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1、題目__亂世之花，鏗鏘玫瑰——王熙鳳和斯嘉麗的對比研究_________人文學院______院（系）___漢語言文學__專業(yè)學號___________13408109__________________學生姓名____________郭婷婷____________________指導教師______________邵文實__________________起止日期_________2011-12-20到2012-06-08_______設計地點_________文科樓B座________________18目錄摘要································
2、··········································2關鍵字········································································2第一章研究現(xiàn)狀及可比性······················································2一．《紅樓夢》中王熙鳳的研究現(xiàn)狀·············································2二．《飄》中斯嘉麗的研究現(xiàn)狀·······························
3、··················2三．《紅樓夢》和《飄》的可比性···············································3第二章王熙鳳和斯嘉麗的形象分析··············································4第一節(jié)王熙鳳的形象分析····················································4第二節(jié)斯嘉麗的形象分析····················································7第三節(jié)王熙鳳和斯嘉麗的形象對比·····
4、······································10第三章王熙鳳與斯嘉麗形象異同的原因及其時代的意義·························13第一節(jié)王熙鳳與斯嘉麗形象異同的原因········································13第二節(jié)王熙鳳與斯嘉麗的時代的意義·········································13結語·········································································1418參考文獻
5、·····································································16Abstract······································································17謝詞·········································································17摘要：文化的相互交融已成為當今世界文化的基本特色。當今時代，多元并存，只有在不同文化之間的對話與交融中，才能對自我文化有更全面的
6、認識。筆者以比較文學的平行研究為切入點，對《紅樓夢》的王熙鳳和《飄》的斯嘉麗這兩個女性形象進行比較，使中西方文學作品互為參照，互補互濟，從而通過表面異同發(fā)現(xiàn)中西文化的共同規(guī)律。筆者將對王熙鳳和斯嘉麗這兩個角色進行比較研究。首先介紹王熙鳳和斯嘉麗的研究現(xiàn)狀，對其可比性進行評論，進而對王熙鳳和斯嘉麗兩個人物形象以及所處時代進行介紹，然后再一一對比，發(fā)現(xiàn)其深層的關聯(lián)，總結中西方文化的共同規(guī)律。關鍵字：王熙鳳；斯嘉麗；對比研究第一章研究現(xiàn)狀及可比性18一、《紅樓夢》中王熙鳳的研究現(xiàn)狀王熙鳳是《紅樓夢》中作者著力塑造的一個女性形象。以脂硯齋、王希廉等為代表的早期點評者們用簡潔而零散的語言
7、對金陵十二釵之一的王熙鳳進行了多角度的感悟式批評。早期評點者關注最多的是王熙鳳的性格特點。這一方面取得的成就最大，例如他們指出的王熙鳳的語言特點、深細心機、才干識見、貪婪弄權、淫蕩悍妒、陰毒刻薄等等，所有這些觀點至今仍然是紅學界的基本共識。但由于受到封建倫理道德氛圍和教化意識以及這種感悟式批評的局限，評點者們對王熙鳳這一形象的解讀容易陷入道德評價的偏頗。早期點評者還十分注意體察作者設計這個人物的用心及由此體現(xiàn)出的高超的藝術手法。點評者的這一批評態(tài)度超越了對藝術形象的道德評價層次而進入了更高一
