《金色笔记》的主题与形式分析 开题报告

金色笔记和金锁记开题报告“金色笔记”的思路是：找到这两种书里最经典的句子，将它们抄写下来，并作简单的解释。

开题报告在一次偶然中，我从朋友那儿得知她正打算出版一本《我读》，所以就央求她借给我一些“参考书目”。

说实话，当时对于她要做什么样的书也不太清楚。

但看过之后却有点哭笑不得——原来她准备把里面选取的文章都按照经典程度排序，然后再编辑成册。

我想这应该会非常有趣吧！于是便毫无顾虑地加入了出书者的行列。

没想到第二天早晨，手里竟捧着厚厚的十几本新书，而且每篇都是名家精品。

这真令人欣喜若狂啊！可还未等兴奋劲儿完全过去，便发现其中一部分篇幅似乎被压缩了许多，甚至有些失落感油然而生……不管怎么说，总算能与好书见面了，我便立即翻阅起来，渐渐地竟然被吸引住了。

一边看一边默诵着，仿佛身临其境般。

随后便深深沉浸在其中了。

直到晚饭后回房休息，我仍意犹未尽，连续读了三个通宵。

期间虽困倦难耐，但是依旧念念不忘；待我醒来时已是星月交辉、万籁俱寂了。

我才意识到，“金色笔记”中的内容绝不仅限于诗词歌赋，更主要的还包括散文和小说。

相比之下，前者是属于书卷气息较浓的艺术类型，而后者则具有哲理性质。

我开始调整自己的方向，逐步拓宽书籍范围，慢慢尝试把各种体裁和风格融合在一起。

我不断激励自己，坚持不懈地积累知识，勤勉努力地提高自己的水平。

此外，还大量浏览别人写的游记或心情日志，让我受益匪浅。

更重要的是，这使我拥有了宝贵的学习机会。

首先，我发现自己的语言表达能力确实得到了很大的提升，尤其是口头表达能力增强不少。

同时，学习语言这件事又不是件轻松的事情，需要你反复练习。

不过，正如我的这位朋友所说：“任何人只要用心、肯付出，就能获得进步。

”我的收获固然巨大，但是为了收获美丽的秋天，必须得“厚积薄发”。

另外，书香门第的氛围也在潜移默化地影响着我。

与其他人聊天时，他们时常谈论古今中外的历史故事和著名文人雅士，让我不由自主地想要亲近他们。

通过交流与讨论，我认识了李白、陶渊明等历代名人。

产学研理论与实践科技经济导刊 2016.22期《金色笔记》的自由主题分析张晓洁（济南大学 外国语学院 山东 济南 250022）1 引言20世纪中 叶以来，随着西方女权主义运动不断向纵深发展。

越来越多的人参与了这场伟大的运动。

当时出现了许多女性自我意识的文学作品，引起了人们越来越多的关注和讨论。

这使得普通人开始思考女性的价值，并提出一些问题。

多丽丝•莱辛是当代英国最重要的作家之一，2007年诺贝尔文学奖得主。

她获得了12次诺贝尔文学奖的提名，并获得多次各种世界级的文学奖提名。

《金色笔记》奠定了她在西方的文学界的地位，也被视为她的代表作。

这个故事被命名为自由的妇女，女主人公是安娜。

莱辛把它分为五个部分。

这五个部分是黑色，红色，黄色，蓝色四个音符和金色音符。

虽然这本小说是安娜成长的一个记录，但内容也涉及到了很多的社会问题，如殖民主义、种族主义、共产主义和男女之间的爱情。

这部小说内容丰富，既有情感上的，又有思想上的。

而最成功最重要的一点一个名字有时包含了很多，名字很有象征意义，如名字玛莎•奎斯特的意思是“追求”而安娜•弗里曼的意思是“自由人”。

我们可以看到，作者通过人物的名字表达了她的主要观点。

故事分为五个部分。

主要包括安娜和他的女朋友莫莉的生活和事业。

这部小说的内容大部分来自于安娜的四本笔记本（黑色，红色，黄色和蓝色）。

在故事的最后一节中，“自由女性”也插入了一个独立的部分，这是《金色笔记》的一节。

总之，笔记本几乎完全反映了安娜的生活和思想的各个方面。

在小说的每一部分，每当在莫莉的厨房相遇她们总是讨论生活中遇到的问题与想法。

他们一直在努力探索，不想盲目追随，也不会随波逐流。

但事实上，女人不喜欢她们的自由，而是困在一堆麻烦中。

金色笔记本的一部分似乎表明，她们分享这种疯狂的经验，以获得一个新的完整性和一些新的权力。

她们中的两个互相激励，并确定了自己生活的重心，还决心继续为自己的自由而战。

2 《金色笔记》的背景2.1时间背景自20世纪中期以来，特别是第二次世界大战以来，人类文化开始引入一个新的课题，那就是恢复和改善妇女的合法地位的概念。

透析《金色笔记》主题摘要：《金色笔记》是以和谐为主题的小说。

文章通过追踪主人公安娜的经历，不仅展现了一个四分五裂的文明，也探讨了一个永恒的主题：人生的意义。

本文从两性和谐和灵魂和谐两个方面探讨了小说“和谐”的主题。

关键词：多丽丝·莱莘；《金色笔记》；分裂；整合；和谐中图分类号：i106 文献标识码：ａ文章编号：1005-5312（2012）14-0008-01多丽丝·莱莘是当今最丰产的英国小说家，1962年其凭借代表作《金色笔记》一举获得诺贝尔文学奖，蜚声文学界。

