高等自學(xué)考試英語(yǔ)論文 范文 商務(wù) 查泰來(lái)夫人的情人

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1、 (空三行) 簡(jiǎn)析《查特萊夫人的情人》中的主題 ---死亡、復(fù)活(題目換一個(gè)) （黑體，二號(hào),居中）(空一行) Brief Analysis of subject in Lady Chatterley's Lover--- — Death and Revival （二號(hào),居中） (空七行) 專 業(yè) 商貿(mào)英語(yǔ) (三號(hào),宋體,居中) 班 級(jí) 03級(jí)X班 (三號(hào),宋體,居中) 姓 名 XXX (三號(hào),宋體, 居中) 指導(dǎo)教師 XXX (三號(hào),宋體, 居中)

2、 2006年 3 月 2 日(居中) 畢業(yè)設(shè)計(jì)（論文）任務(wù)書(shū) 1. 課題名稱：簡(jiǎn)析《查特萊夫人的情人》中主題--死亡、復(fù)活 （此處空一行） 2.題目類型：（論文） 題目來(lái)源：（自擬） （此處空一行） 3.設(shè)計(jì)（論文）的主要內(nèi)容，主要技術(shù)指標(biāo)及基本要求： 戴·赫·勞倫斯是二十世紀(jì)英國(guó)文壇最有爭(zhēng)議的作家之一?！恫樘厝R夫人的情人》則更是他所有作品中最受非議的一部。小說(shuō)關(guān)注的不單單是梅勒斯和康妮的愛(ài)情故事，而更在于通過(guò)作者努力，探索出一條使西方文化擺脫傳統(tǒng)社會(huì)和偽善性習(xí)俗的途徑。缺乏“血性意識(shí)”的大機(jī)器生產(chǎn)和現(xiàn)代理性文化壓抑和扭曲了人性，造成了現(xiàn)代人肉體

3、傷害、精神摧殘。因此，現(xiàn)代人面臨著恢復(fù)活力，自我拯救的任務(wù)。 4.設(shè)計(jì)（論文）的軟、硬件環(huán)境:（資料、參考文獻(xiàn)、實(shí)驗(yàn)條件及設(shè)備） 參考文獻(xiàn)：（bibliography） Burn, Aiden.1980 Nature and Culture in D. H. Lawrence. London, New York: Macmillan Shiach, Morag. 2003. Fernihough, Anne. Chain,Shanghai: Shanghai Foreign Language Education Press. Baldick, Chris.1996. Lawrence

4、's critical and cultural legacy. Foucault, Michel.Trans. Alan Sheridan. Harmondsworth:Penguin Books. Jackson, Dennis.1991 Lady Chatterley's. H. Lawrence. Boston, Massachusetts:G K. Hall&Co. Brown Jackson..2002. Myth and Ritual Lover Beijing: Foreign Language Teaching and Research Press. Lawrence

5、, D. H.1968. Return to Bestwood. York: Heinemann Kou, Jae-Kyung.1989. Warren Roberts and Harry T. Moore. New Cambridge: Cambridge University Press. Millett, Kate. Sexual.1995. The letter of D. H. Lawrence London: Rupert Hart-David. 學(xué)生姓名 張三 專 業(yè) 班 級(jí) 商貿(mào)英語(yǔ)X班 指 導(dǎo) 教 師 李四 審 批 人 徐明 任務(wù)

6、下達(dá)日期 2005.10.19 全部完成日期 2006.3.2 進(jìn) 度 計(jì) 劃 表 序號(hào) 起止 日期 計(jì)劃完成內(nèi)容 實(shí)際完成情況 檢 查 日 期 檢查人簽名 1 2005.11.2.之前 提交論文題目 完成良好 2 2005.11.3 -11.16 搜集資料，撰寫(xiě)提綱 完成良好 3 2005.11.17 -12.9 撰寫(xiě)論文初稿 完成良好 4 2005.12.10- 2006.1.6 修改一稿，提交二稿 完成良好 5 2006.1.7 -2.10 修改二稿，提交三稿

