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本土化与经典化--王尔德1900-1940年在中国的译介与接受研究

Acknowledgments第6-7页
摘要第7-8页
Abstract第8-9页
Introduction第12-25页
    Ⅰ.Reasearch Background第12-13页
    Ⅱ. Literature Review第13-16页
    Ⅲ.The Arrangement of this Thesis第16-25页
Chapter One An Overview of the Historical Background and the Introduction of Wilde from 1900 to 1940第25-42页
    1.1 The Historical and Cultural Background from 1900 to 1940第25-35页
        1.1.1 On the Turning Point of Great Historical and Social Changes第25-28页
        1.1.2 An Earthquake of Poetics第28-32页
        1.1.3 An Overview of the Translation Upsurge第32-35页
    1.2 An Overview of the Introduction and Translation of Wilde in China from 1900 to 1940第35-42页
        1.2.1 The Introduction and Translation of Wilde's Fairy-tales第35-38页
        1.2.2 The Introduction and Translation of Representative Literary Works of Aestheticism第38-40页
        1.2.3 The Introduction,Translation and Staging of Wilde's Society Comedies in China第40-42页
Chapter Two The Need of a New Literature,Enlightenment,Remonstration and Feminist Ideas第42-58页
    2.1 The Need of a 'New Literature' in a Literature Vacuum第42-46页
    2.2 The Introduction of The Happy Prince for Enlightenment第46-49页
    2.3 Salomé Rendered as a Defiant Fighter against Authority第49-53页
    2.4 New Feminist Models for Young People第53-58页
        2.4.1 Salomé as a Courageous Model Searching for True Love第53-55页
        2.4.2 Lady Windermere as a Model of New Woman第55-58页
Chapter Three The Canonization Process and its Impact upon Future Reception of Wilde第58-68页
    3.1 The Canonization of Wilde's Literary Works through Perfect Assimilation with the Mainstream Ideology第58-61页
    3.2 The Canonization of the Image of Wilde through Praises by Pioneering Scholars第61-64页
    3.3 The Impact of Canonization upon Future Generations第64-68页
        3.3.1 The Over-popularity of The Happy Prince as a Literary Canon and Imitations第64-66页
        3.3.2 The Restructuring of Pan Jinlian as the Second Salomé第66-68页
Conclusion第68-71页
Bibliography第71-75页

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