導(dǎo)語：如何才能寫好一篇泰坦尼克英文，這就需要搜集整理更多的資料和文獻(xiàn)，歡迎閱讀由公務(wù)員之家整理的十篇范文，供你借鑒。

篇1

a screenplay by james cameron

cast:

kate winslet... rose dewitt bukater

leonardo dicaprio... jack dawson

kathy bates... the unsinkable molly brown

billy zane... caledon hockley

bill paxton... brock lovett

written and directed by:

james cameron

1 blackness

then two faint lights appear, close together... growing brighter. they

resolve into two deep submersibles, free-falling toward us like express

elevators.

one is ahead of the other, and passes close enough to fill frame, looking

like a spacecraft blazing with lights, bristling with insectile

manipulators.

tilting down to follow it as it descends away into the limitless blackness

below. soon they are fireflies, then stars. then gone.

cut to:

2 ext./ int. mir one / north atlantic deep

pushing in on one of the falling submersibles, called mir one, right up to

its circular viewport to see the occupants.

inside, it is a cramped seven foot sphere, crammed with equipment. anatoly

mikailavich, the sub's pilot, sits hunched over his controls... singing

softly in russian.

next to him on one side is brock lovett. he's in his late forties, deeply

tanned, and likes to wear his nomex suit unzipped to show the gold from

famous shipwrecks covering his gray chest hair. he is a wiley, fast-talking

treasure hunter, a salvage superstar who is part historian, part adventurer

and part vacuum cleaner salesman. right now, he is propped against the co2

scrubber, fast asleep and snoring.

on the other side, crammed into the remaining space is a bearded wide-body

named lewis bodine, who is also asleep. lewis is an r.o.v. (remotely

operated vehicle) pilot and is the resident titanic expert.

anatoly glances at the bottom sonar and makes a ballast adjustment.

cut to:

3 ext. the bottom of the sea

a pale, dead-flat lunar landscape. it gets brighter, lit from above, as mir

one enters frame and drops to the seafloor in a downblast from its

thrusters. it hits bottom after its two hour free-fall with a loud bonk.

cut to:

4 int. mir one

lovett and bodine jerk awake at the landing.

anatoly

(heavy russian accent)

we are here.

ext. / int. mir one and two

5 minutes later: the two subs skim over the seafloor to the sound of

sidescan sonar and the thrum of big thrusters.

6 the featureless gray clay of the bottom unrolls in the lights of the subs.

bodine is watching the sidescan sonar display, where the outline of a huge

pointed object is visible. anatoly lies prone, driving the sub, his face

pressed to the center port.

bodine

come left a little. she's right in front of us, eighteen meters. fifteen.

thirteen... you should see it.

anatoly

do you see it? i don't see it... there!

out of the darkness, like a ghostly apparition, the bow of the ship appears.

its knife-edge prow is coming straight at us, seeming to plow the bottom

sediment like ocean waves. it towers above the seafloor, standing just as it

landed 84 years ago.

the titanic. or what is left of her. mir one goes up and over the bow

railing, intact except for an overgrowth of 'rusticles' draping it like

mutated spanish moss.

tight on the eyepiece monitor of a video camcorder. brock lovett's face

fills the black and white frame.

lovett

it still gets me every time.

the image pans to the front viewport, looking over anatoly's shoulder, to

the bow railing visible in the lights beyond. anatoly turns.

anatoly

is just your guilt because of stealing from the dead.

cut wider, to show that brock is operating the camera himself, turning it in

his hand so it points at his own face.

lovett

thanks, tolya. work with me, here.

brock resumes his serious, pensive gaze out the front port, with the camera

aimed at himself at arm's length.

lovett

it still gets me every time... to see the sad ruin of the great ship sitting

long fall from the world above.

anatoly rolls his eyes and mutters in russian. bodine chuckles and watches

the sonar.

bodine

you are so full of shit, boss.

7 mir two drives aft down the starboard side, past the huge anchor while mir

one passes over the seemingly endless forecastle deck, with its massive

anchor chains still laid out in two neat rows, its bronze windlass caps

gleaming. the 22 foot long subs are like white bugs next to the enormous

wreck.

lovett (v.o.)

dive nine. here we are again on the deck of titanic... two and a half miles

down. the pressure is three tons per square inch, enough to crush us like a

freight train going over an ant if our hull fails. these windows are nine

inches thick and if they go, it's sayonara in two microseconds.

8 mir two lands on the boat deck, next to the ruins of the officer's

quarters. mir one lands on the roof of the deck house nearby.

lovett

right. let's go to work.

bodine slips on a pair of 3-d electronic goggles, and grabs the joystick

controls of the rov.

9 outside the sub, the rov, a small orange and black robot called snoop dog,

lifts from its cradle and flies forward.

bodine (v.o.)

walkin' the dog.

snoop dog drives itself away from the sub, paying out its umbilical behind

it like a robot yo-yo. its twin stereo-video cameras swivel like insect

eyes. the rov descends through an open shaft that once was the beautiful

first class grand staircase.

snoop dog goes down several decks, then moves laterally into the first class

reception room.

snoop's video pov, moving through the cavernous interior. the remains of the

ornate handcarved woodwork which gave the ship its elegance move through the

floodlights, the lines blurred by slow dissolution and descending rusticle

formations. stalactites of rust hang down so that at times it looks like a

natural grotto, then the scene shifts and the lines of a ghostly undersea

mansion can be seen again.

montage style, as snoop passes the ghostly images of titanic's opulence:

10 a grand piano in amazingly good shape, crashed on its side against a

wall. the keys gleam black and white in the lights.

11 a chandelier, still hanging from the ceiling by its wire... glinting as

snoop moves around it.

12 its lights play across the floor, revealing a champagne bottle, then some

white star line china... a woman's high-top 'granny shoe'. then something

eerie: what looks like a child's skull resolves into the porcelain head of a

doll.

snoop enters a corridor which is much better preserved. here and there a

door still hangs on its rusted hinges. an ornate piece of moulding, a wall

sconce... hint at the grandeur of the past.

13 the rov turns and goes through a black doorway, entering room b-52, the

sitting room of a 'promenade suite', one of the most luxurious staterooms on

titanic.

bodine

i'm in the sitting room. heading for bedroom b-54.

lovett

stay off the floor. don't stir it up like you did yesterday.

bodine

i'm tryin' boss.

glinting in the lights are the brass fixtures of the near-perfectly

preserved fireplace. an albino galathea crab crawls over it. nearby are the

remains of a divan and a writing desk. the dog crosses the ruins of the once

elegant room toward another door. it squeezes through the doorframe,

scraping rust and wood chunks loose on both sides. it moves out of a cloud

of rust and keeps on going.

bodine

i'm crossing the bedroom.

the remains of a pillared canopy bed. broken chairs, a dresser. through the

collapsed wall of the bathroom, the porcelain commode and bathtub took

almost new, gleaming in the dark.

lovett

okay, i want to see what's under that wardrobe door.

several angles as the rov deploys its manipulator arms and starts moving

debris aside. a lamp is lifted, its ceramic colors as bright as they were in

1912.

lovett

easy, lewis. take it slow.

lewis grips a wardrobe door, lying at an angle in a corner, and pulls it

with snoop's gripper. it moves reluctantly in a cloud of silt. under it is a

dark object. the silt clears and snoop's cameras show them what was under

the door...

bodine

ooohh daddy-oh, are you seein' what i'm seein'?

close on lovett, watching his monitors. by his expression it is like he is

seeing the holy grail.

lovett

oh baby baby baby.

(grabs the mike)

it's payday, boys.

on the screen, in the glare of the lights, is the object of their quest: a

small steel combination safe.

cut to:

14 ext. stern of deck of kedysh - day

the safe, dripping wet in the afternoon sun, is lowered onto the deck of a

ship by a winch cable.

we are on the russian research vessel akademik mistislav keldysh. a crowd

has gathered, including most of the crew of keldysh, the sub crews, and a

hand-wringing money guy named bobby buell who represents the limited

partners. there is also a documentary video crew, hired by lovett to cover

his moment of glory.

everyone crowds around the safe. in the background mir two is being lowered

into its cradle on deck by a massive hydraulic arm. mir one is already

recovered with lewis bodine following brock lovett as he bounds over to the

safe like a kid on christmas morning.

bodine

who's the best? say it.

lovett

you are, lewis.

(to the video crew)

you rolling?

cameraman

rolling.

brock nods to his technicians, and they set about drilling the safe's

hinges. during this operation, brock amps the suspense, working the lens to

fill the time.

lovett

well, here it is, the moment of truth. here's where we find out if the time,

the sweat, the money spent to charter this ship and these subs, to come out

here to the middle of the north atlantic... were worth it. if what we think

is in that same... is in that safe... it will be.

lovett grins wolfishly in anticipation of his greatest find yet. the door is

pried loose. it clangs onto the deck. lovett moves closer, peering into the

safe's wet interior. a long moment then... his face says it all.

lovett

shit.

bodine

you know, boss, this happened to geraldo and his career never recovered.

lovett

(to the video cameraman)

get that outta my face.

cut to:

15 int. lab deck, preservation room - day

technicians are carefully removing some papers from the safe and placing

them in a tray of water to separate them safely. nearby, other artifacts

from the stateroom are being washed and preserved.

buell is on the satellite phone with the investors. lovett is yelling at the

video crew.

lovett

you send out what i tell you when i tell you. i'm signing your paychecks,

not 60 minutes. now get set up for the uplink.

buell covers the phone and turns to lovett.

buell

the partners want to know how it's going?

lovett

how it's going? it's going like a first date in prison, whattaya think?!

lovett grabs the phone from buell and goes instantly smooth.

lovett

hi, dave? barry? look, it wasn't in the safe... no, look, don't worry about

it, there're still plenty of places it could be... in the floor debris in

the suite, in the mother's room, in the purser's safe on c deck...

(seeing something)

hang on a second.

a tech coaxes some letters in the water tray to one side with a tong...

revealing a pencil (conte crayon) drawing of a woman.

brock looks closely at the drawing, which is in excellent shape, though its

edges have partially disintegrated. the woman is beautiful, and beautifully

rendered. in her late teens or early twenties, she is nude, though posed

with a kind of casual modesty. she is on an empire divan, in a pool of light

that seems to radiate outward from her eyes. scrawled in the lower right

the girl is not entirely nude. at her throat is a diamond necklace with one

large stone hanging in the center.

lovett grabs a reference photo from the clutter on the lab table. it is a

period black-and-white photo of a diamond necklace on a black velvet

jeller's display stand. he holds it next to the drawing. it is clearly the

same piece... a complex setting with a massive central stone which is almost

heart-shaped.

lovett

i'll be god damned.

cut to:

16 insert

a cnn news story: a live satellite feed from the deck of the keldysh,

intercut with the cnn studio.

announcer

treasure hunter brock lovett is best known for finding spanish gold in

sunken galleons in the caribbean. now he is using deep submergence

technology to work two and a half miles down at another famous wreck... the

titanic. he is with us live via satellite from a russian research ship in

the middle of the atlantic... hello brock?

lovett

yes, hi, tracy. you know, titanic is not just a shipwreck, titanic is the

shipwreck. it's the mount everest of shipwrecks.

cut to:

17 int. house / ceramics studio

pull back from the screen, showing the cnn report playing on a tv set in the

living room of a small rustic house. it is full of ceramics, figurines, folk

art, the walls crammed with drawings and paintings... things collected over

a lifetime.

panning to show a glassed-in studio attached to the house. outside it is a

quiet morning in ojai, california. in the studio, amid incredible clutter,

an ancient woman is throwing a pot on a potter's wheel. the liquid red clay

covers her hands... hands that are gnarled and age-spotted, but still

surprisingly strong and supple. a woman in her early forties assists her.

lovett (v.o.)

i've planned this expedition for three years, and we're out here recovering

some amazing things... things that will have enormous historical and

educational value.

cnn reporter (v.o.)

but it's no secret that education is not your main purpose. you're a

treasure hunter. so what is the treasure you're hunting?

lovett (v.o.)

i'd rather show you than tell you, and we think we're very close to doing

just that.

the old woman's name is rose calvert. her face is a wrinkled mass, her body

shapeless and shrunken under a one-piece african-print dress.

but her eyes are just as bright and alive as those of a young girl.

rose gets up and walks into the living room, wiping pottery clay from her

hands with a rag. a pomeranian dog gets up and comes in with her.

the younger woman, lizzy calvert, rushes to help her.

rose

turn that up please, dear.

reporter (v.o.)

your expedition is at the center of a storm of controversy over salvage

rights and even ethics. many are calling you a grave robber.

tight on the screen.

lovett

nobody called the recovery of the artifacts from king tut's tomb grave

robbing. i have museum-trained experts here, making sure this stuff is

preserved and catalogued properly. look at this drawing, which was found

today...

the video camera pans off brock to the drawing, in a tray of water. the

image of the woman with the necklace fills frame.

lovett

...a piece of paper that's been underwater for 84 years... and my team are

able to preserve it intact. should this have remained unseen at the bottom

of the ocean for eternity, when we can see it and enjoy it now...?

rose is galvanized by this image. her mouth hangs open in amazement.

rose

i'll be god damned.

cut to:

18 ext. keldysh deck - night

cut to keldysh. the mir subs are being launched. mir two is already in the

water, and lovett is getting ready to climb into mir one when bobby buell

runs up to him.

buell

there's a satellite call for you.

lovett

bobby, we're launching. see these submersibles here, going in the water?

take a message.

buell

no, trust me, you want to take this call.

cut to:

19 int. lab deck / keldysh - night

buell hands lovett the phone, pushing down the blinking line. the call is

from rose and we see both ends of the conversation. she is in her kitchen

with a mystified lizzy.

lovett

this is brock lovett. what can i do for you, mrs... ?

buell

rose calvert.

lovett

... mrs. calvert?

rose

i was just wondering if you had found the 'heart of the ocean' yet, mr.

lovett.

brock almost drops the phone. bobby sees his shocked expression...

buell

i told you you wanted to take this call.

lovett

(to rose)

alright. you have my attention, rose. can you tell me who the woman in the

picture is?

rose

oh yes. the woman in the picture is me.

cut to:

20 ext. ocean - day

smash cut to an enormous sea stallion helicopter thundering across the

ocean. pan 180 degrees as it roars past. there is no land at either horizon.

the keldysh is visible in the distance.

close on a window of the monster helicopter. rose's face is visible, looking

out calmly.

cut to:

21 ext. keldysh - day

brock and bodine are watching mir 2 being swung over the side to start a

dive.

bodine

she's a goddamned liar! a nutcase. like that... what's her name? that

anastasia babe.

buell

they're inbound.

brock nods and the three of them head forward to meet the approaching helm.

bodine

she says she's rose dewitt bukater, right? rose dewitt bukater died on the

titanic. at the age of 17. if she'd have lived, she'd be over a hundred now.

lovett

a hundred and one next month.

bodine

okay, so she's a very old goddamned liar. i traced her as far back as the

20's... she was working as an actress in l.a. an actress. her name was rose

dawson. then she married a guy named calvert, moved to cedar rapids, had two

kids. now calvert's dead, and from what i've heard cedar rapids is dead.

the sea stallion approaches the ship, bg, forcing brock to yell over the

rotors.

lovett

and everybody who knows about the diamond is supposed to be dead... or on

this ship. but she knows about it. and i want to hear what she has to say.

got it?

cut to:

22 ext. keldysh helipad

in a thundering downblast the helicopter's wheels bounce down on the

helipad.

lovett, buell and bodine watch as the helicopter crew chief hands out about

ten suitcases, and then rose is lowered to the deck in a wheelchair by

keldysh crewmen. lizzy, ducking unnecessarily under the rotor, follows her

out, carrying freddy the pomeranian. the crew chief hands a puzzled keldysh

crewmember a goldfish bowl with several fish in it. rose does not travel

light.

hold on the incongruous image of this little old lady, looking impossibly

fragile amongst all the high tech gear, grungy deck crew and gigantic

equipment.

bodine

s'cuse me, i have to go check our supply of depends.

cut to:

23 int. rose's stateroom / keldysh - day

lizzy is unpacking rose's things in the small utilitarian room. rose is

placing a number of framed photos on the bureau, arranging them carefully

next to the fishbowl. brock and bodine are in the doorway.

lovett

is your stateroom alright?

rose

yes. very nice. have you met my granddaughter, lizzy? she takes care of me.

lizzy

yes. we met just a few minutes ago, grandma. remember, up on deck?

rose

oh, yes.

brock glances at bodine... oh oh. bodine rolls his eyes. rose finishes

arranging her photographs. we get a general glimpse of them: the usual

snapshots... children and grandchildren, her late husband.

rose

there, that's nice. i have to have my pictures when i travel. and freddy of

course.

