(全英文论文)老人与海中桑迪亚哥的硬汉形象探析
硬汉精神新解——《老人与海》中圣地亚哥形象分析
硬汉精神新解——《老人与海》中圣地亚哥形象分析第1期(总第54期)2007年3月黎明职业大学JournalofLimingV ocationalUniversityNo.1Mar.2007英语语言与文学?硬汉精神新解《老人-9海》中圣地亚哥形象分析何晓涛(集美大学诚毅学院福建厦门361021)摘要:《老人与海》中圣地亚哥的形象充分展示了海明威小说中的硬汉精神.硬汉精神的出发点是父权文化价值观,硬汉孤独的根源在于沟通的失败,而硬汉对个人奋斗的执着则导致他最终一无所获.事实上,硬汉缺乏的正是当今时代呼吁的男女之间平等,对话与合作精神.关键词:硬汉形象;硬汉精神;中图分类号:I718.5父权文化价值观;海明威文献标识码:A海明威作品中的硬汉们敢于正视生命的残缺和痛苦,用自己渺小个体生命的力量,靠顽强的意志和高傲的尊严以及坚忍不拔的斗志,去对抗那注定要孤独,失败,死亡的现世宿命.《老人与海》中的圣地亚哥可以说是海明威式硬汉形象的概括和升华,他铿锵有力地宣布:"人不是为失败而生的,一个人可以被毁灭,但不能被打败¨.在小说中,这位古巴老渔夫连续84天没捕到鱼,第85 天独自驾驶小舟出远海,钓上一条大马林鱼,经过三天两夜的拼搏,他终于杀死了大鱼,但在归程中一再受到鲨鱼袭击,最后大鱼只剩残骸.确实,我们欣赏圣地亚哥面对失败仍然英勇抗争精神,因为他展现了一种重压下的优雅风度,但同时也显示出老人情感的孤独与无助,生活的拮据与残酷, 社会的冷漠与无情.老人苍凉的悲剧性抗争的结果是最终一无所获,这是一种理想的生存方式吗? 从女性主义文学批评的视角来看,这种生存方式只是体现了父权文化价值观,从人物形象个体批评来体现个体英雄主义,等等.本文将对《老人与海》中的圣地亚哥形象进行重新解读.一,硬汉精神的出发点是父权文化价值观传统父权文化强调,男性是社会力量的主宰,而女性不论在经济上还是政治上都是男性主流文化的附属.由于海明威生活在父权文化逐渐衰落而女性意识逐渐觉醒的年代,他意识到父权文化在现代文明背景下不可避免的衰落趋向,海明威在他的作品中通过对个体生命的孤独,失败和死亡的描写向读者述说对父权文化衰落的悲哀,同时,他也在努力探求一种挽回父权文化尊严的生存方式,即硬汉子生存方式.这种生存方式强调"硬汉精神",面对注定了的孤独,失败和死亡的宿命压力,敢于直面惨淡的人生,在逆境中百则不饶地奋斗到底,保持一种"重压之下的优雅风度"】海明威笔下的世界是一个男人孤军奋战的世界,这些男人没有女人,没有家,他们是一群面对世界的荒诞与邪恶,生命必然的失败和死亡,担负重振人的尊严这一历史使命的男子汉们.海明威认为女人应该是男人的附属品,不服从男人的女人是收稿日期:2007—01—03作者简介:何晓涛(1974一),女(汉).福建上杭人,集美大学诚教学院讲师,硕士,主要从事英美文学方面的研究.第1期何晓涛:硬汉精神新解——《老人与海》中圣地亚哥形象分析61危险的,他甚至声称:一个真正的男子汉是不需要女人的.由于没法很好地理解女权文化加上他自身对女性的一些片面认识,他对如何理想地建构男女间性别关系产生了困惑.既然无法建构理想的男女性别关系,在《老人与海》中海明威完全撇开女性,描绘了一个没有女人的男人世界.小说通过老人一系列的抗争行动以及最后的失败向读者述说对父权文化衰落的悲哀.同时,通过描写老人与马林鱼的周旋,与鲨鱼的搏斗一系列惊心动魄的场面,说明他努力探求一种挽回父权文化尊严的生存方式,不认输,勇敢抗争,保持优胜者的风度.文中虽然没有出现女性人物,但从字里行间仍可看出作者对女性文化持怀疑和恐惧的态度,这当然也归结于他内心根深蒂固的父权文化价值观念.例如,老人对大海中浮动的闪现出彩虹般颜色的僧帽水母异常憎恶,骂她"婊子"J,"老人乐意看到大海龟把它们吃掉"…"老人喜欢观看海龟把它们吃掉"【l】.根据象征主义研究,水母显然代表女性,而海龟则代表男性,海明威对女性主义的强大深感恐惧,因而乐意它被消灭掉. 但是,海明威知道,如果没有女性的陪伴,男性是孤独的,"他眺望海面,发觉他此刻是多么孤单"u;即使有了她(大海)的陪同,他(老人)依然感到孤独…因为海明威所追寻的人生价值实质就是一种父权文化价值,作为一个闻名世界的斗士,海明威始终在为扞卫西方父权文化的尊严而战.会和群体.《老人与海》小说开篇就明示,"他是个独自在湾流中一条小船上钓鱼的老人"【¨,唯一的伙伴"男孩"听从父母的吩咐离开了他,因为他们对老人"没多大的信心"u】.老人由于根本没法和男孩的父母进行沟通让他们相信他的能力,他只能眼睁睁地看着他唯一的伙伴离去.事实上,老人非常渴望男孩能和他在一起,他出海后一直殷切期待有个伴儿,小说多次重复出现老人的自言自语,"但愿那孩子在这儿就好了…"【"由于没有交谈对象而老人又确实渴望说话,于是他打破了捕鱼人没有必要就不在海上说话的好规矩,"他大概是在那孩子走了,才在独自待着时开始自言自语的"【¨.寂寞的海面,老人充满期待:一只疲倦的小鸟飞来了,落在钓索上,老人高兴极了,"总算有个朋友在一起了"【¨,他赶紧和小鸟交流,问它为什么会疲倦,告诉它这儿很安全,甚至还可以跟他回去住在他家,可惜小鸟什么也没听懂,"钓索猛地一抽"…"他掉头寻常那只小鸟,可鸟儿飞走了"….我们知道,海鸟是大海的一部分,它飞走又融入到大海这个群体了.老人圣地亚哥还不属于这个群体,由于他和小鸟沟通的失败,他再次失去一个伴儿,"他眺望海面,发觉他此刻是多么孤单"【lJ.由此可见,沟通的失败,使圣地亚哥陷入了孤独的深渊.二,孤独的根源在于沟通的失败悲哀女性主义者认为正是由于社会性别等差异才使人们需要相互交际,相互理解,相互学习,抹杀差异不仅不可能,而且不可行,在这种主张差异,反对混同的基础上,新女权主义者主张用对话,互补与谅解来代替矛盾.然而,海明威小说中的硬汉往往独自面对痛苦并且主动掩饰痛苦,从不坦率表达自己的感情,其实,正是由于他们不愿与人沟通,不善于与人沟通,才导致他们最终走向孤独的深渊.《老人与海》中的硬汉圣地亚哥虽继承了以往硬汉的精神,但他的内心世界逐步起了一些变化,由于不习惯与人交流,也不善于与人沟通,他时常感到孤单寂寞.后来,他渐渐意识到了自己的渺小与无助,变得渴望与人交流,渴望融人社三,硬汉的执着导致无路可走的美国是一个崇尚英雄的国家,海明威的小说正是极力渲染这种个人英雄主义的神话,在他笔下,社会性别角色区分明显,男人被认为应当果断,积极主动,勇于竞争;女人应当温柔,能够处理各种人际关系,然而,女性主义认为这种"一味发展男性气质而压制女性气质"势必造成严重后果, 也许可能"发展到全球性的种族灭绝和生态灭绝的程度"(3I.海明威的硬汉精神强调孤单的个人在同外界强大的斗争中逃脱不了失败的命运,但他不认输, 即使失败了也要保持优胜者的风度.其实,这种精神实质是个人英雄主义,它过分强调个人的作用和个人的力量,只为了展现一种压力下的优雅,62黎明职业大学2007年3月由于它宁愿接受最终失败的命运,结果只能导致无路可走的悲哀.在《太阳照常升起》中,杰克?巴恩斯和勃莱特都是人生角斗场上的失败者,但他们不抱怨,他们依靠自己来进行孤军奋战,结果只能更加孤独和苦闷,感到前途茫茫.《永别了,武器》中亨利不堪忍受战争的痛苦逃离战场,刚刚拥有的爱情和幸福又顷刻成了过眼云烟,但他仍然选择一个人孤零零地忍受孤独和绝望.这些硬汉在迷惘与困惑中,无法看清通往未来的路,宛如飞蛾扑火般朝着注定要失败的悲惨命运进军,一路上不遗余力地抗争,直到生命最后一息.然而,通向未来的路肯定不止一条,在前进的过程中如果认识到了前方的路是注定要失败的,硬汉是否仍然有必要如此悲壮赴战场呢?在《老人与海》中, 老人告诉男孩,"我是个不同寻常(strange)的老头儿"【1],这个词"不同寻常"含义非常丰富,它不但说明老人体魄依然强壮,捕鱼技巧依旧高超,它同时也指出,海明威式硬汉都是不同寻常的:明知结局将一无所获也不肯退却放弃,只为了在拼搏的过程中一展自身的尊严和勇敢.小说开首的圣地亚哥是个典型的海明威硬汉形象,他认为生存的力量和勇气来自自身,只是一味依靠自己.后来他逐渐认识到人际间关爱和群体力量的重要性,开始变得谦卑,"…知道这并不丢脸,所以也无损于真正的自尊心"uJ.老人开始接受外界的帮助,同意男孩送他两条新鲜的沙丁鱼做鱼饵,并接受小孩邀请一起吃晚饭.但由于硬汉精神的主宰,他内心依然是自我的天下,他拒绝了小孩提出再陪他出海的建议,认为自己完全有能力对付"一条真正的大鱼",因为自己"有不少窍门可用呢"u】.老人相信自己不会被打败正如他相信"扬基队不会输"…,他笃信扬基队是最棒的,迪马吉奥是最棒的,他们可以创造不败的神话.可是从男孩的话中,我们知道"他们今儿个输了"…I,而且"队中还有别的好手哪"u】.老人可不管这些,只是一味追寻自己的英雄神话,全然不顾周围的情形已经发生了变化,根本不考虑随时出现的新的选择,仍然朝着失败的悲惨命运昂首挺进.我们不难注意到,在和大马林鱼周旋拼搏的三天两夜的过程中,老人其他的钓竿又有了上钩的鱼,但他放弃了这些新的机会,把所有沉入海中的钓索都割断了,并把所有剩下的钓索都接在一起,作为备用对付这条大鱼.他宁愿"丢掉两百英磅寻出色的卡塔卢尼亚钓索,还有钓钩和导线"…,因为他想,"万一钓上了别的鱼,把这条大鱼倒搞丢了,那该去找什么鱼来替代呢?"uJ这时候的老人已经是破釜沉舟,背水一战,非把这条大马林鱼杀死不可,根本不愿考虑退路.于是,本着这股执着劲,老人和大鱼以及其后尾随而来的鲨鱼搏斗了三天两夜,筋疲力尽,奄奄一息,结果大鱼被鲨鱼吃个精光,只剩一个骨架.老人心里明白,失败的原因在于"我原不该出海这么远的"u],之后老人还多次懊悔地说到"只怪我出海太远了"u].正是由于老人的执着精神,他被迫远离群体,孤军奋战,最后失败而归.其实,老人圣地亚哥此时已经意识到了群体合作的重要性,他明白单靠个人奋斗是不会成功的,虽然战斗时很辉煌,但结局是悲惨的.他的战利品"大马林鱼"最后只剩一副残骸,而且他自己也许再也无法恢复健康出海捕鱼了.男性的执着气质,使圣地亚哥虽然胜利了,却付出了惨痛的代价.四,结束语海明威在《老人与海》中完全舍弃女性角色,淋漓尽致地描绘老人在孤独和困难的重压下那种凄凉而悲壮的美.事实上,这同时也表明海明威已无力再与使他一直感到不安和惧怕的女性继续抗争,他害怕承认女性力量的崛起,他害怕面对男性在竞争中可能暴露的被动,无能和软弱的一面,其实这种对父权传统文化的肆意追捧只能是欲盖弥彰的做法.海明威式硬汉精神所缺乏的正是当今时代呼吁的男女之间需要平等,对话与合作的精神,难怪硬汉最终的结局只能是一无所获,无路可走.参考文献[1]海明威.老人与海[M].昊劳,译.上海:上海译文出版社, 2oo1.[2]常耀信.精缡美国文学教g-[M].天津:南开大学出版社, 2oo5.[3]约瑟芬?多诺万.女权主义的知识分子传统[M].赵育春, 译.南京:江苏人民出版社,2003.(责任编辑杨江云)。
(全英文论文)老人与海中桑迪亚哥的硬汉形象探析
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部分题目已经写好原创。
二、原创论文参考题目2、(英语毕业论文)全身反应法在少儿英语教学中的应用——以杭州英之辅EF语言培训为例3、(英语毕业论文)Effects of Chinese Culture on Promotion of Automobiles－－Traditional Cultural Elements4、(英语毕业论文)从日常交际礼貌用语失误看中西方文化差异（开题报告+论文）5、(英语毕业论文)英文中“and”的用法及译法探析6、(英语毕业论文)从《丧钟为谁而鸣》看海明威的生死观7、(英语毕业论文)《月亮与六便士》中查尔斯•思特里克兰德的追寻自我8、(英语毕业论文)顺应论视角下的电影片名翻译（开题报告+论）9、(英语毕业论文)Strategies of Translating Chinese Proper Nouns in Tourism Texts10、(英语毕业论文)现代人对超人的需求－－超人形象演变综述11、(英语毕业论文)《月亮与六便士》中查尔斯•思特里克兰德的追寻自我12、(英语毕业论文)The Archetype of the Ugly Duckling in The Secret Garden13、(英语毕业论文)Comparaison entre l’Histoire d’A Q et l’Etranger（开题报告+论文）14、(英语毕业论文)On the Translation of Psychological Description in Wuthering Heights from the Perspective of Functional Equivalence15、(英语毕业论文)从关联理论角度看英语广告语的修辞16、(英语毕业论文)高中英语写作作业的反馈及实施效果17、(英语毕业论文)英汉动物习语的对比研究(开题报告+论文)18、(英语毕业论文)Developing University Students’Cross-cultural Awareness in English Teaching and Learning19、(英语毕业论文)《月亮与六便士》中查尔斯•思特里克兰德的追寻自我20、(英语毕业论文)顺应理论视角下公益广告英译中的语用失误分析21、(英语毕业论文)儿童语言习得关键期假说的教育语言学重估（开题报告+论文）22、(英语毕业论文)以篱笆和围墙看中西方居住文化差异23、(英语毕业论文)目的论视角下英语外贸函电汉译的研究（开题报告+论文）24、(英语毕业论文)从文化负载词褒贬意义看中西文化差异（开题报告+论文）25、(英语毕业论文)从生态女性主义的角度解读《喜福会》（开题报告+论文+文献综述）26、(英语毕业论文)论《愤怒的葡萄》中的生态批评思想（开题报告+论文）27、(英语毕业论文)从顺应论的角度谈英文电影片名的汉译（开题报告+论文）28、(英语毕业论文)美剧《欲望都市》中女性语言的语用分析29、(英语毕业论文)模因论指导下的商标翻译（开题报告+论文）30、(英语毕业论文)口语语篇中责任情态的人际意义研究31、(英语毕业论文)耐克公司Ps营销策略对我国体育用品产业的启示32、(英语毕业论文)浅析《恋爱中的女人》中劳伦斯的爱情观33、(英语毕业论文)论西尔维娅•普拉斯诗歌中的死亡意象（开题报告+论文）34、(英语毕业论文)《乱世佳人》女主人公斯嘉丽的性格分析（开题报告+论文+文献综述）35、(英语毕业论文)男权社会下康妮女性身份的诉求－－D.H.