成都理工大学工程技术学院本科毕业论文
题目：电影《离魂异客》中的威廉 布莱克由死亡
到重生的象征意义
作者：刘智蕙
学号：201020701220 指导教师：关英森
专业：英语
时间：二〇一四年五月
The Symbolic Meaning of William Blake’s Dea th and Rebirth in Dead Man
Major: English
Name: Liu Zhihui
Supervisor: Guan Yingsen
Abstract
Dead Man, a mature work of Jim Jarmusch bespeaks strong influence of the beat generation on him. The director not only employs poetic symbols, but also makes use of the details of the life to put across to his audience the cultural meaning of his film. The film makes a point of revealing a cultural diversity in ethnic and religion, while criticizing the racism or religious ethic. This film expresses that in spite if their being strangers to the cultures other than their own, the various individuals, ethnics and cultures want to mix together keep connections with each other, but in vain because they realize that they still keep the special on origins.
The hero of the film, William Blake, is ostracized from the mainstream of society, who lives beyond the pale of social revolution, law and morality. Accountant William Blake and Indian Nobody with different cultures stand in sharp contrast in terms of life background and culture legacy they inherited. This thesis wants to unravel the meaning of ubiquitous symbols therein from different angles, especially the symbolic meaning of death and rebirth on the part of the hero. For instance, music of the film can supple footnote and help explain cultural milieu, and ethnical traits and customs. Dead Man prompts the viewer to look at the movie from a deeper, symbolic point of view—the protagonist?s spiritual voyage of death and rebirth.
Key Words: symbol, spiritual essence, voyage of death and rebirth
摘要
作为美国吉姆·贾木许成熟期的作品拍摄的电影，《离魂异客》标明导演深受垮掉派作家影响较深。导演运用富有诗意象征象征追求，和生活细节来表现主题：民族与宗教的差异，同时隐含着对种族主义，阶级或宗教伦理的批判。这部电影体现了不同的个人、民族、文明之间尽管互相好奇，并有彼此交流的趋向，却无法根本融合这一事实。
这部电影中的主角威廉姆·布拉克是一个被主流社会边缘化的人物，他生活在社会变革，法律，道德的影响之外。会计布莱克与印第安人“小人物”形成为深刻的对比，他们之间不仅存在生活背景带来的差异，而且还体现了他们各自继承了不同的文明遗产。本文旨在探讨电影中的象征意象的文化涵义,尤其是电影的男主角的死亡与再生的象征意义。还比如其中音乐对影片的时代气氛、民族色彩、民间风俗方面作出补充与阐释。导演希望观众深入的探究其中的象征意象的含义，关于主人公的精神死亡与再生的含义。
关键词：象征精神内涵死亡与再生之旅
Contents
Abstract ........................................................................................ I 摘要............................................................................................. I I Contents .................................................................................... III Introduction (1)
1. The Summary of Dead Man (2)
1.1. The Characters of Dead Man (2)
1.2. The Theme of Dead Man (3)
2. Symbolic Meaning of Blake?s Death and Rebirth (6)
2.1. Introduction to Blake?s Death and Rebirth (6)
2.2 Symbolic Meaning of Blake?s Death and Rebirth (7)
Conclusion (11)
Bibliography (12)
Acknowledgments (13)
Introduction
Symbolism derives from the Greek word …Symbolon?, whose original intention refers to …a piece of wood divided into two parts which put thing together again means friendship?; Symbolism was a late nineteenth-century art movement. It is seen in poetry and other arts such as film. The film Dead Man which this thesis wants to explore belongs to late symbolism.
The film abounds in symbolism such as story, clothes, words and music and so on. The quoted poems in the Dead Man, as well as its title, the opening scenes, embody the concepts, ideas or messages that the filmmaker wants to get across to the audience. The hero, William Blake, an accountant from Cleveland, later was believed to be a famous English poet and painter of the 19th century. The story of the film took place some 50 years after the British poet William Blake?s death (the movie bein g situated in the mid-1870es. But after accountant William Blake was shot dead, his soul is replaced by that of poet of his name. Thus, this film is about the William Blake?s spiritual journey of death and rebirth.
At first, the thesis will give the summary of Dead Man, explaining its contents, characters, and theme. Then, it will explicate the symbolic meaning of Blake?s death and rebirth with length.
1. The Summary of Dead Man
Before devolving into the topic of sy mbolic meaning of Blake?s death and rebirth, this thesis shall give a sketchy introduction of the plot, the characters and the theme in Dead Man.
1.1. The Characters of Dead Man
The film Dead Man, directed by Jim Jarmusch, relates the story of the character of accountant William Blake, who shares his name with a nineteenth century British poet, of how he traveled on a train to the town of Machine where he supposes to get a chance of work. When he arrived, he finds that his accountant job is already occupied and when he tries to face the boss, he is greeted with a shotgun. In order to get job, he gives up too much, leaves the office he quickly, without the job he should get, and hang out in the twist and muddy world. After spending the last of his money on a bottle of alcohol, he meets flower girl. He returns home with her as he has nowhere else to go .
Blake is the only one to survive, although he is gravely injured. Blake proceeds to steal a horse and leave town before. Because of his wound, he becomes unconscious. And he is told he is not accountant Blake, but the poet Blake of 19th century. And he does n?t belong here, and Nobady will bring poet Blake to the Great Spirit of World, where he comes from. At the same time, three killers, who are hired by Dickinson and twins policemen, are pursuing Blake. So they have to run away. And the journey or death and rebirth begin. During the journey, they confront with many people, and many problems. But all the people, whom poet Blake meets die, for different reasons. At last, with Nobody?s help, poet Blake succeeds in returning the Great Spirit of World by a boat, which takes him though the mirror water.
1.2. The Theme of Dead Man
Until now the thesis has talked about some basic information of the characters in Dead Man. But only when we grasp the theme of the film can we understand it better and analyze the symbolic meaning of Blake?s death and rebirth.
Dead Man is a 1995 American Western film written and directed by Jim Jarmusch. It stars Johnny Depp, Gary Farmer, Billy Bob Thornton, Iggy Pop, Crispin Glover, John Hurt, Michael Wincott, Lance Henriksen, Gabriel Byrne, and Robert Mitchum (in his final film role). Neil Young composed the guitar seeped soundtrack with portions he improvised while watching the movie footage.
Jim Jarmusch poetically describes a crisis-ridden world, where the boundary of civilization and savage is fuzzy. As always, Jim Jarmusch has the preferences of heterogeneous culture .at this time, the Indian became a white male mentor and lead him out of his nature. In the film, our protagonist William Blake from the original uncertainty when facing this wild world, gradually become adapt to the law of the jungle, and then set up his own reputation. This is a process of "purification”. The film is filled with a lot of death scene such as, death without warning, death of destiny, death of everywhere...Death has never been given such a rich connotation. In addition, numerous and complicated metaphor in the film enable audiences keep the delight of decryption in the process of viewing. For example, the police who was shot down on the branches is a mockery of Christian civilization.
