关于围城论文参考的文献

wiki的资料，这个网站中国禁的，你上不去，我贴过来好了。Qian Zhongshu (November 21, 1910 – December 19, 1998) was a Chinese literary scholar and writer, known for his burning wit and formidable erudition.Among the general public, he is best known for his satiric novel Fortress Besieged (围城). His works of non-fiction are characterised by their large amount of quotations in both Chinese and Western languages (including English, French, German, Italian, Spanish, and Latin).[1]. He also played an important role in the digitalization of the Chinese classics late in his life.[2]Contents [hide]1 Life2 Works3 Posthumous publications4 Further reading5 Notes6 See also7 External links[edit] LifeQian Zhongshu did not talk much about his life in his works. Most of what we know about his early life relies on an essay written by his wife Yang Jiang,[3] Born in Wuxi, Qian Zhongshu was the son of Qian Jibo (钱基博), a conservative Confucian scholar. By family tradition, Qian Zhongzhu grew up under the care of his eldest uncle, who did not have a son. Qian was initially named Yangxian (仰先 "respect the ancients"), with the courtesy name Zheliang (哲良 "sagacious and upright"). However, when he was one year old, according to a tradition practised in many parts of China, he was given a few objects laid out in front of him for his "grabbing". He grabbed a book. His uncle then renamed him Zhongshu, literally "being fond of books", and Yangxian became his intimate name. Qian was a talkative child. His father later changed his courtesy name to Mocun (默存), literally "to keep silent", in the hope that he would talk less.Both Qian's name and courtesy name predicted his future life. While he remained talkative when talking about literature with friends, he kept silent most time on politics and social activities. Qian was indeed very fond of books. When he was young, his uncle often brought him along to tea houses during the day. There Qian was left alone to read storybooks on folklore and historical events, which he would repeat to his cousins upon returning home.When Qian was 10, his uncle died. He continued living with his widowed aunt, even though their living conditions worsened drastically as her family's fortunes dwindled. Under the severe teaching of his father, Qian mastered classical Chinese. At the age of 14, Qian left home to attend an English-speaking missionary school in Suzhou, where he manifested his talent in language.Despite failing in Mathematics, Qian was accepted into the Department of Foreign Languages of Tsinghua University in 1929 because of his excellent performance in Chinese and English languages. His years in Tsinghua educated Qian in many aspects. He came to know many prominent scholars, who appreciated Qian's talent. Also, Tsianghua has a large library with a diverse collection, where Qian spent a large amount of time and boasted to have "read through Tsinghua's library". It was probably also in his college days that he began his lifelong habit of collecting quotations and taking reading notes. There Qian also met his future wife Yang Jiang, who was to become a successful playwright and translator, and married her in 1935. For the biographical facts of Qian's following years, the two memoirs by his wife can be consulted .[4]In that same year, Qian received government sponsorship to further his studies abroad. Together with his wife, Qian headed for the University of Oxford in Britain. After spending two years at Exeter College, he received a Baccalaureus Litterarum (Bachelor of Literature).[5] Shortly after his daughter Qian Yuan (钱瑗) was born, he studied for one more year in the University of Paris in France, before returning to China in 1938.Due to the unstable situation during the Second Sino-Japanese War, Qian did not hold any long-term jobs until the People's Republic of China was founded in 1949. However, he wrote extensively during the decade.The old gate of Tsinghua University, where Qian Zhongshu studied and taughtIn 1949, Qian was appointed a professor in his alma mater. Four years later, an administrative adjustment saw Tsinghua changed into a science and technology-based institution, with its Arts departments merged into Peking University (PKU). Qian was relieved of teaching duties and worked entirely in the Institute of Literary Studies (文学研究所) under PKU. He also worked in an agency in charge of the translation of Mao Zedong's works for a time.During the Cultural Revolution, like many other prominent intellectuals of the time, Qian suffered persecution. Appointed to be a janitor, he was robbed of his favorite pastime - reading. Having no access to books, he had to read his reading notes. He began to form the plan to write Guan Zhui Bian (管锥编) during this period. Qian and his wife and daughter survived the hardships of Cultural Revolution, but his son-in-law, a history teacher, was driven to suicide.After the Cultural Revolution, Qian returned to research. From 1978 to 1980, he visited several universities in Italy, the United States and Japan, impressing his audience with his wit and erudition. In 1982, he was instated as the deputy director of the Chinese Academy of Social Sciences. He then began working on Guan Zhui Bian, which occupied the next decade of his life.While Guan Zhui Bian established his fame in the scholar field, his novel Fortress Besieged introduce himself to the public. Fortress Besieged was reprinted in 1980, and became a best-seller. Many illegal reproductions and "continuations" followed. Qian's fame rose to its height when the novel was adapted into a TV serial in 1990.Qian returned to research, but escaped from social activities. Most of his late life is confined in his reading room. He consciously kept a distance from the mass media and political figures. Readers kept visiting the secluded scholar, and the anecdote goes that Qian replied to an elderly British lady, who loved the novel and phoned the author, that "is it necessary for one to know the hen if one loves the eggs it lays?"Qian entered a hospital in 1994, and never came out. His daughter also became ill soon after, and died of cancer in 1997. On December 19 1998, he died in Beijing. The Xinhua News Agency, the official press agency of the PRC government, labelled him "an immortal" - a term usually reserved for revolutionary martyrs.