An Analysis of Black Humor in the Movie The Simpsons
文献综述
A Brave FailureAn Analysis of Yossarian in Catch ’_ 22邓锋【Key wo~s3 Catch一22；Black Humor；The Absurd；Hippies[中图分类号]D26 [文献标识码]A 【文章编号]CKN字07～07(2005)0卜003l一02 Catch 一22 is a classic book of black humor．It is saidthat Ca tch一22 is one of the best novelS in 20 century．AnAm erican novelist once evaluated Ca tch一22 as an“antinovel antiheroic”book．Actually，as what the author of this novel，Joseph Heller himself has said about this book，that，though itwas a hoveI abo ut war．its theme wasn’t only antiwar．Helleradded that what he wanted to disclose in this nove1 was thatwha t the Am erican society in l 960s was Iike， and theindividual relationship in bureaucracy of that time．W hy Ca tch 一22 is s0 famous? It is because that thisbook is the beginning of the“black humor”writings．“Blackhumor'’refers to the kind of“morbid and absurd humor”，which is“seeking fun from callousness”．The core of“blackhumor”is that the author indicates the truth by absurdity．i．e．disclose the real world by distorted phenomena．Catch一22is widely accepted just because it expresses one generation’sworry and despair about the realistic society，which is full of darkness，ugliness and inj ustice after the Second World War，and because it shows this generation’s complex psychology of obtaining，and this generation’s some psychological conlfortfrom humor and satire．The following is a brief introduction of the plot of( h一22．During Workl WarⅡ，the soldier Ye,ssarian wasstationed with his Air Force squadron on the island of Pianosa，near the Italian coast and the Mediferrancan Sea，He and hisfriends endured a niglatnlarish，absurd existellce defined by bureaucracy and violence：they are inhuman resources in theeyes of their hlindly ambiti,ous superior officers．The squadronwas thrown thoughtlessly，into brutal combat situations andbombing situations and bombing rutl on which is moreimportant for them tO captui‘e a g(x~d aerial photograph of an explosion than to destroy" thcir targets． Their colonelscontinually raised the number of missions they were required tofly before being sent home so that 1lo one is ever sent home．Still no one but Yo&,~arian seemed to realize that there was awar going on；everyolle thought he was crazy when he insistedthat nfillions of people were trying to kill himIt is necessary to know the historical background ofCatch 一22， which is helpful for understanding Yossarianwel1．Iii Cat 一22 “in fact sortie details about the war areopenbr realistic though many aspects of army life are widelydistorted．But，as well as the war，there are aspects of post—war， peacetim e American to be discerned l}eneath theseemingly mad ‘elltS in the noveI The political climate ofthat period influenccs man)‘of t he characters and events”．Joseph Heller，a sensitive，idealistic and individualistic man，31维普资讯 学术探讨与交流邓锋：A Brave Fai1ure—— An Analysis of Yossarian in C~atch一22 wrote the novel after the United States with her allies Ilad wonthe war．Her dollars，atom bombs and armies controlled orprotected half the world but her citizens were little closer tothe American Dream of equality and liberty for all people．Here．in order to understand this novel well，we mustmake clear that what the absurd is It was two French writerswho first articulated what was a generally,felt mood of atheismafter the Second WorId War．Jean Paul Sartre(1905—80)and Albert Camus(1913—60)both explored the problemsman is faced with when he realizes that there is no God ．Ifthere is no ultimate authority，no after life and therefore nosalvation，then all that can be said is that things and we existin a meaningless universe．John Yossarian．the protagonist of Catch 一22 was botha member of the squadron’s community and alienated by it．Although he flied and lived with the men，he was marked as anoutsider by the fact that many of the men thought he wentinsane．His difference from the rest of the men led us to expectsomething exceptional from Yossarian．He was the only onewho remained mentally clear— headed in the squadron whenhis life was threatened by daily flying missions，but in otherseye he was insane． How strange his situation was! ButYossarian’s characteristics were not those of a typical hero．He did not risk his life to save others；in fact，his primary goalthroughout the novel was to avoid risking his life wheneverpossible．But the system of values around Yossarian was soskewed that this approach seemed to be the only truly moralstance he could take．if only because it wan so logica1．W hatwe came to hate about military bureaucracy as we read Ca tch一22 is how illogical it was：men were asked to risk their livesagain and again for reasons that were utterly illogical andunimportant．Out of this sea of antilogic，Yossarian was ableto seize and hold onto one true．1ogical idea一一that he shouldtry to preserve life． Unlike a conventional hero，however，Yossarian did not generalize this idea to mean that he should risk his own life in attempts to save everybody else’s． In a world where life itself was so undervalued and so casually lost．it was possible to redefine heroism as simple self —preservation．Yossarian was very brave and intelligent．He wanderedaround the border of death and life so many times ．For this reason，he won a medal for bravery in battle．His behavior seemed to be a little coward—like for his fear of death：does this mean he wasn’t brave?No．His dealings with death andwith the officers who administer the iniquitous regulation called Catch 一22 is the consciousness through which we experienced the absurd world he inhabited and his heroic struggles against it were the means by which we came to understand his character and his world Through the m ad confusions，one certainty was that he was utterly sane．Unlike other insensitive and ignorant pilots， he was very conscious and refused more misions．But Yossarian’s problem was not32just that someone was trying to kill him：“⋯strangers he didn’t know shot at him with cannons every time he flew upinto the air to drop bombs on them”．That after all was typical of war；and peacetime with its sneaky diseases and sudden accidents would not be much safer．The real problem was thatIle and his friends were “dom inated by the administrators appoint serve them．They were bullied，insulted，harassed and shoved about”．From this we can see，Yossarian wasn’t afraidof devoting his life to his century，but he wasn’t wiUing to devote himself to those bureaucracies，such as Ca thcart andthe like，which meant his losing of life meaningless．Yos sarian was the repres entation of Am erican Hippies in1960s Like Yossarian，Hippies did 8o many brave actions torebel the old and stubborn traditions． They tok drugs，maintained free sexual relationship， and worshiped individualism．AIl these action was very brave，although those orthodox people blamed them 8o severely．AIthough Yossarian was very brave and intelligent，Hefailed the battle against those bureaucracies． He used many tricks to avoid bombing flights． This could be seen in the events of three hospital visits and delaying tactics before Bologna． But the essence of the war and the Ca tch 一22 decided him a destined failure．Because the world Yossarian eventually rejected was one in which the squadron doctor was a self—pitying hypo chondriac；the squadron commander refusedever to see anyone；the mess officer set up an international cartel which contracts with Germany to bomb the squadron；the group commander waged a war of personal aggrandizementin which the deaths of airm en were his am munition；and the wing commander in his battle for promotion had bomber command annexed by entertainment services and ins isted on neat bomb patterns， no matter what the target． This was exactly a world under a kind of organized confusion and a kind of systematized craziness．In this world，all the mass went mad．Yossarian was the only one who remained conscious in it．So he was inevitably a failure in this world．As what we apprehended about the bok Catch一22，theinfluences of Catch一22 was prevailing all over the world．Maybe Yossarian himself thought that after he retreated to Sweden he could lcad a new life there．But the reality was on the contrary． The catch 一22， though was invisible， its influence was so po werful that everyone in that world could not step out of it．So Yossarian’s radical measure of seeking new life in Sweden just meant another failure to him．Yosarian’s decision of retreating to Sweden seemed to be a “ victory”for him in the battle fighting against Catch一22，because he could get rid of the terrDr of death in an0ther country． ActuaIly， even though he coukl never escape the menace of death， he coukl never escape the Catch一22．For exampLe， when he was in Ron1e． he caught the sight of sokliers f0rcing people out of their I1ome．；o he asked why．f下转第34页J维普资讯 新课改新课标研究与实践李艳：新课程下的评价观就评价主体而言，可以采取学生自评、学生互评、教师评、家长评相结合的方式，这样可以充分利用各种教育资源，调动一切积极因素，避免教育中的“真空”，使学生在校内外做到表里如一，从而得到全面的健康的发展。