Dead Man is Jim Jarmusch?s most amazing work. What?s more, Dead Man not only is congruous with the pattern of the western film, but also is typical symbolic one that sets it from Jarmusch?s other works and from other dir ectors? same western films. Johnny Depp plays William Blake, who
wants westward by train to the savage town of Machine to catch a job. While there, he meets (Mili Avital), Blake and Thel together back to her home, but T hel?s boyfriend (Gabriel Bryne) finds them in the bed. The violence that ensues causes Blake to escape the wilderness with a bullet in his chest. Pursued by savage bounty hunters, Blake?s journey is an dead journey，he escapes with a dead crisis after another. Blake doesn?t quit the chance of his name, which is pointed out by Nobody. Nobody is a Native American who can recite Blake?s poem. The mistake causes a stream of ridiculous incident. While a few his au dience can't accept Jarmusch?s work, audience can dig something deeper in his film, maybe he doesn?t want to let the audience just lazy sitting in the cinema watching movies, finally left nothing after the play.
Blake enters into a dangerous and barbarous world, instead of civilized and free world. Jarmusch?s particularly terrible style is the important significance. In 1893, the historian Frederick Jackson Turner published a paper of tremendous and controversial thesis that is about American history. The historian writes an important reason of this paper is: The border region of America enter a civilized society symbolized that all America enters civilized society .Dead Man make American fully realized that the western has important significance in the process of American civilization. Instead of an optimistic assessment of virgin land and opportunity, the film shows the idea of “white blight”, the meanness and ignorance spread by European industrialism on the lands of the indigenous tribes. He respect but will not accept short of Romantic native American culture，this point is obvious shows on native Nobody. This is also one of the Dead Man?s points of interest.
Few people willing to the westerns turned into a black style, few people can the westerns turned into a black style, and Jim Jarmusch is an exception. Dead Man is a film that will put the traditional sense of “Western
Spirit” on the balance of criticism, in the west of the pioneering spirit is mocked at. Film “savage”Indians，who is familiar with poetry, becomes representatives of civilization. Film "savage" Indians，who is familiar with poetry, becomes representatives of civilization. The “pioneer”white becomes the beast predators. The great irony is not able to make Jarmusch happy, so the film?s tone is humorous and sad.
2. Symbolic Meaning of Blake’s Death and
Rebirth
In Dead Man, Michaux?s words prompt the viewer s to put aside the logical understanding and to look at the movie from a deeper, symbolic point. The film is a metaphor for the protagonist?s journey of spiritual death and rebirth.
2.1. Introduction to Blake’s Death and Rebirth
This movie called “Dead Man”for two reasons: first, Johnny Depp plays a role William Blake is shot at the beginning, he is a dying man. Second is that his name is same to the British poet William Blake, at the end of the film he also thought he is the great poet, the poet had died for many years, the soul of the poet is rebirth in the accountant body.
Nobody leads accountant Blake becomes the poet William Blake began to look calmly asked after him the killer: “do you know my poetry?”Nobody who is full of poetry and deported from their ethnic, but he becomes the leader of poet Blake?s death and rebirth. Accountant Blake?s name is same to poet William Blake (1757-1827), who is a self-proclaimed prophetic poet whose work revolved mainly around two elements: the Bible, which “represented for him the Great Code of Art, the total form of what he called the Divine Vision”.These visions are through “the imaginative eye” of his spirit to understand the world. Poet Blake is not only a poet, but also a carver, so he can write poems and carve characters them as well. In his lifetime he created a mythology of his own, based largely on his own religious and personal belief of the “Real Man, the unfall en unity we had been and must become again.”
In Jarmusch?s movie in 1995, accountant Blake as a metaphor, the whole movie is filled with poetic flavor of death and rebirth, account Blake side step towards death, thinking the true meaning of life. What life is, the
Indians told Blake without eating, the place of the soul is in the vast sea, everything is waiting for death and everything is waiting for rebirth.
He finds the fawn. The dead fawn seems to symbolize himself. A poor, defenseless animal, shot in the neck. Blake approaches the animal, touches the partially dried blood seeping out of the wound, then feels the blood of his own wound. He has reached realization that he is dead, curling up against the fawn, one could almost believe he is weeping over his own passing. He repeats Nobody?s gesture and paints on his face with the animal?s blood. The mix of bloods shows his integration of this part of him, the dead, innocent part, but his soul is rebirth.
2.2 Symbolic Meaning of Blake’s Death and Rebirth
Michaux?s phrase contains two fundamental elements: the idea of death and rebirth. Everything in Dead Man points toward the notion of death and rebirth. In the process of death William Blake perfects himself, in a sense he is alive, he realized the poet William Blake depicting artistic conception. He is poet William Blake, just to use the blood in writing. He becomes a hero at end, take off the previous cowardice, precision marksmanship. In the process of death to live out a fresh look. The movie sets in motion with a train ride, Blake (Johnny Depp), who is a Cleveland accountant, he wants to the town of Machine. The notion of journey is the most important theme in this film, no matter what level of interpretation is being used. The second theme is death and rebirth, present in each step of this journey. In Machine, there are skulls and bones everywhere, man and animal alike. During Blake?s travels through the country, we see death and desolation, dead soldiers, burning houses, destroyed settlements, a dead fawn. Blake himself could be seen as Death, as he brings death to all around him, until Nobody finds him and leads him to other world. All the people come into contact with him one way or the other end up dead. Even Blake?s companion and
guide, Nobody, dies in the end, only he is back to the other world. Some are killed by poet Blake. Some are killed by other people, some die by accident, but eventually, and all the people that have something to do with Blake die.
Blake as Dead an accountant, he is also rebirth as a poet; this is a death and rebirth journey. And all these variations on the two basic themes are present in Dead Man. The story recounts the journey taken by the main character towards his death. But the me taphoric quality of Michaux?s sentence suggests a symbolic level of interpretation. On a more abstract level, the quotation could quite literally portend the story. Dead Man then becomes the story of a dead man, traveling through Purgatory or some sort of afterlife. As the narrative shows Blake to be quite alive, therefore, death is of a spiritual nature rather than a physical nature, a death through loss of identity or the loss of the …essence of being?.
As to why view Dead Man as Blake?s journey through Purgatory to a place that Nobody calls “the next level of worlds” or “the place where all the spirits come from”. William Blake offers an interesting, modern interpretation that he is traveling through in Dead Man.
The entire journey through this shadowy world, the real world but a symbolic Purgatory, is an unceasing fight for Blake?s soul. Symbolically, the crossing of the water represents the transmigration of the soul. Blake is on the last part of his journey to deliverance, or in Nobody?s terms, he is going to meet the Great Spirit. Nobody prepares the canoe with all the ritual elements for Blake?s trip, and especially with tobacco, an important part of Native American rituals. Nobody and Blake go from windy hills down to the dense forest, which is a symbolically tortuous road on a quest that first leads them into dense, inscrutable bearings.
While Blake only brought hate and fury in Metal, the giant totem in the Makah village brings forth help that will give him life is death and rebirth, after death. Similarly, the very beginning of the movie is mirrored by its
ending.
