泰坦尼克英文范文
时间：2023-03-25 19:11:54
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篇1
a screenplay by james cameron
cast:
kate winslet... rose dewitt bukater
leonardo dicaprio... jack dawson
kathy bates... the unsinkable molly brown
billy zane... caledon hockley
bill paxton... brock lovett
written and directed by:
james cameron
1 blackness
then two faint lights appear, close together... growing brighter. they
resolve into two deep submersibles, free-falling toward us like express
elevators.
one is ahead of the other, and passes close enough to fill frame, looking
like a spacecraft blazing with lights, bristling with insectile
manipulators.
tilting down to follow it as it descends away into the limitless blackness
below. soon they are fireflies, then stars. then gone.
cut to:
2 ext./ int. mir one / north atlantic deep
pushing in on one of the falling submersibles, called mir one, right up to
its circular viewport to see the occupants.
inside, it is a cramped seven foot sphere, crammed with equipment. anatoly
mikailavich, the sub's pilot, sits hunched over his controls... singing
softly in russian.
next to him on one side is brock lovett. he's in his late forties, deeply
tanned, and likes to wear his nomex suit unzipped to show the gold from
famous shipwrecks covering his gray chest hair. he is a wiley, fast-talking
treasure hunter, a salvage superstar who is part historian, part adventurer
and part vacuum cleaner salesman. right now, he is propped against the co2
scrubber, fast asleep and snoring.
on the other side, crammed into the remaining space is a bearded wide-body
named lewis bodine, who is also asleep. lewis is an r.o.v. (remotely
operated vehicle) pilot and is the resident titanic expert.
anatoly glances at the bottom sonar and makes a ballast adjustment.
cut to:
3 ext. the bottom of the sea
a pale, dead-flat lunar landscape. it gets brighter, lit from above, as mir
one enters frame and drops to the seafloor in a downblast from its
thrusters. it hits bottom after its two hour free-fall with a loud bonk.
cut to:
4 int. mir one
lovett and bodine jerk awake at the landing.
anatoly
(heavy russian accent)
we are here.
ext. / int. mir one and two
5 minutes later: the two subs skim over the seafloor to the sound of
sidescan sonar and the thrum of big thrusters.
6 the featureless gray clay of the bottom unrolls in the lights of the subs.
bodine is watching the sidescan sonar display, where the outline of a huge
pointed object is visible. anatoly lies prone, driving the sub, his face
pressed to the center port.
bodine
come left a little. she's right in front of us, eighteen meters. fifteen.
thirteen... you should see it.
anatoly
do you see it? i don't see it... there!
out of the darkness, like a ghostly apparition, the bow of the ship appears.
its knife-edge prow is coming straight at us, seeming to plow the bottom
sediment like ocean waves. it towers above the seafloor, standing just as it
landed 84 years ago.
the titanic. or what is left of her. mir one goes up and over the bow
railing, intact except for an overgrowth of 'rusticles' draping it like
mutated spanish moss.
tight on the eyepiece monitor of a video camcorder. brock lovett's face
fills the black and white frame.
lovett
it still gets me every time.
the image pans to the front viewport, looking over anatoly's shoulder, to
the bow railing visible in the lights beyond. anatoly turns.
anatoly
is just your guilt because of stealing from the dead.
cut wider, to show that brock is operating the camera himself, turning it in
his hand so it points at his own face.
lovett
thanks, tolya. work with me, here.
brock resumes his serious, pensive gaze out the front port, with the camera
aimed at himself at arm's length.
lovett
it still gets me every time... to see the sad ruin of the great ship sitting
long fall from the world above.
anatoly rolls his eyes and mutters in russian. bodine chuckles and watches
the sonar.
bodine
you are so full of shit, boss.
7 mir two drives aft down the starboard side, past the huge anchor while mir
one passes over the seemingly endless forecastle deck, with its massive
anchor chains still laid out in two neat rows, its bronze windlass caps
gleaming. the 22 foot long subs are like white bugs next to the enormous
wreck.
lovett (v.o.)
dive nine. here we are again on the deck of titanic... two and a half miles
down. the pressure is three tons per square inch, enough to crush us like a
freight train going over an ant if our hull fails. these windows are nine
inches thick and if they go, it's sayonara in two microseconds.
8 mir two lands on the boat deck, next to the ruins of the officer's
quarters. mir one lands on the roof of the deck house nearby.
lovett
right. let's go to work.
bodine slips on a pair of 3-d electronic goggles, and grabs the joystick
controls of the rov.
9 outside the sub, the rov, a small orange and black robot called snoop dog,
lifts from its cradle and flies forward.
bodine (v.o.)
walkin' the dog.
snoop dog drives itself away from the sub, paying out its umbilical behind
it like a robot yo-yo. its twin stereo-video cameras swivel like insect
eyes. the rov descends through an open shaft that once was the beautiful
first class grand staircase.
snoop dog goes down several decks, then moves laterally into the first class
reception room.
snoop's video pov, moving through the cavernous interior. the remains of the
ornate handcarved woodwork which gave the ship its elegance move through the
floodlights, the lines blurred by slow dissolution and descending rusticle
formations. stalactites of rust hang down so that at times it looks like a
natural grotto, then the scene shifts and the lines of a ghostly undersea
mansion can be seen again.
montage style, as snoop passes the ghostly images of titanic's opulence:
10 a grand piano in amazingly good shape, crashed on its side against a
wall. the keys gleam black and white in the lights.
11 a chandelier, still hanging from the ceiling by its wire... glinting as
snoop moves around it.
12 its lights play across the floor, revealing a champagne bottle, then some
white star line china... a woman's high-top 'granny shoe'. then something
eerie: what looks like a child's skull resolves into the porcelain head of a
doll.
snoop enters a corridor which is much better preserved. here and there a
door still hangs on its rusted hinges. an ornate piece of moulding, a wall
sconce... hint at the grandeur of the past.
13 the rov turns and goes through a black doorway, entering room b-52, the
sitting room of a 'promenade suite', one of the most luxurious staterooms on
titanic.
bodine
i'm in the sitting room. heading for bedroom b-54.
lovett
stay off the floor. don't stir it up like you did yesterday.
bodine
i'm tryin' boss.
glinting in the lights are the brass fixtures of the near-perfectly
preserved fireplace. an albino galathea crab crawls over it. nearby are the
remains of a divan and a writing desk. the dog crosses the ruins of the once
elegant room toward another door. it squeezes through the doorframe,
scraping rust and wood chunks loose on both sides. it moves out of a cloud
of rust and keeps on going.
bodine
i'm crossing the bedroom.
the remains of a pillared canopy bed. broken chairs, a dresser. through the
collapsed wall of the bathroom, the porcelain commode and bathtub took
almost new, gleaming in the dark.
lovett
okay, i want to see what's under that wardrobe door.
several angles as the rov deploys its manipulator arms and starts moving
debris aside. a lamp is lifted, its ceramic colors as bright as they were in
1912.
lovett
easy, lewis. take it slow.
lewis grips a wardrobe door, lying at an angle in a corner, and pulls it
with snoop's gripper. it moves reluctantly in a cloud of silt. under it is a
dark object. the silt clears and snoop's cameras show them what was under
the door...
bodine
ooohh daddy-oh, are you seein' what i'm seein'?
close on lovett, watching his monitors. by his expression it is like he is
seeing the holy grail.
lovett
oh baby baby baby.
(grabs the mike)
it's payday, boys.
on the screen, in the glare of the lights, is the object of their quest: a
small steel combination safe.
cut to:
14 ext. stern of deck of kedysh - day
the safe, dripping wet in the afternoon sun, is lowered onto the deck of a
ship by a winch cable.
we are on the russian research vessel akademik mistislav keldysh. a crowd
has gathered, including most of the crew of keldysh, the sub crews, and a
hand-wringing money guy named bobby buell who represents the limited
partners. there is also a documentary video crew, hired by lovett to cover
his moment of glory.
everyone crowds around the safe. in the background mir two is being lowered
into its cradle on deck by a massive hydraulic arm. mir one is already
recovered with lewis bodine following brock lovett as he bounds over to the
safe like a kid on christmas morning.
bodine
who's the best? say it.
lovett
you are, lewis.
(to the video crew)
you rolling?
cameraman
rolling.
brock nods to his technicians, and they set about drilling the safe's
hinges. during this operation, brock amps the suspense, working the lens to
fill the time.
lovett
well, here it is, the moment of truth. here's where we find out if the time,
the sweat, the money spent to charter this ship and these subs, to come out
here to the middle of the north atlantic... were worth it. if what we think
is in that same... is in that safe... it will be.
lovett grins wolfishly in anticipation of his greatest find yet. the door is
pried loose. it clangs onto the deck. lovett moves closer, peering into the
safe's wet interior. a long moment then... his face says it all.
lovett
shit.
bodine
you know, boss, this happened to geraldo and his career never recovered.
lovett
(to the video cameraman)
get that outta my face.
cut to:
15 int. lab deck, preservation room - day
technicians are carefully removing some papers from the safe and placing
them in a tray of water to separate them safely. nearby, other artifacts
from the stateroom are being washed and preserved.
buell is on the satellite phone with the investors. lovett is yelling at the
video crew.
lovett
you send out what i tell you when i tell you. i'm signing your paychecks,
not 60 minutes. now get set up for the uplink.
buell covers the phone and turns to lovett.
buell
the partners want to know how it's going?
lovett
how it's going? it's going like a first date in prison, whattaya think?!
lovett grabs the phone from buell and goes instantly smooth.
lovett
hi, dave? barry? look, it wasn't in the safe... no, look, don't worry about
it, there're still plenty of places it could be... in the floor debris in
the suite, in the mother's room, in the purser's safe on c deck...
(seeing something)
hang on a second.
a tech coaxes some letters in the water tray to one side with a tong...
revealing a pencil (conte crayon) drawing of a woman.
brock looks closely at the drawing, which is in excellent shape, though its
edges have partially disintegrated. the woman is beautiful, and beautifully
rendered. in her late teens or early twenties, she is nude, though posed
with a kind of casual modesty. she is on an empire divan, in a pool of light
that seems to radiate outward from her eyes. scrawled in the lower right
the girl is not entirely nude. at her throat is a diamond necklace with one
large stone hanging in the center.
lovett grabs a reference photo from the clutter on the lab table. it is a
period black-and-white photo of a diamond necklace on a black velvet
jeller's display stand. he holds it next to the drawing. it is clearly the
same piece... a complex setting with a massive central stone which is almost
heart-shaped.
lovett
i'll be god damned.
cut to:
16 insert
a cnn news story: a live satellite feed from the deck of the keldysh,
intercut with the cnn studio.
announcer
treasure hunter brock lovett is best known for finding spanish gold in
sunken galleons in the caribbean. now he is using deep submergence
technology to work two and a half miles down at another famous wreck... the
titanic. he is with us live via satellite from a russian research ship in
the middle of the atlantic... hello brock?
lovett
yes, hi, tracy. you know, titanic is not just a shipwreck, titanic is the
shipwreck. it's the mount everest of shipwrecks.
cut to:
17 int. house / ceramics studio
pull back from the screen, showing the cnn report playing on a tv set in the
living room of a small rustic house. it is full of ceramics, figurines, folk
art, the walls crammed with drawings and paintings... things collected over
a lifetime.
panning to show a glassed-in studio attached to the house. outside it is a
quiet morning in ojai, california. in the studio, amid incredible clutter,
an ancient woman is throwing a pot on a potter's wheel. the liquid red clay
covers her hands... hands that are gnarled and age-spotted, but still
surprisingly strong and supple. a woman in her early forties assists her.
lovett (v.o.)
i've planned this expedition for three years, and we're out here recovering
some amazing things... things that will have enormous historical and
educational value.
cnn reporter (v.o.)
but it's no secret that education is not your main purpose. you're a
treasure hunter. so what is the treasure you're hunting?
lovett (v.o.)
i'd rather show you than tell you, and we think we're very close to doing
just that.
the old woman's name is rose calvert. her face is a wrinkled mass, her body
shapeless and shrunken under a one-piece african-print dress.
but her eyes are just as bright and alive as those of a young girl.
rose gets up and walks into the living room, wiping pottery clay from her
hands with a rag. a pomeranian dog gets up and comes in with her.
the younger woman, lizzy calvert, rushes to help her.
rose
turn that up please, dear.
reporter (v.o.)
your expedition is at the center of a storm of controversy over salvage
rights and even ethics. many are calling you a grave robber.
tight on the screen.
lovett
nobody called the recovery of the artifacts from king tut's tomb grave
robbing. i have museum-trained experts here, making sure this stuff is
preserved and catalogued properly. look at this drawing, which was found
today...
the video camera pans off brock to the drawing, in a tray of water. the
image of the woman with the necklace fills frame.
lovett
...a piece of paper that's been underwater for 84 years... and my team are
able to preserve it intact. should this have remained unseen at the bottom
of the ocean for eternity, when we can see it and enjoy it now...?
rose is galvanized by this image. her mouth hangs open in amazement.
rose
i'll be god damned.
cut to:
18 ext. keldysh deck - night
cut to keldysh. the mir subs are being launched. mir two is already in the
water, and lovett is getting ready to climb into mir one when bobby buell
runs up to him.
buell
there's a satellite call for you.
lovett
bobby, we're launching. see these submersibles here, going in the water?
