王爾德童話故事中的死亡主題【文獻(xiàn)綜述】

1、<p><b>　　畢業(yè)論文文獻(xiàn)綜述</b></p><p><b>　　英語</b></p><p>　　王爾德童話故事中的死亡主題</p><p>　　On the Theme of Death in Oscar Wilde’s Fairy Tales</p><p>　　Having

2、 received inspiration from German classical aesthetics and being influenced by Symbolism and Decadence in France, British Aesthetic Movement emerged in the late of 19th century, emphasizing aesthetic values over moral or

3、 social themes. It began with the Re-Raphaelite Brother-hood’s activities in the late Victorian period, experienced almost half a century and is commonly considered to have faced decline with the trial of Oscar Wilde in

4、1895. </p><p>　　Oscar Wilde, the core figure of British Aesthetic Movement, wrote nine fairy tales to reflect his Aesthetic thought. His fairy tales were different from the traditional Victorian tales, b

5、ut “took a sharp detour into an aesthetic sensibility.” Almost every tale of him ended with death, which added mystique and attraction to them. </p><p>　?、馞oreign and domestic studies on Oscar Wilde’s aesthe

6、ticism </p><p>　　Researches done by foreign scholars </p><p>　　Since most literary concepts of aestheticism are not original, but are further developed from German classical aesthetics and some

7、of its techniques are derived from French Symbolism and Decadence, it is regarded as a transitional thought from romanticism to modernism by some traditional critics, rather than an independent important genre. Rene Well

8、ek (1965) did not appreciate aestheticism or its out-standing representative Oscar Wilde very much in his A History of Modern Criticism: 1750-1950, i</p><p>　　Declan Kiberd (2001) considered Oscar Wilde repr

9、esented “the resurgence of lying.” For him, “art is neither nature nor a mirror held to nature, but a deliberate improvement on it,” only art can carry out good intentions of nature. </p><p>　　2.Researches

10、done by domestic scholars </p><p>　　Some critics pointed out that Wilde is suspected of plagiarism of his teachers’ theory, however, Zhang Jieming (2005) thought it is difficult to simply judge Wilde for he

11、was such a complicated, brilliant and maverick person. Zhang summed Wilde’s aesthetic philosophy up into four points: </p><p>　　a. Wilde regarded sensitivity as beautiful things. Like he said, “It is the spe

12、ctator, and not life, that art really mirrors,” Wilde believed that literature always anticipates life and moulds it to its purpose, so the writer could describe things according to his perceptual knowledge rather than t

13、he real world. b. Wilde regarded fun as beautiful things. “There is no such thing as a moral or an immoral book. Books are well written, or badly written,” in his eyes, ethical sympathies made no sense</p><p&g

14、t;　　c. Wilde regarded imagination as beautiful things, from the perspective of the progress of an artist’s creation. Out of his disappointment about “uncouth realism and unimaginative imitation” in his time, Wilde spoke

15、highly of imagination during creation to highlight the autonomy of art. d. Wilde regarded innovation of forms as beautiful things. With his words “that form, which is the birth of passion, is also the death of pain” acti

16、ng as an evidence of his pursuit for form of an artistic work, W</p><p>　　Li Yuan (2008) stated two distinct characters of Wilde’s aestheticism: his religious-like worship for art and his practice of art in

17、life, in addition, he referred to a concept “dandy” in his research towards Oscar Wilde, as he considered Wilde as a typical representive of “dandy” of aestheticism. </p><p>　　To some extent, art provides a

18、high-quality living space for artists, in which they can complete their self-construction to realize themselves. Art was not a simple imitation or an awareness of something for Wilde, but a kind of practice, a way of lif

19、e, a progress of creating meaningful things and constructing himself. Creating an art world enabled him a sense of belonging and presence. </p><p>　　As the core figure in British Aestheticism Movement,

20、 Oscar Wilde was more rebellious than his contemporary artists. Despite of the reputation he got in literary and art circles of his era, he was an Irish in English society and a homosexual, being marginalized with an int

21、ense sense of identity crisis. Disagreeing with the stereotypes of classical realism, Wilde devoted himself to the new literary genre – aestheticism, to display and flaunt his difference from the ordinary as a dandy. <

22、;/p><p>　　Wu Gang (2009) explored Oscar Wilde’s literary and art theory from two major aspects: his aesthetic view of nature and his aesthetic view of life. </p><p>　　When Wilde expressed his op

23、inions about nature, he revealed a trend of idealism to emphasize artists’ significance in aesthetic activities and the difference between aesthetic activities and daily life. He degraded the nature for its simple law an

24、d slow change, while artistic creation pursues complicated beauty. Being restricted with natural laws, art would receive negative effects and be destroyed gradually. Regarding the nature as the objective of artistic crea

25、tion activities and utilizing art</p><p>　　As for Wilde’s aestheticism view of life, he thought that life can sometimes be a part of the materials for artistic activities with the artists’ imagination as nec

26、essary media. Artists should avoid any form or theme of modernity for their close link with the real life would interfere the artists’ creation, even destroy the purity of the art in their works. The real beautiful thing

27、s are those independent from real life, which would ever become obsolescence. </p><p>　?、?Foreign and domestic studies on death in fairy tales </p><p>　　1.Researches done by foreign scholars <

28、;/p><p>　　According to Jack Zipes (2001), fairy tales “serve a meaningful social function, not just for compensation but for revelation: the worlds projected by the best of our fairy tales reveal the gaps betwe

29、en truth and falsehood in our immediate society.” </p><p>　　Maria Tatar (1998) indicated that “although fairy tales are still arguably the most powerfully formative tales of childhood and permeate mass media

30、 for children and adults,” it is usual to find them deemed of “marginal cultural importance and dismissed as unworthy of critical attention.” However, a lot of writers hailed and made an effort to capture “purity,” “simp