7、 完成良好 6 2006.2.11. -2.24 修改三稿 完成良好 7 2006.2.25 -3.2 論文定稿打印 完成良好 8 9 10 （1、2頁(yè)由指導(dǎo)教師填寫(xiě)） （注：此表中內(nèi)容均為宋體四號(hào)字） 畢業(yè)設(shè)計(jì)（論文）評(píng)語(yǔ)及評(píng)分（指導(dǎo)教師專用） 學(xué)生姓名 專業(yè)班級(jí) 總 分 評(píng) 分 內(nèi) 容 評(píng) 分 等 級(jí) 好 較好 一般 差 應(yīng)用文獻(xiàn)資料和調(diào)研能力（包括翻譯外文資料） 分析與解決問(wèn)題的能力（包括計(jì)算方法、數(shù)據(jù)處理等）

8、 計(jì)算機(jī)能力（包括編程、數(shù)據(jù)、圖形及文字處理） 論文質(zhì)量（論點(diǎn)、論據(jù)、實(shí)驗(yàn)分析、推理、深度等） 設(shè)計(jì)質(zhì)量（方案、技術(shù)路線、設(shè)計(jì)水平、圖面質(zhì)量等） 工作量、工作態(tài)度 技術(shù)經(jīng)濟(jì)分析能力（包括技術(shù)可靠性、經(jīng)濟(jì)合理性的分析評(píng)價(jià)） 創(chuàng)新 （包括創(chuàng)新意識(shí)、獨(dú)特見(jiàn)解） 寫(xiě)作的規(guī)范性 評(píng)語(yǔ)及評(píng)分的具體依據(jù)： 指導(dǎo)教師 簽

9、字 年 月 日 畢業(yè)設(shè)計(jì)（論文）評(píng)語(yǔ)及評(píng)分（評(píng)閱人專用） 學(xué)生姓名 專業(yè)班級(jí) 總 分 評(píng) 分 內(nèi) 容 評(píng) 分 等 級(jí) 好 較好 一般 差 分析與解決問(wèn)題的能力（包括計(jì)算方法、數(shù)據(jù)處理等） 論文質(zhì)量（論點(diǎn)、論據(jù)、實(shí)驗(yàn)分析、推理、深度等） 設(shè)計(jì)質(zhì)量（方案、技術(shù)路線、設(shè)計(jì)水平、圖面質(zhì)量等） 技術(shù)經(jīng)濟(jì)分析能力（包括技術(shù)可靠性、經(jīng)濟(jì)合理性的分析評(píng)價(jià)） 創(chuàng)新 （包括創(chuàng)新意識(shí)、獨(dú)特見(jiàn)解）

10、 寫(xiě)作的規(guī)范性 評(píng)語(yǔ)及評(píng)分的具體依據(jù)： 評(píng) 閱 人 簽字 年 月 日 畢業(yè)設(shè)計(jì)（論文）評(píng)語(yǔ)及評(píng)分（答辯委員會(huì)專用） 學(xué)生姓名 專業(yè)班級(jí) 總 分 評(píng) 分 內(nèi) 容 評(píng) 分 等 級(jí) 好 較好 一般 差 學(xué)生陳述清楚、精練、正

11、確、邏輯性強(qiáng) 論文質(zhì)量（論點(diǎn)、論據(jù)、實(shí)驗(yàn)分析、推理、深度、創(chuàng)新等） 設(shè)計(jì)質(zhì)量（方案、技術(shù)路線、設(shè)計(jì)水平、圖面質(zhì)量、創(chuàng)新等） 回答問(wèn)題準(zhǔn)確、深刻 評(píng)語(yǔ)及評(píng)分的具體依據(jù)： 成 績(jī) 答辯委員會(huì)主任委員 簽字 年 月 日 Abstract D. H. Lawrence is one of the

12、 most controversial writers in the twentieth-century English literature. Of all his fictional works, Lady Chatterley's Lover has incurred the fiercest censure. It concerns not just with the love affair between Connie and Mellors but with its author's effort at figuring out a way for Western cultures

13、 to wean themselves away from conventional social and hypocritical sexual mores. The insentient mass production and modern logocentric culture suppressedandsuppressed and distorted human nature, to the effect of physical damage and spiritual catastrophe. So， modern people are being confronted with

14、the responsibility of vitality-restoration and self-redemption. Key words: Tthe living dead; tThe reviving; life Life forces; Lady Chatterley's Lover 摘 要 戴·赫·勞倫斯是二十世紀(jì)英國(guó)文壇最有爭(zhēng)議的作家之一。《查特萊夫人的情人》則更是他所有作品中最受非議的一部。小說(shuō)關(guān)注的不單單是梅勒斯和康妮的愛(ài)情故事，而更在于通過(guò)作者努力，探索出一條使西方文化擺脫傳統(tǒng)社會(huì)和偽善性習(xí)俗的途徑。缺乏“血性意識(shí)”的大機(jī)器生產(chǎn)和現(xiàn)代理性文化壓抑和扭曲了

15、人性，造成了現(xiàn)代人肉體傷害、精神摧殘。因此，現(xiàn)代人面臨著恢復(fù)活力，自我拯救的任務(wù)。 關(guān)鍵詞:活死人；復(fù)活的人；生命活力；查特萊夫人的情人 Table of Contents （這一頁(yè)的格式需要調(diào)整） Abstract in English Abstract in Chinese I.IntroductionI. Introduction...............................................................................................................

