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妈妈和儿子乱伦小说

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篇一:《儿子与情人》

甚至我认为主人公保罗的“恋母”情结也算不得值得拿来大讲特讲的卖点,这不是一本讲母子之间乱伦感情的书,因为这里没有什么太不正常的感情,在这样的时代这样的家庭成长起来的孩子能拥有怎样“正常”的感情呢?苛求保罗和他的母亲表现得更像一对“正常”的母子,这在我看来未免过于“高尚”。所以撇开这些虽然时髦但是不相干的话题吧,《儿子和情人》讲的只是一个悲剧,令人有切肤之痛的悲剧故事。 《儿子与情人》是劳伦斯带有自传性质的一部小说,写得尤为动人。出生相对优越受到良好教育的莫太太爱上了一贫如洗文化水平低下却英俊潇洒的矿工莫莱尔,于是义无反顾地嫁给他。短暂的蜜月迅速消磨掉了两人之间的浓情蜜意,生活的艰辛和文化的差异以及生活习惯的不同,使得夫妻之间爆发了激烈的冲突。当孩子陆续出生之后,莫太太把所有的爱都转移到自己的孩子身上,希望他们能成长为出类拔萃的人才,摆脱掉他们父亲身为矿工的命运。她深爱自己的大儿子威廉,对他寄托了尤其深的感情。威廉不负厚望,成功挤入伦敦的上流社会,却因为追求不属于自己阶层的女子而辛苦奔波赚钱以图完婚,最终病死他乡。威廉的死使莫太太一蹶不振,而二儿子的重病使她从死者的悲痛中醒来,重新面对生者的世界,因为小儿子亚瑟调皮捣蛋不听教导,莫太太干脆把自己所有的注意力和期望转移到保罗身上。而保罗的恋情和婚姻大事也成为母亲最为关注的问题。《儿子与情人》的情节主线就是威廉的成长恋爱与死亡、保罗和他的前后两个情人米雪儿和克拉拉,还有莫太太的生命之路。

但是如果把《儿子与情人》理解为儿子、母亲与情人的三角关系,这也并不准确。不论是威廉还是保罗,他们悲剧性的恋爱,最重要的原因并不是母亲的意见,而是他们成长于这个时代这个家庭,他们悲剧性的个性所然。劳伦斯在这部小说里讨论了四种悲剧性的两性关系:莫莱尔夫妇、威廉与吉普、保罗与米雪儿、保罗与克拉拉。这里有并不门当户对的爱情,如莫莱尔夫妇和威廉的爱情,也有在精神与肉体之间迷茫的保罗的爱情。你可以说莫莱尔夫妇失败的婚姻埋下了威廉和保罗悲剧命运的种子,但这也不是所有的理由,不能不看到这个故事发生的背景是十九世纪末城市工业化水平提高,城乡差距加大,贫富之间的阶层沟壑越来越深,人们在物质与精神之间越发失去方向""

莫莱尔夫妇只是在这个社会转型大背景下的一个小小的家庭样本,不过他们灾难性的家庭生活使得这个悲剧的内涵又得到了延伸和深化。威廉的死,其实是作为一个来自乡下的年轻人试图进入上流社会的失败挑战,他挣扎于上流社会的“交际花”吉普对于财富的贪婪和精神上的匮乏给他带来的巨大陷阱;但是他向上流社会努力的愿望得到了全家人的支持和鼓励,也是他的母亲莫太太的期待和希望所在。而保罗虽然离开了家乡来到了诺丁汉的工厂,但是他仍向往着米雪儿所代表的农场乡村还有虔诚纯净的精神生活,但是米雪儿所要的那种“崇高”的富有宗教意味的狂热的精神生活虽然对保罗有吸引力却同时又压得他喘不过气来,他渴望着肉体的“生命之火”。父母失败的爱情对于保罗来说是切肤之痛,在他的成长过程中,没有一个成功的男性榜样,他恨自己的父亲对母亲的不尊重和和不体贴,却也不知道一个优秀的男人应该怎样面对女人去爱。保罗不是没有爱的男人,但他只会对母亲的爱,却不会对女人的爱,他分不清这两种爱的区别。诚然保罗说过,如果没有母亲的反对,他会娶米雪儿,可是他如果真的娶了米雪儿他会幸福么?莫太太反对米雪儿和保罗在一起,一方面固然是她的自私,害怕米雪儿夺去儿子所有的心,另一方面何尝不是她对于儿子的了解,米雪儿是保罗的精神伴侣,但也是不可承受的精神压力,保罗追求的是精神和肉体的统一的爱情,而米雪儿却过于超然于普通的物质生活之外了。在莫太太死后,米雪儿和保罗有过结婚的机会,可是他们还是最终没有能在一起,或者正说明了这一点。

