全英文研究论文

Published in 1847, WUTHERING HEIGHTS was not well received by the reading public, many of whom condemned it as sordid, vulgar, and unnatural--and author Emily Bronte went to her grave in 1848 believing that her only novel was a failure. It was not until 1850, when WUTHERING HEIGHTS received a second printing with an introduction by Emily's sister Charlotte, that it attracted a wide readership. And from that point the reputation of the book has never looked back. Today it is widely recognized as one of the great novels of English literature. Even so, WUTHERING HEIGHTS continues to divide readers. It is not a pretty love story; rather, it is swirling tale of largely unlikeable people caught up in obsessive love that turns to dark madness. It is cruel, violent, dark and brooding, and many people find it extremely unpleasant. And yet--it possesses a grandeur of language and design, a sense of tremendous pity and great loss that sets it apart from virtually every other novel written. The novel is told in the form of an extended flashback. After a visit to his strange landlord, a newcomer to the area desires to know the history of the family--which he receives from Nelly Deans, a servant who introduces us to the Earnshaw family who once resided in the house known as Wuthering Heights. It was once a cheerful place, but Old Earnshaw adopted a "Gipsy" child who he named Heathcliff. And Catherine, daughter of the house, found in him the perfect companion: wild, rude, and as proud and cruel as she. But although Catherine loves him, even recognizes him as her soulmate, she cannot lower herself to marry so far below her social station. She instead marries another, and in so doing sets in motion an obsession that will destroy them all. WUTHERING HEIGHTS is a bit difficult to "get into;" the opening chapters are so dark in their portrait of the end result of this obsessive love that they are somewhat off-putting. But they feed into the flow of the work in a remarkable way, setting the stage for one of the most remarkable structures in all of literature, a story that circles upon itself in a series of repetitions as it plays out across two generations. Catherine and Heathcliff are equally remarkable, both vicious and cruel, and yet never able to shed their impossible love no matter how brutally one may wound the other. As the novel coils further into alcoholism, seduction, and one of the most elaborately imagined plans of revenge it gathers into a ghostly tone: Heathcliff, driven to madness by a woman who is not there but who seems reflected in every part of his world--dragging her corpse from the grave, hearing her calling to him from the moors, escalating his brutality not for the sake of brutality but so that her memory will never fade, so that she may never leave his mind until death itself. Yes, this is madness, insanity, and there is no peace this side of the grave or even beyond. Many people in the world are trying to find a perfect of these may marry and not know what their new husband or wife is kind of situation often leads to separation or hostility. Other situations may develop between two friends that stem from jealousy, desire for revenge, uncaring parents, etc. Emily Brontë's Wuthering Heights displays several characteristics of destructive relationships. Three of these are uncaring parents, marriage without knowing the person, and jealousy. Uncaring or unsympathizing parents are shown throughout this story to be an element of destructive relationships. Because Heathcliff gained all the attention from Mr. Earnshaw, Hindley became disassociated from his father. This separation continued until after Mr. Earnshaw had example is between Hindley and Hareton. Hindley became such a drunk and a gambler that he could not properly care for young Hareton. This led to a separation between Hareton and his father as well. One primary example of an uncaring parent is shown between Heathcliff and his son did not even want his son for anything except enacting a part of his revenge. This is shown by Linton's fear of Heathcliff and Heathcliff's enmity toward his son. Linton even says "... my father threatened me, and I dread him - I dread him!"(244) to express his feeling about hostility and separation between father and son in this book shows that uncaring parents can cause serious damage in relationships with their children. This element of destructive behavior may stem from an unhappy marriage in which the husbands or wives don't know each other. This had happened between Isabella and Heathcliff. Isabella did not really know Heathcliff when she married him, but after she had married him she saw that Heathcliff was not a gentleman at all. To declare her feelings she wrote "Is Heathcliff a man? If so, is he mad? And if not, is he a devil? I shan't tell my reasons for making this inquiry; but I beseech you to explain, if you can, what I have married ..."(125). Another example of this is when Catherine married Edgar Linton. Although she had been happy at the beginning of the marriage, she thought having parties all the time was going to be fun. Yet, after a while, she became bored. She also realized that she loved Heathcliff more than Edgar and would always love enlightenment created separation between Edgar and Catherine during the final hours of Cathy's life. An additional marriage which was made that was doomed was the one between Catherine and Linton. Because this was a forced marriage, Cathy had not yet learned all she could about she did not know until after the marriage that Linton was selfish and inconsiderate, she became distressed and grew isolated in the three failed marriages described in this novel show that knowing the person you will marry is very these marriages took place, jealousy also took a hold in some relationships. One example of this is when Mr. Earnshaw starts to favor Heathcliff over his own son, Hindley. Because of this, Hindley becomes jealous of young Heathcliff and sets out to make Heathcliff's life a nightmare. Hindley's jealousy becomes evident when he says ,"... be damned you beggarly interloper! and wheedle my father out of all he has; only afterwards show him what you are, imp of Satan."