[edit] WorksQian dwelled in Shanghai from 1941 to 1945, which was then under Japanese occupation. Many of his works were written or published during this chaotic period of time. A collection of short essays, Marginalias of Life (写在人生边上) was published in 1941. Men, Beasts and Ghosts (人‧兽‧鬼), a collection of short stories, mostly satiric, was published in 1946. His most celebrated work Fortress Besieged appeared in 1947. On the Art of Poetry (谈艺录), written in classical Chinese, was published in 1948.Beside rendering Mao Zedong's selected works into English, Qian was appointed to produce an anthology of poetry of the Song Dynasty when he was working in the Institute of Literary Studies. The Selected and Annotated Song Dynasty Poetry (宋诗选注) was published in 1958. Despite Qian's quoting the Chairman, and his selecting a considerable number of poems that reflect class struggle, the work was criticized for not being Marxist enough. The work was praised highly by the overseas critics, though, especially for its introduction and footnotes. In a new preface for the anthology written in 1988, Qian said that the work was an embarrassing compromise of his personal taste and the then prevailing academic atmosphere.Seven Pieces Patched Together (七缀集), a collection of seven pieces of literary criticism written (and revised) over years in vernacular Chinese, was published in 1984. This collection includes the famous essay "Lin Shu's Translation" (林纾的翻译).Qian's magnum opus is the five-volume Guan Zhui Bian, literally the Pipe-Awl Collection, translated into English as Limited Views. Begun in the 1980s and published in its current form in the mid-1990s, it is an extensive collection of notes and short essays on poetics, semiotics, literary history and related topics written in classical Chinese.Qian's command of the cultural traditions of classical and modern Chinese, ancient Greek (in translations), Latin, English, German, French, Italian, and Spanish allowed him to construct a towering structure of polyglot and cross-cultural allusions. He took as the basis of this work a range of Chinese classical texts, including I-Ching, Classic of Poetry, Chuci, Zuozhuan, Shiji, Tao Te Ching, Liezi, Jiaoshi Yilin, Taiping Guangji and the Complete Prose of the Pre-Tang Dynasties (全上古三代秦汉三国六朝文).Familiar with the whole Western history of ideas, Qian shed new lights on the Chinese classical texts by comparing them with Western works, showing their likeness, or more often their apparent likeness and essential differences.“ It is a monumental work of modern scholarship that evinces the author's great learning and his effort to bring the ancient and the modern, Chinese and Western, into mutual illumination."[6] ”Qian Zhongshu was one of the best-known Chinese authors to the Western world. Fortress Besieged has been translated into English, French, German, Russian, Japanese and Spanish.Besides being one of the few acknowledged master of vernacular Chinese in the 20th century,[7] Qian was also one of the last authors to produce substantial works in classical Chinese. Some regard his choice of writing Guan Zhui Bian in classical Chinese as a challenge to the assertion that classical Chinese is incompatible with modern and Western ideas, an assertion often heard during the May Fourth Movement.[8][edit] Posthumous publicationsA 13-volume edition of Works of Qian Zhongshu (钱钟书集) was published in 2001 by the Joint Publishing, a hard-covered deluxe edition, in contrast to all of Qian's works published during his lifetime which are cheap paperbacks. The publisher claimed that the edition had been proofread by many experts.[9] One of the most valuable parts of the edition, titled Marginalias on the Marginalias of Life (写在人生边上的边上), is a collection of Qian's writings previously scattered in periodicals, magazines and other books. The writings collected there are, however, arranged without any visible order.Other posthumous publications of Qian's works have drawn harsh criticism. The 10-volume Supplements to and Revisions of Songshi Jishi (宋诗纪事补正), published in 2003, was condemned as a shoddy publication. The editor and the publisher have been criticized.[10] A facsimiles of Qian's holograph (known as 宋诗纪事补订(手稿影印本) in Chinese) has been published in 2005, by another publisher. The facsimiles of parts of Qian's notebooks have appeared in 2004, and has similarly drawn criticism.[11]In 2005, a collection of Qian's English works was published. Again, it was lashed for its editorial incompetence.[12][edit] Further readingInnumerable biographies and memoirs in Chinese have been published after Qian's death.An introduction to Qian's style of thinking can be found in the English (selected) translation of Guan Zhui Bian:Qian Zhongshu, tran. Ronald Egan (1998). Limited Views: Essays on Ideas and Letters (Harvard-Yenching Institute Monograph Series). Harvard University Asia Center. ISBN 0-674-53411-5.Five of Qian's essays on poetry have been translated into French:Qian Zhongshu, trad. Nicolas Chapuis (1987). Cinq Essais de Poetique. Christian Bourgois Editeur. ISBN 2267004852.如果你要翻译的话，请再著名。希望能帮到你。

