英语专业毕业论文-范本范例.doc

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附件10 学士学位论文新疆医科大学（华文行楷 一号 加粗 居中 字间距4磅）T H E S I S O F B A C H E L O R D E G R E E学士学位论文（黑体 小初 加粗 居中 字间距4磅 ）论文题目：（中文）（英文）学 生 姓 名 学 科 专 业 指 导 教 师 研究起止时间 所 在 学 院 （宋体 三号 加粗） （宋体 三号 加粗 下划线）年月日（宋体 四号 加粗）iv摘 要1962年出版的金色笔记是英国当代女作家多丽丝莱辛最著名的长篇小说。该小说气势宏大，结构独特。小说把人物心理分析、社会政治批评、小说形式实验三者融为一炉，具有深刻的思想内涵和丰富的审美价值。本文主要分析该小说形式方面的创新意义。多丽丝莱辛在该小说中对当代小说形式与现实表征之间的关系作了深入地思考与大胆地探索。她模拟现代西方立体主义画派在现实表征中所采用的时空共存、多元角度和反身观察的构成原则和艺术手段构建了一种全新的小说形式。本文运用跨学科的研究视角解读金色笔记，分析小说形式与立体主义画派在表现现实方面的共通之处，旨在说明二者在现实表征方面所遵循的构成原则和采取的艺术手段是相同的，对文学艺术表征现实的局限性的认识也是一致的。本文从三个方面来阐述相关论点。论文的第一章追溯西方小说形式的变迁以及莱辛小说的形式在现实表征过程中所体现的独创性。第二章阐述小说与绘画的关系，进而确立立体主义画派与小说金色笔记之间的关系。第三章通过深入分析小说形式中呈现出来的立体主义画派构成原则和艺术手段来论证二者之间的相通之处。本文运用跨学科的研究方法解读金色笔记的小说形式是一种创造性的、有意义的尝试，以期为充实莱辛小说研究提供一个新的视角和研究思路。关键词：立体主义;小说形式;现实表征;构成原则;时空共存;多元角度;反身观察AbstractThe Golden Notebook is the most famous work by Doris Lessing. It is remarkable for its rich characterization, sharp political and social criticism, and original experiment on the novel form. The thesis mainly focuses on the significance of Lessings experimentation on the novel form. Doris Lessing reflects upon and explores the relation between representation of reality and novel forms in the book. Based on the shaping principles by Cubism, the most influential Western art movement in modern times, she constructs the novel form of The Golden Notebook. The principles include the union of time and space, multiplicity of perspectives in representing reality and reflexivity in literary and art creation and observation. The paper expounds the argument from three aspects. Chapter One traces the historical evolution of novel forms and highlights the originality of the novel form in The Golden Notebook. Chapter Two illustrates the close relation between novel and painting and specifies the parallel relation between the novel form in The Golden Notebook and Cubism. Chapter Three analyses in detail the novel form of The Golden Notebook and its parallel relationship with Cubism in terms of shaping principles and dynamics. The interdisciplinary perspective employed in the thesis intends to provide a different reading and research orientation in evaluating the novel form.Key words: Cubism; novel form; representation of reality; shaping principle; simultaneity; multiplicity; reflexivityContentsAbstract (Chinese & English)Introduction1Chapter One: Forms in Novel71.1 What Is Form?71.2 The Evolution of Novel Forms81.3 What Is New in the Form of The Golden Notebook11Chapter Two: Novel and Painting152.1 Novel and Painting152.2 What Is Cubism?18Chapter Three: Cubism in the Form of The Golden Notebook203.1 Simultaneity: The Union of Time and Space203.1.1 Temporal Form in The Golden Notebook223.1.2 Spatial Form in The Golden Notebook243.2 Multiplicity: Fragments and Unity263.2.1 Breaking into Fragments: Divided Selves in the Four Notebooks283.2.2 Parts into Whole: the Golden Notebook313.2.3 An Irony: Free Women313.3 Reflexivity: From Reality to Observation34Conclusion39Bibliography44Acknowledgements学位论文独创性声明学位论文知识产权权属声明IntroductionLiterary Review of Doris Lessing and The Golden NotebookAfter many years of toiling in writing, Doris Lessing has now safely established herself as being “the most extraordinary woman writer” (Greene, 1994: 1) and “very much a representative writer for our time” (Bloom, 1986: 7). Her major work The Golden Notebook has been ranked by many critics as “one of the most powerful of post-war British novels” and “the most remarkable work by a woman to appear in Britain since Virginia Woolfs” (Bradbury, 2004: 381).Doris Lessings critical reputation is remarkable from the very beginning of her literary career. Her success as a professional writer began with the publication of her first novel The Grass Is Singing. It was accepted by Michael Joseph in London in 1950 and was an instant success, being immediately recognized as an exceptional novel on colonialism. “I had very good reviews, and I had enough money to keep me going for a bit” (Bookshelf, 1992), as Doris Lessing recalled her early success in an interview by BBC Radio. Her fame has gained steadily ever since.It took Lessing nearly two decades following her first novel to write her next important work, the series of Children of Violence, between 1952, when Martha Quest was published, and 1969, when The Four-Gated City appeared. In the context of postwar retreat to the conventional and the conservative, The Children of Violence was “something new” (Greene, 1994: 15) indeed. It focuses on Martha Quests difficult, painful process of educating herself in search of true identity. Despite its conventional form, the vivid depiction of Marthas growth in consciousness evokes the warm sympathy from many readers, especially young women who seemed to have undergone similar frustration. True to what Jenny Taylor observes, “Marthas quest became the epic, archetypal story of our times” (Taylor, 1982: 5).With the publication of The Golden Notebook, Lessing