第一篇：(英語(yǔ)畢業(yè)論文)《遠(yuǎn)大前程》中皮普的性格分析

英語(yǔ)專(zhuān)業(yè)全英原創(chuàng)畢業(yè)論文，是近期寫(xiě)作，公布的題目可以用于免費(fèi)參考（貢獻(xiàn)者ID 有提示）

最新英語(yǔ)專(zhuān)業(yè)全英原創(chuàng)畢業(yè)論文，都是近期寫(xiě)作 A Comparison between Two Chinese Versions of Uncle Tom’s Cabin 2 雙關(guān)語(yǔ)在英語(yǔ)廣告中的應(yīng)用與翻譯研究 3 從文化差異角度來(lái)分析習(xí)語(yǔ)的翻譯 4 論廣告與文化 英漢新詞理?yè)?jù)對(duì)比研究 英文商務(wù)信函中的禮貌策略研究 商務(wù)談判口譯的語(yǔ)用失誤的成因及負(fù)面影響對(duì)學(xué)習(xí)的啟示 8 動(dòng)物詞在中英文化中的喻義及其翻譯 9 對(duì)羅伯特.弗羅斯特自然詩(shī)的嘗試性研究 10 比較《百萬(wàn)英鎊》和《阿Q正傳》 11 試論英漢日常禮貌表達(dá)的異同 A Journey through Harsh Reality: Reflections on Gulliver’s Travels 13 從Salsa舞解析墨西哥人的性格 英語(yǔ)專(zhuān)業(yè)本科畢業(yè)論文摘要的體裁分析 15 Advertising and Its Application 16 An Analysis of Cultural Differences between China and English-Speaking Countries through Idioms 17 《名利場(chǎng)》和《嘉莉妹妹》女主角形象對(duì)比 Translation Strategy on Culturally-loaded Expressions in Prison Break 19 面部表情和目視行為的跨文化研究 從異化歸化角度看漢語(yǔ)四字詞組的英譯策略—以中國(guó)蘇州古典園林為例 21 從體育舞蹈看中西方社會(huì)的審美文化差異 22 中美兩國(guó)家庭文化差異 The Interpretation to Captain Ahab in Moby Dick through Abnormal Psychology 24 外貿(mào)英文函電中委婉語(yǔ)的特點(diǎn)及應(yīng)用研究 25 馬爾福的嫉妒 從約翰.鄧恩的“奇思妙喻”中透視他矛盾的情感觀 27 外貿(mào)企業(yè)的匯率風(fēng)險(xiǎn)規(guī)避 《大地》中賽珍珠女權(quán)主義分析 從依戀理論看《呼嘯山莊》主人公希斯克利夫悲劇性格的形成 30 中英文旅游廣告語(yǔ)言特點(diǎn)對(duì)比研究 31 淺析美國(guó)傳奇總統(tǒng)的共性 32 英語(yǔ)廣告的語(yǔ)言特點(diǎn) 33 中餐菜譜翻譯的錯(cuò)誤分析

英語(yǔ)國(guó)家國(guó)歌中愛(ài)國(guó)主義的話語(yǔ)建構(gòu)

翻譯“忠實(shí)”新解——兼評(píng)《傲慢與偏見(jiàn)》譯本 36 非言語(yǔ)交際在英語(yǔ)教學(xué)中的作用 37 從歧義和語(yǔ)用角度分析幽默

外語(yǔ)學(xué)習(xí)焦慮與口語(yǔ)成績(jī)的相關(guān)性研究 39 從以目的為導(dǎo)向的翻譯原則看委婉語(yǔ)的翻譯 40 《了不起的蓋茨比》中黛西的女性主義分析 41 中美動(dòng)畫(huà)電影所折射出的文化差異 英語(yǔ)專(zhuān)業(yè)全英原創(chuàng)畢業(yè)論文，是近期寫(xiě)作，公布的題目可以用于免費(fèi)參考（貢獻(xiàn)者ID 有提示）

淺析美國(guó)俚語(yǔ)的起源 “紅”、“黃”漢英聯(lián)想意義對(duì)比研究 論《老友記》幽默字幕翻譯

從唯美主義角度分析《莎樂(lè)美》中邪惡的靈魂 淺析《飄》中的女性意識(shí)

是什么在作祟？—論保羅愛(ài)情失敗的原因 影響學(xué)生閱讀的主要障礙及其解決策略

從文化差異角度研究英文新聞標(biāo)題翻譯的策略

道德與歸屬地的一致性－－《曼斯菲爾德莊園》空間維度分析 圖式理論與英語(yǔ)聽(tīng)力教學(xué)

中西商務(wù)談判中的跨文化因素研究

《戀愛(ài)中的女人》歐秀拉和古迪蘭的性格對(duì)其愛(ài)情觀的影響 論中英商標(biāo)翻譯中的文化差異 淺析英語(yǔ)俚語(yǔ)的特征及其功能

Double Vision in Characterization in The Great Gatsby 言語(yǔ)行為理論視角下口語(yǔ)交際誤解現(xiàn)象

論海明威《一天的等待》的冰山原則寫(xiě)作風(fēng)格 影響大學(xué)生英語(yǔ)自主學(xué)習(xí)的因素研究 合作原則在動(dòng)畫(huà)中的應(yīng)用

中式英語(yǔ)形成的原因以及在英語(yǔ)學(xué)習(xí)中克服中式英語(yǔ)的對(duì)策 《麥田里的守望者》中霍爾頓從抗拒到妥協(xié)的精神之旅 網(wǎng)絡(luò)廣告在中國(guó)營(yíng)銷(xiāo)中存在的弊端 論關(guān)聯(lián)理論對(duì)旅游資料英譯的指導(dǎo)意義 視覺(jué)文化在英語(yǔ)詞匯學(xué)習(xí)中的應(yīng)用 文本分類(lèi)理論與廣告翻譯

愛(ài)恨共輝煌——淺析《呼嘯山莊》中的男主人公 英文電影片名翻譯策略研究

快餐食品對(duì)中西方傳統(tǒng)飲食文化的影響力 淺析《愛(ài)瑪》中簡(jiǎn).奧斯汀的婚姻觀 泰戈?duì)栐?shī)中自然物意象研究

對(duì)比評(píng)析《了不起的蓋茨比》中尼克和蓋茨比的夢(mèng)想 淺論國(guó)產(chǎn)小米手機(jī)的營(yíng)銷(xiāo)策略

快樂(lè)教學(xué)法在中學(xué)英語(yǔ)教學(xué)中的應(yīng)用 淺析MSN交談中的話語(yǔ)標(biāo)記語(yǔ)

任務(wù)型教學(xué)模式在初中英語(yǔ)課堂教學(xué)中的現(xiàn)狀分析－－以xx學(xué)校初一學(xué)生為例 英語(yǔ)廣告語(yǔ)篇中名物化的研究

《厄舍古屋的倒塌》中哥特式文學(xué)特點(diǎn)分析 論大學(xué)英語(yǔ)口語(yǔ)課外活動(dòng)

Self-improving English Proficiency by Reading English Classics 中英社交禮儀差異的比較與分析 《阿甘正傳》承載的美國(guó)青年價(jià)值觀 中英禮貌用語(yǔ)差異

從跨文化角度看電影標(biāo)題漢譯英 英漢動(dòng)物詞匯的文化內(nèi)涵及其翻譯 英語(yǔ)專(zhuān)業(yè)全英原創(chuàng)畢業(yè)論文，是近期寫(xiě)作，公布的題目可以用于免費(fèi)參考（貢獻(xiàn)者ID 有提示）

《麥琪的禮物》看語(yǔ)境在中英翻譯中的影響 87 英漢顏色詞翻譯

探析王爾德童話中的死亡主題

《瓦爾登湖》與陶淵明作品中的自然觀簡(jiǎn)析 90 論歐.亨利的寫(xiě)作風(fēng)格

Development, Analysis and Prospect of Chinglish 92 從關(guān)聯(lián)-順應(yīng)理論視角研究旅游文本英譯

唯美主義與心理失衡的關(guān)系——以《道連葛雷的畫(huà)像》中人物分析為例 94 苔絲悲劇中烏托邦情結(jié)的探析 95 從文化角度對(duì)比中美兩國(guó)談判風(fēng)格 96 論《野性的呼喚》中的自然主義 97 英漢親屬稱(chēng)謂的差異與翻譯技巧

《麥田里的守望者》中霍爾頓的反叛和自我救贖

Unreliable Narration – The Approach to Irony in Pride and Prejudice 100 An Appeal for Oedipus Rex 101 The Name Translation in A Dream of Red Mansions 102 扼殺在萌芽中的期許— “一小時(shí)里故事”中的女權(quán)渴望 103 論漢語(yǔ)新詞語(yǔ)的英譯 104 《七宗罪》的人性解剖

目的論在英語(yǔ)兒歌翻譯中的應(yīng)用 106 論偵探小說(shuō)中的偵探話語(yǔ)的謊言測(cè)定

對(duì)高中學(xué)生英語(yǔ)學(xué)習(xí)動(dòng)機(jī)現(xiàn)狀及激發(fā)策略的調(diào)查分析—以屏邊高級(jí)中學(xué)為例 108 官方語(yǔ)言中的中國(guó)英語(yǔ)分析－－從目標(biāo)人群接受性角度談起 109 中西酒文化的差異對(duì)比

論《喜福會(huì)》中母女關(guān)系背后的文化沖突 111 通過(guò)《推銷(xiāo)員之死》探究現(xiàn)代人生存困境問(wèn)題 112 An Analysis of Self-reliance in Little Women 113 View Chinese and Western Love from Liang Shanbo and Zhu Yingtai and Romeo and Juliet 114 項(xiàng)目教學(xué)法在英語(yǔ)寫(xiě)作課中的應(yīng)用