There is no doubt that choosing Blake's poetry as movie lines is a good suggestion, which gives Jarmusch a handsome income. Black?s words are not only very lyrical and contemplative, but also political and social. Jarmusch was able to receive remarkable results with the simplest means. And he also brought back a rich musicality of the language.
In the film, it is not only death to rebirth of the journey, but also full of mysterious soul tr ansition, the movie?s core is mainly William Blake?s death and rebirth .Blake believed that everything that lived was holy. He thought that Christianity encouraged the suppression of natural desires and discouraged earthly joy (Damon 344). According to this idea, Jarmusch use tobacco to make a difference between white European culture and Indian culture. The joke is that Nobody continually asks Blake for tobacco, which Blake always replies, “I don?t smoke.” It is the humor and conflict. It also shows the different status of tobacco in two cultures. For White Europeans, it is something which you can become addicted. But for the Native American, tobacco is used as a sacrament in ceremonies. It?s used for praying. It is used as a gift. It can purify the soul. B lake?s response is an inside joke aimed at Native Americans. However, Jarmusch believes that he can use the end of the movie to make Black relized the real meaning of living. “He says, …Nobody, I don?t smoke?, but he knows, I think. I didn?t want to make a little lesson out of it. I just wanted to stick it, as a kind of payoff.”
In a key scene, Nobody asks Bill Blake, “did you kill the white man who killed you?” Bill answers, “I?m not dead.” As the tobacco conflict, Bill has misunderstood the concept of life and death. His death is as much a part of his life as is his breathing or the blood pumping through his veins. In the whole movie it is the key that the characters use the way of death and rebirth in communication. Indeed, he considers that it is an adventure. The whole
movie is mixtures of the western spiritual connotation and black style. It is not only leading to the characters fall into the abyss of escape and killing, but also motivating the self journey of the soul at the same time. In some ways, our life?s journey is under the guidance of Nobody across to the other side of the mirror, the so-called death is just back to the soul, we all will be back the place of the soul.
He hates the Industrial Age, especially in the opening scenes, where Blake is introduced to the Old West becoming the New West. The early scenes convey a sense of an undiscovered West that vanished before it could be incorporated into national myth. The water is gradually away from the continent return to home of the soul. The process of human growth, sometimes it is the growth process of inner. It is also a process of physical death and soul rebirth.
Conclusion
The thesis is meant for putting forth that with Nobody?s help, the soul of poet William Blake returned to the great spiritual world from the criminal and violent world. Contrary to his nature, circumstances transform the poet Blake into a hunted outlaw, a killer, and a man whose physical existence is slowly slipping away. However, due to limited resources, all these are just the top of the iceberg.
