安娜卡列妮娜

安娜·卡列尼娜主講人：馬興召KeywordMazurka波蘭舞

exonerate免除ridiculous荒謬的

chaste忠于配偶的

virile有男子氣概的spirit精神

marriage婚姻

indiscretion不檢點的

crime罪惡

weapon武裝Allhappyfamiliesresembleoneanother,eachunhappyfamilyisunhappyinitsownway.幸福的家庭都是相似的,不幸的家庭各有各的不幸。Historicalandculturalbackground"AnnaKarenina"creativecapitalisminRussiaeverythinginliferampageseventies,theauthorofthisprofoundreflectionofRussiaduringthisperiodmanyimportantaspectsoflifeinsociety,particularlythereformofthesocialstatusquoafterserfdom.Therearetwocluesnovel,oneisAnna-OttawaperishChomsky-Kareninplotlines,reflectingthethinkingoftheseventiesaristocraticsocial,culturalandmorallifeandsocialrelations,oneisLevine-SeenThroughtheplotlines,Russianmanorlandlordsreflectsthesocialpoliticalandeconomiclife.Atthebeginningofthenovel"AubeWronskihomeallconfused."Thissentenceisthekeytounderstandingthebook,everythingthischaosisnotonlyone,Kareninfamily,Levinefamily,XueSharanskyhomeallthechaosandtensionanxiety,reflectedaristocraticsocietyinthefaceofcrisisgeneratedbythecapitalistinvasion,istheepitomeofturbulenttimes,thisgeneralideauneasymoodbothfictionwritersalsodecidedtoexplorethetensionofspiritandcharacterandcomplexityofthepenandcontradictoryattitude.《安娜·卡列尼娜》創(chuàng)作于資本主義在俄國一切生活中橫沖直撞的七十年代，作者在此深刻地反映了這一時期俄國許多重要的社會生活面貌，特別是農(nóng)奴制度改革后的社會現(xiàn)狀。電影有兩條線索，一條是安娜—渥淪斯基—卡列寧的情節(jié)線索，反映七十年代貴族社會的思想、文化和道德生活及其社會關(guān)系，一條是列文—吉提的情節(jié)線索，反映俄國莊園地主的社會政治經(jīng)濟生活。一切都亂了的不僅是這一家，卡列寧家、列文家、薛杰巴斯基家無不混亂與緊張不安，這反映貴族社會面對資本主義侵入產(chǎn)生的危機，是動蕩不安的時代的縮影，這惶亂不安既是電影的總的思想情緒，也決定了原作家緊張的精神探索及對筆下人物的復雜而又矛盾的態(tài)度。ThebriefintroductionInthe19thcenturyRussia'supperclasssociety,seniorDirectorateKarenin'swifeAnnaYancrownQunfang,onthetrainshemetsuavecountVronsky.Vronsky’senthusiasmarousedtheloveofAnna'swhichhadbeenasleepforalongtime,theyfalledinatruelove,underthestrongpressureofpublicopinioninsuchatime,theyelopednomatterwhatwouldhappentothem,theirlovetragedybegan.AlthoughAnnabravelytoldherhusbandallofthetruth,hopingtodivorcewithherhusband,Kaleninwasamanwhocareforthevalueofthesocialstatus,itisdifficulttobeartheshameofthathiswifefallinlovewithsomebodyelse,hethreatAnnawithhermostbelovedson,refuseddivorcingandaskedtogiveuphisson