16、............................……，................... ……1 II.Chapter One The Living Dead.。，二。.、…。。................................................…...9 1.1 The Dehumanised Creature: Sir Clifford..............................................10 1.1.1 The Parasite of Connie's Vitality....

17、..................................…...10 1.1.2 The Oppressor of the Miners' Bodies and Soul..................……。...11 1.1.3 The Resultant Centauric Personality: Self-Assertion vs. Dependency................................……，..............................13 1.2

18、The Half Corpse: the Miners......................................................…...15 III.Chapter Two The Reviving...........................……，..............................……17 2.1 Connie's Transition from Death to Revival.....................................…...17 2.1.1 The Collapse of

19、 Connie's Consciousness of the Mental Life...............17 2.1.2 The Revival of Connie's Vitality..……。.……。。.…。，.......……。..…。...20 2.2 Mellor's Transition from Death to Revival..................................……?！?4 2.2.1 The Temporary Loss of Mellor's Potency.............

20、........................24 2.2.2 The Recovery of Mellor's Wounded Sexual Potency.，................…...27 IV.Conclusion...................................................................……………………… Bibliography………………………………………………………………. Acknowledgements……………………………………………………………….

21、 … I.Introduction The early twentieth century witnessed an unprecedented change of human society in which the booming progress of science and technology brought about the dazzling material civilization. However, the progress of industrial civilization failed to construct a har

22、monious and tranquil modern society. In sharp contrast with the apparent prosperity and abundance were people's inner emptiness, loneliness and anxiety.In the field of literature, dehumanization and alienation occurring in modern man were one of the most prominent themes of the times. Men of letters

23、 by means of their acute vision, instinctively penetrating social diseases, recorded the turbulent uproar with their pens from different angles, which gave rise to divers blossoming literary genres and created new methods in the first two decades of the 20`h century. In the domain of fiction, a new

24、creative mwriting method, called "stream of consciousness" was initiated and amplified by James Joyce and Virginia Woolf to decipher the conscious and subconscious movement of protagonists. In the realm of poetry, Ezra Pound and T. S. Eliot started imagism movement. Eliot's Waste Land epitomizes the

25、 spiritual wasteland of the post-war men. Across the Atlantic, F. Scott Fitzgerald and Earnest Hemingway recorded the trauma and the wild life of the expatriate Americans in the European continent and became for the "lost generation." These literal giants, either in their the spokesmen distinguished

26、 writing styles or their penetrating insights reflected the characters of the troubling times; their works won them reputation, enabling their names enshrined in the literary history of the twentieth century. Lawrence could not see any hope of regeneration for a sexless England. For him, the warm b

27、lood-sex that established the living and re-vitalizing connection between man and woman was the only way to get England regenerated. He was despised because he emphasized sex, and wrote more about sex than his contemporary writers; therefore he was mistreated as a maniacal writer of pornography. In

28、fact, he is a serious writer and writes about sex just from a different perspective and by adopting a different way for expressing it. He cherishes profound concerns about and earnest reflections upon the existence of modern mankind. This thesis prominently aims at trying to provide an objective an

29、d comprehensive analysis on Lawrence's most controversial novel LCL. What is the purport Lawrence originally intended for LCL to carry, and what is the moral that he originally intended for the novel to impart? Is the solution Lawrence put forward in LCL applicable to modern Western society? This th

30、esis focuses on addressing the above two question. II.Chapter One The Living Dead As Moynaham observed in his essay "The Deed of Life": LCL is a novel full of contrasts and dialectical thinking. It dramatizes two opposite types of personality: the living dead and the reviving. There are "t

31、wo distinct modes of human awareness," one mode being "abstract, cerebral, and non-vital" and the other being "concrete, physical, and organic". The story shifts repeatedly between "two contrasting settings":Wragby Hall and the industrial village of Tevershall, "the standing of the industrial, socia