take a message.
buell
no, trust me, you want to take this call.
cut to:
19 int. lab deck / keldysh - night
buell hands lovett the phone, pushing down the blinking line. the call is
from rose and we see both ends of the conversation. she is in her kitchen
with a mystified lizzy.
lovett
this is brock lovett. what can i do for you, mrs... ?
buell
rose calvert.
lovett
... mrs. calvert?
rose
i was just wondering if you had found the 'heart of the ocean' yet, mr.
lovett.
brock almost drops the phone. bobby sees his shocked expression...
buell
i told you you wanted to take this call.
lovett
(to rose)
alright. you have my attention, rose. can you tell me who the woman in the
picture is?
rose
oh yes. the woman in the picture is me.
cut to:
20 ext. ocean - day
smash cut to an enormous sea stallion helicopter thundering across the
ocean. pan 180 degrees as it roars past. there is no land at either horizon.
the keldysh is visible in the distance.
close on a window of the monster helicopter. rose's face is visible, looking
out calmly.
cut to:
21 ext. keldysh - day
brock and bodine are watching mir 2 being swung over the side to start a
dive.
bodine
she's a goddamned liar! a nutcase. like that... what's her name? that
anastasia babe.
buell
they're inbound.
brock nods and the three of them head forward to meet the approaching helm.
bodine
she says she's rose dewitt bukater, right? rose dewitt bukater died on the
titanic. at the age of 17. if she'd have lived, she'd be over a hundred now.
lovett
a hundred and one next month.
bodine
okay, so she's a very old goddamned liar. i traced her as far back as the
20's... she was working as an actress in l.a. an actress. her name was rose
dawson. then she married a guy named calvert, moved to cedar rapids, had two
kids. now calvert's dead, and from what i've heard cedar rapids is dead.
the sea stallion approaches the ship, bg, forcing brock to yell over the
rotors.
lovett
and everybody who knows about the diamond is supposed to be dead... or on
this ship. but she knows about it. and i want to hear what she has to say.
got it?
cut to:
22 ext. keldysh helipad
in a thundering downblast the helicopter's wheels bounce down on the
helipad.
lovett, buell and bodine watch as the helicopter crew chief hands out about
ten suitcases, and then rose is lowered to the deck in a wheelchair by
keldysh crewmen. lizzy, ducking unnecessarily under the rotor, follows her
out, carrying freddy the pomeranian. the crew chief hands a puzzled keldysh
crewmember a goldfish bowl with several fish in it. rose does not travel
light.
hold on the incongruous image of this little old lady, looking impossibly
fragile amongst all the high tech gear, grungy deck crew and gigantic
equipment.
bodine
s'cuse me, i have to go check our supply of depends.
cut to:
23 int. rose's stateroom / keldysh - day
lizzy is unpacking rose's things in the small utilitarian room. rose is
placing a number of framed photos on the bureau, arranging them carefully
next to the fishbowl. brock and bodine are in the doorway.
lovett
is your stateroom alright?
rose
yes. very nice. have you met my granddaughter, lizzy? she takes care of me.
lizzy
yes. we met just a few minutes ago, grandma. remember, up on deck?
rose
oh, yes.
brock glances at bodine... oh oh. bodine rolls his eyes. rose finishes
arranging her photographs. we get a general glimpse of them: the usual
snapshots... children and grandchildren, her late husband.
rose
there, that's nice. i have to have my pictures when i travel. and freddy of
course.
(to the pomeranian)
isn't that right, sweetie.
lovett
would you like anything?
rose
i should like to see my drawing.
cut to:
24 int. lab deck, preservation area
rose looks at the drawing in its tray of water, confronting herself across a
span of 84 years. until they can figure out the best way to preserve it,
they have to keep it immersed. it sways and ripples, almost as if alive.
tight on rose's ancient eyes, gazing at the drawing.
25 flashcut of a man's hand, holding a conte crayon deftly creating a
shoulder and the shape of her hair with two efficient lines.
26 the woman's face in the drawing, dancing under the water.
27 a flashcut of a man's eyes, just visible over the top of a sketching pad.
they look up suddenly right into the lens. soft eyes, but fearlessly direct.
28 rose smiles, remembering. brock has the reference photo of the necklace
in his hand.
lovett
louis the sixteenth wore a fabulous stone, called the blue diamond of the
the neck up. the theory goes that the crown diamond was chopped too... recut
into a heart-like shape... and it became le coeur de la mer. the heart of
the ocean. today it would be worth more than the hope diamond.
rose
it was a dreadful, heavy thing.
(she points at the drawing)
i only wore it this once.
lizzy
you actually believe this is you, grandma?
rose
it is me, dear. wasn't i a hot number?
lovett
i tracked it down through insurance records... and old claim that was
settled under terms of absolute secrecy. do you know who the claiment was,
rose?
rose
someone named hockley, i should imagine.
lovett
nathan hockley, right. pittsburgh steel tycoon. for a diamond necklace his
son caledon hockley bought in france for his fiancee... you... a week before
he sailed on titanic. and the claim was filed right after the sinking. so
the diamond had to've gone down with the ship.
(to lizzy)
see the date?
lizzy
lovett
if your grandma is who she says she is, she was wearing the diamond the day
titanic sank.
(more)
lovett (cont'd)
(to rose)
and that makes you my new best friend. i will happily compensate you for
anything you can tell us that will lead to its recovery.
rose
i don't want your money, mr. lovett. i know how hard it is for people who
care greatly for money to give some away.
bodine
(skeptical)
you don't want anything?
rose
(indicating the drawing)
you may give me this, if anything i tell you is of value.
lovett
deal.
(crossing the room)
over here are a few things we've recovered from your staterooms.
laid out on a worktable are fifty or so objects, from mundane to valuable.
rose, shrunken in her chair, can barely see over the table top. with a
trembling hand she lifts a tortoise shell hand mirror, inlaid with mother of
pearl. she caresses it wonderingly.
rose
this was mine. how extraordinary! it looks the same as the last time i saw
it.
she turns the mirror over and looks at her ancient face in the cracked
glass.
rose
the reflection has changed a bit.
she spies something else, a silver and moonstone art-nouveau brooch.
rose
my mother's brooch. she wanted to go back for it. caused quite a fuss.
rose picks up an ornate art-nouveau hair comb. a jade butterfly takes flight
on the ebony handle of the comb. she turns it slowly, remembering. we can
see that rose is experiencing a rush of images and emotions that have lain
dormant for eight decades as she handles the butterfly comb.
lovett
are you ready to go back to titanic?
cut to:
29 int. imaging shack / keldysh
it is a darkened room lined with tv monitors. images of the wreck fill the
screens, fed from mir one and two, and the two rovs, snoop dog and duncan.
bodine
live from 12,000 feet.
rose stares raptly at the screens. she is enthraled by one in particular, an
image of the bow railing. it obviously means something to her. brock is
studying her reactions carefully.
bodine
the bow's struck in the bottom like an axe, from the impact. here... i can
run a simulation we worked up on this monitor over here.
lizzy turns the chair so rose can see the screen of bodine's computer. as he
is calling up the file, he keeps talking.
bodine
we've put together the world's largest database on the titanic. okay,
here...
lovett
rose might not want to see this, lewis.
rose
no, no. it's fine. i'm curious.
bodine starts a computer animated graphic on the screen, which parallels his
rapid-fire narration.
bodine
she hits the berg on the starboard side and it sort of bumps along...
punching holes like a morse code... dit dit dit, down the side. now she's
flooding in the
bodine (cont'd)
forward compartments... and the water spills over the tops of the bulkheads,
going aft. as her bow is going down, her stern is coming up... slow at
first... and then faster and faster until it's lifting all that weight,
maybe 20 or 30 thousand tons... out of the water and the hull can't deal...
so skrttt!!
(making a sound in time with the animation)
... it splits! right down to the keel, which acts like a big hinge. now the
bow swings down and the stern falls back level... but the weight of the bow
pulls the stern up vertical, and then the bow section detaches, heading for
the bottom. the stern bobs like a cork, floods and goes under about 2:20
a.m. two hours and forty minutes after the collision.
the animation then follows the bow section as it sinks. rose watches this
clinical dissection of the disaster without emotion.
bodine
the bow pulls out of its dive and planes away, almost a half a mile, before
it hits the bottom going maybe 12 miles an hour. kaboom!
the bow impacts, digging deeply into the bottom, the animation now follows
the stern.
bodine
the stern implodes as it sinks, from the pressure, and rips apart from the
force of the current as it falls, landing like a big pile of junk.
(indicating the simulation)
cool huh?
rose
thank you for that fine forensic analysis, mr. bodine. of course the
experience of it was somewhat less clinical.
lovett
will you share it with us?
her eyes go back to the screens, showing the sad ruins far below them.
a view from one of the subs tracking slowly over the boat deck. rose
recognizes one of the wellin davits, still in place. she hears ghostly waltz
music. the faint and echoing sound of an officer's voice, english accented,
calling 'women and children only'.
30 flash cuts of screaming faces in a running crowd. pandemonium and terror.
people crying, praying, kneeling on the deck. just impressions... flashes in
the dark.
31 rose looks at another monitor. snoop dog moving down a rusted,
debris-filled corridor. rose watches the endless row of doorways sliding
past, like dark mouths.
32 image of a child, three years old, standing ankle deep in water in the
middle of an endless corridor. the child is lost alone, crying.
33 rose is shaken by the flood of memories and emotions. her eyes well up
and she puts her head down, sobbing quietly.
lizzy
(taking the wheelchair)
i'm taking her to rest.
rose
no!
her voice is surprisingly strong. the sweet little old lady is gone,
replaced by a woman with eyes of steel. lovett signals everyone to stay
quiet.
lovett
tell us, rose.
she looks from screen to screen, the images of the ruined ship.
rose
it's been 84 years...
lovett
just tell us what you can--
rose
(holds up her hand for silence)
it's been 84 years... and i can still smell the fresh paint. the china had
never been used. the sheets had never been slept in.
he switches on the minirecorder and sets it near her.
rose
titanic was called the ship of dreams. and it was. it really was...
as the underwater camera rises past the rusted bow rail, we dissolve / match
match dissolve:
34 ext. southampton dock - day
shot continues in a florious reveal as the gleaming white superstructure of
titanic rises mountainously beyond the rail, and above that the buff-colored
funnels stand against the sky like the pillars of a great temple. crewmen
move across the deck, dwarfed by the awesome scale of the steamer.
crowd of hundreds blackens the pier next to titanic like ants on a jelly
sandwich.
in fg a gorgeous burgundy renault touring car swings into frame, hanging
from a loading crane. it is lowered toward hatch #2.
on the pier horse drawn vehicles, motorcars and lorries move slowly through
the dense throng. the atmosphere is one of excitement and general giddiness.
people embrace in tearful farewells, or wave and shout bon voyage wishes to
friends and relatives on the decks above.
a white renault, leading a silver-gray daimler-benz, pushes through the
crowd leaving a wake in the press of people. around the handsome cars people
are streaming to board the ship, jostling with hustling seamen and stokers,
porters, and barking white star line officials.
the renault stops and the liveried driver scurries to open the door for a
young woman dressed in a stunning white and purple outfit, with an enormous
feathered hat. she is 17 years old and beautiful, regal of bearing, with
piercing eyes.
it is the girl in the drawing. rose. she looks up at the ship, taking it in
with cool appraisal.
rose
i don't see what all the fuss is about. it doesn't look any bigger than the
mauritania.
a personal valet opens the door on the other side of the car for caledon
hockley, the 30 year old heir to the elder hockley's fortune. 'cal' is
handsome, arrogant and rich beyond meaning.
cal
you can be blase about some things, rose, but not about titanic. it's over a
hundred feet longer than mauritania, and far more luxurious. it has squash
courts, a parisian cafe... even turkish baths.
cal turns and fives his hand to rose's mother, ruth dewitt bukater, who
descends from the touring car being him. ruth is a 40ish society empress,
from one of the most prominent philadelphia families. she is a widow, and
rules her household with iron will.
cal
your daughter is much too hard to impress, ruth.
(indicating a puddle)
mind your step.
ruth
(gazing at the leviathan)
so this is the ship they say is unsinkable.
cal
it is unsinkable. god himself couldn't sink this ship.
cal speaks with the pride of a host providing a special experience.
this entire entourage of rich americans is impeccably turned out, a
quintessential example of the edwardian upper class, complete with servants.
cal's valet, spicer lovejoy, is a tall and impassive, dour as an undertaker.
behind him emerge two maids, personal servants to ruth and rose.
a white star line porter scurries toward them, harried by last minute
loading.
porter
sir, you'll have to check your baggage through the main terminal, round that
way--
cal nonchalantly hands the man a fiver. the porter's eyes dilate. five
pounds was a monster tip in those days.
cal
i put my faith in you, good sir.
