关于苔丝狄蒙娜的论文题目

您的救星来了，要加分哟！！Shakespeare’s Four Writing PeriodsWilliam Shakespeare altered his writing style significantly between his first play (1590-92) and his last (1613). For example, the Shakespeare style of 1590 was somewhat rigid in its adherence to established rules, though it did contain flashes of brilliance that astounded and delighted audiences. The style of the early 1600's, on the other hand, was more creative and free because Shakespeare had learned to listen more to his inner voice and less to the dictates of literary convention. In his later years–in particular when he wrote The Tempest–Shakespeare achieved a writing mastery that confirmed what earlier masterpieces such as Hamlet and King Lear suggested: that he was one of the greatest writers in history. .......Scholars generally assign each of his plays to one of four periods, depending on the quality and maturity of the writing and characterization. Textbooks classify these as the Early Period, the Balanced Period, the Overflowing Period, and the Final Period. Not everyone agrees on which plays belong to which period. For example, some scholars place Hamlet in the Balanced Period while others place it in the Overflowing Period. Scholars also differ on the period to which The Merchant of Venice belongs. Some place it in the Early Period and others in the Balanced Period. .......Such disagreement is understandable. After all, literature is not mathematics or physics. In King Lear, 2+2 may equal 7 or 9 in the mind of an old man wrecked by familial perfidy. And in Macbeth, darkness + nightfall may equal sunshine or dawn in the mind of a witch stewing "eye of newt and toe of frog, wool of bat and tongue of frog." The plays and characteristics of the four periods are as follows: Early Period Plays: Comedy of Errors, Henry VI Part I, Henry VI Part II, Henry VI Part III, King John, Love's Labour's Lost, Midsummer Night's Dream, Richard II, Richard III, Romeo and Juliet, Taming of the Shrew, Titus Andronicus, Two Gentlemen of Verona. Style in General: Technically rigid; somewhat immature. The plots generally are well organized. Characterization: Often superficial or shallow compared with the characterization in later plays. Romeo and Juliet, in which characterization is strong, is an exception. Dialogue: Sometimes stilted, unnatural. Shakespeare tries hard–maybe too hard–to be consistent in the structure of his lines, making his words fit established conventions rather than making them express the mercurial, inner voice that guided him in later plays. Puns and other rhetorical devices abound, making the wording clever but not always profound. In Richard II, John of Gaunt makes puns even as he is dying. When the king asks how he is, Gaunt uses his name (the same as the adjective gaunt, meaning thin, bony and haggard) in a "punny" reply: Oh, how that name befits my composition! Old Gaunt indeed, and gaunt in being old, With me grief hath kept a tedious fast, And who abstains from meat that is not gaunt?Balanced Period Plays: All's Well That Ends Well, As You Like It, Hamlet*, Henry IV Part I, Henry IV Part II, Henry V, Julius Caesar, Measure for Measure*, Merchant of Venice*, Merry Wives of Windsor, Much Ado About Nothing, Othello*, Troilus and Cressida, Twelfth Night. Style in General: Less technically rigid; more creative. The plots are generally well designed. Shakespeare demonstrates his range by writing outstanding works in three genres: comedy (As You Like It, Twelfth Night), tragedy (Hamlet, Julius Caesar) and history (Henry IV Part I, Henry V). In addition, he presents a highly tragic character, Shylock, in a comedy (The Merchant of Venice). Characterization: Strong and rounded, reflecting deep insight into human nature. Among the magnificent character portrayals of this period are those of Hamlet, Macbeth, Shylock, Othello, Iago, and Brutus. In Henry IV Parts I and II, Shakespeare achieves a wonderful balance between the comic (represented by Sir John Falstaff) and the serious (represented by Hotspur and others). Dialogue: A mixture of verse and prose. Shakespeare also uses the soliloquy as more than a device to disclose the direction of the plot, to present pretty poetry, or to deliver long-winded asides. In Hamlet, Macbeth, and Julius Caesar, for example, soliloquies plumb the depths of the characters' souls, revealing doubt, indecision, fear, and ambition. The "To be or not to be" soliloquy in Hamlet, perhaps the most famous passage in English literature, reveals all of these emotions: . Overflowing Period Plays: King Lear, Antony and Cleopatra, Macbeth, Coriolanus, Timon of Athens Style in General: Highly creative; bursting with insight. Shakespeare ignores many rules to allow his genius to "overflow." The plots of this period sometimes twist and turn, challenging the reader with their complexity. Characterization: Superb, deeply insightful Dialogue: Often highly suggestive of the speaker's state of mind and suffused with memorable metaphors, similes and other figures of speech. Many passages are in prose. The following prose passage in the storm scene in Act III, Scene IV, of King Lear reveals all of these characteristics. Lear is addressing Edgar in the presence of the Fool. After speaking the lines, Lear tears off his clothes. Why, thou wert better in thy grave than to answer with thy uncovered body this extremity of the skies. Is man no more than this? Consider him well. Thou owest the worm no silk, the beast no hide, the sheep no wool, the cat no perfume. Ha! here's three on 's are sophisticated! Thou art the thing itself: unaccommodated man is no more but such a poor bare, forked animal as thou art. Off, off, you lendings! Come unbutton here.The Fool then rejoins in prose with a surprising touch of humor and more of the same type of imagery: Prithee, nuncle [Lear], be contented; 'tis a naughty night to swim in. Now a little fire in a wild field were like an old lecher's heart; a small spark, all the rest on 's body cold. Look, here comes a walking fire. [Gloucester enters with a torch.]Final Period Plays: Cymbeline, Henry VIII, Pericles, The Tempest, The Winter's Tale Style in General: Masterly. Shakespeare has just the right mix of technical skill, creativity, and wisdom while exhibiting hope for flawed humanity. Shakespeare tends to prefer times and places far removed from Elizabethan England–as in The Tempest, Pericles, and Cymbeline–although Henry VIII is certainly an exception here. Characterization: Several plays of this period–including Pericles, The Winter's Tale, and Cymbeline–introduce characters who suffer loss, then regain what they have lost. Superb, deeply insightful Dialogue: Highly creative, with many memorable passages in both verse and prose. The following passages, the first in verse and the second in prose, are from The Tempest: Ariel's Song, Act I, Scene II . Full fathom five thy father lies; Of his bones are coral made; Those are pearls that were his eyes: Nothing of him that doth fade But doth suffer a sea-change Into something rich and strange. Sea-nymphs hourly ring his knell Prospero Speaking to Ferdinand and Miranda, Act IV, Scene I . Our revels now are ended. These our actors, As I foretold you, were all spirits and Are melted into air, into thin air: And, like the baseless fabric of this vision, The cloud-capp'd towers, the gorgeous palaces, The solemn temples, the great globe itself, Ye all which it inherit, shall dissolve And, like this insubstantial pageant faded.