Although the author makes every effort to analyze the strategies in different aspects, some aspects may not be involved in this thesis or may not be discussed thoroughly. There are also some other aspects can be discussed. For example, there are beads and blankets in the film, they are obvious discrimination, and there are also many pictures with buffaloes, those are very important food for Indian, so the buffaloes can symbolize Indians. The author sincerely hopes this thesis will be of some help to the symbolic meaning of William Blake?s death and rebirth in Dead Man. And seeing the great significance of that, it is hoped that scholars will make more thorough researches into this field.
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Acknowledgments
Here, I could not wait to extend my great thanks to all the course instructors who have taught me during my studies for B.A., for his instructive lectures and generous supports in writing this paper.
My deepest gratitude first goes to my thesis supervisor GuanYingsen, whose valuable suggestions, principled responsibilities, and professional guidance have benefited me a lot; whose constant help and kind encouragement have led me to finish this paper; whose painstaking effort in spotting and correcting my errors and mistakes have resulted in the accomplishment of this paper. Without her readiness to help, my paper would be a castle in the air. So, I express my hearted thanks again here.
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死亡诗社电影观后感影评650字 美国的片子《死亡诗社》，它的故事发生在1959年的威尔顿预备学院，那是一个扼杀个性的年代，也许我们今天仍处在这个时代中.这里给大家整理了一些有关死亡诗社的观后感,希望对大家有所帮助. 死亡诗社观后感1 元旦期间看了《死亡诗社》，觉得这个影片拍的很不错，值得一看。但我不明白为什么这部影片被当作教育影片被广泛推荐给一线教师看，是为了向基丁老师学习吗?基丁老师的教学方法的确很新颖并且值得借鉴，但他却把好的教学方法用来教了不合适的学科和不合适的对象。 坦率地说，影片的悲剧结局基丁老师应该是负有一定责任的。基丁老师如果去教授一些表演艺术类，或者是如何写作的课程，应该会是一位成功的老师，可是他的学生偏偏是要上耶鲁，哈佛，将来成为牙医或律师的未来社会精英，对于这些学生而言，外显的激情是危险的。 这里又要提鲁迅的“黑屋子”命题，把关在黑屋子的人叫醒后却没有能力打开黑屋子，这岂不是更残酷的事情?对此鲁迅没有给出答案，也许这是大家都猜不透的难题。同样，鲁迅也是非常
反对青年学生上街游行的，以免被某些势力利用，充当了炮灰。对此我是同意的，有时理智看上去是不近人情的，但却是正确的。 而基丁老师就是充当了“叫醒者”这样一个角色，而当他的学生被开除，自杀，甚至到后来自己也被辞退时，他对此无能为力，只能眼睁睁地看着悲剧发生。而最后站在桌子上大喊“我的船长!”的同学们，结局也会是被开除了，如果在现实生活中一定是这样的。 我想，基丁老师成功地激发了学生的激情，却没有告诉孩子们如何去掌控激情。对于这些青年学生来说，如何掌控激情，让激情在合理、合法的范围内发挥作用也许更重要。 死亡诗社观后感2 《死亡诗社》故事取材于真人真事，影片所有情节的打造都十分着力，让观者领会到探索生命本质的热情，仿佛纵身一跃就走出阴霾，获得新生，有时，想要的没那么复杂。选择就在你手中。我们的生命需要点癫狂。传统与纪律强调的越深，往往越容易把人带进平静的绝望。以“死亡诗社”的名义，也许是基廷老师带来的理由，要“荒唐”起来，不可循规蹈矩。否则就将面对被安排的人生。学会忍受拒绝的权利。就算错，也错的心安理得，因为那是自己做过的选择，基廷先生的第一堂课便是带领学生在校史楼内聆听死亡的声音，反思生的意义。抓住现在，前人的呼唤，
死亡诗社影评（一） 你的一生曾经有没有因为什么人而改变过？我没有。但我知道在美国威尔顿的贵族学校里那群学生的道路被基汀老师改变了。 那是一个扼杀个性的年代，也许我们今天仍处在这个时代中。在校庆典礼上，学生们穿着一样的校服，一口同声的说着校训：传统、纪律、荣誉、卓越。学校礼堂里庄严和死气沉沉，但青春，叛逆，生命力还是从他们的眼睛里泄露了出来。而Keating老师被轻描淡写的代过，我们还无从知道一个不高大，看起来也不英俊，甚至还有些滑稽的英语老师身上积蓄着怎样的力量。 镜头追踪到了宿舍，像是从地狱到了人间，万物复苏，每一个角落都充满了生命力，特别是在尼尔的宿舍里。从外表看，尼尔最具有诗人气质，忧郁带着狂野，可是迫于父亲望子成龙的压力，不得不放弃很多课外活动而专心于枯燥无味的学业；尼尔的室友托德是个害羞，胆怯的男孩，不会走近别人的生活，更不会让别人走近自己的生活；查理是他们之中最叛逆的一个，不仅仅表现在思想上而且更付诸于实际行动，看到他我总能看到年轻时的基汀。诺克斯是不温不火的，他只为自己心爱的女人疯狂。 是，他们的船长出现了，从正门走了进来哼着《扬基进行曲》的口哨，把孩子从后门带了出去。就这样另一条道路被打开了。 在一张已故校友的毕业照前基汀开始了他的第一课：carpe diem（拉丁语，意为抓紧时间，及时行乐）,sezie the day，make your lives extraordinary。(抓紧时间，让你的生活与众不同)就这样开始了他不同寻常的课程，让学生们撕去了犹如圣经般的教科书上伊凡所写的前言，告诉他们诗歌是美丽的，浪漫的，我们为他而活；让学生们站在课桌上叫他们用自己的眼光看待世界，无论这是否看起来愚蠢或者不正确，你必须要尝试；在操场上踢球前每人大声朗诵一句诗；逼迫胆小的托德倾泻出内心真正的诗句。学生们被感染了，并追随着基汀的脚步创建了自己的死亡诗社。那是一段天堂般的幸福时光。然而在那个年代天堂是不被允许的。 悲剧正在慢慢酝酿，你的内心开始感到不安，坚持自己是条被少数人选择的路，而选择这条路是要付出代价的。桀骜不驯的查理会公然对抗校规，被最先带到了校长室，但被体罚的那个孩子已经不是查理了，他是纽旺达，一个战士。他是悲壮的，他也被自己的这种悲壮感染着。他要凭着它来抗衡整个现实世界。但基汀告诉他，这样做是愚蠢的，可他还是称呼了他为英雄，那刻基汀分明看到年青时的自己。当基汀说这句话时我似乎能感觉到他是怎样被碰得头破血流，而他不愿看到查理受到那样的伤害。“学会融入社会，并不是妥协，而是学会如何成长”基汀或许选择了一条更理智抑或更无奈的方式，毕竟像他自己所说的，我们每个人都是需要被认同的。 真正的悲剧发生了，尼尔死了，在这场战斗中尼尔败下了阵来，他对抗不了他的父亲，他无法成为他父亲所期望的那个人，他也无法成为他自己所期望的那个人，能够结束这一切的只有一颗子弹。死是一种最消极的抗争。他死的并不英雄，可当我看到在尼尔课桌里的那首死亡诗社的集体朗诵的开篇文章里的这句话时，我知道，尼尔并非想做什么英雄，他只是不想做个叛徒。这句话是这样说的：“以免，当我将死时，发现我从未活过”（and not, when I come to die, discover that I had not lived…） 尼尔的死使托德失去了这个不断给自己灌注激情的朋友，尼尔的死使托德意识到现实就像这雪天一样冰冷，现实就像尼尔已死一样不可改变。冰天雪地中托德显得苍白，孤独，胆怯… 终于彻底的回到了现实，学生们迫于校方的强大压力纷纷在那份应由基汀对尼尔的死负责的协议书上签了字。当然，我们知道，查理是不会签的。哦，对了，他不是查理，他是纽旺达。 《死亡诗社》从头到尾都让我被一层一层的激情侵袭着，但这里不是天堂，它从未离开
