本科毕业论文
题目：
从社会语言学的角度分析电影 《窈窕淑女》的对白
学 院:外 国 语 学 院
专 业:英 语
学 号:****
学生姓名:* *
指导教师:* * *
日 期:2010年6月4日
摘 要
社会语言学是研究社会和语言之间关系的学科，它包括两个方面，即语言和社会。语言可以影响社会，社会也可以影响语言。社会是一个复杂的体系，语言也是一个复杂的体系。语言的社会功能，使用语言的不同方式，语言的变迁，语言的变体，语言的层次，以及它与政治，社会，文化，法律，人口，心理以及交际等方面的关系都属于社会语言学研究的内容。
文学作品和影视作品既是社会生活的缩影，也是社会生活的延伸和反映。本文选取一部获得十三项奥斯卡大奖的经典影片《窈窕淑女》为研究对象，研究社会语言学在社会生活中的应用和表现形式，深层次地探究电影中人物对白背后所蕴含和传达的含义——人物的社会地位和心理，而人物的社会地位和心理在特定的场景下对情节又有着怎样的推动作用。本文将从英语变体，好英语和坏英语，语码转换和话论交替四个方面，节选影片中的重要片段，分析对白在人物塑造和情节发展中起到的重要作用。
本文旨在将社会语言学具体化、实践化，加深对社会语言学的理解，提高对社会语言学的实际运用能力和对影视作品的鉴赏能力。
关键字：社会语言学; 英语变体; 语码转换; 话轮交替
Abstract
Sociolinguistics is a subject which aims at exploring the relationship between society and language. Two aspects, language and society, constitute it. Language and society are mutually influenced. Both society and language belong to complex system. The objects for exploration include the social function of a language, different methods to use language, the transformation of language, the variation of language, the level of language, and the relationship of language with politics, society, culture, legislation, population and communication.
The literature work and show work are not only the epitome but also the reflection and distension of the social life. In this paper, the classic film The Fair Lady, which has ever won 13 Oscar Prizes, is chosen as the object to make a research on the application and practice of sociolinguistics in the real life. In this paper, the application and manifestation of sociolinguistics in the social activities will be studied. Implication---the social status and mental state of characters, contained in the dialogue in the film, will be explored. Furthermore, how social status and mental state of characters in a particular scene exert influence on developing the plot on the whole will be studied in the paper. The four main aspects in the research are variation of English, good English and bad English, code-switching and turn-taking. The important episodes will be selected and analyzed to find its important function in molding characters and advancing plot.
In this paper, we aim at putting sociolinguistics into practice, deepening our understanding of sociolinguistics, improving our capability to apply sociolinguistics knowledge and appreciate show work.
Key words: sociolinguistics; variation of language; code-switching; turn-taking
Contents
1 Introduction (1)
2 A Brief Introduction to the Scenario (1)
3 Variation of Language (2)
3.1 Pronunciation (2)
3.2 Grammar (3)
3.3 Vocabulary (4)
3.4 Dialogue Analysis (4)
4 Good English and Bad English (5)
4.1 Concepts of Good English and Bad English (5)
4.2 Dialogue Analysis (7)
5 Code Switching (8)
5.1 The concept of Code switching (8)
5.2 Dialogue Analysis (9)
6 Turn-Taking (11)
6.1 The Concept of Turn-Taking (11)
6.2 Turn-Taking in Show Work (13)
6.3 Dialogue Analysis (14)
6.3.1 Turn Distribution and Turn Length (15)
6.3.2 Turn Allocation and Turn Sequencing (16)
7 Conclusion (17)
Bibliography (19)
Acknowledgements (21)
Analysis of Dialogues in The Fair Lady
from Perspective of Sociolinguistics
1 Introduction
This paper establishes a link between sociolinguistics and the famous film The Fair Lady, which is adapted from the play Pygmalion by Bernard Shaw, a famous British playwright, which tells the story of how a phonetician changes a lovely working-class girl into a lady by changing her working-class talk into the speech of an elegant lady. An often quoted sentence from the play is “Once you open your mouth, you are placed”. It means your speech contains a lot of information about yourself—your place of birth, your education, your working experiences, your personal interest, your mood, your state of mind, among other things. The play shows convincingly that language application and social factors are closely related.
Generally speaking, in sociolinguistics we are interested in how social factors influence the use of language. For example, when you meet strangers, the way they talk informs you of their social and geographical background, and the way you talk sends out some signals about what you think of them. It is these aspects of language use that sociolinguistics are out to exam. （刘润清，文旭， 2006： 196）In this paper, the film will be analyzed from aspects of variation of English, good English and bad English, code-switching and turn-taking. The emphasis will be attached to the turn-taking. Turn-taking is a complex concept, involving sociolinguistics and pragmatics. Actually, sociolinguistics and pragmatics, sometimes, overlap a lot. This paper tries to carry on the research mainly from the angle of sociolinguistics, with the help of pragmatics.
2 A Brief Introduction to the Scenario
Professor Henry Higgins loves language. He believes that much of the nuances and grandeur of the spoken word is lost. When his friend Hugh Pickering bets that he cannot fool people in upper class into believing a woman from the streets is one of them, he gladly takes the challenge and chooses his protégé.
With a fantastic, heavy Cockney accent, Eliza Doolittle, after much coercion, is selected to become his test subject. As he works with her on her diction, he slowly begins to develop an affection for the girl in spite of their glaring differences in age and backgrounds.
Through clever phrases such as ‘the rain in Spain stays mainly on the plain’, Eliza slowly develops into a linguistically talented woman. To complete the transformation, she is given new clothes and a new look in hopes that she can be decorated as a refined lady.
It is at a horse race that he chooses to expose her to the element he wants desperately to accept her. Prof. Higgins nearly finds success until her rambunctious nature releases itself in the heat of excitement surrounding the equine tournament.
Due to his growing angry with her failures at the party, conflict begins to develop between the two which eventually explodes in tempers causing them to part ways. Meanwhile, Eliza has caught the attention of awkward young aristocrat Freddy who loves her in spite of her flaws.
The Fair Lady also looks deeply into the semi-romantic relationship between Eliza and Henry. Though they are trainer and pupil, there is a bond that connects them with one another. And, although they have had a lover-like spat, they ultimately realize their affections for one another. （张燕，2009）.
3 Variation of Language
The key point of the research into sociolinguistics is the variation of language. In English-spoken countries and areas, people from different social stratification speak English with distinct differences, which are embodied in three aspects: pronunciation,
vocabulary and grammar.（靳梅琳, 2005）
3.1 Pronunciation
The sociolinguist Trudgill (1990) has ever drawn an accent triangle, that is :
RP refers to “received pronunciation, the accent of the best educated and most prestigious members of English society in Britain.”（Janet Holmes, 1987）In Britain and USA, people can be classified as the upper class, the middle class and the working class, taking account of income, education and work and social status. Almost all the people from the upper class and upper middle class speak RP, such as the BBC announcers, teachers and students in Oxford and Cambridge, whereas people from the lowest working class always have the accent which is full of the nonstandard pronunciation.
3.2 Grammar
From the aspect of grammar, the language spoken varies from one class to another. In general, people from the upper class tend to adopt the standard grammar which people from the lowest working class don’t. For example, in standard English, people can say “ I can’t eat anything. ” or “ I can eat nothing.” However, a lot of people ranked in working class express it in the way that “ I can’t eat nothing.” Obviously, they use double negation or even multiple negation to convey the meaning
of negation. As we all know, it’s not in keeping with the grammar of standard English. According to a research, higher the class is, less the error exists. In fact, similar grammar errors are embodied in other aspects, including zero copula and zero possessive, such as “He old.’’ and “we house”. （Hudson, 2000）
3.3 Vocabulary
The third aspect lies in vocabulary. Due to the more educational experience, U-speakers (upper-class English people ) are disposed to complex and uncommon words while non U-speakers favor simple and oral words. In addition, other vocabulary differences come from the daily words because of the different habits. For example, U-speakers adopt sitting room while non U-speakers lounge. U-speakers use lavatory while non U-speakers toilet. U-speakers adopt sofa while non U-speakers settee.
3.4 Dialogue Analysis
Look at dialogue 1 :
Pickering：I'm afraid not. It's worse than before.
Eliza：If it's worse, it's a sign it's nearly over. Cheer up, Capt'n,
buy a flow'r off a poor girl.
Pickering：I'm sorry, I haven't any change.
Eliza：I can change 'alf a crown.Take this for tuppence.
Pickering：I told you, I'm awfully sorry. Wait a minutes. Oh, yes. Here's three pence, if that's any use to you.
Eliza： Thank you, sir.
stranger：You be careful. Better give 'im a flower for it. There's a bloke there behind that pillar...takin' down every blessed word
you're sayin'.
Eliza：I ain't done nothin' wrong by speakin' to the gentleman. I've a right to sell flow'rs if I keep off the curb. I'm a respectable girl, so help me. I never
spoke to ‘im except to ask him to buy a flow'r off me.
This is a dialogue at the beginning of the film. We all know that, the beginning of a film is supposed to demonstrate the figure and status of these characters. How to
make this demonstration natural and smooth? One of good methods is the language. The movie The Fair Lady is a typical example of this method.