西方黑色幽默电影对中国电影创作的影响(英文版)
The influence of Western black humor movie to Chinese film creation[Abstract] Effect of foreign films in the black humor of the Chinese film is straightforward. Several movies with black humor elements emerged in China, although the black humor behave different, there is a common cultural background, cultural orientation, style characteristics, as well as a film director in common human feelings, which no one can not do without Western black humor influence of movies.[Keyword] black humor influence movieThe emergence of Western-style movies with black humor, though, and literature of black humor appear at different times, but the essence is the same as the background. Westerners after two World Wars, spiritual beliefs severe crisis, the existence of God become confused. Fast Western economies after World War II prosperity and the traditional moral turpitude was serious.In the 1960s the United States, the material is highly developed, social serious deformities. Vietnam War, the development of the television industry, making Vietnam become a live, but this time it just out of the clouds of World War II. There are also political persecution of McCarthyism, the black civil rights movement entrenched apartheid led to universal sexual and gender discrimination resulting in a flood of feminism and downs, violence, murder, rape growing, hippies flooding, when the world is full of fall wrong. Western film noir reflects precisely this social thinking reverberation effect. Western film embodied in black humor, the most important are the following several directors:First, Quentin Tarantino •"Pulp Fiction" completely subvert the traditional concept of film narrative, telling the reality of things but we are not able to express the reality itself, each story from the side of the film's theme was explained by the expression of the reality and the absurd reality of the nearest and most profound. Quentin's black humor to make some of the original horror story becomes dirty or bloody ridiculous, but after that we'll feel a little heavy laughter.Second, the Coen brothersCoen Brothers film often has the spirit of philosophical speculation, is an expression of absurd reality, justice and goodness is often not the evil opponent. For example endless bloody and violent "Old Men" in the show is a show of confidence crisis. Rapid change in the external world of time and space has led to people's confusion, loss of religious feeling, leading to self-awareness of decay. In this non-mainstream works director brothers, characters, character, story, these elements are crucialHollywood lost the original meaning, and become the Coen brothers describe environmental and historical weight.Third, KusturicaDirector of the former Yugoslavia Kusturica movie is full of his homeland Yugoslavia mixed feelings, "underground" is the masterpiece of the most famous movie. No matter what a state and national history were originally serious and cruel. The director put their interpretation seen as a farce, the metamorphosis, desire, deceit, humanity, all melting into the period of the war epic farce. History can not be changed, a lot of memory fragments left behind is impossible to put together the broken marks, which are specific to the product of that era, even then anger and then lost, but also show a sense of powerlessness and self-deprecating heart collapse.Fourth, the Woody Allen comedy •• Woody Allen's comedy film, gray humorous comedy about post-modern city mentaldistress. His film comedy performance indicators under the surface lurks a certain tragic theme. By the United States "Beat Generation", a large number of works of black humor, new journalism, fiction and the European Jewish, Russian writer, the impact and the French New Novel Theatre of the Absurd, black humor, and his works painted with the new artistic means objective world, often with cynicism, cynicism and cruelty and absurd allegorical artistic image, in the structure of "give order to chaos" approach, the funny stuff and sublime humor juxtaposed serious things, factors and tragic comedy side by side, on the order of time staggered overprint, resulting instrong contrast to the artistic effect and blend of joy and sorrow. • Woody Allen's firstfilm, "What's the matter, Tiger Lily? "Already reflect this tendency.The impact of foreign films in the black humor of the Chinese film is direct, the development of Chinese film centuries and foreign films are inextricably linked. Especially the brilliant Chinese film several times, this link even more closely. Reform and opening up of Chinese film-making, a group of filmmakers from college out of school in the technique works out, this study changed the traditional form of Chinese film, the birth of the fifth generation of filmmakers and their work, this study It is successful, so that Chinese film attracted attention in the world cinema. Black humor movies first fortune in the fifth generation director works.After the film's black humor China first appeared in reform and opening up, Huang Jianxin director of "Black Cannon Incident," "dislocation" in the use of black humor, the film has aroused strong repercussions critics. After the founding of New China's reform and opening up to China and the world before long isolation, after the reform and opening up to foreign latest thoughts started to affect Chinese intellectual. Chinese filmmakers began to learn the advanced shooting skills, the Chinese film began to rise again on the road. After the Cultural Revolution in Film Academy's director Huang Jianxin has never shied away over their own learning enthusiasm of Western theories and ideas and ambition to shoot a different movie. He said: "The end of the Cultural Revolution in 2078, is popular among students theoretical Readereveryone to read works of philosophy, sociology writings, various interdisciplinary I remember when there was a series, describes the various. school, what semiotics, Freud, etc. have a bunch of people around me. So when I was shooting a movie, you want a new era, a new breakthrough in film language systems ...... . "In the film, when it comes to contemporary China, he said:" I think now the Chinese film behind, language system behind China after the Cultural Revolution on the grounds that the film than in the West behind the decades, perhaps three decades Chinese filmmakers. with three to five years to catch up with the world of film. the late 1980s with the first half of the 1990s, the standard Chinese language film is synchronized with the world, but precisely in this period, the development of digital technology, took over the language of cinema Authoritative Discourse and mystery to break the "about" Crazy Stone, "when he said:" there is now a "Crazy Stone" We all feel very strange, to put this movie into Hong Kong, they said ten years ago that we do not in this movie it? In other words, our film language behind. "2006's" Crazy Stone "turned out, its distinctive black humor style caught the hot Chinese film critics and the general audience, "black