seems to have reached the peak of her literary fame. The impact it brought to readers as well as critics is tremendous. Gayle Greene frankly evaluates it as “a transformative work and touchstone for a generation” (Greene, 1994: 17). Despite her intention of minimizing feminism both as a historical and a contemporary influence on her writing, Lessing is regarded as one of the early voices of the feminist movement, and The Golden Notebook one of its key texts. Margaret Drabble hails The Golden Notebook as “a document in the history of (womens) liberation”(Showalter, 2004: 311). “It was the first book Ive read, apart from Simone de Beauvoirs Second Sex, which seemed to be really addressing the problems of women in the contemporary world,” says Margaret Drabble, “Nobody seemed to have written about them in the way that we were experiencing them” (Bookshelf, 1992). Showalter uses the word “monumental” to highlight it among the works of twentieth-century women writers. She interprets the novel as “the work of essential feminist implications” (Showalter, 2004: 311). Elizabeth Wilson describes it as “a manual of woman experience” (Wilson, 1982: 71). Susan Lardner calls it “a feminist gospel, a representative of Modern Woman” (Lardner, 1983: 144). Susan Lyndon describes it as “almost a Little Red Book of womens liberationists,” “probably the most widely read and deeply appreciated book on the womens liberation reading list, Simone de Beauvoirs The Second Sex and Betty Friedans The Feminine Mystique notwithstanding” (Lyndon, 1970: 48). Ellen Brooks describes Lessings depiction of women as “the most thorough and accurate of any in literature” (Brooks, 1973: 101).However, Doris Lessing herself is somewhat indignant with such critical categorization. In the 1971 introduction to The Golden Notebook, she clarifies that “the novel was not a trumpet for Womens Liberation” (Lessing, 1975: 25). She declares that rather than the sex war, the theme of “breakdown” was the point she aimed at in her novel. She questions the validity of grouping her and her work into feminism and the Womens Liberation Movement by pointing out that the novel came out ten years earlier than the launching of the Movement (Lessing, 1975: 24). While women are thrilled to find themselves truly depicted and named in the book, the novel receives very different readings from men. To be sure, some men recognize its importance. For example, Louis Kampt describes Lessings massive novel as a “significant and exemplary attempt to deal with,” “the central questions of modernism” and “a very true, and very great work of art” (Kampt, 1967: 322,326). Robert Taubman believes it is “unique in its truthfulness and range” (Taubman, 1964: 402). And Irving Howe calls it “the most absorbing and exciting piece of new fiction I have read in a decade” (Howe, 1986: 181). But most other male critics and reviewers find some ways to discount it. Anthony Burgess laments and dismisses The Golden Notebook as “a crusaders novel,” “unacceptable as a work of art” (Burgess, 1967: 19). P.W. Frederick McDowell similarly criticizes the novel, saying that it is “disorganized,” “subjective” and “a cross between a standard novel and a confession” (McDowell, 1965: 330). Other critics concede that The Golden Notebook has interest for what is revealed about womens lives but deny that it is art. Walter Ellen concludes that the novel “fails as a work of art” and “the structure is clumsy, complicated rather than complex” (Ellen, 1964: 277). Frederick Karl calls it “the most considerable single work by an English author in the 1960s,” but he too dismisses it on purely literary grounds as “a carefully organized but verbose, almost clumsily written novel” (Karl, 1971: 291). James Gindin, one of the first critics on Doris Lessing, criticizes Lessings tendency to condition her characters historically, which suggests an aesthetic shortcoming in creating unforgettable characters that may transcend time and place (Gindin, 1986: 24). Even Harold Bloom, the chief editor of Modern Critical Views, suggests in his introduction to the book that Doris Lessing lacks the style that a piece of art may need when he remarks “Lessing has the spirit, if not the style, of the age” (Bloom, 1986: 7). More recent criticism shares Doris Lessings denial of The Golden Notebook as a feminist text. And many critics are aware of its scope which goes beyond feminist concerns. Ruth Whittaker remarks that reading The Golden Notebook is that of absorbing several different novels (Whittaker, 1988: 75). This observation is true because peoples responses vary according to their process of growth and changing perceptions. And The Golden Notebook is credited with the title of an “encyclopedia of ideas” (Greene, 1994: 1). Viewed in this light, the title is appropriate because The Golden Notebook takes on a lot of big issues at present, including sex, race, class, imperialism, the hope and failure of communism, mental illness and psycho