(35). Jealousy was also found very notably in the relationship between Heathcliff and Edgar Linton. The jealousy between them is expressed when Heathcliff and Edgar start a hostile conversation after Cathy's homecoming at Christmas near the beginning of the book. As the story progresses these two become bitter enemies who will not speak to one another. Another relationship which jealousy ruined is the one between Hareton and Linton. These two become jealous of each other over Cathy's affections. This relationship ends as Hareton and Linton hating each other. These relationships show that jealousy can ruin a relationship very quickly. The housekeeper Ellen Dean, or we can call her Nelly, tells most of the story. She witnesses the life of the three-generations in the two families. She is a good storyteller but we mustn’t believe all of what she said. She always thinks and considers things in a simple way. She couldn’t understand the deep love between Catherine and Heathcliff. She thinks it is a kind of madness. She is a limited narrator. In a certain way, this helps readers to understand Heathcliff better because he has no chance to defend himself. An outsider will see the whole thing more clearly. However, we should pay more attention not to be affect by her opinions and try to find the truth between the lines. As a main character Catherine is a paradox. She is attracted by Linton but doesn’t love him. She knows that clearly but she marries Linton without listening to the call of her heart. Many critics believe that what makes her marry Linton is only his high social status and wealth. I think this comment is unfair. In fact, she folly thinks to marry Linton will help Heathcliff “to rise and place him out of my brother’s power.” Her decision ruins herself, Heathcliff and the two families. She has to endure serious suffering because she knows clearly she love Heathcliff whole-heartedly but can’t become his wife. She confesses to Nelly her own thoughts: “…I am Heathcliff—he’s always, always in my mind—not as a pleasure, any more than I am always a pleasure to myself—but as my own being…” She loves Heathcliff because he is more like her than herself. His existence is natural to her for they are the same in nature. They could understand each other without obstacles. Talking about Heathcliff, he is an evil person but I admire him because his love and hate is straight. Everyone has a devil in his heart. The one in Heathcliff’s heart is especially strong. In spite of this, I believe and can read between the lines that Amily Bronte also has her favor to Heathcliff. She wants to tell us evil and love are deeply planted in everyone’s heart and it is human nature.

你好，我回答的是第三个题目，仅供参考，希望对你有帮助哦 What are the most important culture differences and elements of intercultural communication? As we all know, different countries have different cultures. 'Culture is the collective programming of the mind which distinguishes the members of one category of people from another.' (Hofstede, 1991)It is inevitable that the cultural difference has impact on business. For example, when a company having meeting, the word "table" in American English that means to put something on the agenda. But in British English it means to put something off the agenda. This example indicated how the culture affects the are four cultural dimensions that were defined in Hofstede's research: Power distance, Uncertainty avoidance, Individualism, Masculinity, and recently Hofstede add one more: long-term-short-term I think the most significant influence in cultural difference is the power distance. (Hoecklin,1995:28)"It would condition the extent to which employees accept that their boss has more power than they have and the extent to which they accept that their boss's opinions and decisions are right because he or she is the boss." I considered it as how much subordinates can consent or dissent with bosses or managers. It is the distance between a manager and subordinate. Among most oriental corporate cultures, there is hierarchism, greater centralization, sometimes called 'power-oriented culture', due to the historical reasons. That is a high power distance culture that mangers make the decision and superiors appeal to be entitled more privileges. Their decision always close supervision positively evaluated by subordinates. In this situation, it is not be regarded if a subordinates have a disagreement with their managers, especially in Malaysia, Japan, China, India. In the oriental, power distance is also associated with 'the family culture' (Trompernaars, 1993:139). In this kind of corporate culture the manager is like the "caring father" who knows better than his subordinates what should be done and what is suitable for them. The subordinates always esteem the managers. Because of the managers age and experience. That is usually how employees get their promotion. There are both positive and negative parts in the family cultures. I feel it is an easy managing system. But sometime it is hard to get young creative employees work well cause of the hierarchy. As Tropmenaars (1993: 142) told us "family culture at their least effective drain the energies and loyalties of subordinates to buoy up the leader." So in family culture, the power distance can be viewed as the subordinates respect the is the corporate culture in orient. Let us take a look at the western way. It is not a whole converse phenomenon. There is 'the Eiffel Tower culture' (Trompernaars, 1997:166) in the international management. About the Eiffel tower Trompenaars (1993: 148) told us " Its hierarchy is very different from that of the family. Each higher level has a clear and demonstrable function of holding together the level beneath it." German, Austrian have the characteristic of the Eiffel Tower Culture, which is a low power distance. In the lower power dis