everydayuse賞析

❶ 關於Alice walker的Everyday use這篇文章

美國著名黑人女作家愛麗絲*沃克,在<日常用品>中成功地塑造了代表傳統文化回的母親和代表現代風答格的女兒的形象,圍繞如何理解和繼承祖傳的被子展開情節,反映了由種族問題引起的家庭矛盾.小說借母女沖突表達了一個十分重要的主題:繼承民族文化傳統的意義在於深刻地認識理解其文化內涵,而不是浮於表面、流於形式.
沃克運用象徵主義的視角,敏感的嗅覺觸摸到了非裔黑人在尋根文化、傷痛文化與現代白人文明的沖擊與滌盪中的苦痛掙扎和文化身份認同,構擬出一幅在深沉厚重的歷史文化遺產面前迷惘和抗爭的畫面,體現出作者難以釋懷的黑人情結和沉重的沃克焦慮,這也是作者自我意識的彰顯.

❷ everydayuse的中文翻譯

everyday use
日常使用

❸ 急！請好心人幫忙從成長角度分析下everyday use 中Dee對黑人文化遺產的態度。

To understand Dee』 attitude towards heritage, one has to understand Dee』s attitude towards her family first. Dee thinks of herself as being superior to her mother and her little sister. This gets palpable when she reproaches her mother with not understanding her heritage, but it can already be assumed when Mrs. Johnson remembers how Dee read to her and Maggie 「without pity; forcing words, lies, other folks』 habits, whole lives upon us two, sitting trapped and ignorant underneath her voice」. She shoved them away at just the moment, like dimwits, we seemed about to understand. This attitude also gets clear when Mrs. Johnson has a short kind of discussion with Dee and her boyfriend about her new name. Every once in a while he and Wangero sent eye signals over my head. But this is not the only way Dee mistreats her family; she dislikes them and her origins. This includes her mother, who she would like to be 「a hundred pounds lighter, her skin like an uncooked barley pancake with hair that glistens in the light and a quick and witty tongue. It includes the old house and, following Mrs. Johnson』s judgment, probably also the new one which she doubtlessly want to tear down as soon as her eyes get hold of it. And it includes 「the way Maggie and Mama still live. It may be assumed that Dee』s attitude towards Maggie is also disturbed, because Mrs. Johnson used to think she hated Maggie, too. But that was before we raised money to send her to Augusta to school. Her dislike roots so deep that she once wrote she was never going to bring any friends when she comes home. This is the exact point where one finds the first serious flaw in Dee』s attitude: in the story she brings her friend Hakim-a-barber - against her intention not to bring anybody ever. As Dee cares a lot about style, one could assume that she regards her family as much as Hakim-a-barber regards the 「beef-cattle peoples down the road」. But as it is 「a new day」 for the blacks now and as it becomes fashionable in the Black Power Movement to return to one』s roots, it suddenly becomes fashionable for her, too. From this perspective, coming home is simply a station on the road that she already stepped on when she changed her name to 「Wangero Leewanika Kemanjo」. She merely wants to come home to collect some pieces of family history she can superficially identify with, take some photos as a kind of proof and leave.
It all adds up to a very shallow image of her concept of heritage. Dee seems to be riding on the latest wave of fashionable Africanism, confusing the real nature of her heritage with something which can be inherited like property. And while her original name, already carried by several generations of female ancestors, can be traced back beyond the Civil War, the new African name is not related to her personal history at all and dissociates her from her family and therefore from her true heritage. Now she neither belongs to her family anymore nor to her newly created identity. Not only was her search for a new heritage in vain, she also lost her real roots. This feeling is typical of the blacks of that time.

❹ 關於艾麗斯·沃克(Alice Walker)寫的《外婆的家什》(Everyday Use)的一些疑

1） Dee 和Maggie分別代表兩種不同的人，maggie是因循守舊或者說珍視傳統文化（看你從哪方面看專）, dee 是受到了教育和當時屬社會思潮的影響，可以代表追求時尚、追求新生活的黑人女性。 另外，如果用弗洛伊德精神分析法來說，maggie是superego，dee是id。
2）quilts 代表傳統黑人文化嘛，這個也可以看成是說當時被壓迫的黑人，應該如何面對自己傳統文化的小說。一種說法就是他們想保留黑人的傳統文化，覺得這是treasure.
3) grandma這里用了ambiguity，到底指的是作者的grandma，還是grandma一類人呢？這個靠自己的解讀。另外，這個your指的是誰也看你自己閱讀。

❺ 急需高級英語everyday use 的原文

I will wait for her in the yard that Maggie and I made so clean and wavy yester day afternoon. A yard like this is more comfortable than most people know. It is not just a yard. It is like an extended living room. When the hard clay is swept clean as a floor and the fine sand around the edges lined with tiny, irregular grooves, anyone can come and sit and look up into the elm tree and wait for the breezes that never come inside the house.
Maggie will be nervous until after her sister goes: she will stand hopelessly in corners, homely and ashamed of the burn scars down her arms and legs, eying her sister with a mixture of envy and awe. She thinks her sister has held life always in the palm of one hand, that "no" is a word the world never learned to say to her.

