。但是这股伤心之感一下子就变为恼怒了。到后来,那股邪念又上升了,终于害得我一发不可收拾。关于这种邪念,哲学上并没有重视。不过我深信不疑,这种邪念是人心本能的一股冲动,是一种微乎其微的原始功能,或者说是情绪,人类性格就由它来决定。谁没有在无意中多次干下坏事或蠢事呢?而且这样干时无缘无故,心里明知干不得而偏要干。哪怕我们明知这样干犯法,我们不是还会无视自己看到的后果,有股拼命想去以身试法的邪念吗?”然后,此人将黑猫吊死在树枝上,当晚,这人家里起火,烧得家财散尽,只有一面白墙壁不倒,上面有一层浅浮雕,赫然是一只猫,脖子上还挂着绳索。他虽然用科学向自己解释了一通,但还是心存害怕,后来又从酒吧带回了一只与普路托相似的猫,这猫被带回家的第二天就不知被谁剜掉了一只眼睛,这使得他对这猫又深恶痛绝又害怕。一天他失手杀死了自己的妻子,然后想出了一个绝妙的隐藏尸体的方法——把尸体砌进墙壁。之后他发现黑猫竟同时不见了,心里充满了恐惧,在警察搜查他的家时,墙壁里发出了猫叫,原来他在慌乱中将猫与尸体一起砌进了墙壁。之所以如此详细地讲述情节是因为这篇小说写出了一连贯的潜意识,由于酗酒而暴躁,由暴躁而愧疚,由愧疚而恼怒,由恼怒而恶向胆边生,而后又由于愧疚而恐惧,由于恐惧而又暴躁,总之心理描写层层推进,丝丝入扣。

毕业论文题目爱伦坡

写哥特小说中的犯罪行为及其表达的内涵吧。

这个可以帮忙的,要求多少字呢

埃德加·爱伦坡(Edgar Allan Poe,1809—1849),美国小说家、诗人、批评家。提倡“为艺术而艺术”,宣扬唯美主义、神秘主义。受西欧尤其是法国资产阶级文学颓废派影响大。小说有《怪诞故事集》、《黑猫》、《莫格街谋杀案》等。论文有《写作的哲学》、《诗歌原理》等。 爱伦·坡被誉为“侦探小说的鼻祖”。《莫格街谋杀案》、《罗杰疑案》和《失窃的信》被奉为侦探小说的先河。《莫格街谋杀案》写密室凶杀,凶手居然是猩猩。《罗杰疑案》借新闻报道,纯粹用推理形式破案。《失窃的信》是对人类心理进行解剖与逻辑演示的范本。在这三篇小说中塑造了业余侦探杜宾的形象,将科学精神和诗意灵韵融于这个理想的侦探身上,可以说他是柯南道尔笔下福尔摩斯的前辈

你和我写的差不多啊,去网上搜下,哥特文学的重要性。下面是我找的资料,你参考下吧。哥特文学现在已经成为英美文学研究中的一个重要领域。对哥特文学的认真研究开始于20 世纪二三十年代, 到70 年代以后, 由于新的学术思潮和文学批评观念的影响, 该研究出现了前所未有而且日趋高涨的热潮。根据在国际互联网上的搜索, 到2000 年9月为止, 英美等国的学者除发表了大量关于哥特文学的论文外, 还至少出版专著达184部, 其中1970 年以后为126 部, 仅90 年代就达59 部, 几乎占总数的三分之一。当然,近年来哥特文学研究的状况不仅在于研究成果迅速增加, 更重要的是它在深度和广度方面都大为拓展, 并且把哥特传统同英美乃至欧洲的历史、社会、文化和文学的总体发展结合起来。爱伦•坡被公认为是“第一个写出真正的哥特式小说精品的美国人.使哥特小说朝内在化方面发展最突出的作家。爱伦•坡的诸多短篇小说如:《厄舍古屋的倒塌》、《泄秘的心》、《黑猫》、《红死魔的面具》、《活埋》、《陷坑和钟摆》、《一桶白葡萄酒》等都含有浓郁的哥特意蕴。

