写一篇读凡卡后有感的作文400个字左右，怎么写
《凡卡》读后感1 我读了《凡卡》后，十分的气愤，也十分同情他，气愤是因为沙皇统治下，穷苦儿童也不能免去痛苦，同情他在鞋匠那里被老板和老板娘折磨。
9岁的凡卡被送到鞋匠阿里亚希涅做学徒。
在那里，他受尽折磨，想让爷爷接他回家，就趁着所有人都走了，才开始给爷爷写信。
信中凡卡讲述了自己在店中的遭遇，每天的饭都很少，只有馒头或者稀粥，经常被打，还不如一条狗。
想想我自己，和凡卡差不多大，生活在一个温暖的家庭中，爸爸妈妈非常关爱我，很少打骂我，家务活很少干。
凡卡9岁就被送出去干活，我天天都能在家吃香喷喷的饭菜，而凡卡只能吃馒头和稀粥，相比之下，我是多么的幸福啊。
在沙皇统治下，穷人是那么痛苦，连小孩子都要出去做工。
无论多么的辛苦劳动，也免不了挨打挨骂，每顿还吃得那么的少，当时的人们是多么的可怜啊。
我现在经常是衣来伸手饭来张口，当我读了凡卡的故事，体会到了当是沙皇的无能，使无数穷人受苦受难。
我十分同情他们，因为我们已经生活在一个美好的国家里，就算是穷人也会十分幸福，因为我们国家富强，人民都很富裕，就像去年5.12四川汶川大地震后，全国各地都纷纷解囊，伸出友爱之手，帮助灾后的群众重建家园。
在沙俄时代，俄国十分贫穷，有时自己都很难吃上饭，更别说帮助他人了，凡卡真的是太可怜了。
我们生活在如今的时代，是这么的幸福快乐，生活在这美好的日子里，我们应该更加珍惜时光，多学知识，将来为祖国的建设富强奉献自己的知识才华。
《凡卡》读后感2 俄国著名小说家契诃夫在一部作品《凡卡》中塑造了一个由乡下来城里做学徒的9岁男孩——凡卡。
讲述了凡卡童年的悲惨生活。
读后，我的心久久不能平静。
凡卡是个孤儿，只有爷爷一个亲人。
而爷爷也因为经济困难，不得不将9岁的凡卡送到城里当学徒。
凡卡在城里无依无靠，备受欺侮。
他受尽了折磨——老板动不动就打他，食物也少得可怜，可那里，没有人同情他。
读着《凡卡》，我不禁为自己出生在社会主义新中国而暗自庆幸。
在家有父母疼，有爷爷、奶奶爱；在校还有老师、同学的关心。
我们现在能享受国家的九年义务教育，在学校上学，老师教我们各种知识，使我们从一个什么都不懂的小孩，渐渐长成一个有一定知识的少年。
而凡卡呢，本来可以成为一个对国家有用的人才，可他却只能在老板家做苦工……凡卡是多么可怜啊
再看他的食物也少得可怜——一点面包和一口稀饭，每天一成不变。
而我们每天都有美味可口的饭菜，甚至有些同学还浪费粮食和挑食，多么不应该啊
凡卡童年的生活十分悲惨，和他相比，我们是多么幸福啊
《凡卡》读后感
语文课程标准明确指写作是运用语言文学进行表达和交流的方式，是认识、认识自我、进行创造性表述的过程。
写作教学应贴近学生生活实际，要为学生的自由写作提供有利的条件和广阔的空间，减少对学生写作上的束缚，让学生容易于动笔，乐于表达，引导学生关注现实，热爱生活、结合生活实际、表达真情实感。
作文是提高学生综合能力的重要手段，也是语文教学的难点和重点。
在习作教学的实践中，我进行着有益的探索和尝试，初步形成自己的习作教学模式，也取得一些良好的教学效果。
一、注重培养写作兴趣，增强写作意识。
我国古代教育家孔子说过：“知之者不如好之者，好之者不如乐之者。
”让学生在轻松愉快的精神状态下，绕有兴趣地学习，充分调动他们的学习积极性，是小学作文教学的第一步，也是作文教学成功的向导。
如何激发学生写作兴趣呢
1、让学生写熟悉的内容，以“趣”激趣。
作文命题应开放，习作要求要活，要紧紧围绕学生所熟悉的生活，以他们周围的人、事、景、物作为习作内容，以激发学生的习作兴趣，使学生感到有一种表达的欲望，有一种冲动想把自己想说的意思表达出来。
如根据学生的实际情况，命题为《××，我想对你说》。
又如根据小学生最喜欢做游戏的特点。
我们可以精心设计游戏内容，游戏前，告诉学生要留意游戏的过程，注意同学的动作、和表情。
游戏后组织学生说过程，讨论从游戏中懂得的道理。
学生玩得兴高采烈，自然会说得兴致勃勃，写起来就不难了。
2、以成功的喜悦，激发写作欲望。
要使学生坚持不懈地自觉写作，最关键的是让学生尝到成功的喜悦，并逐步养成习惯，满怀乐趣地去学习，在教学实践中我具体做好以下工作：首先用肯定的语言给学生自信心。