劳伦斯《查泰莱夫人的情人》的研究（开题报告+论文）36、(英语毕业论文)论《远离尘嚣》中女主人公的悲剧原因（开题报告+论文+文献综述）37、(英语毕业论文)对比研究中西家庭观38、(英语毕业论文)从女性主义视角浅析《纯真年代》中两位女主人公爱情观的不同(开题报告+论文)39、(英语毕业论文)《月亮与六便士》中查尔斯•思特里克兰德的追寻自我40、(英语毕业论文)中西方礼貌原则及其差异对比研究41、(英语毕业论文)浅论广告英语的修辞特色42、(英语毕业论文)托尼•莫里森《秀拉》中的女性主义（开题报告+论文）43、(英语毕业论文)中学英语学习中文化障碍分析44、(英语毕业论文)浅析英汉颜色词的文化内涵及翻译45、(英语毕业论文)商务谈判中的模糊语的使用46、(英语毕业论文)跨文化视角下中西方选秀文化对比研究——以达人秀为例（开题报告+论文）47、(英语毕业论文)《红楼梦》两英译本中习语翻译的比较48、(英语毕业论文)译前准备对交替传译效果的影响（开题报告+论文+文献综述+外文翻译）49、(英语毕业论文)埃德加•爱伦•坡恐怖小说的哥特式特征分析（开题报告+论文）50、(英语毕业论文)《月亮与六便士》中查尔斯•思特里克兰德的追寻自我51、(英语毕业论文)万劫不复的阴暗人性——解析《蝇王》的主题(开题报告+论文)52、(英语毕业论文)网络环境下英语专业学生学习策略研究（开题报告+论文+文献综述）53、(英语毕业论文)英国哥特小说故事情节中的怪诞表现（开题报告+论文+文献综述）54、(英语毕业论文)《月亮与六便士》中查尔斯•思特里克兰德的追寻自我55、(英语毕业论文)《月亮与六便士》中查尔斯•思特里克兰德的追寻自我56、(英语毕业论文)澳大利亚英语词汇和澳大利亚文化（开题报告+论）57、(英语毕业论文)从功能对等理论看“赶”的英译（开题报告+论文+文献综述+外文翻译）58、(英语毕业论文)模因论指导下的英语习语汉译59、(英语毕业论文)从功能理论角度分析电影《点球成金》字幕翻译60、(英语毕业论文)论《傲骨贤妻》字幕翻译中的归化和异化策略（开题报告+论文+文献综述）61、(英语毕业论文)《月亮与六便士》中查尔斯•思特里克兰德的追寻自我62、(英语毕业论文)英语专业本科毕业论文摘要的体裁分析（开题报告+论文+文献综述+外文翻译）63、(英语毕业论文)目的论在电影字幕翻译中的应用——以《功夫熊猫》为例（开题报告+论文）64、(英语毕业论文)海明威《印第安人营地》新解65、(英语毕业论文)公示语英译错误分析（开题报告+论文）66、(英语毕业论文)交际法在中学英语教学中的运用67、(英语毕业论文)“词块”理论及应用前景探微（开题报告+论文+文献综述）68、(英语毕业论文)《月亮与六便士》中查尔斯•思特里克兰德的追寻自我69、(英语毕业论文)《尤利西斯》与《春之声》中意识流手法的不同70、(英语毕业论文)汽车广告中的中西文化差异研究（开题报告+论文+文献综述）71、(英语毕业论文)《永别了武器》中战争对人类所造成的毁灭（开题报告+论文+文献综述）72、(英语毕业论文)《月亮与六便士》中查尔斯•思特里克兰德的追寻自我73、(英语毕业论文)《月亮与六便士》中查尔斯•思特里克兰德的追寻自我74、(英语毕业论文)论圣经诗篇的修辞特点（开题报告+论文+文献综述+外文翻译）75、(英语毕业论文)情景法在新概念英语教学中的应用——以杭州新东方为例76、(英语毕业论文)浅析唐诗翻译的难点和策略（开题报告+论）77、(英语毕业论文)《生活大爆炸》言语幽默语用分析（开题报告+论）78、(英语毕业论文)论《儿子与情人》中保罗人格形成的影响因素（开题报告+论文+文献综述）79、(英语毕业论文)从华裔少女的自传《此时，彼地》看中美两国校园文化差异(开题报告+论文+文献综述)80、(英语毕业论文)论马可•吐温小说中的讽刺技巧81、(英语毕业论文)The Dilemma of Career Woman in The Millstone（开题报告+论文+文献综述）82、(英语毕业论文)《月亮与六便士》中查尔斯•思特里克兰德的追寻自我83、(英语毕业论文)探析《玛莎•奎斯特》中玛莎性格的根源（开题报告+论文）84、(英语毕业论文)英汉“悲”、“喜”情感隐喻的认知比较研究（开题报告+论文）85、(英语毕业论文)浅论《洛丽塔》主人公悲剧命运的根源（开题报告+论文）86、(英语毕业论文)浅析卡夫卡小说中的荒诞意识（开题报告+论文）87、(英语毕业论文)《动物庄园》中的黑色幽默分析88、(英语毕业论文)高中学生英语词汇学习现状研究综述（开题报告+论文）89、(英语毕业论文)论《老无所依》中的英雄缺失(开题报告+论文+文献综述)90、(英语毕业论文)《道林•格雷的画像》中的现实元素（开题报告+论）91、(英语毕业论文)A Study of Expressionism in Winesburg, Ohio(开题报告+论文+文献综述)92、(英语毕业论文)旅游翻译中的跨文化语用失误（开题报告+论文+文献综述）93、(英语毕业论文)浅议英语情态动词“can”和汉语能愿动词“能”—以类型学为视角94、(英语毕业论文)论《追风筝的人》中父子关系的心理剖析（开题报告+论文）95、(英语毕业论文)臻于完美的人物魅力——对简•奥斯丁《劝导》中的女主人公的分析（开题报告+论文+文献综述+外文翻译）96、(英语毕业论文)A Freudian Psychoanalytical Interpretation of Catherine and Heathcliff in Wuthering Heights（开题报告+论文+文献综述）97、(英语毕业论文)从市场营销的角度论哈利•波特的成功98、(英语毕业论文)从《红楼梦》和《飘》看中美恭维语比较99、(英语毕业论文)从弗洛伊德解读《好人难寻》（开题报告+论文+文献综述）100、(英语毕业论文)探索《小王子》中主人公的性格101、(英语毕业论文)Scarlett O'Hara and Feminism102、(英语毕业论文)《红楼梦》英译中双关语文化成分的翻译策略研究103、(英语毕业论文)从《肖申克的救赎》看体制化对个人的影响104、(英语毕业论文)适者生存——解析《野性的呼唤》中的生存法则105、(英语毕业论文)从目的论看《红楼梦》中成语的翻译（开题报告+论文）106、(英语毕业论文)《紫色》中“家”的解读（开题报告+论文+文献综述）107、(英语毕业论文)英语广告语中隐喻的研究（开题报告+论文）108、(英语毕业论文)从美国梦看美国社会流动机制(开题报告+论文)109、(英语毕业论文)在归隐中相遇—论梭罗与陶渊明的诗意人生（开题报告+论文+文献综述）110、(英语毕业论文)中西方餐桌礼仪文化对比111、(英语毕业论文)《红字》中珠儿与《雷雨》中周萍之比较112、(英语毕业论文)《威尼斯商人》中的种族及宗教冲突（开题报告+论文+文献综述）113、(英语毕业论文)浅析科技英语的文体特点(开题报告+论文)114、(英语毕业论文)女权主义评论视角下的《金色笔记本》115、(英语毕业论文)《美国悲剧》中的对比手法运用研究（开题报告+论文+文献综述）116、(英语毕业论文)《德伯家的苔丝》中的意象分析（开题报告+论文）117、(英语毕业论文)谈归化与异化翻译的融合－－以谚语翻译为例118、(英语毕业论文)关于高中生英语阅读策略运用情况的调查（开题报告+论文+文献综述）119、(英语毕业论文)中介语石化现象成因及应对策略(开题报告+论文)120、(英语系经贸英语)浅析企业如何通过市场定位打开销售渠道121、(英语毕业论文)试析中英婚姻生活差异及其原因（开题报告+论文）122、(英语毕业论文)Bertha Is Jane:A Psychological Analysis of Charlotte Bronte’s Jane Eyre（开题报告+论文+文献综述）123、(英语毕业论文)The Influence of Bob Dylan and His Works on American Social Movements124、(英语毕业论文)中西婚礼风俗对比(开题报告+论文)125、(英语毕业论文)论中西方交际方式的差异（开题报告+论文+文献综述）126、(英语毕业论文)Oscar Wilde’s Aestheticism on The Picture of Dorian Gray127、(英语毕业论文)米字旗下的荣耀与忐忑——论维多利亚时代英国人的社会价值观(开题报告+论文)128、(英语毕业论文)关于《麦田里的守望者》主人公霍尔顿悲剧人生的分析129、(英语毕业论文)《嘉莉妹妹》之消费主义下的人物形象分析130、(英语系经贸英语)从“口红效应”看中国文化产业的机遇131、(英语毕业论文)法律英语词汇特点及其翻译（开题报告+论文）132、(英语毕业论文)A Feministic Study of the Theme of “The Chrysanthemums”（开题报告+论文+文献综述）133、(英语毕业论文)十九世纪英国女性小说中的两位灰姑娘——伊利莎白•班纳特和简•爱形象比较（开题报告+论文）134、(英语毕业论文)美剧字幕中的译者主体性——以美剧Gossip Girl第一季为例（开题报告+论文+文献综述+外文翻译）135、(英语毕业论文)《雾都孤儿》中批判现实主义写作手法分析136、137、(英语毕业论文)《老人与海》中桑迪亚哥的硬汉形象探析（开题报告+论文）138、(英语毕业论文)浅析中西方饮食文化差异（开题报告+论文）139、(英语毕业论文)《傲慢与偏见》中婚姻观对当代中国的现实意义（开题报告+论文）140、(英语毕业论文)论《愤怒的葡萄》中的生态批评思想（开题报告+论文）141、(英语毕业论文)论中美婚礼习俗的差异与融合(开题报告+论文)142、(英语毕业论文)隐喻在英语委婉语中的应用143、(英语毕业论文)A Comparative Study of Western Knight and Chinese Knight in Idylls of the King and Eight Heavenly 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浅析《老人与海》中桑提亚哥的硬汉形象
浅析《老人与海》中桑提亚哥的硬汉形象1. 引言1.1 《老人与海》是海明威的代表作之一《老人与海》是海明威的代表作之一。
这部小说讲述了一个叫桑提亚哥的老渔夫和他对抗巨大鲨鱼的故事。
海明威通过这个故事展现了人与自然的搏斗，以及男性气概和毅力的重要性。
这部小说被认为是海明威的代表作之一，因为它描绘了海明威所倡导的冷峻风格和男性气概。
通过对桑提亚哥的刻画，海明威向读者展示了一个充满坚韧不拔和顽强精神的硬汉形象，这使得这部小说成为了经典之作。
《老人与海》中的桑提亚哥形象深深地触动了读者，反映了海明威对男性气质和价值观的深刻思考。
这部小说带给读者关于生命、困难和挑战的启示，同时也让人们对自己的生活态度和价值观进行思考和反省。
2. 正文2.1 桑提亚哥是一个典型的硬汉角色桑提亚哥是一个典型的硬汉角色。
在《老人与海》中，桑提亚哥展现了传统硬汉形象的各种特征：坚韧、勇敢、男子气概和无畏的精神。
他是一个老渔夫，曾经是一名优秀的渔夫，虽然年迈，但仍然充满了力量和活力。
桑提亚哥能够面对困难和挑战，永不放弃，展现出了硬汉的特质。
桑提亚哥的坚毅和勇气在他与大马林鲨的搏斗中体现得淋漓尽致。
面对巨大的鲨鱼，桑提亚哥展现出了冷静和果敢的态度，毫不畏惧地与之对抗。
他用尽全力，坚持不懈地与鲨鱼搏斗，最终取得了胜利，展现了硬汉的强大和不屈不挠的品质。
无论是在海上还是在生活中，桑提亚哥都展现出了硬汉的品格。
他的顽强精神和坚定信念让人钦佩，他的勇气和坚毅精神也是其他人所不及的。
桑提亚哥的形象为读者展现了一个真正的硬汉，一个伟大的男性形象，一个充满男子气概的角色。
他的形象不仅让人印象深刻，还激励着人们不断前进，勇往直前。
2.2 桑提亚哥面临着严酷的自然环境挑战桑提亚哥面临着严酷的自然环境挑战。
在《老人与海》中，作者描绘了桑提亚哥与大海之间的搏斗，展现了他在恶劣环境下的坚强意志和不屈精神。
在大海的威胁下，桑提亚哥始终保持着冷静和勇气，不被环境的恶劣影响到他的信念和决心。
浅析《老人与海》中桑提亚哥的硬汉形象
浅析《老人与海》中桑提亚哥的硬汉形象
《老人与海》是海明威的代表作之一，讲述了一个老渔夫桑提亚哥一人独舟出海捕鱼，在经历了三天三夜与一条大马林鱼的生死斗争后，最终赢得了一场惊心动魄的胜利。
在这
个故事中，桑提亚哥展现了一种非常典型的硬汉形象，本文将通过分析桑提亚哥的性格、
技巧和态度等方面，探究其硬汉形象的深层含义。
首先，桑提亚哥的性格充满了坚毅、勇气、耐心和决心等硬汉特质。
无论是在难得的
收成之后，还是在八十四天不捕到鱼的挫折中，桑提亚哥都表现出了顽强的毅力和不屈的
坚持。
在与大马林鱼的对抗中，桑提亚哥更是展示出了不惧危险、始终保持冷静的勇气，
以及面对挑战的坦然和自信。
有时候，这些硬汉特质也表现得有些过于傲慢或刚愎，但正
是这种性格特点使得桑提亚哥在艰难的环境中更加强壮，能面对无尽的挑战和困难。
最后，桑提亚哥在整个故事中的态度也是他硬汉形象的重要组成部分。
他对生活的积
极和热爱，以及对自由和尊严的坚定认识，都成为了他在艰难环境下永不言弃的动力。
桑
提亚哥虽然是一个孤独的老人，却深知人与自然之间的相互依存关系，对大海和自我都有
着极大的尊重和敬畏感。
他的态度展示了硬汉的担当精神和人生态度，尤其强调了认真生
活和认真工作的重要性，使得该故事在全球读者中引起了强烈共鸣。
总之，《老人与海》中桑提亚哥的硬汉形象既是对海明威自身硬汉风格的彰显，又是
对当时社会中的硬汉精神的呈现。
通过这个故事，海明威在讲述人与自然之间的纠葛的同时，描绘了一个坚韧、勇敢、坦诚和真实的硬汉形象，使我们深入理解了硬汉精神的内
涵。
【英语论文】《老人与海》中硬汉形象的象征意义
《老人与海》中硬汉形象的象征意义摘要：《老人与海》是海明威在晚年证明自己创作实力的中篇小说杰作，也是他最具代表性的小说之一。
小说主人公桑提亚哥作为文学史上著名的硬汉形象，充分展现了人类的一种精神，充分表现了人类的智慧、刚毅和坚韧。
本文着重分析桑提亚哥的意志品质、人格品质、乐观精神，并进而探究其象征意义。
关键词：硬汉精神；形象；象征意义《老人与海》中硬汉形象的象征意义20世纪的美国文坛上，海明威以独树一帜的艺术风格赢得了不朽的声誉。
海明威的作品，表现出男子汉优雅的风度和面对挫折生活的勇气及信念，塑造出一个个铮铮硬汉。
海明威借助小说中的主人公，演绎了在面临死亡、失败等悲剧情境下表现出来的勇气的可贵性。
在这部作品中，他用简洁、流畅、洗练、准确的语言塑造了一生中最完美的具有铮铮铁骨的“硬汉”形象——桑提亚哥。
海明威作品中的主人公多是不幸的，桑提亚哥也不例外，他是一个失败了的英雄。
但对于海明威来说，他所探究的并不是人物失败、不幸的原因，而是他们对待不幸命运的态度。
作品的寓意深刻，内涵丰富，老人虽败犹荣。
作为硬汉精神完美体现者的桑提亚哥，他是一种寓言化的神奇英雄的化身，象征着一种哲理化的硬汉精神，一种永恒的超越时空的压倒命运的力量。
一、桑提亚哥的“硬汉精神”海明威把《老人与海》比作他一生中打到的最大、最美的狮子，既表明了他对这部作品的偏爱和得意，又说明了在这部作品及其人物身上，海明威找到了一生都在寻求表现的东西。
