求《遠(yuǎn)大前程》讀后感英文版八百字左右，謝謝
There was a man who had seven sons, but he had no daughter, greatly though he longed for one. At last his wife told him that they could again expect a child and, sure enough, when it was born it was a baby girl. There was great rejoicing, but the child was weak and puny, so weak that it had to be christened at once. The father told one of the boys to go quickly to the spring and fetch christening water; the other six ran along with him, and because each of them wanted to be the first to dip the jug into the well, it fell in and sank. So there they stood and didn‘t know what to do, and none of them dared go home. When they didn‘t come back their father got impatient and said:“ I‘ll wager they‘ve been playing some game again and forgotten all about it, the godless brats.“ He was afraid the little girl would have to die unbaptized, and in his rage he cried out:“ I wish those boys would all turn into ravens.“ He‘d scarcely spoken the words when he heard a whirring of wings in the air overhead, looked up and saw seven coal-black ravens flying away.
遠(yuǎn)大前程 的英文簡(jiǎn)介和讀后感該怎么寫
《前程》讀后感（原創(chuàng)哦
）Great Expectations has been considered to be one of Charles Dickens most mature and relatively late works. Having experienced a wealth of human life, Dickens got a profound understanding of human-being, the surrounding environment and his life experiences while all his mature thinking and understanding were summarized into the book Great Expectations. The original meaning of the work’s title in fact is a heritage, but when it was translated into Chinese it gave me an impression that the title shows the hero of the story had Great Expectations. However, reading over the book I realized that this Great Expectations takes an ironic band——it should be said that the theme of this work not only told the story of orphan Pip who wanted to be the ideal first-class disillusionment. If one does think so, he holds a wrong understanding of the great significance why Dickens creative the work. The hero Pip lived with his sister’s family. Though their life was hard, Pip didn’t wish to be a first-class person his vision was to be a blacksmith like his brother-in-law, his sister’s husband. The reason why he changed his mind and was eager to be a first-class person later was the changing of environment——he met Miss Harvisham, Estella and some other complex people. As we know one of Dickens's philosophy thoughts is environment takes a deep impact to humans’ ideological and the story expresses his view that different environment creates different people. In short, I think the work was not arbitrarily written, but was based on the 10 works before aggregating Dickens’ thoughts. What is more, Dickens had put his outlook on life, his views of philosophy and ethics into the great creation.
急求遠(yuǎn)大前程英語讀后感，要原創(chuàng)的啊!!!很急啊!
中文摘要 《遠(yuǎn)大前程》是英國(guó)作家狄更斯的代表作之一。
自從出版以來，它吸引了眾多文學(xué)評(píng)論家的注意。
本論文是首次運(yùn)用蘇聯(lián)文藝?yán)碚摷野秃战鸬目駳g化理論來對(duì)《遠(yuǎn)大前程》進(jìn)行分析。
本論文討論了狂歡節(jié)的笑及其在這部小說中所采取的幽默，諷刺及其它弱化了的形式。
《遠(yuǎn)大前程》的主人公匹普被認(rèn)為是狂歡節(jié)之王。
他的加冕和脫冕過程表現(xiàn)了巴赫金所說的令人發(fā)笑的相對(duì)性。
狂歡節(jié)之宴和具有象征意義的火在狂歡節(jié)之王的加冕和脫冕中具有重要的作用。
在巴赫金的荒唐現(xiàn)實(shí)概念的基礎(chǔ)上，本論文把這部小說中的人物當(dāng)作狂歡節(jié)的群體來對(duì)他們特殊的語言和行為來進(jìn)行分析。
同時(shí)這部小說中又有狂歡化地獄的描述。
所有這些都表明這部小說表現(xiàn)了狂歡化理論的基本方面。
因此，《遠(yuǎn)大前程》是一部狂歡化了的小說。
外文摘要 Great Expectations is one of the representative works of Charles Dickens. Since its publication, it has attracted the attention of the critic circle. This thesis is the first academic attempt to apply the carnival theory to the analysis of Dickens Great Expectations. The theory is raised by the Russian scholar Mikhail Bakhtin. Several key terms of the theory are discussed and used in my study of Great Expectations. Carnival laughter is explored in this novel, which takes the muffled form---humor, satire and irony. The hero Pip of Great Expectations is regarded as the carnival king in the light of carnivalization. Through Pips crowning and decrowning, Bakhtins notion of joyful relativity is expressed. The carnival feast and the symbol fire play a very important part in his crowning and decrowning. The characters in this novel are discussed as carnival collective on the basis of the conception of grotesque realism. The language of these characters is distinctive which is called billingsgate language in Bakhtins term. Also the novel is not devoid of the atmosphere of carnival hell. All these indicate that the key aspects of the carnival theory are demonstrated in Great Expectations. This leads to my conclusion that it is a carnivalized novel.