爱伦坡诗歌主题解读论文

"The Black Cat" is a short story by Edgar Allan Poe. It was first published in the August 19, 1843, edition of The Saturday Evening Post. It is a study of the psychology of guilt, often paired in analysis with Poe's "The Tell-Tale Heart".[1] In both, a murderer carefully conceals his crime and believes himself unassailable, but eventually breaks down and reveals himself, impelled by a nagging reminder of his guilt. The story is presented as a first-person narrative using an unreliable narrator. The narrator tells us that from an early age he has loved animals. He and his wife have many pets, including a large black cat named Pluto. This cat is especially fond of the narrator and vice versa. Their mutual friendship lasts for several years, until the narrator becomes an alcoholic. One night, after coming home intoxicated, he believes the cat is avoiding him. When he tries to seize it, the panicked cat bites the narrator, and in a fit of rage, he seizes the animal, pulls a pen-knife from his pocket, and deliberately gouges out the cat's eye.From that moment onward, the cat flees in terror at his master's approach. At first, the narrator is remorseful and regrets his cruelty. "But this feeling soon gave place to irritation. And then came, as if to my final and irrevocable overthrow, the spirit of PERVERSENESS." He takes the cat out in the garden one morning and hangs it from a tree, where it dies. That very night, his house mysteriously catches on fire forcing the narrator, his wife and their servant to flee.The next day, the narrator returns to the ruins of his home to find, imprinted on the single wall that survived the fire, the figure of a gigantic cat, hanging by its neck from a rope.At first, this image terrifies the narrator, but gradually he determines a logical explanation for it, that someone outside had thrown the dead cat into the bedroom to wake him up during the fire, and begins to miss Pluto. Some time later, he finds a similar cat in a tavern. It is the same size and color as the original and is even missing an eye. The only difference is a large white patch on the animal's chest. The narrator takes it home, but soon begins to loathe, even fear the creature. After a time, the white patch of fur begins to take shape and, to the narrator, forms the shape of the gallows.Then, one day when the narrator and his wife are visiting the cellar in their new home, the cat gets under its master's feet and nearly trips him down the stairs. In a fury, the man grabs an axe and tries to kill the cat but is stopped by his wife. Enraged, he kills her with the axe instead. To conceal her body he removes bricks from a protrusion in the wall, places her body there, and repairs the hole. When the police came to investigate, they find nothing and the narrator goes free. The cat, which he intended to kill as well, has gone missing.On the last day of the investigation, the narrator accompanies the police into the cellar. There, completely confident in his own safety, the narrator comments on the sturdiness of the building and raps upon the wall he had built around his wife's body. A wailing sound fills the room. The alarmed police tear down the wall and find the wife's corpse, and on her head, to the horror of the narrator, is the screeching black cat. As he words it: "I had walled the monster up within the tomb!" Like the narrator in Poe's "The Tell-Tale Heart", the narrator of "The Black Cat" has questionable sanity. Near the beginning of the tale, the narrator says he would be "mad indeed" if he should expect a reader to believe the story, implying that he has already been accused of madness.[2]One of Poe's darkest tales, "The Black Cat" includes his strongest denouncement of alcohol. The narrator's perverse actions are brought on by his alcoholism, a "disease" and "fiend" which also destroys his personality.[3] The use of the black cat evokes various superstitions, including the idea voiced by the narrator's wife that they are all witches in disguise. The titular cat is named Pluto after the Roman god of the Underworld. Publication history"The Black Cat" was first published in the August 19, 1843 issue of The Saturday Evening Post. At the time, the publication was using the temporary title United States Saturday Post.[4] Readers immediately responded favorably to the story, spawning parodies including Thomas Dunn English's "The Ghost of the Grey Tadpole".[5][edit] Adaptations [edit] In film "The Black Cat" was adapted into a film starring Bela Lugosi and Boris Karloff in 1934 and another with Lugosi and Basil Rathbone in 1941, although neither version bears much resemblance to the original story.[5] Many other adaptations exist but the most faithful to the original is the middle segment of Roger Corman's trilogy film Tales of Terror in 1962.[5] Although the overall film was cast with Vincent Price as the lead, in this segment, he was in a supporting role with Peter Lorre as the main character. The 1934 film Maniac also loosely adapts the story. This version follows a former vaudeville actor who kills a doctor and takes the doctor's place to hide his crime. "The Black Cat" was also adapted into a film of the same name by Italian horror director Lucio Fulci in 1981. Film director Dario Argento presented his own loose adaptation of the story in the 1990 anthology film Two Evil Eyes.[edit] In television "The Black Cat" is the eleventh episode of the second season of Masters of Horror. The plot essentially retells the short story in a semi-autobiographical manner, with Poe himself undergoing a series of events involving a black cat which he used to inspire the story of the same name.[edit] Recordings In 1997, a compilation of Poe's work was released on a double CD entitled Closed on Account of Rabies, with various celebrities lending their voices to the tales. The Black Cat was read by avant-garde performer Diamanda Galás.[edit] References in literary works In 1970, Czech writer Ludvík Vaculík made many references to "A Descent into the Maelstr�0�2m" as well as "The Black Cat" in his novel The Guinea Pigs.[edit] References in art In 1910-11 Futurist artist Gino Severini painted "The Black Cat" in direct reference to Poe's short story. An illustration and description can be found at this site