在故事的冲突中，读者所受到的震撼似乎远不止于桑提亚哥所表现出来的尊严。
小说通过桑提亚哥表现了更多的东西，它比人在成败中的尊严更动人，也更深入人的本性。
生命的意义桑提亚哥是一位老渔夫，他在海上连续84天没有捕到鱼，第85天，他又独自一人出航到很远的地方出乎意料地捕捉到了一条比船还大的马林鱼。
可大马林鱼是鱼中豪杰，搏斗起来一点不惊进入‘魔界’就更加困难。
意志薄弱的人是进不去的。
”川端康成正是籍由江口将这种观点表达得非常清晰。
探讨海明威《老人与海》中桑提亚哥硬汉形象
20神州文学探讨海明威《老人与海》中桑提亚哥硬汉形象沙思佳江苏省泰州中学摘要：《老人与海》是美国著名作家海明威先生的一部具有代表性的中篇小说，完本于1952年，在1954年的诺贝尔文学奖评选中，《老人与海》犀利而深刻的人物描写、极致的情感应用，让其一举夺得桂冠。
本书我反复阅读了很多次，每次阅读都会被男主人公桑提亚哥的形象所震撼，在自己的脑海中不知不觉的浮现出他那硬汉形象。
下面我结合自己的理解，对《老人与海》中桑提亚哥的硬汉形象进行分析。
关键词：海明威；《老人与海》；硬汉形象《老人与海》这部小说自诞生之日起就受到了全球读者的追捧与喜爱，本书的男主人公桑提亚哥是一个具有沧桑外表和内心的老人。
他怀着一颗善良的心，也具有一种永不放弃的精神，能够引导我们更加勇敢的面对成长中的苦难，从中寻求人生的意义。
一、外表饱经沧桑彰显形象不管是从桑提亚哥的外表还是其经历来说，他都是一个饱经沧桑的老人，海明威借助于对桑提亚哥沧桑外表的描写来突出其内心情感，也体现出了其独有的精神内涵。
在小说刚刚开始时海明威就这样描写了桑提亚哥的外表：模样枯瘦干瘪，脖子上到处是深深的皱纹，腮帮中有些许褐斑，从他的脸上一直蔓延到脖颈。
他的双手常常用绳索拉大鱼网，因此也留下了深深的伤疤……他身上的所有都显得古老，除开那双如大海般湛蓝的眼睛，是愉快且不肯服输的。
从这里我们能够了解到，桑提亚哥的全身基本上都有着大大小小的伤疤，这也是他过去生活的经历，是一辈子捕鱼的象征，他的外表消瘦，也能够体现出其性格的果敢，而对于眼神的刻画能够直接体现出老人坚毅而不服输的性格。
即便老人的全身都是伤痕，但海明威说：这些伤痕就如同没有鱼的旱海中的腐朽物一样古老。
在海明威的笔下，老人的外表描写反映了一丝悲剧的预示，一种和生活进行抗争的悲哀，也是桑提亚哥倔强硬汉形象的体现。
二、对于压力保持乐观豁达《老人与海》中有一个片段是这样描写男主人公的：他独居在海湾中，是一名利用小舟捕鱼的孤独老人。
论《老人与海》中桑提亚哥的硬汉形象
论《老人与海》中桑提亚哥的硬汉形象一、本文概述本文旨在探讨欧内斯特·海明威的经典小说《老人与海》中的主角桑提亚哥所展现的硬汉形象。
作为海明威的代表作之一，《老人与海》不仅以其精炼的笔触和深入人心的主题赢得了全球读者的喜爱，更因其对硬汉精神的独特诠释，成为了文学史上的一部不朽之作。
本文将通过分析桑提亚哥的个性特点、行为举止以及在面对困境时所展现出的坚韧不拔的精神风貌，来揭示其硬汉形象的深刻内涵，并进一步探讨这一形象对读者产生的深远影响。
本文将简要介绍《老人与海》的故事梗概，为后续的深入分析奠定基础。
接着，将重点分析桑提亚哥的性格特点，包括他的坚韧、勇敢、乐观以及不屈不挠的精神风貌。
这些性格特点使得他在面对巨大的困境时，依然能够保持冷静和坚定，不断挑战自我，超越自我。
本文将详细剖析桑提亚哥在面对困境时所展现出的硬汉精神。
无论是与巨大的马林鱼搏斗，还是与鲨鱼群的激烈对抗，他都展现出了惊人的毅力和顽强的斗志。
这种硬汉精神不仅体现在他的行为上，更体现在他的心态和信念上。
他相信，只要坚持下去，就一定能够战胜困难，实现自我价值。
本文将探讨桑提亚哥的硬汉形象对读者的启示和影响。
他的坚韧不拔、永不言败的精神风貌，不仅激励了无数读者在面对困境时勇敢前行，更成为了人们追求自我价值和精神自由的典范。
通过深入剖析桑提亚哥的硬汉形象，本文希望能够引导读者更好地理解海明威的创作意图，并从中汲取力量，勇往直前。
二、桑提亚哥的人物特点在《老人与海》这部作品中，桑提亚哥的形象深入人心，他是海明威精心塑造的一位硬汉。
这位老渔夫的人物特点主要体现在他坚韧不拔的精神、与自然和谐共处的哲学观念以及深邃的内心世界。
桑提亚哥的坚韧不拔精神是他最为显著的特点之一。
在面对巨大的马林鱼时，他没有退缩，而是选择与之搏斗，展现了超人的毅力和决心。
即使在连续多日无鱼可捕、生活陷入困境的情况下，他也从未放弃过对生活和捕鱼事业的热爱。
这种精神在文中得到了充分的体现，如他在海上与大鱼搏斗时的内心独白：“我跟你奉陪到死。
浅析《老人与海》中桑提亚哥的硬汉形象
浅析《老人与海》中桑提亚哥的硬汉形象1. 引言1.1 介绍《老人与海》和主人公桑提亚哥《老人与海》是美国著名作家海明威的代表作之一，是一部富有哲理的小说。
主人公桑提亚哥是一位年迈的古巴渔夫，他在海上经历了一场与大马林鱼的激烈对抗。
桑提亚哥是一个典型的硬汉形象，他展现了坚强的意志和顽强的品质。
在故事中，桑提亚哥经历了许多挑战和困难，但他始终不放弃，坚持不懈地迎接挑战。
他的顽强和勇敢让人们对他产生了极大的敬意和钦佩。
与桑提亚哥的对抗过程中，读者可以看到他孤独的一面，但即便是孤独，桑提亚哥也展现出了一种顽强不屈的品质。
通过故事中对桑提亚哥的塑造，海明威向读者展现了一个真正的硬汉形象，一个值得人们学习和尊敬的角色。
【内容达到200字】2. 正文2.1 桑提亚哥的坚强意志桑提亚哥是《老人与海》中的主人公，他展现了极其坚强的意志和毅力。
在面对巨大的挑战和困难时，桑提亚哥从不轻言放弃，而是坚定地坚持自己的信念和目标。
他身陷绝境时，仍然保持着乐观和勇气，坚持与命运抗争。
桑提亚哥的坚强意志体现在他与大马林鱼的对抗中。
在捕鱼的过程中，桑提亚哥遭遇了一系列艰难困苦，但他从不退缩。
即使在其他渔夫们都认为他疯了的情况下，桑提亚哥仍然坚信自己能够战胜巨大的大马林鱼。
他用自己的智慧和力量与大马林鱼展开了殊死搏斗，最终取得了胜利。
这场对抗不仅展现了桑提亚哥的勇气和决心，更展示了他坚不可摧的意志力。
2.2 桑提亚哥与大马林鱼的对抗桑提亚哥与大马林鱼的对抗是《老人与海》中最为精彩的部分之一。
在这个对抗中，桑提亚哥展现了他的坚毅和毅力。
他和大马林鱼的较量历经了数天数夜，桑提亚哥始终不放弃，坚信自己能够战胜这条巨大的鱼。
大马林鱼的力量让人望而生畏，但桑提亚哥并没有被吓倒。
他用尽全力与大马林鱼搏斗，展现出了他的勇气和决心。
即使面临着巨大的压力和艰难，桑提亚哥依然坚持不懈地与大马林鱼斗争，不断努力寻找机会将其击败。
这场对抗不仅是一场肉体上的较量，更是一场精神力量和意志力的较量。
浅析《老人与海》中桑提亚哥的硬汉形象
浅析《老人与海》中桑提亚哥的硬汉形象《老人与海》是美国著名作家海明威的代表作之一，小说以海洋为背景，描写了一个老渔夫桑提亚哥与一条巨大的马林鱼之间的斗争。
在小说中，桑提亚哥展现出了一种硬汉形象，他有着坚韧不拔的意志和顽强的性格，这种硬朗的形象深深地影响了读者。
本文将从几个方面浅析《老人与海》中桑提亚哥的硬汉形象。
桑提亚哥在面对困境时表现出了非凡的坚韧不拔。
在小说中，他一直孤身一人出海捕鱼，但长期以来都一无所获。
而此时，他决心要捕到一条大鱼，以证明自己并且摆脱长期以来的厄运。
即使遭遇了困难和挫折，桑提亚哥心怀希望，勇往直前。
在捕到马林鱼后，被海鸟和鲨鱼所围攻，桑提亚哥始终没有放弃，坚持和鲨鱼作斗争，直到鱼骨被吞噬一空。
这种坚韧不拔的精神为读者留下了深刻的印象，也使得桑提亚哥成为了一位硬汉形象。
桑提亚哥在面对失败时表现出了顽强的性格。
在捕到马林鱼后，桑提亚哥因为船太小，没有办法把鱼装上来，只能将其拖到船的一侧。
在回家的路上，被鲨鱼围攻，导致马林鱼被咬掉大半肉。
桑提亚哥并没有因为这次失败而丧失信心，而是决心继续战斗，直到鱼被鲨鱼啃食殆尽。
他这种对抗失败的态度，让人看到了他内心的坚毅和不屈不挠的品质，这种顽强的性格赋予了他硬汉的形象。
桑提亚哥在面对痛苦时表现出了超人的忍耐力。
在与鲨鱼搏斗之时，他受了伤，身体疼痛难忍，鲨鱼咬掉了他的一只手，但桑提亚哥并没有因此而退缩或者哀叹，而是竭尽全力地坚持战斗。
即使在最后失败的时刻，他也没有展现出绝望和悲伤，而是默默地接受了失败，向命运低头，因为他知道自己尽力了，尽管最终失败了，但是他依然是一个顽强的硬汉。
桑提亚哥在《老人与海》中展现出了一种硬汉形象，他的坚韧不拔、顽强的性格以及超人的忍耐力都深深地打动了读者。
他用自己的行动诠释了什么是真正的硬汉，他让人们看到了生活中面对困难时不屈不挠，勇往直前，面对失败坚强坚持的精神。
正是因为有了桑提亚哥这样的硬汉形象，才让《老人与海》成为一部永恒的文学经典，也因为有了这样的硬汉，这部小说才永远地镌刻在读者心中。
【英语论文】《老人与海》中的硬汉形象
“Code H ero” in the Novel The Old Man and the Sea– A further Analysis of Hemingway’s Writing Style《老人与海》中的硬汉形象OutlineI. “Code hero” and his featuresII. The “code hero” in The Old Man and the SeaA.Santiago as the “code hero”B.Features of SantiagoIII. The writing style of Hemingway in modeling the “code hero”A.The language features of HemingwayB.Hemingway’s way to model “code hero”C.Hemingway’s symbolismIV. Conclusion“Code H ero” in the Novel The Old Man and the Sea– A further Analysis of Hemingway’sWriting StyleAuthor: Zhang Ming Supervisor: Li Ming In Hemingway’s works, there exist certain common features among the protagonists. These characters share identical personalities and life experiences and they bear similar attention towards society. Their way of life can be defined by the way in which they responded to conflicts as well as the way in which they are depicted. We use the term “code hero”in description of Hemingway’s characters. Such a concept seems to have created the illusion that Hemingway’s heroes all behave in accordance with certain principles, or that some code rules their behavior, and that certain principles dominate their inner conflicts and control their life orientation. The "Code hero" has been interpreted as courageous and stubborn. "Code hero" is not a concept concerned with individuals, but with groups. The essence of "Code hero" is a pessimistic world outlook and an aesthetic faith in life. Hemingway's four important novels, A Farewell to Arms, The Sun Also Rises, For Whom the Bells Tolls and The Old Man and the Sea, can be regarded as a quartet of code heroes. Through the four heroes' life experiences and their pursuit of values, this quartet demonstrates the process of the development of the "code hero",and thus represents the course of the construction of the world outlook. The “code”, sometimes called “grace under pressure”, is an ideal set of belief and attitudes, essentially a mode of self- regard, which enables the heroes to function in a hostile, destructive environment. According to this code, a man is defined by will, pride, and endurance: the ability to accept pain, even loss, when loss cannot be avoided. The pride of knowing that one has done one’s best, with the courage to act truly to one’s nature; and the will to face defeat or victory without complaint on one hand or boasting on the other. The word “hero”can mean both “hero”and “protagonist”in English. In the literary works the two concepts “hero”and “protagonist” are both closely related and distinctive. Talking of hero, we have to trace back to its original meaning and connotation