humor" Following Huang Jianxin's early films once again become the buzzword. Many commentators see the "Crazy Stone" to empty a large gathering of Chinese film market surprises, but also criticized the "Crazy Stone" over emulate the British film "Two Smoking Barrels." Retorted this Ning Hao said: "China is an open-minded nation, why do not you learn from all the Chinese film source can be found in a foreign film, Ithink also to learn and continue to learn, I believe lid • Ritchie?. can not shoot this film,and there are too many things in China, local, closely linked to China funny and sad reality of life, only the Chinese people can understand. "Ning Hao comes to the point is that" Crazy Stone "is already a section very Chinese film, he did not deny his own film on Western black humor film reference.I believe that Chinese movies on treatment of black humor is not mature, nor form a very strong black humor film forces. In the 1980s, the film is mentioned only Huang Jianxin With colors of black humor, even if his films, is also limited to "Black Cannon Incident" and "dislocation" after "dislocation", the film's black humor Huang Jianxin He began to fade, the black humor transmutation. On this issue Rao Shuguang says: "But Huang Jianxin's mind is clear, he knew the story was not absurd to the absurd, the ultimate goal is to shine into reality, can be described as the first in the air, feet on the ground since the absurd to the extreme there are. a large part of the audience did not accept, Huang Jianxin and to adjust their creative tactics - to the "ambush" Huang Jianxin absurdity in "The Black Cannon Incident" and "dislocation" in the performance of daily life has penetrated the same as plain yet quietly into the narrative. And the "Who Cares", drama and absurdity intertwined, allowing viewers to experience a collage of sensual pleasure and games. "When the" stone crazy after "appears, to my surprise just shows, "Crazy Stone" Case of. We look at the first decade of the new century, to "Crazy Stone" before the movie, there's Chinese film with black humor, and not difficult to find there are a few: "glorious anger", "Missing Gun "" Live "and" Black Cannon Incident. " Although black humor behave different, there is a common cultural background, cultural orientation, style characteristics, as well as a film directorin common human feelings these films. No one is inseparable from the effect of these western black humor of the film. Chinese film has a long way to go.。
VoltaVolta（伏打）
UNIVERSITY OF CALIFORNIA, SAN DIEGOVolta VoltaA thesis submitted in partial satisfaction of the requirements for the degree Master of Fine ArtsinVisual ArtsbyErick Msumanje2017Committee in charge:Brian Cross Ivan Evans Michael Trigilio Alena WilliamsCopyright Erick Msumanje, 2017 All rights reservedThe Thesis of Erick Msumanje is approved, and it is acceptablein quality and form for publication on microfilm and electronically:ChairUniversity of California, San Diego2017TABLE OF CONTENTSSignature Page (iii)Table of Contents (iv)List of Figures (v)Abstract of the Thesis (vi)Volta Volta (1)Bibliography (14)LIST OF FIGURESFigure 1: Kids in Fridge from Volta Volta (4)Figure 2: Bull Fighting from Volta Volta (6)Figure 3: Bull Fighting from Volta Volta (6)Figure 4: Lion from Volta Volta (8)Figure 5: Lion from Volta Volta (8)Figure 6: Red Eyes (Pulling Rope) from Volta Volta (10)Figure 7: Red Eyes (Pulling Rope) from Volta Volta (10)Figure 8: Warrior from Volta Votla (12)ABSTRACT OF THE THESISVolta VoltabyErick MsumanjeMasters of Fine Arts in Visual ArtsUniversity of California, San Diego, 2017Professor Brian Cross, ChairThis thesis paper examines the fear and anxieties of being black in White America. This is done through the lens of film theory, black studies, and sound design. It’s further grounded in the analysis of filmmaker Erick Msumanje’s film Volta Volta that explores the issue in a hybrid manner.Volta VoltaIn his book An Accented Cinema: Exilic and Diasporic Filmmaking, scholar Hamid Naficy coins the term “accented filmmaking” as a wayof discussing film work situated in the post-colonial era. The word “accented” refers to exilic and diasporic filmmakers who engage in alternative production and style. According to Naficy, they “exist in a state of tension and dissension with both their original and current homes.”As a Tanzanian-born filmmaker, I find his statement to be true living inthe United States. My African status does not protect me from getting harassed by law enforcement agencies. After they rule out that I am not a threatening black man, they double check to see that I am not a potential terrorist. On a surface level, this is because of my complicated last name, and perhaps because they have images of Nigerian Boko Haram terrorists circulating in their mindscape as cultivated by today’s mainstream media.On the receiving end, this induces high levels of fear and anxiety over the possibility of getting shot and killed. The constant murders of black men in the hands of the law and racist fanatics has turned into a form of modern day lynching. The main difference is that there are no longer large crowds of blood-thirsty American whites encircling black bodies dangling from trees and devoid of life. In scholar David Marriott’s book On Black Men, he explores the twisted phenomenon of whites deriving a sense of pleasure and satisfaction from the destruction of the black male body. He closely analyzes photographs in which white people are captured in front of infamous lynchings of black men. In front of the camera, they want to be seen as “judges and executioners in the lives, and deaths of black men. A moment […] in the heat of [...] passion.” (6)Marriott’s analysis raises a couple questions, “what are they thinking about as they gaze out at the camera, pointing at black bodies dangling in the trees?[...]What do they want us to see?” (6) He answers this by quoting author Richard Wright who once said, “the law is white.”(6) This being the case, navigating White America is extremely traumatic.I am hyper aware that there are forces that want me to cease to exist. I experience scholar W.E.B. Du Bois’s “double consciousness.” Simply put, Du Bois describes it as someone who has their identity divided by society therefore making it difficult to develop a sense of self. Psychiatrist Frantz Fanon describes this in the form of looking into a mirror. “Black men need to look, and be reflected, otherwise, (they will become) the distorted and fantasmic image of white desire.” (12) If the mirror isn’t replaced with a new image, then it turns into what scholar James Baldwin describes as a “mirror of confusion in which only the shade, or shadow, of the black man can appear.” (12)Since it’s difficult to establish a sense of self, I experience the sensation that my identity is distorted and scattered. White America has cast me in a negative light, one which frames me as dangerous. I aman alien force that needs to be controlled, monitored, and managed. They find pleasure in my destruction and pray for my ultimate extinction. Often times, I feel like White America is a huge national park where black people are hunted for sport. My main objective while living inthis environment is to survive to the best of my ability by engaging ina never-ending performance. Whenever I get pulled over by a police officer, I recite exactly what I am going to say over and over again. Iattempt to engage in body movement and speech that doesn’t come off as threatening. I know that the slightest mistake could result in my death. I think of my family and whether or not this is the last time they will see me. It’s awful, but this is the reality that I live in.As a filmmaker, I struggle with two basic things. The first is not feeling at home in the United States. Living in constant fear, triggers immense nostalgia and urgent need to return to my original homeland.I feel out of place and not wanted here. Much like Naficy describes