《呼啸山庄》读后感锦集

《呼啸山庄》是一本由[英] 艾米莉•勃朗特著作，重庆出版社出版的平装图书，本书定价：13.00元，页数：353，特精心收集的读后感，希望对大家能有帮助。

《呼啸山庄》读后感(一)：当灵魂融于一体。

只不过是一个故事。一个人，拥有再多的山庄，又有什么用。财富换不回她生命中的那个女人。直到他用生命和她一起回到记忆的荒原，他们携手游荡。那是风雨之夜——没什么，“呼啸”本就指风雨来临。他们终于回归本真。爱恨都失去作用，他们的世界只剩下彼此。

《呼啸山庄》读后感(二)：原野上，石楠花绽放的爱与恨

每个人都有那些咬牙切齿的恨，也有那些从不敢放弃的爱。愿每一个人都是多绚丽的石楠花，绽放在彼此最温存的心间。

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①已经萌现的心中的不安

知道这部小说的时间约莫已经很久了。但是从来没有耐心的读过。迫于我的毕业论文是《呼啸山庄》的后现代性，我翻开了这本“伤感“的小说，姑且让我这样来描述这样一本书。

清晨六点四十五，在被令人作呕的电话声音吵醒后，我很不情愿的靠在床沿，旁边留着半包烟和一杯过夜的水，翻到了第十二章。

现在已经是下午的三点十分。一晃眼，已经到了最后一段。那段”在那柔和的天空下，我在三块墓碑间徘徊.......“一直停留在我对小说最后的印象中。

我不会写那些学术性很深的文字，所以一直在我的论文中，感觉像是一篇冗长的散文诗。这也是让老师头疼的事情。但，我想我是爱艾米莉的，以及放不下她笔下的那些勇敢的人。

我不喜欢再去叙述小说的情节，那样只会使自己的文字像一篇内容摘要。而现在，感觉在心中，我徒然增添了许多荒凉，我不知道我怎么去解说我对那些敢爱敢恨的人的情感。

②写几句我想对你说的情话

希斯克列夫，我想我最爱的是你。也许没有原因。我不能去评价你是好人还是坏人，我想我对你的情感仅仅是对于一种说不出来的爱。也许你值得去爱或者是不值得，这都不重要。因为我看到你对爱有一种毁灭性的坚持。

凯瑟琳，我该对你说些什么呢。我一直以为，我也应该是爱你的。但是后来我发现这也许仅仅是一种同情或者是怜悯。无关于你坚持的是什么，你得到的是什么，你希望的是什么，你的价值，你的任性，你的高傲，你的一切，来的都是那么惊艳，那么让人嫉妒，但你离开得确是那么让人痛心疾首。

埃德加，最让我心疼的是你。我一直都认为你是一种价值的牺牲品。到现在我依旧不能忘怀你温儒的脸上的笑容。感谢你，为了林敦家族付出的一切。

伊莎贝拉，你的勇敢和大胆，一直都让我嫉妒。但是，我想我永不会像你那样。因为，我自认为没有能力能够承担一份冲动的责任。

卡茜，你是天使，我的天使。

哈林顿，在我眼中，你仅仅是一个迷失的孩子，我希望和卡茜一样，呼唤你兴高采烈的回到彼此文明的视野中。我不喜欢你跟着约瑟夫学抽烟，因为我猜你抽烟的样子很丑。

小林敦，你是一个十足的淘气鬼，你很胆小，很懦弱，但是你永远是善良的。

我爱你们就像爱自己的孩子，因为你们都有一颗美丽的心灵。无论上面是否蒙上了些许的尘埃，我都希望保存下来，呵护它，让它光鲜亮丽地绽放在约克郡的荒原上......