(to the pomeranian)

isn't that right, sweetie.

lovett

would you like anything?

rose

i should like to see my drawing.

cut to:

24 int. lab deck, preservation area

rose looks at the drawing in its tray of water, confronting herself across a

span of 84 years. until they can figure out the best way to preserve it,

they have to keep it immersed. it sways and ripples, almost as if alive.

tight on rose's ancient eyes, gazing at the drawing.

25 flashcut of a man's hand, holding a conte crayon deftly creating a

shoulder and the shape of her hair with two efficient lines.

26 the woman's face in the drawing, dancing under the water.

27 a flashcut of a man's eyes, just visible over the top of a sketching pad.

they look up suddenly right into the lens. soft eyes, but fearlessly direct.

28 rose smiles, remembering. brock has the reference photo of the necklace

in his hand.

lovett

louis the sixteenth wore a fabulous stone, called the blue diamond of the

the neck up. the theory goes that the crown diamond was chopped too... recut

into a heart-like shape... and it became le coeur de la mer. the heart of

the ocean. today it would be worth more than the hope diamond.

rose

it was a dreadful, heavy thing.

(she points at the drawing)

i only wore it this once.

lizzy

you actually believe this is you, grandma?

rose

it is me, dear. wasn't i a hot number?

lovett

i tracked it down through insurance records... and old claim that was

settled under terms of absolute secrecy. do you know who the claiment was,

rose?

rose

someone named hockley, i should imagine.

lovett

nathan hockley, right. pittsburgh steel tycoon. for a diamond necklace his

son caledon hockley bought in france for his fiancee... you... a week before

he sailed on titanic. and the claim was filed right after the sinking. so

the diamond had to've gone down with the ship.

(to lizzy)

see the date?

lizzy

lovett

if your grandma is who she says she is, she was wearing the diamond the day

titanic sank.

(more)

lovett (cont'd)

(to rose)

and that makes you my new best friend. i will happily compensate you for

anything you can tell us that will lead to its recovery.

rose

i don't want your money, mr. lovett. i know how hard it is for people who

care greatly for money to give some away.

bodine

(skeptical)

you don't want anything?

rose

(indicating the drawing)

you may give me this, if anything i tell you is of value.

lovett

deal.

(crossing the room)

over here are a few things we've recovered from your staterooms.

laid out on a worktable are fifty or so objects, from mundane to valuable.

rose, shrunken in her chair, can barely see over the table top. with a

trembling hand she lifts a tortoise shell hand mirror, inlaid with mother of

pearl. she caresses it wonderingly.

rose

this was mine. how extraordinary! it looks the same as the last time i saw

it.

she turns the mirror over and looks at her ancient face in the cracked

glass.

rose

the reflection has changed a bit.

she spies something else, a silver and moonstone art-nouveau brooch.

rose

my mother's brooch. she wanted to go back for it. caused quite a fuss.

rose picks up an ornate art-nouveau hair comb. a jade butterfly takes flight

on the ebony handle of the comb. she turns it slowly, remembering. we can

see that rose is experiencing a rush of images and emotions that have lain

dormant for eight decades as she handles the butterfly comb.

lovett

are you ready to go back to titanic?

cut to:

29 int. imaging shack / keldysh

it is a darkened room lined with tv monitors. images of the wreck fill the

screens, fed from mir one and two, and the two rovs, snoop dog and duncan.

bodine

live from 12,000 feet.

rose stares raptly at the screens. she is enthraled by one in particular, an

image of the bow railing. it obviously means something to her. brock is

studying her reactions carefully.

bodine

the bow's struck in the bottom like an axe, from the impact. here... i can

run a simulation we worked up on this monitor over here.

lizzy turns the chair so rose can see the screen of bodine's computer. as he

is calling up the file, he keeps talking.

bodine

we've put together the world's largest database on the titanic. okay,

here...

lovett

rose might not want to see this, lewis.

rose

no, no. it's fine. i'm curious.

bodine starts a computer animated graphic on the screen, which parallels his

rapid-fire narration.

bodine

she hits the berg on the starboard side and it sort of bumps along...

punching holes like a morse code... dit dit dit, down the side. now she's

flooding in the

bodine (cont'd)

forward compartments... and the water spills over the tops of the bulkheads,

going aft. as her bow is going down, her stern is coming up... slow at

first... and then faster and faster until it's lifting all that weight,

maybe 20 or 30 thousand tons... out of the water and the hull can't deal...

so skrttt!!

(making a sound in time with the animation)

... it splits! right down to the keel, which acts like a big hinge. now the

bow swings down and the stern falls back level... but the weight of the bow

pulls the stern up vertical, and then the bow section detaches, heading for

the bottom. the stern bobs like a cork, floods and goes under about 2:20

a.m. two hours and forty minutes after the collision.

the animation then follows the bow section as it sinks. rose watches this

clinical dissection of the disaster without emotion.

bodine

the bow pulls out of its dive and planes away, almost a half a mile, before

it hits the bottom going maybe 12 miles an hour. kaboom!

the bow impacts, digging deeply into the bottom, the animation now follows

the stern.

bodine

the stern implodes as it sinks, from the pressure, and rips apart from the

force of the current as it falls, landing like a big pile of junk.

(indicating the simulation)

cool huh?

rose

thank you for that fine forensic analysis, mr. bodine. of course the

experience of it was somewhat less clinical.

lovett

will you share it with us?

her eyes go back to the screens, showing the sad ruins far below them.

a view from one of the subs tracking slowly over the boat deck. rose

recognizes one of the wellin davits, still in place. she hears ghostly waltz

music. the faint and echoing sound of an officer's voice, english accented,

calling 'women and children only'.

30 flash cuts of screaming faces in a running crowd. pandemonium and terror.

people crying, praying, kneeling on the deck. just impressions... flashes in

the dark.

31 rose looks at another monitor. snoop dog moving down a rusted,

debris-filled corridor. rose watches the endless row of doorways sliding

past, like dark mouths.

32 image of a child, three years old, standing ankle deep in water in the

middle of an endless corridor. the child is lost alone, crying.

33 rose is shaken by the flood of memories and emotions. her eyes well up

and she puts her head down, sobbing quietly.

lizzy

(taking the wheelchair)

i'm taking her to rest.

rose

no!

her voice is surprisingly strong. the sweet little old lady is gone,

replaced by a woman with eyes of steel. lovett signals everyone to stay

quiet.

lovett

tell us, rose.

she looks from screen to screen, the images of the ruined ship.

rose

it's been 84 years...

lovett

just tell us what you can--

rose

(holds up her hand for silence)

it's been 84 years... and i can still smell the fresh paint. the china had

never been used. the sheets had never been slept in.

he switches on the minirecorder and sets it near her.

rose

titanic was called the ship of dreams. and it was. it really was...

as the underwater camera rises past the rusted bow rail, we dissolve / match

match dissolve:

34 ext. southampton dock - day

shot continues in a florious reveal as the gleaming white superstructure of

titanic rises mountainously beyond the rail, and above that the buff-colored

funnels stand against the sky like the pillars of a great temple. crewmen

move across the deck, dwarfed by the awesome scale of the steamer.

crowd of hundreds blackens the pier next to titanic like ants on a jelly

sandwich.

in fg a gorgeous burgundy renault touring car swings into frame, hanging

from a loading crane. it is lowered toward hatch #2.

on the pier horse drawn vehicles, motorcars and lorries move slowly through

the dense throng. the atmosphere is one of excitement and general giddiness.

people embrace in tearful farewells, or wave and shout bon voyage wishes to

friends and relatives on the decks above.

a white renault, leading a silver-gray daimler-benz, pushes through the

crowd leaving a wake in the press of people. around the handsome cars people

are streaming to board the ship, jostling with hustling seamen and stokers,

porters, and barking white star line officials.

the renault stops and the liveried driver scurries to open the door for a

young woman dressed in a stunning white and purple outfit, with an enormous

feathered hat. she is 17 years old and beautiful, regal of bearing, with

piercing eyes.

it is the girl in the drawing. rose. she looks up at the ship, taking it in

with cool appraisal.

rose

i don't see what all the fuss is about. it doesn't look any bigger than the

mauritania.

a personal valet opens the door on the other side of the car for caledon

hockley, the 30 year old heir to the elder hockley's fortune. 'cal' is

handsome, arrogant and rich beyond meaning.

cal

you can be blase about some things, rose, but not about titanic. it's over a

hundred feet longer than mauritania, and far more luxurious. it has squash

courts, a parisian cafe... even turkish baths.

cal turns and fives his hand to rose's mother, ruth dewitt bukater, who

descends from the touring car being him. ruth is a 40ish society empress,

from one of the most prominent philadelphia families. she is a widow, and

rules her household with iron will.

cal

your daughter is much too hard to impress, ruth.

(indicating a puddle)

mind your step.

ruth

(gazing at the leviathan)

so this is the ship they say is unsinkable.

cal

it is unsinkable. god himself couldn't sink this ship.

cal speaks with the pride of a host providing a special experience.

this entire entourage of rich americans is impeccably turned out, a

quintessential example of the edwardian upper class, complete with servants.

cal's valet, spicer lovejoy, is a tall and impassive, dour as an undertaker.

behind him emerge two maids, personal servants to ruth and rose.

a white star line porter scurries toward them, harried by last minute

loading.

porter

sir, you'll have to check your baggage through the main terminal, round that

way--

cal nonchalantly hands the man a fiver. the porter's eyes dilate. five

pounds was a monster tip in those days.

cal

i put my faith in you, good sir.

(more)

cal (cont'd)

(curtly, indicating lovejoy)

see my man.

porter

yes, sir. my pleasure, sir.

cal never tires of the effect of money on the unwashed masses.

lovejoy

(to the porter)

these trunks here, and 12 more in the daimler. we'll have all this lot up in

the rooms.

the white star man looks stricken when he sees the enormous pile of steamer

trunks and suitcases loading down the second car, including wooden crates

and steel safe. he whistles frantically for some cargo-handlers nearby who

come running.

cal breezes on, leaving the minions to scramble. he quickly checks his

pocket watch.

cal

we'd better hurry. this way, ladies.

he indicates the way toward the first class gangway. they move into the

crowd. trudy bolt, rose's maid, hustles behind them, laden with bags of her

mistress's most recent purchases... things too delicate for the baggage

handlers.

cal leads, weaving between vehicles and handcarts, hurrying passengers

(mostly second class and steerage) and well-wishers. most of the first class

passengers are avoiding the smelly press of the dockside crowd by using an

elevated boarding bridge, twenty feet above.

they pass a line of steerage passengers in their coarse wool and tweeds,

queued up inside movable barriers like cattle in a chute. a health officer

examines their heads one by one, checking scalp and eyelashes for lice.

they pass a well-dressed young man cranking the handle of a wooden biograph

'cinematograph' camera mounted on a tripod. naniel marvin (whose father

founded the biograph film studio) is filming his young bride in front of the

titanic. mary marvin stands stiffly and smiles, self conscious.

daniel

look up at the ship, darling, that's it. you're amazed! you can't believe

how big it is! like a mountain. that's great.

mary marvin, without an acting fiber in her body, does a bad clara bow

pantomime of awe, hands raised.

cal is jostled by two yelling steerage boys who shove past him. and he is

bumped again a second later by the boys' father.

cal

steady!!

man

sorry squire!

the cockney father pushes on, after his kids, shouting.

cal

steerage swine. apparently missed his annual bath.

ruth

honestly, cal, if you weren't forever booking everything at the last

instant, we could have gone through the terminal instead of running along

the dock like some squalid immigrant family.

cal

all part of my charm, ruth. at any rate, it was my darling fiancee's beauty

rituals which made us late.

rose

you told me to change.

cal

i couldn't let you wear black on sailing day, sweetpea. it's bad luck.

rose

i felt like black.

cal guides them out of the path of a horse-drawn wagon loaded down with two

tons of oxford marmalade, in wooden cases, for titanic's victualling

department.

cal

here i've pulled every string i could to book us on the grandest ship in

history, in her most luxurious suites... and you act as if you're going to

your execution.

rose looks up as the hull of titanic looms over them...a great iron wall,

bible black and sever. cal motions her forward, and she enters the gangway

to the d deck doors with a sense of overwhelming dread.

old rose (v.o.)

it was the ship of dreams... to everyone else. to me it was a slave ship,

taking me back to america in chains.

close on cal's hand in slow-motion as it closes possessively over rose's

arm. he escorts her up the gangway and the black hull of titanic swallows

them.

old rose (v.o.)

outwardly i was everything a well brought up girl should be. inside, i was

screaming.

35 cut to a screaming blast from the mighty triple steam horns on titanic's

funnels, bellowing their departure warning.

cut to:

36 ext. southampton docks / titanic - day

a view of titanic from several blocks away, towering above the terminal

buildings like the skyline of a city. the steamer's whistle echoes across

southampton.

pull back, revealing that we were looking through a window, and back further

to show the smoky inside of a pub. it is crowded with dockworkers and ship;s

crew.

just inside the window, a poker game is in progress. four men, in working

class clothes, play a very serious hand.

jack dawson and fabrizio de rossi, both about 20, exchange a glance as the

other two players argue in swedish. jack is american, a lanky drifter with

his hair a little long for the standards of the times. he is also unshaven,

and his clothes are rumpled from sleeping in them. he is an artist, and has

adopted the bohemian style of art scene in paris. he is also very

self-possessed and sure-footed for 20, having lived on his own since 15.

the two swedes continue their sullen argument, in swedish.

olaf

(subtitled)

you stupid fishhead. i can't believe you bet our tickets.

sven

(subtitled)

you lost our money. i'm just trying to get it back. now shutup and take a

card.

jack

(jaunty)

hit me again, sven.

jack takes the card and slips it into his hand.

ecu jack's eyes. they betray nothing.

close on fabrizio licking his lips nervously as he refuses a card.

ecu stack in the middle of the table. bills and coins from four countries.

this has been going on for a while. sitting on top of the money are two 3rd

class tickets for rms titanic.

the titanic's whistle blows again. final warning.

jack

the moment of truth boys. somebody's life's about to change.

fabrizio puts his cards down. so do the swedes. jack holds his close.

jack

let's see... fabrizio's got niente. olaf, you've got squat. sven, uh oh...

two pair... mmm.

(turns to his friend)

sorry fabrizio.

fabrizio

what sorry? what you got? you lose my money?? ma va fa'n culo testa di

cazzo--

jack

sorry, you're not gonna see your mama again for a long time...

he slaps a full house down on the table.

jack

(grinning)

'cause you're goin' to america!! full house boys!

fabrizio

porca madonna!! yeeaaaaa!!!

the table explodes into shouting in several languages. jack rakes in the

money and the tickets.

jack

(to the swedes)

sorry boys. three of a kind and a pair. i'm high and you're dry and...

(to fabrizio)

... we're going to--

fabrizio/jack

l'america!!!

olaf balls up one huge farmer's fist. we think he's going to clobber jack,

but he swings round and punches sven, who flops backward onto the floor and

sits there, looking depressed. olaf forgets about jack and fabrizio, who are

dancing around, and goes into a rapid harangue of his stupid cousin.

jack kisses the tickets, then jumps on fabrizio's back and rides him around

the pub. it's like they won the lottery.

jack

goin' home... to the land o' the free and the home of the real hot-dogs! on

the titanic!! we're ridin' in high style now! we're practically goddamned

royalty, ragazzo mio!!

fabrizio

you see? is my destinio!! like i told you. i go to l'america!! to be a

millionaire!!

