红字英语毕业论文角度

一、文学

1、一个值得同情的复仇者 --- 评希思克力夫被扭曲的心路历程

2、小议《红字》中红字的寓意

3、试论马克?? 吐温短篇小说的幽默特色

4、惠特曼的死亡哲学

5、“罪”与“罚”的对立统一 --- 浅析《红字》的主要人物

6、一个复杂的人 --- 《呼啸山庄》男主人公希克后性格分析

7、论《呼啸山庄》 --- 原始古朴与文明理性的交错色彩

8、一人分饰两角 --- 论《了不起的盖茨比》中“二元主角”手法的运用

9、思嘉的精神家园 --- 陶乐

10、是母亲，还是情人 --- 论《儿子与情人》中莫雷尔太太的任务性格

二、英美人文和历史研究

1，从跨文化的角度谈汉英思维及表达方式的差异

2，论美国垮掉的一代

3，美国牛仔的成功之路

4，文艺复兴在英国文学史中的作用

5，跨文化交际中英汉礼貌与面子

6，中西方饮食文化的对比研究

7，西方节日的变迁及文化内涵

8，电影《喜福会》所表现的中西方文化差异

9，中美教育制度及教育理念的对比研究

10，英汉称谓的差异及其文化内涵

我毕业论文里的两段，希望有用 The character of Hester Prynne changed significantly throughout the novel The Scarlet Letter by Nathaniel Hawthorne. Hester Prynne, through the eyes of the Puritans, is an extreme sinner. She has gone against the Puritan ways, committing adultery. For this harsh sin, she must wear a symbol of shame for the rest of her natural life. Hester "was tall, with a figure of perfect elegance... she had dark and abundant hair, so glossy that it threw off sunshine with a gleam" . Her face was "beautiful from regularity of feature and richness of complexion" . She is a beautiful, young woman who has sinned, but is forgiven. Hawthorne makes Hester a heroin and survives to a tranquil old age just by expiating her offence. She wore the scarlet letter A, somewhat willingly, for the purpose of confessing her sin, of meditating and of reforming herself. On this point, Mark Van Doren’s comments about Hester, in my interpretation, agree with Hawthorne’s original intention. Doren said that she is “heroic in size and strength…Although she came to be Puritanism’s victim, she never surrendered the integrity of her soul. Neither did she complain of her fate. Her fate was to waste her life, yet we do not feel in the end that her life was wasted. Rather it is known, she is immortal.”⒄ Each Character has a secret sin that he or she wishes to confess and each of those sins affects the character that committed that sin as well as other characters in the story.

撰写教育学研究生论文的第一步就是确定论文的主题。但是，教育这个话题太宽泛了，必须将其缩小到更具体的内容。

选题思路

选题注意事项

拟定的选题必须结合实际，针对现实，以第一手材料为基础，必须符合事物发展规律。

选题切忌过大、过难、过旧。选题过大，既难以完成，又不好驾驭选题过旧，旧话重提，会让人觉得有抄袭之嫌。

选题时，要掌握已有的和最新的研究成果，要了解该选题的研究现状和发展趋势。既要避免重复研究，也不要人云亦云，凑热闹。要引导学生选择经过深入研究，冷静思考，确有自己见解的题目。