ofthe accented filmmaker, I miss home because I know it’s a place whereI do not get the feeling that I do not belong there. It’s a place where I am embraced and feel grounded. I do not experience the paranoia of getting killed nor is there a need to perform. This leads to my second struggle: here, in the United States my identity is shattered and essentially non-existent. This is because if a person has an identity, it means they are actually human beings. I believe that White America doesn’t want black people to have a true sense of identity out of fear of a second uprising.The reason for such an uprising is beautifully explored in Euzhan Palcy’s 1983 film Sugar Cane Alley set on a Martinique plantation. It tells the story of black workers working in sugarcane fields under a white force.A character named Moudouze discusses slavery and the brutality black people face. He further emphasizes the need for them to fight for a second freedom because under the current system they are not actually free. He also dabbles in questions of belonging because he knows Martinique isn’t his original homeland. He accepts that he can’t return to Africa, but holds onto the idea that after his death his spirit will.Since my original home is far away, Haiti has become my secondFigure 1: Kids in Fridge from Volta Voltahome. In Haiti, I honestly feel at ease and much safer. I do not feel like my life is in constant danger. Whenever I am there, I do not have to perform and have a stronger sense of self. I feel comfortable in my own black skin.I can confidently walk in the streets without worrying about encountering a racist fanatic or trigger-happy police officer. I feel like a human being who is loved and fully alive. Naficy argues, that home is a “segment of space that people imbue with special meaning and value. […] It refers not only to a physical entity […] but also to our relations to it and our social relations within it.” (152)Haiti is the place where I continue to develop as an accented filmmaker. My approach to filmmaking, is grounded in docufiction. Mythesis film Volta Volta (2017) engages in this approach. In the makingof this film, I recruited non-professional actors who played themselves along with embodying fictitious characters. I work with non-professional actors because they have an ability to connect with inner emotions and personal experiences in a way professional actors can’t. This technique, is influenced by Portuguese filmmaker Pedro Costa. For example, his film In Vanda’s Room which is about heroin addicts from Cape Verde livingin Lisbon, captures the technique in a masterful manner. It’s executed in such a way the viewer virtually has no real sense if the film is fiction or nonfiction. This is because the non-professional actors are so good at playing themselves while navigating fictitious scenarios (?). I believe this illusion is effectively accomplished by Costa because he spends long periods of time with his actors. They are not under tight industry deadlines and therefore can purely focus on creating a film together. In doing so, Costa is able to immerse himself in the community and really work with his actors. This gives him the ability to ultimately tell the kind of narrative he wants to tell.In my own practice, I work similarly with my non-professional actors. This allows me to effectively visualize the kind of narrative I want to tell. Furthermore, in spending time with my actors, I am able to insert moments from their personal experiences and daily lives into the story. Also, by immersing myself into their communities I am able to sketchout scenes for a piece. When comparing my work to Costa, the main difference is that he uses dialogue in his work. This is an important tool that I haven’t utilized in my work yet. This is because I haven’t been able to spend a substantial amount of time with my actors to come up withFigure 2: Bull Fighting from Volta VoltaFigure 3: Bull Fighting from Volta Voltadialogue that would be fitting for a narrative. However, this will certainly change in the future with the right amount of time and resources. It’s a useful tool because it provides the viewer more information into characters lives and the spaces they occupy. I believe this will allow my characters not to give off a haunting presence and will give them more agency. This is because they are silent and therefore look ghostly. Furthermore, perhaps dialogue will free them from the sense of timelessness and therefore bring their existence to the forefront.I find this question of timelessness to be apparent in a technical manner in my work as well. For some reason, often viewers find it difficult to gage exactly how long my films are. Volta Volta, is only thirty minutes. However, viewers tend to think that it’s actually much longer. Clearly, this isn’t an issue for me because it taps into my ability as a filmmaker in terms of manipulating time. This is done through long takes and calculated cuts. This gives the viewer the opportunity to be immersed in each individual scene. Another component within this manipulation, is not following the traditional three act structure. It’s very formulaic and gives the viewer a blueprint in digesting time. In such a structure, they know what to expect and when. However, by not working in that way the viewer remains suspended in terms of what’s going to happen next and cannot pinpoint the duration of any given piece.This simply allows them to be observers and listeners. Since my work engages in a lot of long takes, it’s accompanied by a multi-layered sound design and soundtrack. Each sound, is meant to add information for the viewer to experience what’s unfolding in each scene. This gives them another point to focus on besides the visual image. It’s also manipulatedFigure 4: Lion from Volta VoltaFigure 5: Lion from Volta Voltain order to subtly keep their focus. For example, the scene with the young kids floating in the ocean on a refrigerator is constructed to dojust that. To illustrate, in the foreground waves gently crash on a wall, while a traditional Haitian band is playing in a bar. In the middle ground, the young kids in the refrigerator are paddling and shouting. However, you can’t actually hear them even though they seem to be really close to the band playing music. This is purposely done to give a slight jolt that something isn’t quite right. In the scene with Red Eyes, you cannot hear his hands moving on the rope nor the object he is pulling towards him. However, you can hear sounds of whispers and breathing surrounding him. They give off a haunting feeling that’s intertwined with an ancestral presence. The soundtrack, is very experimental and ambient. It shape-shifts between each scene to offer emotional information on the condition of a character and the environment they are in. In certain moments, it’s cold and depressing then suddenly the music picks up like someone rising from the dead. This is because it samples and remixes high-tempo Haitian voodoo music and weaves them into hip- hop trap beats. This processis fascinating because it takes fragments of sounds and styles to create something entirely new.This is a similar process to the way British filmmaker Joseph Akomfrah expands the docufiction style who also influences my own filmmaking practice. In particular, his process involves blending together two dimensions of realities that are dissonant. This is evident in his 2010 film The Nine Muses, which explores the ushering of immigrant workers in post-WW2 Britain from mainly Caribbean and Indian territories. In the film, he blends real archival footage showcasing the immigration process withFigure 6: Red Eyes (Pulling Rope) from Volta VoltaFigure 7: Red Eyes (Pulling Rope) from Volta Voltahis artistically driven shots from cold Alaskan landscapes. This blending is effective because it allows two realities to coexist to the point where the viewer is comfortable that they are from two different time periods. This