学生的作文被拿到班上作范文宣读，宣读谁的习作时谁的眼睛就会一亮，乐此不彼。
哪怕学生写得很不成功，我也要给予鼓励性的评价，甚至把一些差生的作文修改好后在课堂上讲读，以此激发学生特别是差生的作文兴趣。
然后在作文评语中给予鼓励，为习作中的优点“喝彩”，哪怕只有一个词用得生动、一个句子写得形象或一个地方有新意，我也会为其叫好。
时刻让他们觉得“我也会写”，从“怕写”向“要写”、“乐写”迈步，循序渐进，最后达到共同的目标。
其次是办好班级的习作园地，把优秀的篇、段、优美的词张贴在上面，供全班学生学习、品赏。
3、开展形式多样的习作活动，激发写作兴趣。
小学生好奇心强，爱表现，形式多样的习作活动能调动学生的习作兴趣。
如开展课前美文诵读活动，让学生到讲台宣读自己的优秀习作，或是宣读从作文选或其他报刊上看到的好文章，精彩片断等等，使每个学生都有参与和表现的机会。
为了表现自己，在课外时间他们就会趣味盎然地寻找或写出自己满意的习作。
又如开展作文竞赛活动，竞赛是激发学生写作兴趣的有效手段。
心理学家的研究表明，由于竞赛中学习兴趣和克服困难的毅力增强，因而多数人在比赛的情况下学习和写作一般比没有比赛的情况下好得多。
小学生喜欢表现自己，好胜心强，开展竞赛活动，给他们更多的参与和表现机会。
这样不但可以调节以往习作所形成的氛围，激发学生“我要写”的兴趣，进而大面积地提高习作的质量。
4、以导语、创设情境为突破口，激发写作兴趣。
我用导语激趣，创设情境激趣，创设情境的方法很多，可以利用音像创设情境；可以利用图片创设情境；可以利用语言创设情境；可以利用作品欣赏来创设情境；可以利用游戏来创设情境；可以利用生动的表演创设情境；还可以利用大自然的景物创设情境等等，不管采用哪种方法，我用最大限度地调动学生的写作兴趣为最终目的来培养学生的习作兴趣。
培养写作兴趣是作文教学的突破口，是指导学生作文迈向成功的基点。
二、注重充分挖掘课文中的习作资源，培养学生的创新能力。
小学语文课本中，除了每个单元的作文训练外，其实在课文课中也蕴含着极其丰富的可供学生进行创造性习作的资源，这是培养学生创新能力的重要阵地。
因此我非常重视并挖掘这一不可忽视的习作资源，以培养学生创新能力，写出不同于课文的文章来。
结合课文指导学生进行创造性习作，其写作训练形式有：1、情节扩展式。
例如在学习《泊船瓜洲》后，我指导学生结合插图与有关背景资料，以及作者当时的心境，进行对该诗的扩写。
这不仅训练了学生创新写作能力，而且可以增强学生对古诗的理解，可谓一举两得。
2、情节收缩式。
对篇幅长的课文可以让学生进行缩写。
如缩写《小英雄雨来》、《草船借箭》等文，从而教给学生写作方法。
3、文尾续写式。
如根据《穷人》一课的结尾，我让学生续写《二十年后的桑娜一家》；根据《卖火柴的小女孩》一课的结局，我又让学生续写《卖火柴的小女孩来到我们中间》；根据《凡卡》一文的结尾，我继续让学生续写《凡卡写完信后》。
这样不仅培养学生的创新思维，也提高学生写作能力。
4、多向改写式。
根据课文内容，有的可以改变人称；有的可以改变叙述的顺序；还有的可以改变体裁。
5、图文转换式。
小学语文教材中不少课文配有图画，教学时，可启发学生在独立观察的基础上展开丰富的联想，写出与课文不同的文章。
比如上《桂林山水》、《鸟的天堂》、后，可以指导学生结合图文，写出导游词。
6、读后感想式。
对学生有现实的思想教育意义的课文，可以让学生写读后感。
如上完《触摸春天》、《巨人的花园》、《慈母情深》、《自己的花是让别人看得》《匆匆》后，可以指导学生写读后感想。
7、相关迁移式。
这种形式或是抓住课文的原型特征，调动已储备的表象，把思维的触角由甲迁移到相关或相似的乙上来。
例如学了《“精彩极了”和“ 糕透了”》一课后，可让学生写《爸爸妈妈对我的爱》，学了《凡卡》让学写《我和凡卡比童年》。
短文加上眉批和旁批
旁批就是在文章的旁边作批语.长篇旁批和读后感或读书笔记差不多.最简单的一种做读书笔记的方法是“摘抄法”.旁批就是在文章的旁边作批语. 图书正文上端的白边称书眉,在书眉上批注读书心得、批语、订误、校闻和音注都称眉批.