莱辛在《金色笔记》中展现的不仅是一个四分五裂的文明，她在追寻审验人类存在的同时，也探讨了一个永恒的主题：生命的意义。

世界并不是完美的，不能苛求世界来适应你，而是需要自身不断努力去适应它，要想获得生存的真正意义，和谐才是关键的价值选择。

和谐是《金色笔记》的最终主题，主题通过作品的结构体现出来。

《金色笔记》由一个故事、五本笔记构成，五本笔记分别叙述了主人公安娜的各个不同侧面。

黑、红、黄、蓝四本笔记分别讲述安娜的自我分裂。

这些分裂的笔记象征着安娜分裂的内心世界；最后合四为一的“金色笔记”讲述了安娜的自我整合，代表了她走向了自我和谐。

《金色笔记》展示了20世纪50年代英国现代知识女性真实而又普遍的生存状态。

那是一个疯狂错乱的年代，广岛原子弹爆炸，朝鲜战争，美、英、苏扩军备战，斯大林主义瓦解，氢弹试验，冷战爆发，英国共产党开始分化解体。

人们悬着的心在破碎甚至濒临崩溃的边缘，而这个不安宁、不和谐的年代必然会造成个体的自我迷失，对未来充满不安和惶恐必然加剧个体的自我异化和自我分裂。

小说主人公安娜正是一位在四分五裂的世界中经历了个人意识异化和分裂的小说家。

她和女友摩莉同是追求独立的自由女性，独自抚养孩子，拒绝教条，有自己独特的生活方式，简而言之，过着“自由女性”的生活。

但安娜渐渐在挫折中开始承认她生活的失败：“世界上根本不存在什么新女性。

论《金色笔记》的女性主义《金色笔记》是一部当代英国作家多丽丝·莱辛创作的长篇小说，出版于1962年。

这部小说通过描写女主人公安娜个人生活和追求，表现了20世纪50年代动荡不安的世界现状和人们四分五裂的精神风貌。

它也体现了作者对当代社会生活、人生信念、文学创作以及审美形式的思考与探索。

从女性主义的角度来看，《金色笔记》可以被视为一部女性独立的教科书。

莱辛在作品中塑造了主人公安娜这个角色，通过安娜的经历展示了女性在爱情、家庭、社会中的地位和作用。

安娜在面对自己的人生选择时，始终保持了独立自主的态度，她拒绝将小说《战争边缘》的改编权卖给一个男性制片人，这一行为体现了女性对自身权益的争取和维护。

莱辛通过安娜的经历也揭示了当时社会对女性的不公。

当安娜的小说被外界的时候，人们只到了小说中关于爱情的部分，而忽略了安娜对种族隔离问题的思考。

这种偏见反映了当时社会对女性作家的双重标准，即一方面要求女性作家要符合传统的女性形象，另一方面又期望她们能够超越传统的女性角色。

莱辛在《金色笔记》中对自由女性的探索和拉扯，也体现了女性主义的思想。

在小说中，安娜是一个自由职业者，她通过自己的努力和才智在世界上找到了自己的位置。

然而，她却感到迷失和孤独，她不知道如何平衡自己的个人生活和职业生活，这也反映了当时自由女性面临的困境和挑战。

《金色笔记》是一部具有女性主义思想的作品，它通过描写女主人公安娜的经历，揭示了当时社会对女性的不公和双重标准。

它也体现了作者对当代社会生活、人生信念、文学创作以及审美形式的思考与探索。

《金色笔记》是二十世纪五六十年代女权主义文学的一部重要作品，作者多丽丝·莱辛以其独特的笔触和深沉的主题探讨了女性的解放和自由。

在这部作品中，莱辛塑造了一个鲜明且颇具争议性的女性形象——安娜。

安娜不仅是一个自由女性，更是一个追求精神自由的知识分子。

她的经历和选择，从女性主义角度来看，具有深远的象征意义。

莱辛《金色笔记》对人性的拷问与反思摘要：西方批评界关注的焦点问题很多，其中一个就是本文讨论的《金色笔记》。

小说作者多丽丝·莱辛的精神困惑被很多批评家认定在文中有所体现，他们认为莱辛的经验意识很浓重，而且很多时候是自相矛盾的。

关于人和人的本性的探讨在《金色笔记》中表现得很明显，只不过是作者把它放到了一种艺术的角度，进行了创新。

文中不仅在前四部分引用了出自马克思历史主义人性观和出自弗洛伊德的本质主义人性观，而且在文章的最后部分还阐述了莱辛的独到见解。

所以说，《金色笔记》的核心思想是拷问和反思人性。

关键词：人性《金色笔记》历史主义本质主义中图分类号：i106.4 文献标识码：a一多丽丝·莱辛的经验意识很浓重，而且有的时候还会自相矛盾，所以她的精神困惑以及产生的危机感在《金色笔记》中体现得非常明显。

就是这个原因，该作品受到了西方批评界的关注，也成为了很多批评家讨论的焦点。

例如，摩根的观点是莱辛对待男女关系的问题是不清晰的，是矛盾的，作者的女性经验在《金色笔记》中体现得很真切，归结于20世纪中期西方社会处于一片混乱的大环境，鲁本斯·坦恩的观点是莱辛将自己的矛盾意识嫁接到了精神处于自我分裂的主人公安娜身上，由于当时处于二战后不久，精神困惑袭扰着西方人，因此麦克林说对于政治、性和爱情等问题，莱辛的观念和态度非常矛盾，这完全体现在了她的作品中，同时海蒂和匹克雷也认为莱辛的作品与当时的西方人的精神困惑有关，认为她将西方人普遍的精神困境借用自己的矛盾观念表达了出来。

但是，对于批评家以及批评界将《金色笔记》视为个人性的种种批评，莱辛表示很愤怒，她强调该作品不是在直白地阐述她自己的个人意识和经验，而是站在一个社会的视角来创作。

那么，《金色笔记》的主题到底是什么呢？莱辛的观点是，小说之所以能够被称之为小说，是因为它体现出来的哲学性。

在《金色笔记》中，作者明确表示不认可报道性小说，她认为自己的这个作品表达出来了一种新的人生观，这种人生观综合了理智和道德观念，是能够创建一种新的社会秩序的。

本文部分内容来自网络整理，本司不为其真实性负责，如有异议或侵权请及时联系，本司将立即删除！== 本文为word格式，下载后可方便编辑和修改！ ==金色笔记篇一：透析《金色笔记》主题透析《金色笔记》主题摘要：《金色笔记》是以和谐为主题的小说。

文章通过追踪主人公安娜的经历，不仅展现了一个四分五裂的文明，也探讨了一个永恒的主题：人生的意义。

本文从两性和谐和灵魂和谐两个方面探讨了小说“和谐”的主题。

关键词：多丽丝·莱莘；《金色笔记》；分裂；整合；和谐中图分类号：i106 文献标识码：ａ文章编号：1005-5312（201X）14-0008-01多丽丝·莱莘是当今最丰产的英国小说家，1962年其凭借代表作《金色笔记》一举获得诺贝尔文学奖，蜚声文学界。

莱辛在《金色笔记》中展现的不仅是一个四分五裂的文明，她在追寻审验人类存在的同时，也探讨了一个永恒的主题：生命的意义。

世界并不是完美的，不能苛求世界来适应你，而是需要自身不断努力去适应它，要想获得生存的真正意义，和谐才是关键的价值选择。

和谐是《金色笔记》的最终主题，主题通过作品的结构体现出来。

《金色笔记》由一个故事、五本笔记构成，五本笔记分别叙述了主人公安娜的各个不同侧面。

黑、红、黄、蓝四本笔记分别讲述安娜的自我分裂。

这些分裂的笔记象征着安娜分裂的内心世界；最后合四为一的“金色笔记”讲述了安娜的自我整合，代表了她走向了自我和谐。

《金色笔记》展示了20世纪50年代英国现代知识女性真实而又篇二：《金色笔记》的国内研究综述《金色笔记》的国内研究综述摘要：《金色笔记》在国内的研究虽然起步较晚，但经过专家学者的不懈努力，研究成果越来越多，也开始形成系统。

