表一：
毕业设计（论文）任务书
| 系（院） |
| 专业 |
| 班级 |
|
| 学生姓名 |
| 学号 |
|
| 指导教师 |
| 职称 |
|
| 论文题目 |
|
| 起止时间 | 自20 年 月 日起至20 年 月 日 |
| 一、毕业设计（论文）题目来源： |
| 二、毕业设计（论文）的基本要求： |
| 三、毕业设计（论文）的主要内容： |
| 四、进度安排： |
| 五、主要参考文献资料： |
| 指导教师（签字）:
年 月 日 | 系主任（签字）：
年 月 日 |
注：本表由指导教师填写，经系主任审定后下发给学生。
Acknowledgements
My thanks are first given to my respected supervisor, Prof. XXX or Associate Professor XXX, whose insightful instruction and constant support throughout the process have filled me with confidence and persistence to complete this thesis.
I would also express my sincere thanks to some of the teachers in Foreign Languages Department who provided valuable suggestions and important information for my thesis.
I'm also very grateful to those authors and writers whose works had been referred to and whose words or ideas been quoted in my thesis.
My appreciation also goes to my friends and classmates, who have been giving me sincere encouragement and consolation and been generous in sharing relevant materials with me.
Womanism in The Color Purple
Abstract:
[abstract 正文结束]
Key Words:
女性主义在《紫色》中的体现
摘要：摘要是对论文内容不加注释和评论的简明归纳，应包括研究工作的目的、方法和结论，重点是结果和结论。
【摘要正文结束】
关键词：关键词3-5个。英文关键词之间用逗号隔开，中文关键词之间用分号
隔开。
Contents
1. Introduction………………………………………………..………....1
2. 1级标题………………………………………………………………2
2.1 2级标题……………………………………………………………3
2.1.1 3级标题……………………………………………………..4
3. 1级标题……………………………………………………………..5
3.1 2级标题…………………………………………………………..6
3.1.1 3级标题……………………………………………………..7
4. 1级标题…………………………………………………………….8
4.1 2级标题………………………………………………………….9
4.1.1 3级标题…………………………………………………….10
5. Conclusion…………………………………………………………..11
Bibliography..…………………………………………………………….12
The Romantic Touch of Edgar Allan Poe’s Works
1. Introduction
1.1 A brief review of Poe’s reputation
Edgar Allan Poe is one of the most disputable literary figures in the history ofliterature. ···· ···· ···· ···· ··· ····· ···· ···· ···· ···· Aldous Huxley accused him of writing vulgarly and having bad taste, “To the most sensitive and high-souled man in the world we should find it hard to forgive, shall we say, the wearing of a diamond ring on every finger. Poe does the equivalent of this in his poetry; we notice the solecism and shudder.” (Bloom 1985: 2)
1.2 The duality of Poe
Poe’s life and career propose many a mystery to the generations after him. His works are strongly marked by duality. As a whole, they represent an amazing balance between opposite extremes. ···· ···· ···· ···· ··· ····· ···· ···· ···· ···· In his pursuit of writing “a poem simply for the poem’s sake” (Poe 1984: 75), he has been assured a pioneer position by posterity in the group labeled as “Art for Art’s sake”.
2. “Elevating the Soul” — the Unity of Effect Determines All
2.1 A review of Poe’s literary criticism
Edgar Allan Poe’s literary criticism is mainly reflected in three essays, namely hisreview of Nathaniel Hawthorne’s Twice-Told Tales (May 1842), The Philosophy of Composition (April 1846), and The Poetic Principle (October 1850). In these three essays, Poe develops his poetic theories into a comparatively complete system and his theories about tales are basically an extension of those of poetry.
2.1.1 Poe’s review of nathaniel Hawthorne’s Twice-Told Tales
This essay is primarily about the composition of tales and Poe includes two of hismost important theories in it. ···· ···· ···· ···· ··· ····· ···· First, he admits the smooth and quiet characteristics of Hawthorne’s tales, and then he reminds readers not to mistake the obvious absence of effort. He points out that “a strong undercurrent of suggestion runs continuously beneath the upper stream of tranquil thesis.” (Poe 1984: 571)
2.1.2 The philosophy of composition
The main point of this essay is that Poe has been expounding his theory of composition; he tells readers what he did and how he did, especially as to how he wrote the particular poem — The Raven. The method of composition advocated by Poe equals the process of working out a mathematical problem.
2.1.3 The poetic principle
The next problem raised by Poe is the problem of didacticism in poetry. This isconcerned with the function of poetry and Poe refutes the traditional idea which claims that moral is the poetic merit of the work to be judged by. He states that the poem is “written solely for the poem’s sake.” (Poe 1984: 75)
2.2 A comparison between traditions and Poe’s literary principles
From the review of Poe’s literary criticism, it can be inferred that while establishing his poetic principles, Poe has been mainly concerned with two questions—the unity of effect of a literary work and the way to write it. In other words, Poe is thinking of the function of literary works and the guidelines of composition.
2.2.1 The social function of literary works
There were no great figures of letters before Poe’s time in America. The literary tradition of the new world was largely borrowed from the Europe. Until the end of the 18th century, the literary tradition of Europe had been built upon Aristotle’s Poetics.