英語(yǔ)專(zhuān)業(yè)學(xué)生英語(yǔ)口語(yǔ)學(xué)習(xí)動(dòng)機(jī)調(diào)查研究

基于語(yǔ)料庫(kù)的漢語(yǔ)空間隱喻認(rèn)知分析——以前后為例 117 《荊棘鳥(niǎo)》女性意識(shí)淺析

個(gè)人主義與集體主義——中美文化碰撞背后的價(jià)值觀差異 119 從文化角度看英語(yǔ)習(xí)語(yǔ)的翻譯

文化適應(yīng)性原則在食品商標(biāo)翻譯中的應(yīng)用 121 霍?！都t字》女性主義的探析

中國(guó)文化特色詞匯的音譯與中國(guó)文化的傳播 123 《霧都孤兒》中的批判現(xiàn)實(shí)主義

論托尼·莫里森《寵兒》中的模糊化現(xiàn)象

Growing Pains—An Analysis of J.D.Salinger’s The Catcher in the Rye as a Bildungsroman 126 跨文化交際中社交語(yǔ)用失誤及應(yīng)對(duì)策略 127

Domestication and Foreignization in Idioms Translation 129 論建構(gòu)主義理論指導(dǎo)下英語(yǔ)口語(yǔ)教學(xué)方法 英語(yǔ)專(zhuān)業(yè)全英原創(chuàng)畢業(yè)論文，是近期寫(xiě)作，公布的題目可以用于免費(fèi)參考（貢獻(xiàn)者ID 有提示）

功能對(duì)等理論下的新聞詞匯翻譯 131 濟(jì)慈六大頌詩(shī)的意象

淺析《睡谷傳奇》中的浪漫主義 133

《大學(xué)英語(yǔ)》聽(tīng)力理解中的石化現(xiàn)象與對(duì)策 135 影響中學(xué)生英語(yǔ)學(xué)習(xí)的心理因素分析 136 試析流行文化對(duì)美國(guó)青少年價(jià)值觀的影響

用本我，自我，超我的弗洛伊德理論來(lái)解析《紅字》 138 從《絕望主婦》看美國(guó)人的婚姻觀

The Symbolic Meanings of Red in The Catcher in the Rye 140 從譚恩美小說(shuō)中“家”的概念看其文化身份認(rèn)定 141 《洛麗塔》—時(shí)間的悲劇 142 “到十九號(hào)房間”的悲劇成因

中英文商標(biāo)翻譯的問(wèn)題及其解決方法

論伍爾夫《到燈塔去》女權(quán)主義主題思想及對(duì)中國(guó)女性文學(xué)之影響 145 論奧康納短篇小說(shuō)的創(chuàng)作特色

《魔術(shù)與童年》翻譯中英漢詞匯銜接對(duì)比研究 147 《哈利.波特》中斯內(nèi)普的人物分析

初中英語(yǔ)聽(tīng)力水平調(diào)查研究－－-以鋼城十二中為例的個(gè)案調(diào)查 149 騎士精神對(duì)現(xiàn)代社會(huì)的影響

論文化差異在好萊塢電影《功夫熊貓》中的表現(xiàn)

151 唯美主義理論與實(shí)踐的矛盾——解析王爾德的矛盾性 152 從及物性角度分析童話的文體特征 153 理智的動(dòng)人詩(shī)篇——《馬語(yǔ)者》

154 奈達(dá)功能對(duì)等理論指導(dǎo)下英漢廣告修辭的翻譯策略探究 155 艾米麗的心理性格分析 156 論被動(dòng)句的翻譯

157 Text Cohesion in English Business Contracts 158 從生態(tài)批評(píng)論梭羅《瓦爾登湖》中對(duì)工業(yè)化的思考 159 簡(jiǎn)與林黛玉性格及命運(yùn)對(duì)比 160 凝視與對(duì)抗：《屋頂麗人》中的兩性戰(zhàn)爭(zhēng) 161 命案現(xiàn)場(chǎng)——阿加莎死亡觀簡(jiǎn)析 162 動(dòng)物習(xí)語(yǔ)在英漢文化中的異同分析 163 傅東華譯《飄》歸化現(xiàn)象淺析

164 從“愛(ài)的習(xí)慣”看多麗絲.萊辛筆下的兩性關(guān)系

165 從精神分析學(xué)角度探究《呼嘯山莊》中的希斯克里夫 166 論《太陽(yáng)照常升起》中的象征主義 167 功能對(duì)等理論指導(dǎo)下的外貿(mào)函電翻譯 168 淺析《小婦人》中馬奇太太的教育方式 169 從《紅字》看霍桑的政治觀

170 非英語(yǔ)專(zhuān)業(yè)大學(xué)生聽(tīng)力課堂焦慮的影響及解決策略 171 從奧運(yùn)菜單看中式菜肴英譯名規(guī)范化程度

172 A Contrastive Analysis of Chinese and American Nonverbal Privacy 173 中美禮貌語(yǔ)中的“面子文化” 英語(yǔ)專(zhuān)業(yè)全英原創(chuàng)畢業(yè)論文，是近期寫(xiě)作，公布的題目可以用于免費(fèi)參考（貢獻(xiàn)者ID 有提示）

174 弗吉尼亞伍爾夫《墻上的斑點(diǎn)》的敘事技巧分析 175 《最藍(lán)的眼睛》和《寵兒》中黑人女性的悲劇根源

176 莊子和梭羅自然觀比較——以《莊子》與《瓦爾登湖》為例 177 通過(guò)對(duì)比研究看電影《小紅帽》對(duì)經(jīng)典童話小紅帽的顛覆 178 從文化視角看中西方的禮節(jié)差異 179 英漢愛(ài)情隱喻比較研究

180 《喧嘩與騷動(dòng)》中沒(méi)落的悲劇 181 論莎士比亞十四行詩(shī)的特征

182 論教師的非語(yǔ)言行為在課堂教學(xué)中的作用 183 論中英文習(xí)語(yǔ)翻譯的處理技巧及文化差異 184 《圍城》英譯本中文化負(fù)載詞的翻譯研究 185 論苔絲悲劇的成因

186 從詞匯對(duì)等角度看《紅樓夢(mèng)》中“笑”一詞的英譯 187 A Comparative Study of Jane Austen and Emily Dickinson 188 從翻譯目的論角度分析商務(wù)廣告翻譯 189 第二次世界大戰(zhàn)中的溫斯頓丘吉爾 190 如何激發(fā)初中生學(xué)習(xí)英語(yǔ)的興趣

191 從《肖申克的救贖》看美國(guó)的個(gè)人英雄主義 192 化妝品說(shuō)明書(shū)特征及其漢譯技巧 193 威廉福克納作品中的悲劇美學(xué)思想

194 《哈克貝里·費(fèi)恩歷險(xiǎn)記》中哈克和吉姆的人物形象分析

195 The Blacks’ Soul Under the Impact of the White Culture in The Bluest Eye 196 A Reflection upon American Heroism Based on Reviews of Hollywood Movies 197 美國(guó)動(dòng)畫(huà)片名的翻譯 198 A Study of Neo-Classicism 199 英語(yǔ)中的女性歧視

200 血性意識(shí)—D.H.勞倫斯的自然主義愛(ài)情觀

第二篇：《遠(yuǎn)大前程》中皮普的人物性格分析

摘要:本文深入細(xì)致的分析了狄更斯《遠(yuǎn)大前程》一文中的主要人物皮普的生活經(jīng)歷與心路歷程,揭示了英國(guó)維多利亞時(shí)代人與人之間赤裸裸的金錢(qián)關(guān)系,展現(xiàn)了生活在那個(gè)時(shí)代的底層民眾的生存狀態(tài)。

關(guān)鍵詞:狄更斯遠(yuǎn)大前程皮普人物性格

《遠(yuǎn)大前程》是查爾斯·狄更斯藝術(shù)生涯后期最具代表性的長(zhǎng)篇小說(shuō)。小說(shuō)描述了一個(gè)名為皮普的孤兒的生活經(jīng)歷和心路發(fā)展歷程,藝術(shù)的揭示了這位孤兒從對(duì)幸福生活的期望到幻想破滅的整個(gè)過(guò)程。在這本書(shū)中“,遠(yuǎn)大前程”是一句反話,并不是真的指孤兒皮普有什么遠(yuǎn)大的前程,而恰恰是指的一種“幻滅”,一種幻想的幻滅。但如果讀者只是把本書(shū)理解成一本描寫(xiě)孤兒幻想破滅的書(shū),那就誤解也低估了作者的本意,作者是要在對(duì)孤兒皮普的描述中展現(xiàn)19世紀(jì)英國(guó)維多利亞時(shí)代的社會(huì)生活,揭露了資產(chǎn)階級(jí)金錢(qián)世界的種種罪惡。主人公皮普自幼就失去了父母,作者在小說(shuō)的開(kāi)始以第一人稱(chēng)的口吻這樣敘述著主人公的身世“:我說(shuō)皮利普是我父親的姓,那是有根據(jù)的,因?yàn)槲腋赣H的墓碑上刻著他的姓,而且我姐姐也這么說(shuō)。我姐姐嫁給了鐵匠喬·葛奇里,現(xiàn)在是葛奇里夫人了。至于我,從來(lái)沒(méi)有見(jiàn)到過(guò)父親和母親,也沒(méi)有看到過(guò)他們兩位的照片?！睆倪@里我們可以了解到,這樣一個(gè)自幼由嫁給鐵匠的姐姐撫養(yǎng)長(zhǎng)大的孤兒,在那個(gè)時(shí)代是不可能獲得什么太好的教育的。教育的缺失和家境的情況使得幼年的皮普把姐夫當(dāng)做理想的奮斗目標(biāo)。而事實(shí)上,在這個(gè)由姐姐掌握大權(quán)的家里,姐夫也是唯一可以“以誠(chéng)相待,推心置腹”的人。而“一手”撫養(yǎng)他長(zhǎng)大的姐姐呢“,我的姐姐喬·葛奇里夫人比我要年長(zhǎng)二十多歲。她一直說(shuō)我是由她一手帶大的,因此在左鄰右舍享有很大名氣,倍受夸獎(jiǎng)。從小我就想了解這里的“一手”究竟是什么含義。我所知道的她的手,是結(jié)實(shí)笨重而又冷酷嚴(yán)厲的,因?yàn)樗貏e喜歡把她的巴掌打在她丈夫的身上,當(dāng)然也喜歡打在我的身上。我想喬·葛奇里和我就是這樣由她一手帶大的吧?！弊x者可以在字里行間讀出作者的良苦用心,但即使在這樣充滿了暴力的家庭里長(zhǎng)大,皮普依然保持著天真、質(zhì)樸的性格,文中作者還特意用一段對(duì)吃面包的描述來(lái)展示皮普的天真可愛(ài)“:在吃晚餐時(shí),我們有個(gè)習(xí)慣,要比較一下吃面包的速度,不時(shí)地悄悄拿起所啃的面包比一下,并且相互會(huì)心地表示贊美。這樣,我們啃面包就越啃越有勁?！庇啄甑钠て找彩巧屏嫉?這一點(diǎn)即使是在面對(duì)逃犯時(shí)也未曾改變,也正是這種善良為他日后的命運(yùn)埋下了伏筆。哈維莎姆小姐的出現(xiàn),徹底改