试从研究成果特别是国内的研究成果中加以整合，让大家能对《金色笔记》有更加深入的了解。

关键词：《金色笔记》；多丽丝·莱辛；综述多丽丝·莱辛( Doris Leys ing，1919-)是当代英国最具影响力的作家之一。

《金色笔记》中的女性自由主义【摘要】《金色笔记》是英国著名作家多丽斯•莱辛的重要作品,该作品因其艺术性获得了2007年的诺贝尔文学奖。

文章构思巧妙,结构新颖,成为各个文学评论家关注的焦点,其中关于女性自由主义的观点更是众说纷纭。

本文以研读原著为基础,剖析了文章的主题和内涵。

并进一步从文章的结构入手,重点分析了女性自由主义在文章中的体现。

【关键词】多丽斯•莱辛女性自由主义20世纪中叶以来, 随着女权运动在西方的不断深入发展, 众多表现女性自我意识的文学作品越来越多地引起人们的关注和探讨。

多丽丝•莱辛被称为二战后英国最杰出的女作家。

她生于伊朗,父母都是英国人,五岁时随父母迁居非洲。

她的重要作品有《野草在歌唱》《暴力的孩子们》(五部曲)和《金色笔记》,这三部作品奠定了莱辛在当代英国文坛的稳固地位。

她致力于种族问题,涉足政治领域,因此被誉为当代最真诚、最敏锐、最关心社会问题的作家之一。

在《金色笔记》中,莱辛描写了两类女性的生活:传统女性以玛丽安(Marion)为代表;“自由女性”以安娜(Anna)和其好友莫莉( Molly) 为代表。

通过传统女性,莱辛无情的刻画了父权制社会中女性成为受害者的社会现实。

玛丽安是理查德(Rachard)的第二任妻子(第一任是莫莉),当她是一位苗条、活泼、幽默的少女时嫁给了理查德,婚后的生活却令她大失所望,理查德的新鲜感很快过去了,当她在医院为他生第一个孩子的时候,他就开始背叛了她。

此后,他接连与女秘书发生一连串的婚外情。

玛丽安仅仅是他房子的女主人,一个家庭主妇,帮他照顾三个孩子,为应酬他生意上的朋友而准备宴会以及诸如此类的事情。

尽管他们住在乡村的小别墅里,而且属于前百分之一富人的行列,玛丽安并不幸福,她迷失在家庭生活里面而失去了自我,如同《女性奥秘》里面的家庭主妇,她被一种“无名的问题”所困扰,一种心理和感情上的焦虑,这种焦虑折磨着陷入家庭生活里面而不能脱身的女性。

《金色笔记》的符号学解读的开题报告题目：《金色笔记》的符号学解读摘要：《金色笔记》是美国作家霍乱时期的爱情小说，以时间与记忆为主要的符号，讲述了故事中人物的爱情历程以及他们与时光的抗争。

本文通过符号学的角度解读这部小说，探讨时间、记忆、颜色等符号在小说中的意义及作用，揭示其中所隐藏的文化信息和作者所呈现的思想。

关键词：《金色笔记》；符号学解读；时间；记忆；颜色一、研究背景《金色笔记》是美国作家加布里埃尔·加西亚·马尔克斯在1985年出版的小说，以其独特的叙事结构、浓烈的情感描写和丰富的符号构建，成为20世纪拉美文学的经典之作。

该小说主要以时间与记忆为主要的符号，讲述了故事中人物的爱情历程以及他们与时光的抗争。

符号在小说中发挥着非常重要的作用，揭示了人物的内心世界、文化背景和作者的思想。

因此，通过符号学的角度解读《金色笔记》，对于深入理解小说的意义和价值具有重要的意义。

二、研究目的本文旨在通过符号学的角度解读《金色笔记》，探讨时间、记忆、颜色等符号在小说中的意义及作用，揭示其中所隐藏的文化信息和作者所呈现的思想。

三、研究内容1. 时间在《金色笔记》中的符号意义时间是小说中最显著的符号之一，它伴随着故事的始终，并通过回忆、闪回等形式渗透到小说的各个部分。

在小说中，时间承载了人物的情感、经历和成长，同时也与文化、历史等方面息息相关。

因此，本文将针对时间这一符号展开分析，探究其在小说中的深层意义和作用。

2. 记忆在《金色笔记》中的符号意义记忆是小说另一个重要的符号，它在小说中被不同的人物以不同的方式呈现，在表达人物情感和性格的同时，也展示了文化和历史的阴影。

因此，在本文中，将以记忆作为另一个符号进行分析，揭示它在小说中的象征性意义和文化意蕴。

3. 颜色在《金色笔记》中的符号意义颜色在文学中常被运用为符号，具有丰富的象征意义和文化内涵。

在《金色笔记》中，色彩是小说另一个重要的符号，贯穿于整个叙事中，表现出人物的情感和状态。

探讨《金色笔记》的和谐思想与和谐取向外国语学院英语115班1105020204 杨明星[摘要]多丽丝·莱辛是当代文学颇负盛名的作家，她的代表作《金色笔记》可谓是当代英国文学中的一部独具风格的作品。

莱辛在《金色笔记》中展现的不仅是一个四分五裂的文明，她在追寻着对人类存在的审验与揭示的同时，探讨了生命的意义与方式这一永恒的主题：尽管世界是不完美的，但仍需我们不懈努力地奋斗，要想获得生存的意义感，和谐是最重要的价值选择。

小说内容丰富，表现手法独特，奠定了莱辛在英美文学的重要位置，也使她在2007年获得诺贝尔文学奖。

[关键词]《金色笔记》；女性主义；自由女性；和谐思想；和谐取向英国女作家多丽丝〃莱辛以其代表作《金色笔记》摘取了2007年诺贝尔文学奖桂冠，获奖评语称该书“以具有史诗般磅礴气势的女性经验，以怀疑的精神，强烈的使命感，透视心性的想象力，审视分崩离析的现代文明。

”小说的主人公—安娜，遭遇了婚姻生活、政治活动、文学创作多重危机。

莱辛通过黑、红、黄、蓝四色笔记剖析了安娜多形多态的精神世界，迷乱失重的灵魂，从而使读者对当代西方社会和知识女性的生存困境有了较为透彻的认识和理解。

莱辛在《金色笔记》中展现的不仅是一个四分五裂的文明，她在追寻着对人类存在的审验与揭示的同时，探讨了生命的意义与方式这个永恒的主题：尽管世界是不完美的，但仍需我们不懈努力地奋斗，要想获得生存的意义感，和谐是重要的价值选择。

一、理想主义的精神崩溃《金色笔记》它以其独特的艺术魅力为我们展示了英国50年代现代知识女性真实而又普遍的生存状态。

小说主人公安娜是一位在一个四分五裂的世界中经历了个人意识异化和分裂的作家。

她和摩莉是两位追求独立和情感的自由女性，都离开了男人，独自抚养孩子，都有自己的生活方式，拒绝按书本上的教条生活，一句话，过着自由女性的生活。

但是，安娜开始承认她生活的失败：一切都开始崩溃了。

她和摩莉过着的不过是东飘西荡又不安定的生活。

《金色笔记》的主题与形式分析开题报告一选题依据和意义依据：《金色笔记》这部小说，五本笔记叙事各异，因而论文有很多对主题研究的切入点，所以作品主题是一个很好的研究角度；就形式而言，《金》结构独特，内容服务于形式，文学的基本原理在这里被颠覆了，这是文学创作上的一种创举，是一次突破性的尝试。