(more)
cal (cont'd)
(curtly, indicating lovejoy)
see my man.
porter
yes, sir. my pleasure, sir.
cal never tires of the effect of money on the unwashed masses.
lovejoy
(to the porter)
these trunks here, and 12 more in the daimler. we'll have all this lot up in
the rooms.
the white star man looks stricken when he sees the enormous pile of steamer
trunks and suitcases loading down the second car, including wooden crates
and steel safe. he whistles frantically for some cargo-handlers nearby who
come running.
cal breezes on, leaving the minions to scramble. he quickly checks his
pocket watch.
cal
we'd better hurry. this way, ladies.
he indicates the way toward the first class gangway. they move into the
crowd. trudy bolt, rose's maid, hustles behind them, laden with bags of her
mistress's most recent purchases... things too delicate for the baggage
handlers.
cal leads, weaving between vehicles and handcarts, hurrying passengers
(mostly second class and steerage) and well-wishers. most of the first class
passengers are avoiding the smelly press of the dockside crowd by using an
elevated boarding bridge, twenty feet above.
they pass a line of steerage passengers in their coarse wool and tweeds,
queued up inside movable barriers like cattle in a chute. a health officer
examines their heads one by one, checking scalp and eyelashes for lice.
they pass a well-dressed young man cranking the handle of a wooden biograph
'cinematograph' camera mounted on a tripod. naniel marvin (whose father
founded the biograph film studio) is filming his young bride in front of the
titanic. mary marvin stands stiffly and smiles, self conscious.
daniel
look up at the ship, darling, that's it. you're amazed! you can't believe
how big it is! like a mountain. that's great.
mary marvin, without an acting fiber in her body, does a bad clara bow
pantomime of awe, hands raised.
cal is jostled by two yelling steerage boys who shove past him. and he is
bumped again a second later by the boys' father.
cal
steady!!
man
sorry squire!
the cockney father pushes on, after his kids, shouting.
cal
steerage swine. apparently missed his annual bath.
ruth
honestly, cal, if you weren't forever booking everything at the last
instant, we could have gone through the terminal instead of running along
the dock like some squalid immigrant family.
cal
all part of my charm, ruth. at any rate, it was my darling fiancee's beauty
rituals which made us late.
rose
you told me to change.
cal
i couldn't let you wear black on sailing day, sweetpea. it's bad luck.
rose
i felt like black.
cal guides them out of the path of a horse-drawn wagon loaded down with two
tons of oxford marmalade, in wooden cases, for titanic's victualling
department.
cal
here i've pulled every string i could to book us on the grandest ship in
history, in her most luxurious suites... and you act as if you're going to
your execution.
rose looks up as the hull of titanic looms over them...a great iron wall,
bible black and sever. cal motions her forward, and she enters the gangway
to the d deck doors with a sense of overwhelming dread.
old rose (v.o.)
it was the ship of dreams... to everyone else. to me it was a slave ship,
taking me back to america in chains.
close on cal's hand in slow-motion as it closes possessively over rose's
arm. he escorts her up the gangway and the black hull of titanic swallows
them.
old rose (v.o.)
outwardly i was everything a well brought up girl should be. inside, i was
screaming.
35 cut to a screaming blast from the mighty triple steam horns on titanic's
funnels, bellowing their departure warning.
cut to:
36 ext. southampton docks / titanic - day
a view of titanic from several blocks away, towering above the terminal
buildings like the skyline of a city. the steamer's whistle echoes across
southampton.
pull back, revealing that we were looking through a window, and back further
to show the smoky inside of a pub. it is crowded with dockworkers and ship;s
crew.
just inside the window, a poker game is in progress. four men, in working
class clothes, play a very serious hand.
jack dawson and fabrizio de rossi, both about 20, exchange a glance as the
other two players argue in swedish. jack is american, a lanky drifter with
his hair a little long for the standards of the times. he is also unshaven,
and his clothes are rumpled from sleeping in them. he is an artist, and has
adopted the bohemian style of art scene in paris. he is also very
self-possessed and sure-footed for 20, having lived on his own since 15.
the two swedes continue their sullen argument, in swedish.
olaf
(subtitled)
you stupid fishhead. i can't believe you bet our tickets.
sven
(subtitled)
you lost our money. i'm just trying to get it back. now shutup and take a
card.
jack
(jaunty)
hit me again, sven.
jack takes the card and slips it into his hand.
ecu jack's eyes. they betray nothing.
close on fabrizio licking his lips nervously as he refuses a card.
ecu stack in the middle of the table. bills and coins from four countries.
this has been going on for a while. sitting on top of the money are two 3rd
class tickets for rms titanic.
the titanic's whistle blows again. final warning.
jack
the moment of truth boys. somebody's life's about to change.
fabrizio puts his cards down. so do the swedes. jack holds his close.
jack
let's see... fabrizio's got niente. olaf, you've got squat. sven, uh oh...
two pair... mmm.
(turns to his friend)
sorry fabrizio.
fabrizio
what sorry? what you got? you lose my money?? ma va fa'n culo testa di
cazzo--
jack
sorry, you're not gonna see your mama again for a long time...
he slaps a full house down on the table.
jack
(grinning)
'cause you're goin' to america!! full house boys!
fabrizio
porca madonna!! yeeaaaaa!!!
the table explodes into shouting in several languages. jack rakes in the
money and the tickets.
jack
(to the swedes)
sorry boys. three of a kind and a pair. i'm high and you're dry and...
(to fabrizio)
... we're going to--
fabrizio/jack
l'america!!!
olaf balls up one huge farmer's fist. we think he's going to clobber jack,
but he swings round and punches sven, who flops backward onto the floor and
sits there, looking depressed. olaf forgets about jack and fabrizio, who are
dancing around, and goes into a rapid harangue of his stupid cousin.
jack kisses the tickets, then jumps on fabrizio's back and rides him around
the pub. it's like they won the lottery.
jack
goin' home... to the land o' the free and the home of the real hot-dogs! on
the titanic!! we're ridin' in high style now! we're practically goddamned
royalty, ragazzo mio!!
fabrizio
you see? is my destinio!! like i told you. i go to l'america!! to be a
millionaire!!
(more)
fabrizio (cont'd)
(to pubkeeper)
capito?? i go to america!!
pubkeeper
no, mate. titanic go to america. in five minutes.
jack
shit!! come on, fabri!
(grabbing their stuff)
come on!!
(to all, grinning)
it's been grand.
they run for the door.
pubkeeper
'course i'm sure if they knew it was you lot comin', they'd be pleased to
wait!
cut to:
37 omitted
38 ext. terminal - titanic
jack and fabrizio, carrying everything they own in the world in the kit bags
on their shoulders, sprint toward the pier. they tear through milling crowds
next to the terminal. shouts go up behind them as they jostle slow-moving
gentlemen. they dodge piles of luggage, and weave through groups of people.
they burst out onto the pier and jack comes to a dead stop... staring at the
cast wall of the ship's hull, towering seven stories above the wharf and
over an eighth of a mile long. the titanic is monstrous.
fabrizio runs back and grabs jack, and they sprint toward the third class
gangway aft, at e deck. they reach the bottom of the ramp just as sixth
officer moody detaches it at the top. it starts to swing down from the
gangway doors.
jack
wait!! we're passengers!
flushed and panting, he waves the tickets.
moody
have you been through the inspection queue?
jack
(lying cheerfully)
of course! anyway, we don't have lice, we're americans.
(glances at fabrizio)
both of us.
moody
(testy)
right, come aboard.
moody has quartermaster rowe reattach the gangway. jack and fabrizio come
aboard. moody glances at the tickets, then passes jack and fabrizio through
to rowe. rowe looks at the names on the tickets to enter them in the
passenger list.
rowe
gundersen. and...
(reading fabrizio's)
gundersen.
he hands the tickets back, eyeing fabrizio's mediterranean looks
suspiciously.
jack
(grabbing fabrizio's arm)
come on, sven.
jack and fabrizio whoop with victory as they run down the white-painted
corridero... grinning from ear to ear.
jack
we are the luckiest sons of bitches in the world!
cut to:
39 omitted
40 ext. titanic and dock - day
the mooring lines, as big around as a man's arm, are dropped into the water.
a cheer goes up on the pier as seven tugs pull the titanic away from the
quay.
cut to:
41 ext. aft well deck / poop deck - day
jack and fabrizio burst through a door onto the aft well deck. tracking with
them as they run across the deck and up the steel stairs to the poop deck.
they get to the rail and jack starts to yell and wave to the crowd on the
dock.
fabrizio
you know somebody?
jack
of course not. that's not the point.
(to the crowd)
goodbye! goodbye!! i'll miss you!
grinning, fabrizio joins in, adding his voice to the swell of voices,
feeling the exhilaration of the moment.
fabrizio
goodbye! i will never forget you!!
cut to:
42 omitted
ext. southampton dock - day
the crowd of cheering well-wishers waves heartily as a black wall of metal
moves past them. impossibly tiny figures wave back from the ship's rails.
titanic gathers speed.
cut to:
44 ext. river test - day
in a long lens shot the prow of titanic fills frame behind the lead tug,
which is dwarfed. the bow wave spreads before the mighty plow of the liner's
hull as it moves down the river test toward the english channel.
cut to:
45 int. third class berthing / g-deck forward - day
jack and fabrizio walk down a narrow corridor with doors lining both sides
like a college dorm. total confusion as people argue over luggage in several
languages, or wander in confusion in the labyrinth. they pass emigrants
studying the signs over the doors, and looking up the words in phrase books.
they find their berth. it is a modest cubicle, painted enamel white, with
four bunks. exposed pipes overhead. the other two guys are already there.
olaus and bjorn gundersen.
jack throws his kit on one open bunk, while fabrizio takes the other.
bjorn
(in swedish/ subtitled)
where is sven?
cut to:
46 int. suite b-52-56 - day
by contrast, the so-called 'millionaire suite' is in the empire style, and
comprises two bedrooms, a bath, wc, wardrobe room, and a large sitting room.
in addition there is a private 50 foot promenade deck outside.
a room service waiter pours champagne into a tulip glass of orange juice and
hands the bucks fizz to rose. she is looking through her new paintings.
there is a monet of water lilies, a degas of dancers, and a few abstract
works. they are all unknown paintings... lost works.
cal is out on the covered deck, which has potted trees and vines on
trellises, talking through the doorway to rose in the sitting room.
cal
those mud puddles were certainly a waste of money.
rose
(looking at a cubist portrait)
you're wrong. they're fascinating. like in a dream... there's truth without
logic. what's his name again... ?
(reading off the canvas)
picasso.
cal
(coming into the sitting room)
he'll never amount to a thing, trust me. at least they were cheap.
a porter wheels cal's private safe (which we recognize) into the room on a
handtruck.
cal
put that in the wardrobe.
47 in the bedroom rose enters with the large degas of the dancers. she sets
it on the dresser, near the canopy bed. trudy is already in there, hanging
up some of rose's clothes.
trudy
it smells so brand new. like they built it all just for us. i mean... just
to think that tonight, when i crawl between the sheets, i'll be the first--
cal appears in the doorway of the bedroom.
cal
(looking at rose)
and when i crawl between the sheets tonight, i'll still be the first.
trudy
(blushing at the innuendo)
s'cuse me, miss.
she edges around cal and makes a quick exit. cal comes up behind rose and
puts his hands on her shoulders. an act of possession, not intimacy.
cal
the first and only. forever.
rose's expression shows how bleak a prospect this is for her, now.
cut to:
48 ext. cherbourg harbor, france - late dusk
titanic stands silhouetted against a purple post-sunset sky. she is lit up
like a floating palace, and her thousand portholes reflect in the calm
harbor waters. the 150 foot tender nomadic lies-to alongside, looking like a
rowboat. the lights of a cherbourg harbor complete the postcard image.
cut to:
49 int. first class reception/ d-deck
entering the first class reception room from the tender are a number of
prominent passengers. a broad-shouldered woman in an enormous feathered hat
comes up the gangway, carrying a suitcase in each hand, a spindly porter
running to catch up with her to take the bags.
woman
well, i wasn't about to wait all day for you, sonny. take 'em the rest of
the way if you think you can manage.
old rose (v.o.)
at cherbourg a woman came aboard named margaret brown, but we all called her
molly. history would call her the unsinkable molly brown. her husband had
struck gold someplace out west, and she was what mother called 'new money'.
at 45, molly brown is a tough talking straightshooter who dresses in the
finery of her genteel peers but will never be one of them.
old rose (v.o.)
by the next afternoon we had made our final stop and we were steaming west
from the coast of ireland, with nothing out ahead of us but ocean...
cut to:
50 omitted
51 ext. bow - day
the ship glows with the warm creamy light of late afternoon. jack and
fabrizio stand right at the bow gripping the curving railing so familiar
from images of the wreck. jack leans over, looking down fifty feet to where
the prow cuts the surface like a knife, sending up two glassy sheets of
water.
cut to:
52 int. / ext. titanic - series of scenes - day
on the bridge, captain smith turns from the binnacle to first officer
william murdoch.
captain smith
take her to sea mister murdoch. let's stretch her legs.
murdoch moves the engine telegraph lever to all ahead full.
53 now begins a kind of musical/visual setpiece... an ode to the great ship.
the music is rhythmic, surging forward, with a soaring melody that addresses
the majesty and optimism of the ship of dreams.
in the engine room the telegraph clangs and moves to 'all ahead full'.
chief engineer bell
all ahead full!
on the catwalk thomas andrews, the shipbuilder, watches carefully as the
engineers and greasers scramble to adjust valves. towering above them are
the twin reciprocating engines, four stories tall, their ten-foot-long
connecting rods surging up and down with the turning of the massive
crankshafts. the engines thunder like the footfalls of marching giants.