變了皮普一生的命運(yùn)。在這里我們要注意一點(diǎn),那就是作者查爾斯·狄更斯的哲學(xué)思想之一是環(huán)境對(duì)人思想的影響。狄更斯認(rèn)為,不同的環(huán)境可以造就成不同的人。當(dāng)然,我們知道,內(nèi)因才是決定一個(gè)人發(fā)展的關(guān)鍵因素。皮普如果不是一個(gè)天真、質(zhì)樸的少年,而是一個(gè)成熟、倔強(qiáng)的少年,也許這個(gè)故事就不會(huì)是這樣一個(gè)結(jié)局了。對(duì)一個(gè)一心想要“報(bào)復(fù)男人”的哈維莎姆小姐來(lái)說(shuō),皮普是一個(gè)絕佳的工具和發(fā)泄對(duì)象。讓年輕漂亮的養(yǎng)女埃斯特拉去主動(dòng)接近皮普,卻又不斷的嘲笑皮普,哈維莎姆的計(jì)劃是成功的。年輕的皮普就像一個(gè)提線木偶,被哈維莎姆小姐和命運(yùn)玩弄于股掌之間。對(duì)愛(ài)斯特拉的傾慕使皮普開(kāi)始厭惡自己“那雙粗糙的手和那雙笨頭笨腦的皮靴”,用皮普自己的話說(shuō)就是“我現(xiàn)在對(duì)這些東西很是瞧不起了,這些東西過(guò)去沒(méi)有煩惱過(guò)我,現(xiàn)在卻使我煩惱了。它們確是些粗俗不堪的東西?！币查_(kāi)始埋怨起一直“以誠(chéng)相待,推心置腹”的“伙計(jì)”“我決定回家去問(wèn)問(wèn)喬,為什么他總是告訴我那些牌叫做賈克,而實(shí)際上應(yīng)該是奈夫。我想,如果當(dāng)年喬的教養(yǎng)高一些,我也不至于落到這地步?！睉?yīng)該說(shuō),作為一個(gè)孩子,在虛榮面前有些抱怨還是可以理解的,畢竟這也符合人性。于此同時(shí),從這里開(kāi)始我們也以看到,狄更斯在《遠(yuǎn)大前程》中對(duì)人物心理的描寫(xiě)比之以往更加細(xì)膩、真實(shí),對(duì)人物內(nèi)心世界的探索更加堅(jiān)決、徹底。與其前期的人物形象相比,皮普的形象更加豐富逼真,這是作者擺脫了人物單一性和確定性的一種表現(xiàn)。也使得皮普這個(gè)人物更接近現(xiàn)實(shí),更能反映當(dāng)時(shí)的社會(huì)情形。在皮普的身上,我們看不到狄更斯早期作品中那種臉譜化的描寫(xiě),看不到作者直接定義的人物性格,而是一個(gè)有其自身言行舉止,內(nèi)心活動(dòng)的嶄新的形象。對(duì)皮普的是非要由讀者自己來(lái)判斷、評(píng)價(jià)。皮普是真實(shí)的,也就是從這一刻開(kāi)始,那種對(duì)虛榮的愛(ài)慕情結(jié)開(kāi)始萌動(dòng),那種擺脫現(xiàn)狀的想法開(kāi)始不可遏制的出現(xiàn),并很快的開(kāi)始實(shí)施“一兩天后的一個(gè)早晨,我醒來(lái)時(shí)突然想到一個(gè)非常好的主意。我要使自己走向不平凡,最為上策的辦法是去找畢蒂,學(xué)會(huì)她所知道的一切東西為自己所用。”從這一刻開(kāi)始,皮普開(kāi)始了他的奮斗歷程。從這一刻開(kāi)始

第三篇：論遠(yuǎn)大前程中社會(huì)因素對(duì)皮普愛(ài)慕虛榮性格的影響

Social factors on the development of pip’s vanity in Great

Expectations

Abstract

This paper studies the social factors on the development of pip’s vanity in Charles Dickens’ Great Expectations.It argues that, compared with other factors that affect pip’s vanity, social factors has its own distinguishing affects, and that is, it straightly pushes pip to be a vanity man with various ways.The combination of the social factors and pip’s vanity through the exploration of the following three aspects, namely social factors with his terrible educational background, social factors combined with his poor family situation and social factors tinted with the cruelty of the bourgeoisie will be closely examined in this paper.In this way it plans to prove that social factors are the factor that straightly pushes pip to be a vanity man.Keywords: social factors;terrible educational background;poor family situation;cruelty of the bourgeoisie

論遠(yuǎn)大前程中影響皮普虛榮性格發(fā)展的社會(huì)因素

摘要

本文研究社會(huì)因素對(duì)遠(yuǎn)大前程中皮普虛榮性格的形成的影響。筆者認(rèn)為，與其他影響皮普虛榮性格的因素相比，社會(huì)因素有著非常獨(dú)到的地方，即它直接的從各個(gè)方面把皮普塑造成了一個(gè)虛榮的人。本文從皮普教育的缺失，貧困的家庭環(huán)境，資本主義的殘酷三個(gè)方面對(duì)皮普虛榮性格的形成進(jìn)行了考察，從而證明社會(huì)因素直接地把皮普塑造成了一個(gè)虛榮性格的人。

關(guān)鍵詞：社會(huì)因素，教育的缺失，貧困的家庭，資本主義的殘酷

Contents

Number of pages: 16 Introduction.................................................................................................................1 2 Pip’s Character of Vanity............................................................................................2 2.1 A Brief Introduction to the Victorian Age............................................................3 2.2 The Prototype of Pip in Great Expectation..........................................................4 2.3 His Vanity in Great Expectations.........................................................................5 3 The Social Factors that Mold Pip’s Vanity..................................................................6 3.1 His Terrible Educational Background..................................................................7 3.2 His Poor Family Situation....................................................................................8 3.3 The Cruelty of the Bourgeoisie............................................................................9 3.3.1 Vengeful and Wealthy Miss Havisham......................................................10 3.3.2 Indulgent and Hypocritical Mr.Jaggers.....................................................11 4 Conclusion................................................................................................................12 Notes............................................................................................................................13 References....................................................................................................................14 Acknowledgement.......................................................................................................15 Declaration...................................................................................................................16

1.Introduction Dickens was one of the most influential writers of the 19th century, played a crucial Great Expectations was written by Charles Dickens(7 February 1812–9 June 1870).He contributed greatly to the development of the writing style in British Literature.Through his numerous works，he exposed the readers to different aspects of the times he lived in and explored the unfairness and hypocrisy of the capitalist society and he analysis that the social factors that we lived in influences the formation of our characters.The social factors can be reflected in various ways such as education, families, friends and the living experiences.Pip is the hero in Great Expectations, whose life has through several changes.Each change is a new development for him and last forging a new Pip: The one who is fall in love with the beautiful Estella, the love drives him to run after the knowledge and fame;the one who gains a big fortune to have a gentleman cultivation in London;the one whose dreams fall into fallacy, which lets him realizes his guilty and starts repentance.Every stage Pip’s character is under subtle change that is related to the things happened around him.To say it in different way, pip’s change in every stage is influenced by the social factors especially let him to chase after the vanity like the upper class gentlemen life and wealth.Thus, this paper mainly studies the social factors on the development of pip’s vanity in Charles Dickens’ Great Expectations with the factors of terrible education, the poor family and the friends around him who live in the cruelty Bourgeoisie.In this way to prove that social factors are the factor that straightly pushes pip to be a vanity man.2.Pip’s Character of Vanity

