美国文学选读期末论文嘉莉妹妹
《嘉莉妹妹》中美国梦论文
浅谈《嘉莉妹妹》中的美国梦摘要：在德莱塞的小说《嘉莉妹妹》中，“美国梦”这个主题贯穿故事的始终：嘉莉的性格和命运，都是当时充斥于社会中的美国梦造成的。
本文通过阐述主人公对“美国梦”的追求以及现实和梦想的破灭，暗示了“美国梦”的虚幻性和幻想破灭的必然性。
关键词：《嘉莉妹妹》美国梦性格现实命运中图分类号：i106.4 文献标识码：a一美国梦的起源与发展美国梦（american dream），是美国人引以为豪的一种信念，是指在美国，无论出身、年龄、性别、种族，只要具有坚韧不拔的毅力、勤劳肯干的精神和过人的聪明才智，任何人都可能取得成功，过上舒适的生活，使自己的梦想变为现实。
这种成功，仅仅依赖于个体的勤奋，而非依赖于他人和社会的援助。
拥有美国梦的美国人认为，只要自身的努力，就可以改变自己的社会地位，就可能从一名不文的穷人变为百万富翁，从默默无闻的小人物走进白宫。
美国梦起源于17世纪，英格兰移民怀揣自由与财富的梦想乘坐“五月花号”来到荒无人烟的美洲大陆，其中很多人是清教徒，他们主张宗教自由和民主平等，宣扬梦想靠自身的努力即可实现的观点，因此，当时的美国梦的确催人奋进，起到了积极的作用。
当历史的时针走到18世纪末期，加州大量金矿的发现激起了狂热的淘金潮，人们对金钱的贪欲达到了顶峰，并且一夜暴富成为了梦想的核心。
这就成为了美国梦开始扭曲的转折点。
《嘉莉妹妹》正是在这种时代背景下应运而生的。
二《嘉莉妹妹》美国梦的时代背景《嘉莉妹妹》是美国著名的自然主义时代社会小说家西奥多·德莱塞（1871-1945）的第一部长篇小说。
在当时德莱塞生活的时代，美国正处于由农村向城市的转型历史阶段。
此时，人们追求“美国梦”达到了白热化阶段。
但是此时的美国梦已经不再具有最初的诚实劳动改变所处环境实现梦想的积极的现实意义，人们只关注自经济地位和自身利益，而无视自己的行为是否符合传统道德观。
康涅狄格州立大学历史学教授马修·渥肖尔曾评论道：“美国梦就是对财富的无限渴求和追逐”。
嘉莉妹妹论文指导
嘉莉妹妹1，出生在美国上个世纪的一个乡村小镇2，一直在父母的照顾之下成长，本性未充分表露展现3，从小就向往梦想，试图走出乡村走向上层社会4，命运在他去姐姐那发生了转机，为他提供了契机，一切都是那样的理所当然，在火车上一名推销员有意识的调情和展露下，他的上层社会观念悄然发生了改变，加强了，他向往上层社会的的强烈愿望和意向，希望转机有朝一日能够成为上层社会的一员，当她明白了后，并且为此接受了他的调情期望从它那里获取成为上层社会的知识，而后成为了他的情人，而后的种种插曲，后来的另觅新欢，再次成为了别人的情人（上层社会）在事情暴露后，传说的上层社会人士身败名裂！沦为乞丐、而她却在生活的逼迫下，悄然登入了梦想的上层社会殿堂！5，文中嘉莉妹妹由最先的乡村梦想女孩，充满了对大城市的好奇心与向往，由一个乡村保守女性，转变为一个为了那梦想的追逐，在生存法则严格的情况下，疯狂的进取，不择手段的。
成为了一个为了自己的利益，而违背社会伦理道德与爱情忠贞不顾，复攀高枝抛弃他人的写实生存状况，让人见识了利益性格的可塑性，人性的本真与后天的改变，社会的利害关系资本主义社会，生存法则的力量！6,每个人都有追求自己幸福的权利，但追求的方式却不尽相同，不同的出身，不同的际遇，不一样的世界观与价值观，早就来不一样的人生！性格决定命运，莎士比亚曾说的这句话，无疑验证了嘉利起起落落的许许多多，男人与女人在这个社会上本就有许多的不同，在资本主义社会表现的尤为明显，利益至上奢华的资本主义社会，完美的诠释了一句话：人不为己天诛地灭！嘉利只是个代表，她揭示的是一种社会状况，社会的深层矛盾！上层与下层利益追逐，可悲，可叹，还是那亦有回想的，穷途末路，横看风中竖琴！——结局亦是那心灵的创伤，黑暗中的眼睛、黄金难买的幸福、嘿嘿、、、随便的写的，仅供思路参考哦。
认为不对的，记得告诉我哦，呵呵、、祝早日完成！。
《嘉莉妹妹》女性主义探析嘉莉妹妹女性主义论文
《嘉莉妹妹》女性主义探析嘉莉妹妹女性主义论文一时代背景19世纪末20世纪初，美国社会处于由传统工业向现代工业的转型期，工业化和机械化程度日益增强，传统的精神信仰受到了经济发展的冲击，新的精神信仰尚未形成，而女性在当时以男性为中心的社会中仍处于附属地位。
这一时期西方正处于第一次女权运动浪潮之中, 女性开始为争取自身的解放而奋斗，批判男权主义的女权主义应运而生。
2848年，伊丽莎口•凯蒂•斯坦顿和卢科瑞蒂亚•莫特带领女权主义改革者在塞内卡瀑布举行聚会，要求修正法典里许多对妇女不公平的待遇。
纽约州召开了妇女代表大会，争取选举权运动。
这期间，美国社会出现了成千上万的•新女性”。
一般来讲，“新女性”指两类妇女，一类是劳动阶层的年轻女工，另一类是不安于传统女性命运的中产阶级少女和少妇。
“新女性”大都具有强烈的自我意识和独立的个性，受过一定程度的教育，性观念较为开放，不为传统的家庭观念所束缚。
她们常常通过各种方式为自己争取更大的独立权利，并呼吁与男人一样享有平等的权利。
’新女性”的崛起为当时的美国文学提供了全新的素材，注入了新的活力。
大批•新女性”以•自主、独立、蔑视传统”的姿态出现在美国社会，并以否定传统婚姻和家庭观念的大胆行为来挑战男权社会。
但是仍然有许多男性作家，如杰克•伦敦、亨利•詹姆斯等为捍卫男性权威、维护传统妇道而把•新女性”刻画成性情古怪，行为异常，令读者嫌恶的角色。
当时的女性仍然受着清教主义的影响，主流女性形象是温文尔雅的淑女，是虔诚的清教徒，这也就说明，当时的女性在婚后应该全心全意相夫教子，不能毫无顾忌地放纵自我的情感，整天沉溺于男欢女爱。
女性应该是纯洁无瑕的，应该是纯洁高尚的化身，不能读任何有关性和性爱的故事。
尽管德莱塞勇于而对现实，在《嘉莉妹妹》中描绘了以嘉莉为代表的“新女性”的形象，却也未能摆脱遭致恶评的命运。
德莱塞并未像其他世俗之人一样把嘉莉描绘成一个为了虚荣和欲望出卖肉体的低级女性，而是一个•被动的奋斗者”, 属于高层次的女性。
美国作家西奥多德莱赛的嘉莉妹妹论文
IntroductionSister Carrie is Theodore Dreiser’s first novel, it was a commercial and critical failure when first published in 1900, but was reissued in 1907 and won high praise for its grim, naturalistic portrayal of American society. Carrie Meeber is the protagonist of the the story. Penniless and “full of the illusions of ignorance and youth,”she leaves her rural home to seek work in Chicago. On the train, she becomes acquainted with Charles Drouet, a salesman. In Chicago, she lives with her sister and brother-in-law, and works for a time in a shoe factory. Meager income and terrible work condition oppress her imaginative spirit. After a period of unemployment and loneliness, she accepts Drouet and becomes his mistress. During Drouet’s absences, she falls in love with Drouet’s friend, George Hurstwood, a middle-aged, married, comparatively intelligent and cultured saloon manager. They finally elope, first to Montreal and then to New York. They live together for more than three years. Carrie becomes mature in intellect and emotion, while Hurstwood, away from the atmosphere of success on while his life has been based, and steadily declines. So their relations become strained. At last, she thinks him too great a burden and leaves him. Hurstwood sinks lower and lower. After becoming a beggar, he commits suicide, while Carrie Meeber becomes a star of musical comedies. But in spite of her success, she is lonely and dissatisfied.In the novel Sister Carrie the author tells us, to Carrie, there must always be a new world to conquer, new goals to achieve. In other words, there must be a new level that is more satisfying than any she has reached.Carrie Meeber does not wish to remain poor and comes to the city to seek whatever she can find. But she is not a simple gold digger. She is much more complex than that, because her goals are clothes, money and fame. However, she does not mind the means through which she achieves them. In the course of her pursuit, Carrie subordinates everything to her consuming ambition, but in the end, her dream is completely broken, and she finds that she can never attain what she wants. She sitslonely in her rocking chair and dreams of such happiness as she may never feel.There is a particular characteristic of the novel which is worth mentioning----much of the space is devoted to the descriptions of the terrible working condition of the factory，where workers are treated as untiring machines. Dreiser shows great sympathy with the working people with whom he is so familiar in his youth. In his novels，workers，both male and female，seem vulgar, rude and ignorant，but warm-hearted and considerate. Take the workmates of Carrie at the shoe’s factory for example. They teach her how to work，try to aid her as much as they dare by working slower, and comfort her in her desperation. So there is true friendship among the workmates. It forms a striking contrast with Carries relationship with those bourgeoisies. And the workers turn out to be of higher class of consciousness in the chapters about the strike. The strikers know how to struggle for their rights. They are not armed，but fight peacefully. They say to the scrub "you don't want to take the bread out of another's mouth，do you?" "we're all working men，like yourself. If you were regular motorman，and had. been treated as we have been, you wouldn’t want anyone to take your place，would