From this dialogue, we can easily classified Eliza into the lower class from the hint of her pronunciation and grammar. She often curtails the vowel in words, such as flower-- flow'r, captain-- Capt'n. She often clips the consonant /h/ in words, such as half-- 'alf, him—’im. She often pronounces /in/ instead of / i/, such as taking-- takin', speaking-- speakin'. All these pronunciation errors are typical characteristics of the pronunciation of people in lower class. In addition, her irregular grammar also reveals her status. For example, “it's a sign it's nearly over”. In this sentence, she omits ‘that’ in the nominal-clause.
Eliza’s pronunciation and grammar reveals her social status---working class, undoubtedly, without the help of her dirty and ugly clothes. It lies a foundation for development of following plot. Because of her lower social status, she wants to change her destiny and then find Professor Higgins to correct her poor English. Against that background, the story starts.
4 Good English and Bad English
4.1 Concepts of Good English and Bad English
Good English refers to the standard English, in which words are appropriately used and fit for rule and regulation. In general, good English is supposed to bear widely—accepted and systematic grammar and used by these highly—educated and authoritative people, which could be replete with regional accent. “ It is, however, not necessary to speak RP to speak standard English. Standard English can be spoken with any regional accent.”
Compared with the dialects, standard English has higher status and better prestige, which is regarded correct and pure. Nonstandard English is regarded erroneous and corrupt. In terms of linguistics, all language, including their servile dialects, have the same status. The phenomenon that a language is regarded noble, gorgeous and pure is attributed to the social attitude. The so-called good English and bad English are not caused by linguistic factors but social factors. (Robert, 2000)
Bad English ( nonstandard English ) is often spoken by under-privileged and humble people. So the pronunciation of rural people in Britain is regarded unpleasant. Things are the same in China. In fact, the attitude we hold to dialect reflects our attitude towards people who speak this dialect.
Linguist Robert Pooley made a hierarchic structure for English according to its quality, that is:
Illiterate level is listed at the lowest, whose users are mainly the uneducated people. English at illiterate level has disordered tense, missing verb, inappropriate usage of word and erroneous negation, etc.
Homely level is higher than illiterate level. English at this level, which is always used by children and lower class in the society, is not widely—accepted. Some talented people, having been limited by the background, job or region, have no access to getting better education and enter into the higher class in the society. They talk in this level of English at home.
The third level is informal standard English, which is used by highly—educated people on the informal occasions, such as the teaching class at school, the conversation between two friends. English at this level is not characteristic of pedantry. We can encounter this level of English in the daily life, for example “Who did you send for?’’ or “Where can you get this kind of gloves?”
The fourth level is formal standard English. Avoiding the informal style, formal standard English pays attention to the usage of words and sentences. It has canonical grammar, complex sentence structure, more adjunct with appropriate location and strict verb tense, etc. Formal standard English is usually in written style, including document, expository writing argumentative writing, etc. Some conjunctions, adverbs, prepositions and phrases are the symbols of formal style, that is despite, furthermore, inasmuch as, notwithstanding, on the contrary, etc.
The top one is the literary level. English at this level, based on the formal standard English, puts more emphasis on the choice of words and the harmony of voice. The author usually infuses passion into his or her expressions. There are evident eloquence, such as metaphor, antithesis and irony, which emit the glamour of art and compel readers’ feeling of beauty.
Among these five levels raised by Robert Pooley, the first two are regarded as bad English while the other three belong to good English.
4.2 Dialogue Analysis
According to the features of every level of English, we can easily tell the background upon which one dialogue happens.
Look at dialogue 2:
stranger: You be careful. Better give 'im a flower for it. There's a bloke there behind that pillar...takin' down every blessed word you're sayin'.
Eliza : I ain't done nothin' wrong by speakin' to the gentleman. I've a right to sell flow'rs if I keep off the curb. I'm a respectable girl, so help me. I never spoke
to him except to ask him to buy a flow'r off me.
Stranger : What's the bloomin' noise?
Stranger : A tec's takin' her down.
Eliza : I'm makin' an honest livin'
There is no need for us to stare at the screen. Just listening to this dialogue which is full of evident pronunciation and grammar errors, we can tell all characters in this scene come from the lower class.
Look at dialogue 3:
Mother of Higgins : Colonel Pickering, you’re just in time for tea.
Pickering : Thank you, Mrs. Higgins. May I introduce Miss Eliza Doolittle?
Mother of Higgins : My dear Miss Doolittle.
Eliza : How kind of you to let me come.
Mother of Higgins : Delighted, my dear. Lady Boxington.
Eliza: How do you do?
In dialogue 3, the grammar is standard; the pronunciation is perfect. All people hold RP, the symbol of well-educated people. Undoubtedly, the occurrence of this dialogue is on an occasion in the upper class. People involved in this dialogue are all well-educated and high-positioned.
We can make a comparison between Dialogue 2 and Dialogue 3. Obviously, Dialogue 2 occurs in a scene of lower class society due to the informal language in it, while dialogue 3 occurs in a scene of upper class society because of the formal language in it. When we judge a dialogue is formal or not, we can easily predict whether the scene where it happens belongs to upper class or lower class.
5 Code Switching
5.1 The concept of Code switching
The concept of language variation in sociolinguistics refers to different manifestations of a language, that is a certain language manifestation for universal use by persons who have the similar social characteristic in the same social circumstances. Some sociolinguists use the concept of code, instead of the concept of language variation.（李宗利，2005.）The language variation is often seen as the standard of appraiser to the holder of the variation. Language variations consist of standard variation and non-standard variation.（Martin, 1995.）In terms of history, the standard variation of English is on the basis of the London dialect, which has developed after the invasion of Britain from Norman people and their transfer from Manchester to London. The non-standard variation includes the regional variation and the social variation. The holders of standard variation are usually more pregnant and
higher-positioned. Code-switching means the interacting use of two or more variations in a language by one person. (黎娜，2005)
5.2 Dialogue Analysis
Look at dialogue 4 from the movie:
Higgins：Would you rather marry Pickering?
Eliza：I wouldn't marry you if you asked me and you're nearer my age than what he is.
Higgins：-Than he is.
Eliza ：I'll talk as I like, you're not my teacher. That's not what I want and don't you think it is. I've always had chaps enough wanting me that way. Freddy Hill
writes me twice and three times a day. Sheets and sheets.
Higgins：In short, you want me to be as infatuated about you as he is, is that it? Eliza：No, I don't. That's not the sort of feeling I want from you.I want a little kindness. I know I'm a common, ignorant girl, and you're a book-learned
gentleman......but I'm not dirt under your feel. What I done...what I did was
not for the taxis and the dresses......but because we were pleasant together,
and I come to...came......to care for you. Not to want you to make love
to ...and not forgetting the difference between us, but......more friendly like.
……
Eliza：I'll go and be a teacher.
Higgins：What'll you teach, in heaven's name?
Eliza: What you taught me. I'll teach phonetics. I'll offer myself as an assistant to that brilliant Hungarian.
Higgins：What, that imposter? That humbug? That toadying ignoramus? Teach him my methods, my discoveries? You take one step in that direction, I'll wring
your neck!
Eliza：Wring away! What do I care? I knew you'd strike me one day.
That's done you, 'Enry 'lggins, it 'as. Now, I don't care for your bullyin' an'
your big talk.
This dialogue occurs in the house of Higgins’ mother. After the deceitful success in the dancing party, Eliza can not bear arrogance and negligence from Higgins, and escape from the house of Higgins. When she is complaining to Higgins’ mother, she encounters Higgins, who is trying to seek her everywhere. In the preceding dialogue, there are three areas of code-switching.
(1) The first one is that “I wouldn't marry you if you asked me and you're nearer my age than what he is.”The grammar and the phrase-using in the first half of the sentence are the norm, belonging to the standard code of English. This code-switching is under no intention of Eliza and in agreement of her humble background. However, the more important function lies in making cushion for the conflict in the next sentence. Higgins rectifies her error but encounter her peremptory refuse in the next sentence. Through this code-switching, what is reflected is that Eliza is no longer addicted to the upper-class society and no longer dependent on Higgins.
(2) The second one is that “What I done...what I did was not for the taxis and the dresses......but because we were pleasant together, and I come to...came......to care for you." This code-switching is under the intention of Eliza. She takes “what I did…” instead of “what I done…”. She also changes “I come to …” into “I came to…” She is intends to convert her non-standard code to the standard code, which in fact is the conversion of her attitude of mind. When Higgins mitigates his attitude to Eliza, Eliza also becomes tender and opens her heart. For the sake of matching the confabulation with Higgins, she rectifies her habitual non-standard code, to draw near the distance with Higgins, revealing that she still bears profound love to Higgins.
(3)“Wring away! What do I care? I knew you'd strike me one day.
That's done you, 'Enry 'lggins, it 'as. Now, I don't care for your bullyin' an' your big talk。” In this sentence, Eliza carries on a evident code-switching, changing her standard code into non-standard code, which features the pariah. Similarly, the
code-switching can be attributed to her shift of attitude of mind. When Higgins becomes arrogant again, and even threatens to wring her neck, she is irritated. She carries out a backtalk to Higgins with her born non-standard English, which is a performance of severing relations with Higgins.