卖火柴的小女孩读后感 500字
《卖火柴的小女孩》读后感今天，读了《卖火柴的小女孩》这篇童话故事。
这个故事主要讲了一个小女孩因为家里穷，所以在又黑又冷的大年夜里卖火柴的凄惨情景。
故事中的小女孩光着被冻得又红又青的小脚边走边卖着卖火柴，她又冷又饿，这一整天，都没有人买过她的一根火柴，更别说有人给她一个硬币了。
于是，小女孩点燃了火柴，她在那小小的火光里仿佛看到了自己就坐在温暖的火炉面前；冒着香气的烤鹅正摇摇摆摆地向她走来；翠绿圣诞树上明亮的烛光和美丽的彩色画片；还有最爱她的奶奶，但她怕手中的火柴一灭，慈祥的奶奶就会不见了，所以把旧围裙兜里火柴都点燃了，奶奶带着她飞到没有寒冷、没有饥饿、没有痛苦的地方去了。
回想故事里的字字句句，小女孩的悲惨命运，而此时此刻的我呢
坐在温暖的空调房，穿着整洁的衣服，吃着家长做的可口饭菜，看着电视那精彩的节目，学习着老师教的新知识，翻阅着不同种类的课外书等等，这样美好的生活，那时的小女孩怕是连做梦也梦不到这些吧
在家里，长辈们疼爱我，是她们的“宝贝”，从小到大，衣食无忧，吃饱睡暖；在学校里，老师们关爱我，还能和好多同学坐在宽敞明亮的教室里学习知识。
想想那个时候可怜的小女孩和现在的我，真是一个生活在地狱，一个生活在天堂。
】=卖火柴的小女孩让我明白了许多道理，让我懂得了要珍惜今天的幸福生活，和卖火柴的小女孩相比,我是幸运的,我将珍惜身边的一切。
篇二：《卖火柴的小女孩》读后感
英文专业论文（答案满意我拿分砸死你
）（此问题圣诞节前有效）
On the Cultural Translation of Chinese Poetry From the Perspective of Peter Newmark’s Theory【Abstract】As a type of classical Chinese literature with a long history, the ancient Chinese poetry has long attracted the attention of scholars at home and abroad and been translated by them. This paper attempts to make a tentative study on Peter Newmark’s theory in the culture translation of Chinese poetry. It proves that the theory plays a key role in the culture translation of Chinese poems.【Key Words】Peter Newmark;communicative translation;semantic translation; poem translationAs a type of classical Chinese literature with a long history, the ancient Chinese poetry has long attracted the attention of scholars at home and abroad and been translated by them. For different translators, the translated versions and methods are quite different. Based on his own past research and some other transdisciplinary knowledge, Peter Newmark, the famous English translation theorist, has put forward the principles of “semantic translation” and “communicative translation”.1. The Characteristics of Poem TranslationPoem translation is quite different from the translations of novels, dramas, proses and film scripts. This is determined by its own characteristics. Then what are its characteristics? Generally speaking, there are three prime aspects.Firstly, poem emphasizes on the beauty of tempo and metre. A beautiful poem must have much attractiveness between the lines. When you hear some reading the charming poem, it seems that you are listening to a beautiful song.Secondly, from a lingual perspective, the languages of poem is quite succinct and the information in one unit structure. Its structure is rather different from some common lingual structures, due to the requirement of its metre, rhythm and form.Finally, a poem is the most senior form of literature, its metre, form and idea becoming integration. The lack of anyone of them will lead to the destruction of the whole poem. What’s more,the significance should be read between the lines, because the lines consist of many constituents of imagination when the author produces the poem. That is to say, we can always see the beauty of obscurity from poems. The understanding and feeling towards a poem depends on the appreciator, time and space.2. About Peter Newmark’s Translation TheoryAccording to Peter Newmark, communicative translation attempts to produce on its readers an effect as close as possible to that obtained on the readers of the original. Semantic translation attempts to render, as closely as the semantic and syntactic structures of the second language allow, the exact contextual meaning of the original. In theory, there are wide differences between the two methods.Communicative translation must emphasize the effect rather than the content of the message, and semantic translation would be more informative but less effective. Semantic translation attempts to recreate the precise flavor and tone of the original and it relates to the “expressive” function of language, whereas communicative translation responds to the representational and vocative functions. Thus for “Wet Paint!”, the communicative translation “Don’t touch the wet paint” is mandatory; the semantic translation(‘paint is wet’) would be more informative but less effective.3. A Study on the Cultural Transference of Chinese Poetry3.1 Appellation CultureAppellation culture is a dual-property semiotic system which concerns with appellation and involves both linguistics and culture. It is a semiotic system because it is marked by words or phrases in languages. The evolution of Chinese history and the continuous blending among nationalities in ancient China has given rise to a complex Han culture. Appellation culture is a good case in point. Appellation can be divided into relative appellation and association. A relative appellation is a cultural symbol produced by marriage system. After long-term cultural sediment, it has become well established. In ancient China, the complex marriage system finally led to a complicated relative appellation system, which inevitably causes troubles in translation.E.g.2 未谙姑食性，先遣小姑尝。