无论是主题还是形式，这部作品都值得我们细细口味和研究。

意义：对《金色笔记》的主题和形式的研究能让我们对20世纪50年代的社会状况和生活体验有进一步的了解，感受那个时代人们的思想状态，同时，作品独特、新颖的复式叙述结构更是让我们体会到文学创作中的形式的丰富多彩，增强我们的创新意识，领略作者笔尖的独特魅力。

二国内外研究现状自20世纪90年代初逐步有学者开始研究《金色笔记》这部作品，例如09年朱清发表论文，《金色笔记》女性视角下的女性主体意识外语研究；对于主题的研究也是作品颇多，例如刘雪岚发表论文，分裂与整合——试论《金色笔记》的主题与结构；薛华也曾发表论文，女权主义还是精神崩溃——《金色笔记》主题分析。

《金色笔记》是莱辛最具代表性的作品之一，因此国外也有许多学者研究这部作品，例如Elayne Antler Rapping,"Unfree Women:Feminism in Doris Lessing 's Novels ",这是从女权角度出发的研究，还有学者从创新角度出发来研究，例如Marjorie J Lightfoot,"Breakthrough in The Golden Notebook "三课题研究的内容以及拟采取的方法论文题目为《金色笔记》的主题与形式分析，研究内容明确，一是提炼作品主题。

在了解作品内容的基础上，体会出作者想要表达的是什么，呼吁和争取的又是什么，并在论文中有重点地论述出来；二是分析作品的形式。

主要就是分析《金色笔记》形式的独特性和这种独特性带来的好处采取的方法：运用文章资料法，文本细读法，综合分析法，研究讨论法等多种方法研究该课题。

《金色笔记》的多维空间研究的开题报告开题报告：《金色笔记》的多维空间研究一、研究背景及意义随着人类对于宇宙和自身认识的不断深入，对于空间也有了更深刻的认识。

多维空间作为一个重要的概念，在科学、文化、文学等领域均有着广泛的运用和探讨。

《金色笔记》作为一部脍炙人口的科幻小说，自问世以来一直是流传至今的经典之作。

小说中的多维空间设计、刻画形象和事件发生都具有极高的艺术价值和趣味性。

因此，对于《金色笔记》中的多维空间进行深入研究，不仅可以进一步丰富人们对于空间概念的认识，也可以为科幻小说的创作提供借鉴和启示。

二、研究内容和方法1. 研究内容：本研究将以《金色笔记》为基础，深入研究小说中所涉及的多维空间概念、形象、事件，并分析其在小说中的功能和作用。

2. 研究方法：首先，通过资料和文献的搜集，对《金色笔记》中的多维空间概念进行系统归纳和整理。

其次，通过小说中所涉及的多维空间形象和事件的具体分析，探讨其在小说中的意义和功能。

最后，通过对比分析其他科幻小说中多维空间的运用，深化对于多维空间的认识和理解。

三、预期结果和结论1. 预期结果：通过对《金色笔记》中多维空间的深入研究，可以系统地了解小说中所涉及的多维空间概念、形象和事件。

同时，可以通过对比其他科幻小说的多维空间运用，进一步加深对于多维空间的认识和理解。

2. 结论：多维空间是人类认知空间的重要概念，其在文化、文学、科学等领域有着广泛的应用和深刻的意义。

《金色笔记》中的多维空间设计、形象和事件是小说艺术表现的重要组成部分，同时也为人们深入认识多维空间提供了一个好的案例。

四、研究意义本研究对于深化对于多维空间的认识和理解具有重要意义，同时可以为科幻小说的创作提供借鉴和启示。

此外，也可以为文化和艺术的研究提供一个新的思路和方向。

五、参考文献1. 刘畅，多维空间与文学艺术，文学评论，2015年第3期2. 王晓东，多维空间概念的发展，自然科学进展，2013年第12期3. 刘梦雪，论《金色笔记》中的多维空间设计，科学幻想与文化，2018年第4期4. 阿瑞斯托芬尼斯，多维空间在科幻小说中的应用，科幻小说研究，2017年第6期5. 道格拉斯，多维空间及其对人类认知空间的影响，科学探索，2019年第9期。

论《金色笔记》的叙事艺术的开题报告开题报告：论《金色笔记》的叙事艺术一、研究背景随着现代文学的发展，小说成为了文化交流和思想传递的重要媒介，叙事艺术在小说中扮演了重要的角色。