The above-mentioned three points of code –switching reveal Eliza’s mental state evidently. We can simply sense her feeling---a mix of love and hatred, towards Higgins. Her hatred comes from Higgins’ arrogance and negligence, while her love to him is irresistible, which lays a foundation for the later plot---her choice of marrying Higgins. At this moment, she is in a painful mood, which inspires audience’s sympathy. All of those are expressed through her language.
6 Turn-Taking
The language is the material of the show work, while the show work is the actual use of language. Being overlapped, linguistics and show work have an inevitable contact. The show work can provide abundant language to anticipate for linguistics research, while theories and methods of linguistics can also provide a new angle of view for show work. This section will make use of the method of word analysis, and combine with discourse upon the interpersonal relations in sociolinguistics, to make an analysis of the dialogue from The Fair Lady and to investigate the link between word analysis and the mold of characters in the movie. Word analysis is a marginal subject, involving a lot of subjects related to actual usage of language. This section will particularly discuss how to carry out the dialogue analysis with the pattern of turn taking in word analysis, to display the personal mental state in the movie.
6.1 The Concept of Turn-Taking
Turn-taking refers to the participants of conversation getting into the roles of talker and hearer alternatively, that is, talking by turn in colloquial words. In general, a turn is from the start of a speech to the end of it. (Martello，1986). The syntax unit of the speaker is reflected through various language features, whereas the hearer predicts the length of the syntax unit through these language features and the time when the talker ends his speech. Then, the hearer can take this chance to start his speech. This moment of shift of the roles of talker and hearer is called Transition Relevance Place( TRP for short). (Sacks et al, 1984). In every TRP, there will be a change of talker. The turn allocation in a conversation is also the allocation of right for speech. There are two methods to realize the change of talker. The first one is talker choosing
the next talker. Under this circumstance, the chosen party has not only the right but also the obligation to get the speech right. If the talker does not choose the next one, then the second method appears, that is self-choice of the hearer, who will get the speech right.
Turn-taking announces the dynamic state characteristics of the conversation. Even an easy chitchat contains the competition of speech right, which is decided by the pattern of turn taking. Conversational participants have no natural right to speak as long as they like under no particular context or the check of power. The allotment of the speech right is decided by the competition and coordination of the talker and hearer under the rule and regulation of the pattern of turn-taking. Being produced from it, turn distribution is a manifestation of both the relations of conversational participants and their characteristics. The pattern of turn-taking represents the latent mechanism, which checks the conversational activity, and provides participants with normal conversation system, rendering them to comprehend the conversational circumstance and predict the mood of others.
Each turn in a conversation is not isolated but sequentially-related. A certain number of turns, which constitute a dialogue and inconsecutive, are turn sequencing. (Harvey Sacks, 1987).Checked by sequencing relation, a conversation, on the basic structure of two words pieces which appears in sequence, has a cohesion between the first pair part and the second pair part. The relation of cohesion is not always the same. It can be weak or strong. The one with the strongest relation is called adjacency pairs. (Searle, 1969）Adjacency pairs consists of two interrelated words pieces from two different persons. Adjacency pairs are characteristic of the phenomenon that the two words pieces (the second pair part and the first pair part) are not only located closely but also inclusive in the same pair type, for example, ask -- answer, invitation—acceptance/refuse, etc. The basic operating rule for adjacency pairs is that the speaker should stop when finishing the first pair part, and then the next speaker should continue to speak the second pair part. (Tsui，1991)
In many situations, the second pair part is infused with different choices, that is preferred option and dispreferred option, producing the concept of preference
organization. For example, the answer of an invitation could be acceptance or refuse. Usually, the acceptance, as the positive answer, is the preferred option, while the refuse, as the negative answer, is the dispreferred option. However, the concepts of preferred option and dispreferred option are dependent on the concrete situation. For example, when we respond to appraisal of others, we usually choose the preferred option. But, when we encounter others self-criticism or modest self-evaluation, the negative answer will be preferred option, because our agreement to other’s self-criticism is tantamount to criticism of others, which should be avoided under the positive courtesy strategy.(Pomerantz，1984 ) The foundation of preference organization is the consideration of face in the social intercourse.(Brown and Levinson，1987) The normal structure, revealed by the rules of preference organization, points a general direction for the daily conversation. But the choice is made by people in accordance with the concrete situation. Whether a person will comply with the rules exerts influence upon the interpersonal and social relationship in a conversation.
6.2 Turn-Taking in Show Work
No dialogues, no performance of character in a drama. (Peter Szondi, 2006). Dialogue in the show work, with daily conversation as basis, is different from daily conversation. In terms of language, only if the dialogue keeps to the rule and regulation of daily conversation, it can be comprehended by audience. The object of conversational analysis is daily conversation. However, when analyzing dialogues in show work, we can use analytical mode of daily conversation for reference.
The predominant difference between the dialogue and daily conversation lies in the fact that the turn-taking in daily conversation is formed with participants’ tacit cooperation, while turn-taking in drama dialogues is arranged by the playwright in advance.
The conversational mechanism seems to have no effect on the drama dialogues. Quite the reverse, the meaning of dialogue is attributed to not only the content of it but also the structure of it. The choice of turn-taking can reflect the figure and status of each participant and the interrelationship of all participants. It is true of dialogues
in show work. Playwrights can not get away from the strategic usage of conversational mechanism when creating characters in show work. On the other hand, readers and audiences must rely on the hint dropped by the conversational mechanism
in the process of understanding of these characters.
6.3 Dialogue Analysis
Look at Dialogue 5 :
Pickering：Higgins, you were superb, absolutely superb.
Tell us the truth now, weren't you a little bit nervous once or twice? Not
during the whole evening?
Higgins：Not when I saw we were going to win. I felt like a bear in a cage hanging about.
Pickering：It was an immense achievement.
Higgins：If I hadn't backed myself to do it, I'd have given up two months ago.
Pickering：Absolutely fantastic.
Higgins：Yes, a lot of tomfoolery.
Pickering：Higgins, I salute you. The silly people don't know their own silly business.
Tonight, old man, you did it. You did it, you did it 。You said that you
would do it。And indeed you did. l thought that you would rue it. I doubted
you'd do it. But now I must admit it, that succeess you did. You should get a
medal or be even made a knight.
Higgins：Oh, it was nothing, really nothing
Pickering：All alone you hurdled every obstacle in sight.
Higgins：Now wait, now wait. Give credit where it's due. A lot of the glory goes to you.
（Insertion: Eliza mistakenly thinks the person Higgins mentioned who has the glory refers to her. She presents a smiling facial expression and prepares to connect his
words. But, Pickering starts his speech closely.）
Pickering：But you're the one who did it, Who did it, who did it. As sturdy as
Gibraltar, not a second did you falter. There's no doubt about it. You did it!
l must have aged a year tonight. At times I thought I'd die of fright. Never
was there a momentary lull.
Higgins：Shortly after we came in, I saw at once we'd easily win. And after that I found it deadly dull
Pickering：You should have heard the 'oohs' and 'aahs', Everyone wondering who she was
Higgins：You'd think they'd never seen a lady before
Pickering: And when the Prince of Transylvania asked to meet her and gave his arm to lead her to the floor. l said to him: You did it. You did it, you did it.
They thought she was ecstatic and so damned aristocratic. And they never
knew that you......did it。
This conversation happens in the living room after Higgins, Pickering and Eliza returned home from the party where they had got incredibly deceitful success. All three persons appear in that scene. Although it is a very short dialogue, we can still put the mechanism of turn alternation into practice. In this scene, Eliza is overwhelmingly depressed because she realizes that she loses her option for future and feels like a doll in two gentlemen. On the contrary, Higgins and Pickering are exultant, sinking into the immense happiness brought by the strong sense of achievement.
6.3.1 Turn Distribution and Turn Length
The dialogue is exchange and interaction in essence. The meaning it expresses is produced by not only the content but also the communication net in the dialogue. In other words, in a dialogue, all these facts, such as “who controls the speech right or who speaks most or who always keep silent”, etc, are attached much significance to represent the meaning, portray the feature of characters and reveal the relationship between characters. (Herman,1991：98). Chat 1 displays the turn distribution and turn length of every character in the dialogue.
Chat1
Higgins Pickering Eliza Total
Number of turns 7 9 0 16
(turn distribution)
Number of words 90 226 0 316
(turn length)
Average length 12.9 25.1 0 19.8
From the Chat 1, we can find that the turn distribution is in an asymmetry. Although Eliza appears in the scene, she utters no words. Turn distribution of Higgins and Pickering hold a balance generally. But turn distribution is not the only index of controlling of speech right. For example, although a person has speech right for once, his lengthy speech time can make him outstanding. From chat 1, we can find that Pickering’s turn length is much larger than Higgins’. Therefore, in this dialogue, Pickering is prepossessing.
In the process of the whole movie, although appearing in many scenes, Pickering, as the bystander for Higgins and Eliza, speaks a few words. But in the scene, he bears the most turn distribution and turn length, which is a real reflection of his triumphant mood undoubtedly. As for Eliza, her zero turn distribution indicates that as a main participant of the successful trick, she is in no mood to share the happiness of Higgins and Pickering. So she has to keep silent.
