王爾德童話故事中的死亡主題【開題報(bào)告+文獻(xiàn)綜述+畢業(yè)論文】

1、<p><b>　　畢業(yè)論文開題報(bào)告</b></p><p><b>　　英語(yǔ)</b></p><p>　　王爾德童話故事中的死亡主題</p><p>　　On the Theme of Death in Oscar Wilde’s Fairy Tales</p><p>　　一、選題的背

2、景與意義</p><p>　　19世紀(jì)末唯美主義思潮的代表作家奧斯卡·王爾德是繼莎士比亞以后，為西方讀者閱讀最多，其作品被翻譯為最多種語(yǔ)言的英國(guó)作家，歷來就是一位頗具爭(zhēng)議的人物。他在一生中從事多種文學(xué)實(shí)踐，作品涉及詩(shī)歌、戲劇、小說、童話和文藝批評(píng)等諸多領(lǐng)域。與同時(shí)代其他作家相比，王爾德顯得更為叛逆，在創(chuàng)作過程中他推崇“為藝術(shù)而藝術(shù)”的信條，張揚(yáng)個(gè)體自由，崇尚個(gè)性發(fā)展，同時(shí)以驚世駭俗的言論和生活方式向傳統(tǒng)

3、的維多利亞道德體系發(fā)起了挑戰(zhàn)。</p><p>　　童話是王爾德作品中的一個(gè)特殊而重要的組成部分，是其唯美主義藝術(shù)主張的一種實(shí)踐，也是他自我真實(shí)的一種展示，更是對(duì)其自我命運(yùn)的一種反思和預(yù)言。王爾德共出版兩部童話集《快樂王子》和《石榴屋》，總計(jì)9篇童話。其創(chuàng)作的童話和維多利亞的傳統(tǒng)童話相比，既是一種繼承和發(fā)展，又是一種顛覆與背叛，它們不僅是為孩子而寫，也是為那些和王爾德惺惺相惜的成年人而寫。</p>

4、<p>　　盡管近年來學(xué)術(shù)界對(duì)于王爾德的熱情不斷增長(zhǎng)，其創(chuàng)作的童話相較于其他類型的文學(xué)作品，依然處于一個(gè)被忽視的地位，缺乏系統(tǒng)性的有深度的研究。關(guān)于王爾德創(chuàng)作童話的動(dòng)機(jī)學(xué)術(shù)界有不同的猜測(cè)，如“情感發(fā)展的不健全”和“同性戀傾向”之說。以往對(duì)王爾德童話的研究大多致力于分析其童話中體現(xiàn)的唯美主義價(jià)值觀，探討他在創(chuàng)作中如何貫徹“藝術(shù)至上”的唯美主義思想，而對(duì)于王爾德童話中一個(gè)明顯的傾向，即均以死亡為結(jié)局卻給予有意識(shí)的忽略。對(duì)于王爾德的

5、童話，現(xiàn)有的研究多關(guān)注其藝術(shù)特色和藝術(shù)價(jià)值，而對(duì)于其提供的感性體驗(yàn)以及作者在創(chuàng)作中體現(xiàn)的意圖和道德傾向鮮有涉及。</p><p>　　本文對(duì)王爾德的9篇童話有系統(tǒng)的分析，關(guān)注于其中的死亡主題，以分析王爾德的唯美主義美學(xué)主張為媒介，探討作者的死亡敘述手法以及死亡主題的藝術(shù)價(jià)值和道德意義。 </p><p>　　研究的基本內(nèi)容與擬解決的主要問題：</p><p>

6、;<b>　　研究的基本內(nèi)容：</b></p><p>　　作為成人童話，王爾德的童話是對(duì)傳統(tǒng)審美和倫理的一種挑戰(zhàn)。他以一種唯美主義的筆觸，描畫了其他童話作家不曾描述的事物。本選題試圖在分析王爾德童話藝術(shù)特色的基礎(chǔ)上，探討作者隱藏于其死亡主題背后的深意。</p><p><b>　　主要分為5個(gè)部分：</b></p><p&g

