简爱文献综述范文模板

Edward Rochester called Jane his "faerie," his "elf," and accused her of "waiting for her The men in green" the night she first encountered Indeed, in his adaptation of Jane Eyre he was not mistaken, for the entire production has a quality of magic about 　　If any actor or actress could be said to be born to play a certain character, that adage must apply to Timothy Dalton and Zelah C The chemistry between them as the two stars of this lavish BBC production is nothing short of magical: their relationship is alive with passion and the fiery conflict of two tormented souls imprisoned by Fate and the morals of their 　　The story is a classic one: Jane Eyre, an unloved orphan is sent to school, where she is educated in a strict, cruel manner, there growing to adulthood learning little of life in the When her only friend marries, Jane advertises, and is accepted as governess to the ward of rich, enigmatic Edward Fairfax R From their first meeting in Hay Lane, where Jane "bewitches" his horse, there is between them an unspoken bond of kinship that slowly blossoms into true love and 　　After what appeared to be a brief engagement to the Honourable Miss Blanche Ingram, whom all the county expects him to marry, Rochester mysteriously calls off his marriage plans, and proposes to Jane, the only woman who is his equal - who could be his best earthly At the altar, however, it is tragically revealed that Rochester already has a wife, still living: he is forced by this revelation to lead Jane, and those who would judge him harshly, back to Thornfield Hall, where he unhesitatingly and bitterly shows them the lunatic his father, without Edward's prior knowledge, arranged for him to 　　Realizing her position is now untenable, Jane flees, nearly dying of hunger and lack of shelter, before she is befriended by a clergyman and his two It is subsequently found that Jane is related to this family, as their mother was Jane's father's When their uncle dies, leaving Jane his entire fortune, she divides it equally among the four of them, and prepares to lead a close and affectionate life within the small family 　　It is S John Rivers, the clergyman, who unsettles Jane, by offering her marriage, and requesting her to accompany him to India, where he has decided to make a new life for himself as a Believing M Rochester lost to her forever, Jane finally and reluctantly accepts his proposal, only to psychically hear Rochester's voice calling to 　　Abandoning S John, Jane rushes back to Thornfield Hall, where she discovers, to her great horror, it had burned nearly to the The innkeeper, a former butler at the house, informs her that Rochester was nearly killed in the fire while unsuccessfully attempting to save the life of his lunatic wife, who, it was later learned, had set the While he did not die, Rochester lost his left hand and eye, the right eye being so badly inflamed as to render him almost totally 　　Jane hurries to Rochester, at a remote piece of property, where she discovers him broken down and dispirited, believing Jane to be forever lost to him, and suffering from the physical punishments God has inflicted upon him for trying to fly in the face of They are reunited, and after he proposes again - now a man free to do so - they are 　　This 239-minute production is incredibly faithful to the novel, differing in but few, minor points: it is practically stated in the movie that Rochester is the father of Adele, whom he refers to as his ward, while in the text, the question of fatherhood is left open; Adele's mother, a French opera dancer, is alluded to be his only mistress, while Bronte lists three; the passage in the Bible S John reads before Jane tentatively accepts his proposal of marriage is different (and quite improved); then, most significantly, is Jane's end Here she states, "Edward regained the sight of one eye just before our first child was " In Charlotte Bronte's novel, the line is, "just before our first son was " This sensitive change from "son" to "child" completes the love story, becoming the finishing touch which makes this production truly immortal, and all-　　The supporting cast is excellent: the locations capture the feel of the early 1800's, drawing the viewer into the bleak, grim world of Lowood Institution, then into the splendor of Thornfield H But the uniqueness of this Jane Eyre, that which sets it apart from any adaptation that went before or came after, are the performances of Dalton and C Despite the fact that she is not "plain," and he is handsome, the two actors lend their bodies and