其中，小说中的人物塑造和情节铺陈互相映衬，共同构成了小说的叙事结构与艺术风格。

冯唐的长篇小说《金色笔记》在中国当代文学中具有很高的地位，它以“我”为叙事者，叙述了一段男女之间的爱情故事，其叙事方式独具特色，颇受读者欢迎。

因此，对《金色笔记》的叙事艺术进行深入的研究，不仅有助于深入理解该小说的内涵，也可以对现代文学的发展和研究做出一定的贡献。

二、研究目的与意义本论文旨在通过对《金色笔记》中叙事艺术的分析，阐释其特点和艺术手法，明确其在小说创作中的作用和意义。

具体来说，研究目的如下：1. 分析《金色笔记》中的叙事结构和风格，探讨其独特之处。

2. 探究《金色笔记》中人物塑造的方式和意义，分析它如何与情节相互作用。

3. 探讨《金色笔记》中语言的运用与文化的呈现，研究叙事与文化的关系。

通过以上目的，本论文旨在深刻阐述《金色笔记》中的叙事艺术，探讨其在小说创作中的作用和意义，进一步推动现代文学的研究和发展。

三、研究内容和方法1. 研究内容：（1）叙事结构和风格分析，探讨《金色笔记》中的叙述方式和叙事节奏。

（2）人物塑造分析，探究《金色笔记》中主要人物的性格特点和形象塑造。

（3）情节构造分析，探讨《金色笔记》中情节的布置方式和结构特点。

（4）语言运用和文化呈现，探讨《金色笔记》中语言的运用和文化的呈现方式及其意义。

2. 研究方法：本论文采用文学批评方法，运用文本分析、比较研究和归纳演绎等方法进行研究。

具体方法包括：（1）运用文本分析法，对小说中的叙述和情节进行解析和总结，研究其特点和艺术手法。

（2）采用比较研究法，将《金色笔记》与其他同类型小说进行比较和分析，探讨其差异和相似之处。

（3）通过归纳演绎法，总结研究发现，进一步升华研究意义。

四、研究计划本论文的研究计划分为以下阶段：1. 文献调研和分析。

多丽丝莱辛《金色笔记》研究述评多丽丝·莱辛的《金色笔记》是一部反映20世纪中期世界现状和人们精神风貌的作品，引起了广泛的和研究。

本文将从该作品的艺术形式、主题内容和创作风格三个方面进行研究和述评。

《金色笔记》在艺术形式上的大胆改革和尝试，是该作品的重要特点之一。

该小说采用了五本笔记穿插的形式，将整个故事分为五个部分，这五个部分既相互关联，又各自独立，给读者带来了全新的阅读体验。

这种形式上的创新不仅使作品具有较高的阅读价值，更在文学创作上引领了一种新的潮流。

通过对不同类型笔记的运用，作者将不同类型的故事和思想巧妙地融合在一起，使作品更加丰富和多元。

《金色笔记》的主题内容涵盖了多个方面，包括殖民主义、种族主义、政治生活、爱情生活等。

通过这些主题的交织，作者揭示了当时社会的动荡不安和人们精神世界的四分五裂。

其中，黑色笔记和红色笔记是该作品中最具代表性的两个部分。

黑色笔记主要描写了主人公在非洲的经历，涉及殖民主义和种族主义问题，表达了作者对这一时期社会现象的深刻反思。

红色笔记则记录了主人公的政治生活，展现了她对斯大林主义由憧憬到幻灭的思想过程，表达了作者对政治和社会问题的敏锐洞察。

《金色笔记》的创作风格也非常独特。

作者采用了多样化的叙述方式，将第一人称、第二人称和第三人称有机地结合在一起，使整个故事更加生动、真实。

同时，作者还将自己的个人经历和情感融入到作品中，使作品具有很高的自传色彩。

《金色笔记》的创作风格还表现在其结构的设计上。

作品采用了开放式结局的结构，让读者在阅读过程中不断进行思考和推测，增加了作品的吸引力和启发性。

《金色笔记》是一部具有很高艺术价值和思想内涵的作品。

通过对其艺术形式、主题内容和创作风格的研究和述评，我们可以深刻感受到作者多丽丝·莱辛在文学创作上的独特魅力和敏锐洞察力。

作为一部反映20世纪中期世界现状和人们精神风貌的作品，《金色笔记》不仅展示了当时社会的动荡不安和人们四分五裂的精神风貌，更提出了许多关于人生、社会和个人价值观的深刻思考。

英国文学论文——论英国小说《金色笔记》论文作者：英语论文论文属性：职称论文Scholarship Papers登出时间：2012-03-06编辑：lena ding点击率：451论文字数：6524论文编号：org201203061041111241语种：英语论文English地区：中国价格：免费论文收藏：google书签雅虎搜藏百度搜藏关键词：Cubismnovel formrepresentation of realityshaping principlesimultaneitymultiplicityreflexivity摘要：本文运用跨学科的研究方法解读《金色笔记》的小说形式是一种创造性的、有意义的尝试，以期为充实莱辛小说研究提供一个新的视角和研究思路。