7、t;　　唯美主義誕生的背景，以及其自誕生起即帶有的反叛精神和憤世意識(shí)；</p><p>　　王爾德的唯美主義主張及其個(gè)人的創(chuàng)作特色</p><p>　　（“藝術(shù)至上”的主張，以反對(duì)派的姿態(tài)對(duì)社會(huì)傳統(tǒng)道德的挑戰(zhàn)）；</p><p>　　王爾德童話中的死亡主題；</p><p>　　死亡在王爾德童話中的表現(xiàn)形式（9篇童話中死亡結(jié)局的不同表現(xiàn)方式）

8、；</p><p>　　王爾德童話的哲學(xué)思考，其死亡主題的意蘊(yùn)：</p><p>　　3.2.1王爾德唯美主義的體現(xiàn)（王爾德式的童話意象，對(duì)維多利亞時(shí)代傳統(tǒng)的繼承和顛覆，對(duì)安徒生童話的繼承發(fā)展）；</p><p>　　3.2.2死亡主題的道德色彩；</p><p>　　4. 王爾德童話死亡主題的思想淵源：</p><p&g

9、t;　　5.1 對(duì)古希臘、羅馬悲劇傳統(tǒng)的傳承；</p><p>　　5.2 死亡是救贖的必要途徑，死亡的宗教象征意義；</p><p><b>　　5. 總結(jié)部分</b></p><p><b>　　擬解決的主要問題：</b></p><p>　　分析王爾德童話的藝術(shù)特色，并探討其死亡主題所蘊(yùn)含的作

10、者情感和道德深意，以及其和其他小說或童話的死亡主題的不同之處。</p><p>　　研究的方法與技術(shù)路線：</p><p>　　本選題通過文本細(xì)讀，運(yùn)用社會(huì)道德批評(píng)的方法，采用文獻(xiàn)檢索、對(duì)比分析、歸納分析等手段，對(duì)王爾德的《快樂王子》和《石榴屋》兩本童話集進(jìn)行研究。</p><p>　　本課題研究的手段主要分為：</p><p><b&

11、gt;　　搜集資料的方法</b></p><p>　　資料的主要來源是各高校出版刊物和論文文獻(xiàn)資料，其中論文文獻(xiàn)資料主要來自于CKNI網(wǎng)上數(shù)據(jù)庫(kù)。在理論研究階段，收集參考文獻(xiàn)資料后，對(duì)前人的研究成果進(jìn)行閱讀和分析，為文章的撰寫提供了大量客觀的事實(shí)依據(jù)。</p><p>　?。?）分析資料的方法</p><p>　　分析資料的主要方法是綜合法與比較法。綜合

12、法是從宏觀把握，綜合資料反映的總體情況，目前存在的現(xiàn)象及發(fā)展趨勢(shì)；比較法包括與同時(shí)期作者的作品的比較，同時(shí)期同作者作品的比較，從微觀把握，比較相似點(diǎn)與不同點(diǎn)。</p><p>　　研究的總體安排與進(jìn)度：</p><p>　　第7學(xué)期（2010-2011學(xué)年第1學(xué)期）</p><p>　　第1－6周（9月6日至10月17日）</p><p>　

13、　1、登陸“高校畢業(yè)論文網(wǎng)絡(luò)平臺(tái)”，完善個(gè)人信息。</p><p><b>　　2、完成選題。</b></p><p>　　3、導(dǎo)師確認(rèn)選題，確立指導(dǎo)關(guān)系。</p><p>　　第7—17周（10月18日至12月30日）</p><p>　　4、下載任務(wù)書，依據(jù)計(jì)劃開始寫作。</p><p>　　

14、5、查閱文獻(xiàn)資料，寫出文獻(xiàn)綜述（2010.10.25—11.26）。</p><p>　　6、上傳文獻(xiàn)綜述（11.26日截止）。</p><p>　　7、根據(jù)導(dǎo)師的評(píng)論和建議，修改文獻(xiàn)綜述，滿意后上傳。</p><p>　　8、開始文獻(xiàn)翻譯，并上傳。</p><p>　　9、根據(jù)導(dǎo)師的修改建議，修改文獻(xiàn)翻譯。</p><p

