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　　語言學(xué)類碩士論文開題報(bào)告 篇1

　　論文題目：********翻譯上的應(yīng)用

　　1、選題意義和背景

　　The progress of economic globalization has greatly hit the social life.

　　Advertising has become an important way of modern marketing and has attractedmerchants and the company. As people's consciousness worldwide enhances, manyproducts and services of advertising will be translated into other languages forpromotion to explore overseas markets. Advertising, as an effective way ofdisseminating brand information, has penetrated into many aspects of social life, andit plays a bridge role in connection and communication. Since China's accession tothe WTO, its connection with the world gets even closer. More and moreinternational enterprises and product brands come into China's huge market.

　　Translation of products and services for overseas consumers is not only the functionof promoting consumption, but also the effect of external publicity. In the globalmarket, advertising translation not only brings an opportunity for advertising, butalso has brings the huge challenge. Therefore, mastery of both Chinese and Englishadvertising translation is particularly important.

　　Skopos theory is the foundation and the core theory of functionalism. Skopostheory holds that the process of the whole translation behavior is determined to thepurpose of translation action, that is, the end justifies the means. The purpose of thetranslation behavior is the core element which determines the translation process.

　　Advertising translation has a strong purpose. What is more important toadvertising translation is whether translation can convey the purpose of source textand achieve the anticipated target of the source text, so as to attract the attention offoreign customers to induce their consumption desire, eventually to incur purchasebehavior.

　　2、論文綜述/研究基礎(chǔ)

　　1 Advertising Translation Studies in the West.

　　Advertising translation was mentioned in translation studies for the first time inHurbin's (1972) article “Peut-on traduire la langue de la publicé” (Can OneTranslate the Language of Advertising?)。 At that time, linguistics was the dominanthumanistic discipline, meanwhile, linguistics made translating a code-switchingoperation. Equivalence-based linguistic approaches mainly focus on the source text.

　　Hurhin argued that for one source text, there are several translations, and thetranslators chose which translation is the most appropriate one. Hurbin also pointedthat if glossaries of advertising language is compiled, this was made easier. So thetranslators will be easy to find the most appropriate equivalent expressions betweenthe source and the target text.

　　In Candace Seguinot's (1995) article “Translation and Advertising: GoingGlobal in Cultural Functions of Translation”. The main opinion of which is thatacross cultural boundaries, there is an understanding of culture and semioticsappearing in the marketing of goods and services. It goes well beyond both languageand design.

　　Another representative article “Advertising: a five-stage strategy for translationin Translation” as Intercultural Communication which is edited by C. Nord et al. Thearticle is published by Smith & Klein-Braley (1997)。 In this article, they conduct acontrastive analysis of English and German advertising. Then they developedtaxonomy of strategies for the analysis of advertising translation.

　　Up to now, the book which maybe the only one published exclusively onadvertisement translation is Translation Practices in International Advertisingwritten by Mathieu Guidere (2001)。 This book mainly talks about various aspects ofadvertising translation in international market and mainly concerns the globaladvertising of multinational companies, because they need to translate their productsinformation into other languages. The author analyzes some examples in advertisingtranslation and he shows readers some essential problems in current translation ideas.

　　This book introduced the strategies of translation which are implemented by the multinational firms to break into new markets.

　　2 Advertising Translation Studies in China.

　　Domestic advertising translation studies officially started in 1990s. In terms ofresearch contents, the initial studies mainly focused on the discussion about specificadvertising translation of idioms and the existing problems in Chinese-Englishadvertising translation. That was the primary stage. Years later, advertisingtranslation principle and criteria became the research themes. People hold the viewthat, advertising translation should give attention to in many aspects, such as text,language beauty, consumer psychology. Researchers illustrated their respectivepoints of view from different angles. Since the late 90s, although the discussion oftranslation principle and criteria were still mentioned, the researchers' attention weregradually focused on translation of difficult parts in advertising, such as therhetorical devices, emotional transmission, brand image and trademark reproduction ,etc. In terms of research methods, domestic advertising translation study mainly usesthe inductive method and the case study. Nevertheless, in recent years, researchersbegin to use the theory achievements of pragmatics and other related disciplines toanalyze different kinds of problems in advertising translation, and then put forwardsome translation strategies.