AbstractThe Golden Notebook is the most famous work by Doris Lessing. It is remarkable for its rich characterization, sharp political and social criticism, and original experiment on the novel form. The thesis mainly focuses on th e significance of Lessing’s experimentation on the novel form.Doris Lessing reflects upon and explores the relation between representation of reality and novel forms in the book. Based on the shaping principle s by Cubism, the most influential Western art movement in modern times, she constructs the novel form of The Golden Notebook. The principles include the union of time and space, multiplicity of perspectives in representing reality and reflexivity in literary and art creation and observation.The paper expounds the argument from three aspects. Chapter One traces the historical evolution of novel forms and highlights the originality of the novel form in The Golden Notebook. Chapter Two illustrates the close relation between novel and painting and specifies the parallel relation between the novel form in The Golden Notebook and Cubism. Chapter Three analyses in detail the novel form of The Golden Notebook and its parallel relationship with Cubism in terms of shaping principles and dynamics. The interdisciplinary perspective employed in the thesis intends to provide a different reading and research orientation in evaluating the novel form.Key words: Cubism; novel form; representation of reality; shaping principle; simultaneity; multiplicity; reflexivityContentsAbstract (Chinese & English)Introduction 1Chapter One: Forms in Novel 71.1 What Is Form? 71.2 The Evolution of Novel Forms 81.3 What Is New in the Form of The Golden Notebook 11Chapter Two: Novel and Painting 152.1 Novel and Painting 152.2 What Is Cubism? 18Chapter Three: Cubism in the Form of The Golden Notebook 203.1 Simultaneity: The Union of Time and Space 203.1.1 Temporal Form in The Golden Notebook 223.1.2 Spatial Form in The Golden Notebook 243.2 Multiplicity: Fragments and Unity 263.2.1 Breaking into Fragments: Divided Selves in the Four Notebooks 283.2.2 Parts into Whole: the Golden Notebook 313.2.3 An Irony: Free Women 313.3 Reflexivity: From Reality to Observation 34Conclusion 39Bibliography 44AcknowledgementsIntroductionLiterary Review of Doris Lessing and The Golden NotebookAfter many years of toiling in writing, Doris Lessing has now safely established herself as being “the most extraordinary woman writer” (Greene, 1994: 1) and “very much a representative writer for our time” (Bloom, 1986: 7). Her major work The Golden Notebook has been ranked by many critics as “one of the most powerful of post-war British novels” and “the most remarkable work by a woman to appear in Britain since Virgini a Woolf’s” (Bradbury, 2004: 381).Doris Lessing’s critical reputation is remarkable from the very beginning of her literary career. Her success as a professional writer began with the publication of her first novel The Grass Is Singing. It was accepted by Michael Joseph in London in 1950 and was an instant success, being im media tely recognized as an exceptional novel on colonialism. “I had very good reviews, and I had enough money to keep me going f or a bit” (Bookshelf, 1992), as Doris Lessing recalled her early success in an interview by BBC Radio. Her fame has gained steadily ever since.It took Lessing nearly two decades following her first novel to write her next important work, the series of Children of Violence, between 1952, when M art ha Quest was published, and 1969, when The Four-Gated City appeared. In the context of postwar retreat to the conventional and the conservative, The Children of Violence was “something new” (Greene, 1994: 15) indeed. It focuses on Martha Quest’s difficult, painful process of educating herself in search of true identity. Despite its conventional form, the vivid depiction of Martha’s growth in conscious ness evokes the warm sympathy from many readers, especially young women who seemed to have undergone similar frustration. True to what Jenny Taylor observes, “Martha’s quest became the epic, archetypal story of our times” (Taylor, 1982: 5).With the publication of The Golden Notebook, Lessing seems to have reached the peak of her literary fame. The impact it brought to readers as well as critics is tremendous. Gayle Greene frankly evaluates it as “a transformative work and touchstone for a generation” (Gree ne, 1994: 17).Despite her intention of minimizing feminism both as a historical and a con tem porary influence on her writing, Lessing is regarded as one of the early voices of the feminist movement, and The GoldenNotebook one of its key texts. Margaret Drabble hails The Golden Notebook as “a document in the history of (women’s) liberation”(Showalter, 2004: 311). “It was the first book I’ve read, apart from Simone de Beauvoir’s Second Sex, which seemed to be really addressing the problems of women in the contemporary world,” says Margaret Drabble, “Nobody seemed to have written about them in the way that we were experiencing them” (Bookshelf, 1992). Showalter uses the word “monumental” to highlight it among the works of twentieth-century women writers. She interprets the novel as “the work of essential feminist implications” (Showalter, 2004: 311). Elizabeth Wilson describes it as “a manual of woman experience” (Wilson, 1982: 71). Susan Lardner calls it “a feminist gospel, a representative of Modern Woman” (Lardner, 1983: 144). Susan Lyndon describes it as “almost a Little Red Book of women’s liberationists,” “probably the most widely read and deeply appreciated book on the women’s liberation reading list, Simone de Beauvoir’s The Second Sex and Betty Friedan’s The Feminine Mystique notwithstanding” (Lyndon, 1970: 48). Ellen Brooks describes Lessing’s depiction of women as “the most thorough and accurate of any in literature” (Brooks, 1973: 101).However, Doris Lessing herself is somewhat indignant with such critical categorization. In the 1971 introduction to The Golden Noteb ook, she clarifies that “the novel was not a trumpet for Women’s Liberation” (Lessing, 1975: 25). She declares that rather than the sex war, the theme of “breakdown” was the point she aimed at in her novel. She questions the validity of grouping her and her work into feminism and the Women’s Liberation Movement by pointing out that the novel came out ten years earlier than the launching of the Movement (Lessing, 1975: 24).While women are thrilled to find themselves truly depicted and named in the book, the novel receives very different readings from men. To be sure, some men recognize its importance. For exam ple, Louis Kampt describes Lessing’s massive novel as a “significant and exemplary at tem pt to deal with,” “the central questions of modernism” and “a very true, and very great work of art” (Kampt, 1967: 322,326). Rober t Taubman believes it is “unique in its truthfulness and range” (Taubman, 1964: 402). And Irving Howe calls it “the most absorbing and exciting piece of new fiction I have read in a decade” (Howe, 1986: 181). But most other male critics and reviewers find some ways to discount it. Anthony Burgess laments and dismisses The Golden Notebook as “a crusader’s novel,” “unacceptable as a work of art” (Burgess, 1967: 19). P.W. Frederick McDowell similarly criticizes the novel, saying that it is “disorganized,” “subjective” and “a cross between a standard novel and a confession” (McDowell, 1965: 330). Other critics concede that The Golden Notebook has interest for what is revealed about women’s lives but deny that it is art. Walter Ellen concludes that the novel “fails as a work of art” and “the structure is clumsy, complicated rather than complex” (Ellen, 1964: 277). Frederick Karl calls it “the most considerable single work by an English author in the 1960s,” but he too dismisses it on purely literary grounds as “a carefully organized but verbose, almost clumsily written novel” (Karl, 1971: 291). James Gindin, one of the first critics on Doris Lessing, criticizes Lessing’s tendency to condition her characters historically, which suggests an aesthetic shortcoming in creating unforgettable characters that may transcend time and place (Gindin, 1986: 24). Even Harold Bloom, the chief editor of Modern Critical Views, suggests in his introduction to the book that Doris Lessing lacks the style that a piece of art may need when he remarks “Lessing has the spirit, if not the style, of the age” (Bloom, 1986: 7).More recent criticism shares Doris Lessing’s denial of The Golden Notebook as a feminist text. And manycritics are aware of its scope which goes beyond feminist concerns. Ruth Whittaker remarks that reading The Golden Notebook is that of absorbing several different novels (Whittaker, 1988: 75). This observation is true because people’s responses vary according to their process of growth and changing perceptions. And The Golden Notebook is credited with the title of an “encyclopedia of ideas” (Greene, 1994: 1). Viewed in this light, the title is appropriate because The Golden Notebook takes on a lot of big issues at present, including sex, race, class, imperialism, the hope and failure of communism, mental illness and psychosis, even the art and problems of writing. All of these big things are included in one 600-page, epic-like novel. Joanne Frye’s argument also supports the view that the novel “does not argue a feminist position or even center exclusively in female experiences; instead it examines broadly the crises of the twentieth century society and the problems of characterizing those crises in novelistic form” (Frye, 1986: 172). The criticism listed above seems to prove that the novel accomplishes quite well Lessing’s ambition “to describe and present the intellectual and moral climate of the time” (Lessing, 1975: 28).While some critics explore the themes of The Golden Notebook, others notice the innovation Doris Lessing does on the form. Because of its structure of a novel inside a novel, some critics classify The Golden Notebook into metafiction. Malcolm Bradbury is sure of its metafictional category as he says, “The Golden Notebook is no doubt a work of metafiction” (Bradbury, 2004: 380). For other people, the form of The Golden Notebook carries the theme of “fragmentation” or “breakdown” in a way that the novel itself has been fragmented into different