Ⅰ 外国电影 阿Q正传 里面的阿Q是谁演的不是鲁迅的，外国的，有好评
是阿甘正传吗
汤姆·汉克斯(Tom Hanks，1956年7月9日-)，是美国电影男演员
Ⅱ 阿q正传电影一共有几个版本 谢谢了
只有一个上海电影制片厂拍摄的版本。
Ⅲ 谁知道鲁迅阿q正传的英文译文啊由梁社乾翻译的,要整的.知道的告诉一下,谢了!
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 有没有涉及到《阿Q正传》的英文文章或资料
《阿Q正传》（写于1921年12月至1922年2月之间，最初分章刊登于北京《晨报副刊》，以后收入1923年8月出版的小说集《呐喊》。）的思想艺术特点之一是，在广阔的历史背景上，塑造了从物质到精神都受到严重戕害的贫苦农民阿Q的典型形象。阿Q既是一个被剥夺殆尽的贫苦农民，又是一个深受封建正统观念影响，带有小生产者狭隘保守品性的不觉悟的农民。他身上有“看客”式的无聊和冷酷，更有不少符合“圣经贤传”的思想。阿Q的不觉悟，突出地表现在他对“革命”的态度和认识上。在传统观念的影响下，阿Q最初“以为革命党便是造反，造反便是与他为难”，所以一向“深恶而痛绝之”。但当辛亥革命爆发时，他在直感中产生了革命的愿望。但是，他的革命并不是政治上的真正觉醒，在他看来革命就是反清复明、改朝换代而已；他神往革命只是夺取属于赵太爷、钱太爷们的“威福、子女、玉帛”；而且，阿Q还幻想着自己革命后可以奴役同样生活在底层的小D、王胡们。阿Q这种革命观，是封建传统观念和小生产者狭隘保守意识合成的产物。
阿Q的主要性格特征是精神胜利法。
阿Q“精神胜利法”的典型特征是：
一、自欺欺人、自我安慰，在幻想和精神上消除失败的耻辱。
二、爱面子、讳疾忌医，不敢正视自己的弱点和缺点。
三、欺善怕恶、欺弱怕强。遭到失败后往往不敢向真正的敌手做斗争，却转而向弱小者去报复。他的调笑小尼姑、与王胡以及小D的打架，都是他欺弱怕强的典型表现。
四、麻木健忘，特别是对于被压迫被损害的麻木、健忘。阿Q的“精神胜利法”是国民劣根性的集大成。
《阿0正传》具有广泛的社会意义。《阿Q正传》是鲁迅长期以来关注和探讨“国民性”的结果，小说通过阿Q这个典型，画出了国人的灵魂，暴露了国民的弱点，深刻地揭示了阿Q的“精神胜利法”的种种表现及其严重危害性，提出了改造国民性的思想，并且将反封建的基本主题同社会政治革命联系起来，突出强调了反封建的思想革命和改造国民性主题的历史迫切性。
《阿Q正传》思想艺术特点之二是，是以喜见悲、悲喜交融。用喜剧性艺术因素，叙述一个悲剧性的故事，悲剧因素与喜剧因素在小说里相互交织、融合，构成这篇小说最大的艺术特色。阿Q的一生是悲剧性的，其遭遇令人同情，但这一切又是通过阿Q生活中富有喜剧性的事件表现出来的。阿Q的被压迫者的地位和勤劳吃苦的优点，他要求改变现状的愿望，以及备受剥削，人格屡遭污辱，最后又遭惨死的命运遭际更加令人同情，但他的精神胜利法，他的欺软怕硬、冷漠麻木、狡猾无赖等，又是应该被否定和批判的。小说正是在悲剧性和喜剧性相互映衬下展开的，既令人忍俊不禁，又让人心酸、发人深思。这种以喜见悲、悲喜交融的独特风格，正是作品产生巨大艺术魅力的重要因素之一。
《阿Q正传》思想艺术特点之三是，白描手法的成功运用。抓住事物的特征，用最经济、最简练的笔墨，把描写对象生动、形象地展现在读者面前。如阿Q瞪着眼睛说：“我们先前——比你阔得多啦！你算什么东西。”形象地表现了他的精神胜利法的性格特征。
《阿Q正传》思想艺术特点之四是，外冷内热。鲁迅思想启蒙者的高度热情，深深地埋藏在心坎里，以犀利的解剖刀冷峻地解剖着一切。这是一种“不见火焰的白热”，“热到发冷的热情”。
Ⅳ 阿q正传电影美版
《阿Q正传》，上海电影制片厂摄制于1981年（本片是为纪念鲁迅先生诞辰100周年而拍摄），根据鲁迅先生同名小说改编，严顺开主演，影片以辛亥革命后的浙江农村为背景，塑造了一个贫苦、落后、愚昧的农民形象阿Q。
Ⅵ 谁有《阿Q正传》的电影啊，要可以下载的。
http://mov.motosky.cn/down/2006/0722/soft_133.html
Ⅶ 《阿Q正传》
阿Q是弱势群体的代表人物。
他想得挺美，但是现实不然。他想象中自己很了不起，但是平常日子，还是没有吃喝；他欺软怕硬，自己没有实力，还招惹是非，打不过人家，就说“儿子打老子”；他骚扰吴妈，还振振有词“和尚摸得我摸不得”。
Ⅷ 阿q正传英文版里有一句是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,你永远不会知道你会拿到哪一块(你永远也不会知道下一刻会发生什么)
Ⅸ 电影 阿q正传下载
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
这两个百分百正宗,我都看过!相信我吧,我已经吧这些地址发过很多次了,信不信由你!
Ⅹ 求一个《阿Q正传》的英文内容简介300词左右，谢了
优酷，l6urluuruguay