15、>　　10、撰寫開題報(bào)告，并上傳（2010.12.30之前完成）</p><p>　　11、根據(jù)導(dǎo)師的建議，修改開題報(bào)告，并上傳定稿。</p><p>　　第18周到第二學(xué)期第14周（2011年1月4日至5月29日）</p><p>　　12、2011年1月——3月11日，撰寫論文提綱以及初稿，上傳論文初稿。</p><p>　　13、

16、2011年3月12日——3月22日，論文修改第一稿。</p><p>　　14、2011年3月23日——4月16日，論文修改第二稿、第三稿。</p><p>　　15、2011年4月17日——4月18日，畢業(yè)論文定稿，并上傳。</p><p>　　16、2011年5月15日——論文答辯。</p><p>　　五、主要參考文獻(xiàn)（不少于10項(xiàng)，其

17、中外文文獻(xiàn)至少2篇）：</p><p>　　Raby, Peter (2001). The Cambridge Companion to Oscar Wilde. Shanghai: Shanghai Foreign Language Education Press</p><p>　　Sillinglaw, Ann (2006). Telling Beautiful Untrue Thi

18、ngs: the Fairy Tales of Oscar Wilde. Chicago: Loyola University</p><p>　　Tatar, Maria (1999). The Classic Fairy Tales. New York: A Norton Critical Edition</p><p>　　Wilde, Oscar (2009). The Happy

19、 Prince – Fairy Tales of Oscar Wilde. Beijing: Tsinghua University Press</p><p>　　陳瑞紅（2009），《奧斯卡·王爾德與宗教審美化問題》。外國(guó)文學(xué)評(píng)論。</p><p>　　陳麗，蔣冰清（2009），《王爾德童話中的死亡意象分析》。牡丹江大學(xué)學(xué)報(bào)。</p><p>　　賀蘭

20、（2001），《王爾德》。上海：百家出版社。</p><p>　　李元，（2008），《唯美主義的浪蕩子——奧斯卡·王爾德研究》。北京：外語(yǔ)教學(xué)與研究出版社。</p><p>　　劉紫萱（2010），《論王爾德童話中的悲觀色彩》。衡陽(yáng)師范學(xué)院學(xué)報(bào)。</p><p>　　吳剛，（2009），《王爾德文藝?yán)碚撗芯俊?。上海：上海外語(yǔ)教學(xué)出版社。</p>

21、;<p>　　張介明，《唯美敘事：王爾德新論》。上海：上海科學(xué)社會(huì)院出版社。</p><p><b>　　畢業(yè)論文文獻(xiàn)綜述</b></p><p><b>　　英語(yǔ)</b></p><p>　　王爾德童話故事中的死亡主題</p><p>　　On the Theme of Death

22、in Oscar Wilde’s Fairy Tales</p><p>　　Having received inspiration from German classical aesthetics and being influenced by Symbolism and Decadence in France, British Aesthetic Movement emerged in the late of

23、 19th century, emphasizing aesthetic values over moral or social themes. It began with the Re-Raphaelite Brother-hood’s activities in the late Victorian period, experienced almost half a century and is commonly considere

24、d to have faced decline with the trial of Oscar Wilde in 1895. </p><p>　　Oscar Wilde, the core figure of British Aesthetic Movement, wrote nine fairy tales to reflect his Aesthetic thought. His fairy tal

25、es were different from the traditional Victorian tales, but “took a sharp detour into an aesthetic sensibility.” Almost every tale of him ended with death, which added mystique and attraction to them. </p><p&g

26、t;　?、馞oreign and domestic studies on Oscar Wilde’s aestheticism </p><p>　　Researches done by foreign scholars </p><p>　　Since most literary concepts of aestheticism are not original, but are fur

27、ther developed from German classical aesthetics and some of its techniques are derived from French Symbolism and Decadence, it is regarded as a transitional thought from romanticism to modernism by some traditional criti

28、cs, rather than an independent important genre. Rene Wellek (1965) did not appreciate aestheticism or its out-standing representative Oscar Wilde very much in his A History of Modern Criticism: 1750-1950, i</p>&l

29、t;p>　　Declan Kiberd (2001) considered Oscar Wilde represented “the resurgence of lying.” For him, “art is neither nature nor a mirror held to nature, but a deliberate improvement on it,” only art can carry out good in

30、tentions of nature. </p><p>　　2.Researches done by domestic scholars </p><p>　　Some critics pointed out that Wilde is suspected of plagiarism of his teachers’ theory, however, Zhang Jieming (20