sections. In his introduction to the Chinese version of The Golden Notebook, Chen Caiyu maintains that the form of the novel explains the content included in the novel (Chen Caiyu, 1999: 72). And Jiang Hong shares his view as to the form of the novel ( Jiang Hong, 2003: 95).With The Golden Notebook, Doris Lessing has secured her place in the literary world. Honors from all levels and many countries heap on her ever since. In June 1995, she received an Honorary Degree from Harvard University. She was on the list of nominees for the Nobel Prize for Literature and Brit ain’s Writer’s Guild Award for Fiction in 1996. And the honors keep on coming: her autobiography was nominated for the 1997 National Book Critics Circle Award in the autobiography/biography category. In May 1999, she was presented with XI Annual International Catalunya Award, an award by the government of Catalunya. On December 31,1999, in the last Honors List before the new Millennium, Doris Lessing was appointed a Companion of Honor, an exclusive honor for those who have done conspicuous national service. It was officially bestowed by Queen Elizabeth II. In 2001, she was awarded the Prince of Asturias Prize in Literature, one of Spain’s most important distinctions, for her brilliant literary works in defense of freedom and Third World causes. She has also received the David Cohen British Literature Prize ().Doris Lessing is a very prolific writer. Besides The Golden Notebook, she published nineteen novels, eleven volumes of short stories, six works of nonfiction, five plays, and a volume of poetry, and two volumes of autobiography. Her works are widely translated, and she is recognized internationally as a committed novelist dealing with serious issues. Her most recent novel The Sweetest Dream was published in 2001.The Significance of the ThesisMany critics have discussed the themes in The Golden Notebook. In fact, widely included in the novel are familiar themes, which have been explored by different generations of writers. What is different and new about The Golden Notebook is its form, with itself echoing the content in its fragmentation so that theme and form reflect each other. As Ruth Whittaker said, “The Golden Notebook was a radical exam ination of the novel form” (Whittaker, 1988: 76).However, many critics tend to downplay the significance and the function of the novel form Doris Lessing took pains to elaborate. In one of her letters to the publisher, Doris Lessing claims that The Golden Notebook is an at tem pt to “go beyond what has been possible” and “provides a new way of look at life” (Lessing, 1974: 20). She once again asserts in an interview that “It (The Golden Notebook) was a very highly structured book, carefully planned and the point of that book was the relation of its p art s to each other” (Lessing, 1975: 51). She also accuses people of their indifference to or misunderstanding with the significance of the shape of the book as she says, “they were not interested in the shape of the novel, and the point of that shape, and what it meant” (Lessing, 1975: 51).Then, what is the shape of the novel? And what is the point of that shape? And what does it mean? We may as well ask ourselves these questions Doris Lessing once asked us. To her regret, there appears no such art icle or treatise so far on a thorough exploration of the form of The Golden Notebook to do justice to Lessing’s admirable effort in enriching the novel form s and narrative techniques. Most reviews and criticism bend on the discussion about the themes in the novel while remarking on the novel form in no more than several lines. What Doris Lessing suggests to us is that the key to understanding the book lies in its form. And the writer’s own words cannot afford to be discounted.Form usually serves as the carrier of the content and the instrument to convey the content to readers. In fact, literature transmits ideology significantly from forms. As Terry Eagleton suggests, “the true bearers of ideology are the very forms,” and “in selecting a form, the writer finds his choice already ideologically circumscribed” (Eagleton, 1976: 45). In Fredric Jameson’s view, “formal processes” “carry ideological messages of their own, distinct from the ostensible or manifest content of the works” (Jameson, 1982:98-99). Raymond Williams describes forms as “involving social assumptions of causation and consequence” (W illiams, 1977: 176). In fact, Jameson extends the ideology of form to the aesthetic act itself. He elaborates that “the production of aesthetic or narrative form is an ideological act in its own right, with the function of inventing imaginary or formal sol utions to irresolvable social contradictions” (Jameson, 1982: 79).As is shown from what are quoted above, it’s a shared view that the form an artist or a writer chooses reflects his or her perceptions and outlooks about the outside world. To sum up, the formal study of a work is not only necessary but also important to the understanding of the work and its writer. If, as Lessing claims, she tries something new in the form of The Golden Notebook, which she thinks as being overlooked by most critics of her time and not given a justified consideration, I think it’s necessary to analyze, in my thesis, the form of The Golden Notebook so as to find a key to better understand her and her marvelous work.Format of the ThesisThe thesis is an at tem pt to find the plausible explanations to the problems the previous critics have overlooked, or could not foresee, or have not solved, on the study of the novel form in The Golden Notebook.The thesis falls into three chapters. Chapter One is a survey of novel forms in literature history. Chapter Two provides an introduction to the relation between novel and painting, the theoretical background from which my thesis has been developed. Chapter Three presents a detailed study of the form in The Golden Notebook and its parallel relation with Cubism.The Golden Notebook is to be abbreviated as GN when the quotations from it are involved.Chapter OneForms in NovelIf there is something new in the form of The Golden Notebook, it is necessary for us to be informed of what is old based on the survey of the evolutionary history of novel forms. In doing so, we may understand and appreciate better the innovation in the very form of The Golden Notebook.Before our brief survey of the historical change in the novel form, it is necessary to explain the word “form” and in what sense of it that I build on my thesis.1.1 What Is Form?“Form” is one of the most frequently used terms in literary criticism, but also one of the most diverse in terms of its meanings. It is often used merely to design ate a genre or literary type (“the lyric form”, “the short story form”), or for patterns of meter, lines and rhymes (“the verse form”, “the stanza form”). It is also, however, the term for a central critical conception. In this application, the form of a work is the principle that determines how a work is ordered and organized (Abrams, 2004: 101).Th e concept of form varies according to critics’ specific assumptions and theoretical orientation. Many neoclassic critics, for exam ple, think of the form of a work as a combination of component p art s, matched to each other according to the principle of decorum (a term designating the propriety, or fitness in unity of subject matter, characters, actions and the style). In the early nineteenth century, Samuel Taylor Coleridge distinguished between the mechanic form, which is a fixed, preexistent shape, and the organic form, which is like a growing plant achieving its final form, in which the parts are integral to and interdependent with the whole (Burke, 1973: 27-91). Many New Critics use the word “structure” interchangeably with “form”, and regard it primarily as an interaction or ironic and paradoxical tension in an organized totality of “meanings”. Various exponents of Archetypal Theory regard the form of a literary work as a recurrent pattern of human experience which shares with myths, rituals, religions and dreams. And structuralists conceive a literary structure based on the model of linguistic theory (Wellek, 1963:59-88). Narratologists concern the general theory and practice of narratives in all literary forms. They deal especially with academic explorations such as types of narrators, the identification of structural elements and their diverse modes of combination, recurrent narrating devices. Narratologists, accordingly, do not treat a narrative in the traditional way, as a fictional representation of life, but as a sys tem atic formal construction. In other words, they focus on the formal patterns and technical devices of narrative to the exclusion of its subject matter and social values. R. S. Crane, a leader of the Chicago School of criticism, however, made a distinction between “form” and “structure”. The form of a li terarywork is the “dynamics”, the particular working or emotional power that the composition is designed to effect, which functions as its shaping principle. This formal principle controls and synthesizes the “structure” of a work (Crane, 1953: 69). In so doing, he bridges the formal study, or more specifically, the narratological way of formal study of a literary work, with social, historical and cultural study, placing the formal study into a larger social, historical and cultural context. The formal study, thus, acquires a greater depth than before. In this thesis, I base my survey of the novel form in The Golden Notebook mainly on the sense of “form” as proposed by Crane by analyzing first the mechanical structure in form, and then exploring the shaping principle behind it.1.2 The Evolution of Novel FormsAs far as novel forms are concerned, the classification is quite different based on different standards and criteria. Novels can be classified into dozens of forms, and may belong to several of these categories at the same time. Distinctions among forms can be drawn in many ways. Such distinctions include the form in which the works are written, such as epistolary novels, which take the form of letters written between or among characters; the settings, such as regional novels, which focus on life in a certain area; and the purpose, such as propaganda novels, which try to convince the reader to