　　As early as 1992, Li Fan proposed the development of the advertising languageposed a severe challenge to advertising translation. The artful advertisings require thetranslator to break hard the tradition of the original, boldly innovate, and improve thequality of translation. There are three reasons for flexible advertising translation: 1)the purpose of advertising is to induce consumer to purchase products. Text is justmeans, so translations do not have to stick to the text equivalent; 2) the feature ofadvertising language is vivid, which is the essence of advertising language. If thetranslation is not bold to change, there will be no magic translation; 3) formulaicexpressions are common use in advertising, if not alternative, it may be translatedinto foreign stereotyped writing (黎凡 1992:29-31)。 At the same time, researchersthought in terms of some specific advertisements, flexible translation seems to be theonly way, especially in the four kinds of advertising: 1) advertising used of witty and polished words; 2) advertising used of brand name; 3) advertising used of puns; 4)advertising with strong national culture color.

　　In order to achieve concise expression, attract more readers' attention, facilitatereaders recognize and remember, advertising writing should follow the KISSprinciple, namely, “keep it short and sweet” (郭可 1992:57-64)。 A great number ofstudies on advertising translation are associated with concise problem. Ding Shude isdedicated to his studies. He holds that: 1) Chinese advertising often uses modifiers toemphasis, product characteristics, while English advertising is simple words, mainlywith oral type. a lot of subject-predicative phrases in Chinese can be directlytranslated into adjectives English , such as 速度快、效率高、行動(dòng)靈活 can betranslated into “fast, efficient and handy”; 2) There are a large number of the fourwords in Chinese advertising structure, which bring parallelism and overlapping tostrengthen language, but there is no such characteristic in English. InChinese-English translation should hold the center, around the center word leads toall aspects; 3) there are often loose sentences, which express a large amount ofinformation in Chinese advertising. Translation should be concise and compact,strengthen the logic; 4) Chinese advertising commonly uses formulaic expressions.

　　Translation should be fascinating, considering the overall rhetorical, but not stackrhetoric. Good English advertising language is not many words, but it is impressive(丁樹德 1995: 42-43)。 Cao Shunfa also takes a large number of examples of bothEnglish-Chinese translation two aspects show that based on the principle of simple,the translation of advertising language should strive to use the most simple languageto express the most complex meaning, to make it easy to be remembered (曹順發(fā)2002: 43-45)。

　　Equivalence theory is based on Nida's equivalence translation theory. On thisbasis, some researchers point out that commercial advertising translation is mainlyon the equivalence of semantic, social and cultural, and stylistic aspect. 1) Thesemantic equivalence. This is the most basic and important equivalence. From wordto chapter, in order to achieve the semantic equivalence, the first thing to thetranslator is that he must determine the meaning of the translation unit in context.

　　The translator should pay attention to avoid leading ambiguity and interpretingwithout real understanding; 2) social and cultural equivalence. Translation is to introduce foreign culture. Due to the restriction of cultural differences and languageform, there is rarely a pair of words between English and Chinese, so the social andcultural factors should be considered in the translation equivalence. Strong culturalcolor of idioms, allusions, such as proper nouns in the translation should be adjusted,translate its true meaning; 3) the stylistic equivalence. One of the translation task isto reproduce the original style and literary style, keep the spirit and the form of theoriginal (蔣磊 1994:38-41)。 By contrast, other equivalence theory researchers are morevalued function equivalence. They think advertising translation should be followedby the equivalent principle on the basis of functional equivalence, and notconstrained by the original text expression (蘇淑惠 1996:51-56)。

　　Some researchers point out that the aesthetic factors play a significant role incommercial advertising. Studies show that if there are connotation aesthetics andlanguage aesthetics, the advertising will be successful. Connotation aestheticsinclude the beauty of artistic conception, image, emotion and culture; languageaesthetics include the beauty of concise, word, sentence, phonology and rhetoric. Sotranslation should reproduce the original beauty, and extend when necessary, makethe translation have the same publicity effect with the original text ( 汪文格1999:86-89)。 They think that successful advertising is art fused of aesthetics,linguistics and psychology. In cross-cultural communication, when the literalmeaning and aesthetic feeling of advertising conflicts, the translator should abandonform, and reproduce the aesthetic feeling to strengthen its charisma and allure,achieve communicative effect. So advertising translation should adhere to theprinciple of dialectical unification of loyal and creative, organic combination ofequivalent and aesthetics (唐艷芳 2003:112-116)。

　　Some researchers argue that advertising communication task restricts the choiceof language. Advertising style brings out concise and implicit characteristics.

