Araby
James Joyce 1914 “Araby” is one of fifteen short stories that together make up James Joyce’s collection, Dubliners. Although Joyce wrote the stories between 1904 and 1906, they were not published until 1914. Dubliners paints a portrait of life in Dublin, Ireland, at the turn of the twentieth century. Its stories are arranged in an order reflecting the development of a child into a grown man. The first three stories are told from the point of view of a young boy, the next three from the point of view of an adolescent, and so on. “Araby” is the last story of the first set, and is told from the perspective of a boy just on the verge of adolescence. The story takes its title from a real festival which came to Dublin in 1894 when Joyce was twelve years old.
Joyce is one of the most famous writers of the Modernist period of literature, which runs roughly from 1900 to the end of World War II. Modernist works often include characters who are spiritually lost and themes that reflect a cynicism toward institutions the writer had been taught to respect, such as government and religion. Much of the literature of this period is experimental; Joyce’s writing reflects this in the use of dashes instead of quotation marks to indicate that a character is speaking.
Joyce had a very difficult time getting Dubliners published. It took him over ten years to find a publisher who was willing to risk publishing the stories because of their unconventional style and themes. Once he found a publisher, he fought very hard with the editors to keep the stories the way he had written them. Years later, these stories are heralded not only for their portrayal of life in Dublin at the turn of the century, but also as the beginning of the career of one of the most brilliant English-language writers of the twentieth century.
Plot Summary “Araby” opens on North Richmond street in Dublin, where “an uninhabited house of two storeys stood at the blind end, detached from its neighbours in a square ground.” The narrator, who remains unnamed throughout the story, lives with his aunt and uncle. He describes his block, then discusses the former tenant who lived in his house: a priest who recently died in the back room. This priest has a library that attracts the young narrator, and he is particularly interested in three titles: a Sir Walter Scott romance, a religious tract, and a police agent’s memoirs.
The narrator talks about being a part of the group of boys who play in the street. He then introduces Mangan’s sister, a girl who captivates his imagi nation even though he rarely, if ever, speaks with her. He does stare at her from his window and follow her on the street, however, often thinking of her “even in places the most hostile to romance.” While in the marketplace on Saturday nights, for example, he uses her image to guide him through the thronging crowd who yell their sales pitches and sing patriotic Irish ballads. He becomes misty-eyed just at the thought of her and retreats to the priest’s dark room in order to deprive himself of other senses and think only of her.
Finally, Mangan’s sister speaks to him. She asks if he will be attending a church-sponsored fair that is coming soon to Dublin — a bazaar called Araby. He is tongue-tied and cannot answer, but when she tells him that she cannot go because of a retreat that week in her convent, he promises to go and bring her a gift from the bazaar. From then on he can only think of the time when he will be at the fair; he is haunted by “the syllables of the word Araby.” On the night he is supposed to attend the fair, his uncle is late returning home and he must wait to get money from him. He gets very anxious, and his aunt tells him that he may have to miss the bazaar, but his uncle does come home, apologetic that he had forgotten. After asking the boy if he knows a poem entitled “The Arab’s Farewell to His Steed,” the uncle bids the boy farewell.
The boy takes a coin from his uncle and catches a train to the fair. Araby is closing down as he arrives and he timidly walks through the center of the bazaar. As he looks at the few stalls that are still open, he overhears a conversation between an English shop-girl and two young men. Their talk is nothing but idle gossip. The shop-girl pauses reluctantly to ask the boy if he wishes to buy anything, but he declines. As he
walks slowly out of the hall amid the darkening of the lights, he thinks that he is a “creature driven and derided by vanity” and his “eyes burned with anguish and anger.”
Themes A sensitive boy confuses a romantic crush and religious enthusiasm. He goes to Araby, a bazaar with an exotic, Oriental theme, in order to buy a souvenir for the object of his crush. The boy arrives late, however, and when he overhears a shallow conversation a female clerk is having with her male friends and sees the bazaar is closing down, he realizes that he has allowed his imagination to carry him away. He leaves without a souvenir, feeling foolish and angry with himself.
Alienation and Loneliness The narrator never shares any of his feelings concerning Mangan’s sist er with anyone. He isolates himself from his friends, who seem terribly young to him once his crush begins, and from his family, who seem caught up in their own world. Mangan’s sister is also completely unaware of the narrator’s feelings for her. Consequen tly, when he suddenly realizes how foolish he has been, his anger at himself is intensified by his alienation from everyone and the resulting feeling of isolation.
Change and Transformation The narrator experiences emotional growth — changing from an innocent young boy to a disillusioned adolescent — in the flash of an instant. This insight occurs through what Joyce called an “epiphany,” which is a moment of intense insight and self-understanding. Although the narrator suddenly understands that he has allowed his feelings to get carried away, this understanding makes him neither happy nor satisfied. If anything, he is very angry at himself for acting foolishly. This realization marks the beginning of his maturation from a child into an adult.
God and Religion At the beginning of the story, the narrator sees himself as a religious hero and sees Mangan’s sister as the living embodiment of the Virgin Mary. He has not yet learned how to separate the religious teachings of his school with the reality of his secular life. Part of his understanding at the end of the story involves his finally separating those two aspects of his life. He realizes that the church-sponsored bazaar is just a place to buy trinkets, that Mangan’s sister is just a girl, and that he. himse lf is just a boy. It is not clear at the end of the story what impact the narrator’s epiphany will have on his religious beliefs. Joyce’s own disillusionment with Catholicism, however, lends credence to the possibility of the boy adopting a cynical attitude toward his religion.
Characters
Mangan Mangan is the same age and in the same class at the Christian Brothers school as the narrator, and so he and the narrator often play together after school. His older sister is the object of the narrator’s confused feelings.
Mangan’s Sister Mangan is one of the narrator’s chums who lives down the street. His older sister becomes the object of the narrator’s schoolboy crush. Mangan’s sister has no idea how the narrator feels about her, however, so when they discuss Araby, the bazaar coming to town, she is only being polite and friendly. She says she would like to go to the bazaar but cannot because she has to attend a school retreat that weekend. The narrator promises to buy her something at the bazaar if he goes, but it is unlikely that she takes this promise seriously. While on the one hand the narrator describes her romantically, he also describes her in reverential terms which call to mind the Virgin Mary. This dual image description of Mangan’ s sister represents the religious and romantic confusion of the narrator.
Mrs. Mercer is the pawnbroker’s widow who waits at the house for the narrator’s uncle, perhaps to collect money that he owes her. Joyce includes her character to show that the uncle is unreliable in the payment of his debts.