(more)

fabrizio (cont'd)

(to pubkeeper)

capito?? i go to america!!

pubkeeper

no, mate. titanic go to america. in five minutes.

jack

shit!! come on, fabri!

(grabbing their stuff)

come on!!

(to all, grinning)

it's been grand.

they run for the door.

pubkeeper

'course i'm sure if they knew it was you lot comin', they'd be pleased to

wait!

cut to:

37 omitted

38 ext. terminal - titanic

jack and fabrizio, carrying everything they own in the world in the kit bags

on their shoulders, sprint toward the pier. they tear through milling crowds

next to the terminal. shouts go up behind them as they jostle slow-moving

gentlemen. they dodge piles of luggage, and weave through groups of people.

they burst out onto the pier and jack comes to a dead stop... staring at the

cast wall of the ship's hull, towering seven stories above the wharf and

over an eighth of a mile long. the titanic is monstrous.

fabrizio runs back and grabs jack, and they sprint toward the third class

gangway aft, at e deck. they reach the bottom of the ramp just as sixth

officer moody detaches it at the top. it starts to swing down from the

gangway doors.

jack

wait!! we're passengers!

flushed and panting, he waves the tickets.

moody

have you been through the inspection queue?

jack

(lying cheerfully)

of course! anyway, we don't have lice, we're americans.

(glances at fabrizio)

both of us.

moody

(testy)

right, come aboard.

moody has quartermaster rowe reattach the gangway. jack and fabrizio come

aboard. moody glances at the tickets, then passes jack and fabrizio through

to rowe. rowe looks at the names on the tickets to enter them in the

passenger list.

rowe

gundersen. and...

(reading fabrizio's)

gundersen.

he hands the tickets back, eyeing fabrizio's mediterranean looks

suspiciously.

jack

(grabbing fabrizio's arm)

come on, sven.

jack and fabrizio whoop with victory as they run down the white-painted

corridero... grinning from ear to ear.

jack

we are the luckiest sons of bitches in the world!

cut to:

39 omitted

40 ext. titanic and dock - day

the mooring lines, as big around as a man's arm, are dropped into the water.

a cheer goes up on the pier as seven tugs pull the titanic away from the

quay.

cut to:

41 ext. aft well deck / poop deck - day

jack and fabrizio burst through a door onto the aft well deck. tracking with

them as they run across the deck and up the steel stairs to the poop deck.

they get to the rail and jack starts to yell and wave to the crowd on the

dock.

fabrizio

you know somebody?

jack

of course not. that's not the point.

(to the crowd)

goodbye! goodbye!! i'll miss you!

grinning, fabrizio joins in, adding his voice to the swell of voices,

feeling the exhilaration of the moment.

fabrizio

goodbye! i will never forget you!!

cut to:

42 omitted

ext. southampton dock - day

the crowd of cheering well-wishers waves heartily as a black wall of metal

moves past them. impossibly tiny figures wave back from the ship's rails.

titanic gathers speed.

cut to:

44 ext. river test - day

in a long lens shot the prow of titanic fills frame behind the lead tug,

which is dwarfed. the bow wave spreads before the mighty plow of the liner's

hull as it moves down the river test toward the english channel.

cut to:

45 int. third class berthing / g-deck forward - day

jack and fabrizio walk down a narrow corridor with doors lining both sides

like a college dorm. total confusion as people argue over luggage in several

languages, or wander in confusion in the labyrinth. they pass emigrants

studying the signs over the doors, and looking up the words in phrase books.

they find their berth. it is a modest cubicle, painted enamel white, with

four bunks. exposed pipes overhead. the other two guys are already there.

olaus and bjorn gundersen.

jack throws his kit on one open bunk, while fabrizio takes the other.

bjorn

(in swedish/ subtitled)

where is sven?

cut to:

46 int. suite b-52-56 - day

by contrast, the so-called 'millionaire suite' is in the empire style, and

comprises two bedrooms, a bath, wc, wardrobe room, and a large sitting room.

in addition there is a private 50 foot promenade deck outside.

a room service waiter pours champagne into a tulip glass of orange juice and

hands the bucks fizz to rose. she is looking through her new paintings.

there is a monet of water lilies, a degas of dancers, and a few abstract

works. they are all unknown paintings... lost works.

cal is out on the covered deck, which has potted trees and vines on

trellises, talking through the doorway to rose in the sitting room.

cal

those mud puddles were certainly a waste of money.

rose

(looking at a cubist portrait)

you're wrong. they're fascinating. like in a dream... there's truth without

logic. what's his name again... ?

(reading off the canvas)

picasso.

cal

(coming into the sitting room)

he'll never amount to a thing, trust me. at least they were cheap.

a porter wheels cal's private safe (which we recognize) into the room on a

handtruck.

cal

put that in the wardrobe.

47 in the bedroom rose enters with the large degas of the dancers. she sets

it on the dresser, near the canopy bed. trudy is already in there, hanging

up some of rose's clothes.

trudy

it smells so brand new. like they built it all just for us. i mean... just

to think that tonight, when i crawl between the sheets, i'll be the first--

cal appears in the doorway of the bedroom.

cal

(looking at rose)

and when i crawl between the sheets tonight, i'll still be the first.

trudy

(blushing at the innuendo)

s'cuse me, miss.

she edges around cal and makes a quick exit. cal comes up behind rose and

puts his hands on her shoulders. an act of possession, not intimacy.

cal

the first and only. forever.

rose's expression shows how bleak a prospect this is for her, now.

cut to:

48 ext. cherbourg harbor, france - late dusk

titanic stands silhouetted against a purple post-sunset sky. she is lit up

like a floating palace, and her thousand portholes reflect in the calm

harbor waters. the 150 foot tender nomadic lies-to alongside, looking like a

rowboat. the lights of a cherbourg harbor complete the postcard image.

cut to:

49 int. first class reception/ d-deck

entering the first class reception room from the tender are a number of

prominent passengers. a broad-shouldered woman in an enormous feathered hat

comes up the gangway, carrying a suitcase in each hand, a spindly porter

running to catch up with her to take the bags.

woman

well, i wasn't about to wait all day for you, sonny. take 'em the rest of

the way if you think you can manage.

old rose (v.o.)

at cherbourg a woman came aboard named margaret brown, but we all called her

molly. history would call her the unsinkable molly brown. her husband had

struck gold someplace out west, and she was what mother called 'new money'.

at 45, molly brown is a tough talking straightshooter who dresses in the

finery of her genteel peers but will never be one of them.

old rose (v.o.)

by the next afternoon we had made our final stop and we were steaming west

from the coast of ireland, with nothing out ahead of us but ocean...

cut to:

50 omitted

51 ext. bow - day

the ship glows with the warm creamy light of late afternoon. jack and

fabrizio stand right at the bow gripping the curving railing so familiar

from images of the wreck. jack leans over, looking down fifty feet to where

the prow cuts the surface like a knife, sending up two glassy sheets of

water.

cut to:

52 int. / ext. titanic - series of scenes - day

on the bridge, captain smith turns from the binnacle to first officer

william murdoch.

captain smith

take her to sea mister murdoch. let's stretch her legs.

murdoch moves the engine telegraph lever to all ahead full.

53 now begins a kind of musical/visual setpiece... an ode to the great ship.

the music is rhythmic, surging forward, with a soaring melody that addresses

the majesty and optimism of the ship of dreams.

in the engine room the telegraph clangs and moves to 'all ahead full'.

chief engineer bell

all ahead full!

on the catwalk thomas andrews, the shipbuilder, watches carefully as the

engineers and greasers scramble to adjust valves. towering above them are

the twin reciprocating engines, four stories tall, their ten-foot-long

connecting rods surging up and down with the turning of the massive

crankshafts. the engines thunder like the footfalls of marching giants.

54 in the boiler rooms the stokers chant a song as they hurl coal into the

roaring furnaces. the 'black gang' are covered with sweat and coal dust,

their muscles working like part of the machinery as they toil in the hellish

glow.

55 underwater the enormous bronze screws chop through the water, hurling the

steamer forward and churning up a vortex of foam that lingers for miles

behind the juggernaut ship. smoke pours from the funnels as--

56 the riven water flares higher at the bow as the ship's speeds builds. the

camera sweeps up the prow to find jack, the wind streaming through his hair

and--

57 captain smith steps out of the enclosed bridge onto the wing. he stands

with his hands on the rail, looking every bit the storybook picture of a

captain... a great patriarch of the sea.

first officer murdoch

twenty one knots, sir!

smith

she's got a bone in her teeth now, eh, mr. murdoch.

smith accepts a cup of tea from fifth officer lowe. he contentedly watches

the white v of water hurled outward from the bows like an expression of his

own personal power. they are invulnerable, towering over the sea.

58 at the bow jack and fabrizio lean far over, looking down.

in the glassy bow-wave two dolphins appear, under the water, running fast

just in front of the steel blade of the prow. they do it for the sheer joy

and exultation of motion. jack watches the dolphins and grins. they breach,

jumping clear of the water and then dive back, crisscrossing in front of the

bow, dancing ahead of the juggernaut.

fabrizio looks forward across the atlantic, staring into the sunsparkles.

fabrizio

i can see the statue of liberty already.

(grinning at jack)

very small... of course.

the camera arcs around them, until they are framed against the sea.

now we pull back, across the forecastle deck. rising, as we continue back,

and the ships rolls endlessly forward underneath. over the bridge wing,

along the boat deck until her funnels come into frame besides us and march

past like the pillars of heaven, one by one. we pull back and up, until we

are looking down the funnels, and the people strolling on the decks and

standing at the rail become antlike.

and still we pull back until the great lady is seen whole in a gorgeous

aerial portrait, black and severe in her majesty.

ismay (v.o.)

she is the largest moving object ever made by the hand of man in all

history...

cut to:

59 int. palm court restaurant - day

close on j. bruce ismay, managing director of white star line.

ismay

...and our master shipbuilder, mr. andrews here, designed her from the keel

plates up.

he indicates a handsome 39 year old irish gentlemen to his right, thomas

andrews, of harland and wolf shipbuilders.

wider, showing the group assembled for lunch the next day. ismay seated with

cal, rose, ruth, molly brown and thomas andrews in the palm court, a

beautiful sunny spot enclosed by high arched windows.

andrews

(disliking the attention)

well, i may have knocked her together, but the idea was mr. ismay's. he

envisioned a steamer so grand in scale, and so luxurious in its

appointments, that its supremacy would never be challenged. and here she

is...

(he slaps the table)

...willed into solid reality.

molly

why're ships always bein' called 'she'? is it because men think half the

women around have big sterns and should be weighed in tonnage?

(they all laugh)

just another example of the men settin' the rules their way.

the waiter arrives to take orders. rose lights a cigarette.

ruth

you know i don't like that, rose.

cal

she knows.

cal takes the cigarette from her and stubs it out.

cal

(to the waiter)

we'll both have the lamb. rare, with a little mint sauce.

(to rose, after the waiter moves away)

you like lamb, don't you sweetpea?

molly is watching the dynamic between rose, cal and ruth.

molly

so, you gonna cut her meat for her too there, cal?

(turning to ismay)

hey, who came up with the name titanic? you, bruce?

ismay

yes, actually. i wanted to convey sheer size. and size means stability,

luxury... and safety--

篇2

一、龐然大物般的高傲形象

電影《泰坦尼克號》中前后使用了15個(gè)配樂段落，各自都有自己的主題，從低沉走向昂揚(yáng)，用管弦樂隊(duì)創(chuàng)造出一個(gè)氣勢雄渾、帶有高傲和不可一世姿態(tài)的龐然大物般的音樂形象，正如在故事當(dāng)時(shí)的年代里，泰坦尼克號的出現(xiàn)如同一個(gè)奇跡，那種以音樂來表現(xiàn)出泰坦尼克號充滿昂然的斗志高度自信去建功立業(yè)般開始自己的處女航，重金屬的音樂質(zhì)感和虛無縹緲的女聲吟唱，使這一音樂段落帶有了舉重若輕的感覺，美感豐滿，魅力突出;或如Rose(《羅絲》)一段，用突出的挪威女歌手希塞爾吟唱無字歌作為主角引申出整個(gè)管弦樂的背景，繼而蘇格蘭風(fēng)笛與女聲吟唱相互纏繞，由風(fēng)笛一步步將曲風(fēng)引向挺拔的高度，正如羅斯從任人宰割無奈地成為富豪的未婚妻一變而成為具有個(gè)人性格和堅(jiān)韌精神的獨(dú)立女性來自己掌握自身幸福的劇情。Hymntothesea(《大海的詠嘆》)則將女聲作為引子，將風(fēng)笛作為主要角色，表現(xiàn)出主人公羅斯性格具有多面的特點(diǎn)，一如船上的諸多乘客一樣命運(yùn)存在變數(shù)，生死就在一瞬間，1500人沒有逃過海難的浩劫而丟掉了性命，有人選擇了暴力，有人選擇了欺騙，也有人選擇了有尊嚴(yán)的死而把生的希望留給婦女兒童;羅斯在杰克的幫助下逃離了死神的威脅，選擇了為愛而替愛人活下去。音樂無疑具有更高更深刻的思想內(nèi)容，作為“最具有情感的藝術(shù)”，Hymntothesea(《大海的詠嘆》)包含了愛與命運(yùn)的雙重主題，其象征作用和表意功能都不能被我們無視。從整體來看，電影《泰坦尼克號》的音樂境界可以用純凈二字來概括。不論是動(dòng)用了什么樂器，由什么樂隊(duì)來演奏，也不論當(dāng)時(shí)銀幕上正在上演什么樣的人間活劇，整體風(fēng)格都是為了建立這樣的一種純凈。也許在信仰上帝的西方人看來，一切都應(yīng)該是純粹的，無論是人，還是愛情，或者悲劇，或者災(zāi)難。在詹姆斯•霍納的心中也許認(rèn)為，電影中的愛情雖然夸張，但也有其現(xiàn)實(shí)可能性，愛情的本色就應(yīng)該沒有包括財(cái)富在內(nèi)的任何其他因素的干擾，而成為純凈。即便是滅頂之災(zāi)來臨，每個(gè)人都應(yīng)保持自己的純粹，因?yàn)闉?zāi)難就是一種純粹。所以音樂的純凈就成為詹姆斯•霍納為此片配樂的最突出特色。

毫無疑問，蘇格蘭風(fēng)笛被中國觀眾所知大概就是在《泰坦尼克號》上演之后，詹姆斯•霍納對蘇格蘭風(fēng)笛的鐘愛也使它享譽(yù)全球。盡管風(fēng)笛的音色中帶有明顯的蒼涼，悠揚(yáng)的旋律中，蘇格蘭風(fēng)笛代表了一種藝術(shù)家對于這場海難和愛情的態(tài)度，是惋惜還是無奈?是驚嘆還是感同身受?是無能為力仍要積極去抗?fàn)幰只驘o謂的掙扎?無論如何，《泰坦尼克號》都令你心旌蕩漾，片中的愛情會(huì)令你心馳神往而迷醉，海難發(fā)生的場景會(huì)令你心驚膽寒而恐怖，凄美的生離死別又會(huì)令人肝腸寸斷。不能不說，音樂的威力與魅力都掌握在詹姆斯•霍納手里，他給了觀眾一個(gè)純凈的音樂境界，讓你在目睹了這次慘絕人寰的悲劇之后心靈得到一個(gè)來自上帝的寬慰，盡管觀眾會(huì)潸然淚下。音樂是有感情的，音樂也是有性格的，音樂似乎也應(yīng)該有性別才對。在《泰坦尼克號》的配樂中，我們分明聽到了靈魂的吶喊，還有瀕死的哀號，我們也能聽到愛的低語與傾訴，還有無盡的依戀、懷念和感傷，以及能將你的靈魂曝曬在陽光下的痛楚，更有令人不安的寧靜和惡魔來臨的咆哮，也有隨波逐流的女孩淚珠滑下的撲簌，還有人性獨(dú)立的錚錚鐵骨。