54 in the boiler rooms the stokers chant a song as they hurl coal into the
roaring furnaces. the 'black gang' are covered with sweat and coal dust,
their muscles working like part of the machinery as they toil in the hellish
glow.
55 underwater the enormous bronze screws chop through the water, hurling the
steamer forward and churning up a vortex of foam that lingers for miles
behind the juggernaut ship. smoke pours from the funnels as--
56 the riven water flares higher at the bow as the ship's speeds builds. the
camera sweeps up the prow to find jack, the wind streaming through his hair
and--
57 captain smith steps out of the enclosed bridge onto the wing. he stands
with his hands on the rail, looking every bit the storybook picture of a
captain... a great patriarch of the sea.
first officer murdoch
twenty one knots, sir!
smith
she's got a bone in her teeth now, eh, mr. murdoch.
smith accepts a cup of tea from fifth officer lowe. he contentedly watches
the white v of water hurled outward from the bows like an expression of his
own personal power. they are invulnerable, towering over the sea.
58 at the bow jack and fabrizio lean far over, looking down.
in the glassy bow-wave two dolphins appear, under the water, running fast
just in front of the steel blade of the prow. they do it for the sheer joy
and exultation of motion. jack watches the dolphins and grins. they breach,
jumping clear of the water and then dive back, crisscrossing in front of the
bow, dancing ahead of the juggernaut.
fabrizio looks forward across the atlantic, staring into the sunsparkles.
fabrizio
i can see the statue of liberty already.
(grinning at jack)
very small... of course.
the camera arcs around them, until they are framed against the sea.
now we pull back, across the forecastle deck. rising, as we continue back,
and the ships rolls endlessly forward underneath. over the bridge wing,
along the boat deck until her funnels come into frame besides us and march
past like the pillars of heaven, one by one. we pull back and up, until we
are looking down the funnels, and the people strolling on the decks and
standing at the rail become antlike.
and still we pull back until the great lady is seen whole in a gorgeous
aerial portrait, black and severe in her majesty.
ismay (v.o.)
she is the largest moving object ever made by the hand of man in all
history...
cut to:
59 int. palm court restaurant - day
close on j. bruce ismay, managing director of white star line.
ismay
...and our master shipbuilder, mr. andrews here, designed her from the keel
plates up.
he indicates a handsome 39 year old irish gentlemen to his right, thomas
andrews, of harland and wolf shipbuilders.
wider, showing the group assembled for lunch the next day. ismay seated with
cal, rose, ruth, molly brown and thomas andrews in the palm court, a
beautiful sunny spot enclosed by high arched windows.
andrews
(disliking the attention)
well, i may have knocked her together, but the idea was mr. ismay's. he
envisioned a steamer so grand in scale, and so luxurious in its
appointments, that its supremacy would never be challenged. and here she
is...
(he slaps the table)
...willed into solid reality.
molly
why're ships always bein' called 'she'? is it because men think half the
women around have big sterns and should be weighed in tonnage?
(they all laugh)
just another example of the men settin' the rules their way.
the waiter arrives to take orders. rose lights a cigarette.
ruth
you know i don't like that, rose.
cal
she knows.
cal takes the cigarette from her and stubs it out.
cal
(to the waiter)
we'll both have the lamb. rare, with a little mint sauce.
(to rose, after the waiter moves away)
you like lamb, don't you sweetpea?
molly is watching the dynamic between rose, cal and ruth.
molly
so, you gonna cut her meat for her too there, cal?
(turning to ismay)
hey, who came up with the name titanic? you, bruce?
ismay
yes, actually. i wanted to convey sheer size. and size means stability,
luxury... and safety--
篇2
一、庞然大物般的高傲形象
电影《泰坦尼克号》中前后使用了15个配乐段落，各自都有自己的主题，从低沉走向昂扬，用管弦乐队创造出一个气势雄浑、带有高傲和不可一世姿态的庞然大物般的音乐形象，正如在故事当时的年代里，泰坦尼克号的出现如同一个奇迹，那种以音乐来表现出泰坦尼克号充满昂然的斗志高度自信去建功立业般开始自己的处女航，重金属的音乐质感和虚无缥缈的女声吟唱，使这一音乐段落带有了举重若轻的感觉，美感丰满，魅力突出;或如Rose(《罗丝》)一段，用突出的挪威女歌手希塞尔吟唱无字歌作为主角引申出整个管弦乐的背景，继而苏格兰风笛与女声吟唱相互缠绕，由风笛一步步将曲风引向挺拔的高度，正如罗斯从任人宰割无奈地成为富豪的未婚妻一变而成为具有个人性格和坚韧精神的独立女性来自己掌握自身幸福的剧情。Hymntothesea(《大海的咏叹》)则将女声作为引子，将风笛作为主要角色，表现出主人公罗斯性格具有多面的特点，一如船上的诸多乘客一样命运存在变数，生死就在一瞬间，1500人没有逃过海难的浩劫而丢掉了性命，有人选择了暴力，有人选择了欺骗，也有人选择了有尊严的死而把生的希望留给妇女儿童;罗斯在杰克的帮助下逃离了死神的威胁，选择了为爱而替爱人活下去。音乐无疑具有更高更深刻的思想内容，作为“最具有情感的艺术”，Hymntothesea(《大海的咏叹》)包含了爱与命运的双重主题，其象征作用和表意功能都不能被我们无视。从整体来看，电影《泰坦尼克号》的音乐境界可以用纯净二字来概括。不论是动用了什么乐器，由什么乐队来演奏，也不论当时银幕上正在上演什么样的人间活剧，整体风格都是为了建立这样的一种纯净。也许在信仰上帝的西方人看来，一切都应该是纯粹的，无论是人，还是爱情，或者悲剧，或者灾难。在詹姆斯•霍纳的心中也许认为，电影中的爱情虽然夸张，但也有其现实可能性，爱情的本色就应该没有包括财富在内的任何其他因素的干扰，而成为纯净。即便是灭顶之灾来临，每个人都应保持自己的纯粹，因为灾难就是一种纯粹。所以音乐的纯净就成为詹姆斯•霍纳为此片配乐的最突出特色。
毫无疑问，苏格兰风笛被中国观众所知大概就是在《泰坦尼克号》上演之后，詹姆斯•霍纳对苏格兰风笛的钟爱也使它享誉全球。尽管风笛的音色中带有明显的苍凉，悠扬的旋律中，苏格兰风笛代表了一种艺术家对于这场海难和爱情的态度，是惋惜还是无奈?是惊叹还是感同身受?是无能为力仍要积极去抗争抑或无谓的挣扎?无论如何，《泰坦尼克号》都令你心旌荡漾，片中的爱情会令你心驰神往而迷醉，海难发生的场景会令你心惊胆寒而恐怖，凄美的生离死别又会令人肝肠寸断。不能不说，音乐的威力与魅力都掌握在詹姆斯•霍纳手里，他给了观众一个纯净的音乐境界，让你在目睹了这次惨绝人寰的悲剧之后心灵得到一个来自上帝的宽慰，尽管观众会潸然泪下。音乐是有感情的，音乐也是有性格的，音乐似乎也应该有性别才对。在《泰坦尼克号》的配乐中，我们分明听到了灵魂的呐喊，还有濒死的哀号，我们也能听到爱的低语与倾诉，还有无尽的依恋、怀念和感伤，以及能将你的灵魂曝晒在阳光下的痛楚，更有令人不安的宁静和恶魔来临的咆哮，也有随波逐流的女孩泪珠滑下的扑簌，还有人性独立的铮铮铁骨。
二、音乐传奇与传奇音乐
音乐欣赏是一门艺术，也是一种高级审美活动。高尔基说:“照天性来说，人人都是艺术家。无论在什么地方，都希望把美带到他的生活中去。”观赏电影《泰坦尼克号》时，人们进行的审美活动是一种特殊的审美，不仅要求画面和剧情，也对音乐有苛刻的要求。毕竟，观众群体的复杂也就决定了审美要求的多样，或者是形式，或者是内容。不过形式总是不如内容更加重要。而电影《泰坦尼克号》的配乐不仅有形式的新颖，也有内容的深刻感人，具备了音乐的传奇力量。从形式上看，多元素组合，尤其是苏格兰风笛的运用成为最大的亮点，而挪威女歌手希塞尔的无字歌声堪称完美，席琳•迪翁的演唱又是锦上添花，都成为影片中令人难忘的记忆。更不用说那种婉约的旋律成为萦绕在耳边的仙乐，令你无论何时听来都会沉浸到一种辽远和苍茫之中。最经典的当属片尾席琳•迪翁演唱的主题歌Myheartwillgoon(即汉译的《我心永恒》)了，从电影的角度来看，它就是最典型的催泪弹。不仅形式上继承了詹姆斯•霍纳本片配乐中全部亮点，内容上更是将深切情感用悠扬的歌声表达得淋漓尽致。虽然挪威女歌手希塞尔的低吟已经变成了一件乐器，成为主题歌的背景，人们依然能从她的嗓音中得到美的暗示;苏格兰风笛的奏鸣悠长婉转更营造出一种凄婉的氛围;而席琳•迪翁的婉转歌声成为最后一根稻草，将人们郁积良久的情感挤压之后喷薄而出，即使是不懂英文的观众也会被这首歌曲所打动而泪光莹然。