Pip is the hero in Great Expectations who is also a victim.His life reflects the background of the Victorian age when the society is dark and the people there all chase after the vanity of the wealth and the social status.It is also mirrored the life experiences of Charles Dickens.Pip actually is living in the lower class who has no good education and the rich family.When he lives with Joe, his dream is to be a balcksmith.But when he falls in love with the girl, he begins to hate his dirty hand that using to strike the iron.Apart from that, when he is in the cultivation for a gentleman, he begins to escape to meet the low class: Joe, though he is actually not a gentleman there.All the change of Pip’s character reflects the common features of the people in Victorian age and mirrored the life experiences of Charles Dickens.2.1A Brief Introduction to the Victorian Age In Great Expectation, Charles Dickens showed us a lively picture, which gave us a rough sketch of The Victorian Age.The country was ruled by Queen Victorian from 1837 to 1901, and during this period, the cruelty and the greedy of the Bourgeoisie that deeply affect everyone’s character.In society, the wealth and the greedy are like an evil.The distribution of wealth is always unequal and the contrast of the rich and the poverty is very sharp.On one hand, there excises the noble manor life and the comfortable life of the landlord;on the other hand, it is the farmer’s dilapidated cottage and the unemployed worker’s desperation.Family life for the middle and upper class was extremely important, as the families were large and living together in big houses, life was very comfortable for them and enjoyable.Poor and working class families, such as Dickens's were forced to work in factories doing dangerous jobs.Children were being exploited, into doing harsh dangerous work, for little pay and no gratitude.Besides, the Industrial Revolution of the late eighteenth and the early nineteenth centuries had transformed the social landscape, enabling capitalists and manufacturers to amass huge fortunes.Although social class was no longer entirely dependent on the circumstances of one’s birth, the divisions between rich and poor remained nearly as wide as ever.London, a teeming mass of humanity lit by gas lamps at night and darkened by black clouds from smokestacks during the day, formed a sharp contrast with the nation’s sparsely populated rural areas.More and more people moved from the country to the city in search of greater economic opportunity.Throughout England, the manners of the upper class were very strict and conservative: gentlemen and ladies were expected to have thorough classical educations and to behave appropriately in innumerable social situations.2.2 The Prototype of Pip in Great Expectation The prototype of the pip in great expectation should trace back to the purpose of Charles Dickens to write Great Expectations.In the Victorian Age, the contrast of wealthy and poverty is sharp and the cruelty and the exploitation is everywhere, which let all the lower class form a wrong value: run after the wealth and the upper class.Therefore, the vanity breeds out.So as Charles Dickens, he wrote Great Expectation to draw a picture of the people who run after the vanity through Dickens’ own life experiences.When Dickens was young, his parents had troubles in finance and disasters in the social, so they lived a rough live and had to change their living-quarters frequently for the lack of money which could be used to pay the rents.Dickens wasn't an orphan, as Pip is, but he may well have felt like one.His parents were sociable, pleasant people, but when Charles, who was the eldest boy, was nine, the Dickens’s pulled up roots and moved to London to try to live more cheaply.Charles was appalled by the cramped, grubby house they lived in there, and even more ashamed when his father was arrested and taken to debtors' prison.The rest of the Dickens’s were allowed to move into prison with their father, but twelve-year-old Charles had to live on his own outside.Therefore, the expectations of pip to get the social advancement and the wealth are the mirror of Dickens himself to make a great expectation to change his life style.2.3 His Vanity in Great Expectations In Great Expectations, Pip, the novel’s protagonist, lives in the marsh country, works at a job he feel enough, considers himself too good for his surroundings as shown by the following account in the book Great Expectations.“Joe was a fair man, with high brown hair and blue eyes.He was a mild, good-natured, dear fellow Joe and I being fellow-sufferers……”

But when he meet the Estella at Miss Havisham’s house, he suddenly feels shame about his surrounding and from this time his vanity breed out from his brain: he want to be a rich, a gentle and a uncommon man, though it is just a expectation that is impossible for him now as shown by the following account.“Being alone in the courtyard I looked at my coarse hands and my thick boots.They had never troubled me before, but they troubled me now.I wished Joe had been rather more genteelly brought up, and then I should have been so too.” page 49

“……and that I hadn’t been able to explain myself to Mrs.Joe and Pumblechook, and that there had been a beautiful young lady at Miss Havisham’s who was dreadfully and proud, and that she had said I was common……”page 70

“I had never thought of being ashamed of my hands before, but I began to consider them rather a bad pair.Here contempt was so strong that it became infectious and I caught it”chapter7 page47

When Pip comes to London to have the cultivation for the gentleman, he begin to look down upon the low class, even his best friend: joe.As shown in the book.“One Monday morning I received a letter from Biddy in which she informed me of Joe’s intention to visit me at Barnard’s in the next morning.I did not look forward with pleasure to this visit, and if I could have kept him away by paying money……but I had the sharpest sensitiveness to his being seen by Drummle, whom I held in contempt because he was idle, stupid and haughty.” Chapter 15Page 114

It’s no doubt that there are a lot of words and description of Pip’s mental.All that gives the impression that Pip is a vanity man.The Social Factors that Mold Pip’s Vanity

The social factors can be reflected in various ways such as education, families, friends and the living experiences.This paper mainly studies the social factors on the development of pip’s vanity in Charles Dickens’ Great Expectations with the factors of terrible education, the poor family and the friends around him who live in the cruelty Bourgeoisie.3.1 His Terrible Educational Background In Pip’s family in Great Expectations, the rough sister couldn’t gives Pip chances to satisfy his curiosity for knowledge．Although Joe is a good man and expects Pip to learn, but he is helpless.As to he is almost an illiterate.When Pip attends a night class，he sadly find it is not a school, where has no textbooks and no teacher in the real sense as shown in Great Expectations.“During this period I attended an evening school kept by Mr.Wopsle’s great-aunt.Her method of education was peculiar, for she usually went to sleep from six to seven every evening, leaving her pupils to improve themselves as best they could by seeing her do it.Mr.Wopsle’s great-aunt, besides keeping this Education Institution, kept in the same room a little general shop.”Chapter 6 page 33

The terrible education background couldn’t cultivate Pip to have the right value to the society and the life.So Pip wants to study hard just because of his vanity: the love for Estella．Pip wants to learn and become a gentle man.When Pip later becomes a London gentleman，he learns from Mr.Pocket．At this time，the purpose of receiving education is only to decorate the gentleman’s status.Thus throughout Pip’s receiving education, He learns only a little from his teachers.His real teachers are his sufferings．Pip’s process of being taught is mainly the process of his teaching himself.He is thirsty for knowledge but his teachers never satisfies his intellectual need or tell him the math of life．From the beginning to the end of the book．Originally, he wants education because of his love for Estella．There are great gaps between Pip and Estella, Pip wants to narrow these gaps by learning more．All those are driven by his vanity for the beautiful Estella and for the upper class life.3.2 His Poor Family Situation Pip was an orphan who lived with his sister and brother in law.The poor living condition made him quite sensitive, which also made him feel shame of his family situation when with Estella and the friends.Although Joe treated Pip as his best friend who he could believe in and give sincerity and comfort to, what Joe could do was too little to help Pip, not the good living situation and the good education.Thus, Pip formed the false values about the wealth, the social status and the wrong outlook about the world.Pip couldn’t refuse the temptation around so he lost his balance in mind because he always thinks he is poor and common man.He was eager to be a gentleman and the husband of Estella, though it is impossible of the family situation for him.However, he lived in his dream.His sister punished him in lots of ways such as using the tar water as medicine, her ring and thimble as torture instruments.Mrs.Joe liked to tell others that it was her that brought Pip up and she suffered a lot for this.However, she never gave Pip any good family situation to have a good education and the good value about the life and the wealth.What Pip felt was the following:

“My sister’s bringing up had made me sensitive.In the little world in which children have their existence, whoever brings them up, there is nothing so finely perceived and so finely felt, as injustice.”(69)

Therefore, when Pip got the information that he had come into handsome property, he feel that he have the chance to be a gentle man and will not to be the low class of the society.And then, he waste the money every day and persist in he will be the upper class man.However, all that is because of his poor family situation that couldn’t give him the good education and had the right value of life and the wealth, which straightly let him got the vanity that he come into handsome property to have the chance to be a gentle man and the upper class of the society.3.3 The Cruelty of the Bourgeoisie In the Victorian Age, because of the Industrial Revolution and the development of the society, the Bourgeoisie is very cruelty for the wealth and the social advancement.Sometimes they are ruthless for the low class to reach their own purpose.3.3.1 Vengeful and Wealthy Miss Havisham In Great Expectations, Miss Havisham is a mad, vengeful, a wealthy old lady, who lives in a rotting mansion and wears an old, smelly wedding dress, which she never takes off in her rest of life.She is a poor role in the novel.Miss Havisham’s life is dominated by a disobliging man who named Compeyson, who leaves her alone on their wedding day.From then on, Miss Havisham turns all the clocks in her house at twenty minutes to nine, the moment when Compeyson dumps her, and she wears only one shoe, because when she is informed of his betrayal, she had not yet put on the other shoe.With such kind of manic, obsessive cruelty and miserable suffering, Miss Havisham adopts Estella and raises her as a gun to fire the men.Miss Havisham is an example of single-minded vengeance pursued destructively: both Miss Havisham and the friends in her life suffer painfully things because of her quest for revenge.Miss Havisham completely hasn’t seen that her actions are great hurtful to Pip and Estella.She is redeemed at the end of the novel when she realizes that she has broken Pip’s heart in the same manner as her own;rather than achieving any kind of personal revenge, she has only caused more pain.Miss Havisham’s begging for forgiveness reinforces the theme that bad behavior can be redeemed by contrition and sympathy.But Miss Havisham has also done the worse thing for Pip.She not only gives Pip the expectations to catch Estella, but also give Pip’s expectations to be a gentleman of the upper class, which indulges Pip’s vanity to chase after the illusory dreams.She knows that Pip is from the low class and Pip sometimes is self-contemptuous as shown in the book Great Expectations.“……my dream had come true, my wild fancy was surpassed by reality;Miss Havisham was going to make my fortune.” chapter 13 Page 92

Miss Havisham’s revenge straightly put Pip to run after the wealth and the social advancement.To say it in different way, Miss Havisham straightly put Pip to be a vanity man for the wealth and the social advancement.3.3.2 Indulgent and Hypocritical Mr.Jaggers In the beginning, Pip’s vanity is buried in his heart as shown in the book: “one morning after I wake up, a good idea comes into my heart: I’ll let myself uncommon.”, but when he meets Mr.Jaggers his vanity comes into a summit.Mr.Jaggers as a represent of the decaying legal system of British also gives Pip a dream to be the upper class of the society.The dream let Pip got the expectation.On the contrary, in London, Pip has never studied the knowledge and the manner of the upper class, but the luxury of the upper class as shown in the book:

“We always derived great satisfaction from making an appointment for this purpose.We ordered something special for dinner, with an expensive bottle of wine, in order that our minds might be fortified for the occasion.Dinner over, we produced pens and paper.I would then take a sheet of paper and write across the top of it, in neat hand writing, “Memorandum of Pip’s Debts” chapter 19 page 145

That is the indulgence of Mr.Jaggers who hasn’t paid the responsibility to Pip’s development, which is also because of his hypocritical.To say it in other words, Mr.Jaggers is an irresponsible lower.What he wants is just the attorney fees.Mr.Jaggers is also a vanity man as shown in the book:

“Now, I have nothing to say to you,” said Mr.Jaggers, throwing his finger at them.I want to know no more that I know.As to the result, it’s a toss-up.I told you from the first it was a toss-up.Have you paid Wemmick?”