in the ancient Greek civilization. A man can be a hero because of unusual bravery, nobility of action, moral and intellectual qualities. Like Prometheus, Odysseus, Julia Caesar, Napoleon, a great number of figures are esteemed and respected as models for heroes because they represent the collective desire and yearning for sublimity, and grandeur. So the hero carries its traditional meaning and serves as a prototype for instruction, education and imitation. However, from the late 19th century, owing to the social, political and cultural changes, the hero in the contemporary world bears different meanings. Hemingway’s heroes make a breakthrough in the connotation and transcend the traditional function ofheroes. Many of the characters in Hemingway’s novels and stories are called heroes because they still preserve some of the virtues of the romanticized figures and the noble people in the traditional sense –bravery, courage, faith, perseverance, dignity, etc. Meanwhile, from their external action and internal mind, there always permeates a pessimistic mood and overtone. These heroes are more human than divine, more complex than simplex. The virtues Hemingway’s heroes show when facing the harsh reality serve not as models for people to follow but purely as the revelation of the consolation and comfort for the bitter agony and pains. Hemingway’s heroes are not always strong-minded, tough, sturdy, but rather dualized. Their courage, faith and moral code are rooted in the firm presumption that “Man proposes, God dispose”. Nobody can achieve ultimate success when confronting the decided fate. So Hemingway’s heroes, unlike those to be worshipped and honored, always show the weakness of human beings –cowardice, resignation, vanity and so on. The reason why they are entitled “heroes” rests not with their awareness of the emptiness of the world, but with their consequent attitude toward the meaningless life. They display the outstanding quality in spite of the doomed end.A protagonist in a story is supported by other minor characters or gains his position by direct conflict with the antagonists. Santiago in The Old Man and the Sea is the protagonist and the “hero”. In the story thepresentation of facts such as going out to the sea, fishing, fighting, losing, and turning back from the sea is unfolded along with the development of the protagonist Santiago. And the conflicts between characters as well as the settlement of the conflicts such as that between Santiago and sharks focuses on Santiago. There are very few characters in the stories and the personal background of the protagonist is left unexplained, so the reader’s full attention is focused on the hero.The “code hero” has great physical potential and courage. Whether he is a soldier, a hunter, or a fisherman, his physical power is always activated by critical situations. However, the physical power will encounter harm from the greater forces. The real value, according to Hemingway, lies in the fact that the hero can always rise from destruction. They were all hurt in some way, yet they were not defeated. The “code h ero” measures himself by how well they handle the difficult situations that life throws at him. In the end the “code h ero” will lose because we are all mortal, but the true measure is how a person faces death.The “code h ero” is typically an individualist and free-willed. Although he believes in the ideals of courage and honor he has his own set of morals and principles based on his beliefs in honor, courage and endurance. A code hero never shows emotions; showing emotions and having a commitment to women shows weakness.A final trait of the “code heroes”is that they are endowed withcertain specialized skills, such as fishing, bull fighting, and hunting, etc. Such skills are necessary for the internal courage and constraint in the heroes. In another sense, a person that is good for nothing is likely to be presented as “weak” or useless, yet the Hemingway’s heroes are free from such deficiencies as they possess practical skills.II. The “code hero” in The Old Man and the SeaA.Santiago as the “code hero”The Old Man and the Sea is a short novel about Santiago, an old Cuban fisherman who has gone for 84 days without catch. Therefore the boy, Manolin, who used to sail with him, is forced to leave him and catch in another ship. The old man insists on fishing alone and at last, he hooks an eighteen-foot, giant marlin, the largest he has ever known. But the fish is very powerful and disobedient. It tows the old man and his boat out to sea for 48 hours, with the old man bearing the whole weight of the fish through the line on his back. The old man, with little food and sleep, has to endure much pain and fights against his treacherous hand cramp. To his great excitement, on his third day at sea, he succeeds in drawing the weakened marlin to the surface and harpoons it. On his way home, he lashes marlin alongside his boat because it is too big to be pulled into the boat. But, unfortunately, the sharks in different numbers come across for four times. The old man fights to kill the sharks with as much might and many weapons as he can summon, but only to find a giant skeleton of hismarlin left after his desperate defense. At last, Santiago, having lost what he fought for, reaches the shore and struggles to his shack. He falls into sound sleep, dreaming of Africa and the lions again. His struggle wins him much respect.Santiago is a “man”in the fullest sense of the word. Although his strength is gone, his endurance and courage permits him to conquer the marlin. Even faced with defeat, he does not quit; knowing that he has no chance against the sharks, he continues the struggle against them. For Santiago, “a man who struggles against fate will not be defeated.”