爱或许是伟大的，或许是渺小的。

其实，无所谓对于爱的表达是怎样，爱本身的光芒是不能被任何的事物所遮掩的。

愿：你我彼此心间都潜存着一朵坚韧的石楠花，随着原野上偶然间呼啸而过的风，抖动充满力量的藤蔓，惬意的舒展在那些敢爱敢恨的人的世界里。

《呼啸山庄》读后感(三)："Wuthering Heights": A Modern Classic

"Wuthering Heights": A Modern Classic

This essay aims to set out the details of my personal standpoint that "Wuthering Heights" is a piece of Modern Classics undoubtedly. I would like to premise my assertion that all of the discussions are established on the base of the given facts which may appear to be a result of diversified replaceable factors. As it is meaningless for me to pay attention to this kind of assuming questions: What if Emily were not the sister of Charlotte and Anne？ What would happen if this book were published in contemporary literary environment？ History is a collaboration of coincidences and interactive elements, so is Classic. All the seemingly replaceable factors cannot be replaced since they have worked on it historically.

Additionally, I would like to take the musical works of "Wuthering Heights" by Kate Bush as a typical modern interpretation of the original works, which is supposed to be regarded as an edgy decoding of an edgy classic.

Based on various theories of literary study, I would like to divide the texts of W.H. and its external contents (dissemination and significance) into two independent level for analysis.

1.Writing: A matter of text

(1) Typicality of the texts. On literary classes in my country(China mainland), a classical masterpiece in narrative works firstly calls for an typicality within the text itself. That is : Typical characters, typical contradictions and typical solutions. Take the case of W.H., Heathcliff is an undeniable typical Byronic hero holding an ambiguous standpoint of class. Catherine Earnshaw acts as a surrendering female to love, family and society. And the relationship between Heathcliff and Catherine presents all the necessity in romantic narratives: exclusivity, idealization, intrusive thinking, emotional dependency, powerful empathy and desire of union (Jonathan Gottschall, 2006). As a romantic love story, it is undoubtedly successful in both characters and plots. What makes it cross beyond the limitations of romance is the essence of the works, which can also be called the central idea, as it raises up so many paralleled Typical themes with its typical contradictions: pursuit of self and responsibility of family, individual affection and social recognition, the rebellion between results and motivations, and so on. When a literary piece combine such multiple common contradictions within its plots, it is no wonder that readers would find great empathy in the book. With a positive first-handed reading experience as principal condition, the story inclines to be popular at a very basic stage.

When it comes the solutions of the contradictions, the final proposition of "Love and Death" emerges. Since Floyd put "the desire of sexuality" and "the desire of attacking" as the primitive instincts of human nature, literary works is supposes to be motivated by these two instincts according to this certain theory. That is why people get so involved when Juliet died in Romeo and Juliet, Jack died in Titanic, etc.. It is similar, even further, in the case of W.H. when Catherine dies and Cathy is given birth just at the same time. Love falls into an irreversible paradox as generation goes by. The narrative structure closes and cycles inside itself, proposing a settlement that actually knits it into a dilemma. That knocks right to the point of reader's "desire".

(2) The permanence of themes. Just as Horace put it: Who lasts a century can have no flaw, I hold that Wit a Classic, good in law. Typical contradictions constitute eternal themes of a novel. With aids of different genres of literature criticism, we can get different conclusions of W.H.'s themes reflecting in level of human nature (Love), philosophy (Alterity), political constitution (race and class) and culture study (theory of hospitality). These analysis are magical themselves. However, the object of the analysis seems to be enchanted when criticism cracks in. That draws forth our next topic: how reading makes a literary work a classic.

2.Reading: A matter of sense

We talks about reading in different meaning based on diverse concrete context. Here I just propose three kind of "reading" and "decoding" in three levels according to my individual understanding. They are: Public Recognition, Academic Criticism and Media Reappearance.

（1）Public recognition

As an "old" book, three elements should be discussed within the relationship between W.H. And average public: access, effect and comment.