adopt a certain point of view. Other examples of distinct forms include picaresque novels, which describe the adventures of rogues; Gothic novels, which describe ghosts and other elements of the supernatural; science fiction, which portrays other worlds or other possibilities for our world; and detective stories, which focus on mysteries.A few broad genres of the novel reflect some general tendencies. Social novels tend to focus on the outward behavior of characters and how other characters react. Psychological novels explore the inner workings of an individual’s mind. Education novels reco unt a person’s development as an individual. Philosophical novels provide a platform for authors to explore intellectual or philosophical questions. Popular novels usually involve adventure, intrigue, romance or mystery to appeal to a wide range of people. Experimental novels are works in which writers make major innovations in form and style. My thesis intends to focus more on the history of narrative experiments done to the novel form itself rather than discussing it in the light of literary genres.A review of the history of experimentation on the form of novel is of vital importance for a better understanding of the significance of Doris Lessing’s uniqueness and contribution as far as The Golden Notebook is concerned.As the most flexible form of all narrations, the novel form has never been monolithic. Writers in each generation make effort in creating something new to the novel forms. One of the earliest examples of the novel of experimentation is Tristram Shandy (1759-1767) by English writer Laurence Sterne. The book is the autobiography of Tristram Shandy but Tristram himself does not appear until the middle p art of the novel. And the book does not narrate Tristram’s life events accordingly. Instead, it dwells much on small details about the book itself. The novel is filled with asides, wild scholarly digressions, comic scenes, blank pages (to be filled in by the reader), and other experimental features, including a black page to express grief for a departed character (Sterne, 1978). Sterne’s Tristram Shandy opens up a new front for the novel: experimentation with structure and language.During the 19th century the prevailing trend in the novel was realism. The realistic novel relies on the principle of imitating the familiar surface of real life. The form of realistic novels are conventional,including an omniscient point of view, a chronological narrative with a beginning, middle part and an end, as well as conventional sentence structure and non-reflexive subject matter. But still, some experimental efforts appeared at this time. One example is Notes from Underground(1864) by Russian writer Fyodor Dostoevsky. Dostoevsky plunges the reader into the narrator’s complex mindset (Dostoevsky, 1993). The term underground refers to the n arrator’s inner psychology, which dominates the novel and allows the reader little objective perspective. This immersion of the reader in an individual’s thoughts was not a common literary approach at the time.In the late 19th and early20th centuries novelists experimented with narrative form and also continued to produce realistic works with conventionally resolved plots. One of the most important English novelists of the early 20th century was Joseph Conrad. Conrad is considered a master of prose in the English language, and a transitional figure from realism to modernism (Wang Zuoliang & Zhou Yuliang, 1994: 206). Conrad challenges the 19th-century manner of telling a story. In most novels up until this time there is a narrator who describes the characters and action but is outside the story itself. Conrad’s novels employ a character who tells a story within the frame of a third-person narrative. The results open unsettling questions — questions about whom the reader should trust and believe. Conrad also breaks from tradition by using symbolic patterns and recurring images to convey meaning to the reader, rather than the long descriptive passages favored by 19th-century novelists.The 20th century is a time of innovation in form and exploration of new subject matter for the novel. The movement, known as “Modernism”, challenges the mimetic quest of the realistic novel. Virginia Woolf wrote a manifesto for the 20th-century writers in her essay“Modern Fiction” (1925). Life, she argues, is not what the 19th-century realists plotted:Life is not a series of gig lamps symmetrically arranged; life is a luminous halo, a semi-transparent envelope surrounding us from the beginning of consciousness to the end. Is it not the task of the novelist to convey this varying, this unknown and uncircumscribed spirit, whatever aberration or complexity it may display, with as little mixture of the alien and external as possible?(Woolf, 1985: 2034)Woolf’s manifesto reflects a shift of art ists’ interest from the outside world to man’s inner life. She uses the stream-of-consciousness technique, a literary technique in which authors represent the flow of sensations and ideas, to capture the fleeting and chaotic human conscious and subconscious (Li Weiping, 1996: 4). In her works, the linear narrative structure, which is characteristic of realistic novels, gave way to a more fragmented prose, or fluid, unorganized thoughts were expressed without formal sentence structures. The omniscient point of view is dissected into a multiplicity of apparently random impressions. The chronological narrative is modified or abandoned. Woolf’s experimentation on the novel form adds the new dimension to plot and the depth of character portrayal.James Joyce, the Irish writer, also rejects the traditional plotted novels in favor of narratives that register the less-regular motions of consciousness. He expands on stream-of-consciousness technique in Ulysses (1922), a detailed recounting of the events and moments of consciousness in the lives of several Dublin residents during a single day (Joyce, 1988). The book is Joyce’s masterpiece, an exploration of the possibilities of the English language and a work that renders both the physical world of his charactersand the workings of their minds (Li Weiping, 1996: 90).American writer William Faulkner follows the trend of European authors such as Virginia Woolf and James Joyce, in innovating with style. Like t he European authors, Faulkner’s greatness lies not only in his themes but also in his way of rendering them — with experiments in fragmented narrative. In novels such as As I Lay Dying (1930), Faulkner uses stream of consciousness to reproduce the perceptions of different people and to mix fact with legends and illusions (Faulkner, 1990). One of his goals is to present the world as a place where no objective truth exists —that is, a place in which each person has a drama tically different impression of the world (Li Weiping, 1996: 212).Experiments with various aspects of the novel continued through the latter half of the 20th century. In 1962 Doris Lessing published The Golden Notebook. The form of the book is so new that most readers, even the critics, felt too shocked to make sense of it at first. But the significance of the novel form and Lessing’s contribution to th e experimentation on the novels has been noticed over time. Then what is new in its form? The next section devotes to the description of the uniqueness in the form of The Golden Notebook.ConclusionThe central question raised both in Cubism and The Golden Notebook is how to depict reality or truth (the word used by Anna), either by means of art istic devices or by literary forms and language. To find a form for suitable representation of reality is invariably the task for writers and artists in all generations.Since Aristotle, many writers and critics maintain the theory of mimesis that literature and art should imitate reality as truly as they can. For exam ple, Shakespeare holds “mirror theory” to define the nature and function of literature. Dryden claims that literature should be true to real life (Yin Qiping & Gao Fen，2001：4-6). In modern criticism, Tzvetan Todorov invents the term “verisimilitude” to est ablish the major characteristic in the tradition of mimesis theory. By verisimilitude he means that literary works should be in accordance with realities, which are identified and represented in realistic ways in their works (Culler, 1975: 208). The art theories development follows nearly the same route as literary theories do. As I have discussed in previous chapters, before Cubism, artists’ views and representation of external reality are largely realistic in terms of themes and techniques. Therefore, literary works and artistic works before the 20th century are essentially mimetic to the external world. To some extent, before the 20th century, the value of a literary work and art was determined by its ability to imitate the outside world. The more accurate, minute a description of the external details is, the more successful it is as an art to mirror the external reality. The fundamental reason for mimetic mode of representing the world is that people take the external reality as stable, objective, independent of human consciousness and observation. The reality is just “out there”. The task of novelists and artists is to imitate them as vividly and truly as they can. However, in each generation, there are those writers and artists who set out to subvert the realist tradition, to show how it is inadequate for their own particular time, to find out other ways of conveying their perceptions of what constitutes reality. Since Henry James, some writers and critics question the validity and effectiveness of mechanical mimesis theory in literary representation of reality. Henry James first points out that the novel is nothing but “personal impressions on life” (James, 1979: 487). For him, the novel is largely the product of fleeting impressions and its extension by means of imagination which is。

生命的关注异化的思考——解读莱辛《金色笔记》的主题
耿莉
【期刊名称】《宜春学院学报》
【年(卷),期】2008(030)005
【摘要】作为2007年诺贝尔文学奖获得者,多丽丝·莱辛的著作<金色笔记>讲述
了女主人公安娜所经历的信仰、写作、感情生活等现实危机,展现了20世纪中期广阔的社会生活画卷.许多文学批评家认为该小说是一部女权主义的必读书,本文从生命和异化两个方面来重新解读莱辛的这部小说的主题从而揭示出<金色笔记>所反映的深刻庞杂的主题远远超越了女性经验的表述,而是莱辛对整个人类所面临的困
惑及问题的思考.
【总页数】3页(P128-130)
【作者】耿莉
【作者单位】徐州师范大学文学院,江苏,徐州,221116
【正文语种】中文
【中图分类】I106.4
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