London I wander thro’ each charter’d street, Near where the charter’d Thames does flow、 And mark in every face I meet Marks of weakness, marks of woe、 In every cry of every Man, In every Infants cry of fear, In every voice: in every ban, The mind-f org’d manacles I hear How the Chimney-sweepers cry Every black’ning Church appalls, And the hapless Soldiers sigh Runs in blood down Palace walls But most thro’ midnight streets I hear How the youthful Harlots curse Blasts the new-born Infants tear And blights with plagues the Marriage hearse The poem London was written by the British poet and engraver William Blake、It has 4 quatrains with alternative lines rhyming、Written in iambic pentameter, the poem is beautifully rhymed、 London deals with the dreadful scene in the industrialized London in the 18th century、In the first stanza, Blake gives an overview of the city and successfully creates the gloomy, dark and suffocating atmosphere、Blake applies varied rhetorical devices in the poem, of which the most striking and significant is repetition、For example, the word “chartered” is reiterated in line 1 and line 2 to emphasize the fact that the streets and river are owned by the wealthy upper class、And the word “mark” occurs in “mark in every face I meet”(line 3) and “mark of weakness, mark of woe”(line 4)、The transition of the word “mark” from verb to noun manifests the change of observation to noticeable signs、Every person Blake meets in London is desperate and feeble、What a horrible scene it is! Repeated appearance of the word “every “in the second stanza stresses the idea that everyone suffers from misery、Blake hears the cry of the grown-ups, and of the infants in fear、Blake perceives the destructive restrictions on people’s mind caused by law and rules、“Mind-forged manacle” is a metaphor、Blake compares limitations with manacles、The expression that Blake hears “manacles” is synesthesia、 In the third stanza Blake satirizes the church and the monarchies、The church walls are becoming black because of pollution; the sound of crying from the chimney sweepers combines with the sigh of soldiers arouses a feeling of fear and scare in me、On account of relentless warfare, soldier’s blood runs down from palace walls where、The thought of the color of scarlet contrasting with the pale walls makes me shivering、 During the midnight, the poet wonders through streets and hears the curse of prostitutes、They
2012级广播电视编导一班 1224050102胡敬阁 不一样的故事，同样的感动 ——《死亡诗社》与《放牛班的春天》对比影评很喜欢讲述师生情的电影和文章，每次看到这类电影和文章，总是会很容易的被打动。也许是师生情所折射出的纯洁，美好，神圣，诚挚与纯粹，是人的一生中最美好，最短暂而又最容易失去的，所以我特别珍视这类感情，特别是当自己身处纷繁杂乱的社会中，感到茫然无措的时候，这种感情往往能让我疲惫的内心慢慢平静沉淀下来，然后坚定自己的信念，找到正确的人生方向！ 主题是一部影片的灵魂。《死亡诗社》和《放牛班的春天》的主题有着共同的地方，即师生情和导演、编剧对当时社会传统教育缺乏人性化的反抗以及对思想自由的向往，但两者也有不同之处，虽然这两部影片都是关于教育的，但在教育对象上就形成了鲜明的对比。《死亡诗社》针对的教育对象成绩优异积极进取且乖巧听话的学生而《放牛班的春天》所针对的教育对象则是那些性格乖张，顽劣成性的问题少年。前者备受学校老师和家长甚至社会各界的关注，生活条件优越，只要努力学习，遵守校规，遵循父母安排已好的人生路线走下去，可以说是个个都是前程似锦而后者是被学校老师和家长及社会忽视，生活条件非常恶劣，他们自己也放弃了自己，内心极其孤寂悲伤，渴望爱却得不到爱，可以说是个个前程渺茫。因此两部影片所要表达的思想也就有所不同。前者主要表达了对传统教育禁锢孩子思想自由的批判，及由于传统父母一味不顾孩子内心真实想法而为他们安排谋划人生，使他们失去了真实的自我，无法为自己的人生做主，做自己喜欢的事，以致产生悲剧，从而表达出对传统父母这种控制自己孩子的行为的愤慨与无奈，对像“captain”这样勇敢追求新思维的老师的赞颂，对新式人性化教育的向往和无限期待。后者主要表达了对那些像影片中校长那样只顾个人利益，把学生当做挣钱工具的教育者的批判，对克莱门特这样真正关爱学生，专心致力于教育事业的人的赞颂，以及告诉世人，问题学生更需要关怀和人性化的教育。两者对比我们会发现，前者更多的是启发学校家长应该怎么做的，而后者更多关注的是问题少年这一群体的内心世界。 好莱坞编剧罗伯特·麦基告诉我们，作为编剧，最重要的是为电影奉献一个好故事。《死亡诗社》与《放牛班的春天》在叙事方面所做的努力成为这部影片的亮点。我们先来概述一下两部影片所讲述的故事。《死亡诗社》以师生情为主线，追求自由，寻找真实的自我为辅线，讲述了在美国一个传统的、全美最具声望的、校规校律十分严格的寄宿学校，来了一位反传统的、教学方式十分独特甚