钱钟书(1910-1998)，字默存，号槐聚，曾用笔名中书君。著有学术著作《谈艺录》(1948)、《宋诗选注》(1958)、《管锥篇》（1979）等，还著有散文集《写在人生边上》(1941)，短篇小说《人·兽·鬼》（1946），长篇小说《围城》(1947)等。 外文文献参考:

《围城》比喻艺术手法分析论文

当代，论文常用来指进行各个学术领域的研究和描述学术研究成果的文章，简称之为论文。以下是我帮大家整理的《围城》比喻艺术手法分析论文，欢迎阅读与收藏。

摘要 ：

《围城》一书中的比喻生动活泼、幽默风趣、凝聚智慧，自从20世纪五十年代问世以来一直都是学者研究的重要对象。这些像珍珠一般的比喻为《围城》增添了更为绚丽的色彩。文章从《围城》比喻的新奇性、讽刺幽默性、知识性及博喻这几个方面来分析《围城》中的巧比妙喻，共同感受其独具魅力的语言风格。

关键词 ：

钱钟书；比喻；艺术；《围城》

《围城》是钱钟书写的唯一一部长篇小说，于1944年动笔，1946年完成，一经问世，便在20世纪50年代的中国文坛上掀起了千层巨浪。据统计，在《围城》这部23万余字的小说中，所用的比喻竟达700多处。[1]诗评家李元洛说：“钱钟书是一位运用比喻的高手，在小说《围城》和他的学术著作中，那精彩的层出不穷的比喻累累然如贯珠子，粲粲然若繁花。”[2]由此可见，钱钟书对比喻恰到好处的运用是《围城》这部小说成功的一大因素。据此，本论文试从《围城》比喻的新奇性、讽刺幽默性、知识性及博喻这几个方面来论述《围城》的比喻艺术。