保罗和米雪儿的爱情,看起来像一场战争。在他们分手的时候,米雪儿曾经控诉道,这七年的感情就是你争我斗。是啊,米雪儿一直想要征服保罗,保罗又何尝不是如此。当爱情变成了征服者的游戏,两败俱伤的结局其实一点都不让人奇怪。

《儿子与情人》最让人压抑也最让人震动的,对我来说,其实是莫莱尔夫妇一生都不幸福的婚姻生活,还有由此产生的孩子们对于童年的悲惨记忆,以及在这种压抑不快乐的环境中成长起来的孩子们的性格。孩子们都痛恨自己的父亲,男孩子们希望尽快长大,好和父亲打上一仗来捍卫自己的母亲;唯一的女孩子安妮小时候就是个假小子,好在长大之后找到了真正爱自己的人,拥有了一个温暖的家庭。我一直在想,如果这个故事不是以儿子为主线,而是写女孩子的成长心路又会是怎样呢?在这样不幸福的婚姻阴影下成

长的女孩,对自己的婚姻爱情会有怎样的憧憬与幻想?在这样一个时代里成长起来的女孩也应该有自己的“城市梦”吧!她会怎样面对她生命里出现的那些男人?总觉得安妮这个角色过于简单了些,我想如果换作女儿成为故事的主角,大概也会是一部很有意思和内容的小说呢!

《儿子与情人》是劳伦斯在一次世界大战之前最优秀的作品之一。戴维o赫伯特o劳伦斯是一位天才的作家,他的作品洞察人类生命中最深层的领地—人的心理,生动描述人类诸如挣扎、痛苦、危机、欢娱等种种情感和感受。他致力于开启人类心深处的“黑匣子”,穿透意识的表面,触及隐藏的血的关联“,从而揭示原型的自我。

在这部小说里,他对女性的心理进行了大胆、透彻的探索,其小说中的女性也因此体现出更为强烈的审美情趣和艺术表现力,细腻准确地反映出劳伦斯的写作主题。

戴维o赫伯特o劳伦斯用精神分析的方法对《儿子与情人》中的三种女性爱情心理模式进行描述,这三种模式将成为此论文的三部分。第一部分—精神模式,,此模式对本能的欲望进行抵制和轻视。《儿子与情人》中的米莉亚姆就是这个模式的典型代表。第二部分——肉欲模式,这种心理会放纵她们自己个人的本能的欲望而又忽视了灵魂的交流。这部小说中的克拉拉就是一个典型的例子。第三部分——情节模式,这种模式对某个东西或某一种感情显示出一种极端的态度。莫瑞尔太太就这样的一个对家庭和儿子们有极端的占有欲的女人。

戴维o赫伯特o劳伦斯通过对《儿子与情人》中的三种女性爱情心理模式的分析,阐述其局限性,揭示健康自然的女性爱情心理,对于成就完整的生命及追求中女性的成功有重要作用。[1]

Paul seems to be in contradiction of himself and is always trying to find some excuse, or perhaps he does not yet know what he truly wants. But he is constantly going back and forth between first proclaiming his wish to be married, and then doing a complete 360 and

suddenly railing about how he could never be wed and does not wish to be tied down to one woman, and will never marry. He has used this against both Mariam and Clara. First when he was with Mariam he would try and tell her that they could not continue on together because he wished to marry, but they could not marry if they could not be physical with each other. So when Maraim submitted to him and they grew closer, he drew away from her and began to say suddenly he could not be with her because he felt to tied down with her and could not marry and would never marry. So he ended up with Clara because she was safe, because she is already married but separated from her husband, but then as they began to grow closer together, he begins turning the tables around again, and tells her that he wants to marry, but she does not want to marry him because she refuses to divorce from her husband. It seems that he is stuck between both his fear of commitment, as well as his not wanting to be truly alone. Whenever he begins to get close to a woman, or when things begin to become serious, he suddenly tries to find some excuse and gets restless and upset within the relationship and draws away, but at the same time, he can never bring himself to just completely break it off. So he tries to keep it going as long as he can while still keeping at bay from him.