Her mental state reflects her internal change. She is no more satisfied with perfect oral English, while at this moment, she pays more attention to her future. Her mentality becomes mature. Perfect oral English brings her nothing but vanity only. She still can’t win a bright future and respect from Higgins. That’s why she keeps silent.
6.3.2 Turn Allocation and Turn Sequencing
According to the theory of turn allocation from Sacks et al (1978), when a turn ends, the speaker faces three situations: 1) choosing the next speaker and abandoning the speech right; 2) a hearer’s self–choosing as the next speaker; 3) keeping the continuance of his speech and obtaining the next speech right.
从社会学分析《肖申克的救赎》 软件工程134班刘倩电影《肖申克的救赎》的故事起源于1947年，银行家安迪·杜弗伦的妻子有婚外情，被误认酒醉后为杀妻及其情人的凶手而被判无期徒刑。在肖申克监狱20年的牢狱生活他遭遇屈辱和打击，却始终不失希望，一直以自己的爱好专长在监狱中发光发彩。他自觉因为对妻子不够关心而引起这些悲哀的事件，所以承受20年的牢狱之灾只为赎罪。而坚忍20年后，就立志逃出这个魔窟，不愿承受强加在自己身上的罪责与惩罚，最终成功地过上了芝华塔尼欧的闲散生活。 下面我将从以下几个社会学的角度并结合自己的见解分析这整个故事。 一、社会文化与社会制度 文化是一个复杂的综合体，其中包括知识、信仰、艺术、道德、法律、风俗以及人作为社会成员之一所获得的各种能力和习惯。 社会制度是用来安排人们的活动、满足诸如秩序、信仰，生产等社会需要而设立的一套习俗、民俗、行为模式，如法律制度、家庭制度等。 若想清晰地理解这部电影，了解美国的社会文化背景是必不可少的。 在故事的开始就是审判的一幕，我们不解安迪为什么一直保持沉默，从一般思维考虑，被定罪是应该讲究真凭实据，而在当时，欧美法律体系中这种推理性的司法系统已经足够定罪，对无期徒刑的判决，安迪是无法做多余的挣扎。 入狱不久，安迪就遭受了狱中色情狂魔的屡屡侵犯。当时的美国监狱狱政混乱，狱警只要能在私底下得到好处，对狱霸的暴行从来不闻不问。之后安迪折磨的减轻得多亏美国监狱实施的狱政改革，肖申克开始实行狱外劳动制，让犯人在相当的监督下到狱外劳作，包括从事各种公共劳动。拿典狱长诺顿的话来说，“这是狱政的一大进步，他们将学到诚实劳动的价值。”然而，在狱政历史上受到积极评价的狱外劳动制却也打开了狱方贪污腐败的方便之门……这一系列的文化、制度背景为安迪的救赎路增加了不寻常的色彩。 二、社会角色与社会互动（同性恋、体制化） 安迪的入狱意味着他的社会角色从银行家瞬间中断，成为了阶下囚。和另外一位刚开始就表现惊恐暴躁，以至于被乱棍打死的囚徒相比，安迪只沉浸在个人的世界里，他悠闲的步调和白净的脸庞很快引起“三姐妹”的注意。欲用性的方式侵占。这不单单只是两个社会角色的冲突，还有两个角色间的道德观和荣辱观。“三姐妹”常年监禁，性生活得不到满足，他们摒弃了安迪本有的男性角色而赋予安迪新的身份，这也是他们角色不清的表现。 “体制化”是电影给我最深刻的一个词汇。图书管理员老布的死亡反映的就是由角色中断带来的社会互动问题。 影片里的瑞德说：“这些墙很有趣，刚入狱的时候，你痛恨周围的围墙，慢慢地你习惯了生活在其中，最终你会发现自己不得不依靠它而生存，这就叫‘体制化’。”
社会学视角下的当代大学生人际关系浅析 社会生活中的每一个生活都生活在人际关系网中，每个人的成长和发展都依存于人际交往。人际关系的好坏往往是一个人心理健康水平、社会适应能力的综合体现。大学生处于一种渴求交往、渴求理解的心理发展时期，交往能力越来越成为其心目中衡量个人能力的重要标准。他们开始尝试独立的人际交往，并有意识地发展交际能力。可是，有很多的大学生不能处理好人际关系，存在各种各样的交际问题。不良认知、情绪及人格等心理因素，都不利于良好人际关系的建立。而人际关系不好，又会进一步导致原有心理问题的加重或产生新的心理问题。培养良好的人际效能力，不仅是大学生活的需要，更是将来适应社会的需要。 2013年复旦大学医学院2010级硕士研究生黄洋惨遭室友投毒，于4月16日下午经抢救无效在医院不幸去世。这起校园投毒案的发生再次让我们把关注的目光投向了大学生的人际关系上。对于正在学习、成长中的大学生来说，人际交往是生活的基本内容之一。同学之间、师生之间、老乡之间、室友之间、个人与班级以及和学校之间等错综复杂的社会交往，构成了大学生人际交往的网络系统。但现在大学生的人际关系紧张，宿舍关系不好引发的恶性事件时有发生：1995年清华大学化学系女生朱令被用铊盐投毒；2004年，云南大学学生马加爵杀害寝室4名同学；2011年，中南大学一男学生持刀将该校一女生杀死，随后自杀……综上几个案例，我们可以看到，现在大学生的人际关系并不乐观，不管是嫉妒，还是 仇恨，去杀害自己的同学，这无疑是社会责任，是我们教育的失败。 为了使大学生能更好的处理人家关系，下面我们从社会学的几个角度来分析目前的大学生人际关系。首先，市场经济浪潮的冲击导致学生难以确立相对稳定的价值观念。随着市场经济体制的确立，竞争机制渗透到社会各个领域。大学扩招，并且提前进入社会，大学生的生活方式，价值观念发生了重大变化。当代大学生身处东西方价值观并存互相冲突的复杂环境中，各种外来思潮的涌入，直接影响大学生的价值选择。其次，相关制度改革的不完善导致学生无法获得相对平等的教育权利，社会分层阻碍了大学生人际关系的发展。社会分层的根源在于社会不平等、稀缺的普遍存在，使人们对社会性资源的占有不可能是均等的，因而人们的社会地位总是存在不同的高低层次。社会分层作为最重要的社会不平等的表现方式，已经成为社会的一种存在状态。大学校园中的社会分层主要是指由于家庭、经济、文化等背景因素的介入使得大学生群体的生存状态与心理状态产生差异与分化的现象。我国的大学教育逐步由精英教育转入大众教育，作为大学的主体大学生源于中国社会不同阶层，他们的生活方式选择和生存状态差异是家庭阶层的直观影射。来自社会不同阶层的大学生在角色转换的过程中，将经历生活方式的转型乃至阶层的转换。原有家庭背景和经济状况的巨大差距，使得进入同一学校的学生在人际交往方面显示出不同的表现，大学生人际关系有了新的特点。还有，相关教育真空导致学生心理素质得不到充分发展。尽管社会的急剧变化确实冲击着大学生的精神家园，但内因才是事物变化的根源，有人说没有失败的学生只有失败的教育是颇有道理。大学生需要受到的教育并不只是知识教育，更重要的还有人格教育。目前来看，整个社会的价值取向仍是看重学生成绩是否优秀，能否发表论文，最后能否找到工作等，对大学生的心理辅导还比较薄弱。 每个成长中的大学生，都希望自己生活在良好的人际关系气氛中，如何提高个人的人际魅力，保持良好的人际关系状态，这是每个大学生值得思考的问题。良好的人际交往和沟通能力不是与生俱来的，它需要在社会交往实践中学习，锻炼和提高。所以大学生在处理人际关系时要遵从一定的原则，真诚待人。和身边的人相处，要正直、平等和诚信，营造互帮互学、团结友爱、和睦相处的人际关系氛围。决不能搞拉帮结派，酒肉朋友，无原则、不健康的人际交往。在与人交往时，一方面要真诚待人，既不当面奉承人，也不在背后诽谤人，要做到肝胆相照，襟怀坦荡。另一方面，言必行，行必果，承诺事情要尽量做到，这样才能赢得别人的拥戴，彼此建立深厚的友谊。同时要学会宽容、换位思考，在交往中注意互补互
