Ⅰ 外國電影 阿Q正傳 裡面的阿Q是誰演的不是魯迅的，外國的，有好評
是阿甘正傳嗎
湯姆·漢克斯(Tom Hanks，1956年7月9日-)，是美國電影男演員
Ⅱ 阿q正傳電影一共有幾個版本 謝謝了
只有一個上海電影製片廠拍攝的版本。
Ⅲ 誰知道魯迅阿q正傳的英文譯文啊由梁社乾翻譯的,要整的.知道的告訴一下,謝了!
CHAPTER 1
INTRODUCTION
For several years now I have been meaning to write the true story of Ah Q. But while wanting to write I was in some trepidation, too, which goes to show that I am not one of those who achieve glory by writing; for an immortal pen has always been required to record the deeds of an immortal man, the man becoming known to posterity through the writing and the writing known to posterity through the man--until finally it is not clear who is making whom known. But in the end, as though possessed by some fiend, I always came back to the idea of writing the story of Ah Q.
And yet no sooner had I taken up my pen than I became conscious of tremendous difficulties in writing this far-from-immortal work. The first was the question of what to call it. Confucius said, "If the name is not correct, the words will not ring true"; and this axiom should be most scrupulously observed. There are many types of biographies: official biographies, autobiographies, unauthorized biographies, legends, supplementary biographies, family histories, sketches . . . but unfortunately none of these suited my purpose. "Official biography?" This account will obviously not be included with those of many eminent people in some authentic history. "Autobiography?" But I am obviously not Ah Q. If I were to call this an "unauthorized biography," then where is his "authenticated biography"? The use of "legend" is impossible, because Ah Q was no legendary figure. "Supplementary biography"? But no president has ever ordered the National Historical Institute to write a "standard life" of Ah Q. It is true that although there are no "lives of gamblers" in authentic English history, the famous author Conan Doyle nevertheless wrote Rodney Stone; but while this is permissible for a famous author it is not permissible for such as I. Then there is "family history"; but I do nor know whether I belong to the same family as Ah Q or not, nor have his children or grandchildren ever entrusted me with such a task. If I were to use "sketch," it might be objected that Ah Q has no "complete account." In short, this is really a "life," but since I write in vulgar vein using the language of hucksters and peddlers, I dare not presume to give it so high-sounding a title. So from the stock phrase of the novelists, who are not reckoned among the Three Cults and Nine Schools. "Enough of this digression, and back to the true story!" I will take the last two words as my title; and if this is reminiscent of the True Story of Calligraphy of the ancients, it cannot be helped.
The second difficulty confronting me was that a biography of this type should start off something like this: "So-and-so, whose other name was so-and-so, was a native of such-and-such a place"; but I don't really know what Ah Q's surname was. Once, he seemed to be named Chao, but the next day there was some confusion about the matter again. This was after Mr. Chao's son had passed the county examination, and, to the sound of gongs, his success was announced in the village. Ah Q, who had just drunk two bowls of yellow wine, began to prance about declaring that this reflected credit on him too, since he belonged to the same clan as Mr. Chao, and by an exact reckoning was three generations senior to the successful candidate. At the time several bystanders even began to stand slightly in awe of Ah Q. But the next day the liff summoned him to Mr. Chao's house. When the old gentleman set eyes on him his face turned crimson with fury and he roared:
"Ah Q, you miserable wretch! Did you say I belonged to the same clan as you?"
Ah Q made no reply.
The more he looked at him the angrier Mr. Chao became, and advancing menacingly a few steps he said, "How dare you talk such nonsense! How could I have such a relative as you? Is your surname Chao?"
Ah Q made no reply, and was planning a retreat, when Mr. Chao darted forward and gave him a slap on the face.
"How could you be named Chao!--Do you think you are worthy of the name Chao?"
Ah Q made no attempt to defend his right to the name Chao, but rubbing his left cheek went out with the liff. Once outside, he had to listen to another torrent of abuse from the liff, and thank him to the tune of two hundred cash. All who heard this said Ah Q was a great fool to ask for a beating like that. Even if his surname were Chao--which wasn't likely--he should have known better than to boast like that when there was a Mr. Chao living in the village. After this no further mention was made of Ah Q's ancestry, so that I still don't know what his surname really was.
