英语长篇论文英文版

Abstract      In Wuthering Heights by Emily Bronte, based on love, on the other side, demonstrates the collision between humanity and  The humanity is very  Accordingly, this novel has the haunting  This novel reveals the humanity’s complexity and profundity, because it implies the love and resentment, furthermore, the humanity has impacted on the temporal social  This paper explores the love and hate ——producing from the collision between humanity and  And try to illustrate the undying love between Catherine and Heathcliff through humanity and culture and how to face their  Under the social culture, when love turns to hate , hate twists  Thereby, humanity’s love is as tragedy  Because they missed the beautiful time for love ,when humanity arises Key words:  Humanity   Culture   Love   Revenge  Humanity ? Culture ?——Wuthering Heighets’love IntroductionIn Wuthering Heights, the topic is love, deduces us a world-shaking undying  They are not only have the lingering love, but also a deeply ingrained hate between  Catherine and Heathcliff’s love has both humanity and social culture and which bind with  The humanity has made their love unchanged and undying, but culture destroys this love, and causes hate, Catherine betrays  Therefore Heathcliff’s hate is quite incisive and vivid, but still comes back to the     In the novel by Emily Bronte, the two main characters have the natural style and primitive nature—— naivete, truculence, frankness, firmness, a flush of sentiment, behavior is  They love very desperately, they hate is regardless of  As a result, the characters’ love quite strong, shaking- “Unchanged as the mount, ferocity as the lighting” (song p7)Hence, Wuthering Heights becomes the most magnificent love epic in the The social culture and humanity In the nineteenth century, the Victorian period the nobleman is enormously proud of their success, full of the temporal rank  Status is first, money is G People’s spirits suffer from the intense  Humanity is twisted without  The Earnshows hold a precarious place within the  Although the gentry, possessed servants and often large estates, they nonetheless hold a fragile social  The Lintons are relatively firm in their gentry’s status, but the Earnshows are on much shakier ground  Catherine wants to marry Edgar so that she will be “the greatest woman of the neighborhood” Above all, this is the social culture and humanity on that But Catherine and Heathcliff‘s character is governed by their passions, not by reflection or ideals of  Also the house where they live comes to symbolize the humanity, but Thrushcross Grange represents culture, convention,  When Catherine left for Thrushcross Grange the first time, she has impacted on this culture and finds herself deeply attracted by  Therefore, for love her heart so  Owning to Catherine’s changing, Heathcliff begins to resent the society that is responsible, “when he acquires power and returns to Wuthering Heights with money and the trappings of a gentleman he becomes a villain” Humanity was dispelled in a corner; social culture was filled in civic Catherine’s love under the social cultureThe heroine—Catherine is very ambivalent in her love Due to human nature, she loves Heathcliff deeply with childlike passion, and her soul can’t live without  But the social culture made her betray the love in order to satisfy her yearning for fame and  She chooses Linton, hereby her love becomes a Catherine is crazy about Heath  Their love is rooted in their childhood and is marked by the refusal to change and embrace those  Moreover, their love is based on their shared perception that they are identical, even their souls are shared by  Catherine declares, “Whatever our souls are made of, his and mine are the same” (Gao p103) “I am Heathcliff!”(Gao p105) When she first comes back from Thrushcross Grange, she immediately realizes the impact that the social culture has had in  Her heart becomes more complex and  Catherine looks for Heathcliff, to embrace and kiss him, at the same time she is afraid about Heathcliff’s dirty clothe against her clean  She also treats her marriage like  If she marries Heathcliff she will be a  Even if she is well aware that without Heathcliff she can’t live, but the cruel reality helps her realize that marrying Linton will make her become the greatest woman in the  The temptation of material benefit and the bourgeois culture society, made her betray her love But her betrayal is not  Although, she dares to break free from the low class  She is still crazy about Heathcliff even without property,  As Catherine says “It would degrade me to marry Heathcliff now ………but because he is more myself than I ” (Gao p102) But humanity’s love never let Catherine give up Heathcliff Catherine said “My love for Heathcliff resembles the eternal rocks beneath: a source of little visible delight, but necessary……but as my own ”(Gao p105) Her choice about marriage made her betray her humanity and Heath cliff, forcing Heathcliff to leave Despite her childlike nature to love him very deeply with fierce  Social culture wins humanity in Catherine, but she was never happy at the civilized Thrushcross Grange, and found herself feeling empty without  And for the next seven years, Catherine coasted through life, living only in the past Her soul so eager to meet Heathcliff’s  Ultimately, she is torn between her wild passion for Heath cliff and her social  But the primitive love exceeds the cultural love, causes her miss the Wuthering Heights in  And before she dies, go into the bosom of H After she dies, her lonely ghost thirsts for coming back Wuthering H She uses the melancholy voice sobs “Let me in —Let me in!”