一部电影,一次震撼;一卷胶片,一串记忆;一个人物,一段历程！要么忙着活，要么忙着死。——《肖申克的救赎》 让你难过的事情，有一天，你一定会笑着说出来。---《肖申克的救赎》这些墙很有趣。刚入狱的时候，你痛恨周围的高墙：慢慢地，你习惯了生活在其中：最终你会发现自己不得不依赖他而生存。这就叫体制化。——《肖申克的救赎》 这世界上只有一件东西深深的在你心底，他们摸不到，拿不走，那不是灰色的石头雕成的，那是希望！----《肖申克的救赎》 世界上有一种鸟是关不住的，因为它们的每一片羽毛都沾满了太阳的光辉！希望是一种坚持，使灵魂深处保有一片自由的天空，为相同的生命做出不同的解释。—《肖申克的救赎》 世界上有一种鸟是关不住的，因为它们的每一片羽毛都沾满了太阳的光辉！希望是一种坚持，使灵魂深处保有一片自由的天空，为相同的生命做出不同的解释。——《肖申克的救赎》 什么是权利？当一个人犯了罪，法官依法判他死刑。这不叫权利，这叫正义。而当一个人同样犯了罪，皇帝可以判他死刑，也可以不判他死刑，于是赦免了他，这就叫权利。----《辛德勒名单》 她不是完美的。你也不是。人们常以为不完美是坏的。实际不完美是好东西，它能让你决定让谁进入你的世界。而两个不完美的组合却是完美的。---《心灵捕手》 生活就像一盒巧克力，你永远不知道你会得到什么。---《阿甘正传》人生和电影不同，人生辛苦多了。如果你不出去走走，你就会以为这
就是全世界。—--《天堂电影院》 我希望你没有说谎。我希望在你内心深处真的对我没有一丁点儿感觉。你最好对我一点感觉都没有。因为只要有那么一点点。你将会后悔你什么都没有对我说。我爱你，里昂。------《这个杀手不太冷》You got a dream, you gotta protect it. People can't do something themselves,they wanna tell you you can't do it.If you want something, go get it. Period如果你有个梦想，就必须捍卫它。那些一事无成的人想告诉你你也成不了大器。如果你有理想的话，就要去努力实现。就这样。——《当幸福来敲门》 面试官：如果一个人连衬衫都没穿就来参加面试........最后我雇佣了这个人，你会怎么想? 史密斯：他穿的裤子一定很棒。———《当幸福来敲门》 绵延的城市中应有尽有，却惟独没有尽头。——《海上钢琴师》 人类，也许是这星球上最神秘的生物，一个充满着疑团的奥秘，他们是谁？从哪儿来？往哪去？怎么确定自以为知道的是什么东西，为何会相信事物？数不尽的没答案的疑问，即使有答案也只会衍生另一个疑问，下一个答案又衍生下一个问题，但最终是否只是同一个问题？同一个答案？---《罗拉快跑》 我们无权选择命运，但我们可以决定面对死亡的方式，只有这样我们才可以像个人一般的被别人追忆。---《角斗士》 有些人能清楚地听到自己内心深处的声音，并以此行事。这些人要么变成了疯子，要么成为传奇。---《燃情岁月》
如何看待中国基本国情 摘要：中国处在一个变革的时代，深入了解中国国情，有助于我们从更高更理性的角度审视国家、看待社会、正确定位自己在社会中的位置，并提升民族自豪感和自信心。本文旨在以个人的把个人阅历和经验进行总结，主要以文化角度，指出中国所蕴藏的能量。 关键词：基本国情、人文文化 首先，这是一个很值得一名中国学生思考的问题，我们在怎样一个国度，有着怎样的“根”，发展出了怎样的叶，我们来自那里将去向何方。 本文中的国情主要指政治和文化。 我们都生活在一定的文化背景里面。一个民族的集体心理素质是最人性，最能代表集体性格，反应民族特质的因素。民族的心理素质很大程度说明我们的文化背景，以及能够用其预测将来的前景。同时民族的心理素质很大程度地受文化氛围的影响。 一、中国人民的心里素质决定中国将拥有很好的发展前景 中国的文化在变化，政治在改革，科技在发展。可是总有些贯穿始终的“中国人的性格”。我们在春秋时期是“百家争鸣”，到了汉朝以后是“孔孟之乡”，到了现代我们是“社会主义”。贯穿始终的是我们基本上是无神论，如果信仰神是“出世”的，我们就是“入世”的民族，出世把“神”放到了最高位置，把“进天堂”等当做了人生最高目的，而我们的道德观念里面始终把“修身、齐家、治国、平天下”等入世目标作为我们评判自己的标准。在人类摆脱“生存”这个问题，开始有了休闲时光以后，开始形成道德，信仰，和哲学。西方无疑是让出世信仰左右了道德，我们则是以入世的礼仪和哲学左右了道德和行为准则。所以我们有着和西方截然不同的集体心理素质。以这种心理素质角度来看，分析中国的前景，比起借鉴英美等欧洲国家，更应该借鉴日本、韩国、新加坡等国的情况。这三国都是在二战后急速发展，并迅速进入发达国家的行列的。所以，中国的发展前景是及其乐观的。 下面对中国人的两条文化特点进行列举，辅助说明上述观点。 1.中国是一个崇尚勤劳的民族。中国的哲学的出发点都是怎样取得更大的“入世”成就。中国人民是极度向往成功、望子成龙的民族，所以一代代的家庭传承下来就是对子女的教育就是怎样达到功成名就。每一个人的向往汇聚成集体意愿的时候力量是很强大的。在非洲，中国工程对的速度极快，甚至有些非洲人认为中国人是不休息的。在世界很多国家，国民都是以享受快乐为中心，这个也是中国能在发展
从社会学的文化角度分析影片《刮痧》 影片中，移民美国的中国传统父亲徐大同小有成就，事业上已经是美国人的他，但作为文化人的他却是一个秉承着中国传统文化的父亲，他不忘“打是亲骂是爱，笃信中医，尊敬父亲。而这也同时为后来的以他及其父亲为代表的中国传统文化与美国文化之间的冲突埋下伏笔。儿子的丹尼斯闹肚发烧，在家的爷爷因为看不懂药品上的英文说明，便用中国民间流传的刮痧疗法给丹尼斯治病，而这就成了丹尼斯一次意外事故后许大同虐待孩子的证据。法庭上，一个又一个意想不到的证人和证词，使许大同百口莫辩。而以解剖学为基础的西医理论又无法解释通过口耳相传的经验中医学。面对控方律师对中国传统文化与道德规范的“全新解释”，许大同最后终于失去冷静和理智……最终判决儿子离开自己被监护起来。为了是孩子回家夫妻两人只有分居。最后昆兰来到美国，终于了解到在中国这是一种在普通不过的小偏方，最后在他的努力下，撤诉，一家团圆。 影片从中医传统疗法的一种——刮痧入手，通过中西方对刮痧的不同看法以小见大，反映了中西方文化﹑教育等差异。 文化的冲突常常在无形中发挥作用，当人们还没意识到它时，后果已经形成。在《刮痧》这部电影中，由文化引起的法律冲突就正是如此。法律冲突的产生可以有多种多样的原因，文化差异是引发法律冲突的一个非常重要的方面。我
们生活在一个法律多元的世界中，当相互接触时，文化观念差异和相互不了解就很可能导致价值观甚至是法律或法律观的冲突。大同的父亲认为，刮痧这个事儿在中国几千年了，这怎么到了美国就说不清楚了？其实很简单，因为在美国的文化里就没有一种要把人搞得“伤痕累累”的治疗方法，就没有用“精”、“气”、“神”、“经”、“脉”对人体生理系统进行解释的“科学”。在这种文化背景下，美国的法律就不可能为刮痧留下合法的位置，把一个人弄得伤痕累累不是虐待还能是什么？只有当文化差异或者说文化盲区被认识后，冲突才可能解决。影片中，大同的麻烦来源于他的老板、儿童福利局的官员、法官对刮痧一无所知，来自于美国法律对中国文化的认识盲点。而大同的转机则始于这些美国人逐渐认识、理解刮痧，进而理解大同（以及其父亲）的行为。他们对异文化的认识态度令人感动，因为文化差异而导致的法律冲突，最终只能通过文化的交流和理解而得到真正地解决。 当一个人到一个和自己的文化有很大差异的地方，往往会发现身处于一个陌生的世界。即使语言相通但仍可能不知道怎样的行为才是恰当的或礼貌的，甚至还会因为对规范的不了解导致误会或冲突的发生。这是因为文化具有整合功能，使一个社会的价值观念、规范、社会结构趋向于整体化，来自不同文化的个体融入必将很困难。就像电影里的大同，抱着“打是心疼骂是爱”的想法对待自己的儿子却换来老师的严厉批评；大同的老板就是不明白为什么大同打丹丹是给自己
我看社会学 文稿归稿存档编号：[KKUY-KKIO69-OTM243-OLUI129-G00I-FDQS58-
杭州电子科技大学 人文与法学院 期末考察 课程名称：社会学 任课教师：褚倩 姓名：柯伟仁 学号： 成绩： 我看社会学 对于社会学，感觉有很多话想说，但是一时竟不知从何说起。先讲一下这门课，是我一个同学跟我推荐的。刚开始对社会学基本没有什么认识和了解。接触之后感觉很对我胃口，觉得很有意思，是我上过的最感兴趣的一门课。这门课上完之后竟觉得有一种意犹未尽的感觉。就像一部自己很喜欢的电视剧，看完之后那种还想有续集的感觉。随着课程的推进，慢慢地对这个世界有了另一种视角，一种“社会学的视角”。对这个世界，这个我们时刻身处其中的社会，有了更加深刻的认识和了解。我觉得社会学很广泛，要定义真的很难。但是就我现在的理解阶段，我觉得社会学是一门研究人类社会发展规律的学科。其实也不能说是规律，因为社会学研究的方向跟自然科学不一样，社会学研究的事物时刻在变化着，不存在长久的不变的事物。一个时期有一个时期的特点。比如价值观。不同时期，不同地区，人们有着不一样的价值观。人们的价值观会随着的推移而改变，但是不能说是因为时间而改变的，而是随着时间的推移，人周围的环境会发生变化，这个范围就很宽泛了。价值观会受很多因素影响，比如经济，科技，教育，甚至是看起来风牛马不相关的事物，都有可能会影响人们的价值观。怎么好像扯到哲学去了呢-_-||不过想想，社会学跟哲学有很大的相关性。不知道是不是上过这门课的原因，我感觉社会学无处不在，生