　　Creative advertising language and translation should show the characteristics in theaspects of words, grammar, and rhetoric and culture psychology. Perform goodstheme accurately, make the audience psychological resonance and have a buyingdesire (謝建平 2002:37-40)。

　　The doctrine is not opposed to each other. They were essentially complementedeach other and fusion of each other. If advertising translation cannot be promotional, it will not be adopted. David Ogilvy said that advertising is not a kind of art form. Hedidn't want to hear others praise his advertising how creative. He just hopes it canattract people to purchase goods (David Ogilvy 2003)。

　　Since the early 90s, discussion about advertising translation methods appearedin foreign language periodicals, such as Chinese Translation. Li Xiangde points outthat four words phrase translations from Chinese into English can adopt threemethods: Literal translation, free translation and rhetorical translation. Literaltranslation is a corresponding structure. Free translation makes a little ellipsis,supplemented or sequential adjustment with the original text. Rhetoric translationusing rhetoric methods to make advertising language more vivid and attractive toconsumers (李祥德 1990:13-16)。

　　Jiang Lei summed up that there are four ways of advertising translation. Theyare literal translation, liberal translation, modeling translation and translation. Literaltranslation refers to retain the original text characteristics from content to culture.

　　Free translation refers to keep content and abandon the translation form. Modelingtranslation directly uses ready-made advertising formulas which are corresponding tothe original form. Translation means in accordance with the target language habits,translate from the angle of view, the actual situation and image (蔣磊 1994:38-41)。

　　Yang Quan Hong's article in science and technology of China points out thatdue to the particularity of international advertising, the translation should be differentfrom the traditional translation. As the supplement of routine advertising translation,the author put forward interpretation translation, namely, in order to adapt to thedestination market, recreate in target language against its original shape.

　　Interpretation translation helps across barriers in worldwide advertising translation,and it is conducive to make full use of its advantages in language translation (楊全紅2000:16-19)。

　　Meng Lin and Zhan Jinghui analyze the types of puns in advertising, namely,homophonic puns, semantic puns, grammatical puns and idioms or colloquialismspun. They put forward the five kinds of punning translation (孟琳、詹晶輝 2001:48-51)。

　　In advertising translation, trademark translation is an important part. In terms ofits principle, researchers are generally recognized that it should be concise and vividas. Brevity is intended to facilitate the recognition memory. Vividness is to keep the brand image, maintain consistency of the global image. Two points are decided bythe inherent requirement of trademark function. According to the principle ofaesthetics, Hu Kaibao and Chen Zai Quan point out that the trademark translationshould be having popular beauty, simple beauty, strange beauty, rhyme beauty andartistic conception. Making trademark translation has affinity, arouse consumersdream, enhance their desire (胡開寶、陳在權(quán) 2000:51-53)。

　　Li Kexing summarizes Hong Kong enterprise and brand name translationprinciples and methods, proposes that from the perspective of a large number ofestablished translation, translator pursues four principles: considering both of soundand meaning; transliteration; avoid using ordinary common words (because thetrademark translation takes ordinary vocabulary exacerbate Chinese phenomenon ofpolysemy, negative social communication); avoid cultural taboos.

　　Jiang Lei from the perspective of social pragmatics, in view of theChinese-English cultural differences caused by the pragmatic failures in trademarktranslation, Jiang Lei puts forward five pragmatic translation strategies: 1.Highlightthe expressive function of a trademark; Show the national culture and seize theassociative meaning; 3.Picked up the auspicious beg, cater to consumer psychology;4.Cut accurate market positioning and pursuit of new business concepts; 5.Payattention to the cultural empathy and conform to the aesthetic psychological (蔣磊2002:52-56)。 This paper is full of examples. Jiang emphasizes the importance ofbrand translation in the cross-cultural barriers.