篇3
我到北爱尔兰的贝尔法斯特参观著名的泰坦尼克博物馆，这里正是当年建造泰坦尼克号邮轮的船台，那条超级豪华邮轮就是从这里下水，4天后撞上冰山沉没海底。
可是，馆内冷冷清清，没有人读一读泰坦尼克号1517名遇难者的名单，没有人辨别一下这一千多人中哪两个是中国水手，没有人细细观看泰坦尼克号上的餐具、菜单和信件，没有人听一听遇难幸存者的讲话录音……我明明看见一车一车的旅游者涌进馆来，都躲到哪里去了？
当我来到纪念品商店，才发现那里人头攒动，热闹非凡，大家挑选着印有泰坦尼克号标记的纪念品：橡皮、铅笔、T恤、帽子、钥匙圈、长毛绒玩具、挂钟……一旦选定，就到收银台排长队，等着付款，很是耐心，不急不躁。
当我来到博物馆的广场上，看见许多对年轻的情侣和老年的爷叔阿姨，男的从后面搂住女的腰，女的笑呵呵地展开双臂，典型的Rose和Jack站在泰坦尼克号船头的招牌电影造型。
我想我的认知肯定有偏差了，我问自己：这个博物馆应该象征着一尊纪念碑吧？好像有一种惨痛的教训在里头吧？好像还书写着一段耻辱吧？哪能一记头变成欢乐谷了呢？
旅游不可怕，怕的是旅游有文化。驴友不可怕，怕的是驴友装文化。我觉得这些参观者蛮爽快，不想看就不看，不想看就去购物。文化有多远，他们就可能走多远吗？不是的，他们实实在在地表示不想跟着文化走那么远。
我到意大利的第一天就参观米兰大教堂，正在广场上拍照，忽然看见不远处有个壮实的黑人和我的同行者秦记者有了争执。我是跟某报二十多个记者一起来旅游的，我们马上把秦记者围拢起来，唯恐黑人欺负她。
立刻，两个模子壮实的女警察走过来，腰里别着枪。黑人向警察表示，秦记者用照相机拍了他，那是要没收照相机的，至少是要付钞票的。
秦记者摇摇头，不知道是表示她没有拍过，还是表示听不懂黑人说的意大利话。
最后，或许是我们人多势众，或许是警察对黑人那套花头经司空见惯，她挥挥手，叫那个黑人走得远点。事后我问小秦，她说她确实拍过那个黑人：啊呀抱歉，我从来没有看见过这么黑的黑人，除了眼白是白的，简直是漆黑一团！原来是生物和文化的差异让她大胆得忘乎所以。
有位叫古德曼的人说过：文化大致是人类可为而猴子不可为的任何事情。
到国外旅行，光认识几个英文单词是要吃苦头的。可是到了伊朗我竟然变得目不识丁，因为他们连数字都是波斯文的，不是阿拉伯数字。我站在马路边读不出任何一辆轿车的车牌号，瞎子一样。
伊朗是有着6000年文明的古国，他们对古诗的欣赏和热爱，中国人哪能和人家比？十四世纪伊朗出了一位伟大诗人叫哈菲兹，他博采众长，写了许多优雅的经典的诗，受到贵族和平民的一致拥戴。他的诗歌的影响仅次于《古兰经》，人们随身携带他的诗集，据说只要随手翻一页，就可以对现在的读诗人有启迪和指点。对此，我充满好奇，那是“启迪”，不是算命；那是诗歌，不是八卦。
来到哈菲兹的陵墓旁，我看见一位披着黑纱的女士正翻开哈菲兹的诗集给儿子讲解着什么。我对导游说：能不能请那位女士让我随意翻一页她的哈菲兹诗集并且为我解读一下？那位年轻的妈妈竟然同意了，微笑着递来诗集。我随手一翻，是第367页。她解释说：这一页说，你现在心里想的将来会得到，你会看到现在的世界将来会变得更好，但是你对现在的处境要有耐心要能够忍受……
我默默聆听哈菲兹前辈对我的教诲，可是凭良心说拎大不清，我在中国难道还不算一个“能够忍受”的？爱默生说，能够克服民族性就是文化的胜利。我克服了吗？她克服了吗？我胜利了吗……后来我把我随身戴着的一只贝雕解下来送给她的儿子作为一种谢意。
我到俄罗斯莫斯科克里姆林宫外面参观，旅游者可以随意拍照，但是马路对面不能过去，不能越过马路中间的那道红线。导游说：梅德韦杰夫总统（彼时普京是总理）的办公室就在马路对面那幢楼的二楼，那扇窗门就是他的窗门，看到了吧？
我想如果总统现在正好开窗或者要关一扇窗，就可以看见他了。我身后那个手臂膀极粗的游客突然说：力气大一点的人，可以把手榴弹扔进他的办公室！
哦，这个旅游者告诉他妈妈了吗？要是他在飞机上说：我可以把手榴弹扔进驾驶室的，飞机大概就要紧急迫降了。
有位哲人认定“文化就是指一切给精神以力量的东西”。那么给身体以力量的东西是不是文化呢？
在斯里兰卡参观多个世界文化遗产之后，导游叫我们接下来参观乡村文化，他把我们带到一个叫迪里瓦多恩的地方，多辆牛车正等候着我们。两头牛拉一辆牛车，一辆牛车坐4个人，我们被赶上从来没有坐过的交通工具。
虽然只有一公里都不到的路程，“乡村文化”开始给我们颜色看：首先是36度的高温，太阳直逼逼，头上像浇了一桶辣火酱，灌木丛中一点风都没有，我们个个大汗淋漓；其次是尘土，牛车在乡间的土路上行进，扬起黄黄的灰尘，灰尘粘到汗液上，我们一个个像刚出土的兵马俑；再次是臭，牛一路走一路放屁，一路排泄，我们就坐在牛屁股的后面，捂着鼻子，还是被熏得头昏脑胀；最后是颠簸，牛车上没有凳子，没有垫子，我们直接坐在木条子上。牛车的轮子是木头做的，外面不包橡胶之类的软物，它七颠八倒地把所有坎坷真实地反馈给我们。屁股非常痛，双手非常酸，因为只有紧紧拉住栏杆才不会甩出去，
牛车总算停了，我们的骨头都要断掉了、肉都要化掉了。导游问：体会到我们斯里兰卡原汁原味的乡村文化了吧？
文化文化，把文绉绉的东西化开了，大概就是文――化。
有些人到外国旅游是去探寻异国文化，我自己晓得我到世界各国去走走肯定不是“文化之旅”，我也不晓得算什么旅？
篇4
——给杨老师的信之三
杨老师：
这又是一首我陶醉的电影歌曲：《我心永恒》
大概也有十多年了吧 随着《泰坦尼克号》公映，主题歌《我心永恒》弥漫在大街小巷，分布之广，大概只有空气能够匹敌。回忆当时Rose看着Jack慢慢沉下海底，那种撕心裂肺的痛，耳边响起席琳·迪翁的歌时，我多愁善感的性格又很久不能释怀。
影片中经典的深情相拥一再闪过脑海，尽显悠扬婉转而又凄美动人。歌曲的旋律从最初的平缓到激昂，再到缠绵诽恻的，一直到最后荡气回肠的悲剧尾声——短短四分钟的歌曲实际上是整部影片的浓缩版本。
“泰坦尼克号”——这艘号称永不沉没的“梦之船”已经永远沉没了，但人类那些美好、善良、崇高的情愫是永不会沉没！
“泰坦尼克号”不只是一个警告性的故事，一个关于人类不幸的神话、寓言和隐喻，它还是一个关于信念、勇气、牺牲和爱情的故事。”
在悠扬而幽怨的吹奏乐响起之前，《我心永恒》还只是一句誓言，之后，就成了悲剧的精灵。
普通人所能想象的悲剧美的极致是什么？是美好事物的彻底破灭还是破灭之后生生不息的精神？——席琳·迪翁选择了后者，她不让人绝望，她用换气时的强调性发音把悲伤加深，但又用纤尘不染的从容的女高音创造了形式美——誓言本来就具有的坚定被她唱得更加彻底——极大的悲伤和极大的爱的愿望，还有极大的形式美——这就是《我心永恒》的特征。
尽管这种生死恋的眼泪已经被很多人流过了，可我还是认为，这一次，有人超越了催泪的行列，而将圣洁带给了爱哭的人们。这就是席琳·迪翁的歌唱。
席琳·迪翁，傲视群芳，美仑美奂，但又从不炫技，她擅长那种感情和底气都十分充沛的大歌：《爱的力量》有长风万里的气势，而《我心永恒》则悲情似海，一正一反，恰好成全了世间并不存在的伟大的爱。席琳·迪翁的气质中闪耀着高洁的光芒，她没有那种调动肉体热情的天赋，但却可以捉住精神升华的秘密，无论她的歌声回荡在晴空云端，还是死寂的海面，都在回荡，都在不停留于肉体的超越。
《我心永恒》也有多种版本：
——钢琴版的《我心永恒》，很好的运用了钢琴的优雅与纯净，节奏的轻缓与急促，将信念、勇气、牺牲和爱情很好的一一展示了出来，让人忘记了经历过的那些悲伤与凝重，多了一份感情上的寄托。理查德·克莱德曼的演奏，将这一切做到了极致，使之成为一首需用心去倾听和感受的曲子，那里有伤感，有无奈，更有渴望和期盼，听后让人沉醉其中不能自已。
——萨克斯版的《我心永恒》，则多了一份柔和、松缓的味道，声音悠扬旷远，给人一种淡淡的、忧伤的感觉。它仿佛不是在讲一个故事，而是要将你藏在记忆里的一个个片段、一个个故事都呈现出来，使你不禁感慨生命是如此地脆弱，仿若大风暴里的一页扁舟——生命又是如此地坚强，不管多大的风雨也会纹丝不动!当一个人面对死亡时他所表现出来的感情和行为——这个时候是最本色、最原始的、没有任何伪装的、没有任何色彩的！你所看到的，就是他的灵魂！
记得一个朋友曾说过，没有歌词的音乐，使你的思想不会被文字所左右。你可以天马行空，可以自由无羁，可以无限遐想……这或许就是音乐的特殊魅力——一种自由之美吧！杨老师，打开你的思想，放飞你的思绪，随着音乐，让我们去追求这种美吧！
当然，你要的席琳-廸翁演唱的中英文对照版 《我心永恒》我不会忘记的：
每一个寂静夜晚的梦里 Every night in my dreams
我都能看见你，触摸你 I see you, I feel you,
因此而确信你仍然在守候 That is how I know you go on
穿越那久远的时空距离 Far across the distance
你轻轻地回到我的身边 And spaces between us
告诉我，你仍然痴心如昨 You have come to show you go on
无论远近亦或身处何方 Near, far, wherever you are
我从未怀疑过心的执著 I believe that the heart does go on
当你再一次推开那扇门 Once more you open the door
清晰地伫立在我的心中 And you`re here in my heart
我心永恒，我心永恒 And my heart will go on And on
爱曾经在刹那间被点燃 Love can touch us one time
并且延续了一生的传说 And last for a lifetime
直到我们紧紧地融为一体 And never let go till we`re one
爱曾经是我心中的浪花 Love was when I loved you
我握住了它涌起的瞬间 One true time I hold to
我的生命，从此不再孤单 In my life we`ll always go on
无论远近亦或身处何方 Near, far, wherever you are
我从未怀疑过心的执著 I believe that the heart does go on
当你再一次推开那扇门 Once more you open the door
清晰地伫立在我的心中 And you`re here in my heart
我心永恒，我心永恒 And my heart will go on And on
你在身边让我无所畏惧 You`re here, there`s nothing I fear,
我深知我的心不会退缩 And I know that my heart will go on
我们将永远地相依相守 We`ll stay forever this way
这里会是你安全的港湾 You are safe in my heart
我心永恒，我心永恒 And my heart will go on And on
篇5
春晚故事
我家春晚走“国际路线”
从2008年起，每年春节期间，杨耀莲家都会举办一场别开生面的家庭春晚。她家的春晚，不仅全家人都会上台一展才艺，还吸引了自己的外国朋友来参加。
杨耀莲说，她家春晚走的是“国际化路线”，并且还有个相当霸气的名字，叫“金都春晚”。
儿子首演成功，成“春晚”固定演员
“我以前就搞过活动策划，不过参加的都是专业演员。这一拨业余选手，我拿他们真没辙。”杨耀莲说，“不过冲着大家的踊跃劲儿，我就咬咬牙，迎难而上了。”
杨耀莲家第一次举办春晚时，她的儿子才上小学。别看他人小，却在当年的家庭春晚上率先登台，一曲长笛演奏“技惊全家”。
不过为了哄儿子上台，杨耀莲可没少费功夫。“表演前就跟他磨嘴皮子，许愿只要他上台，哪怕就吹一小会儿，我就给他奖励。”
不过，让杨耀莲没想到的是，儿子却临阵怯场，说什么都不肯登台表演。最后，她不得不动员全家，把儿子连拉带拽弄上台。“他演奏得还是很出色，大家都不停地为他鼓掌加油。”
首演尝到了甜头，之后的家庭春晚，杨耀莲的儿子总是第一个报名参加。
“肉丝儿”飙英文歌，引来“玫瑰”伴舞者
还是在杨耀莲家的首届春晚上，歌舞《泰坦尼克号》带来了全场。
主持人杨耀莲还没报完幕，《泰坦尼克号》的主演――家庭成员刘影，就迫不及待地迈着小碎步登台了。这位50多岁的“姑娘”，穿着吊带和裙子，身上的赘肉被勒成了“藕段”，“造型上的失败”却完全不影响她的表演。
当《泰坦尼克号》那熟悉的旋律响起，一串蹩脚的英语就从刘影嘴里唱了出来，且表情陶醉。“本来调子还挺准，没想到一唱到高音就破音，而且她的那个英文啊，实在不敢恭维。”杨耀莲说，“亲戚们都哈哈大笑，这个‘肉丝儿’也太有喜感了。”
更搞笑的是，由于刘影的裙子实在包不住她的“小蛮腰”，在她翩翩起舞时，裙子突然裂开了。全场人顿时被雷得“外焦里嫩”。
但也正是刘影“搞笑”的表演，征服了现场观众的心，带动了全场气氛。最后，杨耀莲的一个非常严肃的医生朋友也放下了矜持，嘴含玫瑰冲上台，为刘影伴舞。
“才华帝”献唱，歌声感动外国朋友
“精通多种乐器的家庭成员李华，都被我们叫成‘李才华’，因为他实在是太有才了。”杨耀莲说，“萨克斯、键盘、吉他，没有他搞不定的，完全是个音乐发烧友，他的车厢后面已经塞满了各种乐器!”
前年的家庭春晚上，杨耀莲的以色列朋友Eile也来捧场。这位外国朋友的到来，让“李才华”有些激动，他主动要求为Eile献唱一曲。听完“李才华”的演唱，Eile激动地站起来，连连向他敬礼，口中还不断用英文说着：“太棒了!太棒了!”