Verginial: I decide that not my mother-in-law.But my husband’s young sister shall have the first taste.Xu Yuanchng: To meet my mother-in-law’s taste,I send her daughter the first share.Fletcher: But what kind of taste auntie likes, I don’t know,So send to my sister-in-law the first share.In ancient China, there was a traditional custom, which meant to turn cousinship into marriageship. In other words, a girl was supposed to marry the son of her mother’s brother, thus she would call her husband’s parents, i.e. her father-in-law and mother-in-law uncle and aunt or auntie. Fletcher, obviously, has been confused by the surface meaning of “姑”, hence, he translates this word semantically as “auntie”. Although the girl calls her husband’s mother aunt, she has to present as a daughter-in-law and look at the “aunt” as mother-in-law and serve her everyday after the marriage. This is determined by the feudal marriage system. Thus, Fletcher has made a semantic translation.But here the “auntie” only acts as a “signifier”. A good way to deal with it is to uncover its veil and make the readers see clearly its face, to reveal the word in its true colours. After analyzing and consulting reference books, this is not a difficult task. The best way is to take a communicative translation. Both the first two translators have done in this way. “姑”is translated communicatively as “mother in law”. Under this condition, the TL readers will understand the poem in a full; otherwise, they must be confused about the relationship.Now let’s take another example:E.g.3 嫦娥应悔偷灵药，碧海青天夜夜心。
Zhang Tingchen & Wei Bosi: Chang E must regret having stolen the magic elixir——In that blue ocean of a sky: endless thoughts, night after night.Sun Dayu: Chang’e should now sorely regretFor stealing the herb of fay,So she hath to face all alone the blue skyAnd the sea immense night and day.Bynner: Are you sorry for having stolenThe potion that has set you.Over purple seas and blue skies,To brood through the long nights?Chang’e is a fairy lady in a Chinese legend who swallowed elixir stolen from her husband and flew to the moon. Here, in order to let the TL readers get to know the legendary figure in Chinese culture, both Chinese translators have taken the semantic translation and transcribed it into “Chang’e”, the alphabetic correspondence of “嫦娥”. Since the original verse is a narrative, in which “Chang’e” functions only as a sign of a person, it is hard for readers to fully understand the figure in the poem. So, this kind of transcription is quite all right.Meanwhile, Bynner, starting from the western thinking mode, has communicatively translated the verse by using the second as if in a dialogue with God or someone else. This kind of tone may bring the TL readers kindness and make them feel as if they are participating. But this can’t yet explain who “嫦娥”is. This shows that sometimes when the differences between the two languages can’t be understood by TL readers, they should be eliminated by sensible translators.3.2 Culture about Weights and MeasuresWeights and measures were very complicated before the unity by the Qin Dynasty. Each country followed its own system of weights and measures. After the unity of the country, Qin also standardized them. Such a system is handed down from generation to generation. Nevertheless, they are unknown or unfamiliar to foreigners. Although the Tang Dynasty reached in a peak in cultural influence abroad, some of the cultural concepts are unknown to foreigners. Now let’s see the following instances:E.g.4 桃花潭水深千尺，不及汪伦送我情。
Obata: The Peach Flower Lake is a thousand fathoms deep,But it cannot compare, O Wang Lun,With the depth of your love for me.E.g.5 一片孤城万仞山。