　　3、參考文獻(xiàn)

　　David Ogilvy,(2003)，《奧格威談廣告》。北京：機(jī)械工業(yè)出版社。

　　Guidere, Mathieu. Translation Practices in International Advertising. TranslationJournal, 2001(5)Gutt, Ernst-August. (2001)。 Translation and Relevance-Cognition and Context.

　　Shanghai: Shanghai Foreign Language Educaiton Press.

　　Hurbin, Pieerr. (1972)。 Peut-on traduire la Langue de la Publicé (Can One Translatethe Language of Advertisement)。 Babel: International Journal of Translation.

　　Leech, Geoffrey. (1974)。 Semantics. London: Longman Group.

　　Munday, Jeremy. (2001)。 Introducing Translation Studies. London and New York: Routledge.

　　Nord, Christine. (2001)。 Translating as a Purposeful Activity. Shanghai ForeignLanguage Educaiton Press.

　　Reiss, Katharina. (2005)。 Translation Criticism: The Potentials & Limitations.Shanghai: Shanghai Foreign Language Educaiton Press.

　　Seguinot, Candace. (1995) Translation and Advertising: Going Global in CulturalFunctions of Translation. In Schaffner, C., Kelly-Holmes, H. (Eds.)， CulturalFunctions of Translation. Multilingual Matters.

　　Smith, V. and C. Klein-Braley. (1997)。 Advertising: A five-stage strategy fortranslation. In C. Nord et al. (Eds)， Translation as Intercultural Communication. Amsterdam: Benjamins.

　　Samovar, Larry A. Richard E. Porter and Lisa A. Stefani. (2007)。 CommunicationBetween Culture 3rded. Beijing: Foreign Language Teaching and ResearchPress.

　　Schiffman, Leon G. and Kanuk, Leslie Lazar. (2001)。 Consumer Behavior. Beijing:Tsinghua University Press.

　　Hance J. Vemeer. (2004)。 Skopos and Commission in Translational Action. In Venuti,L. The Translation Studies Reader. (pp.227-238)。 New York and London:Routledge.

　　曹順發(fā)，(2002)，廣告用語的翻譯，《中國科技翻譯》，第 1 期，第 43-45頁。

　　丁樹德，(1995)，產(chǎn)品廣告的英譯應(yīng)簡潔，《中國翻譯》，第 5 期，第 44-45頁。

　　郭可，(1992)，英語新聞與廣告寫作，《外國語(上海外國語大學(xué)學(xué)報(bào))》，第 2 期，第 59-66 頁。

　　胡開寶、陳在權(quán)，(2000)，商標(biāo)名稱的.美學(xué)特征與英語商品名稱的翻譯，《中國翻譯》，第 5 期，第 51-53 頁。

　　蔣磊，(1994)，談商業(yè)廣告的翻譯，《中國翻譯》，第 5 期，第 40-43 頁。

　　蔣磊，(2002)，文化差異與商標(biāo)翻譯的語用失誤，《中國科技翻譯》，第 3期，第 52-56 頁。

　　黎凡，(1992)，談廣告翻譯的變通，《中國翻譯》，第 2 期，第 29-31 頁。

　　李克興，(2010)，《廣告翻譯理論與實(shí)踐》。北京：北京大學(xué)出版社。

　　李祥德，(1990)，廣告中四字詞組的英譯法，《中國翻譯》，第 3 期，第 13-16頁。

　　孟琳、詹晶輝，(2001)，英語廣告中雙關(guān)語的運(yùn)用技巧及翻譯，《中國翻譯》，第 5 期，第 49-52 頁。

　　蘇淑惠，(1996)，廣告英語的文體功能和翻譯標(biāo)準(zhǔn)，《外國語(上海外國語大學(xué)學(xué)報(bào))》，第 2 期，第 51-56 頁。