Narrator The narrator of this story is a young, sensitive boy who confuses a romantic crush and religious enthusiasm. All of the conflict in this story happens inside his mind. It is unlikely that the object of his crush, Mangan’s sister, is aware of his feelings for her, nor is anybody else in this boy’s small world. Because the boy’ s thoughts only reveal a part of the story, a careful reader must put together clues that the author gives. For example, the narrator mentions that the former tenant of the house he shares with his
aunt and uncle was a priest, a representative of the Catholic church, who left behind three books which became important to the narrator. One is a romantic adventure by Sir Walter Scott; one is a religious pamphlet written by a Protestant; and the third is the exciting memoirs of a French policeman and master of disguise. These three books are not what a person would expect a Catholic priest to have in his library. So if this priest has non-religious literature in his library, then how devout can an average churchgoer be expected to be? This turns out to be the case for the narrator, who confuses religious idealism with romance.
The boy confuses the religious and secular worlds when he describes himself at the market with his aunt. He bears the chalice — the Communion cup —through a “throng of foes.” He also describes Mangan’s sister in terms often associated with the Virgin Mary. For the narrator, then, an ordinary grocery-shopping trip becomes a religious crusade, and a pretty girl down the street becomes a substitute for the Mother of God. The boy fuses together religious devotion for the Virgin Mary with his own romantic longing. Joyce is famous for creating characters who undergo an epiphany — a sudden moment of insight — and the narrator of “Araby” is one of his best examples. At the end of the story, the boy overhears a trite conversation between an English girl working at the bazaar and two young men, and he suddenly realizes that he has been confusing things. It dawns on him that the bazaar, which he thought would be so exotic and exciting, is really only a commercialized place to buy things. Furthermore, he now realizes that Mangan’s sister is just a girl who will not care whether he fulfills his promise t o buy her something at the bazaar. His conversation with Mangan’s sister, during which he promised he would buy her something, was really only small talk — as meaningless as the one between the English girl and her companions. He leaves Araby feeling ashamed and upset. This epiphany signals a change in the narrator — from an innocent, idealistic boy to an adolescent dealing with harsh realities.
Narrator’s Aunt The narrator’s aunt, who is a mother figure in the story, takes the narrator with her to do the marketing. When it seems as though the uncle has forgotten his promise to the narrator that he could go to the bazaar, she warns the boy that he may have to “put off’ the bazaar “for this night of Our Lord.” While this statement makes her seem strict in a r eligious sense, she also exhibits empathy for the boy’s plight. She pleads his case when the uncle forgets about the boy’s plans to go to Araby.
Narrator’s Uncle The narrator’s uncle seems self-centered and very unreliable. When the narrator reminds him th at he wants to go to the bazaar, he replies, “Yes, boy, I know.” But on the Saturday evening of the bazaar, he has forgotten, which causes the narrator to arrive at the bazaar very late. When the uncle finally shows up, he has been drinking, and as the boy leaves for the bazaar he begins reciting the opening lines of the poem, “The Arab’s Farewell to his Steed.” Joyce’s characterization of the uncle bears resemblance to his own father, who liked to drink and was often in debt. Joyce’s inclusion of Mrs. Merc er, the pawnbroker’s widow who waits for the uncle to return, suggests that the uncle owes money.
Style
Through the use of a first person narrative, Joyce communicates the confused thoughts and dreams of his young male protagonist. Joyce uses this familiar ity with the narrator’s feelings to evoke in readers a response similar to the boy’s “epiphany” — a sudden moment of insight and understanding — at the turning point of the story.
Point of View The first-person point of view in “Araby” means that readers see everything through the eyes of the narrator and know what he feels and thinks. If the narrator is confused about his feelings, then it is up to the readers to figure out how the narrator really feels and why he feels that way, using only the clues give n by the author. For example, when the narrator first describes Mangan’s sister, he says that “her figure [is] defined by the light from the half-opened door.” In other words, she is lit from behind, giving her an unearthly “glow,” like an angel or superna tural being such as the Virgin Mary. Readers are left to interpret the meaning behind the narrator’s words, because the boy is not sophisticated enough to understand his own longings.
Symbolism The symbolism Joyce includes also helps readers to fully unde rstand all of the story’s complexities. The former tenant of the narrator’s house, the Catholic priest, could be said to represent the entire Catholic church. By extension, the books left in his room — which include non-religious and
non-Catholic reading — represent a feeling of ambiguity toward religion in general and Catholicism in particular. The bazaar, Araby, represents the East — a part of the world that is exotic and mysterious to the Irish boy. It could also represent commercialism, since it is really just a fundraiser used to get people
to spend money on the church. Mrs. Mercer, the pawnbroker’s widow, represents the uncle’s debt and irresponsibility; she too could represent greed and materialism. To the narrator, Mangan’s sister is a symbol of purity and feminine perfection. These qualities are often associated with the Virgin Mary, who also symbolizes the Catholic church. While the boy is at Araby, the various, and often contrasting, meanings of these symbols converge to produce his epiphany.
Stream of Consciousness Joyce is famous for using a stream-of-con-sciousness technique for storytelling. Although stream of consciousness does not figure prominently in “Araby,” a reader can see the beginnings of Joyce’s use of this technique, which he used ex tensively in his subsequent novels, Ulysses and Finnegans Wake. A major feature of stream-of-consciousness storytelling is that the narration takes place inside the mind of main characters and follows their thoughts as they occur to them, whether those thoughts are complete sentences or not. Although this story uses complete sentences for its storytelling, the narration takes place inside the boy’s mind. Another feature of stream-of-con-sciousness narration is that the narrator’s thoughts are not explained for the reader. This is true of “Araby” as well, especially during and after the boy’s epiphany.
Topics for Further Study
?Joyce once said that in Dubliners he intended “to write a chapter of the moral history of Ireland, because Dublin seemed to him to be at the “centre of paralysis.” What do you think he meant by
that? If you were to write a chapter of the moral history of your country, which city would you
choose to be at the center? Why?
? A recurring theme in many of the stories in Dubliners is a longing for escape expressed through fantasies of flight to someplace Eastern and exotic. What place represents the unknown to you?
Research this place and discuss whether it is truly exotic and mysterious or just different.
?Catholicism figures prominently in mu ch of Joyce’s work. Compare the influence of the Catholic Church in Ireland at the turn of the century and today. Would the themes of religious confusion
and doubt in “Araby” create controversy in modern-day Ireland?