The third difficulty I encountered in writing this work was that I don't know how Ah Q's personal name should be written either. During his lifetime everybody called him Ah Quei, but after his death not a soul mentioned Ah Quei again; for be was obviously not one of those whose name is "preserved on bamboo tablets and silk." If there is any question of preserving his name, this essay must be the first attempt at doing so. Hence I am confronted with this difficulty at the outset. I have given the question careful thought: Ah Quei--would that be the "Quei" meaning cassia or the "Quei" meaning nobility? If his other name had been Moon Pavilion, or if he had celebrated his birthday in the month of the Moon Festival, then it would certainly be the "Quei" for cassia. But since he had no other name--or if he had, no one knew it--and since he never sent out invitations on his birthday to secure complimentary verses, it would be arbitrary to write Ah Quei (cassia). Again, if he had had an elder or younger brother called Ah Fu (prosperity), then he would certainly be called Ah Quei (nobility). But he was all on his own: thus there is no justification for writing Ah Quei (nobility). All the other, unusual characters with the sound Quei are even less suitable. I once put this question to Mr. Chao's son, the successful county candidate, but even such a learned man as he was baffled by it. According to him, however, the reason why this name could not be traced was that Chen Tu-hsiu had brought out the magazine New Youth, advocating the use of the Western alphabet, so that the national culture was going to the dogs. As a last resort, I asked someone from my district to go and look up the legal documents recording Ah Q's case, but after eight months he sent me a letter saying that there was no name anything like Ah Quei in those records. Although uncertain whether this was the truth or whether my friend had simply done nothing, after failing to trace the name this way I could think of no other means of finding it. Since I am afraid the new system of phonetics has not yet come into common use, there is nothing for it but to use the Western alphabet, writing the name according to the English spelling as Ah Quei and abbreviating it to Ah Q. This approximates to blindly following the New Youth magazine, and I am thoroughly ashamed of myself; but since even such a learned man as Mr. Chao's son could not solve my problem, what else can I do?
My fourth difficulty was with Ah Q's place of origin. If his surname were Chao, then according to the old custom which still prevails of classifying people by their districts, one might look up the commentary in The Hundred Surnames and find "A native of Tienshui in Kansu Province." But unfortunately this surname is open to question, with the result that Ah Q's place of origin must also remain uncertain. Although he lived for the most part in Weichuang, he often stayed in other places, so that it would be wrong to call him a native of Weichuang. It would, in fact, amount to a distortion of history.
The only thing that consoles me is the fact that the character "Ah" is absolutely correct. This is definitely not the result of false analogy, and is well able to stand the test of scholarly criticism. As for the other problems, it is not for such unlearned people as myself to solve them, and I can only hope that disciples of Dr. Hu Shih, who has such "a passion for history and antiquities," may be able in future to throw new light on them. I am afraid, however, that by that time my True Story of Ah Q will have long since passed into oblivion.
The foregoing may be considered as an introction.
______
[Note: Rodney] In Chinese this novel was called Supplementary Biographies of the Gamblers.
[Note: Cults] The Three Cults were Confucianism, Buddhism and Taoism. The Nine Schools included the Confucian, Taoist, Legalist and Moist schools, as well as others. Novelists, who did not belong to any of these, were considered not quite respectable.
[Note: Calligraphy] A book by Feng Wu of the Ching dynasty (1644-1911).
[Note: Bamboo] A phrase first used in the third century B.C. Bamboo and silk were writing material in ancient China.
[Note: Cassia] The cassia blooms in the month of the Moon Festival. Also, according to Chinese folklore, it is believed that the shadow on the moon is a cassia tree.
[Note: Chen Tu-hsiu] 1880-1942. A professor of Peking University at this time, he edited the monthly New Youth. Later he became a renegade from the Chinese Communist Party.
[Note: Surnames] An old school primer, in which the surnames were written into verse.
[Note: passion] This phrase was often used in self-praise by Hu Shih, the well-known reactionary politician and writer.
