导读:本文包含了似非而是的反论论文开题报告文献综述、选题提纲参考文献及外文文献翻译，主要关键词:反论,似非而是,王尔德,斯托,特色,论文。
似非而是的反论论文文献综述
李军[1]（2002）在《似非而是的反论、戏仿及自我意识—比较《认真的重要性》和《滑稽戏仿》》一文中研究指出This is a comparative study of The Importance of Being Earnest by Oscar Wilde and Travesties by Tom Stoppard, the two representative plays of the two great dramatists, attempting to analyze three shared characteristics of the two plays, i.e., paradox, parody and self-consciousness. Through the comparison, Wilde's influence on Stoppard is highlighted.First, both Wilde and Stoppard demonstrate a penchant for paradox. For them, paradox is not only a form of witticism, but also a strategy to reverse the relationship between binary oppositions, and a strategy to subvert the conventional and established concepts and notions. The discussion highlights a vital paradox, "life holds the mirror up to Art." This inversion of the relationship between life and art reflects Wilde's art for art's sake aesthetic doctrine and proves that Stoppard is an inheritor in this respect. Two other issues, contradiction embodied in paradoxes, and the connection between marginality (non-Englishness) and paradox are discussed. The two features are driving forces behind both Wilde's and Stoppard's paradoxes.Secondly, both Wilde and Stoppard are famous parodists. They keep a dialectic stance in dealing with the convention, remove its stale elements and retain its viable ones. For this end, parody serves as a perfect device. By applying it, both playwrights are able to deliberately mine the dramatic conventions and assimilate popular forms into their dramaturgy. This reflects a spirit of self-consciousness.It is self-consciousness that carries weight behind both paradoxes and parody in Wilde and Stoppard's plays. Fundamentally, self-consciousness is an embodiment of a critical spirit in a broader sense, which is borne by Wilde and Stoppard alike. In paradoxes, both writers employ this self-consciousness to criticize various established concepts and norms. In parody, they self-consciously criticize the dramatic conventions and popular forms. They demonstrate this self-consciousness in self-criticism with regard to the role and functions of art and artist. Indeed, it is with this self-consciousness that both playwrights have executed a combination of creation and criticism. And it is this combination that distinguishes Wilde and Stoppard from lesser dramatists or critics, and it is this combination that establishes their fame and influence both in drama and in criticism.(本文来源于《对外经济贸易大学》期刊2002-04-01）
夏腊初[2]（1997）在《似非而是 妙趣横生——析王尔德文学创作中的反论》一文中研究指出一 在文学创作中,英国作家王尔德(1854—1900)特别嗜好反论(paradox),有人曾赠予他一顶“反论王子”的“桂冠”。在小说、戏剧中,他常常反论连珠。即使在童话里,他也运用了不少反论。反论广泛而又纯熟的运用,不仅成为王尔德笔下最有魅力的语言,而且发挥了独特的艺术作用。(本文来源于《外国文学研究》期刊1997年04期）
似非而是的反论论文开题报告
（1）论文研究背景及目的
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一 在文学创作中,英国作家王尔德(1854—1900)特别嗜好反论(paradox),有人曾赠予他一顶“反论王子”的“桂冠”。在小说、戏剧中,他常常反论连珠。即使在童话里,他也运用了不少反论。反论广泛而又纯熟的运用,不仅成为王尔德笔下最有魅力的语言,而且发挥了独特的艺术作用。
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似非而是的反论论文参考文献
[1].李军.似非而是的反论、戏仿及自我意识—比较《认真的重要性》和《滑稽戏仿》[D].对外经济贸易大学.2002
[2].夏腊初.似非而是妙趣横生——析王尔德文学创作中的反论[J].外国文学研究.1997
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