From this point of view, Pip is also a victim.Although he is vanity after suffering Miss Havisham and Estella, the greatest culprit is Mr.Jaggers indulgent and hypocritical.It is his indulgent and hypocritical put Pip’s vanity to the summit.4 Conclusion The development of Pip’ vanity has a deep relationship with the social factors such as education, family and social activities.In the thesis we’ve talked about many aspects that influenced the development of Pip’s vanity.Pip lost his nature in his own life is because he has got the wrong value towards wealth, love and social status.Then the terrible education condition was an important aspect that Pip learnt little useful knowledge from the school or the teacher.Wemmick helped Pip when Pip faced the difficulties.He gave his true love to Pip who once saved his life.At last, Pip knew that he should abandon the wrong value and find back his natural character.The novel tells us that we must establish the right value for the wealth and the social status and shouldn’t be mislead by the wrong value from the social factors.The social factors can be the good thing for our development and can also mislead us to the abyss.To say it in other words, they can be educational and destructive.Of course, different people will lead different lives in the same social factors.But the most important factor is our own nature.

第四篇：淺析《遠(yuǎn)大前程》中皮普的個(gè)人抱負(fù)與自我完善

英語(yǔ)專(zhuān)業(yè)全英原創(chuàng)畢業(yè)論文，是近期寫(xiě)作，公布的題目可以用于免費(fèi)參考

最新英語(yǔ)專(zhuān)業(yè)全英原創(chuàng)畢業(yè)論文，都是近期寫(xiě)作 淺析《遠(yuǎn)大前程》中主人公皮普性格發(fā)展的形成因素 2 禮儀在商務(wù)談判中的應(yīng)用 A Study on the Cross-Cultural Management in the Sino-American Joint-Venture Enterprises－－With Special Reference to Changan & Ford Motor Company 4 An Analysis of American and Chinese Culture in Kung Fu Panda 5 文化與幽默欣賞 文化差異對(duì)中美商務(wù)談判的影響 7 農(nóng)村學(xué)生英語(yǔ)學(xué)習(xí)情感障礙分析 8 跨文化交際中的肢體語(yǔ)言差異 《當(dāng)幸福來(lái)敲門(mén)》之美國(guó)文化價(jià)值觀分析 10 英語(yǔ)中稱(chēng)謂語(yǔ)的性別歧視現(xiàn)象 Cultural Input and Syllabus in English Teaching 12 Strategies of Trademark Translation from Cross-cultural Perspective 13 《簡(jiǎn)愛(ài)》中的人文主義思想述評(píng) 14 《等待野蠻人》中的寓言式寫(xiě)作手法 勃萊特.阿什利－－《太陽(yáng)照常升起》中的新女性 16 英語(yǔ)中的性別歧視 論《寵兒》中社區(qū)與逃離的關(guān)系 弗吉尼亞?伍爾夫《達(dá)洛衛(wèi)夫人》的生態(tài)女性主義解讀 19 《永別了武器》中戰(zhàn)爭(zhēng)對(duì)人類(lèi)所造成的毀滅 20 課堂英語(yǔ)教學(xué)與網(wǎng)絡(luò)英語(yǔ)教學(xué)的對(duì)比 21 《苔絲》中的女性與自然 教師身勢(shì)語(yǔ)在英語(yǔ)口語(yǔ)教學(xué)中的應(yīng)用 An Analysis of Hemingway’s Attitude towards War in For Whom the Bell Tolls 24 淺談大學(xué)英語(yǔ)教育的文化融入 論漢語(yǔ)成語(yǔ)中數(shù)字英譯的語(yǔ)用等效性 《戀愛(ài)中的女人》歐秀拉和古迪蘭的性格對(duì)其愛(ài)情觀的影響 27 論《雙城記》中卡登形象的塑造及其意義 28 英漢習(xí)語(yǔ)淵源對(duì)比及其常用分析方法 29 論英語(yǔ)稱(chēng)謂語(yǔ)中的性別歧視現(xiàn)象 The Study of English Film Title Translation Methods and Some Requirements to the Translators 31 從《嘉莉妹妹》看本性與理性的斗爭(zhēng)

農(nóng)村初中英語(yǔ)口語(yǔ)教學(xué)現(xiàn)狀的調(diào)查與分析——以xx中學(xué)為例

路易斯——現(xiàn)實(shí)世界在非現(xiàn)實(shí)世界的投影——解讀《夜訪吸血鬼》的現(xiàn)代性 34 英漢語(yǔ)中恐懼隱喻的認(rèn)知分析 35 《老人與?！分械暮椭C關(guān)系

The Inconsistencies between Margaret Mitchell’s Gone with the Wind and Alexandra Ripley’s Scarlett

探究希臘神話對(duì)英國(guó)戲劇及詩(shī)歌的影響

《弗朗西斯麥康伯短促的幸福生活》中麥康伯個(gè)性轉(zhuǎn)變之分析 39 從功能對(duì)等理論角度看校訓(xùn)的漢英翻譯原則 英語(yǔ)專(zhuān)業(yè)全英原創(chuàng)畢業(yè)論文，是近期寫(xiě)作，公布的題目可以用于免費(fèi)參考

中英報(bào)刊新聞標(biāo)題語(yǔ)言特色探討 《紫色》中“家”的解讀

The Application of Task-based Approach to Improving Speaking Ability in Middle School 淺析文化語(yǔ)境對(duì)翻譯的影響

禮貌原則在英漢語(yǔ)言文化差異中的應(yīng)用 英漢語(yǔ)言中的性別歧視現(xiàn)象

由中國(guó)的圣誕節(jié)“熱”來(lái)看中美文化的沖突及融合 《秀拉》的女性主義解讀

英語(yǔ)教學(xué)中合作學(xué)習(xí)策略的初步研究 論《睡谷傳奇》中的幽默元素

《魔術(shù)與童年》翻譯中英漢詞匯銜接對(duì)比研究 文化適應(yīng)性原則在食品商標(biāo)翻譯中的應(yīng)用 高中英語(yǔ)新課標(biāo)在xx中實(shí)施情況調(diào)查與分析 小說(shuō)《飄》中斯嘉麗的人物性格分析

《荊棘鳥(niǎo)》中的三位女性形象——追尋荊棘的女人

試比較《湯姆索亞歷險(xiǎn)記》與《哈克貝利芬歷險(xiǎn)記》中主人公性格異同點(diǎn) 《德拉庫(kù)拉》中病態(tài)感情和正常感情的對(duì)比和碰撞

農(nóng)村初中學(xué)生英語(yǔ)學(xué)習(xí)策略應(yīng)用情況的調(diào)查分析——以xx初中為例 《傲慢與偏見(jiàn)》中的女性意識(shí)分析 解析《紫色》中婦女意識(shí)的形成

An Analysis of the Tragic Fate of Mary Turner in The Grass Is Singing 悲劇英雄—赫爾曼梅爾維爾筆下的比利巴德形象分析 順應(yīng)論視角下的電影片名翻譯

從功能對(duì)等角度看信用證英語(yǔ)的翻譯 功能對(duì)等理論視角下的英文歌曲漢譯探究 探討《根》中黑人與美國(guó)人的根

增譯法在《水晶宮》英譯漢翻譯中的應(yīng)用 冰山原則在《老人與海》中的體現(xiàn)

從保羅的戀母情結(jié)角度分析勞倫斯的《兒子與情人》 論英語(yǔ)課堂教學(xué)中的非語(yǔ)言交際 論《女巫》中的成人形象

《圣誕歡歌》中斯克羅吉的性格分析

從傳播美學(xué)分析國(guó)內(nèi)暢銷(xiāo)知名化妝品廣告中的譯文

簡(jiǎn)奧斯汀眼中的理想男人——試析《傲慢與偏見(jiàn)》的男主人翁 中西方常用標(biāo)語(yǔ)分析

從關(guān)聯(lián)理論看中國(guó)電影名稱(chēng)的翻譯 漢英翻譯中的中式英語(yǔ)的成因及對(duì)策

英語(yǔ)演講語(yǔ)篇中的parallelism及其漢譯策略—以?shī)W巴馬就職演說(shuō)稿為例 不同國(guó)家的商務(wù)談判風(fēng)格及其對(duì)策

An Analysis of Sexism in English Advertisements 淺析《他們眼望上蒼》中女性意識(shí)的覺(jué)醒

從中國(guó)傳統(tǒng)民居喬家大院和西方哥特式教堂看中西文化差異(英語(yǔ)系經(jīng)貿(mào)英語(yǔ))論蘋(píng)果公司的撇脂定價(jià)策略 英語(yǔ)專(zhuān)業(yè)全英原創(chuàng)畢業(yè)論文，是近期寫(xiě)作，公布的題目可以用于免費(fèi)參考

論流行網(wǎng)絡(luò)詞匯的漢英翻譯

淺析《德伯家的苔絲》中兩位男主人公

從漢英動(dòng)物詞匯的文化內(nèi)涵看中西方文化差異 87 從宴客角度探究中西方文化理念的差異 88 商務(wù)英語(yǔ)新詞構(gòu)詞研究

淺析文化差異對(duì)國(guó)際貿(mào)易的影響

從語(yǔ)境視角淺析《生活大爆炸》中反語(yǔ)的幽默屬性 91 紅字中的象征意義

An Analysis of Gender in Oh,Pioneers!93 論女性主義對(duì)翻譯標(biāo)準(zhǔn)的影響 94 論概念隱喻視角下的隱喻翻譯

淺析奧斯卡?王爾德童話作品中的唯美主義思想

A Study of Angel Clare’s Multiple Personalities in Tess of the D’Urbervilles 97 《霧都孤兒》中的反猶主義

從奧運(yùn)菜單看中式菜肴英譯名規(guī)范化程度

The Lost Generation—“Nada” in Hemingway’s “A Clean, Well-Lighted Place” 100 春節(jié)與圣誕節(jié)的對(duì)比研究

美國(guó)電影中的大眾文化價(jià)值觀研究 102 從接受美學(xué)視角看中式菜肴的英譯

格賴(lài)斯會(huì)話合作原則與莎士比亞喜劇中的幽默解讀 104 論中學(xué)英語(yǔ)教學(xué)中學(xué)生文化意識(shí)的培養(yǎng) 105 中英語(yǔ)言中動(dòng)物詞匯的文化含義對(duì)比