Sons and Lovers was the first modern portrayal of a phenomenon that later, thanks to Freud, became easily recognizable as the Oedipus complex. Never was a son more indentured to his mother's love and full of hatred for his father than Paul Morel, D.H. Lawrence's young

protagonist. Never, that is, except perhaps Lawrence himself. In his 1913 novel he grappled with the discordant loves that haunted him all his life–for his spiritual childhood sweetheart, here called Miriam, and for his mother, whom he transformed into Mrs. Morel. It is, by

Lawrence's own account, a book aimed at depicting this woman's grasp: "as her sons grow up she selects them as lovers–first the eldest, then the second. These sons are urged into life by their reciprocal love of their mother–urged on and on. But when they come to manhood, they can't love, because their mother is the strongest power in their lives."

Of course, Mrs. Morel takes neither of her two elder sons (the first of whom dies early, which further intensifies her grip on Paul) as a literal lover, but nonetheless her psychological snare is immense. She loathes Paul's Miriam from the start, understanding that the girl's deep love of her son will oust her: "She's not like an ordinary woman, who can leave me my share in him. She wants to absorb him." Meanwhile, Paul plays his part with equal fervor, incapable of committing himself in either direction: "Why did his mother sit at home and suffer?… And why did he hate Miriam, and feel so cruel towards her, at the thought of his mother. If Miriam caused his mother suffering, then he hated her–and he easily hated her." Soon thereafter he even confesses to his mother: "I really don't love her. I talk to her, but I want to come home to you."

The result of all this is that Paul throws Miriam over for a married suffragette, Clara Dawes, who fulfills the sexual component of his ascent to manhood but leaves him, as ever, without a complete relationship to challenge his love for his mother. As Paul voyages from the working-class mining world to the spheres of commerce and art (he has fair success as a

painter), he accepts that his own achievements must be equally his mother's. "There was so much to come out of him. Life for her was rich with promise. She was to see herself fulfilled… All his work was hers."

The cycles of Paul's relationships with these three women are terrifying at times, and Lawrence does nothing to dim their intensity. Nor does he shirk in his vivid, sensuous

descriptions of the landscape that offers up its blossoms and beasts and "shimmeriness" to Paul's sensitive spirit. Sons and Lovers lays fully bare the souls of men and earth. Few books tell such whole, complicated truths about the permutations of love as resolutely without resolution. It's nothing short of searing to be brushed by humanity in this manner. Sons and Lovers

Plot introduction

The third published novel of D.H. Lawrence, taken by many to be his earliest masterpiece tells the story of Paul Morel, a young man and a budding artist. This autobiographical novel is a brilliant evocation of life in a working class mining community. The original 1913 edition was heavily edited by Edward Garnett who removed eighty passages, roughly a tenth of the text. Despite this the novel is dedicated to Garnett. It was not until the 1992 Cambridge University Press edition that the missing text was restored.

[edit] Explanation of the novel's title

Lawrence rewrote the work four times until he was happy with it. Although before publication the work was usually called Paul Morel, Lawrence finally settled on Sons and Lovers. Just as this changed title makes the work less focused on a central character, many of the latter additions broadened the scope of the work thereby making the work less autobiographical. While some of the edits by Garnett were on the grounds of propriety or style, others would once more narrow the emphasis back upon Paul.

[edit] Plot summary

Part I:

The refined daughter of a "good old burgher family," Gertrude Coppard meets a rough-hewn miner at a Christmas dance and falls into a whirlwind romance. But soon after her marriage to Walter Morel, she realizes the difficulties of living off his meager salary in a rented house. The couple fight and drift apart and Walter retreats to the pub after work each day. Gradually, Mrs. Morel's affections shift to her sons, beginning with the oldest, William.

As a boy, William is so attached to his mother that he doesn't enjoy the fair without her. As he grows older, he defends her against his father's occasional violence. Eventually, he leaves home for a job in London, where he begins to rise up into the middle class. He is engaged, but he detests the girl's superficiality. He dies, and Mrs. Morel is heartbroken, but when Paul catches pneumonia, she rediscovers her love for her second son.

Part II:

Both repulsed by and drawn to his mother, Paul is afraid to leave her but wants to go out on his own, and needs to experience love. Gradually, he falls into a relationship with Miriam, a farm girl who attends his church. The two take long walks and have intellectual conversations about books, but Paul resists, in part because his mother looks down on her. At work, Paul meets Clara Dawes, who has separated from her husband, Baxter.