要选择自己获取信息、寻找图书资料方便的题目，考虑能够进行调查研究、查找文书档案、数据资料的条件，这样会更有助于写作的成功。

参考主题

The Scarlet Letter, published in 1850, is an American novel written by Nathaniel Hawthorne and is generally considered to be his magnum opus. Set in 17th-century Puritan Boston, it tells the story of Hester Prynne, who gives birth after committing adultery, refuses to name the father, and struggles to create a new life of repentance and dignity. Throughout the novel, Hawthorne explores questions of grace, legalism, sin and guilt.[edit] Plot summaryThe Scarlet Letter. Painting by T. H. Matteson. This 1860 oil-on-canvas was made under Hawthorne's personal Scarlet Letter. Painting by T. H. Matteson. This 1860 oil-on-canvas was made under Hawthorne's personal supervision.[1]The novel begins in 17th-century Boston, Massachusetts, then a Puritan settlement. A young woman, Hester Prynne, is led from the town prison with her infant daughter in her arms and the scarlet letter “A” on her bosom. The scarlet letter "A" represents the act of adultery that she has committed and it is to be a symbol of her sin – a badge of shame – for all to see. A man in the crowd tells an elderly onlooker that Hester is being punished for adultery. Hester's husband, who is much older than she is, sent her ahead to America while he settled some affairs in Europe. However, her husband never arrived in Boston. The consensus is that he has been lost at sea. While waiting for her husband, Hester has apparently had an affair, as she has given birth to a child. She will not reveal her lover’s identity, however, and the scarlet letter, along with her public shaming, is her punishment for her sin and her secrecy. On this day Hester is led to the town scaffold and harangued by the town fathers, but she again refuses to identify her child’s father.[1]The elderly onlooker is Hester’s missing husband, who is now practicing medicine and calling himself Roger Chillingworth. He settles in Boston, intent on revenge. He reveals his true identity to no one but Hester, whom he has sworn to secrecy. Several years pass. Hester supports herself by working as a seamstress, and Pearl (her daughter) grows into a willful, impish child, who is more of a symbol than an actual character, said to be the scarlet letter come to life as both Hester's love and her punishment. Shunned by the community, they live in a small cottage on the outskirts of Boston. Community officials attempt to take Pearl away from Hester, but, with the help of Arthur Dimmesdale, an eloquent minister, the mother and daughter manage to stay together. Dimmesdale, however, appears to be wasting away and suffers from mysterious heart trouble, seemingly caused by psychological distress. Chillingworth attaches himself to the ailing minister and eventually moves in with him so that he can provide his patient with round-the-clock care. Chillingworth also suspects that there may be a connection between the minister’s torments and Hester’s secret, and he begins to test Dimmesdale to see what he can learn. One afternoon, while the minister sleeps, Chillingworth discovers something undescribed to the reader, supposedly an "A" burned into Dimmesdale's chest, which convinces him that his suspicions are correct.[1]Dimmesdale’s psychological anguish deepens, and he invents new tortures for himself. In the meantime, Hester’s charitable deeds and quiet humility have earned her a reprieve from the scorn of the community. One night, when Pearl is about seven years old, she and her mother are returning home from a visit to the deathbed of John Winthrop when they encounter Dimmesdale atop the town scaffold, trying to punish himself for his sins. Hester and Pearl join him, and the three link hands. Dimmesdale refuses Pearl’s request that he acknowledge her publicly the next day, and a meteor marks a dull red “A” in the night sky. It is interpreted by the townsfolk to mean Angel, as a prominent figure in the community had died that night, but Dimmesdale sees it as meaning Adultery. Hester can see that the minister’s condition is worsening, and she resolves to intervene. She goes to Chillingworth and asks him to stop adding to Dimmesdale’s self-torment. Chillingworth refuses. She suggests that she may reveal his identity to Dimmesdale.[1]Hester arranges an encounter with Dimmesdale in the forest because she is aware that Chillingworth knows that she plans to reveal his identity to Dimmesdale, and she wishes to protect him. While walking through the forest, the sun will not shine on Hester, though Pearl can bask in it. They then wait for Dimmesdale, and he arrives. The former lovers decide to flee to Europe, where they can live with Pearl as a family. They will take a ship sailing from Boston in four days. Both feel a sense of release, and Hester removes her scarlet letter and lets down her hair. The sun immediately breaks through the clouds and trees to illuminate her release and joy. Pearl, playing nearby, does not recognize her mother without the letter. She is unnerved and expels a shriek until her mother points out the letter on the ground. Hester beckons Pearl to come to her, but Pearl will not go to her mother until Hester buttons the letter back onto her dress. Pearl then goes to her mother. Dimmesdale gives Pearl a kiss on the forehead, which Pearl immediately tries to wash off in the brook, because he again refuses to make known publicly their relationship. However, he too clearly feels a release from the pretense of his former life, and the laws and sins he has lived day before the ship is to sail, the townspeople gather for a holiday and Dimmesdale preaches his most eloquent sermon ever. Meanwhile, Hester has learned that Chillingworth knows of their plan and has booked passage on the same ship. Dimmesdale, leaving the church after his sermon, sees Hester and Pearl standing before the town scaffold. He impulsively mounts the scaffold with his lover and his daughter, and confesses publicly, exposing the mark supposedly seared into the flesh of his chest. He falls dead just after Pearl kisses him.[1]Frustrated in his revenge, Chillingworth dies a year later. Hester and Pearl leave Boston, and no one knows what has happened to them. Many years later, Hester returns alone, still wearing the scarlet letter, to live in her old cottage and resume her charitable work. She receives occasional letters from Pearl, who was rumored to have married an European aristocrat and established a family of her own. Pearl also inherits all of Chillingworth's money even though he knows she is not his daughter. There is a sense of liberation in her and the townspeople, especially the women, who had finally begun to forgive Hester of her tragic indiscretion. When Hester dies, she is buried in "a new grave near an old and sunken one, in that burial ground beside which King's Chapel has since been built. It was near that old and sunken grave, yet with a space between, as if the dust of the two sleepers had no right to mingle. Yet one tombstone served for both." The tombstone was decorated with a letter "A", and it was used for Hester and Dimmesdale.[edit] Major themesNathaniel HawthorneNathaniel Hawthorne[edit] SinSin and knowledge are linked in the Judeo-Christian tradition. The Bible begins with the story of Adam and Eve, who were expelled from the Garden of Eden for eating from the Tree of Knowledge of Good and Evil. As a result of their knowledge, Adam and Eve are made aware of their disobedience, that which separates them from the divine and from other creatures. Once expelled from the Garden of Eden, they are forced to toil and to procreate – two “labors” that seem to define the human condition. The experience of Hester and Dimmesdale recalls the story of Adam and Eve because, in both cases, sin results in expulsion and suffering. But it also results in knowledge – specifically, in knowledge of what it means to be human. For Hester, the scarlet letter functions as “her passport into regions where other women dared not tread,” leading her to “speculate” about her society and herself more “boldly” than anyone else in New England.[2]As for Dimmesdale, the “cheating minister” of his sin gives him “sympathies so intimate with the sinful brotherhood of mankind, so that his heart vibrate[s] in unison with theirs.” His eloquent and powerful sermons derive from this sense of empathy.[2] The narrative of the Reverend Arthur Dimmesdale is quite in keeping with the oldest and most fully authorized principles in Christian thought. His "Fall" is a descent from apparent grace to his own damnation; he appears to begin in purity. He ends in corruption. The subtlety is that the minister is his own deceiver, convincing himself at every stage of his spiritual pilgrimage that he is saved.[3]The rosebush, its beauty a striking contrast to all that surrounds it – as later the beautifully embroidered scarlet A will be – is held out in part as an invitation to find “some sweet moral blossom” in the ensuing, tragic tale and in part as an image that “the deep heart of nature” (perhaps God) may look more kindly on the errant Hester and her child (the roses among the weeds) than do her Puritan neighbors. Throughout the work, the nature images contrast with the stark darkness of the Puritans and their systems.[4]Chillingworth’s misshapen body reflects (or symbolizes) the evil in his soul, which builds as the novel progresses, similar to the way Dimmesdale's illness reveals his inner turmoil. The outward man reflects the condition of the heart.[4]Although Pearl is a complex character, her primary function within the novel is as a symbol. Pearl herself is the embodiment of the scarlet letter, and Hester rightly clothes her in a beautiful dress of scarlet, embroidered with gold thread, just like the scarlet letter upon Hester's bosom. [2] Parallels can be drawn between Pearl and the character Beatrice in Rappaccini's Daughter. Both are studies in the same direction, though from different standpoints. Beatrice is nourished upon poisonous plants, until she herself becomes poisonous. Pearl, in the mysterious prenatal world, imbibes the poison of her parents' guilt.[edit] Past and presentThe clashing of past and present is explored in various ways. For example, the character of the old General, whose heroic qualities include a distinguished name, perseverance, integrity, compassion, and moral inner strength, is said to be “the soul and spirit of New England hardihood.” Now put out to pasture, he sometimes presides over the Custom House run by corrupt public servants, who skip work to sleep, allow or overlook smuggling, and are supervised by an inspector with “no power of thought, nor depth of feeling, no troublesome sensibilities,” who is honest enough but without a spiritual compass.[4]Hawthorne himself had ambivalent feelings about the role of his ancestors in his life. In his autobiographical sketch, Hawthorne described his ancestors as “dim and dusky,” “grave, bearded, sable-cloaked, and steel crowned,” “bitter persecutors” whose “better deeds” would be diminished by their bad ones. There can be little doubt of Hawthorne’s disdain for the stern morality and rigidity of the Puritans, and he imagined his predecessors’ disdainful view of him: unsuccessful in their eyes, worthless and disgraceful. “A writer of story books!” But even as he disagrees with his ancestor’s viewpoint, he also feels an instinctual connection to them and, more importantly, a “sense of place” in Salem. Their blood remains in his veins, but their intolerance and lack of humanity becomes the subject of his novel.[4][edit] Public responseThe Scarlet Letter was published in the spring of 1850 by Ticknor & Fields, beginning Hawthorne's most lucrative period.[5] When he delivered the final pages to James Thomas Fields in February 1850, Hawthorne said that "some portions of the book are powerfully written" but doubted it would be popular.[6] In fact, the book was an instant best-seller[7] though, over fourteen years, it brought its author only $1,500.[5] Its initial publication brought wide protest from natives of Salem, who did not approve of how Hawthorne had depicted them in his introduction "The Custom-House". A 2,500-copy second edition of The Scarlet Letter included a preface by Hawthorne dated March 30, 1850, that he had decided to reprint his introduction "without the change of a word... The only remarkable features of the sketch are its frank and genuine good-humor... As to enmity, or ill-feeling of any kind, personal or political, he utterly disclaims such motives".[8]The book's immediate and lasting success are due to the way it addresses spiritual and moral issues from a uniquely American standpoint. In 1850, adultery was an extremely risqué subject, but because Hawthorne had the support of the New England literary establishment, it passed easily into the realm of appropriate reading. It has been said that this work represents the height of Hawthorne's literary genius; dense with terse descriptions. It remains relevant for its philosophical and psychological depth, and continues to be read as a classic tale on a universal theme.[9]The Scarlet Letter was also one of the first mass-produced books in America. Into the mid-nineteenth century, bookbinders of home-grown literature typically hand-made their books and sold them in small quantities. The first mechanized printing of The Scarlet Letter, 2,500 volumes, sold out within ten days,[5] and was widely read and discussed to an extent not much experienced in the young country up until that time. Copies of the first edition are often sought by collectors as rare books, and may fetch up to around $6,000 its publication, critic Evert Augustus Duyckinck, a friend of Hawthorne, said he preferred the author's Washington Irving-like tales. Another friend, critic Edwin Percy Whipple, objected to the novel's "morbid intensity" with dense psychological details, writing that the book "is therefore apt to become, like Hawthorne, too painfully anatomical in his exhibition of them".[10] 20th century writer D. H. Lawrence said that there could be no more perfect work of the American imagination than The Scarlet Letter.[11][edit] Allusions* Anne Hutchinson, mentioned in Chapter 1, The Prison Door, was a religious dissenter (1591-1643). In the 1630s she was excommunicated by the Puritans and exiled from Boston and moved to Rhode Island.[4]* Martin Luther (1483-1546) was a leader of the Protestant Reformation in Germany.* Sir Thomas Overbury and Dr. Forman were the subjects of an adultery scandal in 1615 in England. Dr. Forman was charged with trying to poison his adulterous wife and her lover. Overbury was a friend of the lover and was perhaps poisoned.* John Winthrop (1588-1649), first governor of the Massachusetts Bay Colony.* Richard Dawkins' Out Campaign is represented with the Scarlet Letter A emblem.[edit] Film, TV and theatrical adaptationsMain article: Film Adaptations of the Scarlet Letter1995 film poster1995 film poster* 1917: A black-and-white silent film directed by Carl Harbaugh with Mary G. Martin as Hester Prynne* 1926: A silent movie directed by Victor Sjostrom and starring Lillian Gish and Lars Hanson.* 1934: film directed by Robert G. Vignola and starring Colleen Moore* 1973: Der Scharlachrote Buchstabe a film directed by Wim Wenders in German* 1979: PBS version starring Meg Foster and John Heard* 1994: A rock musical, "The Scarlet Letter" written by Mark Governor is produced in Los Angeles.* 1995: The Scarlet Letter, a film directed by Roland Joffé and starring Demi Moore as Hester and Gary Oldman as Arthur Dimmesdale. This version is "freely adapted" from Hawthorne according to the opening credits and takes liberties with the original story.* 1996: The film Primal Fear references The Scarlet Letter.* 1996: The Marilyn Manson promotional video for the song 'Man That You Fear' obliquely references the novel.* The Red Letter Plays (In The Blood produced in 1999, and F--ing A, produced in 2000) by playwright Suzan-Lori Parks, rewrote the story placing it in contemporary New York and Houston.* 2001: A musical stage adaptation which premiered at the Fringe Festival in Edinburgh, Scotland, by Stacey Mancine, Daniel Koloski, and Simon Gray.* 2004: The Scarlet Letter is a Korean noir-thriller featuring an adulteress' monologue, that mentions a plan to raise her unborn child as Pearl in America, in a desperate plea to exit her obsessive affair.* 2008: "shAme"[1], a rock opera by Mark Governor based on "The Scarlet Letter" premieres in Los Angeles. It is a major reworking of his 1994 stage musical that was also produced in Boston in 2000 and as a radio production in Berlin in 2005. The 2000 version was endorsed and presented by the Nathaniel Hawthorne Society.[edit] References to the novelLists of miscellaneous information should be avoided. Please relocate any relevant information into appropriate sections or articles. (September 2008)[edit] Literature* The 1993 novel The Holder of the World by Bharati Mukherjee re-wrote the story, placing it in present-day Boston, Colonial America, and seventeenth-century India during the spread of the British East India Company.* Deborah Noyes wrote a companion to this novel entitled Angel and Apostle with Pearl as the main character.* Postmodern writer Kathy Acker borrows from The Scarlet Letter in her novel Blood and Guts in High School. Janie, the main character, identifies with Hester Prynne and intertwines their stories in a vulgar manner.* In the novel Speak, Hairwoman, the English teacher, refers to The Scarlet Letter in her lesson. The novel's protagonist, Melinda Sordino, is a freshman in high school who is ostracized from her fellow schoolmates during the school year, much as Hester Prynne was ostracized by the Puritans in Boston.* Maryse Condé's novel I, Tituba, Black Witch of Salem, although set at the time of the Salem witch trials, also features the character Hester Prynne.* The title of Jhumpa Lahiri's 2008 novel Unaccustomed Earth comes from a passage from the introduction to The Scarlet Letter: "Human nature will not flourish, any more than a potato, if it be planted and replanted, for too long a series of generations, in the same worn-out soil. My children have had other birthplaces, and, so far as their fortunes may be within my control, shall strike their roots into unaccustomed earth."[edit] CultureRichard Dawkins's Out Campaign for atheism uses a red scarlet "A" on webpages and clothing as an emblem of atheist identification. [12]Tennessee has drivers convicted of DUI wear vests advertising this fact while on roadside litter pick-up duty. This is a badge of shame similar to the original scarlet letter.

