文学英语电影

⑶ 给外国人推荐文学作品和电影

《美丽中国》BBC与中国合拍的纪录片。
向你推荐杨宪益的译着（有鲁迅的作品，《红楼梦》也是他译的），
我记得《儒林外史》，《活着》（余华）也有英文版本。

⑷ 文学改编电影英语作文

Film or book which do you prefer?
Nowadays,many films are adapted from literatures.Directors rearrange the the famous stories into popular movies to attrack audiences.
Watching movies are much more convenience than reading books.Movies can save a lot of time,and they are more vivid.Which are easier for us to understand.
When reading original stories we can get more details,and the words in the books are more beautiful.
In my opinion,I think it's better to watch movies first.Some times the books are too thick that cannot draw our attention.After wathing movies,we may be attracted by the exciting or moving stories,that will make us eager to know more.So that we can learn both about the story and the perfect expressions in the book.
自己写的,

⑸ 找几部很有文学色彩的英语电影

指环王，理智与情感，傲慢与偏见，北非谍影，乱世佳人。

⑹ 英文作文 文学作品改编的电影

nowadays there are many literary works being adapted into movies.

⑺ 英语作文:简单介绍你喜欢的文学作品改编的电影

从我来到这世界上的那一刻，我就知道我这一生所要做的只有一件事，那就是寻找，寻找一根最长最尖的荆棘刺。
我知道这是意味什么。在我找到它之后，我就会死去，很快地死去，就像风儿吹走一片落叶、一朵白云、一粒细沙，在也没有人知道我的存在。
但我不后悔。我依然在寻找，更执着地寻找。找到那根荆棘刺，我就可以唱歌了！我就可以唱出世界上最动人最甜美的歌了！
于是我寻找，更执着地寻找。
我一天天地长大，一天天地成熟。我

⑻ 我要写8000字的英语论文 是找一部文学作品写好呢还是找一部电影写好 能不能给我推荐一下文学作品或电影名

1.苏东坡的文学背景和他的赋
SU TUNG-PO’S LITERARY BACKGROUND AND HIS PROSE-POETRY by Qian Zhongshu

(Primarily written as a foreword to “Su Tung-Po’s Prose-poems” translated into English With Notes and Commentaries by C. D. Le Gros Clark, this is published here by kind permission of Mr. Le Gros Clark. Those who are interested in textual criticism may consult Mr. Wu Shih-ch’ang’s review in Chinese which appeared in The Crescent Monthly, Vol. IV, No. 3. –Ed.)

Of the Sung dynasty, it may be said, as Hazlitt said of himself, that it is nothing if not critical. The Chinese people dropped something of their usual wise passiveness ring the Sung dynasty, and “pondered, searched, probed, vexed, and criticized”. This intellectual activity, however, is not to be compared with that of the Pre-Chin period, the heyday of Chinese philosophy. The men of the Sung dynasty were inquisitive rather than speculative, filled more with a sense of curiosity than with a sense of mystery. Hence, there is no sweep, no daring, no roominess or margin in their intellectualism. A prosaic and stuffy thing theirs is, on the whole. This critical spirit revealed itself in many directions, particularly in the full flourish of literary criticism and the rise of the tao-hsüeh （道学）, that mélange altere of metaphysics, psychology, ethics and casuistry.

Literary criticism in China is an unly belated art. Apart from a handful of obiter dicta scattered here and there, Liu Hsieh’s Literary Mind （刘勰文心雕龙） and Lo Chi’s A Prose-poem on Literature （陆机文赋） are the critical writings that count up to the Sung dynasty. There is Chung Yung’s Classification of Poets (钟嵘诗品) of course. But Chung Yung is a literary genealogist rather than a critic, and his method of simply dividing poets into sheep and goats and dispensing praise or dispraise where he thought e, is the reverse of critical, let alone his fanciful attempts to trace literary parentages(1). Ssu-Kung Tu’s Characterisations of Poetry (司空图诗品) is a different matter(2). Ssu-Kung Tu seeks to convey purely with imagery the impressions registered by a sensitive mind of twenty four different kinds of poetry: “pure, ornate, grotesque,” etc. His is perhaps the earliest piece of “impressionistic” or “creative criticism” ever written if any language, so quietly ecstatic and so autonomous and self-sufficient, as it were, in its being but it fails on that very account to become sober and proper criticism. It is not until the Sung dynasty that criticism begins to be practiced in earnest. Numerous “causeries on poetry” （诗话）are written and principles of literature are canvassed by way of commentaries on indivial poets. Henceforth, causeries on poetry become established as the vehicle for Chinese criticism. One must note in passing that there do not appear professional critics with the rise of criticism. In those good old days of China, criticism is always the prerogative of artists themselves. The division of labour between critics and artists in the West is something that the old Chinese literati would scoff at. The criticism of Sung dynasty, like all Chinese criticismsbefore the “New Literature Movement” with the possible exception of Hsieh’s Literary Mind, is apt to fasten upon particulars and be given too much to the study of best words in best places. But it is symptomatic of the critical spirit, and there is an end of it.