32、l, and even spiritual orders dominant in the modern world"; and the wood, "the vital center of Lawrence's panorama". There is social and economic hostility between the village and the manor, but both the workers and the owner unite in opposition to everything the wood represents. They both worship t

33、he abstractions of money and power, and both are devoted to the mechanistic organization. "The wood stands approximately in between two forces of negation. It's the sacred wood within which life mysteries are enacted". The living dead versus the reviving is one of the theme of LCL，therefore, the the

34、sis attempts to examine some features of the two opposite modes or realms of their experience. 1.1 The Dehumanized Creature: Sir Clifford Sir Clifford Chatterley symbolizes the living dead at Wragby Hall. He is an embodiment of modern rationalism and representative of magnate. He not only suck

35、s up Connie's vitality, but also mineral soils of his region and increases wholesome living condition. Meanwhile, the further exploits the exhausted alienation of his workmen from is a maimed centaur, from the pulp of his inner life emanate just two vibrations: an impulse of coercive bulling self-as

36、sertion, and a contradictory impulse of terrifying dependency. 1.1.1 The Parasite of Connie's Vitality Clifford has been seriously wounded in the Great War, permanently paralyzed from the waist down, and confined to a motorized wheelchair for the rest of his life. He functions as an allegorica

37、l figure rather than a real character. His physical emasculation reflects an internal weakness and emptiness. It must also be seen as a social commentary. As is pointed out by Lawrence in A Propos:“ is a pure product of our civilization, but he is the death of the great humanity of the world ".

38、 After his recovery, he returns to his country house at Wragby Hall, starts as an ultra一modern stories writer, and quickly gains fame and money. However, like his paralyzed body, his stories are involved nothingness. His appetite for the "bitch一Goddess" is just meant to conceal his incapability of e

39、xperiencing personal fulfillment. Since he has no actual contact with anybody, his life is rather a "simulacrum of reality," a complex pattern of abstract relationships to substitute for tangible connections tying himself to others. By dint of this pattern of life he indulges in illusions of life.

40、 1.1.2 The Oppressor of the Miners’bodies and Soul In mid一career Clifford orients himself to a new pattern of abstraction.This time it is economic and industrial power that gives him the illusion of life. Under Mrs. Bolton's encouragement he shifts his energy to the development of industrial mi

41、nes. For him, devoting to the management of his mines sustains fantasies of potency and agency which he finds in no other sphere: "he really felt, when he had periods of energy and worked so hard at the question of the mines, as if his sexual potency were returning" . However, it is just a false pot

42、ency. Under its stimulation, Clifford is crazy for creating a system, which allows him to dominate his compensation for the physical paralysis caused by his war injury. He cannot see human beings as flesh一and-blood realities, but prefers to see them only as the workings of an abstractly formulated p

43、rocess. Clifford exercises his total control over his employees in order to increase efficiency; his aim is to increase their economic "utility." The miners' bodies have to be made into docile instruments, "parts of the pit rather than parts of life". Clifford's attitude to his workers is expressed

44、in his two slogans-一“the industry comes before the individual", and "the function determines the ndividual" . He cares little about the common people who live on his land and work for him. Coal miners become cogs in his industrial machine, and he just ignores them as individuals. The irony, of cours

45、e, is that Clifford himself becomes a servant of the machine, prostituting himself for success. But his fear of the men also reveals his own subconscious recognition that their "queer, crude life" is, nevertheless fuller than his. The harsh mechanical power system is an expression of Clifford's

46、 strong sense of his ruling class superiority. He defends the established as a necessary element of the order of things, claiming that the disparity between the different classes is a matter of unalterable fate, in which the masses are doomed to be controlled, tamed, and dominated. His overriding ai

47、m is to discipline human nature so as "to capture the bitch-goddess by brute means of industrial production" . His project is to exercise the most effective power over nature in order to extract money. For Clifford, his coal-mining enterprise requires a collaborative strategy, harnessing the most po

48、werful technologies available and eliminating human friction from the process through turning the workforce into an entirely obedient group of people capable of conforming to mechanical rhythms and pace. His project is made possible by gaining increasing control over the bodies of the miners with th

49、e aim of reducing them to mere functions and instruments of the mechanical process. Now Clifford is in a position to commit far greater sins than before. As an industrialist he draws men and women by the thousands into his orbit of non-existence. He becomes an insane leader in a civilized society an