活着随处可见社会学的影子。很多事情，很多现象都可以用社会学来分析。就比如另一门公选课《WTO与全球化资本投资》，老师讲的是滔滔不绝，侃侃而谈，深度剖析解读国际大事背后的不为人知的事情。但是，我感觉有很多社会学的影子。比如他讲到荷兰这个国家，红灯区合法化，吸大麻合法化。荷兰是一个典型的高福利的发达国家，社会已经进入一个高度发达的阶段了。那里生活很悠闲，因为极高生的产效率极大地解放了生产力。但是老师说那里的人并不是都很幸福，荷兰失业率很高自杀率也很高。因为有些人找不到工作，他们的工作很大部分都被机器取代了，这些人过久了这种生活感觉不到自己存在的价值，然后就自杀了。还有荷兰吸大麻的合法化。在荷兰。吸食大麻已经到了一个触目心惊的程度，控制不住，到这种程度严抓严打反而不如让它合法化，这样危害会降低。这个和老师在课堂上讲到的我国的红灯区问题是一个道理。既然产生问题的根源还在，那么消灭它是不太可能的，那最好的结果就是让危害降到最低。至于我们政府为什么不这么做，应该肯定是有原因的，可能还有其他考量。至于政府的做法是不是正确的，这个我保留意见。由此可见，社会学真的是一门非常有用的学科，也是非常科学的学科。一些社会上的问题，最好的解决办法往往是从社会学的角度出发，去研究，去分析，然后再对症下药。这样往往效果奇佳，比那种硬性的死办法好多了，从根本上解决问题。 社会学不仅是一门很有趣的学科，还是一门很实用的学科。社会学让我变得更理性，也让我变得更成熟，还让我的，怎么说，“格局”，变得比原来的大。以前，只会关注自己的一亩三分地，现在会看到更多的东西，也会关注了解一些看起来跟自己不相关的事。对这个社会更加了解，全面。可能看起来我了解这些没什么用，改变不了什么。但是了解这些，我会改变自己。比如，课上学到有关镜子的理论，就感觉很有道理，虽然这个道理和平时大家经常说的尊重别人有点像，但其实是不一样的，这个范围更加广，尊重他人仅仅只从这个理论出发得出的其中一个观点。有了新的理解和体会。我们是彼此的镜子，知道这个以后，我们就会知道要学会换位思考，从别人的角度出发，想想我们的所作所为会
肖申克的救赎经典台词 1.Get busy living ,get busy dying岌岌余生 , 岌岌于死 2.terrible thing,to live in fear. 生活在恐惧中是很可怕的 . 3.all I want is to be back where things make sense.where I won' t have to be afraid all the time .我只想回到能适合我的地方 . 令我不用再担心受怕的地方 . 4.Hope is the good thing maybe the best things .and no good thi ng ever dies.希望是好东西 ,也许是世间最好的东西 . 好的事情从不会逝去 . 5.It takes a strong man to save himself, and a great man to sav e another. 坚强的人只能救赎自己，伟大的人才能 6. “ some birds aren't meant to be caged, that's all.Their feathers are just too bright...” 有的鸟是不会被关住的，因为它们的羽毛太美丽了！ 7.Fear can hold you prisoner,Hope can set you free. 恐惧让你沦为囚犯。希望让你重获自由 8.Hope is a dangerous thing .Hope can drive a man insane.希望是件危险的事。希望能叫人发疯。 9.Red narrating: u hate'em, then These walls are you ge t used to kind of funny ’ em.Enough like that. time passes, First y o gets s o you depend on them. 瑞德话外音：这些高墙还真是有点意思。一开始你恨它，然后你对它就习惯了。 等相当的时间过去后，你还会依赖它。 10.Red narrating:I have no idea to this day what those two Itali an ladies were s inging about.Truth is, I don ’ twant to know.So me things are better left unsaid.I'd like to think they were singin g about somethings so beautiful,it can't expressed in words,and it makes your heart ache because of it.I tell you,th ose voices so ared higher and farther than anybody in a great place dares to d r eam.It was as if some beautiful bird had flapped into our drab little cage an d made these walls dissolve away,and for the bri efest of moments, every last man is Shawshank felt free. 瑞德话外音：到今天我还不知道那两个意大利娘们在唱些什么，其实，我也不想知道。有些东西还是留着不说为妙。我像她们该是在唱一些非常美妙动人的故 事,美妙得难以用言语来表达，美妙的让你心痛。告诉你吧，这些声音直插云霄，飞得比任何一个人敢想的梦还要遥远。就像一些美丽的鸟儿扑扇着翅膀来到我们褐色牢笼，让那些墙壁消失得无影无踪。就在那一刹那，鲨堡监狱的每一个人都感到了自由。 11. （ On playing opera records in the prison） Andy Dufresne:Here ’ swhere it makes the most sense. You need it so you don"t foget.Foget that there are palce in the world th at aren ’ tmade out of stone That there’ s---a there ’ as --- there’ s s omething inside that’yours, that they can ’t ouch. ( 在监狱里放歌剧唱片 )
用传播学原理分析电影广告 刘岚2011010717 1：选题意义： A：理论意义：电影广告的最大价值体现在该媒介对受众的影响力上。与传统的广告媒介和形式相比，电影广告表现出巨大的广告价值、独特的表现手法及传播优势。有利于研究电影信息系统及其运行规律，从而促进传播学在“泛化”的过程中保持自身的独立性及发展。 B：现实意义：通过用传播学原理分析电影广告，让消费者置身其中并产生难以忘怀的体验，促使消费者的购买欲望潜移默化的产生。电影将剧中人物所使用某种产品的便利性和由此产生的情趣赋予给观众，产生心理互动，对该产品和服务产生某种亲切感，认同感，熟悉感，消费欲望。从而激发消费者的购买欲望，达到产品的利益最大化。 2：整体提纲： A：电影广告的产生及发展 B：电影广告的分类 C：从传播学原理分析电影广告 D：电影广告中产生的问题 E：如何正确的利用电影广告 3：基本内容 A：电影广告的产生及发展： 电影广告的定义：电影是一种文化产品，也是一种媒体，以电影为媒体的广告，在美国、欧洲、日本、南美等国家已成为与电视、报刊并重的大众媒体广告。在中国，电影广告方兴未艾。广义的电影广告是以电影及其衍生媒体为载体的广告形式。 最早的隐性商业广告出现在1951年电影《非洲皇后》中，片中明显展示了戈登杜松子酒的商标，我国直到1992年才开始将其引进电影中来。从《大碗》、《2046》、《手机》、《功夫》，《非诚勿扰》到如今的《唐山大地震》《二次曝光》等，电影广告的热潮一浪高过一浪。 B：电影广告的分类 根据广告主、广告目标的不同，电影广告可以分为两大类： 1：电影推片广告。 2、电影搭片广告。 根据广告具体表现形式的不同，电影广告又可以分为两类： (一)记载在胶片上通过影院传播的广告 包括如下几类： 1、电影内的软广告 2、电影放映中的贴片广告 经营方分为：