Historical Context
While Dublin, Ireland, has seen change since the turn of the twentieth century, when Joyce wrote “Araby,” many of the conditions present then remain today. In 1904, all of Ireland was under British control, which the Irish resented bitterly. The nationalist group, Sinn Fein (part of which later became the Irish Republican Army — the IRA), had not yet formed, but Irish politics were nonetheless vibrant and controversial. The question of Irish independence from Britain was one of primary importance to every citizen.
Ireland’s ma jor religion, Roman Catholicism, dominated Irish culture. Many families sent their children to schools run by Jesuit priests (like the one the narrator in “Araby” attends) and convent schools run by nuns (like the one Mangan’s sister attends). Folklore, fa iry tales, and homespun stories — told and retold for generations — provided a common form of family entertainment. Many turn-of-the-century stereotypes about the Irish came from their cultural traditions. Some common ones included large families, drunkenness, poverty, and imaginative storytelling.
The large families seen in Ireland at the turn of the century stemmed largely from the Catholic religion. Divorce went against church doctrine, and abortion and birth control were considered mortal sins. It was
also a mortal sin for husbands and wives to refuse to engage in sexual relations to prevent having more children. As a consequence, it was not unusual for Irish Catholic families at the turn of the century to be quite large. While the modern Catholic church does not exercise quite as much influence, these issues still figure strongly in Irish culture today.
There were no televisions or radios for entertainment at the turn of the century. Many homes had no electricity and were heated only by a central fireplace. Therefore, the custom of storytelling after dinner (or “tea”) was one common form of entertainment. In light of these living conditions, it is clear why an event like the bazaar in “Araby” could cause such great expectations.
The stereotype of the drunken Irishman arose partly in response to the poverty experienced by the majority of people in Ireland after the Great Potato Famine of the 1840s. Beer was cheap and often more sanitary than the water. The Irish were also famous for their whiskey, which many still claim to be the finest in the world. The local public house — or pub — was the central gathering place of the village, and also served as a small hotel for weary travelers. People were certain to find warm hospitality, good beer and mutton stew, and good stories around the hearth to lift their spirits there. In the evening, the men would gather at the pub to drink, talk of politics or sports, and hear music. Unfortunately, this led to many men wasting their families’s meager resources, thereby reinf orcing the stereotype of the drunk, irresponsible Irishman. The narrator’s uncle in “Araby,” who keeps the narrator and the pawnbroker’s widow waiting before coming home drunk, fits this mold.
In larger cities like Dublin and Belfast, many Irish cultural stereotypes have disappeared as Ireland has become modernized. In many parts of Ireland, though, poverty still exists and the pub is still the town’s social center.
Critical Overview
Joyce had a hard time getting Dubliners published. Although he wrote the stories between 1904 and 1906, and some of them were published in magazines, the entire collection was not published in book form until 1914. The book was first accepted for publication by the Grant Richards publishing company in 1906, but after a long controversy and many arguments between Joyce and the editors over changes the company wanted to make to the stories, they withdrew their offer to publish.
The second company that accepted the manuscript for publication in 1909 was Maunsel and Company, a Dublin publisher. This company had second thoughts about publishing the work as well, and in 1912 they destroyed the proofs that Joyce had corrected. This left Joyce extremely bitter. Finally, in 1914, Grant Richards, the company that originally accepted the manuscript for publication again agreed to publish Joyce’s work.
This troubled road to publication influenced the early reviews and criticism of Dubliners. According to Robert Scholes and A. Walton Litz, the editors of the 1996 edition of Dubliners published by Viking Press, these stories were mostly dismissed by early critics as Joyce’s “apprentice” work, or given a secondary place as “skillful but depressing ’slices’ of Dublin life.”
Dubliners was published four months after the publication of Joyce’s next w ork, A Portrait of the Artist as a Young Man, Its reception was overshadowed by excitement and attention given to both Portrait and early chapters of Ulysses, which Joyce was publishing in magazines around the same time. Many readers during this time found Portrait— a revealing story of a troubled young man searching for his place in life — far more interesting than the stories in Dubliners. For many years Joyce’s problems with publishers and printers were discussed more frequently than the stories themselves.
Early reviews of Dubliners set the pattern for subsequent critical discussion. Many critics protested against the sordid incidents related in some of the stories and the overall pessimistic tone of the collection. These critics complained that these s tories lacked a “point,” and that they were merely anecdotes or
sketches without any definite structure. At least two reviewers found the longer stories the least satisfactory because Joyce did not sustain a “mood” in them as he did in the shorter pieces.
The turning point in Dubliners criticism came in the 1940s and 1950s, when critics began to find in Joyce’s work interesting and novel connections between such elements as tone, atmosphere and action. While some critics still focus on these stories as evidence of the young Joyce developing his distinctive style, or emphasize that Joyce provides a truthful, skillful depiction of life in Dublin at the turn of the century, the criticism now encompasses a wide range of interpretations and appreciation. Most critics now agree that Dubliners stands on its own merits as a great work by one of the most important writers of the twentieth century.
Criticism
Greg Barnhisel
Greg Barnhisel is an educator and Assistant Director of the Undergraduate Writing Center at the
U niversity of Texas at Austin. In the following essay, he explores the major themes in “Araby,” including nationality, religion, and relationships between the sexes.
In his early story “Araby,” James Joyce prefigures many, if not all, of the themes which la ter became the focus of his writing. Joyce, often considered the greatest English-language novelist of the twentieth century, published few books in his lifetime. Chamber Music, a book of poems, appeared in 1907; Dubliners, a collection of short stories fr om which “Araby” is taken, was published in 1914; and his first novel, A Portrait of the Artist as a Young Man, came out in the same year. The book for which Joyce is most famous, Ulysses, appeared in 1922 and was quickly banned. Finally, in 1939, Joyce published Finnegans Wake. Notwithstanding his small output, Joyce’s work has been highly influential, and many of the themes and details he uses in his work have become common currency in English literature. In “Araby,” a story of a young boy’s disillusionme nt, Joyce explores questions of nationality, religion, popular culture, art, and relationships between the sexes. None of these themes can be adequately explored in a short essay; however, a brief exposition of the most important themes of “Araby” indicate s the marvelous complexity of Joyce’s insight.
“Araby” is narrated by a young boy who is, like most of Joyce’s characters, a native of Dublin, Ireland. Since the conflict in the story occurs primarily within the boy’s consciousness, Joyce’s choice of
first-person narration is crucial. The protagonist, as with most of Joyce’s main characters, is a sensitive boy, searching for principles with which to make sense of the chaos and banality of the world. We know immediately that Catholicism has served as one of these principles; he attends a Christian Brothers school and at home is attracted to the library of a former tenant of his family, a priest. His identification with Catholicism is more than casual. On Saturday evenings, when the boy goes “marketing” with h is aunt he sees the crowds in the market as a “throng of foes” and himself as a religious hero who “bears his chalice” through the crowd.