is because the longer you watch them blended together, the more difficult it becomes telling them apart.My film takes this approach of blending two dimensions togetherin a much more creative manner. To illustrate, the film consists of two worlds placed alongside one another. The first, is in our own reality filmed in various parts of Haiti with non-professional actors who act out minimal gestures. The second dimension, is a black fictitious space where non-professional actors embody characters also engaging in various gestures. These dimensions are interconnected by seen and unseen actions that replicate one another. For example, the character Lion replicates theold man’s slow movements in Haiti. Another example, is of fighting bulls in Haiti that have the same exact horns as the character Red Eyes. Blending dimensions together is a powerful tool because it expands the way in which a narrative is constructed. Furthermore, it allows for different realities to coexist in unexpected ways. It has propelled my artistic voice in a new direction and given me the ability to engage in magical realism which is the intertwining of fictional characters into our own realities. This is something not very prevalent in docufiction and therefore I will continue engaging in it. This will further expand my practice because I can use it to complicate narratives about the Black experience.My work is different from Akomfrah because his films seemvery calculated and scripted. In my own work, I primarily engage in an improvisational manner. This allows my work to take any creative directionFigure 8: Warrior from Volta Voltadepending on what influences me when I am actively filming.In conclusion, I have positioned myself as an accented filmmaker because it gives me the ability to tell stories in a unique manner. In particular, it allows me to channel the realities of being displaced and being a person of color in a country where I oftentimes feel I do not belong in. It also puts me in a position where I can critically analyzethe structures of oppression in a creative manner. Furthermore, it gives me the opportunity to work with non-professional actors in places like Haiti. In doing so, I am able to collaborate with people to tell stories and experiences not often seen on screen. This is a powerful outlet for myselfbecause it gives my artistic voice a sense of purpose and meaning. I find this to be important because it’s something that I’ve struggled to find as a filmmaker. Moreover, working in docufiction allows me to explore elements like magical realism and creative dimensions outside of our own reality. This is effective because it’s really expanded the way in which I tell stories. This is evident in Volta Volta (2017), in subtle and dynamic ways thatcan be found in the sound and fictional characters. Lastly, my hope is to continue telling stories that cross pollinate styles, continue reflecting on my personal experiences, and bringing diasporic realities to the limelight.Bibliography1.David Marriott, On Black Men, (New York, Columbia Uni-versity Press, 2000)2.David Marriott, On Black Men, (New York, Columbia Uni-versity Press, 2000)3.David Marriott, On Black Men, (New York, Columbia Uni-versity Press, 2000)4.David Marriott, On Black Men, (New York, Columbia Uni-versity Press, 2000)5. David Marriott, On Black Men, (New York, Columbia Uni-versity Press, 2000)6.Hamid Naficy, An Accented Cinema: Exilic and Diasporic Filmmaking, (New Jersey, Princeton University Press, 2001)14。
诺奖作家英文作品赏析_哈尔滨工业大学中国大学mooc课后章节答案期末考试题库2023年
诺奖作家英文作品赏析_哈尔滨工业大学中国大学mooc课后章节答案期末考试题库2023年1.K’s life is insignificant but Coetzee’s writing has given such kind of life a voiceand a place in history.答案:正确2.Toni Morrison’s depiction of the black in the United States is prejudiced.答案:错误3.The Miguel Street is a slum that is unworthy of a place in literary works.答案:错误4.Mrs. Breedlove in Bluest Eyes is depicted as a model servant of the Whites.答案:正确5.The narrator in “Wenlock Edge” has been through a moral crisis.答案:正确6.Do ree’s suffering, although extreme, reveals the complexity of human nature.答案:正确7.Water can be seen as a symbol of rejuvenation and purification.答案:正确8.Women’s garment such as corset shows the constraint the society enforceson women.答案:正确9.Symbolic interpretations are for the most part contrived and nonexistent.答案:错误10.In Life and Times of Michael K, pumpkin seeds represent hope and life.答案:正确11. A symbol means using concrete objects to represent abstract ideas.答案:正确12.In Norwegian Forest, the well actually represents connection.答案:错误13.Hair represents longevity in “The Chrysanthemum” by John Steinbeck.答案:错误14.John Steinbeck mainly wrote about lower and lower middle class.答案:正确15.Fence does not alienate Elisa and her Husband in “Chrysanthemum”.答案:错误16.The chrysanthemum is the expression of Elisa’s artistic and aesthetic sense.答案:正确17.The story that N. S. Naipaul’s father told him has enriched his spiritual life.答案:正确18.Big Foot in “Coward” by Naipaul is a kind person who is subjected to theridicule of people on the Miguel Street.答案:正确19.The past is deep by the B. Wordsworth in Naipaul’s story is translated quitebeautifully into Chinese.答案:正确20.The heroes in Hemingway’s stories are usually the ones with personalweaknesses, the so called anti-hero.答案:错误21.The summit of Kilimanjaro is the second highest one in Africa.答案:错误22.The vulture is the symbol of death both in real life and in H emingway’s story.答案:正确23.The flight to the summit of Kilimanjaro represents the transcendence of theprotagonist.答案:正确24.There are dilemmas of ethics that the hero has to face in Hemingway’s story.答案:正确25.Harry in “Snows of Kilimanjaro” helps the half-wit boy to escape thepunishment of law.答案:错误26.The protagonist in “Snows of Kilimanjaro” has been caught in the dilemma ofkilling his fellow soldiers.答案:错误27.Alice Munro’s story captures some of her own experiences as a house wife.答案:正确28.In “Wenlock Edge”, comparing with Nina, the narrator is better financially.答案:错误29.The “Wenlock Edge” is the title of the poem which reveals the theme ofMunro’s story.答案:正确30.In “Wenlock Edge”, Nina marries cousin Ernie because of love.答案:错误31.In “Dimensions” by Alice Munro, Financial dependence is the key to domesticviolence.答案:正确32.In “Dimensions”, Doree is emotionally dominated by Lloyd because she isseeking a father figure in a relationship.答案:正确33.In “Dimensions”, Lloyd killed his three children because he is angry thatDoree cheated on him.答案:错误34.In Bluest Eyes, Blues as a black tradition has comforting power among theblacks.答案:正确35.In Bluest Eyes, Pecola poisons the dog because she believes that in return shewill get a pair of blue eyes.答案:正确36.In Bluest Eyes, Claudia cherishes the white doll as a Christmas gift.答案:错误37.In Bluest Eyes, Cholly’s quest for his father can be com pared to the one thatTelemachus embarks on.答案:正确38.Coetzee has won the Booker Prize once.答案:错误39. In Life and Times of Michael K, K’s birth defect is related to one of the themesof the novel.答案:正确40.At the beginning of Life and Times of Michael K,,K is still hopeful of his life andrealizing his mother’s dream.答案:正确。
黑色幽默 black humor
Thomas Pynchon 托马斯・品钦
Representative writer Joseph Heller
An American satirical novelist, short story writer and playwright. (May 1, 1923 – December 12, 1999)
What is Black Humor?
Function • to express the absurdity, insensitivity, paradox, and cruelty of the modern world. • to provoke serious thought as well as amusement in their audience.
3、anti-novel
devoid of completeness of plot characterized by fragmentation and dislocation.
Representative Writers
Joseph Heller
Kurt Vonnegut
约瑟夫・海勒
库尔特・冯内古特
Coined in France
•
Black humor is a term coined by Surrealist theoretician AndréBreton in 1935, to designate a sub-genre of comedy and satire in which laughter arises from cynicism and skepticism, often about the topic of death. • Ordinary characters or situations are usually exaggerated far beyond the limits of normal satire or irony.