31、05) thought it is difficult to simply judge Wilde for he was such a complicated, brilliant and maverick person. Zhang summed Wilde’s aesthetic philosophy up into four points: </p><p>　　a. Wilde regarded sens

32、itivity as beautiful things. Like he said, “It is the spectator, and not life, that art really mirrors,” Wilde believed that literature always anticipates life and moulds it to its purpose, so the writer could describe t

33、hings according to his perceptual knowledge rather than the real world. b. Wilde regarded fun as beautiful things. “There is no such thing as a moral or an immoral book. Books are well written, or badly written,” in his

34、eyes, ethical sympathies made no sense</p><p>　　c. Wilde regarded imagination as beautiful things, from the perspective of the progress of an artist’s creation. Out of his disappointment about “uncouth reali

35、sm and unimaginative imitation” in his time, Wilde spoke highly of imagination during creation to highlight the autonomy of art. d. Wilde regarded innovation of forms as beautiful things. With his words “that form, which

36、 is the birth of passion, is also the death of pain” acting as an evidence of his pursuit for form of an artistic work, W</p><p>　　Li Yuan (2008) stated two distinct characters of Wilde’s aestheticism: his r

37、eligious-like worship for art and his practice of art in life, in addition, he referred to a concept “dandy” in his research towards Oscar Wilde, as he considered Wilde as a typical representive of “dandy” of aestheticis

38、m. </p><p>　　To some extent, art provides a high-quality living space for artists, in which they can complete their self-construction to realize themselves. Art was not a simple imitation or an awareness of

39、something for Wilde, but a kind of practice, a way of life, a progress of creating meaningful things and constructing himself. Creating an art world enabled him a sense of belonging and presence. </p><p&

40、gt;　　As the core figure in British Aestheticism Movement, Oscar Wilde was more rebellious than his contemporary artists. Despite of the reputation he got in literary and art circles of his era, he was an Irish in English

41、 society and a homosexual, being marginalized with an intense sense of identity crisis. Disagreeing with the stereotypes of classical realism, Wilde devoted himself to the new literary genre – aestheticism, to display an

42、d flaunt his difference from the ordinary as a dandy. </p><p>　　Wu Gang (2009) explored Oscar Wilde’s literary and art theory from two major aspects: his aesthetic view of nature and his aesthetic view of li

43、fe. </p><p>　　When Wilde expressed his opinions about nature, he revealed a trend of idealism to emphasize artists’ significance in aesthetic activities and the difference between aesthetic activities and

44、 daily life. He degraded the nature for its simple law and slow change, while artistic creation pursues complicated beauty. Being restricted with natural laws, art would receive negative effects and be destroyed graduall

45、y. Regarding the nature as the objective of artistic creation activities and utilizing art</p><p>　　As for Wilde’s aestheticism view of life, he thought that life can sometimes be a part of the materials for

46、 artistic activities with the artists’ imagination as necessary media. Artists should avoid any form or theme of modernity for their close link with the real life would interfere the artists’ creation, even destroy the p

47、urity of the art in their works. The real beautiful things are those independent from real life, which would ever become obsolescence. </p><p>　?、?Foreign and domestic studies on death in fairy tales </p&

48、gt;<p>　　1.Researches done by foreign scholars </p><p>　　According to Jack Zipes (2001), fairy tales “serve a meaningful social function, not just for compensation but for revelation: the worlds proje

49、cted by the best of our fairy tales reveal the gaps between truth and falsehood in our immediate society.” </p><p>　　Maria Tatar (1998) indicated that “although fairy tales are still arguably the most powerf

50、ully formative tales of childhood and permeate mass media for children and adults,” it is usual to find them deemed of “marginal cultural importance and dismissed as unworthy of critical attention.” However, a lot of wri

51、ters hailed and made an effort to capture “purity,” “simplicity” and “innocent extravagance” of literary fairy tales to praise the fairy tales as powerful instruments of constructive sociali</p><p>　　In The

52、Classic Fairy Tales edited by Maria Tatar (1998), there is a chapter concerning Oscar Wilde’s fairy tales. He thought it is unexpected that as a writer who believed his “first duty in life” was to be “as artificial as po