“Y ou can destroy him, but you can not defeat him”1 is the essential truth of the Hemingway code. Santiago loses the fight against the sharks but he is not afraid, his value lies in the fact that he rises from his failure and regains his confidence. The success alone is meaningless without the initial setback.The old man is confident and self - assured. He knows clearly he is no longer as strong as he used to be and he has nothing to rely on but his staying power and experience. As a fisherman who is often alone out at sea, Santiago knows very much about himself. He knows clearly what sort of advantages he has and to what extent he can win. And for the fish, he also has great ideas of how to win in a fair fight with his tricks and resolution. He has no illusions about his ability and never boasts about himself, what he waits for is the opportunity to prove his ability.Santiago’s actions are brief and accurate, and there is nothing unnecessary. It seems that all his actions are calculated and no energy is wasted. Santiago’s life is simple but not wrenched. He is humble but not low. In his action there is always dignity and self-respect. To a real hero, no matter what kind of plight he is in and no matter how high his social position is, maintaining one’s dignity is the most important. Such dignity should not fluctuate with changes in wealth and turning of luck, and it is a necessary part in humanity. Santiago maintains his dignity in his action and displays heroism as a code hero with his undefeated spirit when he has lost the fight.Someone denied Santiago’s hero status and blamed Santiago for his lack of social concern as well as his failure to develop an independent perception of life. For Santiago, many things are limited by his narrow personal circumstances, and Santiago’s experiences are not broad, yet his life circumstances are of much wider significance. His life is full of meaning, particularly when he is faced with the big fish in the sea. He is also deeply concerned about society. Santiago has developed close relationships with the people around him and he is not isolated from the real world. He is able to enjoy the warmth of friendship, and he is also able to give his concern and love to Malolin.However Santiago’s character is not without its flaws. For example, he allows the conversation on the non-existing rice and the cast net to goon with the little boy Manolin. And such illusionary talking reveals his irrationality.“What do you want to eat?” the boy asked.“A pot of yellow rice with fish. Do you want some?”“No, I will eat them at home. Do you want me to makethe fire?”“No, I will make it later on. I may eat the rice cold”“May I take the cast net?”“Of course.”2In fact they have neither rice nor fish, nor the cast net. Yet everyday they share in the illusion with different attitudes. Manolin is being sympathetic when he tries to keep the lies, whereas Santiago indulges in the illusion because of his weakness in character. However, such weakness does not make the hero low, but makes him lovable and closer to humanity. If a character is portrayed as too perfect or rational, it loses much of his quality and hence appears rather inhuman. But such a tendency is avoided in Santiago through the portrayal of his emotional make-up.B. Features of SantiagoSantiago as a protagonist is not exactly like the early “Code heroes”in Hemingway’s stories. The characters in Hemingway’s early works lack such codes and are therefore unsuccessful and passive but in his laterworks especially in “The Old Man and the Sea”, he has acquired those important codes and values; the characters, therefore, turned out to be courageous, taking on great social responsibility. Compared to the early code heroes, there are some differences in the characterization of Santiago.First, Santiago is the epitome of all the other code heroes Hemingway has created. In Santiago there are all those outstanding qualities Hemingway most admires, such as courage, nobility, confidence, tricks, and a remarkable personality. Santiago demonstrates stronger will power and nobler dignity due to his physical limits.Second, Santiago is a new type of hero, and is distinguished from any code hero formerly created by Hemingway. He has greater emotion depth and is an accomplished mediator. He is not without sympathy and warmth. So he is morally superior. Moreover, the ending arranged for him is active and prospective. He is able to enjoy the warmth of friendship and teach his own experience to the would-be hero, Malolin. It is therefore to say that the image in this novel is optimistic and promising.Finally, in Santiago, Hemingway illustrates his understanding of human life.To sum up, Santiago is old but senile, unlucky but not defeated, gentle but not soft, proud but not boastful, resigned but not passive, perhaps most importantly, hopeful for himself without jealousy of others.III. The writing style of Hemingway in modeling the “code hero”A.The language features of HemingwayAmong many great American writers, Hemingway is famous for his objective and terse prose style. As the last novel Hemingway published in his life, The Old Man and the Sea typically reflects his unique writing style. Of course, Hemingway has used many techniques in this novel, such as realism, the creation of suspense, monologue, etc. But here the focus is on the language features in this novel.The language is simple and natural, and has the effect of directness, clarity and freshness. This is because Hemingway always manages to choose words which are concrete, specific, more commonly found, more Anglo-Saxon, casual and conversational.He seldom uses adjectives and abstract nouns, and avoids complicated syntax. Hemingway’s s trength lies in his short sentences and very specific details. His short sentences are powerfully loaded with tension, which he sees in life. Where he does not use a simple and short sentence, he connects the various parts of the sentence in a straightforw ard and sequential way, often linked by “and”. I n the modern English, “and” is among the simplest conjunctions, and its grammatical function is to join the units with similar grammatical function. But the wide use of “and”in modeling the hero means much more thangrammatical function. For example:He settled comfortably against the wood and took his sufferingas it came and the fish swam steadily and the boat movedslowly through the dark water. There was a small sea risingwith the wind coming up from the east and at noon theold man’s left hand was uncramped.”3In this paragraph, the word “and” obviously works more than merely joining the units with the same grammatical function. In fact, there is no relation among “He settled comfortably against the wood”, “the fish swam steadily”and “the boat moved slowly”, nor is there any relation between “T here was a small sea rising” and “the old man’s left hand was uncramped”. But the author made them related by using “and” to join all the old man’s acts to the things around him. The old man and the nature were harmoniously together.In creating characters, Hemingway uses dialogue as an effective device. It is presented in a form “as close to the dramatic as possible, with a minimum of explanatory comment.” 