　　唐艷芳，(2003)，談廣告翻譯的美學(xué)策略，《浙江師范大學(xué)學(xué)報(bào)(社會(huì)科學(xué)版)》，第 2 期，第 112-116 頁。

　　汪文格，(1999)，談商業(yè)文字翻譯中美的再現(xiàn)與拓展，《湖南大學(xué)學(xué)報(bào)(社會(huì)科學(xué)版)，第 S1 期，第 87-90 頁。

　　王貞霞，(2013)，論廣告英語的翻譯技巧，《鄭州航空工業(yè)管理學(xué)院學(xué)報(bào)(社會(huì)科學(xué)版)》，第 32 卷第 4 期，第 123-125 頁。

　　謝建平，(2002)，含蓄--廣告語言創(chuàng)意及翻譯中的特色標(biāo)記，《中國科技翻譯》，第 2 期，第 37-40 頁。

　　楊全紅，(2000)，譯者，繹也--試探國際廣告的非常規(guī)翻譯法，《中國科技翻譯》，第 1 期，第 18-21 頁。

　　張沉香，(2007)，功能目的理論與應(yīng)用翻譯研究。長沙：湖南師范大學(xué)出版社。

　　趙靜， (1993)，廣告英語。北京：外語教學(xué)與研究出版社。

　　4、論文提綱

　　Chapter One provides a brief background on the study. It introduces and explains the necessity of the study.

　　Chapter Two reviews relevant research related to advertising translation. Itintroduces the related research studies of advertising translation in China and west.

　　Chapter Three presents the theoretical framework which is the fundamentaltheoretical guidance of the thesis. It reviews the background and the development ofthe Skopos theory, and introduces three principles of the Skopos theory: the Skoposrule, the coherence rule and fidelity rule.

　　Chapter Four introduces gives a general introduction of advertising and majorlanguage features of English advertising.

　　Chapter Five expounds and proves the applicability of the Skopos theory toEnglish-Chinese advertising translation and explores specific translation strategies toEnglish-Chinese advertising translation under the guidance of the Skopos theory.

　　Chapter Six is conclusion of the entire thesis. Through the above analysis andresearch, this thesis concludes that on the basis of the Skopos theory,English-Chinese translation can be effectively guided. Meanwhile, the thesis alsopoints out the shortages of the study.

　　5、論文的理論依據(jù)、研究方法、研究內(nèi)容

　　Skopos Theory

　　6、研究條件和可能存在的問題

　　there are some analyses or comments in the thesis which may not beprofound because of limitation of advertising knowledge and practical workingexperience in the advertising field. However, in the future, more efforts will be madeto probe into the topic of advertising translation.

　　7、預(yù)期的結(jié)果

　　Meanwhile, English advertising is different from other literary translation. English advertising has its particular purpose and unique rhetorical features. To makethe target readers or consumers feel the charm of the source text, and finally promotethe goal of sale, translator should use flexible translation according to the differentrhetoric characteristics.

　　8、論文寫作進(jìn)度安排(略)

　　語言學(xué)類碩士論文開題報(bào)告 篇2

　　一、研究或設(shè)計(jì)的目的和意義

　　《金瓶梅》作為是中國的第1奇書，自問世以后，就為中國的世情小說的發(fā)展奠定了基礎(chǔ)，并且把我國長篇小說的發(fā)展劃分成了才子佳人的故事和家庭生活為題材描摹世態(tài)的及以社會(huì)生活為題材、用諷刺筆法來暴露的兩大派系。而《紅樓夢》在批判的繼承了《金瓶梅》的才子佳人小說的創(chuàng)作經(jīng)驗(yàn)后又有了重大的突破。成為了世情小說最偉大的作品。在“54”文學(xué)革命者做出了新的評(píng)價(jià)，魯迅等闡述了《紅樓夢》的現(xiàn)實(shí)主義精神和杰出成就后，使《紅樓夢》的現(xiàn)實(shí)主義精神得以回歸。直到現(xiàn)在，《紅樓夢》、《金瓶梅》仍是許多作家永遠(yuǎn)讀不完、永遠(yuǎn)值得讀的好書。成為中國作家創(chuàng)作出高水平的作品的不可多得的借鑒品。然而，探討兩大名著的男主人公賈寶玉與西門慶的悲劇性，可以對(duì)兩大名著中的社會(huì)悲劇，人類悲劇，男人悲劇更好的認(rèn)識(shí)和了解，以供后人借鑒。從而啟發(fā)后世的世情小說的創(chuàng)作，使今后的世情小說創(chuàng)作中的人物悲劇性達(dá)到1個(gè)更高的巔峰。