voices to the characters, making them real beyond a shadow of a Every moment they are on screen together is arresting, from their initial contact, to the end 　　Several scenes that stand out come to mind: Jane has just saved Rochester from being badly burned, most likely fatally, and tells him she must return to her He holds onto her hands; every time she attempts to pull away, he makes as though to let her, then reneges, finally compelling her to use the ploy of saying she hears the housekeeper One can readily imagine the resolve of Zelah Clarke's Jane melting, and Rochester never letting her 　　There is a beautiful, poignant moment when Rochester first proposes to Jane by baring his soul to her, allowing her to look, not into his eyes, but into his soul, where he reveals not the worldly exterior and the miseries with which life has saddled him, but the true, pure being When she accepts him, they embrace: their magic and love are Here, indeed, are two kindred souls It is a moment of beauty rarely captured by any two actors, and causes the events that follow almost too tragic to 　　There is the delightful scene after Jane must ask for a leave of absence, and Dalton "gets the giggles" twice, the second time after accusing Jane of being "" It is a professional and magical moment, watching Clarke struggle to maintain a straight face as they continue, with Dalton grinning mischievously for most of the remainder of the Again, when Rochester must confront Jane after his previous marriage has been exposed, the deep, abiding sadness of his youth, the moral depths to which he has fallen are heart- Jane's refusal to go away with him (specifically chronicled in the book to emphasize the correctness of this decision) just barely holds up here, for you cannot believe Dalton's Rochester would eventually fall out of love with Jane for becoming his mistress, rather than his 　　Throughout the entire production, the viewer identifies with both the main characters, feeling their hopes, aspirations, confusion, jealousy, and eventually, their Had the movie not provided us with a happy ending (despite the Gothic penalty Rochester is forced to pay for attempting to break the rules of morality), viewers would be compelled to demand Dalton and Clarke reprise their roles for a re- Never were two characters meant more for each other; never have two actors captured these sentiments so beautifully and so 　　Thus, Jane Eyre is a classic story, enduring both as a novel, and as a film adaptation (or, in this case, video), presenting a rare instance of allowing the reader to lay down the novel and move from the printed word to vivid, arresting performances, or, in reverse, to go from this exquisite production to the book with no disappointments in either interpretation or If anything, the novel becomes more "visible," moving and unique, for now the reader will irrevocably see and hear Zelah Clarke and Timothy Dalton in their masterful and passionate living and breathing characters of Jane Eyre and Edward R　　读过＜简爱＞的人都知道，简其实是一个自卑感非常强的女子。她既无财又无色，从小还在一个缺乏爱的环境中孤独地长大。立身于那样势力的社会环境中，渺小如草芥。唯一属于简的是知识和独立的个性。但知识只不过为她换来糊口的面包，能让她最后摆脱心理困境的仍是她得到的那份遗产。当她终于用自已的倔强．骄傲和残忍把爱情逼入绝境，当罗彻斯特先生终于变得面目伤残，一贫如洗，她才能够用一种正常的心态来爱他。　　男人最大的财富是金钱，女人最大的财富是容貌，因此，自古以来，款哥泡小蜜，靓妞傍大款乃天经地义、顺理成章、门当户对、顺天而行，但是如果哪个武大郎偏要不自量力非要吃天鹅肉，那轻则家庭不和，重则真向武大郎一样被老婆和第三者合谋送上极乐世界，也是活该；同理，哪个丑女以为自己真的是灰姑娘，而要非王子不嫁，那么等待她的也多半是老姑娘的命运。因此，水晶鞋的故事只是个童话，谁都不会当真，但是，另一个灰姑娘的故事却不但被人当了真，甚至还成了妇女解放的典型，这个灰姑娘就是简爱。　　一个最没有财富的女人要找一个最有财富的男人，其困难可想而知，于是，为了达到自己伟大的爱情目标，简爱很聪明地在自己的上帝――夏洛特小姐的帮助下，对自己和自己的目标进行了一番改造，其内容基本如下：　　一， 首先，要征服男人的心。罗老板也许是山珍海味吃多了，简爱干脆以另一种面目出现，也许她并不是故意的：“我要让你离不开我，就象我离不开你”，这话攻守兼备，柔中带刚，这番铿锵有力的爱情宣言不仅打动了罗老板，甚至还打动了以后无数的小资女人，成为女性解放的传统表演项目，　　二， 其次，搞掉他的财产。你那么NB，不是就有点钱吗？很好，一场天知道怎么回事的大火，烧掉你几乎所有的财产，弄得你比我也强不了多少，至少你再不能凭你的几个臭钱在我面前摆谱，好了，现在比较平衡（注意：不是平等）了；　　三， 弄光你的钱还不够，你不是嫌俺丑吗？于是罗老板在大火中很不幸地加入了残联，成功地成为二等公民。弄瞎眼睛真的是个最好的结果，反正未来老婆长得不怎么漂亮，少看几眼也没什么损失，而且从此爱情还平添了几分浪漫，至少比断腿少胳膊要好得多。　　四， 你没几个钱了，可俺却有钱了。“三十年河东，三十年河西”，夏小姐让简爱突然钻出来一有钱的亲戚，留给她一笔不大不小的遗产，现在俺也是属于资产阶级了，简爱小姐在金钱的武装下底气足了不少，于是可以光明正大地衣锦荣归了。　　五， 你不要俺，有的是好男人要俺。夏小姐聪明地给简爱安排了一个立志献身上帝的表哥――圣约翰。维多利亚时代的英国人经常分不清爱情与宗教的区别，就象几十年前的中国人分不清爱情与政治的区别，连情书里都必以语录开头一样，这个选择在当时人的眼里比你那NB的罗老板好多了，你要不识货，自然有竞争者排着队在后面等着，看你着急不着急！　　六， 俺可不想回来，这都是上帝叫俺回来的。简爱离开罗老板一段时间后，她听到了来自远方深情的呼唤：“简、简、简！”据说同时罗老板也听到了回应：“俺来也、俺来也、俺来也！”这可是给足了简小姐面子：神灵在上，天作之合，违天不祥，机不可失，时不再来，简爱小姐于是顺理成章地荣归故里，得到爱情。　　其实我并没有调侃或者讥讽简爱或者夏洛特的意思，我只是觉得，简爱有限的挣扎实际上并不能是所谓的妇女解放，如果真是这样的话，女同胞早就解放了。简爱与罗切斯特最后的结合，实际上是建立在双方地位的改变（一方上升，一方下降）而带来的平衡上。所谓人格的平等，在人类社会永远是一个可望而不可及的梦。　　原来，在爱情上，平等是那么难

吉尔伯特＆古芭的《阁楼上的疯女人》是研究《简爱〉《呼啸山庄〉等作篇比较新颖有创意的专著，找来看看可以，可以结合“穿裙子的英雄”论述，如果你在大学里，或着能去比较大型的图书馆，可以用中文期刊网搜索相关论文