Access: How people start reading W.H.？ And why people choose to read it？ That may involve the established culture constitution of a Classic. People first know W.H. mostly for its reputation and notability. As it is on the reading list in fundamental education and classical literature, people would turn to it due to conscientious motivations, which can be regarded as a self-conscious pursuit of common cultural features within a certain community: Everyone reads it, so you should read it.

Effects: The enchantment of the book is a progressive and irreversible process as only if it is listed as a classic, there always emerge thousands of people supporting the book who would speak highly of it even when they read no more than the first three chapters of the book. Herd mentality plays tricks in all culture group activities. Dissenting views can always be ignored or treated as a self-advertisement. In case of W.H., the charms of its plot we referred in the first section play an important role in public transmission. As most people around me are loving it, praising it for its struggling romantic narratives and remarkable characters. Indeed, the book has its corny elements which accelerates its propagation within certain level of readers.

Comments: However, other people would find it weird, awkward as well as "excessively" corny or no more than a "romantic story" due to the explosion of mass media. That is understandable for a girl having read thousands of romantic story to find W.H. so plain as the high intertexuality in contemporary romantic narratives are "using up" the resource of contradictions driven by human's instincts of sexuality, and most of these stories are more tactful in arousing and satisfying people's desire without any further meanings. For a primary reader, a profound themes in philosophy or culture study is unnecessary. Anyway, although people's views divides in modern times, the dominant rights of view is handled by Academic Criticism.

（2）Academic Criticism

I really appreciate the introduction in the second class of W.H.when nearly every view of literary criticism was presented to us. Hereby I would like just express some personal feeling towards this adorable viewpoints. As a student majored in Literature, I am absolutely not that naive to ignore the significance of criticism. However, I still keep my attitude towards the classical discourse of "Author is Dead" by Barthes. I don't think the analysis can really depart with the primitive motives of the original works. As I sometimes find that critics are stealing too much thunders of the authors. Admittedly, deliberate misinterpretation is inevitable in writing-reading relationship, but it shouldn't be an excuse for unrestrained distortion and excessive self-play. The real meaning of a critic is very limited for me, but the influence is massive. Academic criticism leads the major understanding of a certain piece of literary works as an Authority. Yet, the object of criticism is settled before. Criticism would find "classic" by itself. Then appears the final truth: not classical authors or classical themes of a book makes it a class, but classical critic DOES. Once a quintessential remark is made on a book, following academic discussion would heat it to be a hot spot. Then comes public attention. In the informations ages, attention is the most valuable resource. There must be something hiding under this dead cycle, which I haven't found it yet.

（3）Media Reappearance : Case - Music of Kate Bush

Actually, the attendance on media is somehow a reflection of the works's popularity in modern times. That is why we should treat W.H. as a modern classic on the basis of Kermode's theory. As media develops, we can have thousands of access to re-decode the texts of W.H.. The book shows its value more and more, little by little in this way as it has too many stories to tell, too much meaning to reveal, and too further sense to reach for recoders and readers.

Speaking of the works of Kate Bush, I must confess that as a Chinese girl I never hear of this artist before and I couldn't understand her at the very first time when I saw the MV. Nevertheless, I am totally amazed at her after viewing all of her works again and again. She is quite good at expressing all mood and underlying meaning with her unique language of body, voice, tunes, lyrics as well as visual designs. In her W.H., every posture is with a certain signifying in novel's world. The feature of narration and mucic is combined in a magical way.

I am so sorry that I have no enough words to make a much meticulous analysis of the fantastic MV. Anyway, this adaptation, with all the movies, dramas and fan-fictions of W.H., maintains the status of classis for the book in our modern times, which deserves respects in the so commercial and impetuous modern media world.

In a word, Wuthering Heights would preserve its status of "Classic" at least in our ages with its charming narration, plural themes and public attention. As classic goes on, people's reading pattern can be moulded by these thought-worthy masterpieces. We live in an established world, we love what we read just because we are what we read. Although it looks more or less weird, we can always encounter with these "weird" people and things around us. That is where classical literature's values lying in: we can find ourselves in the book itself.