The narrator’s dedication to Catholicism, however, does not run as deep as he might believe. In fact, he channels the emotional devotion that his religion requires towards questionable recipients. Readers learn first that the priest’s library contains three books especially important to the protagonist: a romantic novel, a religious tract written by a Protestant, and the memoirs of a French police agent and master of disguise. If this priest does not maintain a sufficiently pious library, how can this boy be expected to properly practice his religion?
More importantly, the boy takes the Catholic idea of devotion to the Virgin Mary and finds a real-world substitute for the Mother of God. We learn that he is especially fascinated by the older sister of one of his schoolmates. In the narrator’s first description of Mangan’s sister she is lit from behind, like a saint. “[H]er f igure defined by the light from the half-opened door. . . . Every morning I lay on the floor in the front parlour watching her door,” the narrator tells us, presenting an image of himself as a prostrate
worshipper. Furthermore, he relates that “her image a ccompanied [him] even in places the most hostile to romance.” Although the boy explains his feelings for Mangan’s sister as romantic, his confusion between her and the Virgin Mary are easily discernible: “Her name sprang to my lips at moments in strange pr ayers and praises of which I myself did not understand.” The boy is as rapturous as if he had seen a vision of the Mother of God herself. And when the girl finally speaks to him, he cannot respond coherently: “When she addressed the first words to me I was so confused that I did not know what to answer.”
Joyce also makes the nonreligious, and even sexual, elements of the boy’s devotion to Mangan’s sister clear throughout the story. Her dress, her hair, and her “brown figure” are “always in [the narrator’s] eye,” and when he finally speaks to her, the same light that once made her glow like a saint now catches “the white border of a petticoat, just visible as she stood at ease.” The boy melds religious devotion for the Virgin with his own romantic longing, an d the combined force is powerful. When Mangan’s sister asks him if he will be attending Araby, a church bazaar to be held soon, he is caught by surprise: “I forgot whether I answered yes or no.” She tells him she must attend a retreat and cannot attend the fair. As his eyes fix upon the silver bracelet she twists on her wrist, he resolves to go and bring her back something that could compare with that bracelet. Here, the narrator ventures dangerously close to idolatry and the pre-Christian tradition of offerings to the gods. In a punning reference to this, he relates that because of his recent distraction in class, his schoolmaster “hoped I was not beginning to idle.”
The shift from the boy’s initially religious longings to more worldly concerns is accentuat ed by images of Araby that reverberate in his mind, taking on a very unreligious cast: “The syllables of the word ’Araby’ were called to me through the silence in which my soul luxuriated and cast an Eastern enchantment over me.” This is a very ominous sentence; the boy’s religious leanings are being completely overthrown by the lure of the mysterious, and possibly sensual, bazaar. The sensuality that he wished to obliterate earlier (“All my senses seemed to desire to veil themselves,” he tells us when he is in the priest’s room, thinking of Mangan’s sister) is now the very thing that he wants to indulge. The fact that Araby suggests a
non-Christian culture is also significant here, for in his dedication to Mangan’s sister the boy is willing to forsake the safe and familiar world of Catholic Ireland for what he believes to be the exotic and decadent East. As he stands in the upper-story room of his house, he looks upon his old playmates from above as they play in the street, and then looks up on the house across to where Mangan and his sister live. He feels himself chosen, like Sir Galahad (a noble knight from the legend of King Arthur) and prepares himself for his quest.
After withstanding the peril of the drunken uncle and the aunt who hints he might have to “put off [his] bazaar for this night of Our Lord,” the protagonist is finally ready to embark upon his quest. His excitement is palpable as he rushes towards the festival, trying to get there before it closes. As he approaches the darkening hall, his once-clear purpose is now muddy: he “remem-ber[s] with difficulty why [he] had come.” The futility and purposelessness of his project begins to dawn upon him as he hears an English shop-girl and two young English gentlemen chatting:
“O, I never said such a thing!”
“O, but you did!”
“O, but I didn’t!”
“Didn’t she say that?”
“Yes. I heard her.”
“O, there’s a. . . fib!”
One of the recurring themes in Joyce’s stories is the “epiphany,” a Greek word meaning “revelation.” In one of the drafts of A Portrait of the Artist as a Young Man, Joyce’s character Stephen Dedalus is preoccupied by epiphanies: “By epiphany he meant a sudden spiritual manifestation, whether in the
vulgarity of speech or of gesture of in a memorable phrase or the mind itself. He believed that it was for the man of letters to record these epiphanies with extreme care, seeing that they themselves are the most delicate and evanescent of moments.” Joyce, like his fictional counterpart Stephen, saw the epiphany as a crucial building-block of fiction, because it was the moment at which a character understands that the illusions under which he or she has been operating are false and misleading.
At this point in “Araby,” the narrator experiences an epiphany. As the protagonist nears the end of his quest and is about to buy a gift for Mangan’s sister, he changes his mind. As he leaves the hall where the bazaar is closing down, the narrator says: “[g]azing up into the darkness I saw myself as a creature driven and derided by vanity; and my eyes burned with angu ish and anger.” Somehow, the overheard conversation between the English shopgirl and her friends has changed his outlook.
Here at the end of the story, the various symbols Joyce employs converge. The light in which the narrator has always seen Mangan’s sis ter now meets the darkness of the hall as the bazaar shuts down. Our narrator begins to see Mangan’ s sister not as the image of the Virgin, but as a mundane English shopgirl engaging in idle conversation. His quest, he now realizes, was misconceived in the first place, and he now recognizes the mistake of joining his religious fervor with his romantic passion for Mangan’s sister. Although he does not say, it seems clear that the protagonist will fully reject both.
The story, like much of his work, is taken almost directly from Joyce’s own life. Like the narrator of this story, Joyce lived on North Richmond Street in Dublin and attended the Christian Brothers’ School. The aunt and the uncle of “Araby” bear some resemblance to Joyce’s own parents. Even Araby is factual: advertisements survive that date the bazaar to May, 1894.
In Joyce’s later fiction, characters almost identical to the narrator in “Araby” recur; the most prominent is Stephen Dedalus, the hero of A Portrait of the Artist as a Young Man, and one of the main characters in Ulysses. Both wrestle with a similar predicament —they must free themselves from the “nets” of their society, family, and religion in order to be entirely self-determined. Although many of the characters in Dubliners prefigure Joyce’s later characters, the boy in “Araby” seems closest to being a younger version of Stephen Dedalus/James Joyce. He goes through almost the same struggle as Joyce shows Stephen fighting in Portrait. In the words of the critic Harry Stone, in The Antioch Review, “’Araby’ is a portrait of the artist as a young boy.”