you?" "You wouldn’t want anyone to do you out of your chance to get your rights，would you?" "Come down，pared，and be a man. Don't fight the poor. “Though not revolutionary enough，but convincing and philosophic.”I think Sister Carrie is a long but not complicated novel; it had a chronological narrative which follows a linear sequence. Its organization and structure are, as we shall see later, quite conventional and Dreiser, who had after all little knowledge of literature, made no attempt to experiment with the form. It is rather the exact character-portrayal of the novel, the relentless exposure of human motives--- materialism is the core. Man had a meaningless and endless search for satisfaction of his desires, desires for money and sex is another human desire. Sexual beauty symbolizes the social status and shocks readers in 1900 and ultimately breaks new ground. Carrie's transgression, presented unapologetically Dreiser, was scandalous to contemporary readers. According to the conventions of Victorian melodrama, a woman who loves her virtue must be punished with death or other disastrous consequences. The sensation caused by Sister Carrie lay in the fact that, for the firsttime in American literature, a woman had a sexual relationship outside of marriage and came away unscathed. Sister Carrie shows some of the ideological doubts that Dreiser had about American society at the turn of the century. It creates a paradox in the idealism behind the novel. Carrie is to be lauded for her desire to succeed, but mercilessly slandered for her amoral ways of going about it.Though received not favorably and attacked as immoral by the public in its time, Sister Carrie best embodies Theodore Dreiser’s naturalistic belief that while men are controlled and conditioned by heredity, instinct and chance, a few extraordinary and unsophisticated human beings refuse to accept their fate wordlessly and instead strive, unsuccessfully, to find meaning and purpose for their existence. Carrie Meeber, as one of such, senses that she is merely a cipher in an uncaring world yet seeks to grasp the mysteries of life and thereby satisfies her desires for social status and material comfort.Chapter 1 A Description of Carrie Meeber’sBehaviorChangesThe protagonist in this novel is Carrie Meeber，a naive young girl who leaves home in Wisconsinite to find a job and hopes to live independently in Chicago. She is eighteen years old，"and full of illusions of ignorance and youth".And yet she was interested in her charms, quick to understand the keener pleasures of life, ambitions to gain in material things. A half-equipped little knight she was, venturing to reconnoiter the mysterious city and dreaming wild dreams of some vague, far-off supremacy, which should make it prey and subject --- the proper penitent, groveling at a woman’s slipper.②She believes that “everyone has chances to get rich” and “Chicago is paved with wealth”. Anyway she wishes to enjoy the comfort of the city and to find a betterfortune there. She is bright，timid and poverty-stricken.“When she hoarded the afternoon train for Chicago，her total outfit consisted of a small trunk，a cheap imitation alligator---skin satchel，a small lunch in paper box，and a yellow leather snap purse，containing her ticket and four dollars in money.“When she arrives，she stays together with her sister and her brother-in-law, and work in a shoe factory, but she cannot support her self and tired of her job. Meager income and terrible working condition oppress her imaginative spirit. Meanwhile, she usually complains about her dress and manner.She realized in a dim way how much the city held-wealth, fashion, ease-every adornment for women, and she longed for dress and beauty with a whole heart③But the social reality is cruel and harsh for her, instead of finding the wealth，fashion，comfort she has been longing for so long to achieve，she sees that "the walls of the rooms were discordantly papered，the floors were covered with matting and the hall laid with a thin rag carpet.，But things are getting worse for herself. She has to find a job as soon as possible, because she is so broke and penniless. But being inexperienced, and a new comer, she is helpless and how can get one job as easily as she imagines? She walks from door to door from morning till night，turning-here and there，seeing one great company after another, but in vain at first. Finally she is lucky enough to be employed at a shoe's factory for four and a half weeks. Several weeks before going to work she sits on a rocking--chair and imagines that the sum of money will "clear its way to every job and every bauble which the heart of a woman may desire”. ‘I will have a fine time” she thinks. But she has to work incessantly for more than ten hours. After the day's work，her eyes are tired，her arms aching and her limbs stiff. She feels that she can hardly endure such a life. So she gives up the job. Her little savings are soon gone. She is to pay four dollars for board and room，"and now she felt that it would be an exceedingly gloomy round，living with these people.”In her desperation，she meets again, the salesman Drouet，whom she once getsacquainted with on the train –to Chicago. She accepts his ten－dollar bills without much hesitation. She just feels the bills are “soft，green，handsome.” And she feels that “she was immensely better off for the having of them. It was something that was power in itself.” One of her order of mind would have been content to be cast away upon a desert island with a bundle of money.”She exclaims "Ah，money, money! What a thing it was to have. How plenty of it would clear away all these troubles!” So the little soldier of fortune becomes a toy, a plaything of the cynical Drouet. Just as reviewed by “She really was not enamored of Drouet. She was cleverer than he. In a dim way, she was beginning to see where he lacked.