53、ssible,” Wilde would have turned to the genre of the fairy tales. Some critics attributed his choice to embrace the genre of fairy tale to his “homosexual tendencies,” and they thought Wilde’s fairy tales are directly an

54、d explicitly linked to his homosexual practices. He m</p><p>　　Tatar explored the kinship between Wilde’s fairy tales and Hans Anderson’s as well. Wilde’s fairy tales were sort of writing after the manner of

55、 Anderson and his deeply respect for this Danish writer was evident in his “The Fisherman and His Soul.” Although Wilde might begin some of his fairy tales with the phrase “Once upon a time” like Anderson, he never ended

56、 them up with “They lived happily ever after.” Instead, almost every tale of his culminated in death. Different with Anderson, Wilde did</p><p>　　Ann Shillinglaw (2006) figured out that even the Victorians “

57、believed on the value of human suffering,” “the intensity of the suffering of his heroes, the focus upon their suffering, and the self-caused nature of their suffering are a result of Wilde’s Aesthetic values, rather tha

58、n typical of the Victorian fairy tale.” Wilde saw suffering enabled a person to develop and evolve, and he was surprisingly interested in “heart,” the quintessential Victorian symbol for sentiment. Especially, the wound&

59、lt;/p><p>　　2.Researches done by domestic scholars </p><p>　　Simultaneously, domestic scholars focused on the aesthetic characters when they studied Wilde’s fairy tales. The Happy Prince and the sw

60、allow playing the role as embodiment of charity, the nightingale sacrificing her life for a red rose of love and star-child’s change reflecting return and purifying of human’s soul, all of these surreal aesthetic images

61、serve as ideal carriers of Wilde’s ethics, as well as the embodiment of his ideal personality. Liu Maosheng (2008) noticed that even Wilde repea</p><p>　　顯示對(duì)應(yīng)的拉丁字符的拼音</p><p>　　字典 - 查看字典詳細(xì)內(nèi)容</

62、p><p><b>　　名詞 </b></p><p><b>　　ideal</b></p><p>　　Death is an eternal literary theme and a common topic for Modernism artists. The thought for death, in Qin Yan

63、’s (2008) opinion, is not only a traditional culture of Christianity, but also a literary theme attracting writers’ concerning. Having realized the limits of life and human’s doomed destination, the artists dedicated the

64、mselves to exploring the meaning of life and the value of people’s spiritual life. Along with the spread of Christianity, the conception of original sin – atonement – dea</p><p>　　Liu Zixuan (2010) deemed Wi

65、lde as a “decadent writer” for he revealed a pessimistic attitude towards life and the world in his fairy tales collection The Happy Prince. His pessimism gave birth to beauty, displaying in three aspects: disappointment

66、 for human’s coldness, loss for love and desperation for life. According to Liu’s study, this was caused by his contemporary society, his own life experience as well as western tragedy tradition. </p><p&g

67、t;　　Chen Li and Jiang Bingqing (2009) classified the reasons of death in Wilde’s fairy tales into four main types: suffering and pain, love, natural death and friendship. Death in Wilde’s fairy tales all seemed peaceful,

68、 even beautiful, without any cruel or bloody conditions. Chen and Jiang summarized four kinds of implied meanings of deaths, including criticism and satire of social reality, sympathy for the weak, an extolling for pure

69、love and advocating of morality, based on their assumption that </p><p>　　III .Existing limitations and research plans </p><p>　　Despite an increasing scholarly interest in Oscar Wilde, there is

70、 no sustained, in-depth study of his fairy tales. It seems that even recent significant works or collections on Wilde overlook his fairy tales. As for those existed articles by domestic scholars, they paid much more atte

71、ntion to his aestheticism theory reflected in the fairy tales than the theme of death’s meaning and they sometimes misunderstood Wilde’s moral tendencies in their study. </p><p>　　In view of those acad

72、emic research writings, a further study of Oscar Wilde’s fairy tales from the perspective of its theme of death is quite meaningful. In my dissertation, I will analyze his fairy tales from three main aspects: the fairy t