Source: Greg Barnhisel, for Short Stories for Students, Gale Research, 1997.
Compare & Contrast
?1906: The Abbey Theatre forms in Dublin as part of a push by notable literary figures such as W.
B. Yeats to influence a cultural renaissance in Ireland.
Today: Irish theater and Irish playwrights, including Neil Jordan (The Crying Game) achieve
critical acclaim and popular success all over the world.
?1906: Irish nationalist group, Sinn Fein (Gaeli c for “We Ourselves”) forms with the goal to achieve Irish independence from England, which rules all of Ireland.
Today: Although the majority of Ireland became a sovereign nation in 1948, Northern Ireland,
which consists of six counties, is still under English rule. English troops occupy Northern Ireland, and the IRA (Irish Republican Army) continues its terrorist attacks.
?1899: W. B. Yeats publishes The Wind Among the Reeds, a poetry collection that incorporates ancient Irish-Gaelic myths and cultural traditions into its subject matter.
Today:Irish poet Seamus Heaney, who mines Ireland’s cultural and physical landscapes for his
subject matter, wins the 1995 Nobel Prize for Literature.
What Do I Read Next?
?Dubliners is the complete collection of 15 short stories by James Joyce, all loosely connected as each one describes people living in Dublin, Ireland, at the turn of the century.
? A Portrait of the Artist as a Young Man. This first novel by Joyce describes the early life of Stephen Dedalus, a sensitive, intelligent young man struggling to understand life and his role in it.
?Ireland: A Terrible Beauty(1975). A collection of photographs by Jill Uris, accompanied by text written by her husband, author Leon Uris. This book not only gives an overview of the history of the Emerald Isle, but also shows off the beauty of the island in many exquisite photographs.
?Ireland: Art into History(1994). This book, edited by Brian P. Kennedy and Raymond Gillespie, traces the history of Ireland through its art, from prehistoric times to the present. It presents both art and history, without being too academic.
?The Common Chord: Stories and Tales(1947), by Frank O’Connor, is a collection of short stories from this famous Irish writer. Written from the point of view of a you ng boy, O’Connor’s stories are funny, truthful, and many times touched with an edge of sadness.
?The Commitments(1988) and Paddy Clarke Ha Ha Ha(1993), both by Irishman Roddy Doyle, are novels set in contemporary working-class Ireland. The Commitments describes the efforts of
Jimmy Rabbitte to start a band which covers American soul songs of the 1960s by such greats as Otis Redding and Sam Cooke. Paddy Clarke Ha Ha Ha gives the reader a look at life through the eyes of a ten-year-old boy in modern-day Ireland.
Sources
Scholes, Robert and A. Walton Litz, editors. Dubliners: Text, Criticism, and Notes, Penguin, 1996. Further Reading
?apRoberts, R. P. “The Palimpsest of Criticism; or, Through a Glass Eye Darkly,” in The Antioch Review, Vol. XXVI, 1966-67, pp. 469-89.
apRoberts’s sarcastic attack on what he sees as Harry Stone’s excessively reaching reading of
“Araby.” Where Stone holds that “Araby” must be seen in light of Joyce’s other writing, apRoberts insists that it is self-contained.
?Brown, Homer Obed. Jam es Joyce’s Early Fiction, Archon, 1975.
A study of the methods of Joyce’s early fiction (primarily Dubliners) and the themes the work
explores.
?Levin, Harry. James Joyce, New Directions, 1960.
A general discussion of Joyce’s work and his techniques, written in 1941, the year of Joyce’s
death.