④”She can see that Drouet does not have the keenest sensibilities and does not have any intention to marry her. So when Hurstwood calls，she meets a man who is more clever than Drouet in a hundred ways. Hurstwood falls in love with Carrie，takes$10,000 from the saloon safe，and tricks her into joining him on a train. Once in New York Hurstwood is unable to find work，while Carrie gets a job as an actress and soon leaves him.She felt very much like a criminal in the matter. Each day looking at Hurstwood. She had realized that, along with the disagreeableness of his attitude, there was something Pathetic⑤After Carrie Meeber deserts Hurstwood, he is in great despair. Feeble and penniless, Hurstwood wanders in a cold winter night with nobody trying to help. Extremely hopeless and totally devastated, he turns the gas on in a cheap lodging-house and ends his life, while at the same time Carrie is rocking comfortably in her luxuriant hotel room before she boards a ship for London. Carrie Meeber's desertion of Hurstwood can be interpreted as cold and cruel, but she stays with him until it is clear that there is nothing anyone can do to save him. At that time she cannot do anything to change their fate either. The counter point of Carrie's rise and Hurstwood's fall is the final irony of the novel..As the plot develops on，Hurstwood is forced to beg on the streets and live in Bowery flophouses where he commits suicide，unknown to Carrie，who has now become the toast of New York society. Yet Carrie learns in her own mind that this is not happiness. She，alone，sits on her rocking-chair，dreaming such happiness as she may never feel. At the beginning of the novel，Dreiser says "When a girl leaves her home at eighteen, she does one of two things. Either she falls into saving hands and becomes better-, or she rapidly assumes the cosmopolitan standard of virtue and becomes worse". But this is not completely true for Carrie. She has two persons to help her, but instead of getting better, she goes from bad to worse. Actually there is no one who can be the savior for Carrie in the society. And she comes to realize it is impossible to be a success by working bard honestly. If you want to be successful，there is no choice but to sell your flesh and soul，fame and consciousness. As a matter of fact，she is always passive，following whither her craving leads. She is as yet more drawn than she draws. She is simply "an anchorless，storm-beaten little craft which can do absolutely nothing but drift," and "but a wisp in the wind"Chapter 2 Analysis of Carrie Meeber’s Behavior ChangesA. The Necessity for SurvivalBeing one of the millions who swarmed with others into the crowded big cities, Carrie Meeber, better known as Sister Carrie, flows to Chicago, the big prosperously industrial city to seek a better life. She is bright, timid, and full of the illusions of ignorance and youth. She thought that she could find a well-paid job and live comfortably among the upper social strata.Soon she realized that she is faced with the very basic need for living. According to the humanistic theorist Abraham Maslow, human needs can be arranged in a hierarchy ranging from the most necessary requirement for survival at the bottom to the most profound expressions of human potential，self-actualization at the top. After she is settled down in her sister Minnie's house she could not enjoy the comfort of afamily. Soon she realizes that her sister's house will not be her permanent place to dwell in. and conscious of the necessity to find a job sooner to support her. This is just in conformity with Maslow’s need hierarchy, with the need for basic physiological desire for food to keep one to survive at the bottom. Unless this need is met it is hard and impossible for a person to pursue higher needs. It is unlikely for the country girl to go to cinemas, go shopping, and buy the attractive, fancy clothes at the expense of the Hanson’s. They are even thinking of having Carrie pay the expenses fo r her board and lodging in order to save some money. How ruthless and unkind the industrialization has turned people that they will ignore the passions and love among family members.After a kind of long march for looking for a job, Carrie Meeber was lucky enough and finally got a job in a shoe factory. Even though the wage is quite low and she has to pay the Hansons four dollars a week for her room and board, she still indulges in her imagination of the showy city life that she may have someday. This is understandable and logical as better life and enjoyment are above the physiological need in Maslow's need hierarchy. What bores Carrie most is that her sister and Mr. Hanson are too old and their thoughts are too conservative that they do not share much in common. After losing her job Carrie is somewhat despaired, she is lonely and helpless in this desperate situation without anybody to give her any suggestion or guide. Drouet's timely presence is like a straw in the water to save a drowning person from being swallowed by water.As a naive and young, Carrie Meeber is so imaginative and her desire for a better life and enjoyment and live among the upper-class is so strong that even if she meets difficulty and cold treatment, such thoughts are still deeply rooted in her mind. This provides a clue for the readers' understanding of her later changes in behavior. Her overwhelming drive for self-interest will motivates her in every instance. We can clearly see Carrie’s readiness to adapt to new environment when she first comes to Chicago. She is a born craver for the material things. Carrie’s curiosity arid her attention to the possibilities extended by life seem more important and significant than any cautionary training she may have received from her parents. This may serve as areason why she soon falls into affair with Drouet and becomes her mistress.B. The Lure of the Material WorldHe we may see that the acceptance of Drouet's twenty-dollar support marks Carrie Meeber’s submission to his request and her even