73、ales’ literary definition, the reflection of Wilde’s aestheticism ideas in his fairy tales and the theme of death with its artistic value and moral meaning.</p><p>　　主要參考文獻(xiàn)（不少于10項(xiàng)，其中外文文獻(xiàn)至少2篇）：</p><

74、;p>　　Raby, Peter (2001). The Cambridge Companion to Oscar Wilde. Shanghai: Shanghai Foreign Language Education Press</p><p>　　Sillinglaw, Ann (2006). Telling Beautiful Untrue Things: the Fairy Tales of Os

75、car Wilde. Chicago: Loyola University</p><p>　　Tatar, Maria (1999). The Classic Fairy Tales. New York: A Norton Critical Edition</p><p>　　Wilde, Oscar (2009). The Happy Prince – Fairy Tales of O

76、scar Wilde. Beijing: Tsinghua University Press</p><p>　　陳瑞紅（2009），《奧斯卡·王爾德與宗教審美化問題》。外國(guó)文學(xué)評(píng)論。</p><p>　　陳麗，蔣冰清（2009），《王爾德童話中的死亡意象分析》。牡丹江大學(xué)學(xué)報(bào)。</p><p>　　賀蘭（2001），《王爾德》。上海：百家出版社。<

77、/p><p>　　李元，（2008），《唯美主義的浪蕩子——奧斯卡·王爾德研究》。北京：外語(yǔ)教學(xué)與研究出版社。</p><p>　　劉紫萱（2010），《論王爾德童話中的悲觀色彩》。衡陽(yáng)師范學(xué)院學(xué)報(bào)。</p><p>　　吳剛，（2009），《王爾德文藝?yán)碚撗芯俊?。上海：上海外語(yǔ)教學(xué)出版社。</p><p>　　張介明，《唯美敘事：王爾

78、德新論》。上海：上?？茖W(xué)社會(huì)院出版社。</p><p><b>　　本科畢業(yè)論文</b></p><p><b>　　（20 屆）</b></p><p>　　On the Theme of Death in Oscar Wilde’s Fairy Tales</p><p><b>　

79、　摘　要</b></p><p>　　王爾德創(chuàng)作的童話故事，是其“為藝術(shù)而藝術(shù)”的美學(xué)思想的反映。他的童話被認(rèn)為是“成人童話”，不僅是其唯美主義藝術(shù)主張的一種實(shí)踐，也是他自我真實(shí)的一種展示，是對(duì)傳統(tǒng)倫理與審美的一種挑戰(zhàn)。不同于傳統(tǒng)的童話，王爾德的童話幾乎都以死亡為結(jié)局。關(guān)注于王爾德童話中的死亡主題，并通過對(duì)其9篇童話的系統(tǒng)分析，本文認(rèn)為，王爾德對(duì)死亡主題的偏愛，主要源于其對(duì)古希臘傳統(tǒng)悲劇的喜愛以及對(duì)于

80、基督教的宗教信仰。憑借對(duì)死亡的描述，王爾德既表達(dá)了其唯美主義的獨(dú)特美學(xué)觀點(diǎn)，也表達(dá)了其對(duì)社會(huì)現(xiàn)實(shí)、人類冷漠的不滿與批判和對(duì)美好人性的謳歌與期待。</p><p>　　【關(guān)鍵詞】唯美主義；王爾德； 童話； 死亡主題</p><p><b>　　Abstract</b></p><p>　　As a representative of Britis

81、h Aestheticism Movement, Oscar Wilde wrote 9 fairy tales according to his aesthetic principle “art for art’s sake.” His fairy tales, which are regarded as tales for adults, act as a practice of his Aestheticism theory, s

82、howing his thoughts inside and posing a challenge to the traditional ethics and aesthetic conceptions. Different from traditional fairy tales, almost every tale of Wilde culminates in death. Concentrating on the theme of

83、 death in Wilde’s fairy tales a</p><p>　　【KEYWORDS】Aestheticism; Oscar Wilde; fairy tales; death</p><p><b>　　Contents</b></p><p>　　1. Oscar Wilde and Aestheticism錯(cuò)誤!未定義

84、書簽。</p><p>　　1.1 The Emergence of Aestheticism: its Social and Cultural Backgrounds錯(cuò)誤!未定義書簽。</p><p>　　1.2 Concepts, Features and Influences of Aestheticism錯(cuò)誤!未定義書簽。</p><p>　　1.3 O

