電影霧都孤兒簡介英文ppt

Ⅰ 求霧都孤兒的背景介紹，英文版。急急急急！

《霧都孤兒》以霧都倫敦為背景，講述了一個孤兒悲慘的身世及遭遇，主人公奧立弗在孤兒院長大，經歷學徒生涯，艱苦逃難，誤入賊窩，又被迫與狠毒的凶徒為伍，歷盡無數辛酸，最後在善良人的幫助下，查明身世並獲得了幸福。 奧列佛.特維斯特一生下來就成了孤兒,他在收容所受盡折磨,後來成了殯儀館學徒,他因不堪虐待而出逃,落到一夥賊幫手中.後在「執行任務」中被勃朗特和蘿斯搭救.一個自稱蒙克斯的人出錢要賊幫把奧斯特培養成不可救葯的慣盜.同情他的南茜把情況告訴了蘿斯。勃朗特找到蒙克斯，原來他是奧列佛的異母哥哥，為獨自霸佔遺產而陷害奧列佛。最後，奧列佛繼承了應得的遺產，勃朗特收他為養子。蘿斯也和所愛的人結了婚。

小說描寫了善與惡、美與丑、正義與邪惡的斗爭，贊揚了人們天性中的正直和善良，也揭露抨擊了當時英國慈善機構的虛偽和治安警察的專橫。同時，作品又帶有濃厚的浪漫主義情調，充滿著人道主義情懷。

Ⅱ 用英語概括《霧都孤兒》的主要內容

該作以霧都倫敦為背景，講述了一個孤兒悲慘的身世及遭遇。主人公奧利弗在孤兒院長大，經歷學徒生涯，艱苦逃難，誤入賊窩，又被迫與狠毒的凶徒為伍，歷盡無數辛酸，最後在善良人的幫助下，查明身世並獲得了幸福。

該書揭露許多當時的社會問題，如救濟院、童工、以及幫派吸收青少年參與犯罪等。該書曾多次改編為電影、電視及舞台劇。

This work is set in London, a foggy city, and tells the tragic story and experience of an orphan. Oliver, the hero, grew up in an orphanage, experienced apprenticeship, fled hard, strayed into a den of thieves, and was forced to associate with vicious murderers, experiencing countless hardships.

Finally, with the help of good people, he found out his life experience and gained happiness.
The book reveals many social problems at that time, such as almshouse, child labor, and gangs absorbing teenagers to participate in crimes. This book has been adapted into movies, television and stage plays many times.

創作背景

《霧都孤兒》作為英國小說家查爾斯·狄更斯在維多利亞時代的作品。資本主義的發展，使英國成為世界超級大國。但繁華之下，是貧窮和不幸。這種繁榮孕育在危險和骯臟的工廠和煤礦里。階級沖突越發明顯，終於在1836年到1848年中接連爆發。19世紀末期，大英帝國國力逐漸下降。作為一個時代的產物，文學日趨多樣化，許多偉大的作家出現在那個時代。

《霧都孤兒》寫於《濟貧法》通過之時。英國正經歷一場轉變，從一個農業和農村經濟向城市和工業國家的轉變。《濟貧法》允許窮人依賴接受公共援助，卻要求他們進行必要的勞動。為了阻止窮人依賴公共援助，逼迫他們忍受難以想像的痛苦。

因為貧民院的救援聲名狼藉，許多窮人寧死也不尋求公共援助。《濟貧法》沒有提高窮人階級的生活水平，卻對最無助和無奈的下層階級施以懲罰。

Ⅲ 霧都孤兒簡介英文

小說講述了一個孤兒的悲慘經歷,主人公奧利弗是一名生在濟貧院的孤兒,他九歲那年被送到店裡做學徒,忍飢挨餓,備受欺凌,於是他逃到了倫敦和一群當地的扒手混在了一起.後來好心的布朗洛的紳士幫助了他,但不幸的又被扒手團伙抓了回去,經歷了無數的艱辛.在布朗洛的幫助下,經歷了很多的曲折奧利弗終於知道自己的真實身份.

Ⅳ 霧都孤兒的故事簡介英文的

19世紀30年代，霧都倫敦，小男孩奧利佛·特維斯特(巴尼·克拉克飾)自幼被父母拋棄，孤獨地在教區撫幼院里長大，隨後他被迫進入苛刻的巴姆鮑經營的棺材店裡做學徒，由於不能承受繁重的勞動和老闆的打罵，他逃到倫敦街上，成為一名霧都孤兒。在倫敦游盪的時候，獨自一人的奧利佛被當地一個扒手黑幫盯上，並且被險惡的費金(本·金斯利飾)騙進充滿罪惡和骯臟的賊窩，費金希望能夠將奧利佛訓練成一位盜竊能手以成為自己的"孩子盜竊集團"的一員，從而又多了一個可以為自己獲取不義之財的途徑。身陷囫圇的奧利佛得到和藹的布郎羅先生的幫助，但僅僅是他一系列冒險經歷的開始。惡劣的環境、重重的誤會、人性的黑暗包圍著奧利佛，在流浪中他歷盡艱辛，但奧利佛始終保持純真的心，對生命抱有希望，甚至讓二號賊首賽克斯的情婦南希良心發現，在他天真純潔的身上看到往日清白的自己，最終冒著生命危險將奧利佛救出賊窟。然而，南茜為了救這位可憐的孤兒而被殺，奧利佛·特維斯特經過百般周折之後，終於知道了自已真實的身份……

Ⅳ 《霧都孤兒》英文是什麼

Fog Orphan霧都孤兒

詞典釋義

Oliver Twist

Oliver's twist

Charles Dickens狄更斯；查爾斯·狄更斯；英國大文豪狄更斯

舉例:

1.他的第二部小說《霧都孤兒》於1838年出版,非常成功。Oliver Twist, his second novel, came out in 1838 and was very successful.