strong desire for materials. When she stands in front of the mirror of the clothes shop to observe her beautiful image and complexion she couldn't help feeling pleased and a warm glow creeps into her cheeks. Now she also has a just and proper appreciation of her inborn beauty and couldn't bear to feel sorry for herself because she doesn’t get li fe's due rewards for the sake of her attractiveness. After a period of unemployment and loneliness, she accepts Drouet and becomes his mistress.As the theory explains, Maslow's need hierarchy denotes that a need for security is above the physiological need, Material things are big attractions to her, which exert irresistible influence on her. Having taken one step on the socioeconomic ladder Carrie Meeber is bound to climb higher as this is her natural personality to be never satisfied with the present. After met Drouet’s friend Fitzgerald Hurstwood—a big manager, she is fascinated again, for an even luxurious and affluent life will be revealed in front of the eighteen-year-old country girl.As she has Drouet’s financial support, Carrie Meeber has now been at the second ladder of the need hierarchy. She is no longer worried about safety which she seeks from Drouet. But comparison with others shakes her already vulnerable mind and inspires her greater demand for the need. Carrie has usually tended to form her judgment from the material appearance, which is her instinct.” Carrie’s mind is flooded by sensory impression of the city’s material things and it succumbs.”Hurstwood invites Drouet and Carrie to see the famous actor Joseph Jefferson perform in Rip Van Winkle by Washington Irving, and in the expensive box, surrounded by people of means; Carrie's mind is filled with such thoughts that Hurstwood is the stronger and higher. The acquaintance with Hurstwood and the further development in their relationship will guarantee Carrie a safer need for survival both physiologically and socially. Since Carrie is such a person motivated bydesire, she will of course shift her attention from Drouet to Hurstwood who will bring her more luxurious pleasure and enjoyment.C. The Pursuit of Self-ActualizationIn the story, From Chicago to New York, Carrie Meeber's life undergoes some changes. She is married to Hurstwood under the new name of Wheeler and settles down in a common flat in New York City. In Maslow's motivational hierarchy, he believes that most people are blocked from progressing smoothly up this need ladder. Some people have to spend their entire lives working very hard just to satisfy the lower-level deficiency needs, while others never succeed in achieving the belongingness and love that they desire from others. Even people who have reached the higher levels can quickly tumble back down the hierarchy if circumstances change and their lower-level needs are no longer being met.We can identify that in the case of Hurstwood, he just belongs to the third kind of people who can no longer retain his original fame and position once the situation changes. But for Carrie, it is quite the different case. She is an adaptable lady, making herself suit the situation soon. Besides, she is sensitive and often has her own opinions. Observing that Hurstwood has always been wearing the same dress and careful with the money, such a change is too obvious to escape Carrie's detection. Carrie still loves Hurstwood but only has a little satisfaction because she no longer can spend money on anything she likes, she can not go with her lover to wherever they used to. Hurstwood is no longer respected and honored as he was in Chicago. That means several needs are deprived of her“need hierarchy”, which makes her uneasy and disappointed. Her innate desire for material things is hard to satisfy, which causes her displeasure.Carrie Meeber had lived in her private life and never compared with those who enjoy a higher social status and life standard, Carrie's desire for "more" might be suppressed and not to be evoked. But Carrie is not born to be a person like this. She hopes to socialize, get acquainted with others, thus the outside world excellences hold an irresistible force on her.As a matter of fact Carrie Meeber tries every means to avail herself of getting in touch with Mrs. Vance. ---her neighbor, who is not only refined in her manner, but also can play the piano fairly well. Frequent exposure to the refinement and delicate manners displayed by those rich ladies like Mrs. Vance makes Carrie pick up these behaviors quickly and the dissatisfaction with her state increases as time passes by. This point is best illustrated by a visit to the theatre to which Carrie is invited by the Vance’s. Together with them are Mrs. Vance's cousin Ames. In the street, which they are following, coaches are numerous, pedestrians are many and streetcars are crowded. Pitiful is Carrie that she has never had the chance to be taken to a theatre dining-hall ever since they move to New York. Hurstwood's modified state could not permit his bringing her to places like this. She is by now totally overwhelmed by the splendid scene that wealth can bring, her strong desire is aroused and she sees the tokens of property and richness which are the true embodiment of self-actualization.In the story another balancing power on Carrie Meeber comes from Mrs. Vance's cousin, Mr. Ames. During the dinner, they talk about the way rich people indulge in showing off. Ames' words come to Carrie as a shock. “I shouldn't care to be rich, not rich enough to spend my money this way.”And “What good would it do? A man doesn't need this sort of thing t o be happy.” Even though Carrie thought of his words doubtfully, she believed they had weight with her because the word came from him. Although Carrie has such a short contact and exchanges few words with this young gentleman, she is greatly impressed by his words and manners. His ideology seems reasonable, noble, far above the reach of those showy rich