(Song p28)Heathcliff’s love and hateHeathcliff’s love is pure in intention and never  Like Catherine, he loves to run around on the  His love just has the human nature’s emotion without rank, culture Heathcliff never says “love”, but his love stronger than hurricane, compare with  He is filled with uncontrollable  In chapter third, he hears some sounds in Catherine’s room, “his agitation was so extreme, that he could hardly pick it ”(Gao p30) Upon arriving at the bedroom, as Lockwood[the renter of Thrushcross Grange] flees from it, Heath cliff cries out to Catherine begging her to  “ ‘Come in ! Come in!’He sobbed ‘Cathy, do come Oh do –once more! Oh! My heart’s darling; hear me this  Catherine, at last!’ ”(Gao p33) this shows how Heathcliff tastes the bitterness of his lost  His love for Catherine is expressed simple, honestly brevity but full of fervid  In chapter sixteenth, he curses Catherine for the  She has caused him and pleads with her spirit to haunt him for the rest of his  She may take any form, he says, and even drives me mad as long as I am  He goes on to say “may you not rest as long as I am living! You said I killed you ---haunt me, then!” “Be with me always---take any form ---drive me mad! Only do not leave me in this abyss, where I can’t find you!”(Gao p218)Although in this chapter, there are no definite words to represent Heathcliff’s love, it is nonetheless known and deeply rooted in their hearts, never losing their  Because of the strength of his love for Catherine, Heathcliff undertakes his wicked and vengeful revenge against those deems responsible for his misery Heathcliff comes from the lower class and because of this, the Linton family makes him feels unworthy of  Catherine seeks a more genteel life therefore betraying their  When Heathcliff heard that “It would degrade me to marry Heath cliff now”(Gao p102) He withdraws in a rage of shame, humiliation, and  Three years later, Heathcliff comes back with power and money, he is longing for meeting Catherine, at this time he begins to do an elaborate plan for  But his cruel and harmful behavior comes from the pain of his love He becomes a fiend, a demon, toward every person around him He ruins Hindley [Catherine’s brother] by tricking him and therefore, taking possession of Wuthering H He also ends Hareton’s [Hindley’s son] education after Hindley died, and then elopes with Isabella [Lintion’s sister], after she is ill-treated by  Likewise, Heathcliff uses Isabella to revenge E “His malevolence proves so great and  long—lasting that it can’t be adequately explained even as a desire for revenge”(Liu p34) Without Catherine , he lost his sense of life , revenge replaces love , and become the driving force behind his  However, who strips his love? What does twist his humanity? But the deep-rooted love didn’t disappear at  Heathcliff tries to recapture the spirit of Catherine in his desire to rejoin  He even opens her coffin, Heathcliff says “I saw her face again” The many signs of Catherine show that “she did exist” but that “I have lost her”When Heathcliff fulfills his revenge, he finds that the primary pleasure is no longer within  He begins to give up his revenge, wanting only to be with C The humanity of his love arises again, love for Catherine eroding his lust for  In Heathcliff’s life, he sees Catherine’s shadow  He is bound to C They shared one soul, longing to become one  Heath cliff becomes more and more obsessed with the memories of Catherine, begins to talking with her ghost Remembering his climactic night on the moors , he feels so happy and anticipates a reunion with her ghost Two opened souls become one Heathcliff’s feeling of revenge for his lost love ,eventually ,return to the original  In the end, Humanity’s love wins driving his life from this point Conclusion“Inevitably , the unbridgeable gab in Catherine’s and Heath cliff’s social positions renders their fervent romance unrealizable on any practical level ”（Liu p77）Catherine’s actions are so stringing driven by her social ambitions , that she betrays her humanity, and consequently Heathcliff’s love turns top the  Heathcliff becomes a so-called genteel man, returns to Wuthering Heights and carrying out all the cruel acts of  Nevertheless, this love is natural, primitive, inner, and spiritual  On account of their soul has been the unit can’t separate from each other, no more than two  The emotion can’t use the culture to explain and alter  The temporal social culture compares with the delicate humanity, thereby resulting in a painful ending to this love  When love turns to hate, hate twists the humanity This profound avatar is shown through Heathcliff and C The author shows for us the struggle between humanity’s love and social  In light if this ideal, today, how do we choose our love when faced it? 给我分吧，我弄了3个小时，送你一图

你好，已经发送给你8篇英文论文，20来篇中文论文了，关于跨文化交际和中西文化差异的，查收下哈~ 希望对你有帮助！以后还需要检索论文的话可以再向我或者其他举手之劳队员提问哦，举手之劳助人为乐！——百度知道 举手之劳团队 队长：晓斌11蓝猫

