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(diǎn)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(guó)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(shí)期俄國(guó)許多重要的社會(huì)生活面貌，特別是農(nóng)奴制度改革后的社會(huì)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(huì)的思想、文化和道德生活及其社會(huì)關(guān)系，一條是列文—吉提的情節(jié)線索，反映俄國(guó)莊園地主的社會(huì)政治經(jīng)濟(jì)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(huì)面對(duì)資本主義侵入產(chǎn)生的危機(jī)，是動(dòng)蕩不安的時(shí)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(duì)筆下人物的復(fù)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(jì)俄羅斯的上流社會(huì)里，高層首長(zhǎng)卡列寧之妻安娜艷冠群芳，在火車上她邂逅了風(fēng)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(dāng)時(shí)社會(huì)強(qiáng)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(shí)情，希望能離婚，但看重社會(huì)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(duì)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(huì)壓力開始對(duì)她表示冷淡，安娜付出了失去家庭、兒子和社會(huì)地位的高昂代價(jià)，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(zhǎng)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(dú)立承擔(dān)，留下了無限感傷。Maincharactersandtheirrelationships

CharacterAnalysis1.安娜是一個(gè)19世紀(jì)70年代受資產(chǎn)階級(jí)影響而爭(zhēng)取個(gè)性解放的俄羅斯先進(jìn)貴族婦女，是一個(gè)被虛偽道德所束縛和扼殺的悲劇人物。她善良、真誠(chéng)、富有激情。個(gè)性解放色彩是安娜這個(gè)形象的鮮明特征，安娜之所以不被見容于上流社會(huì)，主要是由于她對(duì)真誠(chéng)愛情生活的追求。然而安娜所向往的意義豐富的愛，實(shí)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(gè)氣質(zhì)和趣味都打上了貴族階級(jí)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(gè)莊園貴族。他強(qiáng)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(shí)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(yuǎn)不是生活的全部，他痛心地看到地主經(jīng)濟(jì)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(jí)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(gè)士兵團(tuán)的警官）Hebelievesthathumanrelationshipsshouldbeamatterofpleasureratherthanamoralissue.（他認(rèn)為人際關(guān)系的建立應(yīng)該建立在快樂的基礎(chǔ)上而不是道德問題上）Vronskyrepresentstheopenandrebellious.（渥倫斯基代表開放與叛逆，是當(dāng)時(shí)封建貴族社會(huì)叛逆者與歸順者的綜合矛盾體）4.Karenin(卡列寧)1.acoldmanandconservative（他是一個(gè)冷酷的人，同時(shí)是一個(gè)保守主義者）2.He’sgotwealthandexcellentsocialandprofessionalconnections.（他很富有且具有良好的社會(huì)關(guān)系）3.Helivesaccordingtoastrictscheduleofeverything,andlackingasubstantialemotionallife.（他生活中的每件事遵循一個(gè)嚴(yán)格的準(zhǔn)則，他缺乏充實(shí)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(gè)美麗的女士。安娜的哥哥奧布朗斯基公爵已經(jīng)有四個(gè)孩子，盡管如此，他仍和法國(guó)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(rèn)識(shí)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(yáng)，但在官場(chǎng)中卻是個(gè)地位顯赫的人物（是一個(gè)“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(rèn)為：他和安娜的結(jié)合是神的意志。當(dāng)他知道安娜出軌的消息時(shí)，他很憤怒，他責(zé)備妻子行為有失檢點(diǎn)，要她注意社會(huì)性的輿論，明白結(jié)婚的宗教意義，以及對(duì)兒女的責(zé)任。實(shí)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(gè)妹妹叫基蒂，她深愛著渥倫斯基，并夢(mèng)想著能和他結(jié)婚。但是她不知道渥倫斯基對(duì)安娜一見鐘情。在一個(gè)舞會(huì)上，基蒂向渥倫斯基表示好感，并想象著他會(huì)和她求婚。但是，讓她失望的是，渥倫斯基直接拒絕了她。基蒂發(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(duì)安娜的熱烈的追求。他參加一切能見到安娜的舞會(huì)和宴會(huì)，從而引起上流社會(huì)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(xiǎn)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(chǎng)盛大的賽馬會(huì)，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(rèn)為安娜有失檢點(diǎn)讓他感到尷尬，迫使她提前退場(chǎng)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?wù)劵俚纳睢；俳K于消除了列文的隔閡，嫁給

了他。這對(duì)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(gè)低級(jí)趣味的失足女人改寫成真誠(chéng)、嚴(yán)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(duì)當(dāng)時(shí)動(dòng)蕩的俄國(guó)社會(huì)中人的命運(yùn)和倫理道德準(zhǔn)則的思考。作家歌頌人的生命力，贊揚(yáng)人性的合理要求；同時(shí)，他又堅(jiān)決否定一切政治、社會(huì)活動(dòng)（包括婦女解放運(yùn)動(dòng)）對(duì)改善人們命運(yùn)的作用，強(qiáng)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(fù)雜性。一百多年來各國(guó)作家按自己的理解把安娜搬上舞臺(tái)、銀幕、熒光屏。安娜形象一直激動(dòng)著不同時(shí)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