4 Here is an example chosen from The Old Man and the Sea:“What do you have to eat?” the boy asked.“No, I will eat at home. Do you want me to makethe fire?”“No, I will make it later on. Or I may eat the rice cold.” 5Here we can see that such interpolati ons as “he said” have frequently been omitted and the words are very colloquial. Thus the speech comes to the reader as if he were listening. Hemingway has captured the immediacy of dialogue skillfully and has made the economical speech connotative.Occasionally, the author uses such figures of speech as metaphor, personification, etc to describe details. Hemingway likes to use natural things as metaphors. For example, he describes Santiago’s eyes as “the same color as the sea and were cheerful and undef eated.”6 The metaphor reveals that the old man is closely linked with nature. At the beginning of the novel, a simile is used: “the sail was patched with flour sacks and, furled; it looked like the flag of permanent defeat.” 7Here Santiago’s eyes are contrasted with the patched sail, which symbolize defeat.B. Hemingway’s way to model “Code hero”At first, in his presentation of the hero, Hemingway tries to display Santiago’s inner strength in the description of his body and eyes: The old man was thin and gaunt with deep wrinkles in theback of his neck. The brown blotches of the benevolent skincancer the sun brings from its reflection on the tropic seawere on his cheeks. The blotches ran well down the sidesof his face and his hands had the deep-creased scars fromhandling heavy fish on the cords. But none of the scarswere fresh. They were as old as erosions in a fishlessdesert. Everything about him was old except his eyesand they were cheerful and undefeated. 8In Santiago, great tension is created from the two counterchecking forces, and such tension intensifies the reader’s expectation of the hero. One is the contrast between the wrenched sail that is like a flag of permanent defeat and his undefeated eyes. Another is the contrast between the wounded body and his pleasant eyes. The author depicts the protagonist as an old man that is physically weak. He is helpless and isolated, fending for himself. Hemingway contrasts physical weakness with his psychological strength. Moreover, the hero’s bad luck and defeat is permanent in other s’ eyes, but to Santiago, it does not matter much, and he still thinks he will have good luck next time again. He will be able to catch a good fish again with his rich experience and great skills. His great skills and perseverance are demonstrated while he is fishing the marlin in the sea. Through his experience, the readers are made to identify Santiago with the most outstanding personality in human beings and are therefore encouraged to discover all that is implied in Santiago. In the latter part of the novel, instead of being narrated by the author, the facts are used from inside Santiago’s own consciousness, and form part of a whole scheme of the novel.Furthermore, two events, namely, fishing the marlin and fighting with the sharks serve as catalysts for the unfolding of the story. The two scenarios are arranged in such a way that they are closely connected but independent of each other at the same time. The beginning of the story is also the beginning of conflict, and when that conflict has been solved the story comes to an end. According to Hemingway, in the story there is nothing symbolic. The sea is the sea, the old man is the old man, the fish is the fish, and the boy is the boy. The sharks are the sharks. Yet the simplicity of the storyline is of great significance to the reader. It has both a beginning and an ending, and presents a complete round of fighting between a hero and his circumstance.At the same time, in the story, there is another minor character, Manolin, the little boy. He appears only at the beginning and the ending of the novel, but this character is very important in characterizing the old man’s hero image.Santiago does not treat Manolin as a young boy but rather as an equal. Age is not a factor in their relationship. Manolin does not even act as a young boy; he is mature and sensitive to Santiago’s feelings. He even offers to go against his parents’ wishes and accompany Santiago on his fishing trips. Santiago is viewed as an outcast in his village because he has not caught any fish for more than eighty-four days and is therefore “unlucky¨. Nonetheless Manolin is loyal to Santiago and even when his parents forbid him he wants to help his friend. Santiago isan old Cuban fisherman and his personal background and his relationship with the village are somewhat elusive. The protagonist displays remarkable spiritual motivation as well as impressive personality through his friendship with the little boy Malolin, and we know his heroic past and great skills from the words of the little boy. The protagonist’s great concern to the little boy is also a warm side of his hero image.Finally, the entire significance has been conveyed by a compressed action. The core of the novel’s action is fishing. The author showed readers the process of fishing, which mostly comes from his own experience. From these facts, which are vivid, precise and terse, readers can learn a lot about how to catch a fish and can also feel as if they themselves were catching a fish. Then they will have the sense that what the author describes is real and believable. To the hero, fishing is not simply a contest in life. It contains profound philosophic meaning. In addition, two details - the baseball match and the hand wresting with the Negro, like fishing, symbolize the contention in life. They compensate and enrich the inner meaning of the main plot of fishing.C. Hemingway’s symbolismSymbolism is always an eternal and controversial topic in The Old Man and the Sea. Some people hold the view that it is a true story and the author heard it from an old fisherman in Kabanas. But we still cannot