二、音樂傳奇與傳奇音樂

音樂欣賞是一門藝術(shù)，也是一種高級審美活動(dòng)。高爾基說:“照天性來說，人人都是藝術(shù)家。無論在什么地方，都希望把美帶到他的生活中去。”觀賞電影《泰坦尼克號》時(shí)，人們進(jìn)行的審美活動(dòng)是一種特殊的審美，不僅要求畫面和劇情，也對音樂有苛刻的要求。畢竟，觀眾群體的復(fù)雜也就決定了審美要求的多樣，或者是形式，或者是內(nèi)容。不過形式總是不如內(nèi)容更加重要。而電影《泰坦尼克號》的配樂不僅有形式的新穎，也有內(nèi)容的深刻感人，具備了音樂的傳奇力量。從形式上看，多元素組合，尤其是蘇格蘭風(fēng)笛的運(yùn)用成為最大的亮點(diǎn)，而挪威女歌手希塞爾的無字歌聲堪稱完美，席琳•迪翁的演唱又是錦上添花，都成為影片中令人難忘的記憶。更不用說那種婉約的旋律成為縈繞在耳邊的仙樂，令你無論何時(shí)聽來都會(huì)沉浸到一種遼遠(yuǎn)和蒼茫之中。最經(jīng)典的當(dāng)屬片尾席琳•迪翁演唱的主題歌Myheartwillgoon(即漢譯的《我心永恒》)了，從電影的角度來看，它就是最典型的催淚彈。不僅形式上繼承了詹姆斯•霍納本片配樂中全部亮點(diǎn)，內(nèi)容上更是將深切情感用悠揚(yáng)的歌聲表達(dá)得淋漓盡致。雖然挪威女歌手希塞爾的低吟已經(jīng)變成了一件樂器，成為主題歌的背景，人們依然能從她的嗓音中得到美的暗示;蘇格蘭風(fēng)笛的奏鳴悠長婉轉(zhuǎn)更營造出一種凄婉的氛圍;而席琳•迪翁的婉轉(zhuǎn)歌聲成為最后一根稻草，將人們郁積良久的情感擠壓之后噴薄而出，即使是不懂英文的觀眾也會(huì)被這首歌曲所打動(dòng)而淚光瑩然。

篇3

我到北愛爾蘭的貝爾法斯特參觀著名的泰坦尼克博物館，這里正是當(dāng)年建造泰坦尼克號郵輪的船臺(tái)，那條超級豪華郵輪就是從這里下水，4天后撞上冰山沉沒海底。

可是，館內(nèi)冷冷清清，沒有人讀一讀泰坦尼克號1517名遇難者的名單，沒有人辨別一下這一千多人中哪兩個(gè)是中國水手，沒有人細(xì)細(xì)觀看泰坦尼克號上的餐具、菜單和信件，沒有人聽一聽遇難幸存者的講話錄音……我明明看見一車一車的旅游者涌進(jìn)館來，都躲到哪里去了？

當(dāng)我來到紀(jì)念品商店，才發(fā)現(xiàn)那里人頭攢動(dòng)，熱鬧非凡，大家挑選著印有泰坦尼克號標(biāo)記的紀(jì)念品：橡皮、鉛筆、T恤、帽子、鑰匙圈、長毛絨玩具、掛鐘……一旦選定，就到收銀臺(tái)排長隊(duì)，等著付款，很是耐心，不急不躁。

當(dāng)我來到博物館的廣場上，看見許多對年輕的情侶和老年的爺叔阿姨，男的從后面摟住女的腰，女的笑呵呵地展開雙臂，典型的Rose和Jack站在泰坦尼克號船頭的招牌電影造型。

我想我的認(rèn)知肯定有偏差了，我問自己：這個(gè)博物館應(yīng)該象征著一尊紀(jì)念碑吧？好像有一種慘痛的教訓(xùn)在里頭吧？好像還書寫著一段恥辱吧？哪能一記頭變成歡樂谷了呢？

旅游不可怕，怕的是旅游有文化。驢友不可怕，怕的是驢友裝文化。我覺得這些參觀者蠻爽快，不想看就不看，不想看就去購物。文化有多遠(yuǎn)，他們就可能走多遠(yuǎn)嗎？不是的，他們實(shí)實(shí)在在地表示不想跟著文化走那么遠(yuǎn)。

我到意大利的第一天就參觀米蘭大教堂，正在廣場上拍照，忽然看見不遠(yuǎn)處有個(gè)壯實(shí)的黑人和我的同行者秦記者有了爭執(zhí)。我是跟某報(bào)二十多個(gè)記者一起來旅游的，我們馬上把秦記者圍攏起來，唯恐黑人欺負(fù)她。

立刻，兩個(gè)模子壯實(shí)的女警察走過來，腰里別著槍。黑人向警察表示，秦記者用照相機(jī)拍了他，那是要沒收照相機(jī)的，至少是要付鈔票的。

秦記者搖搖頭，不知道是表示她沒有拍過，還是表示聽不懂黑人說的意大利話。

最后，或許是我們?nèi)硕鄤荼姡蛟S是警察對黑人那套花頭經(jīng)司空見慣，她揮揮手，叫那個(gè)黑人走得遠(yuǎn)點(diǎn)。事后我問小秦，她說她確實(shí)拍過那個(gè)黑人：啊呀抱歉，我從來沒有看見過這么黑的黑人，除了眼白是白的，簡直是漆黑一團(tuán)！原來是生物和文化的差異讓她大膽得忘乎所以。

有位叫古德曼的人說過：文化大致是人類可為而猴子不可為的任何事情。

到國外旅行，光認(rèn)識(shí)幾個(gè)英文單詞是要吃苦頭的。可是到了伊朗我竟然變得目不識(shí)丁，因?yàn)樗麄冞B數(shù)字都是波斯文的，不是阿拉伯?dāng)?shù)字。我站在馬路邊讀不出任何一輛轎車的車牌號，瞎子一樣。

伊朗是有著6000年文明的古國，他們對古詩的欣賞和熱愛，中國人哪能和人家比？十四世紀(jì)伊朗出了一位偉大詩人叫哈菲茲，他博采眾長，寫了許多優(yōu)雅的經(jīng)典的詩，受到貴族和平民的一致?lián)泶?。他的詩歌的影響僅次于《古蘭經(jīng)》，人們隨身攜帶他的詩集，據(jù)說只要隨手翻一頁，就可以對現(xiàn)在的讀詩人有啟迪和指點(diǎn)。對此，我充滿好奇，那是“啟迪”，不是算命；那是詩歌，不是八卦。

來到哈菲茲的陵墓旁，我看見一位披著黑紗的女士正翻開哈菲茲的詩集給兒子講解著什么。我對導(dǎo)游說：能不能請那位女士讓我隨意翻一頁她的哈菲茲詩集并且為我解讀一下？那位年輕的媽媽竟然同意了，微笑著遞來詩集。我隨手一翻，是第367頁。她解釋說：這一頁說，你現(xiàn)在心里想的將來會(huì)得到，你會(huì)看到現(xiàn)在的世界將來會(huì)變得更好，但是你對現(xiàn)在的處境要有耐心要能夠忍受……

我默默聆聽哈菲茲前輩對我的教誨，可是憑良心說拎大不清，我在中國難道還不算一個(gè)“能夠忍受”的？愛默生說，能夠克服民族性就是文化的勝利。我克服了嗎？她克服了嗎？我勝利了嗎……后來我把我隨身戴著的一只貝雕解下來送給她的兒子作為一種謝意。

我到俄羅斯莫斯科克里姆林宮外面參觀，旅游者可以隨意拍照，但是馬路對面不能過去，不能越過馬路中間的那道紅線。導(dǎo)游說：梅德韋杰夫總統(tǒng)（彼時(shí)普京是總理）的辦公室就在馬路對面那幢樓的二樓，那扇窗門就是他的窗門，看到了吧？

我想如果總統(tǒng)現(xiàn)在正好開窗或者要關(guān)一扇窗，就可以看見他了。我身后那個(gè)手臂膀極粗的游客突然說：力氣大一點(diǎn)的人，可以把手榴彈扔進(jìn)他的辦公室！

哦，這個(gè)旅游者告訴他媽媽了嗎？要是他在飛機(jī)上說：我可以把手榴彈扔進(jìn)駕駛室的，飛機(jī)大概就要緊急迫降了。

有位哲人認(rèn)定“文化就是指一切給精神以力量的東西”。那么給身體以力量的東西是不是文化呢？

在斯里蘭卡參觀多個(gè)世界文化遺產(chǎn)之后，導(dǎo)游叫我們接下來參觀鄉(xiāng)村文化，他把我們帶到一個(gè)叫迪里瓦多恩的地方，多輛牛車正等候著我們。兩頭牛拉一輛牛車，一輛牛車坐4個(gè)人，我們被趕上從來沒有坐過的交通工具。

雖然只有一公里都不到的路程，“鄉(xiāng)村文化”開始給我們顏色看：首先是36度的高溫，太陽直逼逼，頭上像澆了一桶辣火醬，灌木叢中一點(diǎn)風(fēng)都沒有，我們個(gè)個(gè)大汗淋漓；其次是塵土，牛車在鄉(xiāng)間的土路上行進(jìn)，揚(yáng)起黃黃的灰塵，灰塵粘到汗液上，我們一個(gè)個(gè)像剛出土的兵馬俑；再次是臭，牛一路走一路放屁，一路排泄，我們就坐在牛屁股的后面，捂著鼻子，還是被熏得頭昏腦脹；最后是顛簸，牛車上沒有凳子，沒有墊子，我們直接坐在木條子上。牛車的輪子是木頭做的，外面不包橡膠之類的軟物，它七顛八倒地把所有坎坷真實(shí)地反饋給我們。屁股非常痛，雙手非常酸，因?yàn)橹挥芯o緊拉住欄桿才不會(huì)甩出去，

牛車總算停了，我們的骨頭都要斷掉了、肉都要化掉了。導(dǎo)游問：體會(huì)到我們斯里蘭卡原汁原味的鄉(xiāng)村文化了吧？

文化文化，把文縐縐的東西化開了，大概就是文――化。

有些人到外國旅游是去探尋異國文化，我自己曉得我到世界各國去走走肯定不是“文化之旅”，我也不曉得算什么旅？

篇4

——給楊老師的信之三

楊老師：

這又是一首我陶醉的電影歌曲：《我心永恒》

大概也有十多年了吧 隨著《泰坦尼克號》公映，主題歌《我心永恒》彌漫在大街小巷，分布之廣，大概只有空氣能夠匹敵?；貞洰?dāng)時(shí)Rose看著Jack慢慢沉下海底，那種撕心裂肺的痛，耳邊響起席琳·迪翁的歌時(shí)，我多愁善感的性格又很久不能釋懷。

影片中經(jīng)典的深情相擁一再閃過腦海，盡顯悠揚(yáng)婉轉(zhuǎn)而又凄美動(dòng)人。歌曲的旋律從最初的平緩到激昂，再到纏綿誹惻的，一直到最后蕩氣回腸的悲劇尾聲——短短四分鐘的歌曲實(shí)際上是整部影片的濃縮版本。

“泰坦尼克號”——這艘號稱永不沉沒的“夢之船”已經(jīng)永遠(yuǎn)沉沒了，但人類那些美好、善良、崇高的情愫是永不會(huì)沉沒！

“泰坦尼克號”不只是一個(gè)警告性的故事，一個(gè)關(guān)于人類不幸的神話、寓言和隱喻，它還是一個(gè)關(guān)于信念、勇氣、犧牲和愛情的故事。”

在悠揚(yáng)而幽怨的吹奏樂響起之前，《我心永恒》還只是一句誓言，之后，就成了悲劇的精靈。

普通人所能想象的悲劇美的極致是什么？是美好事物的徹底破滅還是破滅之后生生不息的精神？——席琳·迪翁選擇了后者，她不讓人絕望，她用換氣時(shí)的強(qiáng)調(diào)性發(fā)音把悲傷加深，但又用纖塵不染的從容的女高音創(chuàng)造了形式美——誓言本來就具有的堅(jiān)定被她唱得更加徹底——極大的悲傷和極大的愛的愿望，還有極大的形式美——這就是《我心永恒》的特征。

盡管這種生死戀的眼淚已經(jīng)被很多人流過了，可我還是認(rèn)為，這一次，有人超越了催淚的行列，而將圣潔帶給了愛哭的人們。這就是席琳·迪翁的歌唱。

席琳·迪翁，傲視群芳，美侖美奐，但又從不炫技，她擅長那種感情和底氣都十分充沛的大歌：《愛的力量》有長風(fēng)萬里的氣勢，而《我心永恒》則悲情似海，一正一反，恰好成全了世間并不存在的偉大的愛。席琳·迪翁的氣質(zhì)中閃耀著高潔的光芒，她沒有那種調(diào)動(dòng)肉體熱情的天賦，但卻可以捉住精神升華的秘密，無論她的歌聲回蕩在晴空云端，還是死寂的海面，都在回蕩，都在不停留于肉體的超越。

《我心永恒》也有多種版本：

——鋼琴版的《我心永恒》，很好的運(yùn)用了鋼琴的優(yōu)雅與純凈，節(jié)奏的輕緩與急促，將信念、勇氣、犧牲和愛情很好的一一展示了出來，讓人忘記了經(jīng)歷過的那些悲傷與凝重，多了一份感情上的寄托。理查德·克萊德曼的演奏，將這一切做到了極致，使之成為一首需用心去傾聽和感受的曲子，那里有傷感，有無奈，更有渴望和期盼，聽后讓人沉醉其中不能自已。

——薩克斯版的《我心永恒》，則多了一份柔和、松緩的味道，聲音悠揚(yáng)曠遠(yuǎn)，給人一種淡淡的、憂傷的感覺。它仿佛不是在講一個(gè)故事，而是要將你藏在記憶里的一個(gè)個(gè)片段、一個(gè)個(gè)故事都呈現(xiàn)出來，使你不禁感慨生命是如此地脆弱，仿若大風(fēng)暴里的一頁扁舟——生命又是如此地堅(jiān)強(qiáng)，不管多大的風(fēng)雨也會(huì)紋絲不動(dòng)!當(dāng)一個(gè)人面對死亡時(shí)他所表現(xiàn)出來的感情和行為——這個(gè)時(shí)候是最本色、最原始的、沒有任何偽裝的、沒有任何色彩的！你所看到的，就是他的靈魂！

記得一個(gè)朋友曾說過，沒有歌詞的音樂，使你的思想不會(huì)被文字所左右。你可以天馬行空，可以自由無羈，可以無限遐想……這或許就是音樂的特殊魅力——一種自由之美吧！楊老師，打開你的思想，放飛你的思緒，隨著音樂，讓我們?nèi)プ非筮@種美吧！