故事里给我印象最深的是苔丝狄蒙娜对于丈夫那无条件的深深的爱，以及傻大个奥赛罗由于受人蒙对于自己妻子的深深伤害的对比。就像艾米丽娅骂奥赛罗所说的：“你配不上这样的好妻子，你这种行为是上天不容的”。表面上奥赛罗对于妻子的爱是如此深刻，但比较起来却知道他的爱是如此的脆弱。所以读完整篇故事，最令人痛恨的反而不是伊阿古，而是主角奥赛罗。 仔细想来，整片文章的中心思想就是爱情的脆弱。文中有三对情侣，分别是奥赛罗和苔丝狄蒙娜；伊阿古和艾米丽娅以及凯西奥和比恩卡。三对情侣都没能从善而终。在莎士比亚看来，爱情最重要的一点应该就是“信任”吧。这三对情侣中，女的都没有对不起男的，但男方都因为各种原因对自己的女伴没有尽到自己的责任。这与《哈姆雷特》中所表达的“脆弱啊，你的名字就是女人”似乎是冲突的。但在我看来，这两种观点并不冲突，因为我觉得以他看来，这正表明了莎士比亚认为爱情整个就是脆弱的。 四、李尔王 李尔也许是老糊涂了，不保留任何权利而把所有权利作为嫁妆转交给三个女儿，而由于小女儿考狄利娅不会花言巧语而只给了两个大女儿高纳里尔和里根。结果最孝顺她的小女儿远嫁法兰西，两个大女儿则嫌他太乖戾而想要削减他的随从。李尔被逼得精神失常，只有一个小丑和假扮仆从的肯特伯爵随侍左右。葛罗斯特家里忠厚的大儿子爱德伽被奸诈的私生子爱德蒙挑拨离家出走，化身做了乞丐。 最终小女儿带领法兰西军队要为父讨回公道，败在了两个大女儿手里，最终被缢死；爱德蒙被爱德伽决斗致死；葛罗斯特由于爱德伽的原谅悲喜交加而死；两个大女儿由于争夺情人爱德蒙而死；大女儿的丈夫康华尔公爵由于挖出葛罗斯特的眼睛，被仆人行刺伤重而亡；李尔王由于小女儿的死悲伤而死。 上一页 3 /5 下一页

英语论文提纲 范文

英语论文提纲怎样写呢?下面是我分享的英语论文提纲范文，欢迎大家阅读，也希望英语论文提纲范文能够帮助同学们顺利开展论文的撰写。

一、 title

from a new woman to a victim

二、 introduction

in china, the position of women becomes higher and higher, but discrimination and violence are existed all the same. there are a lot of women who have the same experience with desdemona. the intention of this study is to tell the importance of women’s independence in this modern society.

my attention was first directed to introduce desdemona and the good points of her character. this is because she is a new woman in the first two acts. then i put much attention on analyzing the reasons of her change. last i pointed out that women in modern society should learn from desdemona and try to be independent. however , the independence is not mean to stand against her husband or her father, but it means to find her own position in the society and establish a positive outlook on life. women should be independent not only from spirit, but also from finance.