people. This is an invisible influence upon Carrie's heart that she might be thinking as to what is the real meaning of success at the end of the novel. After seeing the play, Carrie asks Ames his opinion about being an actor. Ames gives her affirmation that to be a good one, the theatre is a great thing. Ames' little approval sets Carrie's heart bounding.In her conscious mind, Carrie is clear that she couldn't develop any close relationship with this young man, but unconsciously she feels attracted by him. After all, Ames' objective comment on being a good actor sets the tone for Carrie's later achievement in stage. His ideals burn in Carrie's heart. Though they have met justonce or twice, he could have had such strong impression on her, which can guide Carrie in her future development----self-actualization.Carrie Meeber is successful in her later career, after her success of being an actress, she is deeply absorbed in the profession she is engaged in the showy world in which her interest lies completely absorbs her. She now turns her material desire to her yearning for celebrity and reputation, which is of course at the top part of her need hierarchy as far as Carrie is concerned. As time goes by, Carrie has been evoked the even stronger desire to realize herself-fulfillment. In Ames's eyes, this should mean the full development of leer natural talent to enable her success in serious plays, but to Carrie Meeber her understanding is her stronger desires will be met---another meaning of self-actualization. So sitting in her rocking chair, Carrie couldn't help. Remembering the past and what she really wants in life. Chicago, New York; Drouet, Hurstwood; the world of fashion and the world of stage-these are just incidents. Not them, but that which they represent, she longs for.Carrie Meeber is always wanting for more, she has made great success, but she is still lonely and dissatisfied. It was forever to be the pursuit of that radiance of delight, which tints the distant hilltops of the world. So do we see Carrie feels happiness even though she is successful in her profession? Hardly. Her addiction to even greater fame and thus even more desires will keep her from being satisfied with life and become a tremendous force to pursue her next great goal or desire. "Wanting more, Carrie goes on living, dreaming of happiness that, fortunately perhaps, she will never know.”Chapter 3 Theodore Dreiser’s Moral and Naturalistic IdeasWith the publication of Sister Carrie, Theodore Dreiser was launching himself upon a long career that would ultimately make him one of the most significant American writers of the school later known as literary naturalism, in fact he is one of the representative writers of American naturalism, Theodore Dreiser’s style has been a point of heated discussion. The consensus that has been reached so far seems to bethat, although Theodore Dreiser’s novels are formless at times and awkwardly written, and his characterization is found deficient and his prose pedestrian is dull, yet his every energy proves to be more than compensation. Dreiser’s stories are always solid and intensely interesting with their simple but highly moving characters. Theodore Dreiser is good at employing the journalistic method of reiteration to burn a central impression into the reader’s mind. His interest in painting is reflected in his taste for word-pictures, sharp contrast, and truth in color, and movement in outline. The pessimistic and deterministic ideas of American naturalism are clearly showed in Dreiser’s works as he is one of the representative writers of this school.Theodore Dreiser is half socialist and half cosmological pessimist, he was left-oriented in his views. The first chapter of Sister Carrie almost parodies this stock figure. Carrie does not have a thought for her hometown and feels no nostalgia for it or for her family, even when circumstances are hardest for her in Chicago. No wealthy, handsome young man crosses her path. Her "savior" is a drummer, who has no intention of marrying her and whom she will discard with scarcely an afterthought. Carrie becomes a kept woman, but neither she nor Dreiser makes a fuss about it. She will rise through luck, cunning, and an almost total lack of scruples. In the traditional popular fiction of the time, she should be driven to dishonor, prostitution, or suicide. Interestingly, the perhaps in order to make sure that his readers got his point, Dreiser contrasts Carrie with a character that is her exact counterpoint: Minnie, her sister, is virtuous, hard-working, and married. She is not rewarded in the least. Marriage has simply led her into a life of poverty and drab monotony, and Dreiser gives no hint that there is the slightest chance that Minnie's lot might improve some day. Carrie does revive in the American Dream and in the values offered by American society at the end of the nineteenth century: comfort, opulence, status, and security. He would agree with Dreiser who once wrote in one of his pulp migraines that success is what counts in the world, and it is little matter how success is won. This lonely, tossing, thoughtless sea in which Carrie is swimming as she concludes her entrance into Chicago is Dreiser's metaphor for what the German sociologist "George Simmel"⑥identified shortly after the publication of Sister Carrie as "the mental life of themetropolis," which, Simmel might have been describing the state in which Carrie repeatedly finds herself through the rest of her urban career, during the course of which her mood shifts again and again between exhilaration and confusion. The overture to that career, full of the swift and continuous shift of external stimuli so familiar to her and other Chicagoans, is her journey into the city on the train.But while debunking the myths of popular fiction, Dreiser does not extol a sort of immoral cynicism, a total law of the jungle. The morality of Carrie is rather a