　　二、研究和設(shè)計(jì)的國內(nèi)外現(xiàn)狀和發(fā)展趨勢：

　　中國的兩大世情小說《紅樓夢》、《金瓶梅》。對(duì)他們的研究是中國古代小說研究領(lǐng)域中的兩大學(xué)術(shù)熱點(diǎn)。被稱為中國第1奇書的《金瓶梅》從106世紀(jì)末問世后，研究者1開始不是很多，但是隨著中國學(xué)術(shù)的從古典向現(xiàn)代轉(zhuǎn)型，隨著小說價(jià)值觀念的變革與更新。對(duì)《金瓶梅》的研究漸漸的由微入深，被學(xué)術(shù)界稱為“金學(xué)”。并受到國外學(xué)者的高度重視�，F(xiàn)如今的外文譯本有英、法、德、意、拉丁、芬蘭、俄、日、朝、越、蒙等10幾多種文種。對(duì)其做出了各方面的重大研究，并稱其為中國通俗小說的發(fā)展史上1個(gè)偉大的創(chuàng)新。國內(nèi)外的眾多評(píng)論者并對(duì)其的創(chuàng)作時(shí)代、作者，及其所要暴露的社會(huì)矛盾和小說中所剖視扭曲的人性、悲劇性，性的描寫，人物性格的刻畫，語言的運(yùn)用，并對(duì)其形成的網(wǎng)狀結(jié)構(gòu)做出了大量的歸納和探究�！都t樓夢》與《金瓶梅》之間有著10分明顯的繼承和發(fā)展的關(guān)系�！都t樓夢》是《金瓶梅》的1個(gè)重大的突破。引起了眾多的人對(duì)《紅樓夢》的評(píng)論和研究的興趣，并形成了1種專門的學(xué)問——紅學(xué)�！都t樓夢》這部偉大的作品屬于中國，也屬于世界�！都t樓夢》在國外有多種的譯本：英、法、日等10幾種語種的譯本。并且國內(nèi)外眾多的評(píng)論者對(duì)其版本、作者，以及其的社會(huì)悲劇，人生悲劇，愛情悲劇，人物性格，個(gè)性化的文學(xué)語言，寫實(shí)與詩化的融合，渾融1體的網(wǎng)狀結(jié)構(gòu)做出了大量的.歸納和探究。然而，賈寶玉與西門慶作為是《紅樓夢》和《金瓶梅》的兩位男主人公。國內(nèi)外的眾多評(píng)論者都對(duì)其2人的人物形象，語言風(fēng)格，現(xiàn)實(shí)原型，性格內(nèi)涵，性的體驗(yàn)，個(gè)人悲劇等都做出了歸納和探究�！都t樓夢》作為是《金瓶梅》的1個(gè)延續(xù)、1個(gè)發(fā)展，它的男主人公賈寶玉與西門慶有著1定的聯(lián)系，對(duì)其2人的研究在今后應(yīng)趨向于2人的社會(huì)悲劇，人類悲劇，男人悲劇的詮釋及分析。

　　三、主要研究或設(shè)計(jì)內(nèi)容，需要解決的關(guān)鍵問題和思路：

　　(1)總論

　　沒有《金瓶梅》就寫不出《紅樓夢》，從《紅樓夢》與《金瓶梅》題材類似的角度引出中心論點(diǎn)。

　　(2)分論

　　全文分3個(gè)部分

　　第1部分：闡述西門慶的悲劇性

　　西門慶1個(gè)市井無賴、流氓、淫棍，1個(gè)精明的商人，靠著他對(duì)金錢的占有肆意的揮霍、放縱，以自我為中心來實(shí)現(xiàn)他對(duì)放縱，及其通過金錢獲得了強(qiáng)大的權(quán)利，隨意的鄙棄人間，在此背后所體現(xiàn)出的社會(huì)的黑暗、。構(gòu)成了其特有的社會(huì)悲劇、人類悲劇、男人的悲劇。