deny that there are also plenty of symbols existing in this novel. Inliterature, a symbol is a thing that stands for or suggests something else by reason of relationship, association, convention or accidental resemblance, especially, a visible sign of something invisible (For example, the lion is the symbol of courage and the cross is the symbol of Christianity). The symbol generally does not stand for the meaning, not for anything absolutely definite; it evokes an object that suggests the meaning.Hemingway has a famous “iceberg theory”; he believed a good writer does not need to reveal every detail of a character or action; If a writer of the prose knows enough about what he is writing about, he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as if the writer had stated them. The one-eighth that is presented will suggest all other meaningful dimensions of the story, whereas the other seven-eighth of which is concealed beneath the surface of the water in which it floats. Thus Hemingway’s language is highly symbolic and suggestive. Among all the works of Hemingway, the saga of Santiago is thought as the most typical one as far as this Iceberg Theory concerned. When Hemingway said of this story, “I tried to make a real old man, a real sea and real sharks”, he then went on to say, “But if I made them good and true enough the y would mean many things.”9The author seldom expresses his own feelings directly, nor does hemake any comments or explanations. On the contrary, he tries to narrate and describe things objectively and blends his own feelings harmoniously with the natural narration and description. There won’t be great difficulties to understand the literal meaning of his short sentences and simple words, but a work by Hemingway demands deliberate attention. In other word, one has to keep a close eye on Hemingway’s words and to read between the lines because of his highly symbolic language.To begin with, the title of the novel itself is the symbol. The old man represents the human race and the sea represents the nature. The whole story could be eyed as the metaphor of the struggle that takes place between human beings and the nature. But the story also indicates that the nature is, to some extent, superior and that the humankind is not able to win this fighting. The old man, Santiago to some degree symbolizes Christ in many ways. His name derives from San Diego (San James), suggesting the old man’s ties with the Christian religion. And he embodies much of that religion. For instance, his strong right hand is his salvation and his left hand is the traitor to his body, he carries his mast up the hill to his home and falls beneath it like Christ bearing cross.Secondly, the major symbol is the sea, which stands for all on which man must sail. In both the sea and the life, there are serious possibilities that lie hidden from the common eyes. Some are gifts to be treasured and some are problems to be solved and defeated. Neither will be foundunless man embarks on the journeys; if man is lucky enough to discover a treasure (maybe it is love or family or education), he must fight until death to retain it; if man is unlucky enough to discover an evil lurking underneath the surface of the sea, and he must fight bravely and nobly until the end. In the novel Santiago undergoes a sea journey (life) and encounters a giant marlin (treasure). He battles nobly to earn the treasure and fights the sharks (problems) to save it. The marlin is graceful and noble, and its existence supports Santiago’s life and his faith. Yet the sharks are those dark forces that are destructive to human life. They are indicative of all the violence and injustices in the world.Finally, the giant marlin is a symbol of the mysterious world of the unknown that challenges everyone. For a large part of the book, Santiago is pulled by this giant, a mysterious creature, and yet he does not know what it is or what it looks like. The old man can only imagine its strength, power, and determination. Yet he still identifies with it. Knowing it is the part of the natural order of existence, he is even more amazed at its grandeur and size when the old man actually sees the fish. Santiago is determined to show what a man can do and what a man can endure.In addition to the main symbols mentioned above, there are many minor symbols in the story. For instance, the sea and the experience, can be regarded as the miniature of people’s life. The old man’s weatherworn face symbolizes his unlucky fate, and his particular eyes are the symbolof his unconquerable willpower. The scar of his hands suggests that he does not give up forever. The lion playing on the beach symbolizes his exploring spirit, strength and bravery. This is his strength source when he is in danger. Also the bleeding hands of Santiago are the symbols of the suffering of Jesus Christ, whose hands were equally wounded by the rails used to crucify him. Another recurring symbol in the novel is that of DiMaggio, the particular handicapped baseball player, who often figures in the old man’s waking thoughts as well as in his dreams. DiMaggio inspires him with the determination to win in spite of his handicap. The image of the baseball hero playing in pain gives Santiago renewed vigor and stamina to put up his own pain. Therefore the great DiMaggio is said to be a symbol of courage, endurance and success.To sum up, symbolism is a noted writing characteristic in The Old Man and the Sea. The old man, the sea, the marlin, the lions and so on and so forth, to a large extent has deep symbolic meanings respectively. One can get different kinds of interpretations in accordance with a variety of points of views. In addition, by using symbols, Hemingway succeeded in reaching his goal of conveying the main theme of the story that–courage leads to success.IV. ConclusionThis paper has further explored the image of the "code hero" created by Ernest Hemingway, and pointed out that the main strength of the "code。
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部分题目已经写好原创。