The Loneliness in Far From the Madding Crowd 107 從譯者主體性視角探析《紅樓夢(mèng)》中概念隱喻的翻譯策略 108 詞匯負(fù)遷移對(duì)漢譯英的影響 109 肢體語(yǔ)言在英語(yǔ)教學(xué)中的應(yīng)用 110 中西方禮儀文化差異比較

概念隱喻在英語(yǔ)汽車(chē)廣告中的應(yīng)用 112 《傲慢與偏見(jiàn)》中的三層反諷

Verification of Soft Term in Letter of Credit 114 淺析英語(yǔ)廣播新聞的語(yǔ)言特色

Cultural Elements in Chinese Film Subtitles and Their Translation Strategies 116 試論班揚(yáng)《天路歷程》中基督徒的精神歷程 117 旅游英語(yǔ)翻譯的研究

試論用英語(yǔ)電影進(jìn)行英語(yǔ)文化教學(xué) 119 母語(yǔ)負(fù)遷移對(duì)中學(xué)英語(yǔ)寫(xiě)作的影響 120 論翻譯美學(xué)視角下的公示語(yǔ)翻譯

從翻譯審美分析食品品牌名稱(chēng)翻譯的原則及策略 122 從中西思維差異角度看漢英翻譯中的中式英語(yǔ)現(xiàn)象

A Study on the Effectiveness of Cooperative Learning in Junior High School 124 從女性主義視角分析《飄》中斯佳麗人物形象 125 組織學(xué)習(xí)障礙及相應(yīng)的對(duì)策 126 商務(wù)信函的寫(xiě)作原則與技巧

中英婚禮習(xí)俗中的紅和白顏色文化的研究 英語(yǔ)專(zhuān)業(yè)全英原創(chuàng)畢業(yè)論文，是近期寫(xiě)作，公布的題目可以用于免費(fèi)參考

論中美文化差異對(duì)其商務(wù)談判的影響及策略 129 從童話看中西方兒童教育的差異

《推銷(xiāo)員之死》中主角威利的性格分析 131 淺析威廉福克納的《喧嘩與騷動(dòng)》 132 英漢恭維語(yǔ)及其應(yīng)答的對(duì)比分析 133 文化意識(shí)與外語(yǔ)教學(xué)

托妮?莫里森《寵兒》中的主角賽絲的女性形象研究 135 淺談商務(wù)英語(yǔ)于商務(wù)信函中的運(yùn)用 136 論希斯克利夫出走的必然性

The Linguistic Features of American Inaugural Address 138 論愛(ài)倫坡小說(shuō)中的哥特式風(fēng)格 139 英漢基本顏色詞對(duì)比研究

論建構(gòu)主義理論下初中英語(yǔ)教師的課堂角色定位

英語(yǔ)流行歌曲中隱喻的功能分析——以后街男孩的歌曲為例 142 On the Difference of Family Education between China and America 143 漢語(yǔ)對(duì)英語(yǔ)語(yǔ)法學(xué)習(xí)的負(fù)遷移 144 論《達(dá)芬奇密碼》中的基督教元素 145 外交語(yǔ)言策略中的合作原則

試論任務(wù)型教學(xué)法在英語(yǔ)閱讀教學(xué)中的應(yīng)用

試析《哈克貝利費(fèi)恩歷險(xiǎn)記》中主人公沖破種族主義桎梏追求自由的精神 148 中餐菜譜翻譯的錯(cuò)誤分析

卡特福德的等值翻譯理論與名詞化翻譯——以《入鄉(xiāng)隨俗》英譯漢為例 150 論商標(biāo)名稱(chēng)漢英翻譯中的合作原則

151 從跨文化的角度研究故事影片名字的英漢翻譯 152 文化差異對(duì)國(guó)際商務(wù)談判的影響 153 論英語(yǔ)習(xí)語(yǔ)的語(yǔ)言和文化功用

154 男權(quán)社會(huì)女性意識(shí)的覺(jué)醒——弗吉尼亞·伍爾夫女性主義文學(xué)研究 155 論羅伯特?佩恩?沃倫《國(guó)王的人馬》中對(duì)真理與自我認(rèn)知的追求 156 情感在中學(xué)英語(yǔ)教學(xué)中的應(yīng)用

157 On Relationship Between Mothers-and-Daughters-in-Law in China and the West 158 跨文化交際中的語(yǔ)用失誤與避免方法

159 從《篡奪》中看辛西婭奧茲克作品中的反偶像崇拜精神

160 從道德角度分析簡(jiǎn)?奧斯丁《勸導(dǎo)》中的女主人公安妮?艾略特 161 《荊棘鳥(niǎo)》的女性主義解讀

162 場(chǎng)獨(dú)立和場(chǎng)依存對(duì)不同主題閱讀材料的影響研究 163 英漢禮貌原則的比較分析

164 淺析英語(yǔ)專(zhuān)業(yè)學(xué)生在聽(tīng)力理解中的策略運(yùn)用 165 英漢習(xí)語(yǔ)對(duì)比研究及其對(duì)高中英語(yǔ)教學(xué)的啟示

166 《呼嘯山莊》和《遠(yuǎn)離塵囂》中女主人公的女性意識(shí)的對(duì)比 167 Purity and Doom: on Thomas Hardy’s Tess’s of the d’Urbervilles 168 從現(xiàn)代主義角度分析《無(wú)名的裘德》中裘德的無(wú)根性 169 On the Anti-traditional Factors of Feminism Translation 170 《阿甘正傳》承載的美國(guó)青年價(jià)值觀 171 中西校園流行語(yǔ)的文化對(duì)比 英語(yǔ)專(zhuān)業(yè)全英原創(chuàng)畢業(yè)論文，是近期寫(xiě)作，公布的題目可以用于免費(fèi)參考

172 淺析當(dāng)今網(wǎng)絡(luò)英語(yǔ)交流中的縮略語(yǔ)

173 《哈利波特》系列里哈利波特與伏地魔的二元對(duì)立分析 174 逆成構(gòu)詞的分類(lèi)及其認(rèn)知機(jī)制和規(guī)律 175 從《西風(fēng)頌》看英國(guó)積極浪漫主義的特征

176 美國(guó)電影與文化霸權(quán)—以好萊塢大片《阿凡達(dá)》為例 177 從《動(dòng)物莊園》看喬治·奧威爾反極權(quán)主義思想 178 中西方婚禮禮服顏色的對(duì)比研究

179 Two Trapped Roses—A Comparative Study on Emily and Miss Havisham 180 英漢白色詞的文化象征意義及翻譯 181 中式英語(yǔ)的潛在價(jià)值

182 On the Feminist Consciousness Reflected in Pride and Prejudice 183 Analysis of Advertisements Based on the Cooperative Principle 184 翻譯中的性別－－《簡(jiǎn)?愛(ài)》幾個(gè)中譯本的女性主義解讀 185 論《海狼》中拉爾森船長(zhǎng)本性的雙重性 186 從《美國(guó)的悲劇》解析美國(guó)夢(mèng)

187 用本我，自我，超我的弗洛伊德理論來(lái)解析《紅字》 188 從生態(tài)女性主義角度解讀《苔絲》

189 鼓勵(lì)性教學(xué)方法在中學(xué)英語(yǔ)教學(xué)中的應(yīng)用

190 On Translation of Culture-Loaded Words in Subtitle of Ashes of Time Redux 191 The Awakening of the Female Consciousness in Pride and Prejudice 192 中美文化差異對(duì)商務(wù)談判的影響

193 從《好事一小件》和《洗澡》的對(duì)話對(duì)比分析看人物形象塑造的差異 194 英漢形狀類(lèi)量詞的隱喻認(rèn)知分析 195 對(duì)《憤怒的葡萄》中圣經(jīng)原型的分析

196 守望何物－－《麥田里的守望者》中霍爾頓的困惑 197 《野性的呼喚》中自然主義探析

198 從《老人與?！分锌春Ｃ魍娜松軐W(xué) 199 《貴婦畫(huà)像》主題和寫(xiě)作藝術(shù)特征

200 淺析《遠(yuǎn)大前程》中皮普的個(gè)人抱負(fù)與自我完善

第五篇：淺析《遠(yuǎn)大前程》中主人公的性格與命運(yùn)

淺析《遠(yuǎn)大前程》中主人公的性格與命運(yùn)

前言：查爾斯·狄更斯(Charles Dickens)(1812年一1870年)，是19世紀(jì)最著名的英國(guó)小說(shuō)家之一。他的父親因債務(wù)問(wèn)題入獄，為補(bǔ)貼家用，狄更斯只有去當(dāng)鞋童工。但是他不想放棄成為作家這個(gè)夢(mèng)想。于是，他努力學(xué)習(xí)文化知識(shí)，先從記者做起，之后成為了小說(shuō)家。(查爾斯·狄更斯的生活經(jīng)歷在《遠(yuǎn)大前程》這部小說(shuō)中有類(lèi)似的體現(xiàn)。)狄更斯的大部分作品都是描寫(xiě)在英國(guó)的維多利亞時(shí)期的底層人民過(guò)著苦難生活，亦反映了當(dāng)時(shí)倫敦上層社會(huì)奢靡的生活習(xí)氣?！哆h(yuǎn)大前程》是狄更斯創(chuàng)作后期的最主要的作品之一，他在這一時(shí)期還創(chuàng)作了最著名的《雙城記》等優(yōu)秀作品。