85、scar Wilde and Aestheticism錯(cuò)誤!未定義書簽。</p><p>　　2. Death in Oscar Wilde’s Fairy Tales ………………………………...…………………….......4</p><p>　　2.1 Brief Introduction of Wilde’s Fairy Tales ………………………………………………..4&

86、lt;/p><p>　　2.2 Kinds of Death in Oscar Wilde’s Fairy Tales ………………………….…………….…..4</p><p>　　2.2.1 Dying of Suffering and Coldness ………………………….…………………...…4</p><p>　　2.2.2 Dying of Love………

87、……………………………………………………………..5</p><p>　　2.2.3 Natural Death…………………………………………………………….…….….6</p><p>　　2.3 Philosophy in Wilde’s Fairy Tales and Meanings of Death …………………..………….7</p><p>　　2

88、.3.1 Reflection of Oscar Wilde's Aestheticism…………………………………….…...7</p><p>　　2.3.1.1 Language and Fairy Tale Heroes as Aesthetes……………………….…...7</p><p>　　2.3.1.2 Image Choosing and Beauty of Tr

89、agedy………………..….…….……….8</p><p>　　2.3.2 Death and its Moral Meanings……………………………………………….…....9</p><p>　　2.3.2.1 Criticism of the Coldness of Society and Human Beings……………..….9</p><p>

90、　　2.3.2.2 Praise for Kindness of Human Beings ......................................…...........10</p><p>　　3. Origins of Death-motif in Wilde’s Fairy Tales ……………………………………...….…...11</p><p>　　3.

91、1 Heritage of Greek Tragedies …………………………………………………………....11</p><p>　　3.2 Religious Heritage ……………………………………………………………......…….12</p><p>　　4. Conclusion ………...………………………………………………………………………..13</p&g

92、t;<p>　　References ………………………………………………………………………………....…..14</p><p>　　Oscar Wilde and Aestheticism</p><p>　　The Emergence of Aestheticism: its Social and Cultural Backgrounds </p>&l

93、t;p>　　Aestheticism, a trend of thought in the latter half of 19th century, came into being under the influences of the social economic conditions and cultural backgrounds of its time as other trends of thought in lite

94、rature and art. The entire Europe, especially the Great Britain, experienced an unprecedented capitalistic economy after Industrial Revolution whereas a social upheaval in which a sense of venality left great impacts on

95、common people at the same time. The booming development of industry a</p><p>　　Concepts, Features and Influences of Aestheticism </p><p>　　Originated from the thought of seeking for “pure art” i

96、n the poetry of classics in ancient Greece and Rome, and effected by some European artistic genres in modern times, including Kant’s theory about non-utilitarian nature of art, the trend of aestheticism is characterized

97、by its crafted rhetoric and writing forms. In a sense, literature and art provide a high-quality living space for artists, in which they can escape from the real society and complete their self-construction. In this case

98、, art</p><p>　　Since its most literary concepts are not original but further develop from German classical aesthetics and some of its techniques are derived from French Symbolism and Decadence, aestheticism

99、is regarded as a transitional trend of thought from romanticism to modernism rather than an independent important genre by some traditional critics. However, its two distinct characters, religious-like worship for art an

100、d practice of art in life, have formed rudiment for some modern and even post-modern lit</p><p>　　Oscar Wilde and Aestheticism </p><p>　　Among all the proponents of the Aesthetic Movement, Oscar

101、 Wilde, who utilizes his whole life as a practice of his literary concepts, is no doubt the most out-standing one. In spite of those special glories endowed by his legend, Wilde’s unique aesthetic ideas about literature

102、make his works, which are considered as the representative of “the resurgence of lying” (Kiberd 1997:276), especially attractive. </p><p>　　In Oscar Wilde’s opinion, the artists’ imagination and sensitivity

103、play a vital role in aesthetic activities such as writing. For him, “Art never expresses anything but itself. It has an independent life, just as thought has, and develops purely on its own lines” (Wilde 1998:73). He deg

104、rades the nature for its simple law and slow change, while artistic creation pursues complicated beauty. Being restricted with natural laws, art would receive negative effects and would be destroyed gradually. Reg</p&