人物形象英语毕业论文提纲

英语相关的毕业论文提纲大体上是一样的，不过因选题的不同而导致细微的差异。

英语毕业论文提纲篇一

Introduction

0.1SalmanRushdieandMidnight'sChildren

0.2LiteratureReview

0.3SignificanceoftheThesis

ChapterOneTheCarnivalRhetoricinMidnight'sChildren

1.1CarnivalLanguage

1.1.1LanguageofHeteroglossia

1.1.2LinguisticDeviation

1.2CarnivalRhetoricalDevices

1.2.1TheUseofMetaphor

1.2.2TheUseofSatire

1.2.3TheUseofPun

1.3Sum-up

ChapterTwoTheCarnivalCharactersinMidnight'sChildren

2.1Women'sCarnivalesqueActs

2.1.1Widow

2.1.2Witch

2.1.3UnfaithfulWives

2.2Saleem'sCarnivalesqueActs

2.2.1GrotesqueAppearanceandEccentricBehavior

2.2.2TurningintoClown

2.2.3CrowningandUncrowning

2.3Sum-up

ChapterThreeIntertextualDialogueinMidnight'sChildren

3.1IntertextualDialoguebetweenHistoryandtheText

3.1.1NationalAllegory

3.1.2FictionalizationofNationalHistory

3.2IntertextualDialoguebetweenPretextsandtheText

3.2.1BorrowingsfromWesternCulture

3.2.2BorrowingsfromIndianCulture

3.3IntertextualDialoguewithintheText

3.3.1Palimpsest

3.3.2Polyphony

3.4Sum-up

Conclusion

Thisconclusion

Focusingoncontemporaryformsofnarrative,Hutcheonarguesthatpostmodernistfictionembodiesseveralcarnivalesquestructures.Firstly,initsmetafictionalpreoccupationsanditstendencytoforegroundtheartificeofliteraryconstruction,contemporarynarrativeenactsacarnivalesquerebellionagainsttheofficialideologyofrealism(Hutcheon,1988:83-4)。Secondly,contemporaryfictionhassucceededinblurringthedistinctionbetweenhighandpopularculture,incorporating“comicbooks,Hollywoodmovies,popularsongs,andpornography”(Hutcheon,1988:87)。Thirdly,thereisatendencyforcontemporaryfictiontodrawonsexualanderoticimagery,andthustoappealtothematerialbodilyprincipleofthecarnivalesque.ForHutcheon,Bakhtin'snotionofthecarnivalesqueprovidesapotentmeansofcharacterizingpostmodernliterarytechniques.Bakhtin'scarnivaltheorythusfacilitatesanappropriatelensthroughwhichreaderscanexplorethepoliticalpotentialofpostmodernistartinthattheplayfulnessandconvivialityinherentincarnivaltheoryseemstominiaturethepostmoderncondition.

Carnivalismanifestedinavarietyofways,eitherinthegrotesqueanddualismoflanguageandcharacter,orthedialogueandpolyphonyoftextualstructure.Nevertheless,takenasawhole,Bakhtin'scarnivaltheoryisbasedonthefactthatontheonehand,hetakesfolkcultureasacorporealdramainwhichbirth,growing,eating,drinking,evacuation,excretionanddeathareonshowsuccessivelyandontheotherhand,heformulatesamythofambivalencethatdeniestheendbysublimatingdeaththroughlaughter.MaterialismandambivalencethuscanbetakenastwostartingpointofBakhtin'scarnivaltheory.Byridiculingspiritualism,death,definitenessandfiniteness,folkcultureseekstosuspendthedualismofmindandmatter,extendthehegemonyofauthoritarianinstitutionsandmaterializehisUtopiandream.IntheUtopianworld,theboundaryofhierarchyistransgressedandpeopleofdifferentsocialstatusareallowedtomakeadialogue.Bakhtin'scarnivaltheory,inthatconcern,givesafullplaytothespiritofsubversion,dialogue,transgressionandchangesandrenewal.

WithreferencetoBakhtin'scarnivaltheory,anattentativeexaminationofMidnight'sChildrenexhibitsthatthenovelaboundswithcarnivalesqueelements,likecarnivallanguage,materialbodyprinciple,laugher,parody,grotesqueimageryandheteroglossia,etc.Bakhtin'scarnivaltheoryisbothatypeofculturalpoeticsandatypeofstylisticpoetics.Asatypeofculturalpoetics,carnivaltheorynotonlyrevealstheinfluenceoffolkcultureonthelanguageandcharacterizationofliterarycreation,butalsohelpstounearththeliteraryvalueofgrotesqueandvulgaritywhichweremarginalizedbyclassicaestheticsintheliteraryhistory.

Asatypeofstylistics,carnivaltheorycontributestotheinterpretationofliteraryworksanewperspectiveandmethodology–dialogue.Rushdie'slinguisticpracticeprovestobeaquintessenceofanavantgardeliteraryattempt.Thisconceptofcarnivalspeechasalanguagefreefromofficialnormsanduseddeliberatelytosubvertofficiallinguisticstandards,acquiresaparticularsignificanceforthepostcolonialwriter.Rushdie'sanotherartisticattainmentsareembodiedinhisingeniouscharacterization.Referringtocarnivaltheory,carnivalcharactersaregenerallycharacterizedbygrotesqueappearance,rebelliousact,hallucinationsandinsanity.Anotherartisticfeaturethatservestocarnivalizethenovelistheintertextualdialogue.Thenovel,afertilesiteforthestagingofthecarnivalesqueasacentrifugalforce,providesavantagepointbywhichadialoguebetweenapluralityofideas,ideologiesandindividualsmayberepresented–especiallyinanatmosphereofweakeningcentralcontrol.

英语毕业论文提纲篇二

ⅰtitle

fromanewwomantoavictim

ⅱintroduction

inchina,thepositionofwomenbecomeshigherandhigher,butdiscriminationandviolenceareexistedallthesame.therearealotofwomenwhohavethesameexperiencewithdesdemona.theintentionofthisstudyistotelltheimportanceofwomen’sindependenceinthismodernsociety.

myattentionwasfirstdirectedtointroducedesdemonaandthegoodpointsofhercharacter.thisisbecausesheisanewwomaninthefirsttwoacts.theniputmuchattentiononanalyzingthereasonsofherchange.lastipointedoutthatwomeninmodernsocietyshouldlearnfromdesdemonaandtrytobeindependent.however,theindependenceisnotmeantostandagainstherhusbandorherfather,butitmeanstofindherownpositioninthesocietyandestablishapositiveoutlookonlife.womenshouldbeindependentnotonlyfromspirit,butalsofromfinance.

ⅲoutline

1introduction

1.1abriefintroductionofothello

1.2aparticularintroductionofdesdemonaasanewwoman

2thereasonsofturningfromanewwomantoavictim

2.1adescriptionofwomen’spositioninthe16thofengland

2.2theinfluenceofpatriarchy-centeredculture

2.3desdemona’sownweaknessofhercharacter

3theimpactofdesdemonaonwomeninmodernsociety.

3.1socialproblemsonwomen

3.2thereasonswhywomenshouldbeindependent

3.3thenewmeaningof“independence”

3.4whatwomenshoulddoiftheywanttobeindependent

3.3.1fromspirit

3.3.2fromfinance

4conclusion

ⅳtheoryguidance

1feminism

2freudianpsychology

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