辩证角度看社会 ---读《中国革命与欧洲革命》后感 马克思提出了“两级相连”这个朴素的谚语，在他看来适用于生活的一切，但它是不是适用于一切不能定论，但中国的革命就是这个原则的例证。 文章运用对立统一的原则，分析说明中国与侵略中国的西方资本主义国家这“两极”之间的相互影响和相互作用的关系，说明中国革命和欧洲革命之间相互影响和相互作用的关系。 在这篇文章中，里面的矛盾是中国和英国及其他一些欧洲国家。表面上看来，他们是相互对立的，英国用战争的方式保护其从事鸦片战争的恶行，打开中国市场，改变了中国的社会性质，对中国社会生活产生重大的影响，马克思主要从经济和政治方面来谈，经济上，导致白银大量流出，阻碍了中国民族工业的发展，经济赔款加重国民税收，导致民不聊生；中国部分官员纵容贩卖鸦片的恶行，他们贪污腐败，腐蚀了中国封建家长制的权力体制。还影响了社会风尚等其他方面，中国社会开始解体，太平天国运动是推动中国封建社会解体的重要一环。 马克思接着提出中国农民起义对英国，及对欧洲的影响。马克思用茶叶为例分析了中国农民起义对英国及欧洲的影响。英国市场的扩大赶不上工业革命的进程，英国急需扩大市场，于是降低了茶叶税，而这一做法直接导致中国茶叶涨价，农民革命给当地的政局以压力，茶叶商家决定不给现金不能进行交易，当时正处于金银缺乏的时候，对英国的茶叶进口带来影响。外国势力如果干涉农民起义，那么中国与外国的一切茶叶贸易联系会受到严重的阻碍，英国的市场进一步扩大的想法也会受影响。 从欧洲的角度，“茶叶这样一种必需品涨价和中国这样一个重要市场缩小的时候，将正好是西欧发生歉收因而肉类、谷物及其它一切农产品涨价的时候。这样，工厂主们的市场就要缩小，因为生活必需品每涨一次价，国内和国外对工业品的需求量都要相应地减少。”这些都影响到欧洲社会，“中国革命将把火星抛到现今工业体系这个火药装得足而又足的地雷上，把酝酿已久的普遍危机引爆，这个普遍危机一扩展到国外，紧接而来的将是欧洲大陆的政治革命。”，即这次农民革命沉重的打击了西方列强，加深了资本主义经济危机，引发了欧洲大陆各国的政治革命。 “当西方列强用英法美等国的军舰把“秩序”送到上海、南京和运河口的时候，中国却把动乱送往西方世界。”马克思的这句话让我们看到他运用的是用对立统一的原则和联系的观点去看问题。中国与英法美是对立的，但是他们也相互依存与相互影响，相互联系，倘若外国列强对中国农民起义进行干涉，那么会引发危机，阻碍贸易的进行。 读了这篇文章，最令人深刻的是马克思的看问题的角度，在日常生活中，学习中，我们不能片面，孤立的看问题。我们要用联系的观点去看问题。也要
运用社会学的角度分析电影《人生》 电影《人生》描述了发生在20世纪八九十年代中国农村青年的生活，展现了在当时社会体制下城乡在生活方式、价值观念等方面的差异性，揭示了当时城乡结构不合理、城乡发展不协调的社会现状。 本片讲述的虽然是一个传统“痴心女子负心汉”的故事，但由于男主角高加林的心态和遭遇，恰好能切实地反映出当时大陆知识青年渴望从农村回归城镇，并且不惜一切往上爬的时代风气，因而能引起广泛的讨论和共呜。高加林原是小镇中的教师，被干部的儿子三星挤掉，让他再做农民，高情绪上无法适应，活得相当痛苦。村姑巧珍对高加林一向仰慕，乃主动接近他。正当二人恋情公开之时，高的叔叔当上本县大官，安排他到城里…… 高加林高中毕业后，本可以留在小学任教，但这个名额却被大队长高明楼拿去给了自己的儿子。加林对此非常生气，并受到很大打击。村里的善良姑娘刘巧珍虽然一字不识，却欣赏并恋慕有文化的加林。巧珍时常帮他，并向加林表白了自己的心意。巧珍的爱使加林感到格外温暖，也热情给予了回应。两个人一起在村里搞起了卫生革命，治理井水，干得有声有色。但他的兴趣还是在写作上，不愿意永远就这样生活在村里。高加林的叔叔转业后当上了地区劳动局局长，高明楼怕顶高加林名额的事会得罪他，便想办法将加林安排进县委当通讯干事。加林的老同学黄亚萍倾心于工作出色的加林，并努力帮他在报社谋得职位。虽然远在乡下的巧珍一直思念着加林，但加林留恋城里的优越生活，决定与巧珍分手。但本以为能留在城里的加林，因黄亚萍前男友的母亲气愤于儿子被抛弃的事情举报高加林到县委工作的手续有问题，加林的叔叔不循私情，将加林解职。加林回到村里，发现巧珍已被迫嫁给他人，他开始重新思考自己的人生。 从电影中我们不得不反思一个问题，在占我国人口总数一半多的农村人口中，有多少像高加林这样出身贫寒又想改变命运的人因为受到城乡体制的压抑而失去机会，一辈子无法实现个人价值呢？伦理社会学讲到成功的要素有德、志、力、才、命五大要素。德为道德，志为志向，力为后天努力程度，才为天资、天赋，命则是命运，在这些要素里，命运总是最先发挥作用的。而泾渭分明的城乡体制决定了个人命运的不同。以高加林为例，他出生在一个落后的农村，贫寒的家境首先就让他成为弱势群体的一部分，而又因为他是农村人，所以注定他只能拥有与城市人相比较少的资源，包括物质与精神资源，而农村落后的生产力也无法使他迅速脱贫致富，改变世代贫穷的面貌，而他又是一个接受了较高等教育，对人生有较高的追求，渴望实现他的人身价值的知识青年。所以，矛盾产生了，当他靠现有的力量和资源无法支撑他的理想和抱负时，他就只能利用外界的力量去改变自己获取资源的渠道，但是这种渠道单一而又不稳定，因此他的失败是必然的。 其实由于中国特殊的国情决定了中国的社会结构，早期中国历史发展致使阶级及城乡的划分尤为明显，城乡分化尤为突出，城乡之间的资源占有严重不平衡，社会机会、财富占有、职业地位以及教育、医疗卫生、社会保障等严重不平均。在这种体制下，农村居民在社会上的整体处于弱势地位，他们通常表现出来的特征就是有强烈的自尊心，担负这家庭的振兴，希望获得较多的社会财富，改变农村身份，获得比原始身份稍高的社会地位。其实他们的愿望很简单，没有像城市的孩子那样想成为科学家、商业大亨、明星、运动员什么的，这都是由他们从小的生活环境及生活阅历决定的。 中国作为一个社会主义国家，最终是要实现共产主义，而城乡的差异性正是实现共产主义，实现共同富裕的障碍，它使社会成员在资源的占有上产生了不均，在机会的选择上不平等，在财富的占有上不均衡，在人身价值的实现上不公平。 在社会主义建设中，要进一步调整城乡结构，缩小城乡差距，合理调整收入分配，改善农民生活水平和提高农民生活质量，完善和健全社会保障机制，促进社会公平的实现，调整
1.曾经有一份真挚的爱情摆在我的面前，我没有珍惜，直到失去的时候才后悔莫及，尘世 间最痛苦的事莫过于此。如果上天能再给我一次机会的话，我会对这个女孩说“我爱你”。 如果非要在这份爱加上一个期限，我希望是：一万年……——《大话西游》 2.每个人都在忙，要么忙着活，要么忙着死，只有这两种选择。——《肖申克的救赎》 3.风往哪个方向吹，草就要往哪个方向倒。年轻的时候，我也曾经以为自己是风，可是最 后遍体鳞伤，我才知道，我们原来都只是草。——《艋舺》 4. 有人住高楼，有人在深沟，有人光万丈，有人一身锈。世人万千种，浮云莫去求，斯人若彩虹，遇上方知有。——《怦然心动》 5. 生活就像一盒巧克力，你不知道你的下一块口味是什么。——《阿甘正传》 6. 你以为躲起来就找不到你了吗？没有用的！像你这么出色的男人，无论在什么地方，都像漆黑中的萤火虫一样，那样的鲜明，那样的出众。你那忧郁的眼神，唏嘘的胡渣子，神乎其神的刀法，和那杯dry martine，都深深地迷住了我。 ——《国产零零柒》 7. 如果，我多一张船票，你会不会跟我一起走？ ——《花样年华》 8. 我等这个机会等了三年，不是为了证明我比别人强，只是要证明我失去的东西，我一定要夺回来。 ——《英雄本色》 9. 我已经老了，在人来人往的大厅，有一位老人他向我走来。他说我认识你，那时的你还很年轻，魅力，你的身边有许许多多的追求者。不过跟那时相比，我更喜欢现在你这经历了沧桑的容颜。 ——《情人》 10. 每个人都会有过去，就算你是一个杀手，一样会有小学同学。每回碰上这种人，他们都会问同样的问题。 ——《堕落天使》 11. 有一天我的小孙子问我：“爷爷，你是大战中的英雄吗？”我回答：“不...但是我与英雄们一同服役。” ——《兄弟连》 12. 不管怎样，我终相信这个世界是美好的。 ——《安妮日记》 13. 面包会有的，牛奶会有的，一切都会有的。 ——《列宁在1918》 14. 如果人生面对的最大苦难只是死亡，那还有什么可以害怕的呢？人生没有解决不了的事，也没有无法面对的事。 ——《新不了情》