've no doubt seen those TV shows where the child who has "made it" is confronted, as a surprise, by her own mother and father, tottering in weakly from backstage. (A Pleasant surprise, of course: What would they do if parent and child came on the show only to curse out and insult each other?) On TV mother and child embrace and smile into each other's face. Sometimes the mother and father weep, the child wraps them in her arms and leans across the table to tell how she would not have made it without their help. I have seen these programs.
Sometimes I dream a dream in which Dee and I are suddenly brought together on a TV program of this sort. Out of a cark and soft-seated limousine I am ushered into a bright room filled with many people. There I meet a smiling, gray, sporty man like Johnny Carson who shakes my hand and tells me what a fine girl I have. Then we are on the stage and Dee is embracing me with tear s in her eyes. She pins on my dress a large orchid, even though she has told me once that she thinks or chides are tacky flowers.
In real life I am a large, big-boned woman with rough, man-working hands. In the winter I wear flannel nightgowns to bed and overalls ring the day. I can kill and clean a hog as mercilessly as a man. My fat keeps me hot in zero weather. I can work outside all day, breaking ice to get water for washing; I can eat pork liver cooked over the open tire minutes after it comes steaming from the hog. One winter I knocked a bull calf straight in the brain between the eyes with a sledge hammer and had the meat hung up to chill be-fore nightfall. But of course all this does not show on television. I am the way my daughter would want me to be: a hundred pounds lighter, my skin like an uncooked barley pan-cake. My hair glistens in the hot bright lights. Johnny Car – son has much to do to keep up with my quick and witty tongue.
But that is a mistake. I know even before I wake up. Who ever knew a Johnson with a quick tongue? Who can even imagine me looking a strange white man in the eye? It seems to me I have talked to them always with one toot raised in flight, with my head turned in whichever way is farthest from them. Dee, though. She would always look anyone in the eye. Hesitation was no part of her nature.
"How do I look, Mama?" Maggie says, showing just enough of her thin body enveloped in pink skirt and red blouse for me to know she's there, almost hidden by the door.
"Come out into the yard," I say.
Have you ever seen a lame animal, perhaps a dog run over by some careless person rich enough to own a car, sidle up to someone who is ignorant enough to be kind of him? That is the way my Maggie walks. She has been like this, chin on chest, eyes on ground, feet in shuffle, ever since the fire that burned the other house to the ground.
Dee is lighter than Maggie, with nicer hair and a fuller figure. She's a woman now, though sometimes I forget. How long ago was it that the other house burned? Ten, twelve years? Sometimes I can still hear the flames and feel Maggie's arms sticking to me, her hair smoking and her dress falling off her in little black papery flakes. Her eyes seemed stretched open, blazed open by the flames reflect-ed in them. And Dee. I see her standing off under the sweet gum tree she used to dig gum out of; a look at concentration on her face as she watched the last dingy gray board of the house tall in toward the red-hot brick chimney. Why don't you do a dance around the ashes? I'd wanted to ask her. She had hated the house that much.
I used to think she hated Maggie, too. But that was before we raised the money, the church and me, to send her to Augusta to school. She used to read to us without pity, forcing words, lies, other folks' habits, whole lives upon us two, sitting trapped and ignorant underneath her voice. She washed us in a river of make-believe, burned us with a lot of knowledge we didn't necessarily need to know. Pressed us to her with the serious way she read, to shove us away at just the moment, like dimwits, we seemed about to understand.
Dee wanted nice things. A yellow organdy dress to wear to her graation from high school; black pumps to match a green suit she'd made from an old suit somebody gave me. She was determined to stare down any disaster in her efforts. Her eyelids would not flicker for minutes at a time. Often I fought off the temptation to shake her. At sixteen she had a style of her own' and knew what style was.