peculiar sort of amorality, a moral innocence that does not make her guilty of any sin. Dreiser may therefore be viewed as a writer who has no moral preconceptions and who confronts life, in particular life in the American city, for what it is. He explains the insignificance of life and attacks the conventional moral standards. Not only does he look it in the face, but he also refuses to condemn. There is no denying that Dreiser evinced an honesty to his material and to what he knew about life that few, if any, of his predecessors or contemporaries had. Nor does he waste time regretting that life is not what it should or could be; he was not interested in ideals, only in reality as he saw it. But Dreiser stopped at that: he knew how brutal society could be and gives plenty of evidence in Sister Carrie that it is, yet nowhere does he lament the situation or show any interest whatever in political or social reform. Nor is it his intention to move the reader in that direction. The Chicago sweatshops and the strike incident are cases in point. They are described in detail, but Dreiser does not take sides, presenting the worker's and the management's points of view neutrally. Describing the strike, he simply gives us a picture of conditions; he does not explore the problem of social justice or the social and political implications. The sweatshops and the strike are episodes in Carrie's and Hurstwood's lives, nothing more. But the reader feels uninvolved because Dreiser doe snot manages to enlarge his vistas to encompass a more human view of social phenomena. The novel has two stories that counterpoint each other nicely: Carrie's rise and her lover is a study of the mechanical process of unrelated to morality as a chemical experiment. But inscrutable laws, some fall, some rise. Success and failure are both aspects of a morally process.。
(英语论文)嘉莉妹妹解读(英文)
A BRIEF ANALYSIS OF SISITER CARRIE《嘉莉妹妹》解读June, 2007Xiaogan UniversityAbstractSister Carrie tells the story of a small country girl Carrie who moves to Chicago to realize her “American Dream”and eventually becomes a Broadway star in New York. Despite living a luxurious life, she is lost in sprit. Reading the novel, we may easily notice Carrie’different needs and desires arising gradually and also the betrayal of traditional moral code in the process of pursuing material gain. The paper analyzes the reasons why Carrie has various needs at different stages of life, mainly based on Maslow’s hierarchy of needs. One is Carrie’s inner desires; the other is the outside force, including temptations of environment, cities, etc. The interaction between them makes Carrie lose herself eventually. It seems to tell people that in modern society material supplies more and more abundantly, but we should never pursue it blindly and much importance should be attached to happiness and stability created by spirit. It is essential to ponder the significance and the value of life.Key words: Sister Carrie; desire; lost; hierarchy of needs从马斯洛层次需要理论重新解读《嘉莉妹妹》摘要《嘉莉妹妹》讲述一位农村女孩嘉莉不甘贫穷来到芝加哥实现自己的“美国梦”，最终成为纽约百老汇一位著名的演员，享受奢华的物质却陷入精神迷失的故事。
论文《嘉莉妹妹》中文版
迷失在欲望中———《嘉莉妹妹》中的欲望解析摘要: 《嘉莉妹妹》是德莱塞的杰出代表作之一, 作品深刻地反映了当时的美国现实。
嘉莉对物的欲望, 赫斯特伍德对权力的欲望, 杜洛埃对性的欲望, 三位主公全都迷失在欲望中。
关键词: 德莱赛; 嘉莉; 欲望; 迷失西奥多·德莱塞( Theodore Herman AlberDreiser, 187118127—1945112128) 是20 世纪美国著名的现实主义作家。
他的小说形象生动地刻画了19世纪末, 20世纪初资本主义迅速发展中的美国现实社会。
在美国文学史上他第一次广泛真实地描写了美国多阶层的社会生活, 为美国现实主义文学开辟了新领域。
《嘉莉妹妹》是德莱塞第一部长名作, 揭露了当时的社会现实, 展现了在物欲横流的资本主义社会里, 人们迷失在自己的欲望中,展现了美国生活中没有上帝的一面”。
故事讲述的是嘉罗琳·米蓓(嘉莉妹妹) , 一个俊俏的农村姑娘, 她羡慕大都市的物质生活来到了芝加哥谋生。
严酷的现实破碎了她的美梦, 迎接她的是失业和疾病。
在走投无路时, 她做了推销员杜洛埃的情妇, 后来由于更大的欲望又做了酒店经理赫斯特伍德的情妇。
与赫斯特伍德私奔后, 在纽约由于偶然的机会她成了走红一时的演员, 挤上了上流社会,实现了她的梦想。
并抛弃了逐渐贫困的赫斯特伍德, 以不自觉的残忍将他推上了绝望之路。
然而,所谓的“上流社会生活”又给她带来了什么呢?她感到空虚, 找不到真正生活的意义, 在寂寞和凄凉中, 她坐在摇椅里梦想着那终不可得的幸福。
一、嘉莉的欲望———对物的欲望在小说中, 嘉莉的欲望是作者着重刻画的。
嘉莉本身就是一个充满欲望的人, 充满对物和金钱的欲望, 这一部分源于她的本性, “小时候, 她梦过童话里的宫殿和各种豪华气派的地方”。
嘉莉从哥伦比亚城来到芝加哥那一刻起就开始了对金钱的追求, 嘉莉在火车上看到杜洛埃的时髦打扮便意识到自己穿着寒酸, “突然间觉得自己像是穿了一身破烂儿。
（英语毕业论文）浅析《嘉莉妹妹》中新女性形象
（英语毕业论文）浅析《嘉莉妹妹》中新女性形象最新英语专业全英原创毕业论文，都是近期写作1 浅析《动物庄园》中极权主义形成的必然性2 浅析情景教学法对初中英语课堂教学的影响3 从杨必翻译的《名利场》看文学翻译中的归化与异化4 On the Sufferings of the Protagonists in Wilde’s Fairy Tales from the Aesthetic Perspective5 浅析艾米丽?迪金森诗歌的主题思想6 An Analysis of Symbols in Young Goodman Brown7 Cultural Connotation of Color Words in Chinese and Western Culture8 中英文名词性后缀的比较及其对翻译的启示9 《呼啸山庄》中的爱与复仇10 经典英文电影台词的文体分析11 分析《永别了，武器》中Henry的硬汉形象12 《睡谷的传说》中理想与现实的矛盾13 电视公益广告的多模态话语分析14 从《热爱生命》和《马丁?伊登》中透视杰克?伦敦心中对生命的执爱15 浅析英文商务信函的写作格式与文体风格16 Cultural Differences Between English and Chinese by Analyzing Brand Names17 A Comparison of the English Color Terms18 论《呼啸山庄》中希思克利夫的性格19 英汉新词形成因素研究20 翻译中的性别－－《简?爱》几个中译本的女性主义解读21 现实主义和唯美主义的水乳交融—评茨威格《一个陌生女人的来信》22 英汉死亡委婉语的文化差异及其分类对比23 An Analysis of Huckleberry Fi nn’s Personality24 论圣经诗篇的修辞特点25 《嘉莉妹妹》中嘉莉的欲望分析26 浅析《愤怒的葡萄》中主要人物的性格特征27 詹姆斯鲍德温《桑尼的布鲁士》中男主人公桑尼的自我救赎28 解析《爱玛》中女主人公的形象29 从苔丝和曼桢的角色分析中西文化下女性的抗争30 福克纳《我弥留之际》中达尔形象解析31 英语委婉语的表达模式和应用32 A Comparison of the English Color Terms33 英语委婉语及其翻译34 《人性的污点》中主要人物的悲剧命运与社会原因的分析35 从功能对等和文化语境差异角度看商务英语翻译技巧36 小学英语学习策略及研究37 The Loss and Gain in Classical Chinese Poetry Translation38 《外星人》电影海报的多模态话语解析39 A Research of Translation of English Songs into Chinese by Poetic Norms40 论凯瑟琳?