电影死亡诗社（Dead Poet Society）的视听语言分Dead Poets Society 编剧: Tom Schulman 导演: Peter Weir 主演: Robin Williams 上映年度: 1989 语言: 英语 制片国家/地区: 美国 又名: 春风化雨 关于《死亡诗社》的评论自从其上映的1989年起至今已不计其数，几乎所有评论家都不会错过这部充满了话题的杰作。这部作品中无论是人物刻画、情节设计、主题选取还是技术手段等方面，都有非常多值得研究的话题点。本文我们将选取视听语言角度对其进行剖析。 整部《死亡诗社》总共有900多个镜头切换，看似安详缓慢又不乏激情和煽动，可见导演对影片拿捏的精准与老到。在信马由缰的写意节拍中，导演带领着观众们走入了一座压抑而传统的预备学校。这里有散发着古老气息的建筑和美好的自然风光，有古董一样保守的老师和校长，有十七八岁对未来充满渴望又被学业压抑的男孩子们，有英俊儒雅不落俗套的基廷老师，有与梦想有关的死亡诗社与仲夏夜之梦……在这一系列人物和情节的组合下，在看似美好却又总是不见阳光的田园风光中，我们参与到了一个充满了抗争与压抑、矛盾与妥协的青春校园故事。虽然结局是出乎预料的让人心痛，但是却不并能够被定义成悲剧。尼尔死了，基廷老师走了，但是希望还在，正如影片名出现时黑色的背景下点燃一株蜡烛的镜头，虽然刺眼却给人希望，这希望虽然不够强大，却令人振奋。 影片一开始出现的油彩画带有着很强的隐喻意义，和后面影片的三个男主人公遥相呼应，尤其中间那个孩子低头的状态更是跟托德的人物性格相对应。影片中间基廷老师让学生们观看师兄们照片的情节也与开头这个油彩画面形成呼应。同时，这种油彩画又和整部影片压抑的背景环境想映衬，定下了整部影片的基调。可以说《死亡诗社》中场景气氛的把握对于情绪的引导有着高超之处。 下面我们看一下影片开头这种手法的运用。影片来头象征希望之光的烛光并不长久，转而镜头摇起看到的是两个古板严肃的老师点燃的蜡烛，他们谓之“智慧之光”。接着，苏格兰风笛声响起，一群身着黑色学生制服的学生高举印有“传统”的旗帜，步入一个犹如教堂般的会场，红色的旗帜与其上写的“Tradition, Honor, Discipline, Excellence”在肃穆严肃的场景下显得格外刺眼。制作者运用了一个全景构图，同时让演员从台阶上走下的方式，将这四面旗帜全部展示了出来。一个跟镜头渲染出了开学典礼的压抑感，之后一个俯视角给出了整个礼堂的全景，局促和压抑的感觉被呈现出来，这种处理把原本空旷高挑的建筑感觉完全颠覆。之后给众人的群像镜头表现出了各种不安与紧张，所有人起立说出“Tradition, Honor, Discipline, Excellence”时那种僵化又富有纪律感被压抑感
威廉布莱克《从一颗沙子看世界》（to see a world in a grain of... 威廉·布莱克《从一颗沙子看世界》（To see a world in a grain of sand） 2011-03-17 01:07:08 威廉·布莱克（William Blake）是18世纪末、19世纪初的一个英国诗人，活着的时候没人知道，直到20世纪初才被挖掘出来。他在国内最出名就是下面四行诗：To see a world in a grain of sand And a heaven in a wild flower, Hold infinity in the palm of your hand And eternity in an hour.这四行诗的中译，我估计至少有二三十种。下面选贴几种。一沙见世界, 一花窥天堂. 手心握无限, 须臾纳永恒.——译者不详在一颗沙粒中见一个世界， 在一朵鲜花中见一片天空， 在你的掌心里把握无限， 在一个钟点里把握无穷。 ——《布莱克诗集》上海三联，张炽恒译从一粒沙看世界，从一朵花看天堂，
把永恒纳进一个时辰， 把无限握在自己手心。——王佐良一花一世界， 一沙一天国， 君掌盛无边， 刹那含永劫。——宗白华一颗沙里看出一个世界 一朵野花里一座天堂 把无限放在你的手掌上 永恒在一刹那里收藏——《世界上最美丽的英文——人生短篇》但是，这几行诗在欧美并不是那么有名，讲起布莱克的时候，也不把这看作他的代表作。似乎只有中国人才特别迷恋这几句话，我猜想也许因为这首诗跟佛教思想有相通之处有关系。这四行诗选自一首长达132行、名为《天真的预兆》（Auguries of Innocence）的长诗，是开头四行。这首长诗似乎并不重要，没有收在布莱克主要几本诗集里，评论家也不谈，我在网上甚至找不到它是写于哪一年的。William Blake - Auguries of InnocenceTo see a world in a grain of sand, And a heaven in a wild flower, Hold infinity in the palm of your hand, And eternity in an hour.A robin redbreast in a cage Puts all heaven in a rage.A dove-house fill'd with doves and pigeons
电影死亡诗社观后感范文精选6篇 死亡诗社观后感范文 下了班我迎着冷风顶着雨一路骑车到了家门口，又一头冲进了牛肉汤馆，在冷冷的路上就想没有比喝一碗牛肉汤加一个香脆的烧饼更美味的晚餐了。照例，打开手机电影，打发吃饭时间，顺便防止自己一个人处在人群中感到令人羞耻的焦虑。最近偏好励志题材，也许跟目前的心境有关，总想着从任何可能的地方找到一丝支撑的力量和慰藉。整个“励志”专辑推荐的影片基本都快刷完了，剩了一个，《死亡诗社》。这个片子之前几次都想点开但最终又换了其他的来看，原因是看到这个名字总让我感觉不舒服，打开播放了几分钟，就觉笼着幽幽的阴郁，周围很吵，我被辣椒呛了一口，耳朵嗡嗡响。 总之，对这个片子没有任何好感。 捱到中间部分，我松了小口气，一切被青春向上和激
情充满，猜测dead poetsociety并非是阴郁的主题，也许只是死亡诗人mr. keating 及对诗歌怀抱热情的同伴们于自己的社团一种不落俗套的称呼吧!就像他启发hopkins时一样。一群大长腿鲜肉们正处在建立自己三观及搭建梦想的时期，很幸运的给了他们一个如此迥异、浪漫、天马行空、怀抱激情的文学老师。他们撕掉像数学公式一样的前言，他们站在桌子上尝试看不同角度的世界，他们逃脱门禁高举灯火在山洞重组神秘的死亡诗社，他们在院子里找到自我独特的脚步，他们写并读了自己人生第一首诗，尽管简单拙劣但完全出自心底的诉求，他们寻找自我的意义，寻找真挚的爱情，寻找愿意倾其一生为之奋斗的梦想。他们无比愉悦，内心是跳动的，观影的人也是跳动的。 neil 的父亲是“你必须听我的，我是为你好”派的典型代表。他像一座山，不过可惜neil本不在他的怀抱里，而是高高的竖立在儿子的面前，他高大的阴影完全笼住了neil小小的身子成为不可逾越的屏障，甚至连征服的勇气都不敢有。尽管在neil自杀前曾有过那么一次反抗，梦想给的勇气，一瞬即逝。 我想neil的死足以让父亲稍微怀疑一次自己的强势并最终妥协，这也是更多的影片中常见的情节。而结局并非
天真的预示 一颗沙里看出一个世界， 一朵野花里一座天堂， 把无限放在你的手掌上， 永恒在一刹那里收藏。 梁宗岱译 苍蝇 小苍蝇， 你夏天的游戏 给我的手 无心地抹去。 我岂不象你 是一只苍蝇？ 你岂不象我 是一个人？ 因为我跳舞， 又饮又唱， 直到一只盲手 抹掉我的翅膀。 如果思想是生命 呼吸和力量， 思想的缺乏 便等于死亡， 那么我就是 一只快活的苍蝇， 无论是死， 无论是生。 梁宗岱译