十九世紀俄羅斯的上流社會里，高層首長卡列寧之妻安娜艷冠群芳，在火車上她邂逅了風流倜儻的伯爵渥倫斯基。渥倫斯基的熱情喚醒了安娜沉睡已久的愛情，二人產(chǎn)生了真愛，在當時社會強大的輿論壓力下，不顧一切地私奔，他們的愛情悲劇就此展開。雖然安娜勇敢地告訴自己的丈夫一切實情，希望能離婚，但看重社會地位的卡列寧，難以忍受奪妻的恥辱，以安娜最心愛的兒子做威脅，拒絕和安娜離婚并逼她放棄兒子。Now,AnnahadlefthometolivewithVronsky,pregnantwithhischild,butunfortunatelyaborted,gotsequelaeanddependedonalcoholanddrugs,afteradifficulttwistsandturns,Anna'sspiritualpressurebecomesveryserious.Andthen,Vronskycouldn’tstandonthesocialpressure,sohebecameverycoldtoAnna,Annatolossoffamily,sonandpositioninsociety,andnowtheso-calledfreeandsincerelovealsobegantobeforsaken,herheartcouldnotgetsatisfactionandbalance.FinallyAnnadressedinablackvelvetdress,stoodinfrontofthethetracksinrailwaystationandletthehowlingtrainputanendtoherhopelessloveandlife,theaffairwhichwasnotallowedformoralandallthepeopleintheworld,finally,asaresultsonlyAnnapaidtheexpense,leavingtheadiencesendlesssentimentandsadness.此刻，安娜已離家與渥倫斯基同居，懷了他的孩子，卻不幸流產(chǎn)，得了后遺癥，又對酒與藥物有了依賴性，經(jīng)過重重困難波折后，安娜的精神壓力變得非常大。后來，渥倫斯基承受不了社會壓力開始對她表示冷淡，安娜付出了失去家庭、兒子和社會地位的高昂代價，而現(xiàn)在所謂真摯自由的愛情也開始要被遺棄，她內(nèi)心無法獲得滿足和平衡。最后安娜身著一襲黑天鵝絨長裙，在火車站的鐵軌前，讓呼嘯而過的火車結(jié)束了自己無望的愛情和生命，這段為道德和世間所不容的婚外情最后的結(jié)果由安娜獨立承擔，留下了無限感傷。Maincharactersandtheirrelationships

CharacterAnalysis1.安娜是一個19世紀70年代受資產(chǎn)階級影響而爭取個性解放的俄羅斯先進貴族婦女，是一個被虛偽道德所束縛和扼殺的悲劇人物。她善良、真誠、富有激情。個性解放色彩是安娜這個形象的鮮明特征，安娜之所以不被見容于上流社會，主要是由于她對真誠愛情生活的追求。然而安娜所向往的意義豐富的愛，實際上是縹緲的也是模糊。她并不知其所以然。而且，她沒有也不可能義無反顧地同卡列寧痛痛快快的決裂。安娜的性格不僅僅是本能的天性，她的整個氣質(zhì)和趣味都打上了貴族階級的印記，眼光與視野也都局限在貴族女性的范圍內(nèi)AnnaisaRussianadvancedandaristocraticwomenwhofightsforthereleaseofpersonalityundertheinfluenceofthebourgeoisieinthe1870s.sheisatragiccharacterwhoistrappedandkilledbyhypocriticalethics.Sheiskind,sincere,andisfullofpassion.

ThedistinctivefeatureofAnnaisthatshedaretopursuePersonalityliberation,Annaisnotcorrespondwiththehighsociety,islargelyduetoherpursuitofsincerelovelife.ButthemeaninglovethatAnnayearnsforisactuallywispyandmisty.Shedon'tknowwhathappens.And,shecan'tbreakwithkareninracily.