英语毕业论文写作的角度

论文难度我心中的排名：文化<教学法<语言应用<文学<翻译理论。

文化最好写，可以讨论的范围非常广几乎所有中西方不同的点都可以以讨论，什么电视节目，电影电视剧，流行文化，就是一个包罗万象的学科，写起来也非常有意思。就是有一个优点也是它雷点，资料不一定好找，像是很新的点，国内的人不一定写过，就是说原创性比较高。

教学法内容上比较好写，容易写够字数。内容比较固定，资料非常好找，比较好写，流程很固定，适合没有什么特别的想法的学生。因为这个教学法，这么多年来也没变过，也不太可能变。

学论文能做的就是总结一下，自己的观点并不是很重要，而且就算你有，也没有什么用，不权威。好在资料充足，一般是调研分析，调查啊，分析课本啊，分析课堂行为啊，多为描述性语言，轻轻松20多页没问题。我们班写教学法的一般都是上万字，一打都是40多页。

但是！一定要选好老师，如果没有老师带着，那很痛苦，因为这个非常需要老师带着，我们班的情况就是老师说啥，学生准备好写啥就行，多为非创造性工作，而且最后拿出来非常有份量！中文文献较多，比较容易阅读，但写的时候不太方便。

文学论文，一般字数较少。大体不超过6000，个人兴趣占比较大的比重，想写好比较难，如果是比较popular 的作品，话题，资料非常好找，英文资料偏多，对阅读能力有要求，想写出新意有难度哦。