二、原创论文参考题目2、(英语毕业论文)全身反应法在少儿英语教学中的应用——以杭州英之辅EF语言培训为例3、(英语毕业论文)Effects of Chinese Culture on Promotion of Automobiles－－Traditional Cultural Elements4、(英语毕业论文)从日常交际礼貌用语失误看中西方文化差异（开题报告+论文）5、(英语毕业论文)英文中“and”的用法及译法探析6、(英语毕业论文)从《丧钟为谁而鸣》看海明威的生死观7、(英语毕业论文)《月亮与六便士》中查尔斯•思特里克兰德的追寻自我8、(英语毕业论文)顺应论视角下的电影片名翻译（开题报告+论）9、(英语毕业论文)Strategies of Translating Chinese Proper Nouns in Tourism Texts10、(英语毕业论文)现代人对超人的需求－－超人形象演变综述11、(英语毕业论文)《月亮与六便士》中查尔斯•思特里克兰德的追寻自我12、(英语毕业论文)The Archetype of the Ugly Duckling in The Secret Garden13、(英语毕业论文)Comparaison entre l’Histoire d’A Q et l’Etranger（开题报告+论文）14、(英语毕业论文)On the Translation of Psychological Description in Wuthering Heights from the Perspective of Functional Equivalence15、(英语毕业论文)从关联理论角度看英语广告语的修辞16、(英语毕业论文)高中英语写作作业的反馈及实施效果17、(英语毕业论文)英汉动物习语的对比研究(开题报告+论文)18、(英语毕业论文)Developing University Students’Cross-cultural Awareness in English Teaching and Learning19、(英语毕业论文)《月亮与六便士》中查尔斯•思特里克兰德的追寻自我20、(英语毕业论文)顺应理论视角下公益广告英译中的语用失误分析21、(英语毕业论文)儿童语言习得关键期假说的教育语言学重估（开题报告+论文）22、(英语毕业论文)以篱笆和围墙看中西方居住文化差异23、(英语毕业论文)目的论视角下英语外贸函电汉译的研究（开题报告+论文）24、(英语毕业论文)从文化负载词褒贬意义看中西文化差异（开题报告+论文）25、(英语毕业论文)从生态女性主义的角度解读《喜福会》（开题报告+论文+文献综述）26、(英语毕业论文)论《愤怒的葡萄》中的生态批评思想（开题报告+论文）27、(英语毕业论文)从顺应论的角度谈英文电影片名的汉译（开题报告+论文）28、(英语毕业论文)美剧《欲望都市》中女性语言的语用分析29、(英语毕业论文)模因论指导下的商标翻译（开题报告+论文）30、(英语毕业论文)口语语篇中责任情态的人际意义研究31、(英语毕业论文)耐克公司Ps营销策略对我国体育用品产业的启示32、(英语毕业论文)浅析《恋爱中的女人》中劳伦斯的爱情观33、(英语毕业论文)论西尔维娅•普拉斯诗歌中的死亡意象（开题报告+论文）34、(英语毕业论文)《乱世佳人》女主人公斯嘉丽的性格分析（开题报告+论文+文献综述）35、(英语毕业论文)男权社会下康妮女性身份的诉求－－D.H.劳伦斯《查泰莱夫人的情人》的研究（开题报告+论文）36、(英语毕业论文)论《远离尘嚣》中女主人公的悲剧原因（开题报告+论文+文献综述）37、(英语毕业论文)对比研究中西家庭观38、(英语毕业论文)从女性主义视角浅析《纯真年代》中两位女主人公爱情观的不同(开题报告+论文)39、(英语毕业论文)《月亮与六便士》中查尔斯•思特里克兰德的追寻自我40、(英语毕业论文)中西方礼貌原则及其差异对比研究41、(英语毕业论文)浅论广告英语的修辞特色42、(英语毕业论文)托尼•莫里森《秀拉》中的女性主义（开题报告+论文）43、(英语毕业论文)中学英语学习中文化障碍分析44、(英语毕业论文)浅析英汉颜色词的文化内涵及翻译45、(英语毕业论文)商务谈判中的模糊语的使用46、(英语毕业论文)跨文化视角下中西方选秀文化对比研究——以达人秀为例（开题报告+论文）47、(英语毕业论文)《红楼梦》两英译本中习语翻译的比较48、(英语毕业论文)译前准备对交替传译效果的影响（开题报告+论文+文献综述+外文翻译）49、(英语毕业论文)埃德加•爱伦•坡恐怖小说的哥特式特征分析（开题报告+论文）50、(英语毕业论文)《月亮与六便士》中查尔斯•思特里克兰德的追寻自我51、(英语毕业论文)万劫不复的阴暗人性——解析《蝇王》的主题(开题报告+论文)52、(英语毕业论文)网络环境下英语专业学生学习策略研究（开题报告+论文+文献综述）53、(英语毕业论文)英国哥特小说故事情节中的怪诞表现（开题报告+论文+文献综述）54、(英语毕业论文)《月亮与六便士》中查尔斯•思特里克兰德的追寻自我55、(英语毕业论文)《月亮与六便士》中查尔斯•思特里克兰德的追寻自我56、(英语毕业论文)澳大利亚英语词汇和澳大利亚文化（开题报告+论）57、(英语毕业论文)从功能对等理论看“赶”的英译（开题报告+论文+文献综述+外文翻译）58、(英语毕业论文)模因论指导下的英语习语汉译59、(英语毕业论文)从功能理论角度分析电影《点球成金》字幕翻译60、(英语毕业论文)论《傲骨贤妻》字幕翻译中的归化和异化策略（开题报告+论文+文献综述）61、(英语毕业论文)《月亮与六便士》中查尔斯•思特里克兰德的追寻自我62、(英语毕业论文)英语专业本科毕业论文摘要的体裁分析（开题报告+论文+文献综述+外文翻译）63、(英语毕业论文)目的论在电影字幕翻译中的应用——以《功夫熊猫》为例（开题报告+论文）64、(英语毕业论文)海明威《印第安人营地》新解65、(英语毕业论文)公示语英译错误分析（开题报告+论文）66、(英语毕业论文)交际法在中学英语教学中的运用67、(英语毕业论文)“词块”理论及应用前景探微（开题报告+论文+文献综述）68、(英语毕业论文)《月亮与六便士》中查尔斯•思特里克兰德的追寻自我69、(英语毕业论文)《尤利西斯》与《春之声》中意识流手法的不同70、(英语毕业论文)汽车广告中的中西文化差异研究（开题报告+论文+文献综述）71、(英语毕业论文)《永别了武器》中战争对人类所造成的毁灭（开题报告+论文+文献综述）72、(英语毕业论文)《月亮与六便士》中查尔斯•思特里克兰德的追寻自我73、(英语毕业论文)《月亮与六便士》中查尔斯•思特里克兰德的追寻自我74、(英语毕业论文)论圣经诗篇的修辞特点（开题报告+论文+文献综述+外文翻译）75、(英语毕业论文)情景法在新概念英语教学中的应用——以杭州新东方为例76、(英语毕业论文)浅析唐诗翻译的难点和策略（开题报告+论）77、(英语毕业论文)《生活大爆炸》言语幽默语用分析（开题报告+论）78、(英语毕业论文)论《儿子与情人》中保罗人格形成的影响因素（开题报告+论文+文献综述）79、(英语毕业论文)从华裔少女的自传《此时，彼地》看中美两国校园文化差异(开题报告+论文+文献综述)80、(英语毕业论文)论马可•吐温小说中的讽刺技巧81、(英语毕业论文)The Dilemma of Career Woman in The Millstone（开题报告+论文+文献综述）82、(英语毕业论文)《月亮与六便士》中查尔斯•思特里克兰德的追寻自我83、(英语毕业论文)探析《玛莎•奎斯特》中玛莎性格的根源（开题报告+论文）84、(英语毕业论文)英汉“悲”、“喜”情感隐喻的认知比较研究（开题报告+论文）85、(英语毕业论文)浅论《洛丽塔》主人公悲剧命运的根源（开题报告+论文）86、(英语毕业论文)浅析卡夫卡小说中的荒诞意识（开题报告+论文）87、(英语毕业论文)《动物庄园》中的黑色幽默分析88、(英语毕业论文)高中学生英语词汇学习现状研究综述（开题报告+论文）89、(英语毕业论文)论《老无所依》中的英雄缺失(开题报告+论文+文献综述)90、(英语毕业论文)《道林•格雷的画像》中的现实元素（开题报告+论）91、(英语毕业论文)A Study of Expressionism in Winesburg, Ohio(开题报告+论文+文献综述)92、(英语毕业论文)旅游翻译中的跨文化语用失误（开题报告+论文+文献综述）93、(英语毕业论文)浅议英语情态动词“can”和汉语能愿动词“能”—以类型学为视角94、(英语毕业论文)论《追风筝的人》中父子关系的心理剖析（开题报告+论文）95、(英语毕业论文)臻于完美的人物魅力——对简•奥斯丁《劝导》中的女主人公的分析（开题报告+论文+文献综述+外文翻译）96、(英语毕业论文)A Freudian Psychoanalytical Interpretation of Catherine and Heathcliff in Wuthering Heights（开题报告+论文+文献综述）97、(英语毕业论文)从市场营销的角度论哈利•波特的成功98、(英语毕业论文)从《红楼梦》和《飘》看中美恭维语比较99、(英语毕业论文)从弗洛伊德解读《好人难寻》（开题报告+论文+文献综述）100、(英语毕业论文)探索《小王子》中主人公的性格101、(英语毕业论文)Scarlett O'Hara and Feminism102、(英语毕业论文)《红楼梦》英译中双关语文化成分的翻译策略研究103、(英语毕业论文)从《肖申克的救赎》看体制化对个人的影响104、(英语毕业论文)适者生存——解析《野性的呼唤》中的生存法则105、(英语毕业论文)从目的论看《红楼梦》中成语的翻译（开题报告+论文）106、(英语毕业论文)《紫色》中“家”的解读（开题报告+论文+文献综述）107、(英语毕业论文)英语广告语中隐喻的研究（开题报告+论文）108、(英语毕业论文)从美国梦看美国社会流动机制(开题报告+论文)109、(英语毕业论文)在归隐中相遇—论梭罗与陶渊明的诗意人生（开题报告+论文+文献综述）110、(英语毕业论文)中西方餐桌礼仪文化对比111、(英语毕业论文)《红字》中珠儿与《雷雨》中周萍之比较112、(英语毕业论文)《威尼斯商人》中的种族及宗教冲突（开题报告+论文+文献综述）113、(英语毕业论文)浅析科技英语的文体特点(开题报告+论文)114、(英语毕业论文)女权主义评论视角下的《金色笔记本》115、(英语毕业论文)《美国悲剧》中的对比手法运用研究（开题报告+论文+文献综述）116、(英语毕业论文)《德伯家的苔丝》中的意象分析（开题报告+论文）117、(英语毕业论文)谈归化与异化翻译的融合－－以谚语翻译为例118、(英语毕业论文)关于高中生英语阅读策略运用情况的调查（开题报告+论文+文献综述）119、(英语毕业论文)中介语石化现象成因及应对策略(开题报告+论文)120、(英语系经贸英语)浅析企业如何通过市场定位打开销售渠道121、(英语毕业论文)试析中英婚姻生活差异及其原因（开题报告+论文）122、(英语毕业论文)Bertha Is Jane:A Psychological Analysis of Charlotte Bronte’s Jane Eyre（开题报告+论文+文献综述）123、(英语毕业论文)The Influence of Bob Dylan and His Works on American Social Movements124、(英语毕业论文)中西婚礼风俗对比(开题报告+论文)125、(英语毕业论文)论中西方交际方式的差异（开题报告+论文+文献综述）126、(英语毕业论文)Oscar Wilde’s Aestheticism on The Picture of Dorian Gray127、(英语毕业论文)米字旗下的荣耀与忐忑——论维多利亚时代英国人的社会价值观(开题报告+论文)128、(英语毕业论文)关于《麦田里的守望者》主人公霍尔顿悲剧人生的分析129、(英语毕业论文)《嘉莉妹妹》之消费主义下的人物形象分析130、(英语系经贸英语)从“口红效应”看中国文化产业的机遇131、(英语毕业论文)法律英语词汇特点及其翻译（开题报告+论文）132、(英语毕业论文)A Feministic Study of the Theme of “The Chrysanthemums”（开题报告+论文+文献综述）133、(英语毕业论文)十九世纪英国女性小说中的两位灰姑娘——伊利莎白•班纳特和简•爱形象比较（开题报告+论文）134、(英语毕业论文)美剧字幕中的译者主体性——以美剧Gossip Girl第一季为例（开题报告+论文+文献综述+外文翻译）135、(英语毕业论文)《雾都孤儿》中批判现实主义写作手法分析136、137、(英语毕业论文)《老人与海》中桑迪亚哥的硬汉形象探析（开题报告+论文）138、(英语毕业论文)浅析中西方饮食文化差异（开题报告+论文）139、(英语毕业论文)《傲慢与偏见》中婚姻观对当代中国的现实意义（开题报告+论文）140、(英语毕业论文)论《愤怒的葡萄》中的生态批评思想（开题报告+论文）141、(英语毕业论文)论中美婚礼习俗的差异与融合(开题报告+论文)142、(英语毕业论文)隐喻在英语委婉语中的应用143、(英语毕业论文)A Comparative Study of Western Knight and Chinese Knight in Idylls of the King and Eight Heavenly Deities（开题报告+论文+文献综述）144、(英语毕业论文)从《生活大爆炸》中看中西幽默的差异(开题报告+论文)145、(英语毕业论文)中外青年婚姻观念差异——从《柳堡的故事》和《傲慢与偏见》中进行对比146、(英语毕业论文)《月亮与六便士》中查尔斯•思特里克兰德的追寻自我147、(英语毕业论文)初中英语词汇教学法研究综述（开题报告+论文）148、(英语毕业论文)《月亮与六便士》中查尔斯•思特里克兰德的追寻自我149、(英语毕业论文)试析《到灯塔去》中的女性主义150、(英语毕业论文)《彼得潘》中彼得潘形象分析151、(英语毕业论文)Pragmatic Study on the Humor Effect in The Big Bang Theory（开题报告+论文+文献综述）152、(英语毕业论文)中西方文化差异在初中英语词汇教学中的体现153、(英语毕业论文)《哈姆雷特》中不言而喻的隐喻魅力(开题报告+论文+文献综述)154、(英语毕业论文)《月亮与六便士》中查尔斯•思特里克兰德的追寻自我155、(英语毕业论文)对《傲慢与偏见》中贝内特太太及其女儿们的人物评论156、(英语毕业论文)跨文化交际中的个人主义和集体主义冲突及解决办法（开题报告+论文+文献综述）157、(英语毕业论文)高中英语听力课中的文化教学（开题报告+论文+文献综述）158、(英语毕业论文)《追风筝的人》中哈桑自我牺牲精神的研究159、(英语毕业论文)《霍乱时期的爱情》中象征手法的解析（开题报告+论文）160、(英语毕业论文)The Growth Topic in The Catcher in the Rye（开题报告+论文+文献综述）161、(英语毕业论文)论海明威《死在午后》的悲观主义色彩162、(英语毕业论文)Cultural Differences Between English and Chinese by Analyzing Brand 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