一、《围城》比喻的新奇性

比喻的生命在于相似点，一般的比喻，本体和喻体往往处在相近的环境中，两者的相似点十分明显，在阅读时，读者极易产生一种认同感，这种类型的比喻便是采用了“化陌生为熟悉”①的手法，然而钱钟书却不按常理出牌，他采用的是“化熟悉为陌生”的比喻路径，这一点我们可以在《围城》中很明显地感觉出来。钱钟书所写的比喻句，在让比喻中的本体与喻体相吻合的同时，又将本体与喻体的距离拉开，起了一种陌生化的效果，在思维上产生一种跳跃性的感觉，给人带来一种新奇之美。钱钟书在《七缀集读<拉奥孔>》中对比喻的真髓进行了这样的阐述：“比喻体现了相反相成的道理。所比的事物有相同之处，否则彼此无法合拢；它们又有不同之处，否则彼此无法分辨。两者全不合。不能相比；两者全不分，无须相比――夸饰以不能为能，譬喻以不同类为类，理无二致，不同处愈多愈大，则相同处愈有烘托；分得愈远，则合得愈出人意表，比喻就愈新颖。”[3]在看小说时，我们可以明显地感受到钱钟书所运用的那些比喻，有很大一部分比喻他们的本体和喻体这两个事物联系很少，差别很大，乍一眼看去，一时之间很难看出本体和喻体之间的相似之处，但是当你回味一番，就会有恍然大悟之感，而后不禁赞叹其新奇精妙。这样的例子在文中比比皆是，就比如小说中对于“鲍小姐”的描写，钱钟书这样写道：

她只穿绯红抹胸，海蓝色贴肉短裤，露空白皮鞋里露出涂红的指甲――有人叫她“熟食铺子”（charcuterie），因为只有熟肉店会把那许多颜色暖热的肉公开陈列；又有人叫她“真理”，因为据说“真理是赤裸裸的”。鲍小姐并未一丝不挂，所以他们修正为“局部真理”。（P5）

在我初读《围城》时，看到这段对鲍小姐的经典描写――绯红抹胸，海蓝色贴肉短裤，露空白皮鞋里露出涂红的指甲，这不正是现今夏日街头那些漂亮女孩的经典装束嘛！而在当时这样的装束却是“熟食铺子”、“局部真理”了。这段话中，我们可以看出对于鲍小姐的描写，钱钟书用了两个比喻。第一个比喻是用“熟食铺子”来喻指鲍小姐的形体，“熟食铺子”去过菜场的人应该都知道，那是卖一些卤的鸡、鸭、鹅等熟食的店铺，钱钟书把鲍小姐裸露在外的形体比作熟食铺子，这两者的相似度可以说非常的高，我们一看就能理解作者设喻的目的。而第二个比喻作者写得就比较新奇，比较耐人寻味，他运用的是“真理”这个抽象的概念。鲍小姐裸露的形体和真理的相似之处在于都是“赤裸裸”的，但是鲍小姐又不是真的一丝不挂，所以又将鲍小姐进一步阐释为“局部真理”。这样一来，我们就可以看到一个非常肉感而又浅薄，放荡不羁的女性形象。这样的比喻可谓惟妙惟肖，又令人忍俊不禁。这种比喻，将一个抽象的事物来比喻一个具体的形象，化形象为抽象，将真理与人的肉体结合在一起，崇高与低俗碰撞出新奇之喻。