《遠(yuǎn)大前程》描述的是一個(gè)名叫皮普的孤兒幻想破滅的悲劇。皮普本來(lái)是一個(gè)善良、純樸、擁有理想的鄉(xiāng)村青年?？墒?，當(dāng)他遇到埃斯黛拉后，心中虛榮的種子開(kāi)始萌芽，他立志步入上流社會(huì)，成為一名所謂的紳士，就是為了與埃斯黛拉相互般配。突然有一天，他將得到一位匿名人士的一大筆財(cái)產(chǎn)資助，自己的人生即將徹底改變，懷揣多年的遠(yuǎn)大理想也終于就要實(shí)現(xiàn)了。在來(lái)到倫敦之后，他追求奢華的生活，揮金如土，結(jié)果債務(wù)累累。幾個(gè)月未見(jiàn)的姐夫——喬前來(lái)探望，他竟然產(chǎn)生了嫌棄之情，枉費(fèi)姐夫從小對(duì)他的一片關(guān)心。就在此時(shí)，那個(gè)資助者為了見(jiàn)見(jiàn)自己“培養(yǎng)的紳士”，悄悄來(lái)到倫敦，但作為逃犯的身份被揭穿了。皮普知道后，感到非常震驚、甚至心生厭惡?？墒?，隨著逃犯的去世，他的理想生活成為了幻影。后來(lái)，失去了這一切的皮普生了一場(chǎng)大病，好心的喬不但悉心照顧，還替他還清了債務(wù)。最終，還是回到了喬身邊，感覺(jué)從未離開(kāi)過(guò)。他終于領(lǐng)悟到所謂的遠(yuǎn)大前程就是吹彈可破的泡沫，對(duì)他來(lái)說(shuō)，牢不可破的是擁有真誠(chéng)的朋友和平凡的生活。小說(shuō)從三個(gè)個(gè)階段清晰展現(xiàn)了皮普的成長(zhǎng)，由善良純樸到愛(ài)慕虛榮，甚至貪戀浮華的生活，經(jīng)歷磨難后回歸自我。最終逃不過(guò)命運(yùn)的輪回，回到原本樸實(shí)的生活中。通過(guò)對(duì)皮普成長(zhǎng)歷程的描寫(xiě)，來(lái)展現(xiàn)主人公性格的發(fā)展。同時(shí)，也揭露了英國(guó)在維多利亞時(shí)期，資產(chǎn)階級(jí)生活中，金錢(qián)關(guān)系給人類(lèi)帶來(lái)的種種罪惡。

一、對(duì)不同時(shí)期皮普的性格分析

1、童年時(shí)期的皮普（關(guān)鍵詞：忍辱負(fù)重、善良純真、好問(wèn)）

主人公皮普從小失去父母，狄更斯在小說(shuō)的開(kāi)始用第一人稱(chēng)介紹到：“至于我，從來(lái)沒(méi)有見(jiàn)到過(guò)父親和母親，也沒(méi)有看到過(guò)他們兩位的照片（其實(shí)在他們的時(shí)代還不知道什么是照片呢）?！辈⑶?，皮普是由姐姐帶大的，而他的姐夫是個(gè)鐵匠，在以前那個(gè)時(shí)代里，這種家庭背景的孩子沒(méi)有機(jī)會(huì)接受良好的教育，因此童年的皮普只有一個(gè)奮斗目標(biāo)，就是成為一名鐵匠，如同姐夫一樣。其實(shí)，姐夫喬是家里唯一一個(gè)可以交心的人，因?yàn)榕c善良溫和的喬相比，姐姐喬·葛奇里夫人正好相反，她是一位脾氣暴躁的女人。文中描述到：“我的姐姐喬·葛奇里夫人比我要年長(zhǎng)二十多歲。她一直說(shuō)我是由她一手帶大的，因此在左鄰右舍享有很大名氣，倍受夸獎(jiǎng)。從小我就想了解這里的‘一手’究竟是什么含義。我所知道的她的手，是結(jié)實(shí)笨重而又冷酷嚴(yán)厲的，因?yàn)樗貏e喜歡把她的巴掌打在她丈夫的身上，當(dāng)然也喜歡打在我的身上。我想喬·葛奇里和我就是這樣由她一手帶大的吧?！?從這里可以看出，平日里，掌握家里大權(quán)的姐姐以粗暴的方式對(duì)待姐夫喬與皮普，他們二人算是相依為命。

童年的皮普非常好問(wèn)，求知欲強(qiáng)?！啊氵@小鬼真討厭，’我姐姐從針線活上抬起面孔，對(duì)我皺起眉頭，說(shuō)，‘沒(méi)完沒(méi)了地問(wèn)。問(wèn)多必失，問(wèn)題問(wèn)多了難免要受騙?！?問(wèn)到姐姐不耐煩，還是繼續(xù)問(wèn)。只要他想知道，便會(huì)打破沙鍋問(wèn)到底。

皮普是個(gè)善良純真的孩子。他在墓地看望從未謀面的父母及兄弟時(shí)，遇上一名逃犯。本來(lái)可以告知姐姐姐夫或警察，但是他選擇幫助這名逃犯，冒著被姐姐狠揍一頓的危險(xiǎn)，不僅偷取面包，還將家中的肉食、酒食偷去給逃犯。文中對(duì)偷食物與銼刀時(shí)，皮普心理活動(dòng)的描寫(xiě)明顯展現(xiàn)了他的純真：“對(duì)于懷有犯罪感的我來(lái)說(shuō)，這種情形是令人討厭的?？茨且簧壬乳l門(mén)、一道道水壩和河岸都突然地沖破了濛濛霧氣出現(xiàn)在我面前，仿佛都在清清楚楚、直截了當(dāng)?shù)睾敖兄骸幸粋€(gè)孩子偷了人家的豬肉餡餅！捉住他！’牛兒也忽然在我面前顯現(xiàn)出來(lái)，睜著它們的大眼睛，鼻孔中噴出團(tuán)團(tuán)白氣，似乎也在對(duì)我說(shuō)：‘喂，你這個(gè)小賊！’一頭頸項(xiàng)上長(zhǎng)著一圈白毛的黑牛用一雙圓眼死死地盯住我，好像一名牧師，試圖喚起我良心上的自責(zé)。然后，它又轉(zhuǎn)動(dòng)起那只愚鈍粗魯?shù)拇箢^，那個(gè)架勢(shì)肯定是在責(zé)備我。我走過(guò)去時(shí)不禁用帶著哽咽的聲音對(duì)它說(shuō)：‘牛先生，我完全是身不由己！我偷豬肉餡餅不是為了自己！’它聽(tīng)了我的解釋才低下了頭，從鼻孔中噴射出一圈霧氣，抬起后腿踢了一下，又一甩它的尾巴，向別處走去?！庇啄甑钠て占壬屏假|(zhì)樸，又非常天真可愛(ài)，這正是與改變后的他的明顯對(duì)照。

2、遇到哈薇什后的皮普（關(guān)鍵詞：消極、虛榮）

哈薇什小姐的出現(xiàn)，徹底改變了皮普的命運(yùn)。在這里查爾斯·狄更斯運(yùn)用他的哲學(xué)思想之環(huán)境對(duì)人類(lèi)思想的影響——不同的環(huán)境可以造就不同的人。當(dāng)然，內(nèi)因才是決定一個(gè)人發(fā)展的關(guān)鍵因素。正是皮普的善良、純真造就了他之后的命運(yùn)。在婚禮前被拋棄的被哈薇什小姐，心存復(fù)仇之情已久，便讓自己美麗的養(yǎng)女艾斯黛拉主動(dòng)接近皮普，在他對(duì)她心動(dòng)之后，又不斷讓他難堪。就這樣，皮普如同一只馬戲團(tuán)里的猴子，被她們耍的團(tuán)團(tuán)轉(zhuǎn)。由于對(duì)艾斯黛拉的愛(ài)慕，加上她的嘲笑，皮普漸漸對(duì)出生粗俗、笨頭笨腦的自己心生厭惡，文中說(shuō)到：“我現(xiàn)在對(duì)這些東西很是瞧不起了,這些東西過(guò)去沒(méi)有煩惱過(guò)我,現(xiàn)在卻使我煩惱了。它們確是些粗俗不堪的東西?！弊罱K，皮普還是漸漸地露出了虛榮的尾巴：“我決定回家去問(wèn)問(wèn)喬,為什么他總是告訴我那些牌叫做賈克,而實(shí)際上應(yīng)該是奈夫。我想,如果當(dāng)年喬的教養(yǎng)高一些,我也不至于落到這地步?！边@只是命運(yùn)改變的開(kāi)始。

在往后的日子里，與哈薇什小姐計(jì)劃地一樣，皮普越來(lái)越喜歡艾斯黛拉。甚至，產(chǎn)生了為了她而成為一位上流社會(huì)的人的想法，皮普說(shuō)到：“‘畢蒂’，我先叫她保守秘密，然后才說(shuō)道，‘我想做一個(gè)上流社會(huì)的人?！薄拔曳浅ＵJ(rèn)真地對(duì)她說(shuō)：‘畢蒂，我想成為一個(gè)上流社會(huì)的人是有特別理由的。’”“這話是郝維仙小姐家一位美麗的年輕小姐說(shuō)的。她生得比我見(jiàn)到過(guò)的任何姑娘都漂亮，我是太崇拜她了。我之所以要做一個(gè)上流社會(huì)的人就是為了她。”從這一刻開(kāi)始，愛(ài)慕與虛榮之情在心中作怪，即使如此，他還是保持著純真善良的品性。同時(shí)，皮普的新人生旅程也即將開(kāi)始。

3、去往倫敦后的皮普（關(guān)鍵詞：庸俗浮華、愛(ài)慕虛榮）賈格斯律師出現(xiàn)后，皮普的生活發(fā)生翻天覆地的變化，內(nèi)心的欲望變?yōu)楝F(xiàn)實(shí)。告別姐夫和比蒂到達(dá)倫敦后，皮普獲得一筆可觀的財(cái)產(chǎn)，并且接受了紳士培訓(xùn)課程的學(xué)習(xí)。忽然之間過(guò)上“上層社會(huì)”生活的皮普，無(wú)法自我約束，花錢(qián)如流水。并且，再次遇見(jiàn)艾斯黛拉之后，為了取得芳心，不惜揮金進(jìn)入她的社會(huì)圈子。也就在這期間，皮普的性格發(fā)生了較大的變化。進(jìn)入“上層社會(huì)”，不但沒(méi)有學(xué)會(huì)“高學(xué)識(shí)”，反而學(xué)會(huì)了富人子弟過(guò)著的奢靡生活?！拔衣亓?xí)慣了繼承遺產(chǎn)的事實(shí),也于不知不覺(jué)之中開(kāi)始注意遺產(chǎn)對(duì)我個(gè)人的影響,以及對(duì)我周?chē)藗兊挠绊??！薄拔覀冊(cè)诨ㄥX(qián)方面從不計(jì)算,有多少花多少?！薄?我貪圖安逸享樂(lè),由小樂(lè)而到大樂(lè),這是必經(jīng)之路,最后弄得一身債務(wù)?！币虼耍覀兛梢哉f(shuō)，是皮普自身的問(wèn)題，才會(huì)斷送前程。