Ⅳ 有沒有涉及到《阿Q正傳》的英文文章或資料
《阿Q正傳》（寫於1921年12月至1922年2月之間，最初分章刊登於北京《晨報副刊》，以後收入1923年8月出版的小說集《吶喊》。）的思想藝術特點之一是，在廣闊的歷史背景上，塑造了從物質到精神都受到嚴重戕害的貧苦農民阿Q的典型形象。阿Q既是一個被剝奪殆盡的貧苦農民，又是一個深受封建正統觀念影響，帶有小生產者狹隘保守品性的不覺悟的農民。他身上有「看客」式的無聊和冷酷，更有不少符合「聖經賢傳」的思想。阿Q的不覺悟，突出地表現在他對「革命」的態度和認識上。在傳統觀念的影響下，阿Q最初「以為革命黨便是造反，造反便是與他為難」，所以一向「深惡而痛絕之」。但當辛亥革命爆發時，他在直感中產生了革命的願望。但是，他的革命並不是政治上的真正覺醒，在他看來革命就是反清復明、改朝換代而已；他神往革命只是奪取屬於趙太爺、錢太爺們的「威福、子女、玉帛」；而且，阿Q還幻想著自己革命後可以奴役同樣生活在底層的小D、王胡們。阿Q這種革命觀，是封建傳統觀念和小生產者狹隘保守意識合成的產物。
阿Q的主要性格特徵是精神勝利法。
阿Q「精神勝利法」的典型特徵是：
一、自欺欺人、自我安慰，在幻想和精神上消除失敗的恥辱。
二、愛面子、諱疾忌醫，不敢正視自己的弱點和缺點。
三、欺善怕惡、欺弱怕強。遭到失敗後往往不敢向真正的敵手做斗爭，卻轉而向弱小者去報復。他的調笑小尼姑、與王胡以及小D的打架，都是他欺弱怕強的典型表現。
四、麻木健忘，特別是對於被壓迫被損害的麻木、健忘。阿Q的「精神勝利法」是國民劣根性的集大成。
《阿0正傳》具有廣泛的社會意義。《阿Q正傳》是魯迅長期以來關注和探討「國民性」的結果，小說通過阿Q這個典型，畫出了國人的靈魂，暴露了國民的弱點，深刻地揭示了阿Q的「精神勝利法」的種種表現及其嚴重危害性，提出了改造國民性的思想，並且將反封建的基本主題同社會政治革命聯系起來，突出強調了反封建的思想革命和改造國民性主題的歷史迫切性。
《阿Q正傳》思想藝術特點之二是，是以喜見悲、悲喜交融。用喜劇性藝術因素，敘述一個悲劇性的故事，悲劇因素與喜劇因素在小說里相互交織、融合，構成這篇小說最大的藝術特色。阿Q的一生是悲劇性的，其遭遇令人同情，但這一切又是通過阿Q生活中富有喜劇性的事件表現出來的。阿Q的被壓迫者的地位和勤勞吃苦的優點，他要求改變現狀的願望，以及備受剝削，人格屢遭污辱，最後又遭慘死的命運遭際更加令人同情，但他的精神勝利法，他的欺軟怕硬、冷漠麻木、狡猾無賴等，又是應該被否定和批判的。小說正是在悲劇性和喜劇性相互映襯下展開的，既令人忍俊不禁，又讓人心酸、發人深思。這種以喜見悲、悲喜交融的獨特風格，正是作品產生巨大藝術魅力的重要因素之一。
《阿Q正傳》思想藝術特點之三是，白描手法的成功運用。抓住事物的特徵，用最經濟、最簡練的筆墨，把描寫對象生動、形象地展現在讀者面前。如阿Q瞪著眼睛說：「我們先前——比你闊得多啦！你算什麼東西。」形象地表現了他的精神勝利法的性格特徵。
《阿Q正傳》思想藝術特點之四是，外冷內熱。魯迅思想啟蒙者的高度熱情，深深地埋藏在心坎里，以犀利的解剖刀冷峻地解剖著一切。這是一種「不見火焰的白熱」，「熱到發冷的熱情」。
Ⅳ 阿q正傳電影美版
《阿Q正傳》，上海電影製片廠攝制於1981年（本片是為紀念魯迅先生誕辰100周年而拍攝），根據魯迅先生同名小說改編，嚴順開主演，影片以辛亥革命後的浙江農村為背景，塑造了一個貧苦、落後、愚昧的農民形象阿Q。
Ⅵ 誰有《阿Q正傳》的電影啊，要可以下載的。
http://mov.motosky.cn/down/2006/0722/soft_133.html
Ⅶ 《阿Q正傳》
阿Q是弱勢群體的代表人物。
他想得挺美，但是現實不然。他想像中自己很了不起，但是平常日子，還是沒有吃喝；他欺軟怕硬，自己沒有實力，還招惹是非，打不過人家，就說「兒子打老子」；他騷擾吳媽，還振振有詞「和尚摸得我摸不得」。
Ⅷ 阿q正傳英文版里有一句是life is like。。。。
Mum always said, Life is like a box of chocolates that you will never know what you gonna get.生活就像一盒巧克力,你永遠不會知道你會拿到哪一塊(你永遠也不會知道下一刻會發生什麼)
Ⅸ 電影 阿q正傳下載
http://video..com/v?ct=301989888&rn=20&pn=0&db=0&s=8&word=%C2%B3%D1%B8%B0%A2q%D5%FD%B4%AB
http://v..com/dtl.php?mvid=96320
這兩個百分百正宗,我都看過!相信我吧,我已經吧這些地址發過很多次了,信不信由你!
Ⅹ 求一個《阿Q正傳》的英文內容簡介300詞左右，謝了
優酷，l6urluuruguay