The Chinese common reader often regards the men of the Sung dynasty as prigs. Their high seriousness and intellectual and moral squeamishness are at once irritating and amusing to the ordinary easy-going Chinese temperament. There is something paralyzing and devitalizing in their wire-drawn casuistry which inces hostile critics to attribute the collapse of the Sung dynasty to its philosophers. There is also a disingenuousness in their attempts at what may be called for want of a better name, philosophical masquerade: to dress up Taoism of Buddhism as orthodox Confucianism. One need but look into Sketches in a Villa（阅微草堂笔记）and Causeries on Poetry in a Garden（随园诗话） to see what a good laugh these two coxcombs of letters, Chi Yuen （纪昀） and Yuan Mei （袁枚） have had at the expense of the Sung philosophers and critics respectively. Nevertheless ofe is compelled to admit that the Sung philosophers are unequalled in the study of mental chemistry. Never has human nature been subject to a more rigorous scrutiny before or since in the history of Chinese thought. For what strikes one most in the tao-hsüeh is the emphasis on self-knowledge. This constant preying upon itself of the mind is quite in the spirit of the age. The Sung philosophers are morbidly introspective, always feeling their moral pulses and floundering in their own streams of consciousness. To them, their mind verily “ a kingdom is”. They analyse and pulverize human nature. But for that moral bias which Nietzsche thinks to be also the bane of German philosophy, their vivisection of human soul would have contributed a good deal to what Santayna calls literary psychology.

The poetry of the sung dynasty is also a case in point. It is a critical commonplace that the Sung poetry furnishes a striking contract to the T’ang poetry. Chinese poetry, hitherto ethereal and delicate, seems in the Sung dynasty to take on flesh and becomes a solid, full-blooded thing. It is more weighted with the burden of thought. Of course, it still looks light and slight enough by the side of Western poetry. But the lightness of the Sung poetry is that of an aeroplane describing graceful curves, and no longer that of a moth fluttering in the mellow twilight. In the Sung poetry one finds very little of that suggestiveness, that charm of a beautiful thing imperfectly beheld, which foreigners think characteristic of Chinese poetry in general. Instead, one meets with a great deal of naked thinking and outright speaking. It may be called “sentimental” in contradistinction to the T’ang poetry which is on the whole “naïve”, to adopt Schiller’s useful antithesis. The Sung poets, however, make up for their loss in lisping naivete and lyric glow by a finesse in feeling and observation. In their descriptive poetry, they have the knack of taking the thing to be described sur le vif: witness Lo Yu (陆游) and Yang Wan-li （杨万里）. They have also a better perception of the nuances of emotion than the T’ang poets, as can be seen particularly in their Ts’u （词）, a species of song for which the Sung dynasty is justly famous(3). Small wonder that they are deliberate artists, considering the fact that they all have been critics in the off hours of their inspiration. The most annoying thing about them is perhaps their erudition and allusiveness which makes the enjoyment of them to a large extent the luxury of the initiated even among the Chinese. （3000字）

还有一篇在玩偶之家的身份抗争（6000字）和一篇马丁路德金的《我有一个梦》文体分析（10000字）
如果需要就麻烦您告诉我您的邮箱，再给您发过去。
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说行天下 是非常不错的小说网站大全，你值得拥有。

⑼ 英美文学中，有哪些比较经典的影片适合大学生观看

《英美文学》网络网盘高清资源免费在线观看

链接:

收集多部《呼啸山庄》《大卫·科波菲尔》《双城记》《雾都孤儿》《鲁滨孙漂流记》《傲慢与偏见》《理智与情感》等等。

⑽ 有什么英文着名的文学作品拍的电影接近原着，而且又好看的

强推：乱世佳人（飘）傲慢与偏见（05年版，剧情与原着一致）爱玛（96年版，剧情与原着一致）简爱（旧的那版，印象里很经典）现代罗密欧与朱丽叶（莱奥纳多主演，虽然是现代版，但剧情大体走向相似）百万英镑劝导理智与情感宾虚（当年的经典）绿野仙踪夏洛的网（听说好看）小妇人爱丽丝梦游仙境月亮坪的秘密惊情四百年（讲吸血鬼的）朱莉与茱莉亚（推荐~）魂断蓝桥远大前程（可以看到幼年的哈利波特扮演者）埃及艳后蒂凡尼的早餐（推荐~）曼斯菲尔德庄园龙凤配教父窈窕淑女诺桑觉寺