來(lái)倫敦后，皮普一點(diǎn)沒(méi)有想念家鄉(xiāng)的意思，連封家信都沒(méi)寫(xiě)過(guò)。直到姐夫喬前來(lái)探望，他竟然露出一副不以為然的架勢(shì)，并且不再像以前那般親密，不停地用客套用語(yǔ)稱(chēng)呼對(duì)方。姐夫喬用家鄉(xiāng)禮儀對(duì)待他時(shí)，竟嫌棄厭惡，想盡快離開(kāi)這個(gè)令人作嘔的鄉(xiāng)下人。不難看出，皮普完全不是以前那個(gè)善良純真的少年了。他已經(jīng)被社會(huì)這個(gè)大染缸改變，變成了一位庸俗浮華、愛(ài)慕虛榮的“所謂的紳士”。

4、獲悉真相后的皮普（關(guān)鍵詞：恥辱感、本性回歸）

“我對(duì)這個(gè)人的厭惡，對(duì)這個(gè)人的恐懼，只想趕忙躲開(kāi)這個(gè)人的反感，即使他是一頭兇猛的野獸，也至多不過(guò)如此了?！边@是皮普知道真相后的反應(yīng)。皮普內(nèi)心的恥辱感、痛苦感無(wú)法言喻，一直以為自己得到的一切是從哈薇什小姐那里，經(jīng)過(guò)努力得來(lái)的。原來(lái)自己這么多財(cái)富的來(lái)源，竟是來(lái)自一位自己曾經(jīng)在教堂墓地里救下的犯人。這段日子奢華的生活，竟是一位逃犯努力打拼而創(chuàng)造出來(lái)的。而且這名逃犯正被通緝，皮普得到的是“不義之財(cái)”。最終，由于這筆不義之財(cái)，還是沒(méi)躲過(guò)牢獄之災(zāi)。所有的一切都已化為烏有，美好的幻影終于破滅。直到在善良的姐夫喬的幫助下，皮普走出困境，最后還是過(guò)著儉樸的鄉(xiāng)村生活。

二、其他人物對(duì)皮普的影響

1、喬的影響 《遠(yuǎn)大前程》中的皮普自幼失去父母，只有一個(gè)善良溫和的鐵匠姐夫喬可以去依靠。在皮普姐姐和舅舅的欺凌下，是喬盡給予保護(hù)。姐夫喬過(guò)著“泥菩薩過(guò)江”的生活，即使如此，他還是給予了皮普如同生父般的關(guān)心，這種無(wú)微不至的關(guān)懷讓皮普慢慢地學(xué)會(huì)了關(guān)心他人。在姐夫喬善良溫和、平易近人的性格的影響下，皮普也擁有并保持著可貴的純真善良（從皮普對(duì)待逃犯的事件中可以看出這一點(diǎn)），而姐姐對(duì)皮普的最大影響就是——形成了忍辱負(fù)重的性格（這也造成了與哈薇什小姐相遇后，皮普被哈薇什小姐與艾斯黛拉玩弄于鼓掌之間）。

當(dāng)然，人無(wú)完人。喬作為一個(gè)鄉(xiāng)村鐵匠出身，沒(méi)有受到良好的教育，所以也不能帶給皮普較高水平的教育。無(wú)法滿足皮普的求知欲，加上后來(lái)哈薇什小姐與艾斯黛拉對(duì)皮普的嘲笑譏諷，皮普內(nèi)心的欲望越發(fā)強(qiáng)烈。終于，有機(jī)會(huì)去往倫敦接受紳士教育，姐夫喬也全力支持。只要對(duì)皮普的未來(lái)有幫助，姐夫喬便會(huì)盡力支持。即使，在皮普被上層社會(huì)的生活蒙蔽了雙眼之后，喬依然站在皮普這邊。并且，當(dāng)皮普入獄、欠債時(shí)，姐夫喬也盡心盡力幫他還清債務(wù)。喬的所作所為也正是皮普本性回歸最重要的因素之一。

2、麥格韋契的影響 馬格韋契是個(gè)逃犯，他與皮普的初次見(jiàn)面是在皮普童年時(shí)期，皮普幫助他脫離饑寒交迫的境地。再一次相遇——一直以為自己的一切來(lái)自哈薇什小姐的皮普在倫敦過(guò)上奢侈的生活后，某天夜里，馬格韋契來(lái)訪才終于真相大白。后來(lái)，皮普才知道這么多年馬格韋契逃亡國(guó)外，辛勤勞作，賺取一大筆錢(qián)后，請(qǐng)求賈格思律師以匿名身份將財(cái)產(chǎn)贈(zèng)給皮普，他的目的是就是要皮普進(jìn)入上層社會(huì)成為“上等人”。然而就是，這些財(cái)產(chǎn)將皮普內(nèi)心的欲望放大，造成皮普性格的轉(zhuǎn)變。奢靡的上等社會(huì)的生活將皮普善良的性格吞噬殆盡，使皮普變成高傲、漠視親友的人。即使這不是馬格韋契愿意看到的，但是事實(shí)就是如此。雖然說(shuō)是馬格維契一手造成了如此的皮普，但是最終敲醒皮普的人也是他。皮普因?yàn)橹雷约簱碛械囊磺芯谷慌c一位逃犯有關(guān)，而感到震驚甚至恥辱。之后，也由于馬格維契被捕，皮普還是回歸到之前的生活。

3、哈薇什小姐與艾斯黛拉對(duì)皮普的影響

哈薇什小姐出身高貴，卻有個(gè)悲劇的人生。她在結(jié)婚前夜被拋棄，而且還被所謂的“未婚夫”騙走大量財(cái)產(chǎn)。已經(jīng)徹底絕望的她，將自己套在莊園里，這么多年來(lái)足不出戶。內(nèi)心的絕望與憤怒，加上對(duì)男人的憎恨，全都轉(zhuǎn)化為報(bào)復(fù)心理，而皮普恰巧成為復(fù)仇的對(duì)象。作為養(yǎng)女，美麗高貴的艾斯黛拉也成為了心理扭曲的哈薇什小姐手中的棋子——用來(lái)套取男人歡心后便立刻拋棄。

艾斯黛拉從小接受良好的教育，并且擁有美麗的外表，可內(nèi)心卻冷酷無(wú)情，以此來(lái)玩弄男人的感情，達(dá)到報(bào)復(fù)的目的。郝維仙小姐對(duì)單純的皮普說(shuō)道：“你愛(ài)她吧，愛(ài)她吧，愛(ài)她吧!如果她喜歡你，愛(ài)她；如果她傷害你，也愛(ài)她；即使她把你的心撕成碎片，還是要愛(ài)她——慢慢隨著年齡的增長(zhǎng)，你會(huì)更堅(jiān)強(qiáng)，心碎也會(huì)更痛苦—— 你要愛(ài)她，愛(ài)她，愛(ài)她!”皮普越陷越深，就算知道艾斯黛拉在玩弄感情，他依然不會(huì)放棄對(duì)她的追求。

對(duì)艾斯黛拉的愛(ài)慕，使皮普原本想成為一名鐵匠的理想變成成為一名紳士的幻想。他開(kāi)始背離了善良的本性，并且為他所處的環(huán)境而羞愧。可誰(shuí)知真會(huì)有天上掉餡餅的好事，皮普繼承了一大筆財(cái)產(chǎn)，瞬間變身高富帥。以為這財(cái)產(chǎn)是來(lái)自哈薇什小姐的皮普，此時(shí)一定認(rèn)為哈薇什會(huì)將艾斯黛拉嫁給自己，這使那份愛(ài)慕被放大，成了吃人的欲望，人也變得傲慢自大。他開(kāi)始瞧不起以前陪在自己身邊的親友，連姐夫喬來(lái)訪都非常不屑。但最終皮普還是知道財(cái)產(chǎn)的真相，再加上艾斯黛拉嫁給了別人，馬格維契被抓，皮普的幻想破滅了。

四、結(jié)語(yǔ)

環(huán)境對(duì)人類(lèi)思想的影響是查爾斯·狄更斯的哲學(xué)思想之一。他認(rèn)為：不同的環(huán)境可以造就成不同的人。隨著時(shí)間流逝，不同的環(huán)境影響著皮普的性格。皮普性格的變化，可以說(shuō)是環(huán)境所致。但是，內(nèi)因才是決定一個(gè)人發(fā)展的關(guān)鍵因素。每個(gè)人在發(fā)展過(guò)程中都會(huì)受到周?chē)鞣N環(huán)境因素的影響，這些因素促使人物的性格發(fā)展，使人的性格朝著好的或壞的方向發(fā)展。然而是好是壞，還是得由自己本身決定。正是由于皮普的忍辱負(fù)重、善良天真，使得哈薇什小姐有可乘之機(jī)，皮普陷入艾斯黛拉的愛(ài)情陷阱，最終導(dǎo)致這一結(jié)果。若皮普是個(gè)倔強(qiáng)之人，當(dāng)初便不會(huì)任其擺布，早早就離開(kāi)莊園，也就不會(huì)發(fā)生這些事情。

當(dāng)然，任何事情都有一個(gè)輪回。盡管進(jìn)入上層社會(huì)之后，變得勢(shì)利、冷漠，對(duì)人對(duì)事都持有自私自利、金錢(qián)至上的觀念，皮普還是意識(shí)到這所有的一切只是不切實(shí)際的幻想，終于回歸本性，生活回到原點(diǎn)。

人生即使如此，“拈花有意風(fēng)中去，微笑無(wú)語(yǔ)須菩提。念念有生滅四相，彈指剎間幾輪回?！?/p>