英语文学论文可以写一些比较独特的视角，自己比较爱好的视角，自己感兴趣的部分。

不会，我可以

你要是找国淘论文写作，就不会出现这种问题了好不好？1．题名规范题名应简明、具体、确切，能概括论文的特定内容，有助于选定关键词，符合编制题录、索引和检索的有关原则。2．命题方式3．撰写英文题名的注意事项 ①英文题名以短语为主要形式，尤以名词短语最常见，即题名基本上由一个或几个名词加上其前置和（或）后置定语构成；短语型题名要确定好中心词，再进行前后修饰。各个词的顺序很重要，词序不当，会导致表达不准。②一般不要用陈述句，因为题名主要起标示作用，而陈述句容易使题名具有判断式的语义，且不够精炼和醒目。少数情况（评述性、综述性和驳斥性）下可以用疑问句做题名，因为疑问句有探讨性语气，易引起读者兴趣。③同一篇论文的英文题名与中文题名内容上应一致，但不等于说词语要一一对应。在许多情况下，个别非实质性的词可以省略或变动。④国外科技期刊一般对题名字数有所限制，有的规定题名不超过2行，每行不超过42个印刷符号和空格；有的要求题名不超过14个词。这些规定可供我们参考。 ⑤在论文的英文题名中。凡可用可不用的冠词均不用。

关于红字的英语毕业论文

父亲的肩膀爸的体形有些胖，也可称得上魁梧。偎依在他宽阔的怀中，心里暖暖的，很舒服。曾经幻想着永远躺在他的怀抱中，然而“逝者如斯夫，不舍昼夜”，随着年龄的增长，渐渐告别了他的怀抱。却不知靠在他的肩膀上同样舒服，同样温暖。一个冬日的早晨，因有事耽搁，爸怕我上学迟到，决定用摩托车送我上学。因走得急，忘了带头盔，爸骑的速度有些慢。“冷吗?”他问。“不冷。”“不冷的话，我再骑的快点儿，万一迟到了不好。趴在我肩上，坐稳了。”当我俯下去那一刻，心里一阵暖流，好长时间没有让爸背过了，曾经，那肩膀是多么熟悉：儿时做游戏，那是我的“战场”；上学时，那是我的“交通工具”；伤心时，那是我的“依靠”；快乐时，那是我的“天堂”。曾无数次地趴在那肩膀上，在爸的耳边私语；无数次地猛扑上去，跟爸搞恶作剧；无数次……儿时的快乐记忆一下子涌上心头，我觉得好激动，好幸福。� 时光如梭，无论何时俯在爸的肩上，那种感觉都是最舒服的。再次趴在他肩上，无意间，我的手触到了爸的脸，天啊，好凉!我的鼻子一阵酸楚，“爸，我爱你!”一句话就像火山喷发那样毫无准备、毫不犹豫地脱口而出。“嗯?你说什么?”“噢!没……什么。”我不知道是否有必要再重复一遍，我想，对于父亲的爱，还是别用语言，而是用心灵来传递吧!� 校门已映入眼帘，车停了，望着爸那冻得通红通红的脸，我……“总算到了，骑快了点儿，没冻着你吧!好了，快进去吧!我回去了。”我机械般地转身踏进了校门，直到在拐角处，我才偷窃父亲，他还在向这边张望，见我走远了，才转身。看到他蹒跚的背影，不觉想起朱自清先生写的《背影》。爸老了，但从他那双满怀深情的眼中看到的却是无限的爱。

我发给你呢！

语用角度新闻毕业论文

公共管理模式下中国新闻组织的定位与重构论电视新闻现场直播与新闻真实性研究从目的论角度看新闻英语中委婉语的汉译显著而隐蔽的新闻框架中国电视新闻连线节目发展研究新闻传播伦理问题研究中英新闻语言文体学对比研究地市级晚报新闻的媚俗价值取向研究汉蒙新闻翻译方法探微媒介融合视域下电视新闻频道发展策略研究电视台新闻媒资网络编辑系统研究与设计后殖民视角下的新闻中文化专有项翻译英语新闻中模糊语言的语用研究中国新闻娱乐化探析研究收视率在电视新闻节目中的应用研究新疆新闻网站（汉文版）研究从功能派翻译理论的角度研究新闻英语的汉译社会转型时期的有偿新闻研究VOA时事新闻报道的人际意义分析体育新闻江湖故事化现象分析英汉新闻易读性比较研究西方封建社会和资本主义社会新闻立法研究对灾难新闻的传播学思考国际化的国内新闻新闻传播在农村分析电视新闻媒体中隐性采访的新闻真实性及使用合理性研究新闻侵权民事责任制度研究从末次资料看新闻与情报之关系基于WWW的新闻搜索引擎的设计与实现新闻传播的社会管理功能研究分析

工作日志很简单，记录你每天的论文进度，如果是理科，会有实验，从实验方法选择开始，到实验实施，实验过程，校验等，到数据处理，就是记录你论文完成的一个过程；文科的可能就是你资料查询，考证，最后修改整合等的过程；我是理科，所以对理科的更清楚点