2.2.2 The ways of composing literary works
Besides Aristotle, there is another starting point from which much Western literary criticism develops and this giant in western literature is called Horace. In general, Horace’s poetry gives a vivid sense of the life of Augustan Rome during a time of great cultivation and accomplishment. His expression has been praised as composed with painstaking felicity and he is a master of poetic techniques.
The lines of the poem alternate in length between a long line (usually with 9 to 11 syllables) and a short line (usually with 6 to 8 syllables), as in the first stanza:
It was many and many a year ago, (11 syllables)
In a kingdom by the sea, (7 syllables)
That a maiden there lived whom you may know (10 syllables)
By the name of Annabel Lee (8 syllables)
···· ···· ···· ···· ··· ····· ···· ···· ···· ···· ···· ···· ···· ···· ··· ····· ···· ···· ···· ···· .
Poe repeats this rhythmic pattern throughout the poem, perhaps to suggest the rise and fall of the tides. He also repeats key phrases–such as “in this kingdom by the sea and my Annabel Lee” (or “my beautiful Annabel Lee”) — to create haunting refrains.
3. “Art For Art’s Sake” — “Beautiful” Themes Have Been Adopted
3.1 The historical origins of Poe’s unique taste
···· ···· ···· ···· ··· ····· ···· ···· ···· ···· ···· ···· ···· ···· ··· ····· ···· ···· ···· ···· .
3.1.1 Resemblance to Aristotle’s theories about the nature of tragedy
···· ···· ···· ···· ··· ····· ···· ···· ···· ···· ···· ···· ···· ···· ··· ····· ···· ···· ···· ···· .
3.1.2 Inspiration from the evolution of theories about the sublime
···· ···· ···· ···· ··· ····· ···· ···· ···· ···· ···· ···· ···· ···· ··· ····· ···· ···· ···· ···· .
3.2 Anti-rational and anti-religious themes in Poe’s tales
···· ···· ···· ···· ··· ····· ···· ···· ···· ···· ···· ···· ···· ···· ··· ····· ···· ···· ···· ···· .
3.2.1 The anti-rational theme
···· ···· ···· ···· ··· ····· ···· ···· ···· ···· ···· ···· ···· ···· ··· ····· ···· ···· ···· ···· .
4. “One-man Modernist” — a Craftsman of Modernistic Techniques
4.1 Psychoanalysis in Poe’s works
···· ···· ···· ···· ··· ····· ···· ···· ···· ···· ···· ···· ···· ···· ··· ····· ···· ···· ···· ···· .
4.2 The symbolic touch of Poe’s works
···· ···· ···· ···· ··· ····· ···· ···· ···· ···· ···· ···· ···· ···· ··· ····· ···· ···· ···· ···· .
4.3 The originator of modern detective story
···· ···· ···· ···· ··· ····· ···· ···· ···· ···· ···· ···· ···· ···· ··· ····· ···· ···· ···· ····
5. Conclusion
Edgar Allan Poe is widely acknowledged as America’s first significant literary critic or, at least, the first major writer in America to write seriously about criticism, about the theory of composition, and about the principles of original art. He is also the first to set down a consistent set of principles about what he considers is acceptable in art and what should be essentially rejected in art. From three of his most important articles, namely the review of Nathaniel Hawthorne’s Twice-Told Tales, The Philosophy of Composition, and The Poetic Principle, a glimpse of his literary theories can be got. What he emphasizes most in a literary work is the unity of effect to elevate the soul, and all other elements should be aimed at it. The length should be appropriate for one sitting; the plot must be carefully designed; the tone must be melancholy; the words must be suggestive; and the effect is to appeal to people’s emotions. Poe believes that didactic writing is for the pulpit and has no place in the realm of artistic creation.
Bibliography
1. Aristotle. “Poetics”, Literary Criticism and Theory (Edited by Robert Con Davis and Laurie Finke).New York: Longman Inc., 1989.
2. Bloom, Harold. “Introduction”, Modern Critical Views — Edgar Allan Poe (Edited by Harold Bloom). New York: Chelsea House Publishers, 1985.
-------. Modern Critical Interpretations — The Tales of Poe. New York: Chelsea
House Publishers, 1985.
3. Bonaparte, Marie. The Life and Works of Edgar Allan Poe: A Psycho-Analytic
Interpretation (Translated by John Rodker). London: Imago, 1949.
4. Brooks, Van Wyck. American Romantics 1800-1860. New York: The Viking Pr., 1968.
5. Poe, Edgar Allan. Essays and Reviews (Edited by G. R. Thompson). New York: Literary Classics of the United States, Inc., 1984.
6. Chen Jia. A History of English Literature, Volume 3. Beijing: The Commercial Press, 2003.
7. 彼得•福克纳.《现代主义》.北京：昆仑出版社，1989.
8. 常耀信.《美国文学简史》（第二版）.天津：南开大学出版社，2005.
9. 帕蒂克·F·奎恩.《爱伦·坡集——诗歌与故事》上、下册，曹明伦译.北京:北京三联书店，1995.
10. 王克非.“英汉 / 汉英语句对应的语料库考察”.《外语教学与研究》,2003第6期.
