朗读者2017观后感300字
Most of us, however, take life for granted. We know that one day we must die, but usually we picture that day as far in the future. When we are in buoyant health, death is all but unimaginable. We seldom think of it. The days stretch out in an endless vista. So we go about our petty tasks, hardly aware of our listless attitude toward life.我们大多数人认为生命理所当然，然而。
我们知道，某一天我们一定会死，但通常我们把那天想象在遥远的将来。
当我们心宽体健时，死亡几乎是不可想象的。
我们很少会考虑它。
时日在无穷的展望。
因此我们忙于琐事，几乎意识不到我们对待生活的态度是无精打采的。
I have often thought it would be a blessing if each human being were stricken blind and deaf for a few days at some time during his early adult life. Darkness would make him more appreciative of sight; silence would teach him the joys of sound.我经常想，如果每个人都饱经盲聋几天在一段时间在他早期的成年生活是一种幸福。
黑暗将使他更珍惜光明；沉寂将教他享受声音。
Now and then I have tested my seeing friends to discover what they see. Recently I was visited by a very good friend who had just returned from a long walk in the woods, and I asked her what she had observed.. Nothing in particular,”
求电影《朗读者》的英文影评~~~~~~~~~~~~~~
The Reader is an exemplary piece of filmmaking, superbly acted by Kate Winslet, David Kross and Ralph Fiennes, beautifully lit by two of Britain's finest cinematographers (Roger Deakins and Chris Menges) and sensitively directed by Stephen Daldry from a screenplay by David Hare. In certain ways they sharpen Bernard Schlink's bestselling German novel of 1995 which deals with a subject - Nazi concentration camps and the Holocaust - that has hung over my generation since the outbreak of war in 1939, days after my sixth birthday. Since then, there has been an unending stream of Holocaust movies (nearly 300 are dealt with in the third edition of Indelible Shadows: Film and the Holocaust, Annette Insdorf's standard work on the subject), ranging in character and quality from scrupulous documentaries like Claude Lanzmann's Shoah and Alain Resnais's Night and Fog to, for me personally, the two most offensive, Liliana Cavani's near-pornographic The Night Porter and Roberto Benigni's sickly Oscar-winning Life is Beautiful.Ralph Fiennes made an unforgettable impression as Amon Goeth, the demonic commandant of the Plaszow forced labour camp in Schindler's List, the most widely shown movie on the Holocaust. So a provocative statement of some sort is being made by casting him as Michael Berg, the innocent narrator of The Reader. Born in Neustadt, Germany in 1944, the gifted son of a liberal intellectual, Berg is a successful lawyer who reviews his troubled life from the perspective of 1995 Berlin, and it's immediately clear that his experiences have left him secretive, inward-looking, emotionally stunted in a way that recalls the form and moral tenor of the Losey-Pinter film of The Go-Between.The movie is in three sections, with a couple of codas. In the first chapter, set in 1958, the 15-year-old Michael (David Kross) meets the voluptuous Hanna Schmitz (Kate Winslet), a kindly tram conductress more than twice his age. She provides his sexual initiation and sentimental education in the manner of such celebrated Continental novels as Raymond Radiguet's Le Diable au corps. In return she asks him to read to her before and after sex, and he regales her with The Odyssey, Huckleberry Finn, War and Peace and (a book she thinks disgusting) Lady Chatterley's Lover. The eroticism of reading brings to mind Michel Deville's La Lectrice, and the lovers' activities at their trysts complement each other. If you left the film after 45 minutes at the point when Hanna mysteriously disappears from Michael's life, and were unacquainted with the novel, you'd have thought it a wistful rite of passage, rather like Summer of '42 or The Graduate. But there are carefully planted clues to the tale's subsequent surprises. First, there is Hanna's reluctance to look at any text, be it a book, a travel brochure or a menu, or to write anything. What is she avoiding? The second is the emphasis placed on her uniform as a public transport employee. This gives her an official, military look.The second chapter unfolds in 1966 when Michael is a law student at Heidelberg, still yearning for Hanna. A sympathetic teacher, Professor Rohl (played by Bruno Ganz, who brings to this impeccable liberal figure a whiff of his Hitler in Downfall) launches a seminar for bright pupils to scrutinise the issues of guilt and crimes against humanity and takes them to a trial in a nearby town. There, Michael discovers to his horror that Hanna and other Auschwitz guards are in the dock, accused of appalling conduct at the camp and a callous atrocity while escorting a death march of Jewish prisoners away from the advancing Russians. Ironically, it is a book by a Jewish survivor that has occasioned the trial.Hanna does little to clear her name and it becomes evident to us and to Michael that this is in some way connected - I will say no more - with literacy. She is, apparently out of pride and shame, willing to accept greater blame than her co-defendants, a frumpy collection of middle-aged women, quite unlike the comely Hanna. Moreover, for a congeries of reasons, Michael doesn't come to her assistance. He feels betrayed, morally tainted, ethically disoriented and unforgiving. The third chapter covers Hanna's lengthy jail sentence, during which Michael communicates with her fervently but only via cassettes of great literary works. Thereafter comes a pair of codas, one concerning the divorced Michael's reconciliation with his estranged daughter, the other a visit he makes to New York to see an Auschwitz survivor, one of the witnesses at Hanna's trial She's played with an icy moral superiority by Lena Olin and most of her excellent dialogue is provided by Hare. What do you think those places were - universities? she asks the anguished Michael. What are you looking for? Forgiveness for her or to feel better about yourself? If you are looking for catharsis, go to the theatre or literature. Don't go to the camps. This double-edged statement brings into question much of what has gone before. The reflections on guilt, responsibility and the relationship between generations are betrayed by the contrived fiction into which they've been inserted by Schlink, a lawyer born in 1944 who writes detective stories. Scene by scene, we're gripped, but the metaphor is elusive, the narrative unconvincing and the overall effect vague and unpersuasive. The key clicks smoothly in the lock but no doors of perception open up. I'm also a little troubled by the movie being made in English. And, disconcertingly, the books Michael reads from are English versions. Won't this be odd when, as almost certainly it will be, the movie is dubbed into German?