用流利的英语介绍中国的特色～～来源：李思佳的日志 1.元宵节：Lantern Festival 2.刺绣：embroidery 3.重阳节：Double-Ninth Festival 4.清明节：Tomb sweeping day 5.剪纸：Paper Cutting 6.书法：Calligraphy 7.对联：(Spring Festival) Couplets 8.象形文字：Pictograms/Pictographic Characters 9.人才流动：Brain Drain/Brain Flow 10.四合院：Siheyuan/Quadrangle 11.战国：Warring States 12.风水：Fengshui/Geomantic Omen 13.铁饭碗：Iron Bowl 14.函授部：The Correspondence Department 15.集体舞：Group Dance 16.黄土高原：Loess Plateau 17.红白喜事：Weddings and Funerals 18.中秋节：Mid-Autumn Day 19.结婚证：Marriage Certificate 20.儒家文化：Confucian Culture 21.附属学校：Affiliated school 22.古装片：Costume Drama 23.武打片：Chinese Swordplay Movie 24.元宵：Tangyuan/Sweet Rice Dumpling (Soup) 25.一国两制：One Country, Two Systems 26.火锅：Hot Pot 27.四人帮：Gang of Four 28.《诗经》：The Book of Songs 29.素质教育：Essential-qualities-oriented Education 30.《史记》：Historical Records/Records of the Grand Historian 31.大跃进：Great Leap Forward (Movement) 32.《西游记》：The Journey to the West 33.除夕：Chinese New Year’s Eve/Eve of the Sprin g Festival 34.针灸：Acupuncture 35.唐三彩：Tri-color Pottery of the Tang Dynasty/The Tang Tri-colored potte ry 36.中国特色的社会主义：Chinese-charactered Socialist/Socialist with Chinese c haracteristics 37.偏旁：radical 38.孟子：Mencius
一、公文的文体特点及翻译 （一）公文的文体特点 公文主要包括政府发布的各种公告、宣言、声明、规章法令、通告、启示和各类法律文件。其文体特点主要体现在以下几方面： 1）措词准确。发布公文的目的一般在于解释或阐明公文发布者的立场、观点或政策、措施，因此公文在措词上必须准确明晰，切忌模棱两可或含糊晦涩。 2）用词正式，且多古体词。公文作为政府或职能部门所发布的文章，需具有其权威性、规范性。因此在用词上一般较为正式，并且不排除使用一些较为古雅的词（如hereinafter, hereof, herewith等等）。 3）普通词多有特定意义。许多普通的词在公文体中常常具有其特定的意义。如allowance一词通常指"允许"、"津贴"，而在经贸合同中则多指"折扣"。 4）长句、复杂句较多。公文体为使其逻辑严谨，表意准确，在句法上常常叠床架屋，以至使得句式有时显得臃肿迟滞，同时句子的长度也大为增加。 （二）公文的翻译 翻译公文首先要注意公文特有的形式，包括格式、体例等。对已模式化、程式化的格式译者决不应随便更改。其次，译者应透彻理解原文，特别是要正确把握原文词义，认清一些common words在公文中特有的含义。再次，在措词上必须使译文的语体与原文相适应。一般说来，英语公文翻译通常应使用正式书面语体，并酌情使用某些文言连词或虚词。最后，公文翻译中要注意长句的处理。要在理清句意和各部分之间逻辑关系的前提下恰当使用切分法或语序调整法，以使译文通畅、自然、地道。 二、商贸函电的文体特点及翻译 （一）商贸函电的文体特点 商贸函电指经济贸易活动中的各类信函、电报、电传等。其文体特征主要有： 1）措词简洁明了。为使表达明晰，商贸函电在措词上力求简明扼要，不太讲究修饰。 2）用语正式庄重。正式庄重的语言常常显得诚恳、自然、有礼貌，因此常用于商贸函电中。
A. Literal translation: It strives to reproduce both the ideological content and the style of the original works and retains as much as possible the figures of speech. B. Free translation Free translation changes the original work’s figures of speech, sent ence structures or patterns, but not the original meaning. C. Domestication: it refers to the target-culture-oriented translation in which unusual expressions to the target culture are exploited and turned into some familiar ones so as to make the translated text intelligible and easy for the target readers. D. Foreignization:(异化翻译)retaining something of the foreignness of the original 在一定程度上保留原文的异域性（保留原文的语言和文化差异） Her eyes sparkled with tears, her breath was soft and faint .In response, she was like a lovely flower mirrored in the water in motion, a pliant willow swaying in the wind. ___chapter three (泪光点点，娇喘微微，娴静时如姣花照水，行动处似弱柳扶风。这是林黛玉进贾府，与贾宝玉初次见面时宝玉严重的待遇形象。曹雪芹用泪光点点，娇喘微微来表现林黛玉的多愁善感，弱不经风并运用姣花照水，弱柳扶风两个比喻勾画出林黛玉娴静雅致的形象) Mr. Yang used literal translation and translated as a lovely flower mirrored in the water and a pliant willow swaying in the wind .He reserved the original form and images to reflect the image of Lin Daiyu. B. free 》translation When the images or expressions are the same with English, Mr.Yang adopt to keep the original images and made it concise and clear. (意象或表达方式意义相似则意译当原文的 意 向或表达方式在中英文中有相同的意义,并非汉语所特有,杨宪益采取意译法,并保留原文的意向.简约精炼,忠实清晰.) Examples: 例1:黛玉便说“兔死狐悲,物伤其类”,不免感叹起来。(第57回) 杨译:Daiyu exclaimed in distress and sympathy. 解析：“兔”与“狐”在中西生态文化中具有相同的含义。两种动物都是打猎的主要对象,在英语中也有fox - hunting , hare- coursing的用法。这两个意象并未包含非常重要的文化信息,所以跳脱未译,在杨译本中没有出现例3:贾瑞急的也不敢则声,只得悄悄的出来,将门撼了撼,关的铁桶一般。(第12回) 杨译: He crept out to try the gate and found it securely locked. Although Yang uses free translation in above examples, but it is quite accurate and is closed to the original version. C.Domestication 例9: (平儿) “如今这事八下里水落石出了,连前儿太太屋里丢的也有了主儿。”(第61回) 杨译:“The fact is, this business ismore or less solved; we’ve even found out as well who took the