高三英语艺术批评方法科学严谨单选题30题
高三英语艺术批评方法科学严谨单选题30题1. In art criticism, “impressionism” is a term often used to describe paintings that focus on light and color. Which of the following is NOT an example of impressionism?A. Monet's “Water Lilies”B. Van Gogh's “Starry Night”C. Da Vinci's “Mona Lisa”D. Renoir's “Dance at Bougival”答案：C。
“impressionism”即印象派，莫奈的《 睡莲》、梵高的《 星夜》、雷诺阿的《 煎饼磨坊的舞会》都是印象派作品，而达芬奇的《 蒙娜丽莎》是文艺复兴时期的作品，不属于印象派。
2. When we talk about art criticism, “realism” emphasizes the accurate representation of the real world. Which painting is a typical example of realism?A. Picasso's “Guernica”B. Millet's “The Gleaners”C. Kandinsky's “Composition VII”D. Matisse's “The Dance”答案：B。
“realism”是现实主义，米勒的《 拾穗者》是现实主义的典型代表。
毕加索的《格尔尼卡》是立体主义，康定斯基的《构图七号》是抽象主义，马蒂斯的 舞蹈》是野兽派。
3. In art criticism, “abstract art” is known for its non-representationalforms. Which of the following is an abstract art work?A. Rembrandt's “The Night Watch”B. Pollock's “Number 1”C. Vermeer's “Girl with a Pearl Earring”D. Caravaggio's “The Calling of Saint Matthew”答案：B。
克劳德·麦凯《回到哈莱姆》中的跨国书写
克劳德•麦凯《回到哈莱姆》中的跨国书写舒进艳内容摘要：克劳德•麦凯的《回到哈莱姆》描摹了20世纪早期的黑人跨国体验。
学界主要阐释了作者个人的跨国经历与黑人国际主义思想对小说塑造主要人物的影响，而忽视了小说中副线主人公雷的国籍及其旅居哈莱姆的意义。
雷的跨国移民经历既再现了麦凯的复杂跨国情感与认同经历，又观照了哈莱姆作为流散非裔移居的理想家园与城市黑人社区所承载的空间意涵。
论文提出哈莱姆具有三个维度，作为移民唤起历史记忆的地理空间、建构跨国身份的政治空间及容纳差异的多元文化空间，并考察移民在跨国流动中历经的现代性体验，以此揭示他们通过改变既定身份与重新定义自我而竭力摆脱传统的民族、种族和阶级观念的束缚与身份认同的困惑，从而参与到美国城市的种族空间生产中。
关键词：克劳德•麦凯；《回到哈莱姆》；跨国书写基金项目：本文系国家社会科学重大项目“美国文学地理的文史考证与学科建构”（项目编号：16ZDA197）；天津市研究生科研创新项目“美国新现实主义小说的跨国空间研究”（项目编号：19YJSB039）的阶段性研究成果。
作者简介：舒进艳，南开大学外国语学院博士研究生、喀什大学外国语学院副教授，主要从事美国文学研究。
Title: Claude Mckay’s Transnational Writing in Home to HarlemAbstract: Claude McKay’s Home to Harlem depicts the black transnational experience of the early 20th century. Academics mainly studied the influence of McKay’s personal transnational experience and black internationalist thinking on his main character, but neglected the minor plot’s protagonist Ray and his nationality, and the significance of his sojourn in Harlem. Ray’s transnational migration experience not only embodies McKay’s complex transnational feeling and identity experience, but also reflects Harlem’s spatial significance as an ideal home for African diaspora and urban black community. The paper aims to examine Caribbean immigrants’ experience of modernity in Harlem which is interpreted as the geographic space for immigrants to evoke historical memories, the political space for constructing transnational identities and the multicultural space for accommodating differences. It is to prove that they manage to extricate themselves from the shackles of traditional concepts of nation, race and class and their confusion of identity by changing their established identity and redefining themselves, and thus participate in the production of racial space in American cities.60Foreign Language and Literature Research 2 (2021)外国语文研究2021年第2期Key words: Claude Mckay; Home to Harlem; transnational writingAuthor: Shu Jinyan is Ph. D. candidate at College of Foreign Languages, Nankai University (Tianjin, 300071, China), associate professor at School of Foreign Studies, Kashi University (Kashi 844000, China). Her major academic research interest includes American literature. E-mail: ******************1925年，阿伦•洛克在《新黑人》选集中将哈莱姆描述为一个国际化的文化之都，视其重要性堪比欧洲新兴民族国家的首都。
英美文学术语