2.要舉這方面的例子，請看狄更斯的小說《霧都孤兒》。An example of this would be Dickens' novel Oliver Twist.

3.瓊斯先生：他已經寫了《霧都孤兒》。Mr jones: he'd already written "oliver twist".

4.我要說《霧都孤兒》是我最喜歡的一部作品。And I would say Oliver Twist is one of my favourites.

5.這幅畫展示了電影《霧都孤兒》的著名一幕。The photo shows a famous scene from the film of Oliver Twist.

6.狄更斯是《霧都孤兒》的作者。Dickens was the author of'oliver twist'.

Ⅵ 《霧都孤兒》

In considering Dickens, as we almost always must consider him, as a man of rich originality, we may possibly miss the forces from which he drew even his original energy. It is not well for man to be alone. We, in the modern world, are ready enough to admit that when it is applied to some problem of monasticism or of an ecstatic life. But we will not admit that our modern artistic claim to absolute originality is really a claim to absolute unsociability; a claim to absolute loneliness. The anarchist is at least as solitary as the ascetic. And the men of very vivid vigour in literature, the men such as Dickens, have generally displayed a large sociability towards the society of letters, always expressed in the happy pursuit of pre-existent themes, sometimes expressed, as in the case of Molière or Sterne, in downright plagiarism. For even theft is a confession of our dependence on society. In Dickens, however, this element of the original foundations on which he worked is quite especially difficult to determine. This is partly e to the fact that for the present reading public he is practically the only one of his long line that is read at all. He sums up Smollett and Goldsmith, but he also destroys them. This one giant, being closest to us, cuts off from our view even the giants that begat him. But much more is this difficulty e to the fact that Dickens mixed up with the old material, materials so subtly modern, so made of the French Revolution, that the whole is transformed. If we want the best example of this, the best example is Oliver Twist.

Relatively to the other works of Dickens Oliver Twist is not of great value, but it is of great importance. Some parts of it are so crude and of so clumsy a melodrama, that one is almost tempted to say that Dickens would have been greater without it. But even if be had been greater without it he would still have been incomplete without it. With the exception of some gorgeous passages, both of humour and horror, the interest of the book lies not so much in its revelation of Dickens's literary genius as in its revelation of those moral, personal, and political instincts which were the make-up of his character and the permanent support of that literary genius. It is by far the most depressing of all his books; it is in some ways the most irritating; yet its ugliness gives the last touch of honesty to all that spontaneous and splendid output. Without this one discordant note all his merriment might have seemed like levity.

Dickens had just appeared upon the stage and set the whole world laughing with his first great story Pickwick. Oliver Twist was his encore. It was the second opportunity given to him by those who ha rolled about with laughter over Tupman and Jingle, Weller and Dowler. Under such circumstances a stagey reciter will sometimes take care to give a pathetic piece after his humorous one; and with all his many moral merits, there was much that was stagey about Dickens. But this explanation alone is altogether inadequate and unworthy. There was in Dickens this other kind of energy, horrible, uncanny, barbaric, capable in another age of coarseness, greedy for the emblems of established ugliness, the coffin, the gibbet, the bones, the bloody knife. Dickens liked these things and he was all the more of a man for liking them; especially he was all the more of a boy. We can all recall with pleasure the fact that Miss Petowker (afterwards Mrs. Lillyvick) was in the habit of reciting a poem called "The Blood Drinker's Burial." I cannot express my regret that the words of this poem are not given; for Dickens would have been quite as capable of writing "The Blood Drinker's Burial" as Miss Petowker was of reciting it. This strain existed in Dickens alongside of his happy laughter; both were allied to the same robust romance. Here as elsewhere Dickens is close to all the permanent human things. He is close to religion, which has never allowed the thousand devils on its churches to stop the dancing of its bells. He is allied to the people, to the real poor, who love nothing so much as to take a cheerful glass and to talk about funerals. The extremes of his gloom and gaiety are the mark of religion and democracy; they mark him off from the moderate happiness of philosophers, and from that stoicism which is the virtue and the creed of aristocrats. There is nothing odd in the fact that the same man who conceived the humane hospitalities of Pickwick should also have imagined the inhuman laughter of Fagin's den. They are both genuine and they are both exaggerated. And the whole human tradition has tied up together in a strange knot these strands of festivity and fear. It is over the cups of Christmas Eve that men have always competed in telling ghost stories.