面对Eile的赞叹，“李才华”也来了劲，又接连献上多首外国民歌。大家也第一次发现，原来“李才华”真的很有才华。于是，从那届春晚后，大家不再叫他“李才华”，而送了他一个响亮的绰号“才华帝”。
“这样欢乐的家庭春晚，在我们家，每年大人小孩都很期待。”今年的家庭春晚，杨耀莲和家人又开始紧张筹备了。
1 节目形式丰富多彩：杨家春晚的节目单品种不少，有演奏类的、有歌唱类的、猜谜的，甚至有英文民歌活跃气氛的。可能不够专业，但大家通过认真学习练习，还真能在春晚舞台收获许多掌声和欢乐，这就够了。
2 包装充满喜感：家庭成员刘影，50多岁的胖大妈，穿吊带装，装嫩演小姑娘，还是外国的小姑娘，也难怪她的出场会带给大伙儿笑声。类似这样夸张和搞笑的包装，您不妨也学习一下，真的有意想不到的演出效果。
3 好朋友的参与，会让家里人有“人来疯”的演出激情。杨家的春晚，还吸引了外国朋友的参与，这样的做法，有“打鸡血”的效果，自己人自娱自乐已经很开心，但为了在外人面前露一手，自己人或许会表现得更加人来疯，气氛更加热烈。
拿名人说事
潘长江的“家庭春晚”
潘长江家举办了多年的家庭春晚，他本人是小品演员出身，其他家庭成员的职业也多少和文艺沾点边，这样的班底也难怪他们家的春晚要从头笑到尾了。
潘长江说之所以要办这样的家庭春晚，是想利用这种方式抒发一下亲情，表达一下团结，释放一下辛苦一年的压力。他说，他们家的春晚节目都经过他本人的严格审查、筛选，歌曲曲目不好拿掉再选，包装创意不到位，再来。总之，对于家里这台春晚，潘长江的认真程度丝毫不逊于央视春晚。
总体来说，他们家的春晚最大的特色就是，努力营造出最好的喜剧效果，最热烈的家庭氛围，让全家人过个乐呵年。至于如何做到这些，就要比拼家庭成员的策划能力和想象能力了。比如有一午；潘长江就男扮女装，扎俩长辫子，脸上画成小丑的模样，夫人把几颗牙涂黑，制造出说话漏风的喜感，两人就这样上台主持节目了，有了这样的滑稽包装，可能演员还没说话，大伙已经笑倒一片了。
“家庭春晚”的意义
1 办“春晚”省去大吃大喝。每年春节，中国人通常的做法是，家庭成员互相串门拜年，然后聚餐，每次亲友吃完饭走后，碗筷就有两大盆。不如简单吃饭，多放心思在“欢聚”上。
2 老老少少都能见面问候。说到拜年，许多地方都是晚辈给长辈拜年，但老人之间，因为身体条件等一些原因，不能挨家挨户走亲戚，彼此很难见面。“家庭春晚”就可以弥补这样的遗憾。
3 增强家族成员的凝聚力。既然是家庭春晚，当然家庭成员都参加比较好，可根据自身情况设定规模，比如，今年可以办场一家7口的小型春晚，明年索性来个几十口的大家族春晚，隔年变一次。举办家庭春晚，是一个很好的诠释家庭凝聚力的方式，其乐融融的家庭氛围，也会给子子孙孙留下美好回忆。
《金色年代》温馨提示
举办家庭春晚的注意事项
一 家庭春晚的开支，可采用AA制或设奖品和成本赞助商。一次“家庭春晚”的成本少则几百几千，多则上万，各家可结合自身的经济条件。量力而行，最好能采用AA制的方式。当然，如果有特别富裕的家族成员，在自愿的基础上，也可以由其来负担开支。
二 虽然业余，也要认真准备。虽说大家都业余，可都要精心准备才有意思。年年想着花样翻新，才能够达到最佳效果。不会表演的家庭成员，可以设置一些小游戏，小竞赛的项目。毕竟，家庭春晚也有疲劳期，年年老三样，办几年，大伙就提不起兴趣了。所以，家庭春晚，策划创意很重要。娱乐牌要打，温暖牌也不可或缺，比如，也可以请晚辈们在新年之际，给爸爸妈妈或者爷爷奶奶写封感人的书信，在春晚那天朗诵出来，大伙儿评比，谁的信最能触动你。
篇6
\[关键词\]英语课堂；教学策略；中职
\[中图分类号\]G712\[文献标识码\]A\[文章编号\]2095-3712（2014）11-0029-03\[作者简介\]苏德前（1972―），男，广西北海人，教育硕士，广西北海职业学院教师，中学一级。
一、中职英语教学现状与存在问题
近几年来由于国家教育理念、教育政策的转变与调整，中职学校迎来了蓬勃发展。但是一系列中职学生的教学问题也逐渐暴露出来，英语方面主要体现如下：
从学生方面看，中等职业学校学生总体素质低，大部分学生初中文化基础知识普遍太差，自信心不足，对学习文化基础知识丧失信心。有的学生即使想提高英语成绩但又苦于无从下手，还有的学生感到自己初中阶段不会的知识太多，补上太难了，索性自暴自弃彻底不学。绝大部分学生认为他们上职业学校主要是为了学技术掌握一技之长，只要把专业技术学好就够了，普遍重视专业课学习而轻视文化课学习。
从教育理念方面看，多数中职学校不同程度地忽视对英语的教学，学校领导甚至很多英语教师重视程度不够，热情不足，都认为职业学校的学生英语基础太差，学生厌学英语。有些学校有些专业甚至都不开设英语课，认为学生学好专业技术就行了。这些都影响了教学目标的实现。
从教学模式方法看，教师教学模式方法传统单一，灌输式教学为主，忽视了学生的基础和个性特点，引不起学生学习英语的兴趣，教学效果普遍差。
二、教学探究策略
王笃勤说过：教学所能培养的是学生综合使用语言的能力，这就要求教师根据不同的教学目的选择不同的教学手段。教学目标的达成不仅依赖所采用的教学模式，同样还要考虑到其他相关因素，如学生的需求，学生的知识和智力水平，学生的爱好，学生的学习风格和学习习惯，学生对语言和语言学习的认识等。如何使课堂教学适应社会发展的需要、学生的心理需求、新的教育目标和教学要求的问题。
（一）明确教学目标，坚定教学理念
明确英语学习对于中职学生的作用，坚定教学理念是教育者和受教育者首要任务之一，对于学生来说更为关键。笔者每逢新生的第一堂英语课都会让学生知道英语对于他们学习的重要性。如上2013五年制汽车维修班中职阶段英语第一堂课时，就让学生知道以下内容：“英语是中等职业学校的主要文化课程之一。随着我国加入WTO，国际政治、经济交流日益频繁，英语作为一种国际语言在人们的日常生活和工作中显得越来越重要。掌握英语基础知识，运用英语进行交际的能力对中职生来说是必备的技能之一。中职英语，简单、易懂、实用，主要培养学生在日常生活和一定的职业场景中初步运用英语进行有效交流的能力，帮助学生掌握一定的基础知识和基本技能，使其初步具备适应国际化、信息化时代要求的职业生存能力和继续学习能力。同时帮助学生拓展文化视野，认识中西文化差异，形成正确的情感、态度和价值观。”事实上，随着我国汽车行业中汽车检测维修技术的不断发展，汽车专业英语在汽车行业实际应用中的重要性越来越突出。汽车专业英语应用普遍，多家用工单位对既懂汽车维修技术又懂汽车专业英语的人才需求日益迫切，使得“汽车专业英语”这门课程在中职学校汽车专业中成为一门必不可少的专业基础课。
（二）注重教学内容的选择，降低教学难度
新颖的东西会引起学生的注意，引起学习者的兴趣。所以教学内容与教学方法的不断更新和变化，可以使学生保持积极的学习态度，让学生在学习过程中不断得到成功的体验，这已成为运用现代心理学研究成果激发学习动机的最重要手段之一。因此，教师在传授知识的同时应让学生获得成功的体验。学生一旦尝到学习的乐趣，既能使学习动机获得强化，又有助于产生自信心，增强自我效能感，而这又会对增强学习动机产生积极的促进作用。运用这种方法的要点是控制教学的进度和难度，使学生的某些具体学习目标不断得到实现。教学内容的难度是教学成功的因素之一。
1.从最简单的学起，26个字母、音标、背诵实用的谚语等。教学要简单易懂，每次课内容不宜过多，谚语如《前景基础英语综合教程2》第43页的：You can’t judge a book by its cover.（人不可貌相，海水不可斗量。）Every dog has his day.（人皆有出头之日。）
2.从教材中选择趣味实用的教学内容，拓展教学内容。如《前景基础英语综合教程2》Unit3 Climate，笔者选择了对话、课文和快乐阅读的谚语部分，让学生查找有关表示climate 的单词。学生就写出了如下单词：
weather forecast天气预报
turning out cloudy 转阴
snowy 有雪wet 雨天
hot炎热 flood 洪水
rain雨cold寒冷
warm暖和（升温）cool凉爽（降温）
fog雾 dry干燥
fine, clear晴windy 有风
cloudy多云haze霾
typhoon 台风
……
笔者引导学生进行如下讨论：
About climate
Make a discussion:
As we all know, the world is getting warmer and warmer.
Why?
What results does it cause?
What should we do?
学生上网搜索讨论得出如下结果：
（1）原因分析
人为因素：人口剧增；大气环境污染
……
（2）危害
气温升高所带来的热能会提供给空气和海洋巨大的动能，从而形成大型，甚至超大型台风、飓风、海啸等灾难。每年所遭受和面临的灾难越来越多，损失的生命和金钱数目越来越大，越来越让人难以接受。
……
3.自选教学内容。时事焦点、新闻、简单易懂的贴近生活的、学生感兴趣的东西都可以成为教学的内容。中职学生没有升学的压力，因此教师可以选择适合学生发展的任何内容，关键是培养学生的综合使用语言的能力。例如，有次课笔者让学生进行记单词比拼：比赛记忆有关颜色和水果的单词。当时是电气班和物流班的学生合班上课，笔者就将学生分为两组，电气班为一组，物流班为一组，两个班进行PK。任务是20分钟内写出的单词最多的班级为赢者。各组先抽签决定具体任务，然后可以使用因特网或字典准备，但是最后上黑板写单词时不能带任何东西，只能靠记忆写下单词。结果学生兴趣很浓，争分夺秒地写下了如下单词：
电气班的同学写下了18个颜色类单词：white白lack黑lue蓝色green绿色red红rown棕色pink粉红yellow黄色purple紫色camel驼色chocolate巧克力色coral珊瑚色offwhite灰白orange橙色snow雪白色stone石色tan茶aby pink浅粉红色
物流班的同学写下了17个水果类单词：grap葡萄longan龙眼mango芒果peach桃pear梨plum李子strawberry草莓西瓜watermelon香蕉banana橙子orange苹果apple蓝莓blueberry黑莓blackberry木瓜pawpaw榴莲jackfruit荔枝litchi番石榴guava
（三）教学方法方式多样性
英语教学方法是一种建立在系统的原则和程序基础上的语言教学的途径和做法，是有关语言教与学最佳方式的观点的应用。这些观点涉及语言和语言学习的本质特征、语言教学目的、教学大纲、教师职能、学生活动、教材作用、教学技巧和程序等。
1.注意教学方法的多样性
教学方法方式的不断更新和变化，是使学生保持积极学习态度的因素之一。在保证教学内容新颖的前提下，教师采用灵活多样的教学方法是非常重要的。教学中最忌多次单调重复，迫使学生反复咀嚼已知的材料。单调的教学方法常常会使学生产生马甫洛夫所说的“无兴奋状态”，使学生的神经系统产生抑制现象。所以教学方法的更新对激发学生的学习积极性也是至关重要的。例如：除了教课本上的部分内容外，教师也可以下载一些中英文字幕的电影让学生学英语或让学生通过做游戏、PK记单词、学唱英文歌曲等方式学英语。如Watch the film―the Titanic(泰坦尼克号) ，先介绍：泰坦尼克号（RMS Titanic）是一艘奥林匹克级邮轮，于1912年4月处女航时撞上冰山后沉没。泰坦尼克号由位于北爱尔兰贝尔法斯特的哈兰•沃尔夫船厂兴建，是当时最大的客运轮船。因为人为错误，于1912年4月14日船上时间夜里11点40分，泰坦尼克号撞上冰山；2小时40分钟后，即4月15日凌晨2点20分，船裂成两半后沉入大西洋。泰坦尼克号海难为和平时期死伤人数最多的海难之一，同时也是最广为人知的海上事故之一。然后教师要求学生在观看电影过程中要记下至少10个英文句子，学生就写下了：It’s my pleasure. This way, please. Welcome abroad. The ship is nice. Come towards me, please. I’ll be all right. I’ve just wait here. We need help. I need your help. Get back. Keep order here! Nobody panic! Come on! ……
像小学生一样，做做游戏，学生也很感兴趣。如做围椅子转的游戏。把学生分成几个组，每组一名指挥主持游戏，每组八名学生，按照以下方法进行：7把椅子背靠背摆在一起，8名学生围着椅子转圈，老师放音乐并用walk, run, hop, jump, touch your head, touch your shoulders 等喊口令。 那8名围着椅子转的学生必须按口令做相应的动作。当老师突然将音乐停下时，他们必须马上坐到椅子上，没有抢到椅子的学生出局。拿走一把椅子，剩下的7人照上述规则继续游戏。依此类推，直到最后的学生获胜。就这样在轻松的游戏活动中，学生学会了walk, run, hop, jump, touch your head, touch your shoulders 等这些词汇。
教师还可以穿插猜谜语的方式等。总之，教学方法要变化多样，让学生感到趣味横生。
2.注意教学手段的多样性
在教学过程中，教师不能自开学到结束都在教室里重复同样的教学方法，要常转变教学手段，如在多媒体教室上或在室外上，让学生感到新鲜。教师经常制作多媒体课件，或者利用别人制作好的课件进行教学，有利于调动学生学习的积极性，让一节课有多个兴奋点，激发学生的积极性，让学生在宽松、生动的教学氛围中学会知识。例如，上《前景基础英语综合教程2》Unit3 Climate 时，笔者是这样设计的：先让学生看影片《飓风》的片段，片中情节惊险，一个男子被飓风从地窖中吹了出来。此时，学生兴奋不已，笔者就让学生谈论：Whathappened to the man? What stuck the place? 上完课文后，教师又放了飓风发生时的几种逃生方法的片断，让学生谈论，还让学生再想想逃生的其他方法，分组讨论，学习兴趣特浓。
除此之外，教师还可带学生到教室外的草地上上课，主要是实践活动，培养学生的实践能力。
（四）注意教学中的情感作用
Jane Arnold说过，教师要善于营造有利于提高学习质量的心理氛围。这种氛围包括和谐的师生关系、学生的安全感、教师对学生内在情绪的敏感度、倾听并接受学生的意见、非评判性的师生交流、自尊心的保护以及权力的合理分配等。这种和谐的心理氛围不仅使得教师能够采取适当的教学方法，而且使得教师能够了解学生的学习过程，缩短师生之间的距离，从而促进学习。在课堂教学中、课外活动或是日常生活中，教师要多跟学生沟通，多聊他们感兴趣的话题和时事焦点，如“昆明事件”“马航失联”等，亲近学生、关心学生，与学生和睦相处，聊学生学习、生活、家庭以及快乐之事等，营造和谐师生关系，提高学习效率。
中职学生英语学习的现状不容乐观，作为教育工作者要坚定信念，充满信心地去研究教学对策，不断探索教学的新思路，提高中职英语教学质量。
参考文献：
\[1\]陈琳.英语（基础模块）教师用书第一册\[M\].北京：外语教学与研究出版社，2008.
\[2\]Jane Arnold.情感与语言学习\[M\].北京：外语教学研究出版社，2000.
\[3\]王笃勤.英语教学策略\[M\].北京：外语教学研究出版社，2002.