如果说1996年前后出现的第一次讨论主要是关注传播学能否取代新闻学，那么2001年以后出现的第二次讨论则聚焦传播学是否支配了新闻教育，即事实上开始取代新闻学。因此，在第二次讨论中不仅有以李希光为代表的一方在“讨伐”传播学“侵占”了新闻学的领地或“一统”了新闻学的天下，也有另一方的论者在感叹传播学教育尚未走出新闻学的阴影。汤晓羽认为，“传播学与新闻学课程设置雷同，是目前高校普遍存在的现象。这种现象的渊源在于传播学最初由新闻学界引入中国，之后中国的传播学研究似乎总是受到传统的新闻学研究带来的思维模式的影响，甚至在课程设置上也跳不出新闻学的旧框框。传播学的课程安排无非是一两门传播学基本理论之类的专业必修课，如传播学概论等，再加上新闻学方面的专题研究课程，涵盖新闻、广播电视、出版等，名为传播学，实际上还是新闻学范畴。”[17] 孰是孰非？难以简单回答。上述争论之所以反复出现，原因固然多种多样，但不容忽视的是，人们对新闻学与传播学各自的规定性还缺乏准确的把握，对其区别与联系也缺乏深入的辨析。因此，学界较为普遍的看法是：必须弄清楚新闻学与传播学的关系或定位。张国良指出，“立足于中国，展望传播学科的未来，一个无法回避的问题：它的定位，包括它与新闻学科的关系。”[18] 不少学者也强调：“新闻学与传播学的关系之争，……是一个世界性的问题” [19]，“在传播学发展过程中，如何正确处理新兴传播学与传统新闻学的关系”是一个重大问题 [2]，“无论是传播学还是新闻学的发展，首要任务是搞清学科界限”[21] 。二、新闻学与传播学的异质性与关联性搞清学科界限固然重要，但如果只强调这一点，难以避免片面性，辩证的方法是既弄清学科界限，又看到学科联系。只有弄清新闻学与传播学的异质性与关联性，以及相关的我国新闻学教育与传播学教育的现状，才能科学地判断上述两次争论的是是非非。前已述及，《新闻大学》编辑部1996年曾专题研讨“新闻学与传播学的关系”，但会议综述表明，大多是即兴发言，分析并不深入。倒是过去十多年间的几篇专题论文，阐述还相对充分一些。这些文章主要有：《新闻学和传播学之比较》（王泽华，1992）、《试论传播学与新闻学关系的定位》（李启，1996）、《新闻学需要转向大众传播学》（李良荣、李晓林，1998）、《简论中国传播学与新闻学关系》（张骏德，2002）等。由于张骏德的文章论述传播学与新闻学的区别是引用李良荣在“新闻学与传播学的关系”研讨会上的发言，李启的文章侧重介绍传播学的研究领域，实际上只有王泽华和李良荣等的文章作了较为充分的论述。王泽华从研究视角、研究侧重点、研究内容、研究范围、学科属性五个方面比较其区别，李良荣从学科背景、研究领域、主攻方向、研究方法、研究风格五个方面比较其差异。两位学者的表述有所差异，有的名异而实同，如“研究视角”与“研究风格”，都是说新闻学着眼微观而大众传播学侧重宏观，“研究侧重点”与“主攻方向”也基本一致，“学科属性”与“学科背景”也有一定关联性。当然，各自的阐述有所不同。两位学者也注意到新闻学与传播学的联系，但王泽华只说了一句“你中有我，我中有你”，李良荣则认为：新闻与信息是新闻学与传播学“同胞式的研究内容”，新闻学与传播学研究的大众传播媒介内容具有重叠性，新闻学的“读者需要”理论与大众传播学中的受众理论有着天然的联系，因此，新闻学与大众传播学“有着不同程度的衔接” [22]。现在回过头来看，两位学者对新闻学与传播学异同的分析都是一种基于经验观察的描述，而且是以个人的观察为依据的描述，难免主观随意，比较突出的问题是关键句与具体阐述之间时有不吻合或不准确的现象，显得学理分析不足。更主要的问题还在于：当时国人所引介的传播学主要是美国的主流传播学，即传播学的经验学派，而传播学的批判学派尚未得到充分介绍，论者对传播学的理解局限于主流传播学，几乎没有考虑到批判学派的传播学，比较分析的片面性也就在所难免。在对传播学有了更充分更全面更深入认识的今天，我们对新闻学与传播学之异同的把握，理应更加科学而且准确。应当承认，要科学而且准确地把握新闻学与传播学的异同是有困难的，这是因为：传播学到底是一门独立学科还是一个研究领域，本身就有争议。潘忠党2003年在为《传播·文化·社会》译丛所作《总序》中指出：“虽然‘传播学’在教育部认定的学科分类中被安放在了‘新闻传播学’之下，但它的学科面貌仍然不甚清晰。即使在被认为是‘传播学’发生的美国，它也是一片混沌。曾有学者力主‘传播科学（communication science）’，但那也只是一家之言，表达涉及传播现象的某一类研究，主要是由施拉姆整合前人的研究而建立的传统。很多人，尤其是从事文化或批判研究的学者，继承英国的文化研究、政经分析以及法兰克福学派的批判传统，更愿意将他们的工作称为‘媒介研究（media studies）’；还有很多人，为了包括比‘媒介研究’更广的范围（比如语言的使用、修辞艺术、社会仪式、人际关系之建立等），索性就用‘传播研究（communication studies）’。这不是刻意咬文嚼字，而是因为对传播现象之研究涉及不同学科、不同取向，从事这类研究的学者各有侧重，也各有所好。”潘忠党表示，他“更倾向于使用‘传播研究’”的表述，而且，“这一研究领域应全面开放，不必画地为牢”。因为“大众传播研究是一个综合研究领域（field of study），而尚不成为一个制度化了的独立学科（discipline）[23] 。潘氏之论，先获我心，深为赞同。当然，国内学界也有比较中庸的看法：“大众传播学既是独立学科，又是重要的研究领域。” [24]