Black humor (黑色幽默)Black humor is also known as black comedy. It is a kind of writing that places grotesque elements side by side with humorous ones in an attempt to shock the reader, forcing him or her to laugh at the horrifying reality of a disordered world. Irony (反讽)The use of words to convey a meaning that is the opposite of its literal meaning Metaphor (暗喻)A metaphor is a figure of speech that describes a subject by asserting that it is, on some point of comparison, the same as another otherwise unrelated object. Renaissance (文艺复兴)The Renaissance was a cultural movement that profoundly affected European intellectual life in the early modern period. Beginning in Italy, and spreading to the rest of Europe by the 16th century, its influence was felt in literature, philosophy, art, music, politics, science, religion, and other aspects of intellectual inquiry. Renaissance scholars employed the humanist method in study, and searched for realism and human emotion in art.Enlightenment Movement (启蒙运动)Enlightenment movement was a progressive philosophical and artistic movement which flourished in France and swept through Western Europe in the 18th century. Its purpose was to reform society using reason, challenge ideas grounded in tradition and faith, and advance knowledge through the scientific method. It celebrated reason or rationality, equality and science. It advocated universal education.Romanticism (浪漫主义)In the mid-18th century, a new literary movement called romanticism came to Europe and then to England. It was characterized by a strong protest against the bondage(奴役) of neoclassicism, which emphasized reason, order and elegant wit. Instead, romanticism gave primary concern to passion, emotion, and natural beauty. The English romantic period is an age of poetry, which prevailed in England from 1798 to 1837.Critical Realism (批判现实主义)Critical Realism is a term applied to the realistic fiction in the late 19th and early 20th centuries. It means the tendency of writers and intellectuals in the period between 1875 and 1920 to apply the methods of realistic fiction to the criticism of society and the examination of social issues. Realist writers were all concerned about the fate of the common people and described what was faithful to reality. Charles Dickens is the most important critical realist.Naturalism (自然主义)Naturalism was a literary trend developed out of Realism and prevailed in European literature in the second half of the 19th century. As a more deliberate kind of realism, Naturalism usually involves a view of human beings as passive victims of natural forces and social environment. As a literary movement, Naturalism was initiated in France and it came to be led by Emile Zola. Naturalist fiction aspired to a sociological objectivity, offering detailed and fully researched investigations into unexplored concerns of modern society.。
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文化教育・Ｃｕｌｔｕｒａｌ Ｅｄｕｃａｔｉｏｎ202 大陆桥视野·２０１６年第１８期三、大学生公益素养的培养途径（一）加大对公益知识的宣传，让大学生对公益知识有一个具体的认识要让大学生参与到公益活动中并对公益培养一定的公益能力和品格，这必须以学生对公益知识的认知为前提。
如果他们根本就不了解公益，那又何来的参与公益呢？所以，培养大学生的公益认知是基础。
这就要求社会和高校注重对公益知识的宣传，丰富公益知识的宣传渠道，让学生可以通过各种书籍、杂志、网络等对公益形成一个完整的认识。
（二）培养大学生的公益情感，帮助他们坚定公益意志列宁说过这样一句话“没有人的情感，就从来没有也不可能有对真理的追求”。
这说明公益情感在公益认识向公益行为的转化的过程中起着重要的作用。
公益情感反过来也可以促进人们公益认知的发展，从而帮助大学生产生自觉的公益行为。
因此，应该帮助大学生培养“热衷于公益”“爱公益”这样积极的情感，让他们在公益活动中积极参与，把公益行为当做是帮助他人、服务社会的有意义的活动，从而积极投身到公益活动中。
从培养坚定的公益意志来说，应该帮助大学生培养坚定的公益意志，让他们明白做事贵在坚持、贵在持之以恒，保持自己的热情，遇事不退缩。
这些都是可贵的公益意志。
增强这些意志品质有益于养成坚定的公益意志。
（三）培养大学生公益能力从大学生公益素养的现状中可以看出，大学生公益能力的缺失主要表现在团队合作能力弱、协调能力不足、办事效率低等方面。