篇7
电影作为一门视听艺术，它通过艺术形象的塑造，能表达一定的思想情感，体现时代和民族精神，真实地反映社会的各种文化。近年来，随着我国对外开放的不断扩大与深入，越来越多的国外优秀电影被引进国门，极大地影响和丰富了我国广大人民的生活，成为中外文化交流的主渠道之一。许多英文原版电影如《魂断蓝桥》、《泰坦尼克号》和《阿甘正传》等或以波澜壮阔的场景，或以优美迷人的画面，或以至纯至深的情感，或以演员高超的演艺给观众留下深刻的印象。精彩的内容，不仅使观众充分欣赏到英文原版电影的魅力，还有利于我们了解西方文化。
一英文原版电影潜在的文化艺术内涵
1英文原版电影的语言情景渲染了语言的文化氛围
欣赏英文原版电影时给我们提供了真实的语言环境，同时也为我们展现了一个了解英美文化、风俗及概况的窗口，这无疑会对我们了解、学习他国文化及建立跨文化的学习意识起到促进作用。语言是文化的一部分，语言的表达与了解背景文化应密切结合在一起。欣赏英文原版电影可以丰富我们的语言文化知识。影视语言有其丰富性和强烈的感染力，每部电影都有其独特性和哲理性，影视语言艺术主要靠造型语言来塑造角色。每个角色的语言背后都隐藏着自己的生活经历和文化修养，从而形成自己的独特语言以及各自的性格特征。因此，在看这些电影的过程中，可以帮助我们深入了解英美文化。电影通过对不同故事的刻画去折射文化。电影从它的一开始就作为一种国际现象而存在，它的传播能促进国际间的文化交流。电影的蒙太奇方式，已经影响了并将继续影响人类的思维和语言，使世界各国各族之间的情感形态更为接近。英语原版电影从多方面、多角度展示了英语民族的文化。
2英文原版电影中的经典对白可以刻画人物性格，蕴含人生哲理
我们知道，语言是人类灵魂和性格最重要的体现途径。思想都必须建立在语言材料基础上。电影中的不同人物通过经典对白可以诠释迥异的个性，或善良可爱，或坚毅勇敢，芸芸众生相，溢于言表中。经典对白成为影片的灵魂，蕴含人生哲理的台词更使人物永远留在观众的心里。如，影片《乱世佳人》中的“Franklymydear,Idon'tgiveadamn”体现了主人公的处世态度；影片《新不了情》中的“Ithoughtthatthelifeismostimportant,thereforeinmyheart,themattercanbeabledtosolve.Noteverybodycanhaveintheluckyideallife,Therefore,wemustcertainlyenjoyourlife”体现了人物的人生价值和生活态度；影片《阿甘正传》中的“Mymommaalwayssaid,lifeislikeaboxofchocolate,youneverknowwhatyouget”这句富含哲理的箴言，激励着善良真诚、乐天向上的阿甘脚踏实地，努力拼搏，给观众留下了深刻的印象。
3英文原版电影能体现英语民族的文化，包括英语民族人们的思维方式，生活习俗等
语言是文化的载体。从某种意义上来说，电影是一种包罗万象的文化载体，英语电影从多方面、多角度展示了英语民族的文化。如脍炙人口的电影《乱世佳人》的故事大背景就是美国南北战争，这个背景贯穿整个故事。如果对美国的这段历史缺乏一定的了解，必然会难以深刻理解和体会这段有始无终的被战争、变迁和社会簇拥着的浪漫爱情故事。4英文原版电影是中西思维及习理差异的真实体现英文原版电影中的语言基本都是由日常生活语言组成的，这些语言流露出西方人的生活点滴以及思维方式等。通过欣赏这些原版电影，我们可以了解由于受地域、文化、经济等的影响而造成的中西民族的思维方式及心理存在的种种差异。在心理习惯方面，中国文化属人文文化，中国人直觉思维发达，具有较强的情感性和直观性；而西方文化属科学文化，理性思维发达，具有严密的逻辑性和科学性。
二欣赏英文原版电影过程中的文化艺术修养体现
1寓教于乐，心理放松
我们都知道，欣赏英文原版电影时，我们可以听到地道的外国人的语音和语调。尤其是影片把文字、图像、动画等结合起来，创造一种生动活泼、形象逼真的国外生活环境。语言和环境相结合，充分调动了我们的视觉、听觉和感觉，使自己身临其境，在不知不觉中使自己进入一个异国他乡的氛围，去感受外国文化给我们带来的心灵上的震撼。虽然电影中说的英语大多数带着角色专有的气质、情感、口音等特征，但却是我们了解的真正的英语口语。电影中的精彩对白、原汁原味的英语环境，具有很大的吸引力。比如一些美国老电影，如《阿甘正传》、《北非谍影》、《罗马假日》、《音乐之声》等主人公语速较慢，句子完整，语音清晰，诙谐幽默，让人百听不厌。有人说，看一部美国老电影，相当于在美国生活十天。
2培养语言敏感性，提高文学修养
每部电影都有其不同的语言特色，不同人物的语言运用也各异。人物性格的鲜明对照、人物的生动形象和悲剧命运潜移默化地感染着观众，揭示着故事的主题。不同身份的人物语言特色鲜明，为我们提供了丰富的语言素材。一些英文经典影片如《魂断蓝桥》、《泰坦尼克号》等，它们的一些经典镜头感人至深。特别是电影中的对白，集中了日常生活中最生动、形象、感人的语言。比如《泰坦尼克号》里的对白：Someone’slifeisabouttochange.有人要转运了。Alllifeisagameofluck.生活本来就全靠运气。Tomakeeachdaycount.让每一天都值得。What’sgoingon?到底发生了什么事?这样的语言运用都值得我们去学习。因为从语言学习的多重目的来说，这些对理解电影情节甚至异域文化也有很大的帮助。而且，从深层次上说，我们这些欣赏者的灵魂也在潜移默化中自我塑造而成了。在这一点上，我们欣赏英文原版电影这种行为是自愿的，是基于一种自发的创造力，甚至是基于某种天才式的感受力和领悟力。我们在欣赏电影的过程中，会通过比较，去提高自己的修养，去追寻自我的空间，这也是对我们人生的一种显现和揭示。在这样的氛围，电影本身作为一门艺术的观点将会更能显示其生命的迹象；而作为一门艺术的自由性质是人性自由本性的一种体现。例如，随着日积月累，对这些影片的欣赏，会培养自己对英语文学作品的赏析能力，长此以往，我们自会感觉有一种超越的欢欣相伴随，而且还能体验到它所带来的遨游于想象空间的自由。
3提升语言翻译技巧和领悟能力
电影，作为大众娱乐的产物，也是了解他国文化的视角。那么在欣赏英文原版电影时，电影翻译在跨国交流的浪潮中就应运而生。成功的影名翻译会在这个文化传载过程中起到推波助澜的作用，反之，则会削弱观众的审美及欣赏能力。良好的影名翻译应该是在忠实于原影片、影名的基础上达到一种信息、文化及审美对等。既保留原著精髓，又力求产生“情感共振”，即在如实体现原片信息及文化内核的基础上使目的语观众产生同源语观众相近的心理感受或审美感受。通过日积月累，我们就会在潜意识里掌握英文的表达习惯，有助于进行翻译活动。我们不仅仅会注重源语的形式，而且还会注重传达源语的内容，毕竟每一部原版的英文影片都是一定文化区域的历史和社会文化生活的反映。而每一种语言也包含着许多民族色彩鲜明的文化信息。这些文化信息包括价值观念、思维方式、、风俗习惯等等，在语言中可能以成语、典故、俗语等形式表现出来。我们渐渐地就会掌握这种技巧，从而使翻译能最大限度地使用目的语文化可以接受的表达，使目的语读者能更容易了解和适应翻译的文本,不会产生陌生感。因此，对于从事翻译工作的翻译工作者来讲，在翻译作品时要使译文尽可能多地保持原有的风格，达到源语文化的异质性；对于那些生活在国外的国人来讲，在日常生活中就可以克服文化障碍，避免不必要的语言交流障碍，做到自然表达和流畅翻译，实现有效的、成功的跨文化交际。#p#分页标题#e#
4扩大知识面，提高眼界，满足心理需求
比如《探索》系列电影纪录片制作精美，原汁原味的英语加上精良的音像效果，非常引人入胜，我们在欣赏的同时还能学到很多历史、地理知识。好的影片还可以帮助我们树立正确的积极的价值观和生活态度。欣赏一部优秀的英文原版电影，感受电影艺术所带来的愉悦，是大多数欣赏者的一种心理需要。而我们容易忽视的是，任何一部原版的电影，它都不是用来进行语言教学的，所以它的语言有很大的随意性，还有各种语音掺杂其中，如果不加以分析，一概拿来，势必会搅乱方向。而且就一部电影而言,它的场景、人物都有一定的限制，尽管如此，我们还是可以通过长期的影片欣赏总结出经验。知识面的扩大就是在点点滴滴的积累中得出效果的。5提高审美观，内塑道德涵养现代社会由于生活的多样化、知识信息的广泛化，审美活动已成为人们生活的重要内容。我们在观看一部英文原版电影的同时也是带着审美的眼光去审阅去感受。这样，具有感受美、鉴赏美、表现美和创造美的原版影片便能满足欣赏者审美观的需要。苏霍姆林斯基说：“美是一种心灵的体操，它使我们精神正直、良心纯洁，情感和信念端正。”通过欣赏影片，来体现影片语言本身的语言美，在字里行间，我们自然就能体会这些升降的音调犹如一首和谐婉转的歌曲，散发着无尽的美。在潜移默化中我们就知道了表达需要时要礼貌地说“MayIhave…”,得到帮助时不忘说声“Thankyou”,给人造成麻烦时道声“Excuseme”,别人困难时主动询问“CanIhelpyou”,别人诚心道歉时也不忘道声“That’sOK”……这些语言正是美的体现，是艺术最初始的轮回。通过欣赏原版电影这种“美”的教学手段，净化了欣赏者的心灵，提高了欣赏者对美的鉴赏能力，塑造了欣赏者自身的道德内涵。
篇8
13岁意味深远：青少年，看PGl3的电影，独自外出，随时会坠入情网。让父母最头疼的，是第二次反抗期的开始。心理学家认为，第一次反抗期在3岁左右――行动上独立，第二次反抗期在15岁左右――思想意识上独立。
我还没做好足够的心理准备，变化已有迹可寻：她开始注意穿戴，打耳洞，涂指甲，留披肩发，和全美国的女孩子们一起，迷上电影《泰坦尼克号》的男主角，她们个个会唱主题歌。在音乐上的对立早就开始了，平时还行，关门各听各的。去年圣诞节开车去拉斯韦加斯。她的范晓萱嗲声嗲气，磁带像丢了转，何止影响驾驶，简直让我发疯。倘若有一天警察用范晓萱的歌过堂，我立马招供，大喊大叫。一代人一代歌，不可能沟通。
中国人在西方，最要命的是孤独，那深刻的孤独。放了学，田田旋风般冲进来，自己弄点儿吃的，就地卧倒，开电视，看脱口秀(talk show)。威尔・史密斯，那个电视上快乐的黑人小伙儿，眼见着成了我们家一员。田田一边做功课，一边跟着他咯咯地乐。她最爱看的还是《我爱我家》，她至少看了几十遍，几乎都能背下来。这是她在寻根，寻找那个地理上的家，寻找美国经验以前人与人的亲密、纠葛与缠斗。
我跟田田分开了6年，从她4岁到10岁。我满世界漂流时，暗自琢磨，恐怕只有田田这个锚，才能让我停下来。有一天，住在英格兰的朋友告诉我，他们乡下有幢老房子正出售，便宜得难以置信。他还找来照片：歪斜的石头房子和开阔的田野。这成了我的梦，我愿客死他乡，与世无争。只求做麦田里的守望者，把田田带大。
昨夜惊醒，田田站在我床前，用手蒙着眼睛，嘟嘟囔囔。她做了噩梦，梦见吸血鬼。她告诉我，她总是在梦里飞翔，自由自在。看来事与愿违，她想远走高飞，留下无边的麦田和影子西斜的我这个老父亲。
田田上初一，功课多，我得帮她做功课。历史课本相当生动，我也跟着上课。最近我们一起进入中世纪的黑暗：黑死病消灭了欧洲入口近三分之一；圣经译成英文前，仅少数懂拉丁文的牧师掌握解释权，这是导致教会腐败的原因之一。
一天她告诉我，历史老师宣布：考试成绩前5名的同学每人交5块钱，分数可再提高。其余同学都傻了，继而怒火中烧，田田考砸了，也加入抗议的行列。我跟着拍案而起，造反有理!我们全部上了当――原来这与历史课本有关：在马丁-路德的宗教改革以前，富人只要捐钱给教会，杀人放火，照样可赦免上天堂。老师略施小计，让学生外带个跟班的家长体会一下当时穷人的愤怒。
篇9
关键词：英语教学 英美文化 英语语言
中图分类号：G623 文献标识码：A 文章编号：1672-3791（2012）11（b）-0150-01