现在“创新”作为一个提倡的概念，变得流行了，从国家的总体发展战略看，它对政治、经济、文化发展是具有推进意义的，因为我国处于进入市场经济的转型期，许多思想观念需要创新。如果说新闻学和传播学也要创新，那主要应表现在总体观念的更新和研究的深化上，要防止将“创新”解释为添加几个新名词、添加几个“新闻××学或××新闻学”、“传播××学或××传播学”，这种庸俗化的现象现在有所抬头，我们不能为此捧常现在新闻学和传播学研究中有一种不好的现象，原有范畴的研究发展很缓慢，而许多边缘领域却在不断地扩张，如果能够研究出扎实的成果也好，但真正有创新的不多。凡是打着“最新”、“高级”、“核心”名义的论著，几乎都是不新也不高级的东西，无法读下去。这种风气研究生中也有所表现，本来有一点思想火花，但一炒作就成了完全的泡沫。最近几年关于网络的研究，一轰而起，虽然有所成绩，但泡沫也太多了，惊人的预见、过分完美的想象、IT产业的广告宣传替代了严肃的研究，普及知识被抬高到学术研究的份上。鉴于这种情形，我认为深化新闻学和传播学研究，就是我们学科的创新。创新就在于深化研究，而不在于统计又增添了几个“学”和几个新名词。就新闻学而言，原来理论研究的基本范畴，例如新闻、新闻价值、客观性、新闻真实、新闻媒介的职能、新闻法、新闻职业道德等等，虽然还有些论文谈到，但这方面的文章逐年减少，好象没有什么可说的了。即使是世纪之交出版的新的新闻理论的教材，虽然努力想加些新东西，但新的毕竟不多。原因在于我们对传统新闻理论的系统研究跟不上。有些新的研究领域确实取得了成绩，但也有为数不少的这方面的“研究”，能否成立都成问题，但是“新就是好”的观念（这个话并没有说出来）走红，管它呢！结果，出来的东西不过就是把新闻学常识重新组装一遍。深化新闻学，除了要研究新问题和新现象外，对基本范畴的研究应该重新赋予较重要的地位，近年虽然这方面的文章减少了，但是从已发表的看，多数是有深度的，由于文章较为分散，发表的时间也不集中，尚没引起学界的广泛关注。如果一个一个地做全面的考察，能够提出许多深入的思考。例如新闻真实，业界把它概括为“真实是新闻的生命”这样一句比喻，现在它几乎成了套话。如果学界也停留在用比喻做学问的水平上，那是不能原谅的。如果学界将新闻真实停留在“报道人物、事件、思想观点，不仅言语和细节上要准确可靠，而且发生事实的原因和对事实的解释也必须以事实为准绳”等等这样的要求上，这不是研究。新闻真实与时效相关，与记者的认识能力和个人观点相关，与媒体制度和新闻运作模式相关，与即时的政治氛围和文化氛围、民族传统、宗教信仰、意识形态都有一定的联系，与新闻源和受众接受时的误读也有关，对真假的判断与价值判断、利益关系也紧密相关，这些绝不是使用一二个比喻，例如正面的“生命”比喻或负面的“妖魔化”比喻就能说清楚的。如果每个新闻学的基本范畴都能有几本确实深入研究的专著，那么我们的新闻理论教材在“新闻真实”的章节上，才能真地说出几条让人看了感到若有所悟的认识。我们现在是把新闻理论的地犁了多遍，但缺少的是在地里的一个点上挖下去，掘一口井，涌出水来，然后再向四面扩散。从新的角度看旧的问题，需要有创造性的思维，这是学科进步的一个标志。把我们司空见惯的新闻现象看透，这才是创新。例如新闻为什么同质化、礼仪化，研究一下不断变化的新闻内容和基本不变的报道模式，仔细想想，原来它给予人们的主要不是新鲜的东西，其实质是不断加固我们对世界和生活的既定看法。这是现代新闻生产组织的标准化造成的。而这种标准化在不同的国家和意识形态下，表现方式又是千差万别的。这方面，只有个别文章谈到，深化研究也没提上日程。《文汇报》去年7月18日发表一篇文章《“势利眼新闻”》（张金铃），从尊重人权的角度，批评媒体只用几十个字报道一堵墙倒下砸死三个民工，而却用半个版报道一个海归博士在深圳遭毒打。8月24日该报另一篇文章《新闻眼并非势利眼》（周靖竹），则用新闻价值的基本理念为媒体的正常报道作了辩护。其实，这个问题就可以成为深化新闻价值研究的一个起点。关于传播学研究的深化，除了及时引进最新的研究成果外，重点也在于研究已有的传播学基本范畴。有两方面我觉得应该深化：第一，深化研究人家能够得出这论那论、这模式或那模式的方法和视角。我们太不看重研究过程，这方面的译著也很少，倒是教材性的书出了一大堆。这种书当然有很大的推动作用，但也带来一种意料外的不好的后果，这就是人们接触到的全是结论，如何得出的结论不清楚，当然也就会看轻研究过程了，大学生知道结论就够了，但仅仅知道结论不利于研究生养成理论思维的习惯。现在正在组织翻译一批传播学经典著作，我想，这对于改变人们重结论轻过程，可能会产生作用。第二，侧重研究已经被西方传播学界的多数承认的各种假设，何种程度上能运用到我国的环境中。真理多迈出一步就是谬误，何况各种传播学的“模式”和“论”均是理论假设，谈不上真理不真理的。我们现在的文章，相当多的结构是：传播学的某“论”说了什么，然后就作为依据论述中国大众传播方面有一个怎样的问题和应该怎样，较少考虑这这些理论假设提出的环境、时代背景与中国的差异。例如我们常用的“议程设置论”，其环境背景是各种新闻媒体可以自由报道任何话题，自行根据自己的价值判断选择所报道的事实，因而媒体的议程设置是一种客观的结果，公众也有较多的横向信息的比较。如果媒体的议程设置很大程度上是非自然的，公众只能看到某一类信息源而另一类信息源被封锁，那么根据人家在那种环境下得出的某些论点，分析这种情况下的媒体议程设置，就要对结论作出许多条件的限制。如果一种客观的观察媒体活动特点的假设，被用于主观的宣传目的，颇有些悲剧的意味。再如“沉默的螺旋理论”，它确实说明了某种大众传播中的舆论现象，依据这一理论进行研究，用于什么目的，存在着自由主义和法西斯主义宣传观的差别。提出这一理论的伊丽莎白.诺埃勒-诺依曼参加过纳粹党的活动，她的理论带有对纳粹经验总结的成份。作者的这一背景被揭露后，曾引起传播学界的很大震动。应当承认，她对传播学－舆论学的研究是有贡献的，但也要指出她的理论中含有驱逐少数人意见的成份。对于有过纳粹宣传经验的德国和有过“文革”宣传经验的中国，需要特别提醒人们警惕，防止将这一理论运用于对人民进行戈培尔式的宣传。引导舆论存在着引导伦理问题，愚弄舆论最终是要受到惩罚的。就眼前要做的事情而言，我感到较新的传播学研究成果需要尽快普及，在普及的基础上考虑如何在我国的环境中借鉴，例如“第三人传播效果理论”、“议程融合论”等等。就具体的研究课题而言，诸如“健康传播”，在我国刚刚起步，目前我只看到一篇文章，希望能够成为新形势下传播学的一个多少被人关注的课题。健康传播、大众传播与儿童、大众传播与性别等等研究课题，具有全球的共通性，现在后两个课题在我国有已有了较高水平的研究成果，但是并没有得到传播学界的普遍关注。中国人口世界第一，中国的传播学研究要走向世界，这些课题的研究对人类的贡献可能很大，得到世界关注的可能性也很大。而基础理论的研究，由于种种原因，我们尚无法与别人在世界上竞争。鉴于这种情况，传播学研究我想得分为两个活动空间，一个是加强国内的传播学基础理论研究，这是提高我们总体研究水平的基础；一个是加强能够与世界对话的具体课题的研究，诸如刚才提到的几个全球共同关心的课题。传播学研究在中国能否研究出几个“论”或“模式”，这是人们很早就企盼的。但是学术研究不是生产工业产品，研究需要一定的相对纯粹的实验环境，而我们缺乏这种环境，因而可能总结出一些尽可能尊重新闻工作特点的传播经验，可以通过具体的量化调查得出某些我国体制下的媒体发展趋势和受众特点，但研究出多少带有普遍性的传播现象的理论假设是较为困难的。现在我国传播学研究中批判学派研究有了较大的进展，这是可喜的事情。我只是提醒一下，欧美批判学派深刻思考的对象，是资本主义市场经济发展得过于成熟而面临的问题；而我国的社会主义市场经济则处于起步阶段，他们的思考对我们有很大的启示意义，但不宜直接用来批判这批判那。我国大众媒介的发展，总体上不是市场经济成份太多了，而是还很不够。立足于大众传播业的市场化建设（包括法治和职业道德建设），辅以批判，侧重点不要发生偏差。但是，批判学派的哲学的、政治经济学的、历史的、文化的研究方法，现在对我国的新闻学和传播学研究来说是缺乏的，我们现在简单的逻辑推理式的文章较多，给人以深刻思想的东西较少。中国传统的实用理性、文以载道、经世致用的思维现在很有市场，我们确实需要一些这方面的分析性文章，但不能都是这些东西。特别在现在市场经济的条件下，需要多一些批判学派的思维方法加以平衡。看一下可以不？

红与黑毕业论文英语

读完一本名著以后，想必你有不少可以分享的东西，这时候，最关键的读书笔记怎么能落下！但是读书笔记有什么要求呢？下面是我精心整理的'红与黑的读书笔记英语，仅供参考，欢迎大家阅读。

The book I read this week entittled the Red and the Black, which is undoubtedly among the best liturature works. As a person who haven’t had much knowledge in literature, any comments on this work seem to be rather naive and even sort of reckless. But this is the only book I have access to recently. With much deliberation, I would like to write down following words.