摘要:文化因素在文学翻译中占有举足轻重的地位,正确地处理文学翻译中的文化差异对于提高翻译作品质量和促进各国之间的文化交流有着至关重要的作用。本文探讨了几种处理文学翻译中文化差异的方法,无论采用哪一种方法或兼并使用,翻译的目的是为了创造更完美的翻译作品——既充分体现原文的风格、内涵又满足译文读者的需要。 关键词:文化差异;文学翻译;源语(source language) ;目的语(target language)转载于中国论文联盟https://www.doczj.com/doc/9d1235998.html, 随着全球经济、政治和科技的一体化,多元文化并存势在必行,文化在各国交流与往来中变得极为重要。受其影响,文化成为文学翻译作品中的一个重要因素。在今天的社会中,翻译已不再仅仅被看作是语言符号的转换,而被看作是一种跨文化交际的行为。翻译成为了一种文化模式的转换。人们用“intercultural communication(跨文化交际) ”、“intercultural cooperation ( 跨文化合作) ”、“acculturation(文化交融) ”或“t ransculturation(跨文化交际) ”等一系列术语来替代“翻译”(郭建中,2000 , P277) 。因此,怎样更加准确、恰如其分地处理文学翻译中的文化差异是创造完美翻译作品的关键。本文从不同的角度探讨了尽量减少文化差异的四种不同的翻译方法。 一、文学体裁和文化差异 翻译实践是与翻译作品的文体紧紧相联的。不同文体的翻译作品有着各自独特的语言特征。只有在同时掌握源语和目的语两种语言的特征且能熟练运用两种语言的情况下,译者才能创造出真实体现源语 风格的翻译作品。作品语言风格的不同就意味着所蕴涵的文化因素也各不相同。例如:就科技体裁的文章而言,其所承载的文化因素较少。在这类作品的翻译过程中,准确如实地将源语信息内容转化成目的语远远比对两种语言文化的转换要重要得多。相反,在文学体裁的作品中,如小说、诗歌、散文等,文化就成为翻译中应考虑的重要因素之一。如果忽略了文化因素,译作就成了没血没肉的、只是由词汇和句子堆积起来的躯壳。在读者眼里,失去了文化的译作也是没有灵魂的作品。因此,优秀的译者在文学翻译实践中应充分考虑如何处理不同体裁作品中的文化差异。 在所有的文学作品中,诗歌是富含文化因素最多的一种文学体裁,无论是其形式或内容都充分展现了它自身的文化特性。例如: 英语的十四行诗和汉语的七律诗都体现了各自浓厚的文化特色。在翻译实践中,除准确地再现诗的内涵、风格和原作者的思想外,还应译出诗的文化特色。许多翻译技巧,例如增补、注释、回译、替代等,都可以用来解决翻译中出现的文化差异现象,从而使目的语读者能够充分体会源语的文化风格。众所周知,汉语语言重视意合(Parataxis) 而英语语言注重形合(Hypotaxis) 。汉语意合的典型特征就是语言中有许多无主语句和不完整的句子,但是,在正常的英语语法中,句子必定有主语。因此,在英汉翻译中,可以通过增加或删减主语、宾语、关联词等来实现语言和篇章的连贯以及解决两种语言文化差异的矛盾。例如,唐代诗人李白的《静夜诗》中的“床前明月光,疑是地上霜”可译为了符合英语形合的特征,译者按照英语“主谓宾(SVO) ”结构的语言模式,增加了主语“I”、关联词“if”和谓语动词“see”;译者采用诠释的方法,将“床前明月光”译成了“Abed , I see a silver light”1替代也是通常用来弥补文化差异的一种翻译技巧。例如:“众人拾柴火焰高”可译作”Many handsmake light work”。这里,译者根据英语读者的文化习惯用“众人干活活不累”替代了“众人拾柴火焰高”。再如,“胆小如鼠”被译作“as timid as a rabbit”。当汉语转换成英语后,“兔子”代替了“老鼠”,因为英语国家的读者在他们的文化氛围中认为“兔子最温顺”,而不理解“胆小如鼠”。其它类似的例子如下: 如鱼得水like a duck to water 多如牛毛as plentiful as blackberries 一箭之遥at a stone’s throw 水中捞月to fish in the air
从《论语》两种译本看中西特色翻译 ——以辜鸿铭与理雅各译文为例 【摘要】辜鸿铭和理雅各作为中西方代表，其《论语》译本各有千秋。文章对理雅各和辜鸿铭的《论语》英译本进行对比研究，分析两位译者的翻译特色，说明译者的人生经历和翻译目的对此的影响。 【关键词】《论语》英译；理雅各；辜鸿铭；对比研究 【Abstract】Gu Hung-ming and James legge as Chinese and western representative, both of their analects versions in their own way have made an important contribution. This essay carries out a comparative study between James legge's English version of The Confucius Analects and Gu Hung-ming's version of The Discourses and Sayings of Confucius, analyzing two translators' translation features, life experiences, and translation purposes. 【Key Words】The Confucius Analects; James Legge; Gu Hung-ming; comparative studies 文化典籍的翻译不仅是一种民族文化符号转化、阐释与再生的过程，而且还能够体现译者的民族意识，弘扬民族精神。《论语》是奠定中华民族传统文化的基石作品之一，其译本不仅能够体现影响译者决策的综合性因素，还反映出西方文化对中华文化的态度和政策。文章通过对理雅各和辜鸿铭的《论语》英译本进行对比研究，探讨两文翻译特色并探究其原因。 一，理雅各及其《论语》翻译 理雅各是l9世纪著名汉学家。作为学者的他深感当时儒经翻译的不尽如人意，希望有全面、精确的译本出现。作为传教士的他最希望看到的是耶稣取代孔子，但传教工作是一种文化上的殖民入侵，遭到了儒家思想的强烈抵抗。面对这
一、翻译散文的要领： 第一、准确把握原文的内容和风格。朴实无华有口语化倾向，典雅华丽浪漫抒情，还是修辞多样形式工整？ 第二、在语言、句式、结构、修辞等方面忠实地重现原文的内容与风格。 二、现代散文特点 通过对现实生活中某些片断或生活事件的描述，表达作者的观点、感情，并揭示其社会意义，它可以在真人真事的基础上加工创造；不一定具有完整的故事情节和人物形象，而是着重于表现作者对生活的感受，具有选材、构思的灵活性和较强的抒情性，散文中的“我”通常是作者自己；语言不受韵律的限制，表达方式多样，可将叙述、议论、抒情、描写融为一体，也可以有所侧重；根据内容和主题的需要，可以像小说那样，通过对典型性的细节欲生活片段，作形象描写、心理刻画、环境渲染、气氛烘托等，也可像诗歌那样运用象征等艺术手法，创设一定的艺术意境。 三、要素 第一、所谓优美，就是指散文的语言清新明丽(也美丽)，生动活泼，富于音乐感，行文如涓涓流水，叮咚有声，如娓娓而谈，情真意切。 第二、所谓凝练，是说散文的语言简洁质朴，自然流畅，寥寥数语就可以描绘出生动的形象，勾勒出动人的场景，显示出深远的意境。散文力求写景如在眼前，写情沁人心脾。 四、在《英译中国现代散文选》中，翻译家张培基先生保存散文风格方面的技巧值得学 习：句子短小、精悍，结构简单；用词简单、明了；修辞处理合理，力求通俗易懂； 语言逻辑关系清晰；对文化因素处理得体，读者对译文无理解障碍。以上技巧的合理运用，翻译工作者可以此为鉴。 五、散文翻译原则： 1、文气贯通,气韵生动 英国散文翻译家Hilaire Belloc 为文学散文翻译制定了6 条原则，认为翻译的本质是异地之魂假借本地之躯的复活(the essence of translating is the resurrection of an alien thing in a native body) ,强调散文的翻译不能拘泥于原文之字句,要视 段落或部分为整体。翻译要“以意译意( translate intention by intention) ”,以意译意”与林语堂提倡的翻译要“翻译要遵循行文之心理”是高度一致的,这样可以摆脱原文字句的束缚,有利于发挥译入语的优势。 2、传神写照———“意,气,文”三位一体 在散文翻译中,我们要想译得曲尽其妙,须得传神地摹写作者的气质神韵。每一个作者有每一个的个性特点、气质精神,着手翻译之前,要先对作者进行深入的研究,把握其时代背景、人生经历、创作风格等,这样的翻译方能做到传神达意,否则,难免貌合神离 3、文学翻译非文字翻译 讲求整体效果，即“神韵”。有些表面忠实的译文，失去了散文的文采，文雅，便失去了自身的价值，终究是失败的译文。 六、从篇章翻译看散文翻译 1、标题的翻译技巧 眼睛对于人来说, 是他们心灵的窗户; 而标题对于一篇文章来说, 就是它的眼睛。标题凌驾于篇章之上, 却植根于篇章之中。在翻译时必须牢记: 一是真正看懂全文之后再决定译名; 二是译出的标题必须符合通用的翻译标准: 忠实、通顺、有美感。在翻译标题 时, 译者充分考虑了两种语言的不同习惯和不同的文化、社会背景, 注重准确选词、增词、结构转换和结合上下文语境的理解来完成。