50、d gains new confidence and toughness from his success in manipulating men and machines. He is described as becoming with shells of steel, like machines, and inner bodies of soft pulp". 1.1.3 The Resultant Centauric Personality: Self-Assertion vs. Dependency In Greek Mythology, centaur is a rac

51、e of monsters, having the head, arms, and trunk of a man and the body and legs of a horse. Clifford, who is a maimed centaur, patrolling around his manor and pits by attaching to a motorized wheelchair. Moreover, he is possessed of a resultant centauric personality; opposite to his extreme self-asse

52、rtion is his over-dependent character. He exerts his relentless, machine一like will upon nature in the scene where his motorized wheelchair breaks down. He becomes furious, rejecting Connie's offer to help push the chair up the hill, and forces the machine into action, crushing the bluebells under hi

53、s wheels. When he realizes his desperate efforts are in vain, he asks the gamekeeper Mellors to push him. Mellors is forced near to collapse as he lifts the heavy weight of his master and the mechanical chair, whilst the other harasses him verbally. This episode illustrates Clifford's desire to impo

54、se his will on nature, and the futility and destructiveness of his desire. The episode also provides an example of how he subordinates his own deepest desires and turns them into the reliance on mechanical appliance. The narrative presentation of Clifford is carefully handled so as to prevent th

55、e reader ever coming at the character directly. His utterances are invariably hedged round with interpretative comment by the narrator or by Connie, which draws out the depraved implication of what he says and does. (Moynahan 76) Clifford lives in an illusion of disconnectedness; never for a moment

56、does he emerges as a man who has suffered a terrible wound and is to be pitied.Connie actually makes Clifford responsible for his own cold-bloodiness: Was he not in a way to blame? This lack of warmth, this lack of the simple, warm, physical contact, was he not to blame for that? He was never really

57、 warm, nor even kind, only thoughtful, considerate, in a well一bred, cold sort of way!But never warm as a man can be warm to a woman, as even Connie's father could be warm to her, with the warmth of a man who did himself well, and intended to, but who still could comfort a woman with a bit of his mas

58、culine glow. (85) Thus Clifford's impotence here is emotional rather than sexual; he fails to affirm the common sensual basis of human sympathy. The reader actually comes to hate Clifford as Connie hates him, because he lacks the moral strength and human warmth, which command human respect and

59、love. Riding about his estate in his motorized chair he as a kind of mechanical centaur, is only half human, unceasingly abusing vitality of the living around him. 1.2 The Half Corpse: the Miners Lawrence asserted that modern industrialism not only turned the magnate like Clifford merciless, b

60、ecoming the living dead, but also supped up the vitality of the working people through the industrial discipline. In Discipline and Punish, Michel Foucault examines the human body as "the object and target of power." By the 18 `h century, the body had come increasing to be seen as "a mechanism" com

61、posed of independently usable parts. The novel's second powerful representation of the living dead is concentrated on a meticulous and detailed description of the drudging miners in the pits. In LCL, Connie is sentimental enough to discover the secrets of the industrial society to maximize the

62、 "utility" of human body. She sees the colliers: "trailing from the pits, grey-black, distorted, one shoulder higher than the other, slurring their heavy boots"(185). They are struggling miserably for a livelihood. They are "Men!Men! in some ways patient and good men; in other ways, non一existent. So

63、mething that men should have was bred and killed out of them"(186). The life forces born in them have been smashed into pieces, and the living dignity under their exhausted bodies, trodden down by the modern pitiless magnates such as Clifford. "[T]hey were only half, only the grey half of a human be

64、ing"(186). In Lawrence's presentation of the development of contemporary industrialism, the working lives of individuals are shown as becoming increasingly instrumental and functional with the development of contemporary industrialism, while their creativity and human life forces atrophy. III.

65、Chapter Two The Reviving Lawrence believed the "insentient iron world" denied the primary value of the body's physical life and aspiration toward an ideal condition so as to cause the disembodiment of blood and flesh from soul. But in the wood, where this value is asserted, naked contacts are

66、preserved between man and nature, and between physical man and woman. Thus the dormant life forces are awakened, individual rises from the living dead, and comes to the state of revival. 2.1 Connie's Transition from Death to Revival Connie Chatterley does not achieve her fulfillment at first. For some time, she cannot escape her husband and what he stands for; she entertains various alternatives: to participate, to hesitate, to become confused, and to relapse, until finally to make the gre