篇二:《真正的母爱是一场得体的退出》{妈妈和儿子乱伦小说}.

{妈妈和儿子乱伦小说}.

真正的母爱是一场得体的退出

因为学习心理学的缘故,我经常接触到有困惑的家长,为什么我那么听话的孩子,到了青春期像变了一个人,成了一匹难以管教的野马?为什么我的孩子看起来很认真,为什么成绩越来越差?为什么我的孩子上了大学不能融入集体,现在辍学在家,在家呢也不是说出去玩,只是在家看手机上网?

每一个有这样困惑的家长,可能有着各种各样的原因,但是经过深谈,却在某一方面有着惊人的相似,那就是妈妈对孩子爱的太深,妈妈与孩子黏的太紧,当妈妈和孩子黏的太紧的时候,其实表达的可能是妈妈对孩子的控制,内心害怕的是孩子一旦独立,就意味着孩子要抛弃妈妈,和妈妈成为两个真正独立的个体。也许这是内心没有安全感的妈妈害怕面对的。一个不让孩子独立的妈妈,最后养育出来的就可能是一个不能独立的孩子,一个离开了妈妈就什么都做不了的孩子。。

喜欢越界的父母总是表现出对孩子的极度关心,事无巨细地关心,其实他眼里没有孩子,他只是变相地表达了对孩子的不信任和不尊重。尽管都是打着“关爱”和“教育”的旗号,但传递的总是令人厌烦的气息,孩子不会从中体会到爱和教育,只能体会到被侵犯。孩子用成绩不好这样的方式去被动的攻击妈妈,用妈妈最在意的东西去攻击妈妈,去表达自己的愤怒

我这样说,当妈的可能会感觉很受伤,我们会觉得自己努力去爱孩子了,却成了控制孩子长大的罪魁祸首,心里备感失落。我们心里还是担心,这样万一孩子做点什么事真的就一点也不知道了,那我以后还怎么帮助他,怎么教育他?

持有这样思维方式的父母,他们习惯于把自己的功能扩大化,不习惯随着孩子的成长调整自己的行为界限。上幼儿园的孩子独自在某个房间时,确实需要父母不时地过来关照一下,而一个初中生需要这样的关照吗?从这位母亲的话中可以看到,她的担心不过是孩子“万一”做的那个事情,这个“万一之事”可能是什么呢?玩游戏?和女同学聊天?上黄色网站?手淫?不管什么事,哪一种是需要突然推门进来解决的呢?

喜欢越界的父母总是表现出对孩子的极度关心,事无巨细地关心,其实他眼里没有孩子,他只是变相地表达了对孩子的不信任和不尊重。尽管都是打着“关爱”和“教育”的旗号,但传递的总是令人厌烦的气息,孩子不会从中体会到爱和教育,只能体会到被侵犯。

有自尊的父母不会刻意去抓孩子的什么把柄,也会羞于面对孩子的窘迫。他要呵护孩子的面子,也不肯降低自己的修养,这样的心境在父母和孩子间自然营造出合理的距离,开始得体地分离。

所谓“分离”,并不是慢慢放弃对孩子的关爱,而是慢慢调整关爱的方式。没有哪个母亲会明确地知道应该从哪年哪月哪天哪件事上开始和孩子“分离”,就像她不会发现孩子哪年哪月哪天比她长得还高一样。成长变化伴随着孩子的每一天,分离也伴随始终。

从孩子脱离母体开始,整个成长过程就是不断的脱离:脱离RU房独自吃饭,脱离怀抱独立行走,脱离监护单独外出,脱离供养自己赚钱,脱离支配发展自我,脱离家庭组建另一个家庭——父母从第一亲密者的角色中退出,让位给孩子的伴侣和他自己的孩子,由“当事人”变成“局外人”,最后是父母走完人生旅程,彻底退出孩子的生活。

我们甚至可以这样理解,成长和分离是对同一件事情的主次描述,成长说的是孩子的变化,分离说的是围绕这种变化父母所做的角色重要性的调整。父母对孩子生活的参与程度逐步递减,角色范围一点点缩小,这样才能给孩子的生活腾挪出空间。在健全的母子关系中,这是非常正常的心理的调整。