三、outline

1 introduction

1.1 a brief introduction of othello

1.2 a particular introduction of desdemona as a new woman

2 the reasons of turning from a new woman to a victim

2.1 a deion of women’s position in the 16th of england

2.2 the influence of patriarchy-centered culture

2.3 desdemona’s own weakness of her character

3 the impact of desdemona on women in modern society.

3.1 social problems on women

3.2 the reasons why women should be independent

3.3 the new meaning of “independence”

3.4 what women should do if they want to be independent

3.3.1 from spirit

3.3.2 from finance

四、conclusion

theory guidance

1 feminism

2 freudian psychology

翻译：

一、标题

从一个新女人到一个受害者

二、介绍

在中国，妇女的地位越来越高，但歧视和暴力都是一样的存在。有很多有经验的女性苔丝狄蒙娜一样。本研究的目的是告诉女性在这个现代社会中的独立性的重要性。

我注意的是首先针对介绍苔丝狄蒙娜和她的性格好点。这是因为她是一个新的女人在前两个行为。然后我就把注意力放在分析她的变化的原因。最后我指出，现代社会中女性应该学会从苔丝狄蒙娜和尝试独立。然而，独立并不意味着要站在她的丈夫或她的父亲，但它意味着在社会中找到自己的位置，并建立一个积极的人生观。女性不仅要从精神上独立，也要从财务上独立。

三、概述

1引言

1.1简要介绍奥赛罗

1.2特别介绍苔丝狄蒙娜作为新女性

2从一个新的女人变成一个受害者的原因

2.1描述一下女人的位置在英格兰第十六

2.2父权中心文化的影响

2.3苔丝狄蒙娜对她自己的性格弱点

3影响她对女性在现代社会中。

女性的3.1个社会问题

3.2女性应该独立的原因

3.3“独立”的新意义

3.4女性应该做什么，如果他们想独立

3.3.1从精神

3.3.2财务

四、结论

理论指导

1女性主义

2弗洛伊德心理学

知识扩展：英语毕业论文提纲怎么写?

I 英语毕业论文提纲的写作流程：

1.提纲写作需要先拟定论文标题;

2.根据论文题目写出总论点;

3.结合总论点考虑全篇的整体布局;

论文的整体布局需要充分考虑总论点的叙述顺序，这是论文写作的整体框架。

4.确定论文的`整体布局后再逐步考虑总论点下面的分论点，直至确定论点句;

5.结合段落部署，把相关材料组合起来，以便写作过程中的随用随取;

6.进行全面的检查，对于不必要的内容进行不必要的删减;

II英语毕业论文提纲的注意事项：

1.毕业论文提纲的编写方法：

1.1 标题式写法

用简洁的文字凝练出标题，并将这部分内容概括出来。这种写法的好处是简洁明了，一目了然，但是这种方法存在一定的缺陷，作者本人对此非常了解熟悉，但是外人乍看没有眉目，因此，在毕业论文的提纲写作中，很少使用这种方法。

1.2 句子式写法

就是用表述完整通畅的句子将所要描述出来的内容进行概括，这种写法更为具体，更为明确，自己了解的同时也能让外人看得懂。因为毕业论文不是针对个人，因此在毕业论文提纲的写作中得到广泛应用。

2.毕业论文提供的修改推敲

毕业论文提纲写好后，需要进行推敲和修改，修改的过程中需要注意以下几点：

2.1 题目是否合适;

题目是一篇文章的精华所在，其重要性不容忽视，不合适的论文题目会对接下来的论文写作带来阻碍。

2.2 结构是否合理;

合理的结构需要点明主题的基础上围绕主题进行拓展延伸，划分层次和段落，提高文章的逻辑性，检查过渡是否自然，然后进行全局性的把控。

2.3 层次是否完善;

提纲的层次必须完善，每个层次必须保证清晰，总论点应该重点突出，序论和结论部分应该简明扼要。本论是全文的重点，是需要集中精力写的一部分，因此，提纲应该罗列地详细一点，层层深入，体现总论和分论的巧妙融合。