當(dāng)然，你要的席琳-廸翁演唱的中英文對照版 《我心永恒》我不會(huì)忘記的：

每一個(gè)寂靜夜晚的夢里 Every night in my dreams

我都能看見你，觸摸你 I see you, I feel you,

因此而確信你仍然在守候 That is how I know you go on

穿越那久遠(yuǎn)的時(shí)空距離 Far across the distance

你輕輕地回到我的身邊 And spaces between us

告訴我，你仍然癡心如昨 You have come to show you go on

無論遠(yuǎn)近亦或身處何方 Near, far, wherever you are

我從未懷疑過心的執(zhí)著 I believe that the heart does go on

當(dāng)你再一次推開那扇門 Once more you open the door

清晰地佇立在我的心中 And you`re here in my heart

我心永恒，我心永恒 And my heart will go on And on

愛曾經(jīng)在剎那間被點(diǎn)燃 Love can touch us one time

并且延續(xù)了一生的傳說 And last for a lifetime

直到我們緊緊地融為一體 And never let go till we`re one

愛曾經(jīng)是我心中的浪花 Love was when I loved you

我握住了它涌起的瞬間 One true time I hold to

我的生命，從此不再孤單 In my life we`ll always go on

無論遠(yuǎn)近亦或身處何方 Near, far, wherever you are

我從未懷疑過心的執(zhí)著 I believe that the heart does go on

當(dāng)你再一次推開那扇門 Once more you open the door

清晰地佇立在我的心中 And you`re here in my heart

我心永恒，我心永恒 And my heart will go on And on

你在身邊讓我無所畏懼 You`re here, there`s nothing I fear,

我深知我的心不會(huì)退縮 And I know that my heart will go on

我們將永遠(yuǎn)地相依相守 We`ll stay forever this way

這里會(huì)是你安全的港灣 You are safe in my heart

我心永恒，我心永恒 And my heart will go on And on

篇5

春晚故事

我家春晚走“國際路線”

從2008年起，每年春節(jié)期間，楊耀蓮家都會(huì)舉辦一場別開生面的家庭春晚。她家的春晚，不僅全家人都會(huì)上臺(tái)一展才藝，還吸引了自己的外國朋友來參加。

楊耀蓮說，她家春晚走的是“國際化路線”，并且還有個(gè)相當(dāng)霸氣的名字，叫“金都春晚”。

兒子首演成功，成“春晚”固定演員

“我以前就搞過活動(dòng)策劃，不過參加的都是專業(yè)演員。這一撥業(yè)余選手，我拿他們真沒轍?！睏钜徴f，“不過沖著大家的踴躍勁兒，我就咬咬牙，迎難而上了?！?/p>

楊耀蓮家第一次舉辦春晚時(shí)，她的兒子才上小學(xué)。別看他人小，卻在當(dāng)年的家庭春晚上率先登臺(tái)，一曲長笛演奏“技驚全家”。

不過為了哄兒子上臺(tái)，楊耀蓮可沒少費(fèi)功夫?！氨硌萸熬透プ炱ぷ?，許愿只要他上臺(tái)，哪怕就吹一小會(huì)兒，我就給他獎(jiǎng)勵(lì)?！?/p>

不過，讓楊耀蓮沒想到的是，兒子卻臨陣怯場，說什么都不肯登臺(tái)表演。最后，她不得不動(dòng)員全家，把兒子連拉帶拽弄上臺(tái)?！八葑嗟眠€是很出色，大家都不停地為他鼓掌加油?！?/p>

首演嘗到了甜頭，之后的家庭春晚，楊耀蓮的兒子總是第一個(gè)報(bào)名參加。

“肉絲兒”飆英文歌，引來“玫瑰”伴舞者

還是在楊耀蓮家的首屆春晚上，歌舞《泰坦尼克號》帶來了全場。

主持人楊耀蓮還沒報(bào)完幕，《泰坦尼克號》的主演――家庭成員劉影，就迫不及待地邁著小碎步登臺(tái)了。這位50多歲的“姑娘”，穿著吊帶和裙子，身上的贅肉被勒成了“藕段”，“造型上的失敗”卻完全不影響她的表演。

當(dāng)《泰坦尼克號》那熟悉的旋律響起，一串蹩腳的英語就從劉影嘴里唱了出來，且表情陶醉?！氨緛碚{(diào)子還挺準(zhǔn)，沒想到一唱到高音就破音，而且她的那個(gè)英文啊，實(shí)在不敢恭維?！睏钜徴f，“親戚們都哈哈大笑，這個(gè)‘肉絲兒’也太有喜感了?！?/p>

更搞笑的是，由于劉影的裙子實(shí)在包不住她的“小蠻腰”，在她翩翩起舞時(shí)，裙子突然裂開了。全場人頓時(shí)被雷得“外焦里嫩”。

但也正是劉影“搞笑”的表演，征服了現(xiàn)場觀眾的心，帶動(dòng)了全場氣氛。最后，楊耀蓮的一個(gè)非常嚴(yán)肅的醫(yī)生朋友也放下了矜持，嘴含玫瑰沖上臺(tái)，為劉影伴舞。

“才華帝”獻(xiàn)唱，歌聲感動(dòng)外國朋友

“精通多種樂器的家庭成員李華，都被我們叫成‘李才華’，因?yàn)樗麑?shí)在是太有才了?！睏钜徴f，“薩克斯、鍵盤、吉他，沒有他搞不定的，完全是個(gè)音樂發(fā)燒友，他的車廂后面已經(jīng)塞滿了各種樂器!”

前年的家庭春晚上，楊耀蓮的以色列朋友Eile也來捧場。這位外國朋友的到來，讓“李才華”有些激動(dòng)，他主動(dòng)要求為Eile獻(xiàn)唱一曲。聽完“李才華”的演唱，Eile激動(dòng)地站起來，連連向他敬禮，口中還不斷用英文說著：“太棒了!太棒了!”

面對Eile的贊嘆，“李才華”也來了勁，又接連獻(xiàn)上多首外國民歌。大家也第一次發(fā)現(xiàn)，原來“李才華”真的很有才華。于是，從那屆春晚后，大家不再叫他“李才華”，而送了他一個(gè)響亮的綽號“才華帝”。

“這樣歡樂的家庭春晚，在我們家，每年大人小孩都很期待?！苯衲甑募彝ゴ和恚瑮钜徍图胰擞珠_始緊張籌備了。

1　節(jié)目形式豐富多彩：楊家春晚的節(jié)目單品種不少，有演奏類的、有歌唱類的、猜謎的，甚至有英文民歌活躍氣氛的?？赡懿粔?qū)I(yè)，但大家通過認(rèn)真學(xué)習(xí)練習(xí)，還真能在春晚舞臺(tái)收獲許多掌聲和歡樂，這就夠了。

2　包裝充滿喜感：家庭成員劉影，50多歲的胖大媽，穿吊帶裝，裝嫩演小姑娘，還是外國的小姑娘，也難怪她的出場會(huì)帶給大伙兒笑聲。類似這樣夸張和搞笑的包裝，您不妨也學(xué)習(xí)一下，真的有意想不到的演出效果。

3　好朋友的參與，會(huì)讓家里人有“人來瘋”的演出激情。楊家的春晚，還吸引了外國朋友的參與，這樣的做法，有“打雞血”的效果，自己人自娛自樂已經(jīng)很開心，但為了在外人面前露一手，自己人或許會(huì)表現(xiàn)得更加人來瘋，氣氛更加熱烈。

拿名人說事

潘長江的“家庭春晚”

潘長江家舉辦了多年的家庭春晚，他本人是小品演員出身，其他家庭成員的職業(yè)也多少和文藝沾點(diǎn)邊，這樣的班底也難怪他們家的春晚要從頭笑到尾了。

潘長江說之所以要辦這樣的家庭春晚，是想利用這種方式抒發(fā)一下親情，表達(dá)一下團(tuán)結(jié)，釋放一下辛苦一年的壓力。他說，他們家的春晚節(jié)目都經(jīng)過他本人的嚴(yán)格審查、篩選，歌曲曲目不好拿掉再選，包裝創(chuàng)意不到位，再來?？傊?，對于家里這臺(tái)春晚，潘長江的認(rèn)真程度絲毫不遜于央視春晚。

總體來說，他們家的春晚最大的特色就是，努力營造出最好的喜劇效果，最熱烈的家庭氛圍，讓全家人過個(gè)樂呵年。至于如何做到這些，就要比拼家庭成員的策劃能力和想象能力了。比如有一午；潘長江就男扮女裝，扎倆長辮子，臉上畫成小丑的模樣，夫人把幾顆牙涂黑，制造出說話漏風(fēng)的喜感，兩人就這樣上臺(tái)主持節(jié)目了，有了這樣的滑稽包裝，可能演員還沒說話，大伙已經(jīng)笑倒一片了。

“家庭春晚”的意義

1　辦“春晚”省去大吃大喝。每年春節(jié)，中國人通常的做法是，家庭成員互相串門拜年，然后聚餐，每次親友吃完飯走后，碗筷就有兩大盆。不如簡單吃飯，多放心思在“歡聚”上。

2　老老少少都能見面問候。說到拜年，許多地方都是晚輩給長輩拜年，但老人之間，因?yàn)樯眢w條件等一些原因，不能挨家挨戶走親戚，彼此很難見面。“家庭春晚”就可以彌補(bǔ)這樣的遺憾。

3　增強(qiáng)家族成員的凝聚力。既然是家庭春晚，當(dāng)然家庭成員都參加比較好，可根據(jù)自身情況設(shè)定規(guī)模，比如，今年可以辦場一家7口的小型春晚，明年索性來個(gè)幾十口的大家族春晚，隔年變一次。舉辦家庭春晚，是一個(gè)很好的詮釋家庭凝聚力的方式，其樂融融的家庭氛圍，也會(huì)給子子孫孫留下美好回憶。

《金色年代》溫馨提示

舉辦家庭春晚的注意事項(xiàng)

一　家庭春晚的開支，可采用AA制或設(shè)獎(jiǎng)品和成本贊助商。一次“家庭春晚”的成本少則幾百幾千，多則上萬，各家可結(jié)合自身的經(jīng)濟(jì)條件。量力而行，最好能采用AA制的方式。當(dāng)然，如果有特別富裕的家族成員，在自愿的基礎(chǔ)上，也可以由其來負(fù)擔(dān)開支。

二　雖然業(yè)余，也要認(rèn)真準(zhǔn)備。雖說大家都業(yè)余，可都要精心準(zhǔn)備才有意思。年年想著花樣翻新，才能夠達(dá)到最佳效果。不會(huì)表演的家庭成員，可以設(shè)置一些小游戲，小競賽的項(xiàng)目。畢竟，家庭春晚也有疲勞期，年年老三樣，辦幾年，大伙就提不起興趣了。所以，家庭春晚，策劃創(chuàng)意很重要。娛樂牌要打，溫暖牌也不可或缺，比如，也可以請晚輩們在新年之際，給爸爸媽媽或者爺爺奶奶寫封感人的書信，在春晚那天朗誦出來，大伙兒評比，誰的信最能觸動(dòng)你。

篇6

\[關(guān)鍵詞\]英語課堂；教學(xué)策略；中職

\[中圖分類號\]G712\[文獻(xiàn)標(biāo)識(shí)碼\]A\[文章編號\]2095-3712（2014）11-0029-03\[作者簡介\]蘇德前（1972―），男，廣西北海人，教育碩士，廣西北海職業(yè)學(xué)院教師，中學(xué)一級。

一、中職英語教學(xué)現(xiàn)狀與存在問題

近幾年來由于國家教育理念、教育政策的轉(zhuǎn)變與調(diào)整，中職學(xué)校迎來了蓬勃發(fā)展。但是一系列中職學(xué)生的教學(xué)問題也逐漸暴露出來，英語方面主要體現(xiàn)如下：

從學(xué)生方面看，中等職業(yè)學(xué)校學(xué)生總體素質(zhì)低，大部分學(xué)生初中文化基礎(chǔ)知識(shí)普遍太差，自信心不足，對學(xué)習(xí)文化基礎(chǔ)知識(shí)喪失信心。有的學(xué)生即使想提高英語成績但又苦于無從下手，還有的學(xué)生感到自己初中階段不會(huì)的知識(shí)太多，補(bǔ)上太難了，索性自暴自棄徹底不學(xué)。絕大部分學(xué)生認(rèn)為他們上職業(yè)學(xué)校主要是為了學(xué)技術(shù)掌握一技之長，只要把專業(yè)技術(shù)學(xué)好就夠了，普遍重視專業(yè)課學(xué)習(xí)而輕視文化課學(xué)習(xí)。

從教育理念方面看，多數(shù)中職學(xué)校不同程度地忽視對英語的教學(xué)，學(xué)校領(lǐng)導(dǎo)甚至很多英語教師重視程度不夠，熱情不足，都認(rèn)為職業(yè)學(xué)校的學(xué)生英語基礎(chǔ)太差，學(xué)生厭學(xué)英語。有些學(xué)校有些專業(yè)甚至都不開設(shè)英語課，認(rèn)為學(xué)生學(xué)好專業(yè)技術(shù)就行了。這些都影響了教學(xué)目標(biāo)的實(shí)現(xiàn)。

從教學(xué)模式方法看，教師教學(xué)模式方法傳統(tǒng)單一，灌輸式教學(xué)為主，忽視了學(xué)生的基礎(chǔ)和個(gè)性特點(diǎn)，引不起學(xué)生學(xué)習(xí)英語的興趣，教學(xué)效果普遍差。

二、教學(xué)探究策略

王篤勤說過：教學(xué)所能培養(yǎng)的是學(xué)生綜合使用語言的能力，這就要求教師根據(jù)不同的教學(xué)目的選擇不同的教學(xué)手段。教學(xué)目標(biāo)的達(dá)成不僅依賴所采用的教學(xué)模式，同樣還要考慮到其他相關(guān)因素，如學(xué)生的需求，學(xué)生的知識(shí)和智力水平，學(xué)生的愛好，學(xué)生的學(xué)習(xí)風(fēng)格和學(xué)習(xí)習(xí)慣，學(xué)生對語言和語言學(xué)習(xí)的認(rèn)識(shí)等。如何使課堂教學(xué)適應(yīng)社會(huì)發(fā)展的需要、學(xué)生的心理需求、新的教育目標(biāo)和教學(xué)要求的問題。

（一）明確教學(xué)目標(biāo)，堅(jiān)定教學(xué)理念

明確英語學(xué)習(xí)對于中職學(xué)生的作用，堅(jiān)定教學(xué)理念是教育者和受教育者首要任務(wù)之一，對于學(xué)生來說更為關(guān)鍵。筆者每逢新生的第一堂英語課都會(huì)讓學(xué)生知道英語對于他們學(xué)習(xí)的重要性。如上2013五年制汽車維修班中職階段英語第一堂課時(shí)，就讓學(xué)生知道以下內(nèi)容：“英語是中等職業(yè)學(xué)校的主要文化課程之一。隨著我國加入WTO，國際政治、經(jīng)濟(jì)交流日益頻繁，英語作為一種國際語言在人們的日常生活和工作中顯得越來越重要。掌握英語基礎(chǔ)知識(shí)，運(yùn)用英語進(jìn)行交際的能力對中職生來說是必備的技能之一。中職英語，簡單、易懂、實(shí)用，主要培養(yǎng)學(xué)生在日常生活和一定的職業(yè)場景中初步運(yùn)用英語進(jìn)行有效交流的能力，幫助學(xué)生掌握一定的基礎(chǔ)知識(shí)和基本技能，使其初步具備適應(yīng)國際化、信息化時(shí)代要求的職業(yè)生存能力和繼續(xù)學(xué)習(xí)能力。同時(shí)幫助學(xué)生拓展文化視野，認(rèn)識(shí)中西文化差異，形成正確的情感、態(tài)度和價(jià)值觀?！笔聦?shí)上，隨著我國汽車行業(yè)中汽車檢測維修技術(shù)的不斷發(fā)展，汽車專業(yè)英語在汽車行業(yè)實(shí)際應(yīng)用中的重要性越來越突出。汽車專業(yè)英語應(yīng)用普遍，多家用工單位對既懂汽車維修技術(shù)又懂汽車專業(yè)英語的人才需求日益迫切，使得“汽車專業(yè)英語”這門課程在中職學(xué)校汽車專業(yè)中成為一門必不可少的專業(yè)基礎(chǔ)課。

（二）注重教學(xué)內(nèi)容的選擇，降低教學(xué)難度

新穎的東西會(huì)引起學(xué)生的注意，引起學(xué)習(xí)者的興趣。所以教學(xué)內(nèi)容與教學(xué)方法的不斷更新和變化，可以使學(xué)生保持積極的學(xué)習(xí)態(tài)度，讓學(xué)生在學(xué)習(xí)過程中不斷得到成功的體驗(yàn)，這已成為運(yùn)用現(xiàn)代心理學(xué)研究成果激發(fā)學(xué)習(xí)動(dòng)機(jī)的最重要手段之一。因此，教師在傳授知識(shí)的同時(shí)應(yīng)讓學(xué)生獲得成功的體驗(yàn)。學(xué)生一旦嘗到學(xué)習(xí)的樂趣，既能使學(xué)習(xí)動(dòng)機(jī)獲得強(qiáng)化，又有助于產(chǎn)生自信心，增強(qiáng)自我效能感，而這又會(huì)對增強(qiáng)學(xué)習(xí)動(dòng)機(jī)產(chǎn)生積極的促進(jìn)作用。運(yùn)用這種方法的要點(diǎn)是控制教學(xué)的進(jìn)度和難度，使學(xué)生的某些具體學(xué)習(xí)目標(biāo)不斷得到實(shí)現(xiàn)。教學(xué)內(nèi)容的難度是教學(xué)成功的因素之一。

1.從最簡單的學(xué)起，26個(gè)字母、音標(biāo)、背誦實(shí)用的諺語等。教學(xué)要簡單易懂，每次課內(nèi)容不宜過多，諺語如《前景基礎(chǔ)英語綜合教程2》第43頁的：You can’t judge a book by its cover.（人不可貌相，海水不可斗量。）Every dog has his day.（人皆有出頭之日。）

2.從教材中選擇趣味實(shí)用的教學(xué)內(nèi)容，拓展教學(xué)內(nèi)容。如《前景基礎(chǔ)英語綜合教程2》Unit3 Climate，筆者選擇了對話、課文和快樂閱讀的諺語部分，讓學(xué)生查找有關(guān)表示climate 的單詞。學(xué)生就寫出了如下單詞：

weather forecast天氣預(yù)報(bào)

turning out cloudy 轉(zhuǎn)陰

snowy 有雪wet 雨天

hot炎熱 flood 洪水

rain雨cold寒冷

warm暖和（升溫）cool涼爽（降溫）

fog霧 dry干燥

fine, clear晴windy 有風(fēng)

cloudy多云haze霾

typhoon 臺(tái)風(fēng)

……

筆者引導(dǎo)學(xué)生進(jìn)行如下討論：

About climate

Make a discussion:

As we all know, the world is getting warmer and warmer.