嗯,可能需要改成 爱伦·坡作品的人文关怀?NOWIS同学……别人没说要写影视作品,你在干什么啊没搞错人吧。= =对了,提问者同学,怀疑你是不是看了这篇:里面才提到人文关怀。人文关怀这种词我似乎在 西方文论里少有见。不过中国人所言人文即西方所谓人本。人性、人之内心、人之内在,破除被集体和形式束缚的个性特征。你的意思是 坡的作品关注人的内心吧?(注意,在这里你不能单通过一篇作品分析坡本答的人文关怀,即使是加上他的生平、他的全部作品也是不容易分析的,因为暂时还没有能定论坡的全部创作目的,只一般只能看作品本身的表达,也就是说,你即然后面也提到是“坡的作品的人文关注”,标题在使用的时候也可用这种格式)。即使是关注内心、心理方面的,那就可以在标题里使用 心、心灵、灵魂这种词语。但正向经常 提到的人文关怀,更多的包容着 理解、包含、善意的意味。“人文的核心是‘人’,以人为本,关心人,爱护人,尊重人。这就是我们常常说的人类关怀、生命关怀。人是衡量一切的尺度,在人世间的各种权利,只有人权是天赋的,生来具有的,不可剥夺,也不可代替的。承认人的价值,尊重人的个人利益,包括物质的利益和精神的利益。”【袁正光】【首先, 无需否认, 在坡的看似荒诞的故事背后, 拥有着深刻的人文关怀。因为恐怖也是人类所拥有的共同经验。不幸的人生、对时代的感知, 都使坡体验到了这种恐惧, 意识到了人类精神存在着一种恐怖的极端状态。他之展示心灵的恐怖就是对人的孤独、绝望和无奈的生存困境的集中展现, 因而也是对人类的悲怜和关怀的表现。世纪之交的中国, 人们越来越多地品尝到了恐惧的心理体验。铁饭碗的打破, 生存压力的增大, 生态环境的恶化,未来的不可知等等, 无一不让人感到恐惧、紧张、焦虑和不安。这种体验一旦与爱伦·坡作品中所凸现的心灵恐怖相碰撞, 便会在不知不觉中受到强烈感染, 激发起他们对经验过的同类情绪的回想与咀嚼, 进而产生一种因似曾相识而来的亲切感, 这就形成了作品的一种内在魅力; 另一方面, 当下的中国又是一个“市场尘埃”侵入并污染人们情感生活的时代。信仰的缺失, 社会生活节奏的加快等所带来的空虚、疲惫, 甚至是颓废绝望, 又导致了不少人对强刺激的追求。在这种精神状态中, 脱开尘世, 走进爱伦·坡式的恐怖小说世界, 对一部分中国人而言就格外具有吸引力。再加上根据市场“卖点”所进行的商业炒作⋯⋯所有这一切, 都给爱伦·坡在中国的重新传播和迅速发生影响提供了绝佳的机会和良好的条件。】【爱伦·坡与世纪之交的中国当代恐怖小说 胡克俭】所以:直面心灵的恐怖之美如何?不过好像已经有人用过了如“心灵的恐怖——解读爱伦·坡的恐怖小说”“来自心灵的恐怖—评爱伦 坡的《厄舍古屋的倒塌》的创作效果”“心灵的恐怖与忏悔_论爱伦_坡的_黑猫”等等。那么如果再文艺一些呢,比如“重拾心灵之境”之类。我觉得最好还是你自己想一个,认真思考一下要表达的主题,结果肯定会比较满意吧!