浅谈《国王的演讲》字幕翻译 雷娜娜 （渤海大学文理学院外语系） 摘要：工业革命发明了电影，工业革命也促进了国与国之间的经济、政治、文化的交流。中国随着现代改革开放的发展，经济、政治、文化得到高度繁荣发展，在发展的同时肯定会和外国文化发生交流，电影是国家之间文化交流的重要手段。我们不能单纯的欣赏本国的电影艺术，也需要欣赏全世界的电影艺术。中西方语言存在不同，为了更好的欣赏学习外国文化，就出现了影视翻译。本文就《国王的演讲》影视字幕翻译的语言特色进行简要的论述。 关键词：影视字幕翻译大众化中国特色 一、引言 近些年，为了满足人们的精神生活需要，世界各国的电影事业得到了高速发展。为了促进中西文化的交流，为了更全面的了解中西方世界，为了世界共同进步，世界各国之间相互引进优秀的电影以满足人们的艺术生活需要。电影成为人们了解世界文化的讲解者和信息的传递者。因此，电影字幕的翻译是无休止的话题，电影字幕也从低级向更高级发展，越来越符合接受者的需要。 二、影视字幕翻译的简要概括 影视字幕翻译不相同于口译，也不相同于笔译，具有复杂性。蒙娜·贝克曾经对影视作品这种符号合体作还原分析，把其分解为四个信道[1]P6：1.言语听觉信道，包括对话，背景语言，歌词等；2.非言
语听觉信道，包括音乐，自然声响，音响；3.言语视觉信道，包括添加的字幕标题以及画面上出现的书面符号；4. 非言语视觉信道，即影片的画面构成及其播放流。从形式上看，影视字幕是附录在电影中的文字，它可以不是原声中的语言文字。也可以不是电影人物的对话文字，可以是一种独白，对电影产生解释补充的作用。电影字幕必须和电影声音同步，否则就会带来混乱和困惑。电影字幕还具有短暂性，只会在画面停留片刻。电影字幕翻译是由口头语转向书面语，这一转向受到各种因素的影响，例如接受者的文化水平、接受国的文化差异等。影视字幕的翻译同时影响了观看者对影视作品的接受理解，也影响到国与国之间的文化交流，影响世界文化的进步。 三、字幕翻译的语言特色 （一）大众化 电影是为了满足广大人民的精神生活需要，而不是为了满足小部分或者特定人群的需要。在引进外国电影的时候，影视字幕的翻译要求具有大众化。《国王的演讲》是一部英国的优秀影视作品，为了让更多的中国人在听到原声电影的时候也能更好的欣赏电影，这就要求在引进的时候必须对英文进行字幕翻译，在《国王的演讲》中，许多字幕都体现了大众化。例如：“What an earth do you mean?”翻译成了“什么乱七八糟的”，“I had a special visitor this afternoon.”翻译成了“你得一直坐这里傻呆着，听大人唠叨完”。《国王的演讲》作为一部励志的电影，在大部分人听不懂英语的时候，字幕翻译更应该通熟易懂、具有大众化，让人们更好的理解这部作品，对人生的发展起
1.拜年 2.过年歌 3.闹社火 4.耍狮子 5.端午节 6.中秋节 7.重阳节 8.兰州清汤牛肉面 9.风味小吃三种（酿皮、甜醅、灰豆子） 10.烤羊肉串 11.羊杂碎 12.黄河水车 13.兰州刻葫芦 14.羊皮筏子赛军舰 15.敬酒歌 16.养蚕儿 17.染红指甲 18.安宁桃花会 19.梨苑花光（注：描述梨花盛放的景色） 20.锦绣逢春（注：主要描述春天的景色） 总标题：Lanzhou local flavor 1.Extending new year greetings 2.The song for the rhythm of the coming Chinese New Year https://www.doczj.com/doc/9d1235998.html,munity fire performance---a unique cultural phenomenon 4.Playing the lion dance 5.The Dragon Boat Festival 6.The Mid-Autumn festival
7.The Chongyang festival 8.兰州清汤牛肉面 9.Three local flavor snacks（Niangpi, Tianpei, Huidou soup） 10.Roasting mutton cubes on a skewer(如果图片是一个人在烤 羊肉串，用此翻译) 11.Chop-suey cooked by chopped entrails of sheep 12.The Yellow River waterwheel 13.Carved gourds---an art form in Lanzhou 14. Sheepskin rafts race(羊皮筏子比赛) 15.The toasting song 16.Silkworm breeding 17.Dyeing the fingernails red 18.The peach blossom assembly in An Ning district, Lanzhou city 19.The bright white pear clusters are glittering in the warm sunshine, so much dedicate and attractive. 20. The Spring is coming.(路边草色青青，树上抽出新芽) The splendid Spring.(锦绣逢春) In Spring, the hills are covered by beautiful flowers.(春时百花吐艳，满山锦绣)
最新英语专业全英原创毕业论文，都是近期写作 1 《收藏家》中空间与人物心理关系的解读 2 The Name Translation in A Dream of Red Mansions 3 论盖茨比悲剧的必然性 4 论《围城》的幽默语翻译 5 从女性主义角度浅析简?爱的婚姻观 6 角色扮演活动在小学英语教学中的应用 7 浅谈礼仪在商务谈判中的重要性及其相关策略 8 论英语电影片名的误译 9 On C-E Translation of Company Profiles from the Perspective of Functional Translation Theory 10 中学英语教学到大学英语教学衔接问题研究 11 从《劝导》看简奥斯汀创作思想的发展 12 浅析《恋爱中的女人》中劳伦斯的爱情观 13 Quest for Identity: An Analysis of Women Characters in The Bluest Eye 14 跨文化营销策略研究－－以宝洁为例（开题报告+论） 15 海明威战争小说人物悲剧色彩研究 16 浅析卡夫卡《变形记》中的异化现象 17 关于汉字“打”在英语翻译中的研究 18 场独立和场依存对不同主题阅读材料的影响研究 19 世纪英国继承制度对婚姻的影响 20 从功能翻译理论看企业简介汉英翻译 21 《红字》中女权主义意识探析 22 The Impact of High and Low Context on Intercultural Communication 23 从文化视角看汉英翻译中的语篇连贯性 24 析《虹》中的象征意义 25 Humanism in A Tale of Two Cities 26 A Comparative Study on the Symbolic Meanings of Color Red Between The Scarlet Letter and Tess of the D’Urbervilles 27 从《简爱》和《达洛维夫人》浅谈女权主义的发展 28 斯佳丽的性格分析 29 英汉颜色词的认知语义分析—以红色、黄色为例 30 非语言交际中体语的文化分析 31 从《透明的东西》探讨纳博科夫的时间意识 32 从功能目的论看化妆品广告的英汉翻译 33 试析《生死疲劳》英文版风格之再现：文学文体学视角 34 《名利场》中男性与女性形象解析 35 Jude the Obscure and Hardy’s World View 36 商务英语中缩略词的运用及翻译 37 西餐命名在认知语言学中的调查与研究 38 英汉谚语特征对比分析 39 王尔德童话《夜莺与玫瑰》中的唯美主义 40 以女性主义看《傲慢与偏见》中的女性形象