这样新奇的比喻还有很多，比如“那时候苏小姐把自己的爱情看得太名贵了，不肯随便施与。现在呢，宛如做了好衣服，舍不得穿，锁在箱里，过一两年忽然发现这衣服的样子和花色都不时髦了，有些自怅自悔。”（P11）“方鸿渐给鲍小姐一眼看的自尊心像泄尽气的橡皮车胎。”（P19）“无数的雨线飞蛾见火似的匆忙扑向这光圈里来。”（P142）“按捺不下的好奇心和希冀像火炉上烧滚的水，勃勃地掀动壶盖。”（P179）这些比喻讲求的都是新奇。爱情和衣服、自尊心和橡皮车胎、雨线和飞蛾、好奇心和开水，这些看起来都是些毫不相干的东西，但是钱钟书却能将这些风马牛不相及的事物加入自己独到的见解，将它们巧妙地结合起来，让读者读来很有新奇之感。

二、《围城》比喻的讽刺幽默性

当代著名作家谌容说：“生活中不能没有幽默，文学艺术中也不能没有幽默。生活中缺少了幽默，索然无味。文学艺术中缺少了幽默那就更糟。”《围城》是一部素有“中国现代《儒林外史》”之称的小说，它继承与发扬了《儒林外史》那种“无一贬词，而情伪毕露”的风格。[4]《围城》中的比喻，在讽刺幽默的语句之下，暗藏着很多深刻的哲理意味，在人们为这些讽刺频频发笑之时，同样也领悟了很多深刻的道理。

小说中有写道：“讲师升副教授容易，副教授升教授难上加难。我在华阳大学的时候，他们有这么一比，讲师比通房丫头，教授比夫人，副教授呢，等于如夫人，丫头收房做姨太太，是很普通――至少在以前很普通的事；姨太太要扶正做大太太，那是干犯纲常名教，做不得的。前清不是有副对么？‘为如夫人洗足；赐同进士出身。’有位我们系里的同事，也是个副教授，把它改了一句：‘替如夫人挣气；等副教授出头。’”（P250）

这是汪处厚在听到方鸿渐说高松年并没有确切答复他是否升做教授时说的一段话。这段话将当时中国大学里的情况通过比喻生动形象地表现了出来。我们先来看下这段话的本体，“讲师”、“教授”、“副教授”这些都是学校里教师的职称，而喻体是“丫头”、“夫人”、“如夫人”这些都是中国封建时期一夫多妻制的产物。这两者放在一起，前者代表的是尊贵高尚的社会知识分子，而后者可谓是一种低贱卑俗的喻体，这样就给人一种强烈的反差。“丫头”做“姨太太”很普通，喻指“讲师”升为“如夫人”是很常见的。“姨太太要扶正做大太太，那是干犯纲常名教，做不得的'。”，表明“副教授”变成“教授”是不可能的，也就是说“副教授”在当时的社会背景下永无出头之日。通过钱钟书的笔墨，我们可以了解到在当时社会，副教授是一个多么尴尬的存在，既升不了官也降不了职。在现今大学的教育制度下，教师们能够凭借自己的才学一步一步地评上更高的职称，但在当时这个教育事业不受重视的时代，这是不可能的事情。由此我们可以知道很多具有博才的大家们在当时的处境很艰难，他们得不到重用，更得不到重视。同样的，我们也能够从中体会到即使是在学院这样看起来及其清净的地方，同样存在着各种明争暗斗。 在学校中，“讲师”、“教授”与“副教授”他们关系的融洽只是浮于表面，在背后是一种尔虞我诈的冷漠关系，在这场事关个人名利得失的斗争中，多少学者殁落于此。这样的比喻，在让人倍感幽默之时，又给人以苦涩之感，让人回味。[5]

《围城》的讽刺，不仅仅有对当时那些不堪的社会现象的讽刺，还有对身处污浊社会之中的那些可鄙可笑的可怜人的犀利的讽刺。例如文中赵辛楣和方鸿渐在争辩时对校长高松年的评论：

事实上，一个人的缺点正像猴子的尾巴，猴子蹲在地面的时候，尾巴是看不见的，直到它向树上爬，就把后部供给大众瞻仰，可是这红臀长尾巴是本来就有并非地位爬高的新标识。（P208）