怎样快速学英语?
现在开始每天逼自己听和看至少一个钟英语 麻烦采纳，谢谢!
怎么学英语最快
1、不要太重视语法英语是一门语言，我们学习英语的目的是把它当作成一种语言的交流工具，而不是去死扣语法，那样的话，会让我们的英语学习进入一个误区。
2、背诵英语教材上的文章大多数学生都不太重视英语课本上的文章，其实，大家可以想想能上教材的文章都是很好的文章，我们要多去背课文，培养自己的语感。
3、时间计划很多孩子都会反应这个问题，说学习英语没有时间，那么我们为什么不把自己的零碎时间给利用进去呢
我们可以尝试给自己定一个计划，比如说，我们可以利用课间的十分钟去背5个单词，或者去复习昨天所学习的。
4、英文歌曲和电影这里向大家推荐英文歌曲和电影的目的就是让大家学习，看外国人是怎么发音的，培养自己的语感。
大家可以坚持一段时间，我们会发现，我们的口语水平和听力都会有很大的提高。
5、敢于去说我们要弄清楚一个目的，我们学习英语的目的是去交流的，而不是简单的考试，我们要勇敢的去说出来，不要怕自己的发音不标准之类的，课下多喝老师和同学进行英文的对话。
锻炼自己的表达能力。
6、坚持很重要英语的学习不是一朝一夕就能完成的，英语的学习是一个积累的过程，我们要把自己的知识慢慢积累起来，达到一定的程度，就会发现自己的英语水平有了一个质的提高。
有谁看过穷爸爸富爸爸这本书，写的什么内容，做个总结
穷爸爸富爸爸的读后感 终于把《穷爸爸富爸爸》这本书给看完了，应该说这本书在以前时候就已经看过了一些，记得没错的话，那个时候自己被书中的现金流表给吸引了，但其他的一些观点倒没能让自己有足够的认识。
5年后的今天，再拿起这本书，让我震动的不是里面的现金流表而是下面的一些观点： 穷人为钱而工作；富人让钱为自己工作。
为了财务安全，人们需要关注自己的事业。
自己的事业围绕着的是自己的资产，而不是你的收入。
没有基本的财务知识，分不清自己的资产和负债。
一美元落进了自己的资产项它就成为你的雇员。
记住：做个努力工作的雇员。
确保你的工作，但不能忘记构筑自己的资产项。
大多数人只希望在毕业后能够找到一份稳定的工作，稳妥的挣钱。
他们很少有挣钱的***，然而却一直处于没钱的恐惧之中。
财富就是支持一个人生活多长时间的能力，或者说如果我今天停止工作，我还能活多久? 雇员挣钱、纳税，并靠剩下来的东西为生；—个企业挣钱，花掉它的钱，而只对剩下来的东西缴税、这是富人钻的最大的法律空子。
其实书中对受过教育有专业特长的中产阶级和穷人的一辈子生活的描述，自己的印象是及其深刻的。
大多数人通过打工挣钱和银行贷款来满足自己的消费欲望，然后再通过努力工作来消除自己的帐单和生存恐惧，终其一身一直在为公司、银行、政府打工。
自己也有26了，说不上自己挣过多少钱，但高中毕业后6年来自己的收入，可支配的资金绝对不会低于5000，但是自己是怎样处理的呢
全部通过消费性的支出把原本可以转变为资产的资金给溜走了。
让他们为自己工作了吗
哪怕是一元钱
或许这原本就是一个人的生活，一个受过高等教育有专业背景的中产阶级，一个穷人的生活。
宝贝也是这样，都带课1年多了，不知道她的账户上还有没有剩余的资金，即使有，恐怕也不多了
记得在过年的时候，她说起想在网上做生意，自己又何尝没想过啊
只是没有付之行动
我们又回到了穷人的花钱方式，生活方式。
将来的生活何去何从
是为钱工作
还是让钱为自己工作
在我看来得尽量缩短为钱工作的时间