　　第2部分：闡述賈寶玉的悲劇性

　　賈寶玉1塊晶瑩剔透的寶玉1個(gè)顯耀的貴族，他的個(gè)性、他的自我、他對(duì)女孩子的尊崇迫使他與封建傳統(tǒng)相背道。他作為榮國府的唯1繼承人，他肩負(fù)著榮國府的全部希望。但是他自身的性格特點(diǎn)，使他成為了“大逆不道的不肖子�！�

　　第3部分：論證傳統(tǒng)的價(jià)值觀、傳統(tǒng)的倫理觀與賈寶玉、西門慶的悲劇性

　　傳統(tǒng)的價(jià)值觀、傳統(tǒng)的倫理觀，在賈寶玉與西門慶的行為中被肆意的踐踏，新興的與傳統(tǒng)的極大的對(duì)立，但是封建的舊勢力是無比強(qiáng)大的，最終，賈寶玉是失敗的，西門慶是失敗的，形成1個(gè)永恒的悲劇。

　　四、完成畢業(yè)論文(設(shè)計(jì))所必須具備的工作條件及解決的方法：

　　1. 在圖書館查閱大量的文獻(xiàn)資料。

　　2. 利用百度上網(wǎng)搜索最新相關(guān)信息。

　　3. 在指導(dǎo)老師的幫助下最終完成畢業(yè)論文。

　　五、工作的主要階段、進(jìn)度與時(shí)間安排：

　　1、論文的選題：20XX年1月

　　2、完成論文的開題報(bào)告：20XX年1月

　　3、完成論文的提綱：20XX年1月

　　4、撰寫論文：20XX年2-3月

　　5、修改論文：20XX年4月

　　6、完成定稿：20XX年4月

　　六、閱讀的主要參考文獻(xiàn)及資料名稱：

　　[1]管曙光編:《金瓶梅之迷》，中州古籍出版社，2000年版.

　　[2]明/蘭陵笑笑生著，司徒博文譯：《金瓶梅》，上海古籍出版社，2005年版.

　　[3]清/曹雪芹、高鄂著，張秀楓主編：《紅樓夢》，時(shí)代文藝出版社，2000年版.

　　[4]清/曹雪芹著，楊國祥、楊德宏主編：《紅樓夢》，長春出版社，1995年版.

　　[5]張國星編：《魯迅胡適等解讀〈金瓶梅〉》，遼海出版社，2002年版.

　　[6]尹恭弘著：《〈金瓶梅〉與晚明文化》，華文出版社，1997年版.

　　[7]袁行霈主編：《中國文學(xué)史》第4卷，高等教育出版社，1999年版.

　　[8]嚴(yán)明、田曉春等編著：《中國古代文學(xué)史(2)導(dǎo)學(xué)》，北京大學(xué)出版社，2002年版.

　　[9]張炯、鄧紹基、樊駿主編;《中華文學(xué)通史》第3、4卷，華藝出版社，1997年版.

　　[10]張國星編：《胡適魯迅王國維解讀〈紅樓夢〉》，遼海出版社，2002年版.

　　[11]智喜君著：《〈金瓶梅〉與欲》，遼海出版社，2005年版.

　　[12]張業(yè)敏著：《〈金瓶梅〉的藝術(shù)美》，教育科學(xué)出版社，1992年版.

　　[13]張國風(fēng)著：《〈紅樓夢〉趣談與索解》，春風(fēng)文藝出版社，1997年版.

　　[14]朱玄編：《紅樓夢資料匯編》，南開大學(xué)出版社，2001年版.

　　[15]朱玄編：《金瓶梅資料匯編》，南開大學(xué)出版社，2001年版.

　　[16]王蒙著：《王蒙話說〈紅樓夢〉》，作家出版社，2005年版.

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