電影《遠(yuǎn)大前程》主要講了什么
近日，我又捧起自己敬周國(guó)平先生的書進(jìn)行精讀。
對(duì)先生其一篇文章《對(duì)自己的人生》的處世理念頗為贊同。
包括我在內(nèi)的不少人遠(yuǎn)離了哲學(xué)，對(duì)人生的許多問題僅僅只有膚淺的認(rèn)識(shí)，“只見樹木不見森林”，不能由表及里地加以剖析，透過現(xiàn)象看本質(zhì)。
先生認(rèn)為：“對(duì)自己人生的責(zé)任心是其余一切責(zé)任心的根源。
惟有對(duì)自己的人生負(fù)責(zé)，建立了真正屬于自己的人生目標(biāo)和生活信念，他才可能由之出發(fā)，自覺地選擇和承擔(dān)起對(duì)他人和社會(huì)的責(zé)任。
”的確，在這喧囂的社會(huì)里，每一個(gè)人都面臨著許多誘惑，面臨著很多機(jī)遇和挑戰(zhàn)，不同的人有不同的選擇。
有的人抵御誘惑，勇于面對(duì)；有的人沽名釣譽(yù)，逐利圖財(cái)；有的人則選擇逃避。
其實(shí)，這些在本質(zhì)上是反映了人們多元化的世界觀、人生觀、價(jià)值觀。
“如果一個(gè)人能對(duì)自己的人生負(fù)責(zé)，那么，在包括婚姻和家庭在內(nèi)的一切社會(huì)關(guān)系上，他對(duì)自己的行為都會(huì)有一種負(fù)責(zé)的態(tài)度。
”是的，人之所以超越其它動(dòng)物，是因?yàn)樗哂猩鐣?huì)性，能夠以理性角度從本源上探究問題，尋求解決問題的“金鑰匙”。
先生不愧為是一位具有哲理思辨能力的大師級(jí)人物。
對(duì)人生的深刻洞察和體悟，使先生突破了凡輩的思維模式，直達(dá)問題的要害。
以“庖丁解?！笔址▽⑷松闹卮竺}詮釋如此精妙。
我想，在人生的航行中，有了象先生這樣的學(xué)者、大師的點(diǎn)撥和指引，我們每個(gè)人都會(huì)對(duì)自己的人生負(fù)責(zé)的。
附：周國(guó)平先生《對(duì)自己的人生負(fù)責(zé)》 人活在世上，不免要承擔(dān)各種責(zé)任，小至對(duì)家庭、親戚、朋友，大至對(duì)國(guó)家和社會(huì)。
這些責(zé)任多半是應(yīng)該承擔(dān)的。
此外，還有一項(xiàng)根本的責(zé)任，便是對(duì)自己的人生負(fù)責(zé)。
每個(gè)人在世上都只有活一次的機(jī)會(huì)，沒有任何人能夠代替他重新活一次。
如果這惟一的人生虛度了，也沒有任何人能夠真正安慰他。
認(rèn)識(shí)到這一點(diǎn)，對(duì)自己的人生怎么能不產(chǎn)生強(qiáng)烈的責(zé)任心呢
在某種意義上，人世間各種其它的責(zé)任都是可以分擔(dān)或轉(zhuǎn)讓的，惟有對(duì)自己的人生的責(zé)任，每個(gè)人都只能完全由自己來承擔(dān)，絲毫依靠不了別人。
不止于此，我還要說，對(duì)自己人生的責(zé)任心是其余一切責(zé)任心的根源。
惟有對(duì)自己的人生負(fù)責(zé)，建立了真正屬于自己的人生目標(biāo)和生活信念，他才可能由之出發(fā)，自覺地選擇和承擔(dān)起對(duì)他人和社會(huì)的責(zé)任。
正如歌德所說：“責(zé)任就是對(duì)自己要求去做的事情有一種愛。
”因?yàn)檫@種愛，所以負(fù)責(zé)本身就成了生命意義的一種實(shí)現(xiàn)，就能從中獲得心靈的滿足。
相反，一個(gè)不愛人生的人怎么會(huì)愛他人和事業(yè)
一個(gè)在人生中隨波逐流的人怎么會(huì)堅(jiān)定地負(fù)起生活中的責(zé)任
這樣的人往往是把責(zé)任看作強(qiáng)加給他的負(fù)擔(dān)，看作個(gè)人純粹的付出而索求回報(bào)。
一個(gè)不知對(duì)自己的人生負(fù)有什么責(zé)任的人，甚至無法弄清他在世界上的責(zé)任是什么。
有一位小姐向托爾斯泰請(qǐng)教，為了盡到對(duì)人類的責(zé)任，她應(yīng)該做些什么，托爾斯泰聽了非常反感。
因此想到：人們?yōu)橹芸嗟木薮鬄?zāi)難就在于沒有自己的信念，卻偏要做出按照某種信念生活的樣子。
當(dāng)然，這樣的信念只能是空洞的。
更常見的情況是，許多人對(duì)責(zé)任的關(guān)系確實(shí)是完全被動(dòng)的，他們之所以把一些做法視為自己的責(zé)任，不是出于自覺的選擇，而是由于習(xí)慣、時(shí)尚、輿論等原因。
譬如說，有的人把偶然卻又長(zhǎng)期從事的某一職業(yè)當(dāng)作了自己的責(zé)任，從不嘗試去擁有真正適合自己本性的事業(yè)。
有的人看見別人發(fā)財(cái)和揮霍，便覺得自己也有責(zé)任拼命掙錢花錢。
有的人十分看重別人尤其上司對(duì)自己的評(píng)價(jià)，謹(jǐn)小慎微地為這種評(píng)價(jià)而活著。
由于他們不曾認(rèn)真地想過自己的人生究竟是什么，在責(zé)任問題上也就是盲目的了。
所以，人活在世上，必須知道自己究竟想要什么。
一個(gè)人認(rèn)清了他在這世界上要做的事情，并且在認(rèn)真地做著這些事情，他就會(huì)獲得一種內(nèi)在的平靜和充實(shí)。
他知道自己的責(zé)任所在，因而關(guān)于責(zé)任的種種虛假觀念都不能使他動(dòng)搖了。
我還相信，如果一個(gè)人能對(duì)自己的人生負(fù)責(zé)，那么，在包括婚姻和家庭在內(nèi)的一切社會(huì)關(guān)系上，他對(duì)自己的行為都會(huì)有一種負(fù)責(zé)的態(tài)度。
如果一個(gè)社會(huì)是由這樣對(duì)自己的人生負(fù)責(zé)的成員組成的，這個(gè)社會(huì)就必定是高質(zhì)量的、有效率的社會(huì)。