例如在女儿幼小时,几乎所有的爸爸怀抱着可爱的女儿时,都会泛起醋意,想着将来哪个毛头小子敢来抢走我的女儿,打断他的腿!可当女儿20年后出落得亭亭玉立,和一个小伙子牵手亲密时,被冷落一旁的当爹的却会满是欣慰,欣慰于女儿长大成人,有了自己的生活,有人代替自己去爱女儿,自己可以少操心了。

哲学家弗洛姆是对母子关系解析得最好的思想家之一,他认为:“母爱的真正本质是关心孩子的成长,也就是说,希望孩子与自己分离。这里体现了母爱与性AI的根本区别。在性AI中,本是分离的两个人成为一体;在母爱中,本是一体的两个人分离为二。母亲必须容忍分离,而且必须希望和支持孩子与她分离。

正是在这一阶段上,母爱成为一个至为困难的任务,它要求无私,要求能够给予一切,而且除了所爱者的幸福以外一无所求。

{妈妈和儿子乱伦小说}.

也正是在这一阶段上,许多母亲未能完成母爱的任务。自恋、盛气凌人、占有欲使妇女只有在孩子尚小时才能成为一个爱孩子的母亲,爱幼小的孩子其实再容

易不过了。而检验一个母亲是否真正具有爱的能力,就看她是否愿意分离,并且在分离后继续爱着。

爱孩子还是爱控制孩子?

不懂得分离的父母,即使孩子成年、结婚,也要努力保留住对孩子的控制。他们往往喜欢一边事无巨细地包办,一边抱怨孩子的无能。这样的家长,其潜意识并不想让孩子独立,他要让自己在孩子的生活中显得重要,于是会有意无意地制造孩子的不重要感。与其说他极爱孩子,不如说他极爱那种对孩子的全面把控,这种控制给他带来的成就感和强大感,让他对自己满意。

有位年轻妈妈告诉我说,她的父母一直对她管得多管得严。比如她从小热爱阅读,爱看古典小说、历史书籍,却常常遭到父母的白眼和阻拦。他们希望她只看课本,认为看“闲书”没用。到她现在成家且有了孩子,假期中偶然拿起本小说看看,她父亲都会批评说,怎么不看专业书?看小说有啥用?这位读者说,虽然知道父母爱她,但和父母相处的感觉却是“觉得简直是生活在地狱里”!

没有被包办的人可能很难想象被过度包办的痛苦。我曾收到一封读者来信,写信人也是一个年轻女子,最后的签名是“一个绝望的人”。她在信中陈述了她妈妈无止境的包办带给她的痛苦,并把她曾给妈妈写的一封信一并发给我,问我要不要发给她妈妈。信是这样写的:

从小到大,无论什么事你总是冲在我前面,那些我应该自己去做,或者我应该学着去做的事情,你全部包办了,却又总是挑剔我,说我自理能力很差,甚至在别人面前说我这个做不好那个不会干。这导致我做什么都没自信,结果确实是什么也做不好,于是你就更有理由冲在我前面。你一直用这样极其残忍甚至残酷的方式对待我,我怎么可能不自卑?怎么可能有自理能力?怎么能学会和别人打交道?你为什么老是要冲到我前面?

后果只有两种:要么,我终于有一天不堪忍受,自杀了。要么,将来你老了,先我而去了,留下我一个人,不会烧饭,不会自己买衣服,不会讨价还价,不会和人打交道,不会保护自己……最后悲惨地死去。总之,你是在往绝路上赶我!(原信中,女孩在此处用了二十多个感叹号!){妈妈和儿子乱伦小说}.

父母如果固执地霸占孩子的生命空间,孩子的世界只能狭小,甚至残缺。前面那位被降为“闲人”的妈妈其实应该感到庆幸,因为她的孩子尚小,且会反抗,敢于

公开拒绝家长对他自由的侵犯,说明孩子体内的“自我”还比较强大,他的世界还比较完整。

而这个女孩子敢于鼓起勇气写出这样一封信,也是出于自救的本能,所以我赞成她把这封信发给妈妈。如果孩子对家长的操控完全麻木了,丧失了对“自我”边界的守卫,受到的伤害也许是致命的。

泛滥的母爱和泛滥的洪水一样

有一次我听一位心理专家谈到一个刚做妈妈的年轻女子自杀的案例,他称这个女子小周。小周工作稳定,丈夫体面,家境殷实,父母对她也很好,又刚有了一个健康可爱的孩子,没有人能想出来她为什么会自杀。{妈妈和儿子乱伦小说}.

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