Why?

What results does it cause?

What should we do?

學(xué)生上網(wǎng)搜索討論得出如下結(jié)果：

（1）原因分析

人為因素：人口劇增；大氣環(huán)境污染

……

（2）危害

氣溫升高所帶來的熱能會(huì)提供給空氣和海洋巨大的動(dòng)能，從而形成大型，甚至超大型臺(tái)風(fēng)、颶風(fēng)、海嘯等災(zāi)難。每年所遭受和面臨的災(zāi)難越來越多，損失的生命和金錢數(shù)目越來越大，越來越讓人難以接受。

……

3.自選教學(xué)內(nèi)容。時(shí)事焦點(diǎn)、新聞、簡單易懂的貼近生活的、學(xué)生感興趣的東西都可以成為教學(xué)的內(nèi)容。中職學(xué)生沒有升學(xué)的壓力，因此教師可以選擇適合學(xué)生發(fā)展的任何內(nèi)容，關(guān)鍵是培養(yǎng)學(xué)生的綜合使用語言的能力。例如，有次課筆者讓學(xué)生進(jìn)行記單詞比拼：比賽記憶有關(guān)顏色和水果的單詞。當(dāng)時(shí)是電氣班和物流班的學(xué)生合班上課，筆者就將學(xué)生分為兩組，電氣班為一組，物流班為一組，兩個(gè)班進(jìn)行PK。任務(wù)是20分鐘內(nèi)寫出的單詞最多的班級為贏者。各組先抽簽決定具體任務(wù)，然后可以使用因特網(wǎng)或字典準(zhǔn)備，但是最后上黑板寫單詞時(shí)不能帶任何東西，只能靠記憶寫下單詞。結(jié)果學(xué)生興趣很濃，爭分奪秒地寫下了如下單詞：

電氣班的同學(xué)寫下了18個(gè)顏色類單詞：white白lack黑lue藍(lán)色green綠色red紅rown棕色pink粉紅yellow黃色purple紫色camel駝色chocolate巧克力色coral珊瑚色offwhite灰白o(hù)range橙色snow雪白色stone石色tan茶aby pink淺粉紅色

物流班的同學(xué)寫下了17個(gè)水果類單詞：grap葡萄longan龍眼mango芒果peach桃pear梨plum李子strawberry草莓西瓜watermelon香蕉banana橙子orange蘋果apple藍(lán)莓blueberry黑莓blackberry木瓜pawpaw榴蓮jackfruit荔枝litchi番石榴guava

（三）教學(xué)方法方式多樣性

英語教學(xué)方法是一種建立在系統(tǒng)的原則和程序基礎(chǔ)上的語言教學(xué)的途徑和做法，是有關(guān)語言教與學(xué)最佳方式的觀點(diǎn)的應(yīng)用。這些觀點(diǎn)涉及語言和語言學(xué)習(xí)的本質(zhì)特征、語言教學(xué)目的、教學(xué)大綱、教師職能、學(xué)生活動(dòng)、教材作用、教學(xué)技巧和程序等。

1.注意教學(xué)方法的多樣性

教學(xué)方法方式的不斷更新和變化，是使學(xué)生保持積極學(xué)習(xí)態(tài)度的因素之一。在保證教學(xué)內(nèi)容新穎的前提下，教師采用靈活多樣的教學(xué)方法是非常重要的。教學(xué)中最忌多次單調(diào)重復(fù)，迫使學(xué)生反復(fù)咀嚼已知的材料。單調(diào)的教學(xué)方法常常會(huì)使學(xué)生產(chǎn)生馬甫洛夫所說的“無興奮狀態(tài)”，使學(xué)生的神經(jīng)系統(tǒng)產(chǎn)生抑制現(xiàn)象。所以教學(xué)方法的更新對激發(fā)學(xué)生的學(xué)習(xí)積極性也是至關(guān)重要的。例如：除了教課本上的部分內(nèi)容外，教師也可以下載一些中英文字幕的電影讓學(xué)生學(xué)英語或讓學(xué)生通過做游戲、PK記單詞、學(xué)唱英文歌曲等方式學(xué)英語。如Watch the film―the Titanic(泰坦尼克號) ，先介紹：泰坦尼克號（RMS Titanic）是一艘奧林匹克級郵輪，于1912年4月處女航時(shí)撞上冰山后沉沒。泰坦尼克號由位于北愛爾蘭貝爾法斯特的哈蘭•沃爾夫船廠興建，是當(dāng)時(shí)最大的客運(yùn)輪船。因?yàn)槿藶殄e(cuò)誤，于1912年4月14日船上時(shí)間夜里11點(diǎn)40分，泰坦尼克號撞上冰山；2小時(shí)40分鐘后，即4月15日凌晨2點(diǎn)20分，船裂成兩半后沉入大西洋。泰坦尼克號海難為和平時(shí)期死傷人數(shù)最多的海難之一，同時(shí)也是最廣為人知的海上事故之一。然后教師要求學(xué)生在觀看電影過程中要記下至少10個(gè)英文句子，學(xué)生就寫下了：It’s my pleasure. This way, please. Welcome abroad. The ship is nice. Come towards me, please. I’ll be all right. I’ve just wait here. We need help. I need your help. Get back. Keep order here! Nobody panic! Come on! ……

像小學(xué)生一樣，做做游戲，學(xué)生也很感興趣。如做圍椅子轉(zhuǎn)的游戲。把學(xué)生分成幾個(gè)組，每組一名指揮主持游戲，每組八名學(xué)生，按照以下方法進(jìn)行：7把椅子背靠背擺在一起，8名學(xué)生圍著椅子轉(zhuǎn)圈，老師放音樂并用walk, run, hop, jump, touch your head, touch your shoulders 等喊口令。 那8名圍著椅子轉(zhuǎn)的學(xué)生必須按口令做相應(yīng)的動(dòng)作。當(dāng)老師突然將音樂停下時(shí)，他們必須馬上坐到椅子上，沒有搶到椅子的學(xué)生出局。拿走一把椅子，剩下的7人照上述規(guī)則繼續(xù)游戲。依此類推，直到最后的學(xué)生獲勝。就這樣在輕松的游戲活動(dòng)中，學(xué)生學(xué)會(huì)了walk, run, hop, jump, touch your head, touch your shoulders 等這些詞匯。

教師還可以穿插猜謎語的方式等?？傊?，教學(xué)方法要變化多樣，讓學(xué)生感到趣味橫生。

2.注意教學(xué)手段的多樣性

在教學(xué)過程中，教師不能自開學(xué)到結(jié)束都在教室里重復(fù)同樣的教學(xué)方法，要常轉(zhuǎn)變教學(xué)手段，如在多媒體教室上或在室外上，讓學(xué)生感到新鮮。教師經(jīng)常制作多媒體課件，或者利用別人制作好的課件進(jìn)行教學(xué)，有利于調(diào)動(dòng)學(xué)生學(xué)習(xí)的積極性，讓一節(jié)課有多個(gè)興奮點(diǎn)，激發(fā)學(xué)生的積極性，讓學(xué)生在寬松、生動(dòng)的教學(xué)氛圍中學(xué)會(huì)知識(shí)。例如，上《前景基礎(chǔ)英語綜合教程2》Unit3 Climate 時(shí)，筆者是這樣設(shè)計(jì)的：先讓學(xué)生看影片《颶風(fēng)》的片段，片中情節(jié)驚險(xiǎn)，一個(gè)男子被颶風(fēng)從地窖中吹了出來。此時(shí)，學(xué)生興奮不已，筆者就讓學(xué)生談?wù)摚篧hathappened to the man? What stuck the place? 上完課文后，教師又放了颶風(fēng)發(fā)生時(shí)的幾種逃生方法的片斷，讓學(xué)生談?wù)摚€讓學(xué)生再想想逃生的其他方法，分組討論，學(xué)習(xí)興趣特濃。

除此之外，教師還可帶學(xué)生到教室外的草地上上課，主要是實(shí)踐活動(dòng)，培養(yǎng)學(xué)生的實(shí)踐能力。

（四）注意教學(xué)中的情感作用

Jane Arnold說過，教師要善于營造有利于提高學(xué)習(xí)質(zhì)量的心理氛圍。這種氛圍包括和諧的師生關(guān)系、學(xué)生的安全感、教師對學(xué)生內(nèi)在情緒的敏感度、傾聽并接受學(xué)生的意見、非評判性的師生交流、自尊心的保護(hù)以及權(quán)力的合理分配等。這種和諧的心理氛圍不僅使得教師能夠采取適當(dāng)?shù)慕虒W(xué)方法，而且使得教師能夠了解學(xué)生的學(xué)習(xí)過程，縮短師生之間的距離，從而促進(jìn)學(xué)習(xí)。在課堂教學(xué)中、課外活動(dòng)或是日常生活中，教師要多跟學(xué)生溝通，多聊他們感興趣的話題和時(shí)事焦點(diǎn)，如“昆明事件”“馬航失聯(lián)”等，親近學(xué)生、關(guān)心學(xué)生，與學(xué)生和睦相處，聊學(xué)生學(xué)習(xí)、生活、家庭以及快樂之事等，營造和諧師生關(guān)系，提高學(xué)習(xí)效率。

中職學(xué)生英語學(xué)習(xí)的現(xiàn)狀不容樂觀，作為教育工作者要堅(jiān)定信念，充滿信心地去研究教學(xué)對策，不斷探索教學(xué)的新思路，提高中職英語教學(xué)質(zhì)量。

參考文獻(xiàn)：

\[1\]陳琳.英語（基礎(chǔ)模塊）教師用書第一冊\[M\].北京：外語教學(xué)與研究出版社，2008.

\[2\]Jane Arnold.情感與語言學(xué)習(xí)\[M\].北京：外語教學(xué)研究出版社，2000.

\[3\]王篤勤.英語教學(xué)策略\[M\].北京：外語教學(xué)研究出版社，2002.

篇7

電影作為一門視聽藝術(shù)，它通過藝術(shù)形象的塑造，能表達(dá)一定的思想情感，體現(xiàn)時(shí)代和民族精神，真實(shí)地反映社會(huì)的各種文化。近年來，隨著我國對外開放的不斷擴(kuò)大與深入，越來越多的國外優(yōu)秀電影被引進(jìn)國門，極大地影響和豐富了我國廣大人民的生活，成為中外文化交流的主渠道之一。許多英文原版電影如《魂斷藍(lán)橋》、《泰坦尼克號》和《阿甘正傳》等或以波瀾壯闊的場景，或以優(yōu)美迷人的畫面，或以至純至深的情感，或以演員高超的演藝給觀眾留下深刻的印象。精彩的內(nèi)容，不僅使觀眾充分欣賞到英文原版電影的魅力，還有利于我們了解西方文化。

一英文原版電影潛在的文化藝術(shù)內(nèi)涵

1英文原版電影的語言情景渲染了語言的文化氛圍

欣賞英文原版電影時(shí)給我們提供了真實(shí)的語言環(huán)境，同時(shí)也為我們展現(xiàn)了一個(gè)了解英美文化、風(fēng)俗及概況的窗口，這無疑會(huì)對我們了解、學(xué)習(xí)他國文化及建立跨文化的學(xué)習(xí)意識(shí)起到促進(jìn)作用。語言是文化的一部分，語言的表達(dá)與了解背景文化應(yīng)密切結(jié)合在一起。欣賞英文原版電影可以豐富我們的語言文化知識(shí)。影視語言有其豐富性和強(qiáng)烈的感染力，每部電影都有其獨(dú)特性和哲理性，影視語言藝術(shù)主要靠造型語言來塑造角色。每個(gè)角色的語言背后都隱藏著自己的生活經(jīng)歷和文化修養(yǎng)，從而形成自己的獨(dú)特語言以及各自的性格特征。因此，在看這些電影的過程中，可以幫助我們深入了解英美文化。電影通過對不同故事的刻畫去折射文化。電影從它的一開始就作為一種國際現(xiàn)象而存在，它的傳播能促進(jìn)國際間的文化交流。電影的蒙太奇方式，已經(jīng)影響了并將繼續(xù)影響人類的思維和語言，使世界各國各族之間的情感形態(tài)更為接近。英語原版電影從多方面、多角度展示了英語民族的文化。

2英文原版電影中的經(jīng)典對白可以刻畫人物性格，蘊(yùn)含人生哲理

我們知道，語言是人類靈魂和性格最重要的體現(xiàn)途徑。思想都必須建立在語言材料基礎(chǔ)上。電影中的不同人物通過經(jīng)典對白可以詮釋迥異的個(gè)性，或善良可愛，或堅(jiān)毅勇敢，蕓蕓眾生相，溢于言表中。經(jīng)典對白成為影片的靈魂，蘊(yùn)含人生哲理的臺(tái)詞更使人物永遠(yuǎn)留在觀眾的心里。如，影片《亂世佳人》中的“Franklymydear,Idon'tgiveadamn”體現(xiàn)了主人公的處世態(tài)度；影片《新不了情》中的“Ithoughtthatthelifeismostimportant,thereforeinmyheart,themattercanbeabledtosolve.Noteverybodycanhaveintheluckyideallife,Therefore,wemustcertainlyenjoyourlife”體現(xiàn)了人物的人生價(jià)值和生活態(tài)度；影片《阿甘正傳》中的“Mymommaalwayssaid,lifeislikeaboxofchocolate,youneverknowwhatyouget”這句富含哲理的箴言，激勵(lì)著善良真誠、樂天向上的阿甘腳踏實(shí)地，努力拼搏，給觀眾留下了深刻的印象。

