【正文】 die and return to the chest of nature. In the fatal delirium, Catherine begs Nelly to open the windows so that she can breathe the smell of nature because her reminisce of her past and of the wild nature in the moors cannot satisfy her. After being turned down, 14 Catherine rushes to the window and tries to throw herself out of the confinement of the house. Gilbert suggests that finally Catherine’s burial an a green slope in a corner of the churchyard, instead of besides her relatives or those of her husband, is suggestive of a return to the moors, to which she was so attached, and of which she was so much a creature.(61) Yet Catherine does not really retrieve her own self immediately after death. So her ghost haunts her home Wuthering Heights and Heathcliff for twenty years, just as she tells Heathcliff, “I’ll not lie there by myself: they may bury me twelve feet deep, and throw the church down over me, but I won’t rest till you are with me. I never will” (Emily Bronte 130). Catherine’s ghost’s haunting the Heights indicates that Heathcliff can not fet his love and is inplete with his love and original nature lost. Love is the fountain of his life and is the only spiritual prod for him in the world. After Catherine dies, Heathcliff lives an empty life and he confesses to Nelly, “With my hard constitution and temperate mode of living, and occupation, I ought to, and probably shall remain above ground, till there is scarcely a black hair on my headAnd yet I cannot continue in this condition!” (Emily Bronte 296) With the death of Heathcliff, Catherine and Heathcliff actually find their lost self in each other and in nature. So the ghosts of。 and furthermore, is the place nearer to God. American environmentalist Nash Roderick argues that wilderness is not only the title for desert and droughty places, but also the symbol of moral evil。沒有良好的精神家園，必然會造成大自然的生態(tài)平衡。 I 中圖分類號： 學(xué)號： 南陽師范學(xué)院 本科畢業(yè)論文 論文題目： 生態(tài)批評視域中的《呼嘯山莊》 作 者： 指導(dǎo)教師： 學(xué) 院： 外 國 語 學(xué) 院 專 業(yè)： 英 語 班 級： 二〇一三 年 三 月 II 生態(tài)批評視域中的《呼嘯山莊》 南陽師范學(xué)院 外國語學(xué)院 英語專業(yè) 申請文學(xué)學(xué)士學(xué)位 畢業(yè)論文 作 者： 指導(dǎo)教師： III Wuthering Heights from Ecocritical Perspective A Thesis Submitted to English Department, School of Foreign Languages, Nanyang Normal University in Partial Fulfillment of the Requirements for the Degree of Bachelor of Arts By Supervisor： IV Acknowledgements I would like to thank all those who have given me their generous help, mitment and enthusiasm, which have been the major driving force to plete the current paper. Especially I would like to take this chance to express my sincere gratitude to my supervisor, , who is my supervisor as well as an excellent teacher in our Foreign Language School for her kindly assistance and valuable suggestions during the process of my thesis writing. Her willingness to give her time so generously has been very much appreciated. My gratitude also extends to my classmates and peer friends, for their encouragement and support for the pletion of this thesis. V 摘 要 艾米莉 除此之外， 精神生態(tài)理論認(rèn)為人的心靈健康是生態(tài)平衡的重要因素。 while Thrushross Grange and the Lintons, the calm. Catherine and Herthcliff are elemental creatures of the storm. That is David Cecil’s theorya principle of calm and storm. The single principle that ultimately directs them sooner 2 or later imposes equilibrium. His interpretations trying to prove the novel had a unified structure. Surveying these myriad efforts, J. Hills Miller challenged the assumption that the novel presents a unified, coherent, single meaning: The secret truth about Wuthering Heights, rather, is that there is no secret truth which criticism might formulate in this way… It leaves something important still unaccounted for… The text is over rich.”(Miller, 1998:204) Perhaps . Leavis penned the most quoted modern interpretation of Wuthering Heights when he excluded it from the great tradition of the English novel because it was a “sport,” ., had no meaningful connection to fiction which preceded it of influence on fiction which followed it. (Leavis, 1988:132) Ecocriticism as A Literary Approach Ecocriticism is one of the most recent interdisciplinary fields that have emerged in literary and cultural studies. It began in the 1970s, burgeoned in the late 1990s and is still experiencing its booming development at present. Stressing the linkage between the literary texts and the natural world, or environment, it is developed against the background of the increasingly severe environmental crisis and the development of global movement of Environmentalism. Due to its broad scope of inquiry and vision, Ecocriticism cannot be limited to one single methodology, but rather is required to be integrated with other literary theories and disciplines. For instance, while interpreting the texts, Ecocriticism often applies to the close reading approach of new criticism. With the appearance and formation of Ecocriticism, it is possible 3 to see the book in the light of the new theory. It not only offers new and elaborates frameworks in which the book might be discussed, but also raises questions about the very motivations that have driven critics of earlier decades to write so persistently about the novel. Ecocriticism emerges as a response to a growing worldwide environmental pressur