❻ Everyday Use for your grandmama的分析

《 for your grandmama》中文譯名《外婆的日用家當》。《外婆的日用家當》中主要塑造3名典型的黑人女性：母親、迪伊和麥吉。三人在文中的發展選擇反映出母女三人對現實和自我的態度並導致各自不同的命運。

母親是黑人大眾，尤其是黑人婦女的典型形象，是黑人文化傳統的極端守望者；迪伊象徵著黑人民族文化運動中的激進者和盲目追隨者；麥姬是家庭歷史遺產繼承者，同時是美國黑人傷痛文化的象徵。

《EverydayUse for your grandmama》是20世紀六七十年代美國黑人思想與生活的真實寫照。當時，美國黑人民權運動風起雲涌，黑人紛紛起來反對別人種族隔離和種族歧視，他們主張在保持黑人尊嚴和個性的前提下，融入美國主流社會。

(6)everydayuse賞析擴展閱讀：

《外婆的日用家當》的歷史語境。全文共分六章。前兩章分別介紹了作家作品、國內外研究動態和本文的理論框架。

第三章通過小說中的三位黑人女性,分析了她們折射的歷史語境。通過聚焦於《外婆的日用家當》中三位黑人女性的歷史文化身份,我們得知小說中黑人文化傳統的極端守望者母親,同時也是獨立自主黑人婦女代表。

民族文化藝術的尋根者大女兒迪伊,她也是民族斗爭的代表;家庭歷史遺產繼承者小女兒麥姬,同時也是傷痛歷史文化的代表。

參考資料來源：知網-《外婆的日用家當》的新歷史主義解讀

❼ Everyday Use 的中文譯文

它的大寫形式是一個小說名叫：日用家當。
要是正常翻就是：日常所用（日用）。
比如：articles for everyday use 日用品

❽ Alice Walker的Everyday Use

被子是麥吉的祖母親手縫制的，象徵著黑人文化。
故事的背景是黑人權利運動，版黑人權利運動最大的特點是權摒棄美國黑人的在美國的文化傳統，尋根非洲文化，大女兒迪在族人的幫助下讀了大學，但是學成歸來的她卻十分傲慢無理。迪盲目的追隨當時的黑人權利運動潮流，她想得到祖母的日用品是因為那是祖母親手縫制的，只是用來炫耀而已，並非真正繼承黑人文化。
二女兒麥吉因小時候的火災帶來一定的心理陰影，膽小怯懦，甚至不敢面對自己的姐姐，但是她深諳黑人文化的內涵，她想得到祖母的自用品是為了紀念祖母。
文中的母親深愛著兩個女兒，平衡著家裡的關系，最終將黑人文化傳給了麥吉。

❾ 從英語修辭學 分析高英第四課 everyday use for your grandmama，求相關具體參考資料或者分析框架提綱

everydayuseforyourgrandmama中文名為《外婆的日用家當》。

2、英語修辭學角度分析

1968年，作為現代和當代西方修辭學中的一個重要修辭人物，羅伯特·比徹在《哲學修辭學》雜志上創新地提出了「修辭情境」的經典理論。

劉亞猛將此核心概念「rhetoricalsituation」翻譯為「修辭形勢」，本文將使用這種翻譯，因為它比「修辭情境」更能反映「形式和力量的威脅感」。

比徹將「修辭形勢」定義為「由一系列的人，事件，對象及其相互關系組成的復合體呈現出一種真實或潛在的缺失，如果情境話語的引入能夠平衡人們的決定或行動，改變缺失，則這種缺失可以完全或部分地緩解。

同時，他提出「修辭情境」由三個基本要素組成，即「缺席」、「觀眾」和「修辭限制」。

比徹指出，缺席是一種生存的必要條件；一種缺陷、一種障礙、一個有待解決的問題或一種偏離軌道的情況。

修辭受眾只包括一群能受話語影響並能幹預以改變現實的人。另一方面，「修辭限制」包括一系列的人、事件、對象和關系，它們是修辭潛力的一部分，因為它們有能力約束改變缺失所需的決定和行動。

比徹的「修辭情境」理論不再局限於靜態和單一的研究，而是突出了「潛能」的重要性和必要性。

「修辭學情境」理論在文學理論和實踐中的應用具有很大的啟發作用，為分析作者的意圖和文學作品提供了更廣闊的視角，使歷時同步的研究進入了一個更加動態的過程。

（5）分析框架提綱：第一種描述缺席，第二種描述觀眾，第三種描述修辭限制。

(9)everydayuse賞析擴展閱讀：

提綱英文：

And she stops and tries to dig a well in the sand with her toe. (exaggeration)----P58, L4。

I feel my whole face warming from the heat waves it throws out .(exaggeration)。

After I tripped over it two or three times he told me to just call him Hakim-a-barber.(metaphor)-------P60,L4。

「Maggie』 brain is like an elephant』s」.Wangero said ,laughing .(ironic)—P62, L4。