3英文原版電影能體現(xiàn)英語民族的文化，包括英語民族人們的思維方式，生活習(xí)俗等

語言是文化的載體。從某種意義上來說，電影是一種包羅萬象的文化載體，英語電影從多方面、多角度展示了英語民族的文化。如膾炙人口的電影《亂世佳人》的故事大背景就是美國南北戰(zhàn)爭，這個(gè)背景貫穿整個(gè)故事。如果對美國的這段歷史缺乏一定的了解，必然會(huì)難以深刻理解和體會(huì)這段有始無終的被戰(zhàn)爭、變遷和社會(huì)簇?fù)碇睦寺矍楣适隆?英文原版電影是中西思維及習(xí)理差異的真實(shí)體現(xiàn)英文原版電影中的語言基本都是由日常生活語言組成的，這些語言流露出西方人的生活點(diǎn)滴以及思維方式等。通過欣賞這些原版電影，我們可以了解由于受地域、文化、經(jīng)濟(jì)等的影響而造成的中西民族的思維方式及心理存在的種種差異。在心理習(xí)慣方面，中國文化屬人文文化，中國人直覺思維發(fā)達(dá)，具有較強(qiáng)的情感性和直觀性；而西方文化屬科學(xué)文化，理性思維發(fā)達(dá)，具有嚴(yán)密的邏輯性和科學(xué)性。

二欣賞英文原版電影過程中的文化藝術(shù)修養(yǎng)體現(xiàn)

1寓教于樂，心理放松

我們都知道，欣賞英文原版電影時(shí)，我們可以聽到地道的外國人的語音和語調(diào)。尤其是影片把文字、圖像、動(dòng)畫等結(jié)合起來，創(chuàng)造一種生動(dòng)活潑、形象逼真的國外生活環(huán)境。語言和環(huán)境相結(jié)合，充分調(diào)動(dòng)了我們的視覺、聽覺和感覺，使自己身臨其境，在不知不覺中使自己進(jìn)入一個(gè)異國他鄉(xiāng)的氛圍，去感受外國文化給我們帶來的心靈上的震撼。雖然電影中說的英語大多數(shù)帶著角色專有的氣質(zhì)、情感、口音等特征，但卻是我們了解的真正的英語口語。電影中的精彩對白、原汁原味的英語環(huán)境，具有很大的吸引力。比如一些美國老電影，如《阿甘正傳》、《北非諜影》、《羅馬假日》、《音樂之聲》等主人公語速較慢，句子完整，語音清晰，詼諧幽默，讓人百聽不厭。有人說，看一部美國老電影，相當(dāng)于在美國生活十天。

2培養(yǎng)語言敏感性，提高文學(xué)修養(yǎng)

每部電影都有其不同的語言特色，不同人物的語言運(yùn)用也各異。人物性格的鮮明對照、人物的生動(dòng)形象和悲劇命運(yùn)潛移默化地感染著觀眾，揭示著故事的主題。不同身份的人物語言特色鮮明，為我們提供了豐富的語言素材。一些英文經(jīng)典影片如《魂斷藍(lán)橋》、《泰坦尼克號》等，它們的一些經(jīng)典鏡頭感人至深。特別是電影中的對白，集中了日常生活中最生動(dòng)、形象、感人的語言。比如《泰坦尼克號》里的對白：Someone’slifeisabouttochange.有人要轉(zhuǎn)運(yùn)了。Alllifeisagameofluck.生活本來就全靠運(yùn)氣。Tomakeeachdaycount.讓每一天都值得。What’sgoingon?到底發(fā)生了什么事?這樣的語言運(yùn)用都值得我們?nèi)W(xué)習(xí)。因?yàn)閺恼Z言學(xué)習(xí)的多重目的來說，這些對理解電影情節(jié)甚至異域文化也有很大的幫助。而且，從深層次上說，我們這些欣賞者的靈魂也在潛移默化中自我塑造而成了。在這一點(diǎn)上，我們欣賞英文原版電影這種行為是自愿的，是基于一種自發(fā)的創(chuàng)造力，甚至是基于某種天才式的感受力和領(lǐng)悟力。我們在欣賞電影的過程中，會(huì)通過比較，去提高自己的修養(yǎng)，去追尋自我的空間，這也是對我們?nèi)松囊环N顯現(xiàn)和揭示。在這樣的氛圍，電影本身作為一門藝術(shù)的觀點(diǎn)將會(huì)更能顯示其生命的跡象；而作為一門藝術(shù)的自由性質(zhì)是人性自由本性的一種體現(xiàn)。例如，隨著日積月累，對這些影片的欣賞，會(huì)培養(yǎng)自己對英語文學(xué)作品的賞析能力，長此以往，我們自會(huì)感覺有一種超越的歡欣相伴隨，而且還能體驗(yàn)到它所帶來的遨游于想象空間的自由。

3提升語言翻譯技巧和領(lǐng)悟能力

電影，作為大眾娛樂的產(chǎn)物，也是了解他國文化的視角。那么在欣賞英文原版電影時(shí)，電影翻譯在跨國交流的浪潮中就應(yīng)運(yùn)而生。成功的影名翻譯會(huì)在這個(gè)文化傳載過程中起到推波助瀾的作用，反之，則會(huì)削弱觀眾的審美及欣賞能力。良好的影名翻譯應(yīng)該是在忠實(shí)于原影片、影名的基礎(chǔ)上達(dá)到一種信息、文化及審美對等。既保留原著精髓，又力求產(chǎn)生“情感共振”，即在如實(shí)體現(xiàn)原片信息及文化內(nèi)核的基礎(chǔ)上使目的語觀眾產(chǎn)生同源語觀眾相近的心理感受或?qū)徝栏惺堋Ｍㄟ^日積月累，我們就會(huì)在潛意識(shí)里掌握英文的表達(dá)習(xí)慣，有助于進(jìn)行翻譯活動(dòng)。我們不僅僅會(huì)注重源語的形式，而且還會(huì)注重傳達(dá)源語的內(nèi)容，畢竟每一部原版的英文影片都是一定文化區(qū)域的歷史和社會(huì)文化生活的反映。而每一種語言也包含著許多民族色彩鮮明的文化信息。這些文化信息包括價(jià)值觀念、思維方式、、風(fēng)俗習(xí)慣等等，在語言中可能以成語、典故、俗語等形式表現(xiàn)出來。我們漸漸地就會(huì)掌握這種技巧，從而使翻譯能最大限度地使用目的語文化可以接受的表達(dá)，使目的語讀者能更容易了解和適應(yīng)翻譯的文本,不會(huì)產(chǎn)生陌生感。因此，對于從事翻譯工作的翻譯工作者來講，在翻譯作品時(shí)要使譯文盡可能多地保持原有的風(fēng)格，達(dá)到源語文化的異質(zhì)性；對于那些生活在國外的國人來講，在日常生活中就可以克服文化障礙，避免不必要的語言交流障礙，做到自然表達(dá)和流暢翻譯，實(shí)現(xiàn)有效的、成功的跨文化交際。#p#分頁標(biāo)題#e#

4擴(kuò)大知識(shí)面，提高眼界，滿足心理需求

比如《探索》系列電影紀(jì)錄片制作精美，原汁原味的英語加上精良的音像效果，非常引人入勝，我們在欣賞的同時(shí)還能學(xué)到很多歷史、地理知識(shí)。好的影片還可以幫助我們樹立正確的積極的價(jià)值觀和生活態(tài)度。欣賞一部優(yōu)秀的英文原版電影，感受電影藝術(shù)所帶來的愉悅，是大多數(shù)欣賞者的一種心理需要。而我們?nèi)菀缀鲆暤氖牵魏我徊吭娴碾娪?，它都不是用來進(jìn)行語言教學(xué)的，所以它的語言有很大的隨意性，還有各種語音摻雜其中，如果不加以分析，一概拿來，勢必會(huì)攪亂方向。而且就一部電影而言,它的場景、人物都有一定的限制，盡管如此，我們還是可以通過長期的影片欣賞總結(jié)出經(jīng)驗(yàn)。知識(shí)面的擴(kuò)大就是在點(diǎn)點(diǎn)滴滴的積累中得出效果的。5提高審美觀，內(nèi)塑道德涵養(yǎng)現(xiàn)代社會(huì)由于生活的多樣化、知識(shí)信息的廣泛化，審美活動(dòng)已成為人們生活的重要內(nèi)容。我們在觀看一部英文原版電影的同時(shí)也是帶著審美的眼光去審閱去感受。這樣，具有感受美、鑒賞美、表現(xiàn)美和創(chuàng)造美的原版影片便能滿足欣賞者審美觀的需要。蘇霍姆林斯基說：“美是一種心靈的體操，它使我們精神正直、良心純潔，情感和信念端正。”通過欣賞影片，來體現(xiàn)影片語言本身的語言美，在字里行間，我們自然就能體會(huì)這些升降的音調(diào)猶如一首和諧婉轉(zhuǎn)的歌曲，散發(fā)著無盡的美。在潛移默化中我們就知道了表達(dá)需要時(shí)要禮貌地說“MayIhave…”,得到幫助時(shí)不忘說聲“Thankyou”,給人造成麻煩時(shí)道聲“Excuseme”,別人困難時(shí)主動(dòng)詢問“CanIhelpyou”,別人誠心道歉時(shí)也不忘道聲“That’sOK”……這些語言正是美的體現(xiàn)，是藝術(shù)最初始的輪回。通過欣賞原版電影這種“美”的教學(xué)手段，凈化了欣賞者的心靈，提高了欣賞者對美的鑒賞能力，塑造了欣賞者自身的道德內(nèi)涵。

篇8

13歲意味深遠(yuǎn)：青少年，看PGl3的電影，獨(dú)自外出，隨時(shí)會(huì)墜入情網(wǎng)。讓父母最頭疼的，是第二次反抗期的開始。心理學(xué)家認(rèn)為，第一次反抗期在3歲左右――行動(dòng)上獨(dú)立，第二次反抗期在15歲左右――思想意識(shí)上獨(dú)立。

我還沒做好足夠的心理準(zhǔn)備，變化已有跡可尋：她開始注意穿戴，打耳洞，涂指甲，留披肩發(fā)，和全美國的女孩子們一起，迷上電影《泰坦尼克號》的男主角，她們個(gè)個(gè)會(huì)唱主題歌。在音樂上的對立早就開始了，平時(shí)還行，關(guān)門各聽各的。去年圣誕節(jié)開車去拉斯韋加斯。她的范曉萱嗲聲嗲氣，磁帶像丟了轉(zhuǎn)，何止影響駕駛，簡直讓我發(fā)瘋。倘若有一天警察用范曉萱的歌過堂，我立馬招供，大喊大叫。一代人一代歌，不可能溝通。

中國人在西方，最要命的是孤獨(dú)，那深刻的孤獨(dú)。放了學(xué)，田田旋風(fēng)般沖進(jìn)來，自己弄點(diǎn)兒吃的，就地臥倒，開電視，看脫口秀(talk show)。威爾?史密斯，那個(gè)電視上快樂的黑人小伙兒，眼見著成了我們家一員。田田一邊做功課，一邊跟著他咯咯地樂。她最愛看的還是《我愛我家》，她至少看了幾十遍，幾乎都能背下來。這是她在尋根，尋找那個(gè)地理上的家，尋找美國經(jīng)驗(yàn)以前人與人的親密、糾葛與纏斗。

我跟田田分開了6年，從她4歲到10歲。我滿世界漂流時(shí)，暗自琢磨，恐怕只有田田這個(gè)錨，才能讓我停下來。有一天，住在英格蘭的朋友告訴我，他們鄉(xiāng)下有幢老房子正出售，便宜得難以置信。他還找來照片：歪斜的石頭房子和開闊的田野。這成了我的夢，我愿客死他鄉(xiāng)，與世無爭。只求做麥田里的守望者，把田田帶大。

昨夜驚醒，田田站在我床前，用手蒙著眼睛，嘟嘟囔囔。她做了噩夢，夢見吸血鬼。她告訴我，她總是在夢里飛翔，自由自在?？磥硎屡c愿違，她想遠(yuǎn)走高飛，留下無邊的麥田和影子西斜的我這個(gè)老父親。

田田上初一，功課多，我得幫她做功課。歷史課本相當(dāng)生動(dòng)，我也跟著上課。最近我們一起進(jìn)入中世紀(jì)的黑暗：黑死病消滅了歐洲入口近三分之一；圣經(jīng)譯成英文前，僅少數(shù)懂拉丁文的牧師掌握解釋權(quán)，這是導(dǎo)致教會(huì)腐敗的原因之一。

一天她告訴我，歷史老師宣布：考試成績前5名的同學(xué)每人交5塊錢，分?jǐn)?shù)可再提高。其余同學(xué)都傻了，繼而怒火中燒，田田考砸了，也加入抗議的行列。我跟著拍案而起，造反有理!我們?nèi)可狭水?dāng)――原來這與歷史課本有關(guān)：在馬丁-路德的宗教改革以前，富人只要捐錢給教會(huì)，殺人放火，照樣可赦免上天堂。老師略施小計(jì)，讓學(xué)生外帶個(gè)跟班的家長體會(huì)一下當(dāng)時(shí)窮人的憤怒。

篇9

關(guān)鍵詞：英語教學(xué) 英美文化 英語語言

中圖分類號：G623 文獻(xiàn)標(biāo)識(shí)碼：A 文章編號：1672-3791（2012）11（b）-0150-01

語言是文化的一種表現(xiàn)形式，是文化的載體，體現(xiàn)語言使用者的民族文化特性。學(xué)習(xí)語言，要充分理解與掌握這種語言背后所體現(xiàn)的文化內(nèi)涵。如果只是單純的學(xué)習(xí)語言，不考慮這種語言的文化內(nèi)涵，就不能保證溝通的順暢。在這種情況下，就要求英語教學(xué)不應(yīng)只注重語言知識(shí)傳授，更應(yīng)該考慮所教語言承載的文化內(nèi)涵，使語言與文化相結(jié)合，在這種結(jié)合中培養(yǎng)學(xué)生的跨文化交際能力。因此，在英語教學(xué)中，應(yīng)嘗試在傳授學(xué)生英語語言的同時(shí)，注意提高學(xué)生的英語文化修養(yǎng)。

1 注意傳授文化內(nèi)涵，提高學(xué)生英語文化修養(yǎng)

比如：COUNTRY、NATION、STATE 都是國家的意思，為什么美國就一定要說成是THE UNITED STATES而不是THE UNITED COUNTRY？這是因?yàn)镃OUNTRY是強(qiáng)調(diào)領(lǐng)土意義上的國家，NATION 是強(qiáng)調(diào)民族意義上的國家，而STATE則是強(qiáng)調(diào)政權(quán)意義上的國家。所以，同為國家的意思，三個(gè)詞的文化內(nèi)涵是不一樣的，用法也就大不相同。

為了能將跨文化意識(shí)培養(yǎng)融合在語言知識(shí)和技能培養(yǎng)，除了講解課文相關(guān)的語言點(diǎn)外，還要根據(jù)時(shí)間和學(xué)生的興趣以及教學(xué)重點(diǎn)，充分利用和挖掘教材中的文化內(nèi)涵。比如說，在講解“weather”這個(gè)詞時(shí)，英語論文可有意識(shí)的舉這樣的例子：“weather the storm”（戰(zhàn)勝暴風(fēng)雨），“while it is fine weather， mend your sail”（修帆趁天晴），這些都是英語中的習(xí)語，學(xué)生會(huì)覺得比較有興趣去學(xué)習(xí)和記憶，這時(shí)教師可以進(jìn)一步引導(dǎo)學(xué)生注意到這些習(xí)語都是和海洋及航海有關(guān)的，而且英語中存在著大量的與海洋及航海有關(guān)的習(xí)語，這樣就會(huì)啟發(fā)學(xué)生聯(lián)想已有的地理知識(shí)，頓悟原來英國是個(gè)島國，所以英語才有這個(gè)特點(diǎn)。如此一來，學(xué)生無論對英國、英語還是“weather”這個(gè)詞，都會(huì)留下深刻印象，既學(xué)到了語言知識(shí)，又加深了對英國國家概況的了解，為跨文化交際打下良好的基礎(chǔ)。再如，課本上英美國家的人初次相識(shí)時(shí)，往往談?wù)撎鞖?、球賽等與個(gè)人無關(guān)、不會(huì)引起麻煩的話題。他們從不像中國人那樣，初次相識(shí)，就向?qū)Ψ酱蚵牎霸谀睦锕ぷ鳌薄皢挝恍б嫒绾巍薄敖衲曩F庚”“結(jié)婚了沒有”“孩子多大了”等問題，因?yàn)槿绻麊栠@些問題會(huì)被別人認(rèn)為侵犯他們的隱私權(quán)。

