电影雾都孤儿简介英文ppt

Ⅰ 求雾都孤儿的背景介绍，英文版。急急急急！

《雾都孤儿》以雾都伦敦为背景，讲述了一个孤儿悲惨的身世及遭遇，主人公奥立弗在孤儿院长大，经历学徒生涯，艰苦逃难，误入贼窝，又被迫与狠毒的凶徒为伍，历尽无数辛酸，最后在善良人的帮助下，查明身世并获得了幸福。 奥列佛.特维斯特一生下来就成了孤儿,他在收容所受尽折磨,后来成了殡仪馆学徒,他因不堪虐待而出逃,落到一伙贼帮手中.后在“执行任务”中被勃朗特和萝斯搭救.一个自称蒙克斯的人出钱要贼帮把奥斯特培养成不可救药的惯盗.同情他的南茜把情况告诉了萝斯。勃朗特找到蒙克斯，原来他是奥列佛的异母哥哥，为独自霸占遗产而陷害奥列佛。最后，奥列佛继承了应得的遗产，勃朗特收他为养子。萝斯也和所爱的人结了婚。

小说描写了善与恶、美与丑、正义与邪恶的斗争，赞扬了人们天性中的正直和善良，也揭露抨击了当时英国慈善机构的虚伪和治安警察的专横。同时，作品又带有浓厚的浪漫主义情调，充满着人道主义情怀。

Ⅱ 用英语概括《雾都孤儿》的主要内容

该作以雾都伦敦为背景，讲述了一个孤儿悲惨的身世及遭遇。主人公奥利弗在孤儿院长大，经历学徒生涯，艰苦逃难，误入贼窝，又被迫与狠毒的凶徒为伍，历尽无数辛酸，最后在善良人的帮助下，查明身世并获得了幸福。

该书揭露许多当时的社会问题，如救济院、童工、以及帮派吸收青少年参与犯罪等。该书曾多次改编为电影、电视及舞台剧。

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.

创作背景

《雾都孤儿》作为英国小说家查尔斯·狄更斯在维多利亚时代的作品。资本主义的发展，使英国成为世界超级大国。但繁华之下，是贫穷和不幸。这种繁荣孕育在危险和肮脏的工厂和煤矿里。阶级冲突越发明显，终于在1836年到1848年中接连爆发。19世纪末期，大英帝国国力逐渐下降。作为一个时代的产物，文学日趋多样化，许多伟大的作家出现在那个时代。

《雾都孤儿》写于《济贫法》通过之时。英国正经历一场转变，从一个农业和农村经济向城市和工业国家的转变。《济贫法》允许穷人依赖接受公共援助，却要求他们进行必要的劳动。为了阻止穷人依赖公共援助，逼迫他们忍受难以想象的痛苦。

因为贫民院的救援声名狼藉，许多穷人宁死也不寻求公共援助。《济贫法》没有提高穷人阶级的生活水平，却对最无助和无奈的下层阶级施以惩罚。

Ⅲ 雾都孤儿简介英文

小说讲述了一个孤儿的悲惨经历,主人公奥利弗是一名生在济贫院的孤儿,他九岁那年被送到店里做学徒,忍饥挨饿,备受欺凌,于是他逃到了伦敦和一群当地的扒手混在了一起.后来好心的布朗洛的绅士帮助了他,但不幸的又被扒手团伙抓了回去,经历了无数的艰辛.在布朗洛的帮助下,经历了很多的曲折奥利弗终于知道自己的真实身份.

Ⅳ 雾都孤儿的故事简介英文的

19世纪30年代，雾都伦敦，小男孩奥利佛·特维斯特(巴尼·克拉克饰)自幼被父母抛弃，孤独地在教区抚幼院里长大，随后他被迫进入苛刻的巴姆鲍经营的棺材店里做学徒，由于不能承受繁重的劳动和老板的打骂，他逃到伦敦街上，成为一名雾都孤儿。在伦敦游荡的时候，独自一人的奥利佛被当地一个扒手黑帮盯上，并且被险恶的费金(本·金斯利饰)骗进充满罪恶和肮脏的贼窝，费金希望能够将奥利佛训练成一位盗窃能手以成为自己的"孩子盗窃集团"的一员，从而又多了一个可以为自己获取不义之财的途径。身陷囫囵的奥利佛得到和蔼的布郎罗先生的帮助，但仅仅是他一系列冒险经历的开始。恶劣的环境、重重的误会、人性的黑暗包围着奥利佛，在流浪中他历尽艰辛，但奥利佛始终保持纯真的心，对生命抱有希望，甚至让二号贼首赛克斯的情妇南希良心发现，在他天真纯洁的身上看到往日清白的自己，最终冒着生命危险将奥利佛救出贼窟。然而，南茜为了救这位可怜的孤儿而被杀，奥利佛·特维斯特经过百般周折之后，终于知道了自已真实的身份……

Ⅳ 《雾都孤儿》英文是什么

Fog Orphan雾都孤儿

词典释义

Oliver Twist

Oliver's twist

Charles Dickens狄更斯；查尔斯·狄更斯；英国大文豪狄更斯

举例:

1.他的第二部小说《雾都孤儿》于1838年出版,非常成功。Oliver Twist, his second novel, came out in 1838 and was very successful.

2.要举这方面的例子，请看狄更斯的小说《雾都孤儿》。An example of this would be Dickens' novel Oliver Twist.

3.琼斯先生：他已经写了《雾都孤儿》。Mr jones: he'd already written "oliver twist".

4.我要说《雾都孤儿》是我最喜欢的一部作品。And I would say Oliver Twist is one of my favourites.

5.这幅画展示了电影《雾都孤儿》的著名一幕。The photo shows a famous scene from the film of Oliver Twist.

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

Ⅵ 《雾都孤儿》

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.