31、licity” and “innocent extravagance” of literary fairy tales to praise the fairy tales as powerful instruments of constructive sociali</p><p>　　In The Classic Fairy Tales edited by Maria Tatar (1998), there i

32、s a chapter concerning Oscar Wilde’s fairy tales. He thought it is unexpected that as a writer who believed his “first duty in life” was to be “as artificial as possible,” Wilde would have turned to the genre of the fair

33、y tales. Some critics attributed his choice to embrace the genre of fairy tale to his “homosexual tendencies,” and they thought Wilde’s fairy tales are directly and explicitly linked to his homosexual practices. He m<

34、/p><p>　　Tatar explored the kinship between Wilde’s fairy tales and Hans Anderson’s as well. Wilde’s fairy tales were sort of writing after the manner of Anderson and his deeply respect for this Danish writer w

35、as evident in his “The Fisherman and His Soul.” Although Wilde might begin some of his fairy tales with the phrase “Once upon a time” like Anderson, he never ended them up with “They lived happily ever after.” Instead, a

36、lmost every tale of his culminated in death. Different with Anderson, Wilde did</p><p>　　Ann Shillinglaw (2006) figured out that even the Victorians “believed on the value of human suffering,” “the intensity

37、 of the suffering of his heroes, the focus upon their suffering, and the self-caused nature of their suffering are a result of Wilde’s Aesthetic values, rather than typical of the Victorian fairy tale.” Wilde saw sufferi

38、ng enabled a person to develop and evolve, and he was surprisingly interested in “heart,” the quintessential Victorian symbol for sentiment. Especially, the wound</p><p>　　2.Researches done by domestic schol

39、ars </p><p>　　Simultaneously, domestic scholars focused on the aesthetic characters when they studied Wilde’s fairy tales. The Happy Prince and the swallow playing the role as embodiment of charity, the nigh

40、tingale sacrificing her life for a red rose of love and star-child’s change reflecting return and purifying of human’s soul, all of these surreal aesthetic images serve as ideal carriers of Wilde’s ethics, as well as the

41、 embodiment of his ideal personality. Liu Maosheng (2008) noticed that even Wilde repea</p><p>　　顯示對應(yīng)的拉丁字符的拼音</p><p>　　字典 - 查看字典詳細(xì)內(nèi)容</p><p><b>　　名詞 </b></p><p

42、><b>　　ideal</b></p><p>　　Death is an eternal literary theme and a common topic for Modernism artists. The thought for death, in Qin Yan’s (2008) opinion, is not only a traditional culture of C

43、hristianity, but also a literary theme attracting writers’ concerning. Having realized the limits of life and human’s doomed destination, the artists dedicated themselves to exploring the meaning of life and the value of

44、 people’s spiritual life. Along with the spread of Christianity, the conception of original sin – atonement – dea</p><p>　　Liu Zixuan (2010) deemed Wilde as a “decadent writer” for he revealed a pessimistic

45、attitude towards life and the world in his fairy tales collection The Happy Prince. His pessimism gave birth to beauty, displaying in three aspects: disappointment for human’s coldness, loss for love and desperation for

46、life. According to Liu’s study, this was caused by his contemporary society, his own life experience as well as western tragedy tradition. </p><p>　　Chen Li and Jiang Bingqing (2009) classified the reas

47、ons of death in Wilde’s fairy tales into four main types: suffering and pain, love, natural death and friendship. Death in Wilde’s fairy tales all seemed peaceful, even beautiful, without any cruel or bloody conditions.

48、Chen and Jiang summarized four kinds of implied meanings of deaths, including criticism and satire of social reality, sympathy for the weak, an extolling for pure love and advocating of morality, based on their assumptio

49、n that </p><p>　　III .Existing limitations and research plans </p><p>　　Despite an increasing scholarly interest in Oscar Wilde, there is no sustained, in-depth study of his fairy tales. It seem

50、s that even recent significant works or collections on Wilde overlook his fairy tales. As for those existed articles by domestic scholars, they paid much more attention to his aestheticism theory reflected in the fairy t

51、ales than the theme of death’s meaning and they sometimes misunderstood Wilde’s moral tendencies in their study. </p><p>　　In view of those academic research writings, a further study of Oscar Wilde’s

52、fairy tales from the perspective of its theme of death is quite meaningful. In my dissertation, I will analyze his fairy tales from three main aspects: the fairy tales’ literary definition, the reflection of Wilde’s aest

53、heticism ideas in his fairy tales and the theme of death with its artistic value and moral meaning.</p><p>　　主要參考文獻(xiàn)（不少于10項，其中外文文獻(xiàn)至少2篇）：</p><p>　　Raby, Peter (2001). The Cambridge Companion to Os

54、car Wilde. Shanghai: Shanghai Foreign Language Education Press</p><p>　　Sillinglaw, Ann (2006). Telling Beautiful Untrue Things: the Fairy Tales of Oscar Wilde. Chicago: Loyola University</p><p>

55、;　　Tatar, Maria (1999). The Classic Fairy Tales. New York: A Norton Critical Edition</p><p>　　Wilde, Oscar (2009). The Happy Prince – Fairy Tales of Oscar Wilde. Beijing: Tsinghua University Press</p>

56、<p>　　陳瑞紅（2009），《奧斯卡·王爾德與宗教審美化問題》。外國文學(xué)評論。</p><p>　　陳麗，蔣冰清（2009），《王爾德童話中的死亡意象分析》。牡丹江大學(xué)學(xué)報。</p><p>　　賀蘭（2001），《王爾德》。上海：百家出版社。</p><p>　　李元，（2008），《唯美主義的浪蕩子——奧斯卡·王爾德研究》。北