苏东坡的文学背景和他的赋SU TUNG-PO’S LITERARY BACKGROUND AND HIS PROSE-POETRY by Qian Zhongshu (Primarily written as a foreword to “Su Tung-Po’s Prose-poems” translated into English With Notes and Commentaries by C D Le Gros Clark, this is published here by kind permission of M Le Gros C Those who are interested in textual criticism may consult M Wu Shih-ch’ang’s review in Chinese which appeared in The Crescent Monthly, V IV, N –E)Of the Sung dynasty, it may be said, as Hazlitt said of himself, that it is nothing if not The Chinese people dropped something of their usual wise passiveness during the Sung dynasty, and “pondered, searched, probed, vexed, and criticized” This intellectual activity, however, is not to be compared with that of the Pre-Chin period, the heyday of Chinese The men of the Sung dynasty were inquisitive rather than speculative, filled more with a sense of curiosity than with a sense of Hence, there is no sweep, no daring, no roominess or margin in their A prosaic and stuffy thing theirs is, on the This critical spirit revealed itself in many directions, particularly in the full flourish of literary criticism and the rise of the tao-hsüeh （道学）, that mélange adultere of metaphysics, psychology, ethics and Literary criticism in China is an unduly belated Apart from a handful of obiter dicta scattered here and there, Liu Hsieh’s Literary Mind （刘勰文心雕龙） and Lo Chi’s A Prose-poem on Literature （陆机文赋） are the critical writings that count up to the Sung There is Chung Yung’s Classification of Poets (钟嵘诗品) of But Chung Yung is a literary genealogist rather than a critic, and his method of simply dividing poets into sheep and goats and dispensing praise or dispraise where he thought due, is the reverse of critical, let alone his fanciful attempts to trace literary parentages(1) Ssu-Kung Tu’s Characterisations of Poetry (司空图诗品) is a different matter(2) Ssu-Kung Tu seeks to convey purely with imagery the impressions registered by a sensitive mind of twenty four different kinds of poetry: “pure, ornate, grotesque,” His is perhaps the earliest piece of “impressionistic” or “creative criticism” ever written if any language, so quietly ecstatic and so autonomous and self-sufficient, as it were, in its being but it fails on that very account to become sober and proper It is not until the Sung dynasty that criticism begins to be practiced in Numerous “causeries on poetry” （诗话）are written and principles of literature are canvassed by way of commentaries on individual Henceforth, causeries on poetry become established as the vehicle for Chinese One must note in passing that there do not appear professional critics with the rise of In those good old days of China, criticism is always the prerogative of artists The division of labour between critics and artists in the West is something that the old Chinese literati would scoff The criticism of Sung dynasty, like all Chinese criticismsbefore the “New Literature Movement” with the possible exception of Hsieh’s Literary Mind, is apt to fasten upon particulars and be given too much to the study of best words in best But it is symptomatic of the critical spirit, and there is an end of The Chinese common reader often regards the men of the Sung dynasty as Their high seriousness and intellectual and moral squeamishness are at once irritating and amusing to the ordinary easy-going Chinese There is something paralyzing and devitalizing in their wire-drawn casuistry which induces hostile critics to attribute the collapse of the Sung dynasty to its There is also a disingenuousness in their attempts at what may be called for want of a better name, philosophical masquerade: to dress up Taoism of Buddhism as orthodox C One need but look into Sketches in a Villa（阅微草堂笔记）and Causeries on Poetry in a Garden（随园诗话） to see what a good laugh these two coxcombs of letters, Chi Yuen （纪昀） and Yuan Mei （袁枚） have had at the expense of the Sung philosophers and critics Nevertheless ofe is compelled to admit that the Sung philosophers are unequalled in the study of mental Never has human nature been subject to a more rigorous scrutiny before or since in the history of Chinese For what strikes one most in the tao-hsüeh is the emphasis on self- This constant preying upon itself of the mind is quite in the spirit of the The Sung philosophers are morbidly introspective, always feeling their moral pulses and floundering in their own streams of To them, their mind verily “ a kingdom is” They analyse and pulverize human But for that moral bias which Nietzsche thinks to be also the bane of German philosophy, their vivisection of human soul would have contributed a good deal to what Santayna calls literary The poetry of the sung dynasty is also a case in It is a critical commonplace that the Sung poetry furnishes a striking contract to the T’ang Chinese poetry, hitherto ethereal and delicate, seems in the Sung dynasty to take on flesh and becomes a solid, full-blooded It is more weighted with the burden of Of course, it still looks light and slight enough by the side of Western But the lightness of the Sung poetry is that of an aeroplane describing graceful curves, and no longer that of a moth fluttering in the mellow In the Sung poetry one finds very little of that suggestiveness, that charm of a beautiful thing imperfectly beheld, which foreigners think characteristic of Chinese poetry in Instead, one meets with a great deal of naked thinking and outright It may be called “sentimental” in contradistinction to the T’ang poetry which is on the whole “naïve”, to adopt Schiller’s useful The Sung poets, however, make up for their loss in lisping naivete and lyric glow by a finesse in feeling and In their descriptive poetry, they have the knack of taking the thing to be described sur le vif: witness Lo Yu (陆游) and Yang Wan-li （杨万里） They have also a better perception of the nuances of emotion than the T’ang poets, as can be seen particularly in their Ts’u （词）, a species of song for which the Sung dynasty is justly famous(3) Small wonder that they are deliberate artists, considering the fact that they all have been critics in the off hours of their The most annoying thing about them is perhaps their erudition and allusiveness which makes the enjoyment of them to a large extent the luxury of the initiated even among the C （3000字）还有一篇在玩偶之家的身份抗争（6000字）和一篇马丁路德金的《我有一个梦》文体分析（10000字）如果需要就麻烦您告诉我您的邮箱，再给您发过去。