The book mainly tells a story about a man named Julien, who came from a carpenter’s family and got a shrewd father and two elder brothers characterized by huge size and rudeness. Though he wasn’t quite athletic, he got talent with his memory. He could recite the whole contents of the Bible, which made him admired by people around him and win him a job as a family teacher. And this is the part where our story begins. Under his gorgeous face, there exists a relentless lust for fortune, power and status, all of which derive from his persuit of happiness, dignity and freedom and finally contributed to his downfall. He worshiped Nepolen the most, and he is willing to die a thousand times to win his success. He desires for love, yet sometimes he used it as a tool to obtain his status and power. However, he had never given up showing his sympathy for the poor and contempt to the Noble. His pureness blended together with ambition and felt self-abased and conceited at the same time. As a young man, he ignored what’s really important for him—being loved. And he just realized this until death was around the corner. The story is a tragedy, for he hasn’t got what he wanted in the end and he sacrificed too much for his

contemporary fame and fortune. At the last few hours of his life, those happy times he spent with his loved ones gave him courage to face death penalty with calm . when he realized that he didn’t have to tolerate the world filled with fakeness or put a mask on his face, he died with ease. Julien stands for the group of people coming from the low class in the society and hope to achieve success with their own efforts. These people usually don’t have the necessary conditions to become successful, but they will by no means stop trying or let God tells them what their lives should be like, instead, they are willing to sacrifice anything to realize their dreams and earn their dignity. For these people, no matter what the consequences their struggle may be, I should forever pay my tribute to them. To some extent, they are the makers of the world.

The writer writing unfolds, first is entire French society's one typical window -----small city Varriale's political pattern. The aristocrat is born German Switzerland that mayor is restores the dynasty in here highest representative, the maintenance restoration political power, prevents the bourgeoisie free party member is in power in politics regards as the inherent responsibilities. Poor collection post manager Valno the promise originally is the petty bourgeois, as a result of hires oneself the church secret

organization saint can obtain the now the fat difference, thus oneself with restoration political power hitch in same place.

Transcription hall Father Maslon is the spy which the church sends, all people's words and deeds all under his surveillance, the time which mutually supports in this king place and the sacrificial altar, is person which wields great power with great arrogance. These three people constitute " Three heads Politic ", reflected the restoration influence the aspect which you the city arrogated all powers to oneself in their opposite, is a large number, has the huge economic potentiality aggressive bourgeoisie free party member. Stendhal describes to the people guarantees king party member's be domineering and tyrannical, on the one hand again let the people draw such conclusion: Grasps has the economic potentiality the bourgeoisie, also will decide in politics is the final victor. 《 The Red and the Black 》 the book in circulation revolutionized in July, 1830 before, takes charge of soup reaches unexpectedly picture is understands clearly historical movement this one inevitably tends to.

如果简单讲就是：It chronicles the attempts of a provincial young man to rise socially beyond his modest upbringing through a combination of talent, hard work, deception, and hypocrisy—yet who ultimately allows his passions to betray him.但是两本书的具体一点儿的介绍就是：Book I presents Julien Sorel, the ambitious son of a carpenter in the fictional village of Verrières, in Franche-Comté, France. He would rather read and daydream about the glory days of Napoleon's long-disbanded army than work his father’s timber business with his brothers, who beat him for his intellectualaffectations. He becomes an acolyte of the abbé Chélan, the local Catholic prelate, who later secures him a job tutoring the children of Monsieur de Rênal, the mayor of Verrières. Although he appears to be a pious, austere cleric, Julien is uninterested in the Bible beyond its literary value and how he can use memorised passages (learnt in Latin) to impress important enters a love affair with Monsieur de Rênal’s wife, which ends when it is revealed to the village by her chambermaid, Elisa, who is also in love with Julien. The abbé Chélan orders Julien to a seminary in Besançon, which he finds intellectually stifling and pervaded with social cliques. The initially cynical seminary director, the abbé Pirard (a Jansenist even more hated than Jesuits within the diocese), likes Julien and becomes his protector. Disgusted by the Church’s political machinations, the abbé Pirard leaves the seminary, first rescuing Julien from the persecution he would have suffered as his protégé, by recommending him as private secretary to the diplomat Marquis de la Mole, a Roman Catholic II takes place in the years leading up to the July Revolution of 1830. During this time Julien Sorel lives in Paris as an employee of the de la Mole family. Despite his moving among high society and his intellectual talents, the family and their friends condescend to Julien for being an uncouth plebeian. Meanwhile, Julien is acutely aware of the materialism and hypocrisy that permeate the Parisian élite, and that the counter-revolutionary temper of the time renders it impossible for even well-born men of superior intellect and æsthetic sensibility to participate in the nation's public Marquis de la Mole takes Julien to a secret meeting, then despatches him on a dangerous mission to communicate a letter (Julien has it memorised) to the Duc d'Angouleme, who is exiled in England; however, the callow Julien is mentally distracted by an unsatisfying love affair, and thus only learns the message by rote, missing its political significance as a legitimist plot. Unwittingly, he risks his life in service to the right-wing monarchists he most opposes; to himself, he rationalises these actions as merely helping the Marquis, his employer, whom he , the Marquis’s bored daughter, Mathilde de la Mole, has become emotionally torn between her romantic attraction to Julien, for his admirable personal and intellectual qualities, and her social repugnance at becoming sexually intimate with a lower-class man. At first, he finds her unattractive, but his interest is piqued by her attentions and the admiration she inspires in others; twice, she seduces and rejects him, leaving him in a miasma of despair, self-doubt, and happiness (for having won her over her aristocratic suitors). Only during his secret mission does he gain the key to winning her affections: a cynical jeu d’amour (game of love) taught to him by Prince Korasoff, a Russian man-of-the-world. At great emotional cost, Julien feigns indifference to Mathilde, provoking her jealousy with a sheaf of love-letters meant to woo Madame de Fervaques, a widow in the social circle of the de la Mole family. Consequently, Mathilde sincerely falls in love with Julien, eventually revealing to him that she carries his child; despite this, whilst he is on diplomatic mission in England, she becomes officially engaged to Monsieur de Croisenois, an amiable, rich young man, heir to a of Julien’s romantic liaison with Mathilde, the Marquis de la Mole is angered, but relents before her determination and his affection for Julien, and bestows upon Julien an income-producing property attached to an aristocratic title, and a military commission in the army. Although ready to bless their marriage, he changes his mind after receiving the reply to a character-reference-letter he wrote to the abbé Chélan, Julien’s previous employer in the village of Verrières; the reply letter, written by Madame de Rênal—at the urging of her confessor priest—warns the Marquis that Julien Sorel is a social-climbing cad who preys upon emotionally vulnerable learning of the Marquis’s disapproval of the marriage, Julien Sorel travels back to Verrières and shoots Madame de Rênal during Mass in the village church; she survives, but Julien is imprisoned and sentenced to death. Mathilde tries to save him by bribing local officials, and Madame de Rênal, still in love with Julien, refuses to testify and asks for his acquittal. Despite this, along with the efforts of priests who have looked after him since his early childhood, Julien Sorel is determined to die because the materialist society of Bourbon Restoration France will not accommodate a low-born man of superior intellect and æsthetic sensibility who possesses neither money nor social , the presumptive duke, Monsieur de Croisenois, one of the fortunate few of Bourbon France, is killed in a duel fought over a slur upon the honour of Mathilde de la Mole. Her undiminished love for Julien, his imperiously intellectual nature, and its component romantic exhibitionism, render Mathilde’s prison visits to him a Julien learns he did not kill Madame de Rênal, his genuine love for her is resurrected—having lain dormant throughout his Parisian time—and she continues to visit him in jail. After he is guillotined, Mathilde de la Mole re-enacts the cherished 16th-century French tale of Queen Margot, who visited her dead lover, Joseph Boniface de La Mole, to kiss the lips of his severed head. She makes a shrine of his tomb in the Italian fashion. Madame de Rênal, more quietly, dies in the arms of her children.如对于我的解答有问题，欢迎继续追问～如果满意，请点击“采纳为满意答案”，谢谢：）