语言是文化的一种表现形式，是文化的载体，体现语言使用者的民族文化特性。学习语言，要充分理解与掌握这种语言背后所体现的文化内涵。如果只是单纯的学习语言，不考虑这种语言的文化内涵，就不能保证沟通的顺畅。在这种情况下，就要求英语教学不应只注重语言知识传授，更应该考虑所教语言承载的文化内涵，使语言与文化相结合，在这种结合中培养学生的跨文化交际能力。因此，在英语教学中，应尝试在传授学生英语语言的同时，注意提高学生的英语文化修养。
1 注意传授文化内涵，提高学生英语文化修养
比如：COUNTRY、NATION、STATE 都是国家的意思，为什么美国就一定要说成是THE UNITED STATES而不是THE UNITED COUNTRY？这是因为COUNTRY是强调领土意义上的国家，NATION 是强调民族意义上的国家，而STATE则是强调政权意义上的国家。所以，同为国家的意思，三个词的文化内涵是不一样的，用法也就大不相同。
为了能将跨文化意识培养融合在语言知识和技能培养，除了讲解课文相关的语言点外，还要根据时间和学生的兴趣以及教学重点，充分利用和挖掘教材中的文化内涵。比如说，在讲解“weather”这个词时，英语论文可有意识的举这样的例子：“weather the storm”（战胜暴风雨），“while it is fine weather， mend your sail”（修帆趁天晴），这些都是英语中的习语，学生会觉得比较有兴趣去学习和记忆，这时教师可以进一步引导学生注意到这些习语都是和海洋及航海有关的，而且英语中存在着大量的与海洋及航海有关的习语，这样就会启发学生联想已有的地理知识，顿悟原来英国是个岛国，所以英语才有这个特点。如此一来，学生无论对英国、英语还是“weather”这个词，都会留下深刻印象，既学到了语言知识，又加深了对英国国家概况的了解，为跨文化交际打下良好的基础。再如，课本上英美国家的人初次相识时，往往谈论天气、球赛等与个人无关、不会引起麻烦的话题。他们从不像中国人那样，初次相识，就向对方打听“在哪里工作”“单位效益如何”“今年贵庚”“结婚了没有”“孩子多大了”等问题，因为如果问这些问题会被别人认为侵犯他们的隐私权。
2 利用课内外活动，为学生创造“说”英语的机会
传统的教学以教师的讲授为主，教师处于主导地位，学生只是简单、机械地背诵句型，缺乏言语交际练习。因而由于缺乏练习口语的机会，在真正的言语交际活动中就会因紧张、不适应而出错。因此，在课堂教学中，应尝试让学生走上讲台进行模拟对话，成为学习的主体，在实践中转换英语文化思维。比如，通过每次课课前的值日报告，模拟语境，让学生把课本中的语言文化信息转化为自己的直接经验储存起来。这样就可以避免在实际运用中，如在接电话时，明明知道应该说“WHO IS IT？”，却脱口而出“WHO ARE YOU？”这样的尴尬。
此外，还可以利用多种教学手段引导学生学习跨文化知识，如广播、报刊杂志、多媒体等。现代化图像、声光传媒工具的灵活使用可以极大地丰富教学手段，活跃课堂气氛，激发学生学习英语文化的意识。比如，可以把像《走遍美国》这样声情并茂的教学片引入课堂。《走遍美国》围绕一个典型的美国三代人家庭的生活展开，剧中布满了理解、烦恼和欢欣等情感，体现出了片中人物的价值观、伦理观、道德观和人生观，具有浓厚的人情味和隽永的意趣。它很巧妙地体现了“跨文化交际”的特点：细述形形的美国生活，使学生通过对美国文化和生活的体验，学到活生生的美国英语。课堂中，教师还可以给学生介绍英文小说，歌曲等。
3 利用多媒体技术，提升英语学习兴趣
为了提升学生对英语学习的兴趣和广泛了解英美社会的人文环境，还可利用多媒体技术，定期给学生们放英文电影。学生可以通过电影了解异国的生活方式、信仰体系、社会价值、道德标准等表层和深层的文化。了解了一部电影就了解了一个国家的一段历史、一代人甚至是几代人的生活及那个时期的文化，因此电影鉴赏是我们了解一个国家文化的重要途径之一。
为学生播放的电影必须是有教育意义且能吸引学生的，学生在欣赏故事情节的同时，要积极开展讨论，引导学生关注且理解跨文化差异。如对美国好莱坞主流意识形态的影片《泰坦尼克号》的赏析，不能只看JAKE和ROSE的爱情，应该引导学生透过这条主线全面的看20世纪初的美国社会：在灾难面前，普通人显示了人类直面死亡的勇气和尊严。如，船上的乐师们为安抚人心而克尽职守的为旅客们演奏乐曲，直到“曲尽人亡”；一对老夫妻相依为命，不为求生白费力气，安静得躺在床上等待末日来临；英国绅士为保持体面，坚决不穿救生衣；神父面对死亡仍坚持布道等等。《泰坦尼克号》把危险中每一种人的表现都描绘得淋漓尽致。其中的金钱与爱情、贫与富、是对本世纪初资本主义社会的阶段文化的一个突出反映。
最后，在教学中要合理处理汉语文化与英语文化的关系。不仅要结合自己所用教材内容及学生兴趣特点进行适时适量的异域文化知识扩充，还应进行文化间对比与分析，与汉语文化知识及表述方式进行比较，让学生意识到“跨文化交际总是两种文化接触，冲突，协调的动态过程”。留给学生辨证思考的空间。
参考文献
[1] 何自然.语用学与英语学习[M].上海：上海外语教育出版社，2008.
篇10
著名的希波克拉底誓言是在这位著名的希腊医生希波克拉底（公元前460～前376年）死后才产生的。因为这位科斯岛的医生本身就是一个传奇，所以人们就捏造了他撰写医德誓言的故事，目的在于赋予医德誓言的威慑力。1948年颁布的有关医生道德誓言的《日内瓦公约》就是在希波克拉底誓言的基础上制定的。例如，誓言中有关对病人秘密守口如瓶和细心照料病人的义务等部分被保留下来，而关于医生技艺不可外传之类的规定已经被删除。
巨杉是世界上最高寿的树种
北美洲的巨杉可以长到100多米高，活上好几千年。最长寿的巨杉能够活2200年之久，而最长寿的猛犸杉能活到3500岁。长期以来，人们认为没有比它们更长寿的生物了，直到人们在20世纪50年代时，在美国洛矶山山里发现了那些并不惊人的芒松。在1964年，在内华达州由于疏忽而不小心砍掉的那颗“普罗米修斯”树，当时已经有4950年的历史了。现存于加利福尼亚州的“玛土撒拉”树已经有4770年的历史了。
只有人和动物才会发烧
美国科学家借助红外线温度计发现，就连植物也会发烧。如果它们缺水或者因为根部受损而无法吸收足够的水分的话，被破坏的水分供给系统让植物的体温最多上升5度，体温可以从植物的树叶测量出来。
恐龙是在冰河期之前不久灭绝的
恐龙纪元是在6500万年之前结束的，而接下来的冰河期发生在两到三百万年前。恐龙不是因为白垩纪的到来而灭绝的，它们生活在整个白垩纪时期，直到整个时期结束时才灭绝。
猴子们之间互相捉虱子
如果猴子们相互在对方的皮毛上找来找去的话，那么这和找虱子无关。这种温柔亲切的皮毛护理方式是为了建立联系。它们这样做，是为了得到其他猴子的好感、在“老板”那里阿谀奉承、结成联盟、缓和气氛等等。研究者们找到了群体中的社会结构和护理者、被护理者以及护理时间之间的直接关联。这种行为经常可以清除掉皮屑和其它脏物，当然有可能是虱子。但是，绝对不能认为动物身上到处都是寄生虫。
女生比男生的数学要差一些
当人们长期以来在女孩子和男孩子各种资质对比研究上没有得到任何结果之后，人们还是坚信女孩子和男孩子在资质上是绝对有差别的。比如，平均来看，女生在语言测试方面比男生要好一些，而男生在技术科目上的成绩要比女生好一些。然而，在数学这个学科上则要分别来看。在空间想象力和数学推论方面，男生要有优势，但是女生的计算能力要好一些。
化学元素周期表是门捷列夫发明的
早在公元1830年左右就出现了把化学元素放在一个系统表里进行划分的想法。公元1869年两位化学教授同时独立地做到了把所有的化学元素归入一个完整的系统表中。他们分别是圣彼得堡的德米特里・伊万诺维奇・门捷列夫（1834～1907年）和布雷斯劳的尤里乌斯・洛塔尔・迈耶尔（1830～1895年）。借助化学元素周期表，可以预测还没有被人类发现的元素。门捷列夫由此预测出了镓、锗、铼和钪等元素的特征。
艺妓都是女性
艺妓指的是表演传统日本技艺的消遣艺术家。最早的艺妓是男性。到17世纪时，才出现了女艺妓。起初，为了把她们和区别开来，禁止女艺妓进行。然而，她们还是发展了一种自己专属的、微妙的风格。当然很多的艺妓都会和自己的老顾客发生性关系，那是为了偿还高额的艺妓培训费用。但是，艺妓也很贵，所以她们绝不会随便和新顾客发生关系。
人们应该尽可能多吃维生素和矿物质
有机体不可能无限量地消化吸收健康所需的维生素。如果摄入维生素过多的话，其中的一些维生素会被排出来。摄入过量的维生素对身体是有害的。过量的维生素A会让人头疼和恶心，过量的维生素C会扰乱血液中荷尔蒙的含量，过量的维生素D会导致痉挛和胆结石，过量的维生素E会使人恶心、作呕，并且给肠胃功能带来负担，过量的维生素B会让人瘙痒、易怒并且产生轻微的麻痹感。另外，摄入过多的维生素或者矿物质会妨碍吸收其他重要物质。比如，吸入过多的钙会导致体内锌元素的流失。所以，人们刻意地增加维生素或矿物质的摄入量并不是毫无疑虑的事。
白肉比红肉健康
白肉和红肉之间的界定标准从来没有统一过。有些人认为家禽的肉属于白肉，而猪、牛和羊肉属于红肉。但是鹅腿肉比一块细嫩的煎小牛肉排颜色要红得多。就算通过分析肉的成分也无法证明一块火鸡排比一块牛排要健康。而来自美国的研究认为红肉不利于健康的结论，可能是没有考虑到人们喜欢用亚硝酸盐腌渍牛和猪的某些部位的肉，然后再在火上进行烧烤，这样才是真的有害健康。
打火机比火柴要先进
第一个打火机是约翰・沃尔夫冈・杜布莱那（1780～1849年）在公元1816年发明的。这个打火机的原理是，盐酸和锌发生化学反应后产生的氢气在催化作用下，用铂点燃氢气产生火焰。而用一端抹上磷的小木棒通过摩擦产生火焰的火柴，则是在公元1832年才被生产出来的。然而，第一批生产出来的火柴太容易被点燃，只要不小心轻轻一划就会被点燃。所以，在公元1848年杜布莱那的学生鲁道夫・克里斯蒂安・伯格（1806～1881年）用相比之下不太容易被点燃的硫磺做火柴头，制造了安全性能较高的火柴。
汉堡包和汉堡这个城市没有什么关系
讲英语的文化人都认为，汉堡包的英文“Hamburg”中的“Ham”可能来自于英语中“ham（火腿）”这个单词。后来，又出现了以同样的构词方式的干酪汉堡包和鸡肉汉堡包。然而，汉堡包里面其实没有火腿肉，而是按照汉萨同盟城市汉堡命的名。在19世纪之时，德国移民把用煎过的碎肉做成肉饼来吃的习俗带到了美洲，在那里这种煎肉饼以“汉堡牛排”或者“汉堡三明治”的名称而闻名。
酒精对身体不益
因为红葡萄酒殊的成分对心脏有益，所以可以喝上一小杯红葡萄酒。然而，研究证明，不仅仅只有红葡萄酒对身体好。有节制的饮酒者比滴酒不沾的人寿命还要长一些。其中，不仅仅只有红葡萄酒，连白葡萄酒、啤酒甚至烈性酒也有同样的功效。节制的意思是，每天喝上最多40克纯正的酒，也就相当于半瓶葡萄酒、一升啤酒或者两小杯烧酒。但绝对不能贪杯。
领带象征着服装的文明
最初的领带是有军事含义的。16世纪，克罗地亚的骑士们把飘带围在脖子上，飘带那长长的末端就顺着垂了下来。骑士们在土耳其战争乃至30年战争中取得了功绩，所以路易十四把克罗地亚的一支精锐部队买了下来。这种围在脖子上的围巾让巴黎的贵族们十分中意，把它变成了一种时尚。同时，围巾变得越来越狭长，围巾的那长长的末端不是垂下来就是把它系成蝴蝶结，也就是现在的横领结。“领带”这个名词其实是从某个方言中的“克罗地亚人”演变过来的。
婚姻一般都在“七年之痒”之时破裂
如果要破裂的话，那么早就破裂了。根据统计记载，婚姻破裂的时间大多在婚后第四年或者第五年之间上下波动。然而，这只是个平均值。因为银婚之后的离婚数目在增加，所以平均数也跟着上升了。而大多数的伙伴关系破裂的时间还要早。
泰坦尼克号的沉没是历史上最悲惨的海难