这句比喻句可谓非常经典，钱钟书将高松年的劣根性一针见血地指了出来。高松年的虚伪本为人所不识，但随着官位的上升，地位的拔高，他的缺点就像爬上高处的猴子将他的红屁股暴露在众人眼下。从中我们可以看出，高松年的虚伪是一直以来都是存在着的，不是他当了校长之后才有的，而是当了校长之后才更加透彻地显露出来，为人所识。这句话讽刺和嘲弄了这位善于玩弄权术、背信弃义的伪君子在爬上校长地位后所显示的恶劣本性。

三、《围城》比喻的知识性及博喻

众所周知，钱钟书是一位博学大师，其次才是一位作家。夏志清教授曾称钱钟书是“（中国）当代第一博学鸿儒”。一位博学鸿儒的作品，其知识性一定非常丰富。在《围城》里，我们可以很明显地觉察到钱钟书的博学多才。[6]在小说中我们可以观察到很多比喻句都有涉及例如中国官场行为、孔孟之道等等古今中外的文化知识以各类典故，更将大文豪苏东坡、哲学家柏拉图、圣人孔子、亚圣孟子等中外著名人物引入书中。同时，钱钟书笔下的比喻句还大量涉及了中西文化素养方面的知识，让他的比喻更具有耀眼的艺术魅力。

先来看下下面这句话：

“这一张文凭，仿佛有亚当夏娃下身那片树叶的功用，可以遮羞包丑。”（P9）

这句话出现在小说的开头，这是方鸿渐在为自己的文凭大费脑筋的时候说的。这句话中出现了“亚当”、“夏娃”等词，很明显这是引用了《圣经》旧约中失乐园这一篇章所讲述的故事。这句话将“一纸文凭”与 “亚当夏娃下身那片树叶”作比，一针见血地点明了这一张文凭发挥着“树叶”的功用，将方鸿渐内心的羞丑都遮蔽起来。紧接着，方鸿渐又利用自己从“哲学系” 学得知识，为自己的假的文凭开脱：“撒谎欺有时并非不道德。柏拉图《理想国》里就说兵士对敌人，医生对病人，官吏对民众都应该哄。圣如孔子，还假装生病，哄走了儒悲，孟子甚至对齐宣王也撒谎装病……买张文凭去哄他们，好比前清时代花钱捐个官，或英国殖民地商人向帝国府库报效几万镑换个爵士头衔，光耀门楣，也是孝子贤婿应有的承欢养志。”（P10）这段话提到了很多中西文化知识，不仅将柏拉图、孔子、孟子等一些古今中外非常有名的哲学家引入比喻句中，还涉及了清朝的捐官和英国换爵的事件，凸显了知识性及博喻的特征。

《围城》中精彩的比喻还有很多，富有哲理的比喻更是比比皆是。无论是比喻的新奇，幽默还是知识性，在给我们带来幽默与欢笑的同时也引发了我们对社会现实的思考，从而为《围城》增添了一重别样的色彩，让无数学者为之叹服。

注释：

①文学理论家乔纳森卡勒为比喻下的定义：比喻是认知的一种基本形式，通过把一种事物看成另一种事物而认识了它。比喻的本体对接受者来说是陌生的，是异质经验的认知，因而要用一个对接受者而言较为熟悉的喻体，通过使接收者同质的认知经验达到其对本体概念的认知。

参考文献:

[1]黄维梁.《与钱钟书论譬喻》.香港明报月刊,1983年,第172期.

[2]朱志宏.试论《围城》的比喻艺术[J].湖南工业职业技术学院学报.2005(02).

[3]钱钟书.七缀集(修订本)[M].上海:上海古籍出版社,1994.

[4]鲁迅.《中国小说史略》第二十三篇《清之讽刺小说》,上海古籍出版社,1998年1月版.

[5]阮学云.浅析《围城》比喻艺术,华东交通大学人文社会科学学院,江西南昌330013.

[6]夏志清.重会钱钟书纪实》,1979年,第6期.