扫烟囱孩子（一） 我母亲死的时候，我还小得很， 我父亲把我拿出来卖给了别人， 我当时还不大喊得清“扫呀，扫，” 我就扫你们烟囱，裹煤屑睡觉。 有个小托姆，头发卷得像小羊头， 剃光的时候，哭得好伤心，好难受， 我就说：“小托姆，不要紧，光了脑袋， 大起来煤屑就不会糟蹋你白头发。” 他就安安静静了，当天夜里， 托姆睡着了，事情就来得稀奇， 他看见千千万万的扫烟囱小孩 阿猫阿狗全都给锁进了黑棺材。 后来来了个天使，拿了把金钥匙， 开棺材放出了孩子们（真是好天使！） 他们就边跳，边笑，边跑过草坪， 到河里洗了澡，太阳里晒得亮晶晶。 光光的，白白的，把袋子都抛个一地， 他们就升上了云端，在风里游戏； “只要你做个好孩子，”天使对托姆说， “上帝会做你的父亲，你永远快乐。” 托姆就醒了；屋子里黑咕隆咚， 我们就起来拿袋子、扫帚去做工。 大清早尽管冷，托姆的心里可温暖； 这叫做：各尽本分，就不怕灾难。 选自《天真之歌》 （卞之琳译） 扫烟囱孩子（二） 风雪里一个满身乌黑的小东西 “扫呀，扫呀”在那里哭哭啼啼！
“你的爹娘上哪儿去了，你讲讲？” “他们呀都去祷告了，上了教堂。 “因为我原先在野地里欢欢喜喜， 我在冬天的雪地里也总是笑嘻嘻， 他们就把我拿晦气的黑衣裳一罩， 他们还教我唱起了悲伤的曲调。 “因为我显得快活，还唱歌，还跳舞， 他们就以为并没有把我害苦， 就跑去赞美了上帝、教士和国王， 夸他们拿我们苦难造成了天堂。” 选自《经验之歌》 （卞之琳译） 老虎 老虎！老虎！黑夜的森林中 燃烧着的煌煌的火光， 是怎样的神手或天眼 造出了你这样的威武堂堂？ 你炯炯的两眼中的火 燃烧在多远的天空或深渊？ 他乘着怎样的翅膀搏击？ 用怎样的手夺来火焰？ 又是怎样的膂力，怎样的技巧， 把你的心脏的筋肉捏成？ 当你的心脏开始搏动时， 使用怎样猛的手腕和脚胫？ 是怎样的槌？怎样的链子？ 在怎样的熔炉中炼成你的脑筋？ 是怎样的铁砧？怎样的铁臂 敢于捉着这可怖的凶神？ 群星投下了他们的投枪。 用它们的眼泪润湿了穹苍， 他是否微笑着欣赏他的作品？
从《死亡诗社》这部作品中我们可以看到基丁（基德）老师是一个很有个性很有魅力的老师，他的很多创新的教学方法都值得我们去借鉴学习。虽然如此但是限于各种现实条件，这种教育方法暂时不适宜广泛推广，这个也是必须承认。 首先这部作品中出现了两名可以作为对比的老师：基丁老师和麦卡利斯特老师。因为两位老师都是教语言的所以也有可比性（基丁老师教英语，麦卡利斯特老师教拉丁语）。既然是语言类的课堂教学，所以教学目标应该都是让学生掌握该门语言，还有“学会欣赏语言和文字”。但由于两位老师的教学理念的不同，其中有一些教学目标又是大相径庭的。基丁老师认为：“我始终认为教育的根本在于学会自我思考”。于是不仅叫学生怎样读诗，还教它们怎样鉴赏，怎样培养自己的思考能力和思考方向，教学生怎样写诗。从教学内容上说将基丁老师已经跳出课本的基本课堂内容，从英语诗歌本身出发，向学生传授更多关于诗歌与人生哲学方面的道理了。而基丁老师实施课堂教学的方法也是相当新颖。上课之前让学生安静几分钟让他们回过神来，喜欢拿着码尺在课室的过道上走来走去以便更加容易观察学生。喜欢站在讲台上“想提醒我自己，我们必须时刻用不同的眼光看待事物。从上面看世界完全不同”某节课上“从座位上站起来走到黑板前，他用线条和阴影绘制出一份图表，表述莎士比亚的诗是如何胜过拜伦的。”并鼓励大家撕掉书本，以显示自己挑战权威跳出权威的决心。不断鼓励学生独立思考，用激将法帮助胆小的安德森写下了他的第一首诗。教学生边踢球边读诗，测验的时候播放美女幻灯片以锻炼学生的注意力。这些新颖创新的教学方法可以说是激起了学生的学习的热情，也使得他们有机会去独立思考，这样的教学方法对于一群活泼的17岁学生来说无疑是成功的。 然后我们来看麦卡利斯特老师的教学。麦卡利斯特老师是以“培养一个坚定的无神论者“为目标并“对他进行一板一眼的教育”。同样是语言教学的课堂，麦卡利斯特老师采取的是传统的教学方式，整节课连珠炮般地向全班提问，学生们像机器人一样地举手，站起，一口气答出答案，然后再坐下，出错的则老实地接受严厉斥责。至于内容也是紧紧围绕书本展开，而不像基丁老师那种跳出书本的做法。传统的教学方法和内容，自然让学生怨声载道。下课后，托德说“感谢上帝，我想我一分钟都坚持不下去了。”所以教学效果也是可想而知。 对于基丁老师这种培养为独立思考而超越课程超越课本的做法，我个人觉得是十分值得赞赏的，同时也必须承认有很大的风险。老师无法对学生的未来负责，同时也是着影响学生三观的重要角色之一。麦卡利斯特老师是按照已经经受过审核科学验证过的课程来上课，自然是更为稳妥。但从教学效果来看，基丁老师的教学效果无疑是优于麦卡利斯特老师的。我们在探讨基础教育课改的时候也有“实现课程功能的转变”，对课程教学提出了“三维目标”的说法。从这一点上基丁老师的教学方式有点像我们课改的目标。但是完全实施这种理想式的教学也是不现实的，在基丁老师和麦卡利斯特老师的教学之间寻找一个合适的平衡点，相信是我们今后努力的方向和目标 从《死亡诗社》这部作品中我们可以看到基丁（基德）老师是一个很有个性很有魅力的老师，他的很多创新的教学方法都值得我们去借鉴学习。虽然如此但是限于各种现实条件，这种教
有时候这是玩笑或自嘲，可是当我们年轻的时候没有这种浪漫，没有这种冲劲，而只是想着如何去适应这个世界，那田鼠和蝼蚁一样的人生，是何等绝望？就如同这电影一开始说的，人到最后，其实会被黄土埋掉，成为虫子的食物，这白驹过隙的一生，怎么着都是一遭，现实的生活只是一种必需，然而从今天活到明天，只关注物质所需，没有一个精神的家园，我们就会和大部分人一样，排队站到灰色的大多数里面，“默默地过着绝望的生活”。如果你偶尔看到这句话，请你反省一下，你现在过的是这种生活吗？如果是，如果你有所不满，是否得像“船长”老师号召的那样，站到桌子上，换个角度去重新看待自己的人生？世界或许和你平时看的不一样。 电影中的老师教授诗歌的时候，将现实主义的诗歌大部分跳过去不教，而侧重于浪漫派诗歌，如惠特曼那种气贯长虹的诗歌。对于除了荷尔蒙一无所有的高中生来说，其实这未尝有什么错误，因为你怎能想象一个十几岁的孩子就那么现实，连一点梦想都没有了呢？有这么一个突破口，有个死亡诗社这样的组织，宣泄一下，或许可以避开更多的问题。至于尼尔的自杀，其实是和老师的教学方法和培育方法没有什么关系。一个有梦想的人，其实也可以不脱离现实。我对那老师跳过现实主义部分的做法也有异议，因为人是可以既现实也有梦想的。这种人才是高人，他有巨人般的身材，头在云端，脚踏大地。 当然，现实中的教育，尤其在工业化革命之后，往往是要把我们塑造成符合现实所用的人，学生不过是送进来，流水线加工后再送出去的产品。这样的教育不是要让我们去改造世界，而是要教我们习惯了被世界改造。已故笑星卡林说过一句话，说把人教聪明，不符合美国统治者的利益。在中国更是这样，把人教蠢，教到只会ABCD打勾选择，是符合当权者利益的。大部分时候，一个新人跑过来，满怀激情地要改变现状，最后往往会被同化掉，或者排挤走，因为大部分体系，都倾向于维持现状。人思想上排斥革新，就像其身体会排斥新药一样。对于大部分资质平平的人来说，那没有办法，只有缩到那灰色的大多数里，还落个平安。如果你够强大的话，你可以改变这个世界。如果你不够，那么世界一般来说会把你给改造过来。当然这未必是坏事。资质欠缺的人在这个世界里安分守己，是他也是他人的福气，因为平庸加激情只会等于折腾。唯有才能和激情加到一起的时候，才有产生积极改变的可能。 如上所述，但凡有能力去改变的人，最好还是去试它一试。千万别以为循规蹈矩一点，“现实一点”，你就会承受地土，得到这个世界。改变是一种冒险，可是将你绑在火刑柱上烧死的时代过去了，如同Outlier 一书所示的那样，而今真正改变世界的人，真正的成功者，并非那处在常态分布内的灰色大多数，而是那一个个不愿意默默地、绝望地生活着，而纵身一跳，站到桌子上头，去另眼看世界的人。 他们的名字叫异数。 Gather ye rosebuds while ye may. 莫待無花空折枝 尼尔的父亲将自己的意愿强加到尼尔身上，上哈佛，当医生。“你拥有我从来没有梦想过的机会，我不会让你白白糟蹋。”这就是父亲的理由。我在想，尼尔当时为什么不把自己的感受大胆的说出来，即使于事无补，最起码也可让父亲听听自己的心声。他能做的也许不仅仅只有说出“没什么”。或许尼尔说出“没什么”之时，他已做好了死的打算，但这个决定未免太过草率。 有人说我们是缺少信仰、理想和激情的迷茫的一代。从小学、中学到大学关心的只是一味地读好书、作个大人看来引以为豪的孩子，考出优异的成绩，以后找到一份好的工作，再以后有个幸福美满的家，再在以后等我们有了孩子，也要这样循环往复地教导培养下一代，读好书、作好孩子等等……
