everydayuse赏析

❶ 关于Alice walker的Everyday use这篇文章

美国著名黑人女作家爱丽丝*沃克,在<日常用品>中成功地塑造了代表传统文化回的母亲和代表现代风答格的女儿的形象,围绕如何理解和继承祖传的被子展开情节,反映了由种族问题引起的家庭矛盾.小说借母女冲突表达了一个十分重要的主题:继承民族文化传统的意义在于深刻地认识理解其文化内涵,而不是浮于表面、流于形式.
沃克运用象征主义的视角,敏感的嗅觉触摸到了非裔黑人在寻根文化、伤痛文化与现代白人文明的冲击与涤荡中的苦痛挣扎和文化身份认同,构拟出一幅在深沉厚重的历史文化遗产面前迷惘和抗争的画面,体现出作者难以释怀的黑人情结和沉重的沃克焦虑,这也是作者自我意识的彰显.

❷ everydayuse的中文翻译

everyday use
日常使用

❸ 急！请好心人帮忙从成长角度分析下everyday use 中Dee对黑人文化遗产的态度。

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 关于艾丽斯·沃克(Alice Walker)写的《外婆的家什》(Everyday Use)的一些疑

1） Dee 和Maggie分别代表两种不同的人，maggie是因循守旧或者说珍视传统文化（看你从哪方面看专）, dee 是受到了教育和当时属社会思潮的影响，可以代表追求时尚、追求新生活的黑人女性。 另外，如果用弗洛伊德精神分析法来说，maggie是superego，dee是id。
2）quilts 代表传统黑人文化嘛，这个也可以看成是说当时被压迫的黑人，应该如何面对自己传统文化的小说。一种说法就是他们想保留黑人的传统文化，觉得这是treasure.
3) grandma这里用了ambiguity，到底指的是作者的grandma，还是grandma一类人呢？这个靠自己的解读。另外，这个your指的是谁也看你自己阅读。

❺ 急需高级英语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》中文译名《外婆的日用家当》。《外婆的日用家当》中主要塑造3名典型的黑人女性：母亲、迪伊和麦吉。三人在文中的发展选择反映出母女三人对现实和自我的态度并导致各自不同的命运。

母亲是黑人大众，尤其是黑人妇女的典型形象，是黑人文化传统的极端守望者；迪伊象征着黑人民族文化运动中的激进者和盲目追随者；麦姬是家庭历史遗产继承者，同时是美国黑人伤痛文化的象征。

《EverydayUse for your grandmama》是20世纪六七十年代美国黑人思想与生活的真实写照。当时，美国黑人民权运动风起云涌，黑人纷纷起来反对别人种族隔离和种族歧视，他们主张在保持黑人尊严和个性的前提下，融入美国主流社会。

(6)everydayuse赏析扩展阅读：

《外婆的日用家当》的历史语境。全文共分六章。前两章分别介绍了作家作品、国内外研究动态和本文的理论框架。

第三章通过小说中的三位黑人女性,分析了她们折射的历史语境。通过聚焦于《外婆的日用家当》中三位黑人女性的历史文化身份,我们得知小说中黑人文化传统的极端守望者母亲,同时也是独立自主黑人妇女代表。

民族文化艺术的寻根者大女儿迪伊,她也是民族斗争的代表;家庭历史遗产继承者小女儿麦姬,同时也是伤痛历史文化的代表。

参考资料来源：知网-《外婆的日用家当》的新历史主义解读

❼ Everyday Use 的中文译文

它的大写形式是一个小说名叫：日用家当。
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

被子是麦吉的祖母亲手缝制的，象征着黑人文化。
故事的背景是黑人权利运动，版黑人权利运动最大的特点是权摒弃美国黑人的在美国的文化传统，寻根非洲文化，大女儿迪在族人的帮助下读了大学，但是学成归来的她却十分傲慢无理。迪盲目的追随当时的黑人权利运动潮流，她想得到祖母的日用品是因为那是祖母亲手缝制的，只是用来炫耀而已，并非真正继承黑人文化。
二女儿麦吉因小时候的火灾带来一定的心理阴影，胆小怯懦，甚至不敢面对自己的姐姐，但是她深谙黑人文化的内涵，她想得到祖母的自用品是为了纪念祖母。
文中的母亲深爱着两个女儿，平衡着家里的关系，最终将黑人文化传给了麦吉。

❾ 从英语修辞学 分析高英第四课 everyday use for your grandmama，求相关具体参考资料或者分析框架提纲

everydayuseforyourgrandmama中文名为《外婆的日用家当》。

2、英语修辞学角度分析

1968年，作为现代和当代西方修辞学中的一个重要修辞人物，罗伯特·比彻在《哲学修辞学》杂志上创新地提出了“修辞情境”的经典理论。

刘亚猛将此核心概念“rhetoricalsituation”翻译为“修辞形势”，本文将使用这种翻译，因为它比“修辞情境”更能反映“形式和力量的威胁感”。

比彻将“修辞形势”定义为“由一系列的人，事件，对象及其相互关系组成的复合体呈现出一种真实或潜在的缺失，如果情境话语的引入能够平衡人们的决定或行动，改变缺失，则这种缺失可以完全或部分地缓解。

同时，他提出“修辞情境”由三个基本要素组成，即“缺席”、“观众”和“修辞限制”。

比彻指出，缺席是一种生存的必要条件；一种缺陷、一种障碍、一个有待解决的问题或一种偏离轨道的情况。

修辞受众只包括一群能受话语影响并能干预以改变现实的人。另一方面，“修辞限制”包括一系列的人、事件、对象和关系，它们是修辞潜力的一部分，因为它们有能力约束改变缺失所需的决定和行动。

比彻的“修辞情境”理论不再局限于静态和单一的研究，而是突出了“潜能”的重要性和必要性。

“修辞学情境”理论在文学理论和实践中的应用具有很大的启发作用，为分析作者的意图和文学作品提供了更广阔的视角，使历时同步的研究进入了一个更加动态的过程。

（5）分析框架提纲：第一种描述缺席，第二种描述观众，第三种描述修辞限制。

(9)everydayuse赏析扩展阅读：

提纲英文：

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。