"It is because I was mad and then that today I am wise. O philosopher, you who take an instantaneous view of filings, how short are your perspectives! Your eye is not desired to follow the underground workings of passions."---W. GOETHE一、Brief introduction to the novel The material of the Red and the Black stems from a judgment of a local court, saying that a tutor murdered his female master since he was fall in love with her heavily and, how terribly it is, he had adultery relationship with his female master. Julien ,who is the key figure in this novel ,was a son of a carpenter in Verrieres(维里埃尔), in which every people was selfish, arrogant and eager to be moneybags .He had seen the troops of Napoléon Bonaparte in his childhood, reed certain works of Loescher and the declaration of Napoléon Bonaparte`s army. Although Julien had dreamed to be a general when he was a child under such influence, he abandoned his ideal but turned to be an excellent curate with the time passing by. Julien acted as a tutor for the mayor of Verrieres in his age of nineteen out of his unique talent for Bible comprehension, undoubtedly, it is a blockbuster for Julien, the commonest in all commons of inhabitants of Verrieres in his lifetime stage. There is an old saying goes that each coin has two sides, Julien was felled in love with M. cie Renal , who was “extremely shy and seemed highly impressionable” (英语学习大书虫研究室:《红与黑》,译林出版社,第13页) , was the wife of M. de Rtenal . It was this love that brings demon to Julien, even to his life. Julien had to give up this fat case after revealing his love story and was recommended by abbe Pirard to De La Mole, the brilliant politician in Paris, as his private secretary. Fortunately, something seems precious, had been lost in the last, and is now on the way home when he set his foot in De La Mole’s home. Julien, after a long period pursuing, achieved his lifetime goal that becoming a member of upper class eventually through his marriage with the daughter of DE La Mole, Mathilde, although De La Mole was forced to acknowledge that. But something unexpected happened, M. cie Renal was lured to write a letter to De La Mole to tell him their love story with Julien, De La Mole was filled with anger at the way he had been tricked by Julien and refused to accept Julien any more immediately. As soon as news of tragedy was taken to Julien, shock waves spread rapidly to all parts of his brain, to get publicity and trust back, Julien used shock tactics, that is to say, taking a shot at M. cie Renal, the wife of the mayor of Verrieres. When it comes to the end, each cool head could have the same image:“ she (Mathilde) was lighting a number of candles…… she had placed Julien’s head on a little marble table in front of her, and she was kissing his forehead…… ”(英语学习大书虫研究室:《红与黑》,译林出版社,第569页) 二、Personal comments on this novel (一) 、Julien is a liberator This viewpoint may be disputed by many people; I still believe that it is Julient which brought free ideology to such women who were being long term oppression. Chairman Mao had said that “You said Julien had destroyed others’ family, even a happy family, this comment is not objective. Actually, such a happy family cannot be destroyed, if it were true, it would be unhappy obviously. That family has oppression, therefore, where is oppression, where is revolt. This is called reacting force, I am sure Julien is the liberator which helps Madame to carry on the revolt.” As every body knows that Julien is the commonest in lower class, he has ambition that changing his mortal status which prevent him from entering upper class and having highly self-development, although his tactics seemed too harsh or, at least, aggressive, he had spared no effort to pursuit what he believes belongs to his inner heart, let alone love between M. cie Renal and Mathilde. What causes Julien’s death is not his immoral or illegal behaviors but the need of the politician’s nasty competition for respective political profits. Julien is a liberator because his words and behaviors’ influence had set an idol for the publicity, even the representative of upper class, M. cie Renal, we can see these lines in the ending of this novel: “M. cie Renal was faith to her promise. She did not seek in any way at all to take her own life; but three days after Julien (Julien’ death), she died with her children in her arms.” (英语学习大书虫研究室:《红与黑》,译林出版社,第569页). Without Julien’s influences, the ideology of revolt, even lightly disobey to such oppression could not be a little spark. Julien’s death just the incident which sparked off a whole chain of disasters to the system of society, Julien became the deaf lamb of political tricks, whose miserable life showing to us just the initial intention of the writer to write this tragedy, that is to say, to reveal such nasty secrets behind pert faces. (二) 、The artistic feature of this novel 1、Realism Stendhal , the author of this novel, who was “the first one to reveal capitalism’s feature after its victory ”(《列宁选集》，中华书局，第473页), is a realist writer. In this novel , all sentences and words 、attitudes and behavior based on the acceptance of facts and the rejection of sentiment and illusion. He is loyal to portrayal of familiar things as they are without idealizing them a little, the material of the story stems from a judgment of a local court, saying that a tutor murdered his female master since he was fall in love with her heavily and, how terribly it is, he had adultery relationship with his female master. It was that document which gives Stendhal inspiration to write this world-famous work and aim at revealing the cruelty、 darkness 、bitterness of living in capitalism society and extremely selfish for respective profits. 2、Educational No one could dispute that each reader of this novel would find the experience of such characters most educational, you could find out your own shadow somehow when compared to them, which is the extraordinary charming, having unique power, or, overwhelming. Let me go straightly, Julien’s personal experience was a mirror to us youth who want to make difference in the world in his lifespan and his tragedy just justify what said by Arabham Lincon: “you can fool all the people some of the time, some of the people all the time, but you cannot fool all the people all the time.” 3、Critical The Red and the Black is not popular in the current critical climate of that age, some literary criticism even spoke critically of S. History always goes forward by justice, she taught us trying to develop a more critical attitude, instead of accepting everything at face value. With time went by, this terrific work receive palms from publicity gradually, hundreds of years gone, it has formed formidable influence and dominated Google searching net last three years. What he intents to reveal is becoming obviously in modern capitalism society nowadays, more and more literalists has learnt his literary style, making more and more extraordinary contribution to the harmonious relationship to each respect. It is the Red and the Black that help us to know capitalism more profoundly.