曼斯菲尔德短篇小说中的爱情观41 《看不见的人》中的“暗与明”意象探究42 广告中反语现象的关联分析43 《周六夜现场》的幽默剖析44 从《麦琪的礼物》分析欧·亨利的内心世界45 从《哈利波特与火焰杯》看文学翻译中的文化冲突46 A Comparison of the English Color Terms47 从文化角度探析中英基本颜色词的比较和翻译48 探析王尔德童话中的死亡主题49 Miss Havisham: an Imprisoned Woman in Great Expectations50 An Analysis of the Cultural Identity in Amy Tan’s The JoyLuck Club51 华兹华斯诗歌的和谐观52 法国大革命对《西风颂》创作的影响53 英汉习语对比研究及其对高中英语教学的启示54 Cultural Differences Between English and Chinese by Analyzing Brand Names55 论《简爱》中的疯女人56 《宠儿》中塞丝的性格特征分析57 美国英语新词汇特点58 A Comparison of Western and Eastern Privacy Concepts59 从美学角度浅析许渊冲《汉英对照唐诗三首》——“意音形”三美论60 环保宣传语翻译中的文化介入61 从电影《七宗罪》看‘七宗罪’与基督教传统的关系62 英汉委婉语比较研究63 论概念隐喻视角下的隐喻翻译64 海明威《雨中猫》的文体分析65 关于英语口语纠错的研究与建议66 英语电影片名的汉译要求及赏析67 基督教文化对《哈姆莱特》创作的影响68 关于高中生英语听力理解中非语言因素的研究69 《儿子与情人》中扭曲的爱70 (英语系经贸英语)贸易壁垒下中国企业跨国经营的突破之路—以华为为例71 论初中生英语学习资源策略培养72 《了不起的盖茨比》中象征主义的研究73 从《人与鼠》看斯坦贝克艺术风格74 初中英语教学中的角色扮演75 The Alternation of Language: A Study of Microblogging V ocabulary76 永不凋落的玫瑰—从女性主义分析《红字》中的海斯特77 海明威的“冰山原则”与其短篇小说的人物对话78 小学英语教学中的体态语应用79 A Study on Narrative Techniques in A Rose for Emily80 论英语演讲开场的决定性因素和相关策略81 从心理语言学的角度探讨消极情绪的语言表达82 《小妇人》中教养方式的分析83 浅谈罗密欧与朱丽叶的爱情悲剧84 论圣经诗篇的修辞特点85 从主述位理论看奥巴马就职演讲的连贯性86 如何有效地扩展大学生英语词汇87 Text Memorization and English Learning88 Gone with the Wind: From Novel to Film89 从《无名的裘德》看哈代的现代性意识90 广告中的熟语模因探析91 功能目的论视角下的仿拟翻译的应用分析92 浅析《不存在的人》中主人公的觉醒93 法语给英语带来的影响94 英语习语非稳定性结构特征研究95 从《牧师的黑面纱》看霍桑矛盾的宗教情结96 论《麦田里的守望者》中的佛教禅宗因素97 论环境和社会制度对人的行为和品格的影响——以《雾都孤儿》中南希的形象分析为例98 《暮色》两中译本中文化缺省重构的对比研究99 商务英语翻译中的隐喻研究100 中西校园流行语的文化对比101 试比较中美中学历史教育中历史思维的培养102 A Comparative Study of Cultural Connotations of Yellow and Huang in English and Chinese 103 论《一个小时的故事》中马拉德夫人女性意识的觉醒104 论《野性的呼唤》中的自然主义105 威廉?麦克佩斯?萨克雷《名利场》的道德研究106 从礼貌原则分析美国总统就职演说辞的语用特色107 中西思维方式差异对跨文化交际的影响108 Analysis of Cross Cultural Business Communication Failure109 论个人主义对美国英雄电影的影响110 从《印度之行》看福斯特的人文主义思想观111 The Victims of Upper Class: A Comparative Study on the Two Heroes of The Great Gatsby and Tender Is the Night 112 谈商务英语信函的语言特点及其翻译113 凯瑟琳与苔丝悲剧命运的比较114 不同英汉颜色词的象征意义及其翻译115 从公示语的语言特色谈其翻译116 情感教学在初中英语课堂中的理论和实践117 对美国个人主义和中国集体主义的一些讨论118 跨文化交际中的社交语用失误及其对英语教学的启示119 华兹华斯和弗罗斯特自然观的比较120 英语形容词的翻译121 中西方饮食文化对比122 从传统节日庆祝方式的角度比较中英文化差异123 浅谈中西体态语的差异124 A Study on Chinglish of EFL Learners in Junior High Schools in China125 论修辞格在英语广告中的运用126 《女勇士》中的文化冲突与文化融合127 中美面子观比较及其对商务谈判策略的启示128 《杀死一只知更鸟》中主人公的成长危机129 小说《鸡蛋的胜利》中扭曲的“美国梦”130 王尔德童话《快乐王子》中的对比艺术131 女性形象下的女权主义思想——浅析汤亭亭小说《女勇士》132 The Pursuit and Disillusionment of the American Dream—On Martin Eden133 《了不起的盖茨比》中两个女主人公的道德沦丧的探析134 归化和异化在影片名翻译中的应用135 关于《白鲸》中的象征主义手法运用的研究与探讨136 论如何提高初中英语课堂教学效率137 《飘》中斯佳丽的性格特征解读138 埃德加·爱伦·坡幽默小说研究139 《荆棘鸟》的女性主义解读140 《还乡》中游苔莎的悲剧命运分析141 中西面子观的比较研究142 《苏菲的选择》中的人性分析143 Grammatical Analysis of Academic Writing144 从《麦琪的礼物》看欧亨利留给世人的礼物145 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分析《等待》的悲剧181 中英征婚广告对比分析研究182 英语会话中间接拒绝语的语用研究183 On the Feminist Consciousness Reflected in Pride and Prejudice184 论《卡斯特桥市长》的现实意义185 英语环境的营造对中学生英语学习的影响186 A Study of Beauty in Sound, Form and Meaning Displayed in Zhang Peiji’s Prose Translation 187 关于中国文化教学的文献综述188 英文商务索赔信的人际意义功能分析189 Advertising and Its Application190 商务英语翻译中的跨文化因素191 尼斯湖和西湖—中西方旅游性格差异研究192 解读《小镇畸人》中三位畸形女性193 浅析《还乡》中游苔莎的悲剧根源194 论《白鲸》主角的悲剧实质195 The Tragic Fate of Tess196 从《卡斯特桥市长》看哈代作品中的宿命论色彩197 英汉文化差异对英语俚语汉译的影响198 广告英语修辞特点及其翻译199 撒旦和孙悟空的形象和文化内涵对比200 从中美数字谚语看中美文化的差异。
《嘉莉妹妹》：自由女性的勇气与困境
《嘉莉妹妹》：自由女性的勇气与困境1. 引言1.1 概述：嘉莉妹妹是一位充满勇气和坚持的自由女性形象，她以其敢于追求自主权和平等的积极行动而深受读者喜爱。
在她的背后，有着一个充满挑战和困境的现实社会。
本文将探讨嘉莉妹妹所面临的社会压力和困境，并分析她所展现的勇气与坚持。
1.2 文章结构：本文分为五个主题来探讨嘉莉妹妹的形象、困境以及她所展示出来的勇气与坚持。
引言部分将简要介绍文章观点，并概述文章结构。
1.3 目的：本文旨在通过揭示嘉莉妹妹作为自由女性形象所面临的困境和挑战，探讨女性在当代社会中仍然存在的不平等问题。
我们将评估并赞赏嘉莉对抗这些问题所展现出来的勇气，并展望女性在未来可能面临的发展前景。
请记住，政策、约定或实践可能已经发生变化，本文的观点和结论仅基于作者对嘉莉妹妹形象的解读。
2. 主题一: 嘉莉妹妹的自由女性形象2.1 嘉莉妹妹的背景和故事情节：嘉莉妹妹是一位年轻有志向的女性，在故事中展现出强烈的个人主义精神和追求自由的意愿。
她来自一个传统保守的家庭，但她渴望走出自己的舒适区，寻找属于自己的道路。
通过离开乡村生活到城市寻求个人发展，她成为了一个独立思考并勇于追求梦想的年轻女性。
2.2 嘉莉妹妹对传统女性角色的抗拒与突破：在以男权社会为主导的环境中，传统女性通常被期望扮演被动、从属和顺从的角色。
然而，嘉莉妹妹对这种约束不满，并努力突破传统角色模式。
她没有接受作为女性在社会中被限制和贬低的命运，而是选择追求知识、独立、职业发展和个人成就。
2.3 嘉莉妹妹所面临的社会困境和挑战：嘉莉妹妹在追求自由女性形象过程中遇到了许多困境和挑战。
社会对于独立女性的偏见和歧视使她经常面临质疑、嘲笑和不公正对待。
传统观念中根深蒂固的性别角色刻板印象也给她的自由发展设下了障碍。
此外，家庭及亲朋好友的期望与限制也对她的选择产生了阻碍。
以上就是文章“2. 主题一: 嘉莉妹妹的自由女性形象”部分的内容，描述了嘉莉妹妹作为一个反传统女性角色的背景和故事情节，以及她对传统角色模式抗拒并努力突破的态度。
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Analysis of Carrie as a Materialist According to the Naturalism inSister Carrie.Abstract：In the masterpiece Sister Carrie, Theodore Dreiser tells a story of Carrie’s rise from a poor country girl to Broadway star. In the novel, Dreiser uses lots of words to describe the psychology of Carrie from the satisfaction of basic life to the realization of self-development. This thesis aims to analysis the influence of naturalism on the main character Carrie in the road of desire. In the way of her development, th ere are two kinds of people: one is Carrie’s sister and the other is Drouet and Hurstwood, give Carrie the chance to fashion her ideal ego and be a successful actress. The former one stands for the poverty. In there, Carrie is driven by basic needs for survival and physiological necessities. The later one lets Carrie know she should realize her value but not to depend on man. The author finally indicates that in the survival of the fittest world people who industriously adapt to the society can live longer and better.Key Words: naturalism; Theodore Dreiser; Carrie; desire通过自然主义分析《嘉莉妹妹》中嘉莉这一物质主义形象摘要：西奥多德莱赛在他的杰作《嘉莉妹妹》中讲述了一位农村女孩到城市谋生最后成为百老汇名演员的故事。
在这部小说中，德莱赛用了大量笔墨来描写嘉莉最初对基本生活的满足到最后追求自我完善的过程。
本文旨在分析自然主义对嘉莉“追求道路”上的影响。
在这个过程中，有两种人给了嘉莉自我完善和成为名演员这个机会：一类姐姐明妮一家，另一类是德鲁埃和赫斯特伍德。
前者代表贫困，在姐姐家里，嘉莉被生活所迫。
而后者让嘉莉意识到她必须实现自己的价值而不是依赖男人。
作者还指出在这个优胜劣汰的世界里，谁能努力地适应这个社会，谁就能活得更长，活的更好。
关键词：自然主义；西奥多德莱赛；嘉莉；欲望Table of contents1. Introduction (1)1.1 Literature review (1)1.2 My purpose of the paper (3)2. Analysis of Carri e’s life (4)2.1Busy about Living (4)2.1.1Bear the rude insult………………………………………………...4.2.1.2Lower payment (5)2.1.3Brother-in-law’s cold attitude (6)2.2To Chase Better Life (7)2.2.1New life with Druoet (7)2.2.2New life with Hurstwood (8)2.3Carrie’s New Career as a Performer (9)2.3.1The reason she abandoned her husband (9)2.3.2Dissatisfaction about her current situation (10)3. The Final Fate of Carrie……………………………………………….