2 利用課內(nèi)外活動(dòng)，為學(xué)生創(chuàng)造“說”英語的機(jī)會(huì)

傳統(tǒng)的教學(xué)以教師的講授為主，教師處于主導(dǎo)地位，學(xué)生只是簡單、機(jī)械地背誦句型，缺乏言語交際練習(xí)。因而由于缺乏練習(xí)口語的機(jī)會(huì)，在真正的言語交際活動(dòng)中就會(huì)因緊張、不適應(yīng)而出錯(cuò)。因此，在課堂教學(xué)中，應(yīng)嘗試讓學(xué)生走上講臺(tái)進(jìn)行模擬對話，成為學(xué)習(xí)的主體，在實(shí)踐中轉(zhuǎn)換英語文化思維。比如，通過每次課課前的值日報(bào)告，模擬語境，讓學(xué)生把課本中的語言文化信息轉(zhuǎn)化為自己的直接經(jīng)驗(yàn)儲(chǔ)存起來。這樣就可以避免在實(shí)際運(yùn)用中，如在接電話時(shí)，明明知道應(yīng)該說“WHO IS IT？”，卻脫口而出“WHO ARE YOU？”這樣的尷尬。

此外，還可以利用多種教學(xué)手段引導(dǎo)學(xué)生學(xué)習(xí)跨文化知識(shí)，如廣播、報(bào)刊雜志、多媒體等?，F(xiàn)代化圖像、聲光傳媒工具的靈活使用可以極大地豐富教學(xué)手段，活躍課堂氣氛，激發(fā)學(xué)生學(xué)習(xí)英語文化的意識(shí)。比如，可以把像《走遍美國》這樣聲情并茂的教學(xué)片引入課堂?！蹲弑槊绹穱@一個(gè)典型的美國三代人家庭的生活展開，劇中布滿了理解、煩惱和歡欣等情感，體現(xiàn)出了片中人物的價(jià)值觀、倫理觀、道德觀和人生觀，具有濃厚的人情味和雋永的意趣。它很巧妙地體現(xiàn)了“跨文化交際”的特點(diǎn)：細(xì)述形形的美國生活，使學(xué)生通過對美國文化和生活的體驗(yàn)，學(xué)到活生生的美國英語。課堂中，教師還可以給學(xué)生介紹英文小說，歌曲等。

3 利用多媒體技術(shù)，提升英語學(xué)習(xí)興趣

為了提升學(xué)生對英語學(xué)習(xí)的興趣和廣泛了解英美社會(huì)的人文環(huán)境，還可利用多媒體技術(shù)，定期給學(xué)生們放英文電影。學(xué)生可以通過電影了解異國的生活方式、信仰體系、社會(huì)價(jià)值、道德標(biāo)準(zhǔn)等表層和深層的文化。了解了一部電影就了解了一個(gè)國家的一段歷史、一代人甚至是幾代人的生活及那個(gè)時(shí)期的文化，因此電影鑒賞是我們了解一個(gè)國家文化的重要途徑之一。

為學(xué)生播放的電影必須是有教育意義且能吸引學(xué)生的，學(xué)生在欣賞故事情節(jié)的同時(shí)，要積極開展討論，引導(dǎo)學(xué)生關(guān)注且理解跨文化差異。如對美國好萊塢主流意識(shí)形態(tài)的影片《泰坦尼克號》的賞析，不能只看JAKE和ROSE的愛情，應(yīng)該引導(dǎo)學(xué)生透過這條主線全面的看20世紀(jì)初的美國社會(huì)：在災(zāi)難面前，普通人顯示了人類直面死亡的勇氣和尊嚴(yán)。如，船上的樂師們?yōu)榘矒崛诵亩吮M職守的為旅客們演奏樂曲，直到“曲盡人亡”；一對老夫妻相依為命，不為求生白費(fèi)力氣，安靜得躺在床上等待末日來臨；英國紳士為保持體面，堅(jiān)決不穿救生衣；神父面對死亡仍堅(jiān)持布道等等?！短┨鼓峥颂枴钒盐ｋU(xiǎn)中每一種人的表現(xiàn)都描繪得淋漓盡致。其中的金錢與愛情、貧與富、是對本世紀(jì)初資本主義社會(huì)的階段文化的一個(gè)突出反映。

最后，在教學(xué)中要合理處理漢語文化與英語文化的關(guān)系。不僅要結(jié)合自己所用教材內(nèi)容及學(xué)生興趣特點(diǎn)進(jìn)行適時(shí)適量的異域文化知識(shí)擴(kuò)充，還應(yīng)進(jìn)行文化間對比與分析，與漢語文化知識(shí)及表述方式進(jìn)行比較，讓學(xué)生意識(shí)到“跨文化交際總是兩種文化接觸，沖突，協(xié)調(diào)的動(dòng)態(tài)過程”。留給學(xué)生辨證思考的空間。

參考文獻(xiàn)

[1] 何自然.語用學(xué)與英語學(xué)習(xí)[M].上海：上海外語教育出版社，2008.

篇10

著名的希波克拉底誓言是在這位著名的希臘醫(yī)生希波克拉底（公元前460～前376年）死后才產(chǎn)生的。因?yàn)檫@位科斯島的醫(yī)生本身就是一個(gè)傳奇，所以人們就捏造了他撰寫醫(yī)德誓言的故事，目的在于賦予醫(yī)德誓言的威懾力。1948年頒布的有關(guān)醫(yī)生道德誓言的《日內(nèi)瓦公約》就是在希波克拉底誓言的基礎(chǔ)上制定的。例如，誓言中有關(guān)對病人秘密守口如瓶和細(xì)心照料病人的義務(wù)等部分被保留下來，而關(guān)于醫(yī)生技藝不可外傳之類的規(guī)定已經(jīng)被刪除。

巨杉是世界上最高壽的樹種

北美洲的巨杉可以長到100多米高，活上好幾千年。最長壽的巨杉能夠活2200年之久，而最長壽的猛犸杉能活到3500歲。長期以來，人們認(rèn)為沒有比它們更長壽的生物了，直到人們在20世紀(jì)50年代時(shí)，在美國洛磯山山里發(fā)現(xiàn)了那些并不驚人的芒松。在1964年，在內(nèi)華達(dá)州由于疏忽而不小心砍掉的那顆“普羅米修斯”樹，當(dāng)時(shí)已經(jīng)有4950年的歷史了?，F(xiàn)存于加利福尼亞州的“瑪土撒拉”樹已經(jīng)有4770年的歷史了。

只有人和動(dòng)物才會(huì)發(fā)燒

美國科學(xué)家借助紅外線溫度計(jì)發(fā)現(xiàn)，就連植物也會(huì)發(fā)燒。如果它們?nèi)彼蛘咭驗(yàn)楦渴軗p而無法吸收足夠的水分的話，被破壞的水分供給系統(tǒng)讓植物的體溫最多上升5度，體溫可以從植物的樹葉測量出來。

恐龍是在冰河期之前不久滅絕的

恐龍紀(jì)元是在6500萬年之前結(jié)束的，而接下來的冰河期發(fā)生在兩到三百萬年前。恐龍不是因?yàn)榘讏准o(jì)的到來而滅絕的，它們生活在整個(gè)白堊紀(jì)時(shí)期，直到整個(gè)時(shí)期結(jié)束時(shí)才滅絕。

猴子們之間互相捉虱子

如果猴子們相互在對方的皮毛上找來找去的話，那么這和找虱子無關(guān)。這種溫柔親切的皮毛護(hù)理方式是為了建立聯(lián)系。它們這樣做，是為了得到其他猴子的好感、在“老板”那里阿諛奉承、結(jié)成聯(lián)盟、緩和氣氛等等。研究者們找到了群體中的社會(huì)結(jié)構(gòu)和護(hù)理者、被護(hù)理者以及護(hù)理時(shí)間之間的直接關(guān)聯(lián)。這種行為經(jīng)?？梢郧宄羝ば己推渌K物，當(dāng)然有可能是虱子。但是，絕對不能認(rèn)為動(dòng)物身上到處都是寄生蟲。

女生比男生的數(shù)學(xué)要差一些

當(dāng)人們長期以來在女孩子和男孩子各種資質(zhì)對比研究上沒有得到任何結(jié)果之后，人們還是堅(jiān)信女孩子和男孩子在資質(zhì)上是絕對有差別的。比如，平均來看，女生在語言測試方面比男生要好一些，而男生在技術(shù)科目上的成績要比女生好一些。然而，在數(shù)學(xué)這個(gè)學(xué)科上則要分別來看。在空間想象力和數(shù)學(xué)推論方面，男生要有優(yōu)勢，但是女生的計(jì)算能力要好一些。

化學(xué)元素周期表是門捷列夫發(fā)明的

早在公元1830年左右就出現(xiàn)了把化學(xué)元素放在一個(gè)系統(tǒng)表里進(jìn)行劃分的想法。公元1869年兩位化學(xué)教授同時(shí)獨(dú)立地做到了把所有的化學(xué)元素歸入一個(gè)完整的系統(tǒng)表中。他們分別是圣彼得堡的德米特里?伊萬諾維奇?門捷列夫（1834～1907年）和布雷斯勞的尤里烏斯?洛塔爾?邁耶爾（1830～1895年）。借助化學(xué)元素周期表，可以預(yù)測還沒有被人類發(fā)現(xiàn)的元素。門捷列夫由此預(yù)測出了鎵、鍺、錸和鈧等元素的特征。

藝妓都是女性

藝妓指的是表演傳統(tǒng)日本技藝的消遣藝術(shù)家。最早的藝妓是男性。到17世紀(jì)時(shí)，才出現(xiàn)了女藝妓。起初，為了把她們和區(qū)別開來，禁止女藝妓進(jìn)行。然而，她們還是發(fā)展了一種自己專屬的、微妙的風(fēng)格。當(dāng)然很多的藝妓都會(huì)和自己的老顧客發(fā)生性關(guān)系，那是為了償還高額的藝妓培訓(xùn)費(fèi)用。但是，藝妓也很貴，所以她們絕不會(huì)隨便和新顧客發(fā)生關(guān)系。

人們應(yīng)該盡可能多吃維生素和礦物質(zhì)

有機(jī)體不可能無限量地消化吸收健康所需的維生素。如果攝入維生素過多的話，其中的一些維生素會(huì)被排出來。攝入過量的維生素對身體是有害的。過量的維生素A會(huì)讓人頭疼和惡心，過量的維生素C會(huì)擾亂血液中荷爾蒙的含量，過量的維生素D會(huì)導(dǎo)致痙攣和膽結(jié)石，過量的維生素E會(huì)使人惡心、作嘔，并且給腸胃功能帶來負(fù)擔(dān)，過量的維生素B會(huì)讓人瘙癢、易怒并且產(chǎn)生輕微的麻痹感。另外，攝入過多的維生素或者礦物質(zhì)會(huì)妨礙吸收其他重要物質(zhì)。比如，吸入過多的鈣會(huì)導(dǎo)致體內(nèi)鋅元素的流失。所以，人們刻意地增加維生素或礦物質(zhì)的攝入量并不是毫無疑慮的事。

白肉比紅肉健康

白肉和紅肉之間的界定標(biāo)準(zhǔn)從來沒有統(tǒng)一過。有些人認(rèn)為家禽的肉屬于白肉，而豬、牛和羊肉屬于紅肉。但是鵝腿肉比一塊細(xì)嫩的煎小牛肉排顏色要紅得多。就算通過分析肉的成分也無法證明一塊火雞排比一塊牛排要健康。而來自美國的研究認(rèn)為紅肉不利于健康的結(jié)論，可能是沒有考慮到人們喜歡用亞硝酸鹽腌漬牛和豬的某些部位的肉，然后再在火上進(jìn)行燒烤，這樣才是真的有害健康。

打火機(jī)比火柴要先進(jìn)

第一個(gè)打火機(jī)是約翰?沃爾夫?qū)?杜布萊那（1780～1849年）在公元1816年發(fā)明的。這個(gè)打火機(jī)的原理是，鹽酸和鋅發(fā)生化學(xué)反應(yīng)后產(chǎn)生的氫氣在催化作用下，用鉑點(diǎn)燃?xì)錃猱a(chǎn)生火焰。而用一端抹上磷的小木棒通過摩擦產(chǎn)生火焰的火柴，則是在公元1832年才被生產(chǎn)出來的。然而，第一批生產(chǎn)出來的火柴太容易被點(diǎn)燃，只要不小心輕輕一劃就會(huì)被點(diǎn)燃。所以，在公元1848年杜布萊那的學(xué)生魯?shù)婪?克里斯蒂安?伯格（1806～1881年）用相比之下不太容易被點(diǎn)燃的硫磺做火柴頭，制造了安全性能較高的火柴。

漢堡包和漢堡這個(gè)城市沒有什么關(guān)系

講英語的文化人都認(rèn)為，漢堡包的英文“Hamburg”中的“Ham”可能來自于英語中“ham（火腿）”這個(gè)單詞。后來，又出現(xiàn)了以同樣的構(gòu)詞方式的干酪漢堡包和雞肉漢堡包。然而，漢堡包里面其實(shí)沒有火腿肉，而是按照漢薩同盟城市漢堡命的名。在19世紀(jì)之時(shí)，德國移民把用煎過的碎肉做成肉餅來吃的習(xí)俗帶到了美洲，在那里這種煎肉餅以“漢堡牛排”或者“漢堡三明治”的名稱而聞名。

酒精對身體不益

因?yàn)榧t葡萄酒殊的成分對心臟有益，所以可以喝上一小杯紅葡萄酒。然而，研究證明，不僅僅只有紅葡萄酒對身體好。有節(jié)制的飲酒者比滴酒不沾的人壽命還要長一些。其中，不僅僅只有紅葡萄酒，連白葡萄酒、啤酒甚至烈性酒也有同樣的功效。節(jié)制的意思是，每天喝上最多40克純正的酒，也就相當(dāng)于半瓶葡萄酒、一升啤酒或者兩小杯燒酒。但絕對不能貪杯。

領(lǐng)帶象征著服裝的文明

最初的領(lǐng)帶是有軍事含義的。16世紀(jì)，克羅地亞的騎士們把飄帶圍在脖子上，飄帶那長長的末端就順著垂了下來。騎士們在土耳其戰(zhàn)爭乃至30年戰(zhàn)爭中取得了功績，所以路易十四把克羅地亞的一支精銳部隊(duì)買了下來。這種圍在脖子上的圍巾讓巴黎的貴族們十分中意，把它變成了一種時(shí)尚。同時(shí)，圍巾變得越來越狹長，圍巾的那長長的末端不是垂下來就是把它系成蝴蝶結(jié)，也就是現(xiàn)在的橫領(lǐng)結(jié)?！邦I(lǐng)帶”這個(gè)名詞其實(shí)是從某個(gè)方言中的“克羅地亞人”演變過來的。

婚姻一般都在“七年之癢”之時(shí)破裂

如果要破裂的話，那么早就破裂了。根據(jù)統(tǒng)計(jì)記載，婚姻破裂的時(shí)間大多在婚后第四年或者第五年之間上下波動(dòng)。然而，這只是個(gè)平均值。因?yàn)殂y婚之后的離婚數(shù)目在增加，所以平均數(shù)也跟著上升了。而大多數(shù)的伙伴關(guān)系破裂的時(shí)間還要早。

泰坦尼克號的沉沒是歷史上最悲慘的海難