Re 硝:是的,我把写论文的两个人完全搞混了,最近搜象棋手精神恍惚了,面壁……

想到写毕业论文就头疼,我为大家整理了文化毕业论文范文,希望能帮助大家缓解头疼!

摘要 :<乌鸦>是美国诗人、文论家埃德加爱伦坡的代表诗作。<乌鸦>以优美的形式、韵律极强的音乐感来表现该诗的主题“美妇人之死”。主题、形式和语言的选择反映了诗人的创作哲学,而该诗的成功实践也证实了其相关理论。

关键词 :爱伦坡;乌鸦;主题;形式;音乐性

埃德加爱伦坡被认为是唯美主义的先驱,他与惠特曼、狄更森一起被称为19世纪美国最有创造力的三位诗人。爱伦坡的“为诗而诗”的观点决定了他诗歌作品的唯美主义倾向,他的诗歌作品形式精美,音韵优美。爱伦坡在《诗歌原理》中写道:“我认为根本就不存在什么长诗,‘长诗’本身就是一个自相矛盾的词。诗之所以为诗,是因为它能够激动人心,使灵魂升华。而人们激动的短暂乃是心理的必然。”因此要创作出能给读者留下深刻印象的富于美感的诗,根据他的说法,长度在一百行上下的诗歌最为理想。

爱伦坡在他的著作《创作哲学》中,非常详细地阐述了他对文学创作的主张,也第一次明确地提出了“美女之死”这一主题。他在文中指出:“美是诗的唯一正统的领域”,同时“忧郁是所有诗的情调中最正宗的”,而“死亡”则是所有忧郁的题材中“最为忧郁的”,因此“当死亡与美紧密联系在一起的时候”最具诗意。爱伦坡由此得出结论“美妇人之死无疑地是最富有诗意的主题——而这主题如由悼念亡者的恋人口中说出是再恰当不过的了”。《乌鸦》就是以这一主题为基调的。

《乌鸦》是爱伦坡的代表诗作,坡关于诗歌主张的主题之美、形式之美、音乐之美在这首诗里得以充分体现。坡在《创作哲学》一文中分析了该诗的创作过程,他有意识地选择了乌鸦这个不详之鸟来寄托。最大限度的悲痛与绝望”,这首诗要表现的就是坡最热衷的主题即由“死亡”所带来的“忧郁美”,即主题之美。

《乌鸦》一诗的形式别具一格。爱伦坡为使诗歌达到整体的艺术效果,创作之前,诗人对该诗的长度进行了认真的考虑,认为一首诗不宜太长,太长则读者容易倦怠,或易受干扰,难以卒读;一首诗也不宜太短,太短则有点像格言警句,不能达到一定的效果。爱伦坡在《创作哲学》中说道:一部作品只有一口气读完,否则其美的统一感便会消失,因为尘世间的杂事会干扰。所谓长诗,如弥尔顿的《失乐园》,实际上是由诸多短诗构成的,即其整体效果是诸多短暂效果所形成的”坡在确定了诗的范围和长度后,运用数学计算和逻辑推理以及心理学方面的知识,设计了一次能读完的最佳长度——即《乌鸦》的108行;《乌鸦》全诗由18节构成,每节都有6行,前5行字数相近,音节相当(都是15至16个音节),最后一行字数及音节仅为前5行的一半。就是18节这样的6行诗组构了全诗。因此,全诗从形式上看整齐划一。显然,作者对该诗的展开方式是平直、刻板的,也正是这种刻板与全诗的氛围高度一致,表现了述者已悲哀麻木到了无可复加的程度。