…………1. IntroductionAmerican naturalism is evolved from realism when the author’s tone in writing becomes less serious and less sympathetic but more ironic and more pessimistic. It is no more than a gloomy philosophical approach to reality or to human existence. Theodore Dreiser was deeply influenced by Darwinism and Spencer’s evolutionism. He believed that we live in a world composed of matter in motion: such matter makes up the natural process, which is both repeatable and have describable in scientific terms. Spenser said that nature symbolically reflected its inner meaning, so that to read the universe was to read the unfolding of nature and to understand the correspondences that existed between man and the animal world. In the works of Dreiser, American society is a world where people struggled. He totally denied the existence and the influence of morals. He thought in the life, there is no aim, no criterion. Only the survival itself is the finally target. So all morals standard is needless and all fantasy is ridiculous. People’s action is totally controlled by “nature”. According to Spencer’s evolutionism that he thought human beings just are animals without free willing. The living world is a purely physical and mechanistic world. Only the survival and development are the important in the survival of the fittest world (Pizer 65).Theodore Dreiser is the greatest naturalist writer in 20th contrary. His novel Sister Carrie is the one of his masterpiece which has significant meaning in America literature history. But this novel and the main character Carrie are criticized in many different ways. At the beginning of the publishment of this novel, Carrie is blamed as a person who betrays her spirit and body, and abandons her morals. The issues Sister Carrie raised are the typical reflections of the American naturalism (Liu 138). When Dreiser submitted the manuscript to a publisher it was rejected because it was thought likely to offend “the feminine readers who control the destinies of so many works.”Not until 1907, when Sister Carrie was reissued, did it finally reach a sizable reading public and begin to shape the development of American literature. In fact, when people summary the naturalism, Sister Carrie is the first article to be cited andTheodore Dreiser also is the first person to be argued (Ma 221).LuJing in her paper said Dreiser tried to illustrate that people do not have good or bad. There are only the stronger and weaker. Survival of the fittest is the principle of this world. So the environment becomes the determined fact in Sister Carrie. It is circumstance around Carrie drove her to seek money, enjoyment and success, which she cannot control (113). Liu Xiaoyan said from the aspect of Darwinism and Spencer’s “survival of the fittest”Carrie’s raising and Hurstwood’s decline is unalterable principle. From the first day they knew each other their fates have become to change. They are driven by instinct. Hurstwood was attracted by Carrie’s beauty and cannot able to extricate himself; Carrie was at the height of her youth and vigor. Own to her beauty she won men’s love. These truths again proved that one’s success depend on not only the heredity but also the circumstance and chance (22). Liu also said that in many critics they thought Carrie was a bad woman who loose in morals, but in Dreiser’s eyes he did not give words to blame Carrie because he thought these moral principle restrain humans instinct. Carrie stayed with two men one after another was not a debauch behavior but a reasonable result of the nature’s power (23). But Mou Ying a teacher from Nan Jing Normal University said Sister Carrie present an unmoral world. She summarized that the main characters, such as Carrie and Hurstwood all were the victims of material force and environmental force (53). Carrie in the novel is an epitome of Dreiser. She dose rise but she does so by means of male stepladder. She is not a simple gold digger; she is much more complex than that. At first, her goals were all visible: clothes, money, and convenient living room. Later, she was not satisfied with the living necessities. She realized she should conquer a high level world. She also was a typical American image in that who struggled in big cities. (Hu and Liu 300)In this paper, I want to point out that though Carrie was a woman who obeyed the naturalism completely she could not be degenerate. There is an old Chinese saying: to seek fortune in a decent way. Carrie at first depended on Druoet. Later on she met Hurstwood and abandoned the first man. Finally when she became the most popular star in Broadway she then left Hurstwood. I think these facts proved thatCarrie was a irresponsible person. Sometimes her early life was tragedy and I would pay sympathy to her but a successful person could not win a better life by absorbing lager group’s sympathetic. She should be independent by her own talent and capability but not men’s. We all know the American people have a value that they think in America they all have chance to get rid of poverty. But most of them do not know clearly that the treasure and wealthy are related hard working. Depends on others cannot be truly have the better life.Works CitedCao, Man. “Theodore Dreiser.” A Course Book of American Literature. 1st ed.2007.Dreiser, Theodore. Sister Carrie. New York: Ainnont Publishing Company, Inc, 1982.Hu, Yintong and Liu, Shusen. “Theodore Dreiser.” Course in American Literature.Tian Jing: Nan Jing University Press, 2007.Hart, James D. “ Naturalism.” The Oxford Companion to American Literature.1st ed. 2005.“Naturalism(philosophy)” Wikipedia Online. 2010. Wikipedia. 20 Apr. 2010< /wiki/Naturalism_(philosophy)>.“Naturalism_(literature)” Wikipedia online. 2010. Wikipedia. 8 june 2010 < /wiki/Naturalism_(literature)>Perkins, George, and Barbara Perkins, ed. The Tradition in Literature.McGraw-Hill College, 1999.Pizer Donald, ed. New Essays on Sister Carrie. Beijing: Beijing University Press, 2007.Selden, Raman, ed. The Theory of Criticism.London: Longman,1988.Tong, Ming. A History of American Literature. Nanjing: YiLin Press, 2002.刘晓妍. “浅析自然主义在《嘉莉妹妹》中的体现.” 《成都教育学院学报》.7,11 (2001): 22-24.牟英. “《嘉莉妹妹》—一步自然主义的杰作”. 《海南广播电视大学学报》.13, 4 (2003): 52-54.马晓菲. “《嘉莉妹妹》中的自然主义解读”.《辽宁行政学院学报》. 10,6 (2008)：220-221.从人物性格看原著中塑造的嘉莉妹妹是个贪恋都市繁华物质欲望强烈的人但是起码她有进取心且不论手段如何她没有像同时代的大多数女性那样觉得女人是男人的附属品她一直在追求自己事业的成功从她的情人方面看当然主要还是hurstwood 她与他的人生轨迹的刚好是相反的嘉莉是poor-to-rich hurstwood是rich-to-poor 你可以分析讨论下为什么会出现这种情况。