Anna'scharacterismorethanjustinstinctofnature,herwholetemperamentandinterestarewiththeimprintsofaristocracy,visionandsightarelimitedwithinthescopeofthearistocraticwomen.2.列文是一個莊園貴族。他強壯、熱情、忠厚、有很高的文化修養(yǎng)。他代表了托爾斯泰這一時期的理想。他崇尚家庭倫理道德，列文經(jīng)歷了和基蒂的愛戀婚姻及家庭的悲喜哀樂，但卻充分表明，愛情遠不是生活的全部，他痛心地看到地主經(jīng)濟的沒落，尋求避免資本主義發(fā)展蔓延的道路，希望借地主和農(nóng)民合作來緩解階級矛盾，并把這種“不流血的革命”推廣至全世界Levinisamanornoble.Heisstrong,warm,loyal,hasahighculture.herepresentstheidealofTolstoyduringthisperiod.Headvocatedfamilyethics,andheexperiencedpeasure,anger,sorrowandjoyofhislovemarriagewithKittyandfamily,butitisstronglysuggestedthattheloveisfarfromthewholeoflife,hewassadtoseethelandlordeconomicdecline,soughttoavoidthespreadofcapitalismdevelopmentroad,hopesthatthelandlordsandthefarmers'cooperationtoeaseclasscontradictions,andspreadedthe"bloodlessrevolution"totheworld.3.Vronsky（渥倫斯基）Heishandsome,charming，andanofficerinaregimentofsoldiers.（他英俊瀟灑，富有魅力，是一個士兵團的警官）Hebelievesthathumanrelationshipsshouldbeamatterofpleasureratherthanamoralissue.（他認為人際關(guān)系的建立應該建立在快樂的基礎上而不是道德問題上）Vronskyrepresentstheopenandrebellious.（渥倫斯基代表開放與叛逆，是當時封建貴族社會叛逆者與歸順者的綜合矛盾體）4.Karenin(卡列寧)1.acoldmanandconservative（他是一個冷酷的人，同時是一個保守主義者）2.He’sgotwealthandexcellentsocialandprofessionalconnections.（他很富有且具有良好的社會關(guān)系）3.Helivesaccordingtoastrictscheduleofeverything,andlackingasubstantialemotionallife.（他生活中的每件事遵循一個嚴格的準則，他缺乏充實的感情生活）Plot

TheheroineofthemoviecalledAnnaKarenina,whoisabeautifullady.Annahasabrotherandherbrotherhasafamilyoffourchildren,thoughwithfourchildren,hestillfellinlovewithayoungteacher,therefore,herwifeDollywentawayafteraquarrelwithhim.Tosaveherbrother’sfamily,shewenttoMoscowbytraintohelptohandletheproblem.Atthetrainstation,AnnametayoungmannamedVronsky。電影的女主安娜·卡列尼娜，是一個美麗的女士。安娜的哥哥奧布朗斯基公爵已經(jīng)有四個孩子，盡管如此，他仍和法國家庭女教師戀愛，因此和妻子多麗鬧翻。安娜為了拯救她哥哥的家庭，她坐火車去莫斯科為哥嫂調(diào)解，在火車站，安娜認識了青年軍官渥倫斯基。Anna’shusbandKareninisanordinaryperson,notsmartorhandsome,buthehasahighfameinofficialdom.Hedidn’tunderstandwhatistrueloveandhejustthinkitisgod’swillthatcombinesthemtogether.Soangrywhenheheardthenews,heblamedAnnaforherindiscretions.Hewantedhertoknowthemeaningofmarriageandpayattentiontothepublicopinions.Infact,hedidn’tcarehiswife’sgettingalongwithothers,onlypeople’snoticemaymakehimfelluneasy.安娜的丈夫亞歷山大·卡列寧其貌不揚，但在官場中卻是個地位顯赫的人物（是一個“完全醉心于功名”的人物）。他根本不懂什么是傾心相愛的情感，他認為：他和安娜的結(jié)合是神的意志。當他知道安娜出軌的消息時，他很憤怒，他責備妻子行為有失檢點，要她注意社會性的輿論，明白結(jié)婚的宗教意義，以及對兒女的責任。實際上，他并不在乎妻子和別人相好，而是別人注意到才使他不安和不舒服。DollyhasasistercalledKitty,shelovedVronskyverymuchanddreamedthathewillmarryher.Butshedidn’tknowthathelovedAnnaatfirstsight.Ataparty,Kittyshowedherlovetohimandthoughtthathewillaccepther.Buttoherdisappointment,herejectedherdirectly.WhatdepressedhermostwasthatVronskywasverywarmandkindtoAnna.Butshedidn’tknowthatLevinisalwaysinloveher.Annafoundkitty’sunhappyandtoavoidembarrass,shewentbacktoPetersburgsoon.ButitsurprisedherthatVronskywenttoPetersburgsoonafter.Fromthenon,Vronskybegantopursuehercrazily.HeattendedeverypartythatcouldseeAnna.Alltheactionsmadeherfeltuncomfortableatfirst,buttrappedinalovelessmarriage,AnnasuccumbstotemptationandembarksonadangerousaffairwiththehandsomeVronsky.多麗有一個妹妹叫基蒂，她深愛著渥倫斯基，并夢想著能和他結(jié)婚。但是她不知道渥倫斯基對安娜一見鐘情。在一個舞會上，基蒂向渥倫斯基表示好感，并想象著他會和她求婚。但是，讓她失望的是，渥倫斯基直接拒絕了她?；侔l(fā)現(xiàn)渥倫斯基和安娜異常地親熱，這使她感到很苦悶。但是她不知道康斯坦丁?列文一直愛慕著她。安娜發(fā)現(xiàn)基蒂的不開心，為避免尷尬便回彼得堡去了。隨后渥倫斯基也來到彼得堡，開始對安娜的熱烈的追求。他參加一切能見到安娜的舞會和宴會，從而引起上流社會的流言蜚語。起初，安娜還一直壓抑著自己的情感，但被困在沒有愛情的婚姻里，安娜屈從了誘惑，和英俊的渥倫斯基踏上了危險的戀情。Oneday,AnnaandKareninwenttoseeahorserace.Duringtherace,Vronskyfellthehorseheavily.Annacan’thelpscreamloudly.KareninfeltembarrassandforcedAnnatogobackhome.Annacan’tignoreherhusband’shypocrisyandselfish,sheshoutedathim“Ilovehim,Ihateyou…”有一天，安娜與丈夫卡列寧一起去看一場盛大的賽馬會，比賽中渥倫斯基從馬上摔了下來，安娜情不自禁地大聲驚叫，卡列寧認為安娜有失檢點讓他感到尷尬，迫使她提前退場回家。安娜無法忍受丈夫的虛偽與自私，說出了自己的心聲：“我愛他……我憎惡你……”。Now,let’stalkabouttheKitty’slife.KittyfinallyeliminatedtheestrangementwithLevinandgotmarrywith