威廉·布莱克的天真与想象 作者：殷效庚 威廉·布莱克(William.Black)的一生极其简单，也没有什么大书特写之处，只有一些一直延续的简单事实和紧迫的艺术创作活动。1757年，他出生于伦敦一个贫寒的袜商家庭。由于个性过于独特，不喜欢正统学校的压抑气氛拒绝入学，因而没有受过正规教育。他从小就喜欢绘画和诗歌。11岁起就进入绘画学校学习了三年并表现出非凡的艺术才能。其父有意让他师从一位著名的画家继续深造，但他为了家庭及弟妹的前途而主动放弃了这次机会，去雕版印刷作坊当了一名学徒。他的一生便是一方面与妻子相依为命靠绘画和雕版的劳酬清贫为生，一方面继续从事12岁就开始的诗歌创作并配上自己的插图出版。直到1827年8月去世前的几天，他仍然在工作，“叫人用最后的几个先令去买碳笔”，画完最后一幅画把它放下，说道“我已经尽力而为了”。 谈论威廉．布莱克必然要澄清有关对他的诸多猜测与指责，有人说他是疯子和魔鬼信仰的杜撰和散播者，像伦敦夜间人们能够听到的墓地里走出的勾小孩子灵魂的新年老人，当然，布莱克不可能如拉伯雷与阿莱丁诺一样对世俗做彻底的思考或澄清，也许他是信仰的迷雾，但那也是饱蘸着痛苦和爱的“紫雾”，布莱克开创了一种藉想象力促成的幻觉而进行的思考，从这一点上看，他启发了爱米莉迪金森和迪兰·托马斯，甚至阿尔蒂尔·兰波。布莱克是想象力的先知，和经验的忠实记录者，我们宁愿把他看成从“魔鬼作坊”里冲出来的最优秀的净化知觉的学徒。 布莱克最被人们引用和传诵的，也是后代文学大家反复赞美的几首诗歌如《擦烟囱的少年》、《保姆之歌》、《病玫瑰》、《老虎的赞美诗》，皆可以看作构筑布莱克之“天国原形”的一部分，这个自比为以西结的少年，四岁就看到了宗教幻象，并且可以用一种亲喃的语言和“白色诸神”寂静的交谈，尽管世风低落，文途滞涩，但布莱克怀着极大的天真和壮丽的想象力与战斗力，投入了类似班扬和马娄的“世俗反讽”运动中。 这种文艺复兴是旨在和针对于时弊而进行的抒情与想象力神话的回归，这些人对美大加赞美，并加之比喻为自己的面具，而对尘世中的人的命运却大加伤感，并认为他们破坏了作家的“美”的面具。于是拉伯雷戴上了讽刺，班扬戴上了布道，马娄戴上了戏拟与夸张，当然还有一种惊人的反讽，而布莱克则戴上了天真。 布莱克在和他相伴一生的乡村姑娘凯瑟琳的邂逅与共处中，获悉了平民心中的童话与贞洁，并以此与自身的经验和想象作为对比，参照了很多从中世纪就开始进行和流传的童话寓言式写作，并加上了自己独一无二的意象创造力，布莱克为我们留下了最重要的18世纪诗集《天国与地狱的婚姻—想象力的赞美诗》和《天真与经验之歌》，如果说前者是为结婚后守教的人看的，那么后者更多是小学生们的新年读物，或者圣诞老人给大家的金黄色的发光玩具。但我宁愿认为，布莱克构筑了我们世界的宏伟与庄严教堂的顶层，在那里，理想与现实的箴言熠熠闪光，时时为我们提醒着圣母般的洁净与肃穆。 布莱克从不否认自己是一个藉天真想象而进行创作的人，但同时代的人除了为他的怪异举止和热情四溢的精力而感到困惑外，还为他的面貌的高深与可敬而感到迷惑。布莱
专业：小理 姓名：董世江 学号：201301100222 作业一、电影《死亡诗社》观后感 课堂上，老师组织观看了《死亡诗社》这部电影，作为一名将来走上教师岗位的师范生，在看了这个电影后，确实让我感触颇多。影片中，新任英语教师基丁充满活力的教育理念和饱含激情的教学方式，突破了预备学院原本死气沉沉的传统教育模式，带来了全新的气氛，使学生的原本被紧紧束缚的思想得到了解放。然而他的教学理念、方式虽然得到了学生们的认可，却无法得到学生家长和其他老师的理解。最终伴随着发生在学生身上的不幸悲剧，他离开了他所热爱的教育岗位。 《死亡诗社》是一部关于成长、梦想、挑战传统的电影。它的故事发生在1959年的威尔顿预备学院，那是一个扼杀个性的年代，也许我们今天仍处在这个时代中。看完后我想到了法国《放牛班的春天》，德国《浪潮》，美国《半个尼尔森》以及印度《三傻大闹宝莱坞》、《地球上的星星》等等。 先不得不提到的是电影的中文译名，原名Dead Poets Society的意思应该理解为“朗诵已故诗人作品的团体”如果结合内容来看应当译成“春风化雨”更为恰当。“死亡诗社”这个片名固然吸引人，但却并不贴切。 在校庆典礼上，学生们穿着一样的校服，一口同声的说着校训：传统、纪律、荣誉、卓越。学校礼堂里庄严和死气沉沉，但青春，叛逆，生命力还是从他们的眼睛里泄露了出来。在那里，教育的模式是固定的，不仅单调而且束缚了思想。然而这一切在一个新教师的手中发生了改变。基丁老师反传统的教育方法给学院带来了一丝生气。一群学生在他的指导下，学会如何选择自己的人生，反抗给予他们压抑和束缚的教学体制，但又以一个学生的自杀和基丁老师的被辞为结尾。情节的安排行云流水，没有任何花哨，可以称得上是一个很纯净的故事。只是在喜剧式的上半场走到沉郁的结局时，多少让人有点心情黯淡了，但正是这种被现实挫败的感觉，和最后一个场景里抑郁中的高潮，升华了该片的寓意。 一直以来，学校教育自以为是其精髓的便是其传统。然而这传统，是来自于我们的成人社会的现实主义的传统，而不是发自作为当事人的青春年少的孩子们的浪漫主义的传统。在成人社会中，出于他们的本能，把他们的实利主义的性格灌输于学校教育的诸种体制之中，并且，作为师长，作为父辈，他们自以为这所做的一切均是出于保护孩子的目的。他们认为，唯有一个在贯彻了实利主义教育的体制之下成长出来的孩子，才能够免受伤害。
威廉布莱克《从一颗沙子看世界》 （to see a world in a grain of... 威廉·布莱克《从一颗沙子看世界》（To see a world in a grain of sand） 2011-03-17 01:07:08 威廉·布莱克（William Blake）是18世纪末、19世纪初的一个英国诗人，活着的时候没人知道，直到20世纪初才被挖掘出来。他在国内最出名就是下面四行诗：To see a world in a grain of sand And a heaven in a wild flower, Hold infinity in the palm of your hand And eternity in an hour.这四行诗的中译，我估计至少有二三十种。下面选贴几种。一沙见世界, 一花窥天堂. 手心握无限, 须臾纳永恒.——译者不详在一颗沙粒中见一个世界， 在一朵鲜花中见一片天空， 在你的掌心里把握无限， 在一个钟点里把握无穷。 ——《布莱克诗集》上海三联，张炽恒译从一粒沙看世界，从一朵花看天堂， 把永恒纳进一个时辰，
把无限握在自己手心。——王佐良一花一世界， 一沙一天国， 君掌盛无边， 刹那含永劫。——宗白华一颗沙里看出一个世界 一朵野花里一座天堂 把无限放在你的手掌上 永恒在一刹那里收藏——《世界上最美丽的英文——人生短篇》但是，这几行诗在欧美并不是那么有名，讲起布莱克的时候，也不把这看作他的代表作。似乎只有中国人才特别迷恋这几句话，我猜想也许因为这首诗跟佛教思想有相通之处有关系。这四行诗选自一首长达132行、名为《天真的预兆》（Auguries of Innocence）的长诗，是开头四行。这首长诗似乎并不重要，没有收在布莱克主要几本诗集里，评论家也不谈，我在网上甚至找不到它是写于哪一年的。William Blake - Auguries of InnocenceTo see a world in a grain of sand, And a heaven in a wild flower, Hold infinity in the palm of your hand, And eternity in an hour.A robin redbreast in a cage Puts all heaven in a rage.A dove-house fill'd with doves and pigeons Shudders hell thro' all its regions. A dog starv'd at his master's gate