音乐美是《乌鸦》最突出的特点,其节奏感和旋律感非常强。在《诗歌原理》中,坡认为诗歌只有与音乐结合才可以找到诗歌发展的最广阔的领域,他还给诗下了一个简短的定义:“美之节奏创造”。坡在《创作哲学》中为《乌鸦》设计的韵律为扬抑格。每一行的第一个音节是重读音节而第二个音节是非重读音节。其一、三行的八音步与二、四行七个半音步交替出现,最后一行以三个半音步包含一个三重韵的迭旬结束。其节奏格式始终是ABCBBB。这种诗歌的创作技巧贯穿于整首诗,为全诗打造出一种神秘、恐怖的氛围,这恰恰与青年哀伤的情绪相应,忠实地表现了该诗低回哀怨、痛苦绝望的基调。这种韵律所营造出的生离死别、凄惨感伤以及最大限度的悲痛与绝望,让读者在体会“死亡之美”这一主题的同时深深为之震撼、为之动容。

坡在《乌鸦》中的独创性就在于将这种固定的韵律和格律设计进行各种巧妙组合,大量运用头韵、行内韵、尾韵以及重复,把诗连接成为一个整体,将青年愁苦的心境贯穿始终,表达了青年哽咽不能自抑的叹息和绵绵不绝的痛苦心情。

头韵。头韵是取得音韵和谐的基本形式之一,它蕴含了语言的音乐美和整齐美,使得语言声情交融、音义一体,具有很强的表现力和感染力。《乌鸦》的音乐美在一定程度上是取决于头韵的使用。头韵的使用既取得了音乐效果又增强了诗的意境。例如,第一节的第一行中,“weak and weary”,为全诗打下了忧郁、沉闷的基调,句句读来仿佛能感受得到主人公的疲惫、消沉之心境;第三行的“nodded.nearly napping”描述了青年在困倦至极之时听到的叩门声所产生的动感声音与死寂沉沉的黑夜以及青年心中的忧伤形成了强烈的.对应,产生一种恐怖的悬念。使读者切身体会到主人公在午夜时分、困倦梦幻之际突然听到门外响起的轻轻的“笃”、“笃”的叩门声,从而为全诗渲染出了神秘、恐怖的气氛。

行内韵。行内韵是指诗行中间的停顿或休止前的重读音节与该行的最后一个重读音节押韵。在《乌鸦》每一诗节的1、3行,诗人都运用了行内韵来强调诗歌的音乐性,取得了回响的效果。这里,仍先选取其第一个诗节为例加以分析:在这首诗里我们注意到爱伦坡精心地安排了“dreary”与“weary”,“napping”与“tapping”以及下一诗节的“uttered”与“fluttered”等词。连续的行内韵形成了诗歌高度的统一性,为全诗打下了忧郁神秘的基调。使得全诗节富有强烈的节奏感,吟诵时产生极强的音乐性。

尾韵。尾韵就是整首诗的韵,是行末词尾元、辅音的重复。尾韵是这首诗中最重要的音乐手段。正如坡在《创作哲学》中指出,他刻意选用最响亮的长元音“O”作为诗歌的韵脚,很显然诗人在刻意强调这种声音并用它作为全诗的基调。这个响亮、绵长且低沉并充满哀怨的声音使全诗充满了“深沉而阴森的音响”。在这首诗的每节六行诗中有四行押/):/韵,即第二、四、五、六行,全诗/):/韵,共72行,以nothingmore。evermore或nevermore结束o/):/韵的不断复现加强了诗的内在联系,一环紧扣一环,反复回旋,撼人心灵。这种音韵好似一种因悲伤哽咽不能言表的情感。表现了该诗低回哀婉、痛苦绝望的语气,诗中每一个尾韵的使用都会唤起读者心中无限的哀伤,从而使读者和这个青年一起感受着这种悲凉,体味着这种伤痛,直至最后青年心碎,近乎疯狂。

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