tance, (Hoecklin, 1995:31) 'higher-educated employees hold much less authoritarian values than lower-educated ones.' The obedience showed from the subordinates to the superiors is not as much as the oriental way. The leadership can be called as hierarchy and consensus. Employee can have different opinion with his/her boss. And when he/she got different ideas, he/she can go all the way up to the boss and discuss the problem. This is a good thing usually company may explore all the potentials of its employees, because sometime the subordinates may have the better&nb sp;idea of the think because of the different realization of power distance, people behave completely different in business. So conflict and misunderstanding must be emerged when two or more intercultures meet up. Under this situation, the international managers must pay attention to the clashes and be aware of. How to work the subordinates together efficiently and more cooperatively is important then there is also a large discrepancy on the uncertainty avoidance. (Hoecklin, 1995:31) defined 'Uncertainty avoidance is the lack of tolerance for ambiguity and the need for formal rules.' That means people trying to setup rules to face to the uncertainty. There is high uncertainty avoidance in most oriental countries such as Japan, China. In these countries, people prefer a stable job. They feel safe and prideful when they keep working hard at the one place. Under this circumstance, an excellent manager should keep his employee away from unpredictable ;risk. And the employee would like to be worked within groups rather than independently cause of the less risk-taking. But in most western countries, there is low uncertainty avoidance showed, whereas high job mobility occurs in those countries such as USA, Denmark, Singapore. The western people think that when they change their jobs, they can get more experience cause they like challenge. I believe that the divergence of the uncertainty avoidance is from different basic social ideology. A competent manager should pay attention on the rules setting between different uncer tainty avoidance.

1.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 Mr. Le Gros Clark. Those who are interested in textual criticism may consult Mr. Wu Shih-ch’ang’s review in Chinese which appeared in The Crescent Monthly, Vol. IV, No. 3. –Ed.)Of the Sung dynasty, it may be said, as Hazlitt said of himself, that it is nothing if not critical. 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 philosophy. The men of the Sung dynasty were inquisitive rather than speculative, filled more with a sense of curiosity than with a sense of mystery. Hence, there is no sweep, no daring, no roominess or margin in their intellectualism. A prosaic and stuffy thing theirs is, on the whole. 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 criticism in China is an unduly belated art. 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 dynasty. There is Chung Yung’s Classification of Poets (钟嵘诗品) of course. 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,” etc. 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 criticism. It is not until the Sung dynasty that criticism begins to be practiced in earnest. Numerous “causeries on poetry” （诗话）are written and principles of literature are canvassed by way of commentaries on individual poets. Henceforth, causeries on poetry become established as the vehicle for Chinese criticism. One must note in passing that there do not appear professional critics with the rise of criticism. In those good old days of China, criticism is always the prerogative of artists themselves. The division of labour between critics and artists in the West is something that the old Chinese literati would scoff at. 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 places. But it is symptomatic of the critical spirit, and there is an end of Chinese common reader often regards the men of the Sung dynasty as prigs. Their high seriousness and intellectual and moral squeamishness are at once irritating and amusing to the ordinary easy-going Chinese temperament. 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 philosophers. 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 Confucianism. 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 respectively. Nevertheless ofe is compelled to admit that the Sung philosophers are unequalled in the study of mental chemistry. Never has human nature been subject to a more rigorous scrutiny before or since in the history of Chinese thought. For what strikes one most in the tao-hsüeh is the emphasis on self-knowledge. This constant preying upon itself of the mind is quite in the spirit of the age. The Sung philosophers are morbidly introspective, always feeling their moral pulses and floundering in their own streams of consciousness. To them, their mind verily “ a kingdom is”. They analyse and pulverize human nature. 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 poetry of the sung dynasty is also a case in point. It is a critical commonplace that the Sung poetry furnishes a striking contract to the T’ang poetry. Chinese poetry, hitherto ethereal and delicate, seems in the Sung dynasty to take on flesh and becomes a solid, full-blooded thing. It is more weighted with the burden of thought. Of course, it still looks light and slight enough by the side of Western poetry. 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 twilight. 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 general. Instead, one meets with a great deal of naked thinking and outright speaking. It may be called “sentimental” in contradistinction to the T’ang poetry which is on the whole “naïve”, to adopt Schiller’s useful antithesis. The Sung poets, however, make up for their loss in lisping naivete and lyric glow by a finesse in feeling and observation. 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 inspiration. 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 Chinese. （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。