Wen Shu: On a steep high mountain the lone garrison town standsZhang Tingchen & Wei Bosi: Amid the massive mountains lies the solitary sliver of a townSun Dayu: And a lone pile lies by a mount a hundred furlongs highXu Yuanchong: The lone Great Wall lost amid the mountains proudFletcher: ‘Mid peaks so high our tiny town to sight is almost lostSuch units as “尺” (in its ancient meaning), “仞”have no equivalence in Anglo-American culture or modern Chinese culture. According to A Dictionary for Ancient Chinese Words, both of them are measures of length, height or depth. In ancient Chinese, 1尺≈0.26m; 1仞≈6.4chi(current)≈2.4~2.5meter. So “万仞”≈24000meter~25000m. Even people in China today may not know these. We may translate them semantically as 260m and 24000m, but which may make the translated versions lost their original charming and become more complicated. Therefore, Obata chooses another way, he adapts and makes the thought and cultural content of original more accessible to reader. In his version, “尺”is replaced by “fathom”, a word familiar to foreigners. 1尺≈0.26m, then 1000尺≈260m; 1fathom≈1.8m, then 1000fathoms≈1800m. Thus it seems the two figures differ largely from each other, but after all, the “千尺” here is in its exaggerated meaning. In this way, the readers can get the rough meaning of a great depth conveyed by the original poem.While in the second version, Sun Dayu has semantically translated “仞”into “a hundred furlongs”. He used a similar unit in Anglo-American culture for replacement. 1furlong≈201m, then 100furlong≈20100m. This is almost equal to the height of “万仞”. The domesticating method here has not merely made the TL readers understand the grandeur of the mountains the author wanted to convey, but also given them a perceptual knowledge of this point. Thus we can see that Mr. Sun has really given much thought to the matter.As for the other versions, they should be categorized under communicative translation. Although the key cultural word has been sacrificed, all the versions have become clear enough to be accepted by TL readers.From the above examples, we see that semantic translation is not always the only valid method. Sometimes communicative translation may also help to translate those words that are heavily culture-loaded. However, when it is imperative to retain the culture, semantic translation should be considered, that is, we can translate the words literally and then add a note. In versions that aim to introduce Chinese culture, it is necessary to use this method.3.3 Time CultureTime culture refers to some culture that is related to time or the techniques to express time. During the development of Chinese history, ancient Chinese invent their own special methods to express time. Using lunar calendar to calculate months is a good case in point. That is to divide a year according to the twenty-four solar terms. In this way, people can easily depict what the climate or scenery is like during a period of time.E.g.6 烟花三月下扬州Yang Xianyi &Gladys Yang: In the mist and flowers of spring,He goes down to Yangzhou.Sun Dayu: In this flowery April clime,For thickly peopled Yangzhou.Xu Yuanchong: For Yangzhou in spring green with willows and red with flowers.According to Best-Known Tang and Song Four-Line Poems,“烟花” is a phrase to depict the spring that is filled with the mist-like willow catkin and the brocade-like flowers, that is to describe a splendid spring. Here in the verse, it is used to modify “三月”. “三月”in the lunar calendar refers to the third month, the period almost from the pure Brightness till soon after Grain Rain. This period of time is nearly equal to the fourth month of the year,April. During this time, flowers blossom and the trees begin to put forth new leaves.”Against such a background, starting from the TL culture, Mr. Sun Dayu communicatively translates it into “flowery April”. Thus, the TL readers can easily imagine the flowery scenery. The same strategy has been adopted in the others. From the readers’ angle, the other two translators have succeeded in avoiding confusion to the TL readers by omitting “三月”. Otherwise the TL readers will wonder why it says it is spring and flowery since it is obviously cold in March? By omission of “三月”, the two versions appear clearer in meaning and easier to understand.From the above several examples, we may draw a conclusion that communicative translation is mainly adopted to transfer the culture, especially in appellation culture and culture about weights and measures, while semantic translation is added to render some culture in Chinese poetry. But no matter which method a translator adopts, he must render the original accurately and accurately convey the true information to the TL readers.All in all, Peter Newmark’s translation theory applies successfully to the English versions of ancient Chinese poems. It proves that all translations must be in some degree both communicative and semantic. Both semantic translation and communicative translation are necessary in translation. The theory plays a key role in the English translation of Chinese poems.