从传播学角度解读电影《浓情巧克力》 剧情简介 平静的小镇在寒冬里迎来了火热的一天。 年轻的薇安带着女 儿来到这里，在当地教堂的对面开了一间名为“天上人间核桃 糖”的巧克力店。 巧克力香浓的气味在小镇上空飘荡， 吸引众多 小镇居民，而神奇的是，薇安每次做出来的巧克力，都能满足顾 的生活有了新的色彩。但是，这却激怒了镇里的神父和贵族，他 们视薇安为异类，镇里出现了对立的两派。而这时，吉卜赛人洛 克斯远道而来。 加入了薇安的阵营， 他令薇安勇敢地打开了自己 内心的欲望。二人共浴爱河。却想不到神父盘算着如何把这个 不祥”女子赶出小镇，于是，新旧观念的大碰撞开始了。 传播障碍导致沟通困难 1959年宗教统治下的欧洲是一个充斥着理性与非理性矛盾 的社会。 从实证主义的角度来看， 宗教本身就是一种非理性的产 物。是群体领袖利用群体丰富的想象力和推理能力的缺乏而建立 起来的统治。 然而， 正是这样一个非理性的存在却将理性作为教 这种理性就是对肉体和道德的约束， 群体的无形压力以及 整齐划一的要求”。 漂泊的异乡人薇安带着女儿进入法国一个封闭的小镇。 从到 来的第一天便同以镇长为代表的保守势力形成对立之势， 薇安崇 尚自由。 欲望的满足而不是理性的禁锢， 与以镇长为代表的保守 势力的对立是通过四件事情表现出来的： 1. 镇长不满薇安在戒斋日开巧克力店。 邀请薇安跟小镇居民 起做弥撒遭到薇安的婉拒： 客的心理需求， 发掘他们心中隐蔽的渴望。 很多人原本封闭灰暗 义，“
2.对待约瑟芬和卓基夫妻关系的不同态度，薇安收留约瑟 芬，鼓励约瑟芬离开卓基寻求自己的生活，而镇长则企图竭力维持约瑟芬和卓基的夫妻关系，维护上帝的尊严； 3.卡洛林因为不满母亲阿曼的放纵。并与母亲在教育孩子的观点上有很大差异与母亲关系冷漠，并阻止母亲见孙子，薇安则积极帮助阿曼祖孙相见； 4.对待洛克斯等船上漂泊者的不同态度，镇长认为“河鼠” 道德败坏（所谓“刻板成见” ），要求全镇人对他们实行联合抵制，而薇安则对他们表示欢迎和帮助。 影片中由此体现出的薇安与镇长及镇民之间的传播障碍主要是立场、信仰和观念方面的障碍。由于人们不同的信仰、观念和处于不同的利益方面的考虑，时常会发生沟通信息的排斥、误解或曲解的现象，导致传播的障碍。不同的政治观点、宗教信仰的人更易发生沟通中的障碍。 沟通，发生在保守主义者和自由主义者之间。前者将欲望视作人类的原罪。认为欲望是一切罪恶的本源，后者反叛一切湮灭人性的教条与习俗，推崇欲望的释放，勇于追求超乎世俗偏见的幸福。沟通，发生在镇长和流浪者之间，前者战战兢兢、严于律
社会学视角下的春运问题 摘要：春运是近几十年来我国社会中出现的新的现象，这种现象的出现有其深层次的社会原因。社会转型时期，经济的迅速发展要求劳动力市场不断开放，城乡差距的拉大也促使人们在理性思考后选择进入城市，成为社会流动人员。传统文化观念深入人心，随着春节的到来，大多数农民工开始集中返乡探亲，由此形成春运难题。根据春运背后这一系列的社会经济文化原因，从协调区域发展、统筹城乡一体化建设以及利用传统文化分流等角度出发，结合现实，以期找到有效的缓解春运压力的方法。 关键词：春运社会转型社会流动传统文化 春运是中国大陆在农历春节前后发生的一种大规模的高交通运输压力及堵塞的现象。春运问题真正呈现在人们视野之中，并且迅速引人瞩目始于20世纪80年代中后期。“大批四川的民工开始涌向广州等大城市，随后河南、湖南、江西、安徽等省农村剩余劳动力纷纷外出”，【1】形成了大规模的民工潮,尤其在春节期间,交通运输压力骤增。中国中央电视台将春运形容为“全球罕见的人口流动现象”。春运期间客流量非常大，近十年来，每年的春运的客流量都超过大陆的总人口。春运一般发生在春节节前15天及节后25天左右，因此每年春运约40天。一般意义上的春运，是指中国大陆的省际、省内交通，一般不包括大陆与港澳之间的交通、海峡两岸间交通以及国际交通。春运是近几十年来才形成的一个特殊的社会现象，它与人们的生活息息相关，并能在短时间内可以引发多种社会问题，这些都使得人们对春运的关注程度越来越高，也不禁探索春运背后的深层次原因，以有效的缓解压力。 一、春运的实质 在春运运送的人员中，民工、学生、探亲者构成了其客流量的主体。据相关媒体报道，民工流占据了春运客流总量的30%到40%， 在某些农民工集中的地区，所占比例一度达到80%，学生的比例也达到了30%左右。【2】学生到外地求学，每逢寒暑假都会集中返家，而寒假的假期时间与春运时间存在很大程度的重合，也加剧了春运的压力。同时一定程度上说明了我国教育资源的不平衡。而作为春运运送主体的民工，无论是从中国当前发展的阶段还
听别人说这世界上有一种鸟是没有脚的，它你能一直飞呀飞，飞累了就在风里面睡觉，这种鸟一辈子只能下第一次，那便是它死亡的时候。——《阿飞正传》 说的是一辈子 差一年，一个月，一天，一个时辰… 都不算一辈子——《霸王别姬》 我要你知道，这个世界上有一个人会永远等着你。无论是在什么时候，无论你在什么地方，反正你知道总会有这样一个人——《半生缘》 空气在颤抖，仿佛天空在燃烧 是啊，暴风雨要来了——《保卫萨拉热窝》 你得放弃一切，你必须没有恐惧，面对你总有一天会死的事实，只有抛弃一切，才能获得自由——《搏击俱乐部》 当你不能够再拥有 你唯一可以做的，就是令你自己不要忘记——《东邪西毒》 当你年轻时，以为什么都有答案，可是老了的时候，你可能又觉得其实人生并没有所谓的答案——《堕落天使》 你可以像疯狗那样对周围的一切愤愤不平，你可以诅咒你的命运，但是等到最后一刻到了之时，你只能轻轻放手——《返老还童》 I tried,at least I tried ——《飞越疯人院》 路上的人喜欢追根究底，虚度了很多光阴，冬天忧虑夏天的迟来，夏天忧虑冬天的将至，所以你们不停的到处走，追求一个遥不可及…四季如夏的地方…我并不羡慕… ——《海上钢琴师》 一个人杀了一个人，他是杀人犯；当他傻了成千上万人后，他是大英雄，是好人 ——《和平饭店》
没有人想当英雄 只是时势造英雄——《黑鹰堕落》 人活着 从来就不是自己一个人的事——《霍元甲》 以为我贫穷、相貌平平就没有感情吗？我像你起誓：如果上帝赋予我财富和美貌，我会让你难于离开我，就像我现在难于离开你一样。可上帝没有这样安排，但我们的精神是平等的，就如你我走过分母，平等地站在上帝面前——《简爱》 永远不要恨你的敌人 这会影响你的判断——《教父》 见过磕长头的人吗？ 他们的脸和手都很脏，可是心灵却很干净——《可可西里》 这就是人间 不求幸福而悲哀 不求宁静而痛苦——《乱》 上帝会把我们身边最好的东西拿走 以提醒我们得到的太多——《四根羽毛》 每天呆在这里，会把这里当成是全世界，不再追寻，不在拥有，你得离开一阵子 ——《天堂的电影院》 如今我走过了人生十字路口，我知道哪条路是对的，但我从不走，为什么？因为我妈太苦了 ——《闻香识女人》 我挥手前尘往事，犯下重罪的小笨蛋，我想跟他沟通，让他明了，但我办不到，那个少年早就不见了，只剩下我垂老之躯——《肖申克的救赎》 什么事权力，当一个人犯了罪，法官依法判他死了，这不叫权力，这叫正义；而当一个人同
从传播学视角探讨韩剧成功进入中国市场的原因 摘要：１９９７年，讲述保守家庭和开放家庭之间联姻故事的韩剧《爱情是什么》在中央电视台播出后引起极大反响，打响了韩剧进军中国市场的第一枪。此后，《蓝色生死恋》、《玻璃鞋》、《爱上女主播》 等韩剧在全国相继热播，而几乎每一部播出后都得到了各阶层中国观众的一致认可。央视索福瑞最新数据表明，央视八套“海外剧场”播出的韩剧《人鱼小姐》前４０集全国平均收视率为０.６１％，第一集收视率为０．３６％，而第３９集的收视率更是高达０．９７％，稳居全国同时段第一。本文通过传播学的视角，对韩国影视产业政策、韩剧观众的收视心理，以及韩剧的市场营销策略进行了深入的学理性的探讨，并与国产剧的生存现状进行对比，总结了韩剧在跨文化传播中的成功经验，给中国大众文化的对外传播提供了启示性的思考。 一、从传播的“深层控制”理论透视韩国影视产业的媒介生态环境 所谓“媒介生态环境”就是指大众传播机构生存和发展的环境，它主要由政策环境、资源环境、技术环境和竞争环境构成。其中政策环境对媒介生态环境有举足轻重的影响。从传播学的控制分析的角度讲，任何大众传播机构做为信息的传播者，都不能随心所欲的传播信息，它的传播行为总是受到社会特定的政治制度、政策法规、文化范示构成的潜网的深层控制。电视剧作为一种文本信息，它的生产和传播也必定受到这些因素的影响和制约，其中以政策和法规的影响最为突出。 韩国在遭遇亚洲金融风暴袭击后，重新认识文化产业，并将其作为21世纪发展国家经济的战略性支柱产业，积极进行培育。1998年正式提出“文化立国”方针。韩国文化观光部长南宫镇曾表示:十九世纪是军事征服世界,二十世纪是以经济,到二十一世纪是以文化建构新时代的时候。1999年至2001年韩国政府先后制定《文化产业发展5年计划》、《文化产业前景21》和《文化产业发展推进计划》，明确文化产业发展战略和中长期发展计划，推出一系列重大举措，有力地推动了文化产业的发展。 影视产业作为文化产业中的重要组成部分，在新的政策的扶植下得到了飞速的发展。大量的资金投入，保证了韩剧的高质量制作水准。在当今电视“内容为