him.

Thecoupleofloverslovedeachotherandlivedahappylifefromthenon.

現(xiàn)在，讓我們來談談基蒂的生活?；俳K于消除了列文的隔閡，嫁給

了他。這對夫妻彼此相愛過上了幸福的生活。Culturalanalysis

安娜的形象在作家創(chuàng)作過程中有過極大變化：從一個低級趣味的失足女人改寫成真誠、嚴肅、寧為玉碎、不為瓦全的女性。托爾斯泰通過安娜的愛情、家庭悲劇寄寓了他對當時動蕩的俄國社會中人的命運和倫理道德準則的思考。作家歌頌人的生命力，贊揚人性的合理要求；同時，他又堅決否定一切政治、社會活動（包括婦女解放運動）對改善人們命運的作用，強調(diào)母親——婦女天職的重要性。作家世界觀的矛盾構(gòu)成安娜形象的復雜性。一百多年來各國作家按自己的理解把安娜搬上舞臺、銀幕、熒光屏。安娜形象一直激動著不同時代、不同民族的讀者，這正說明安娜形象的藝術(shù)生命力是不朽的。Anna'simageintheprocessofthewriterhadgreatchanges:fromastumblebabbittrywomanrewriteinto,issincere,serious,bettertodiewhenlifeisadisgrace.TolstoybyAnna'slove,familytragedyembodieshisturbulentRussiansocietyatthattimethefateofthehumanthinkingandethicalcodeofethics.Authorpraisesvitality,praisedthereasonablerequirementsofhumannature;Atthesametime,andhefirmlydeniedallpoliticalandsocialactivities,includingthewomen'sliberationmovement)roleintheimprovementofpeople'sfate,emphasizedtheimportanceofmother,women'sduty.ThecomplexityofthewriterthecontradictionofworldviewconstituteAnnaimage.MorethanonehundredyearstheauthoraccordingtoownunderstandingtoAnnaontothestageandscreen,screen.Anna'simagehasbeenexcitedthereadersofdifferenttimes,differentna