学校或学生自己在培养公益能力的时候就可以从这些欠缺的方面着手。
所以应该培养学生参与的积极性和组织能力，积极动员大学生参加公益活动。
此外，大学生还可以通过向正式的公益机构学习，不断提高大学是公益活动方面的综合能力。
（四）学校在大学素质教育中，应该增加与公益素质有关的内容教育的本质是提高、发展人的素质的一种社会活动，所以通过学校素质教育来培养学生的公益素质是切实可行的。
所以，应该通过对学生公益素养的培养，让大学生意识到自己的社会责任，肩负起以后回馈社会的责任感。
今天的大学生在未来会走向社会的各行各业。
因此，在校期间就应该在他们的心中埋下一颗公益的种子，是未来这颗种子以后能在他们的心中生根发芽。
学校增加公益素质的教学内容，能够引导大学生提高公益认识、增强公益情感、坚定公益意志，更好地践行公益行为，从而服务社会。
这不但使学校教育的人才培养模式更加完善，也可以提高学生的公益素质。
四、结语大学生作为未来公益事业的主力军，对未来的公益事业发展起着重要的推动作用。
所以，大学生公益素养的培养是现阶段迫切需要解决的问题，良好的公益素养能帮助他们在公益事业中更好地发挥自己作用。
从另一方面来说，大学生的公益素质问题也是一个现实问题，因为这不仅关系到学生综合素养的培养，也可以带动我国整体国民素质的提高，促进构建和谐校园和社会主义和谐社会。
参考文献［１］ 钟一彪．《大学生社会公益实践探讨》《当代青年研究》２０１３年第１期．［２］钟一彪．《大学生社会公益实践导论》中山大学出版社２０１２年版．［３］张敏．《中国慈善事业调查：我国人均捐款额仅为０．９２元》．《工人日报》，２００６．［４］陶志琼．《关于感恩教育的几个问题探讨》《教育科学》２００４．Ａｎ Ａｎａｌｙｓｉｓ ｏｆ Ｂｌａｃｋ Ｈｕｍｏｒ ｉｎ ｔｈｅ Ｍｏｖｉｅ Ｔｈｅ Ｓｉｍｐｓｏｎｓ赵筱婧 ／ 上海应用技术大学［Ａｂｓｔｒａｃｔ］Ｂｌａｃｋ ｈｕｍｏｒ ｉｓ ｗｉｄｅｌｙ ａｐｐｌｉｅｄ ｉｎ ｌｉｔｅｒａｔｕｒｅ， ｄｒａｍａ， ａｎｄ ｆｉｌｍ． Ｔｈｉｓ ｐａｐｅｒ， ｔｈｒｏｕｇｈ ａｎａｌｙｚｉｎｇ ｔｈｅ ｔｈｅｍｅ， ｐｌｏｔ， ａｎｄ ｓｔｅｒｅｏｔｙｐｅｓ ｏｆ Ｔｈｅ Ｓｉｍｐｓｏｎｓ， ａｉｍｓ ｔｏ ｍａｋｅ ａ ｒｅｓｅａｒｃｈ ｏｆ ｂｌａｃｋ ｈｕｍｏｒ ａｎｄ ｉｔｓ ａｐｐｌｉｃａｔｉｏｎ ｉｎ ｔｈｉｓ ｍｏｖｉｅ ｉｎ ｏｒｄｅｒ ｔｏ ｆａｃｉｌｉｔａｔｅ ｔｈｅ ｕｎｄｅｒｓｔａｎｄｉｎｇ ｏｆ ｔｈｅ ｍｏｖｉｅ ａｎｄ ｐｒｅｓｅｎｔ ｉｔｓ ｓｉｇｎｉｆｉｃａｎｃｅ ｏｎ ｍｏｄｅｒｎ ｓｏｃｉｅｔｙ． ［Ｋｅｙ Ｗｏｒｄｓ］ｂｌａｃｋ ｈｕｍｏｒ； Ｔｈｅ Ｓｉｍｐｓｏｎｓ； ｓｔｅｒｅｏｔｙｐｅ１．Ｉｎｔｒｏｄｕｃｔｉｏｎ Ｂｌａｃｋ ｈｕｍｏｒ ｒｅｆｅｒｓ ｔｏ ｇｒｏｔｅｓｑｕｅ ｏｒ ｍｏｒｂｉｄ ｈｕｍｏｒ ｕｓｅｄ ｔｏ ｅｘｐｒｅｓｓ ｔｈｅ ａｂｓｕｒｄｉｔｙ， ｉｎｓｅｎｓｉｔｉｖｉｔｙ， ｐａｒａｄｏｘ， ａｎｄ ｃｒｕｅｌｔｙ ｏｆ ｔｈｅ ｍｏｄｅｒｎ ｗｏｒｌｄ ａｎｄ ｉｓ ｗｉｄｅｌｙ ｕｓｅｄ ｉｎ ｌｉｔｅｒａｔｕｒｅ， ｄｒａｍａ ａｎｄ ｆｉｌｍ． Ｔｈｅ Ｓｉｍｐｓｏｎｓ ｉｓ ａ ｖｅｒｙ ｐｏｐｕｌａｒ ａｎｉｍａｔｉｏｎ ｓｅｒｉｅｓ ｔｈａｔ ｈａｓ ａ ｌｏｎｇ－ｌａｓｔｉｎｇ ｉｎｆｌｕｅｎｃｅ ｏｎ Ａｍｅｒｉｃａｎ ｐｅｏｐｌｅ， ｗｈｉｃｈ ｄｅｐｉｃｔｓ ｔｈｅ ｕｎｐｌｅａｓａｎｔ ａｎｄ ｅｖｅｎ ｕｇｌｙ ｓｏｃｉａｌ ｐｒｏｂｌｅｍｓ ｌａｒｇｅｌｙ ｔｈｒｏｕｇｈ ｓａｒｃａｓｍ ａｎｄ ｉｒｏｎｙ． ２．Ａｎａｌｙｓｉｓ ｏｆ Ｂｌａｃｋ Ｈｕｍｏｒ ｉｎ Ｔｈｅ Ｓｉｍｐｓｏｎｓ ２．１Ｔｈｅ Ｔｈｅｍｅ－－－－ Ｒｅｄｅｍｐｔｉｏｎ ｏｆ Ａｎｔｉ－ｈｅｒｏＨｏｍｅｒ Ｓｉｍｐｓｏｎ ｉｓ ｄｅｐｉｃｔｅｄ ａｓ ａ ｌａｚｙ， ｒｅｃｋｌｅｓｓ ａｎｄ ｉｒｒｅｓｐｏｎｓｉｂｌｅ ｍａｎ， ａｎｙｔｈｉｎｇ ｂｕｔ ａ ｔｒａｄｉｔｉｏｎａｌ ｈｅｒｏ． Ｔｈｅ ｔｒａｇｅｄｙ ｏｆ Ｓｐｒｉｎｇｆｉｅｌｄ ｓｔａｒｔｓ ｗｈｅｎ ｈｅ ｂｒｉｎｇｓ ｔｈｅ ｐｉｇ ｈｏｍｅ ｂｕｔ ｄｏｅｓ ｎｏｔ ｄｉｓｐｏｓｅ ｏｆ ｔｈｅ ｅｘｃｒｅｍｅｎｔ ｏｆ ｔｈｅ ｐｉｇ ｐｒｏｐｅｒｌｙ． Ｉｎｓｔｅａｄ ｈｅ ｄｕｍｐｓ ｔｈｅ ｓｉｌｏ ｒｉｇｈｔ ｉｎ ｔｈｅ ｌａｋｅ， ｗｈｉｃｈ ｉｓ ｉｎｓｔａｎｔｌｙ ｐｏｌｌｕｔｅｄ． Ｈｏｍｅｒ ｉｎｔｅｎｄｓ ｔｏ ｓｔａｒｔ ａ ｎｅｗ ｌｉｆｅ ｉｎ Ａｌａｓｋａ， ｈｏｗｅｖｅｒ ｈｉｓ ｆａｍｉｌｙ ｌｅａｖｅｓ ｈｉｍ ｉｎ ｄｅｅｐ ｇｕｉｌｔ． Ｈｏｍｅｒ， ａｂａｎｄｏｎｅｄ ｂｙ ａｌｌ， ｉｓ ｆｏｒｃｅｄ ｔｏ ｇｏ ｂａｃｋ ｔｏ Ｓｐｒｉｎｇｆｉｅｌｄ． Ｔｈｅ ｆａｃｔ ｔｈａｔ ｔｈｅ ｍａｎ ｗｈｏ ｒｕｉｎｅｄ Ｓｐｒｉｎｇｆｉｅｌｄ ｃｏｍｅｓ ｂａｃｋ ｔｏ ｉｔｓ ｒｅｓｃｕｅ ｉｓ ｉｎ ｎａｔｕｒｅ ｉｒｏｎｉｃ， ｂｅｃａｕｓｅ ｔｈｅ ｒｅｄｅｍｐｔｉｏｎ ｉｓ ｎｏｔ ｍａｄｅ ｖｏｌｕｎｔａｒｉｌｙ， ｂｕｔ ｉｎｓｔｅａｄ ｆｏｒｃｅｄ ｏｕｔ ｏｆ ｎｏ ｏｐｔｉｏｎ． ２．２ Ｔｈｅ Ｐｌｏｔ －－－－ Ｂｉｔｔｅｒ Ｓａｒｃａｓｍ ｏｎ Ｂｒｕｔａｌ ＲｅａｌｉｔｙＴｈｅ ｓｔｏｒｙ ｏｆ Ｔｈｅ Ｓｉｍｐｓｏｎｓ ｒｅｖｏｌｖｅｓ ａｒｏｕｎｄ ｐｏｌｌｕｔｉｏｎ ｏｆ ｔｈｅ ｌａｋｅ． Ｉｎ ｔｈｅ ｂｅｇｉｎｎｉｎｇ， ｔｈｅ ｍｕｓｉｃ ｂａｎｄ Ｇｒｅｅｎ Ｄａｙ ｉｓ ｗａｒｍｌｙ ｗｅｌｃｏｍｅｄ ｂｙ ｔｈｅ ａｕｄｉｅｎｃｅ ｆｏｒ ｔｈｅｉｒ ｐｅｒｆｏｒｍａｎｃｅ， ｂｕｔ ｗｈｅｎ ｔｈｅｙ ｗａｎｔ ｔｏ ｄｒａｗ ａｔｔｅｎｔｉｏｎ ｔｏ ｔｈｅ ｅｎｖｉｒｏｎｍｅｎｔ， ｔｈｅ ａｕｄｉｅｎｃｅ ｓｗｅｒｖｅｓ ｉｎｔｏ ｈａｔｅ ｗｈｉｃｈ ｉｓ ａ ｃｌｅａｒ ｒｅｆｌｅｃｔｉｏｎ ｏｎ ｔｈｅ ｓｏｃｉａｌ ｒｅａｌｉｔｙ： ｐｅｏｐｌｅ ｅｎｔｅｒｔａｉｎ ｔｈｅｍｓｅｌｖｅｓ ａｔ ｔｈｅ ｐｒｉｃｅ ｏｆ ｔｈｅ ｅｎｖｉｒｏｎｍｅｎｔ． ２．３ Ｓｔｅｒｅｏｔｙｐｅｓ －－－－Ｄｉｓｃｒｉｍｉｎａｔｉｏｎ ａｎｄ Ｓｏｃｉａｌ ＩｎｊｕｓｔｉｃｅＳｔｅｒｅｏｔｙｐｅｓ ａｒｅ ｔｈｅ ｐｅｒｃｅｐｔｉｏｎｓ ｏｒ ｂｅｌｉｅｆｓ ｗｅ ｈｏｌｄ ａｂｏｕｔ ｇｒｏｕｐｓ ｏｒ ｉｎｄｉｖｉｄｕａｌｓ ｂａｓｅｄ ｏｎ ｐｒｅｖｉｏｕｓｌｙ ｆｏｒｍｅｄ ｏｐｉｎｉｏｎｓ ａｎｄ ａｔｔｉｔｕｄｅｓ （Ｓａｍｏｖａｒ ａｎｄ Ｐｏｒｔｅｒ， Ｃｏｍｍｕｎｉｃａｔｉｏｎ Ｂｅｔｗｅｅｎ Ｃｕｌｔｕｒｅｓ １９９１， ｐ．２８０）． Ｔｈｅ Ｓｉｍｐｓｏｎｓ ｈａｓ ａｌｓｏ ｓｕｃｃｅｓｓｆｕｌｌｙ ｐｒｅｓｅｎｔｅｄ ｓｏｍｅ ｃｏｍｍｏｎ ｓｔｅｒｅｏｔｙｐｅｓ． Ｏｎｅ ｅｘａｍｐｌｅ ｉｓ ｗｈｅｎ Ｌｉｓａ ｅｘｐｌａｉｎｓ ｔｈｅ ｓｅｖｅｒｉｔｙ ｏｆ ｐｏｌｌｕｔｉｏｎ ｏｆ Ｓｐｒｉｎｇｆｉｅｌｄ ａｔ ｔｈｅ ｃｉｔｙ ｈａｌｌ ａｎｄ ｔｈｅ ｍａｙｏｒ ｄｅｃｌａｒｅｓ ｔｈｅ ｓｉｔｕａｔｉｏｎ “ｃｏｄｅ ｂｌａｃｋ”， ａ ｃｉｔｉｚｅｎ ｓａｙｓ： “Ｂｌａｃｋ！ Ｉｔ’ｓ ｔｈｅ ｗｏｒｓｔ ｃｏｌｏｒ！” ａｎｄ ａ ｂｌａｃｋ ｍａｎ ｎｅｘｔ ｔｏ ｈｉｍ ｒｅｐｌｉｅｓ “Ｉ ｇｅｔ ｔｈａｔ ａ ｌｏｔ”． Ｒａｃｉａｌ ｄｉｓｃｒｉｍｉｎａｔｉｏｎ ａｇａｉｎｓｔ ｂｌａｃｋ ｐｅｏｐｌｅ ｉｎ Ａｍｅｒｉｃａ ｉｓ ｄｅｅｐ ｒｏｏｔｅｄ． ３．Ｃｏｎｃｌｕｓｉｏｎ Ｔｈｉｓ ｐａｐｅｒ ｉｎｔｅｎｄｓ ｔｏ ａｎａｌｙｚｅ ｔｈｅ ｂｌａｃｋ ｈｕｍｏｒ ｉｎ ｔｈｅ ｍｏｖｉｅ Ｔｈｅ Ｓｉｍｐｓｏｎｓ ｔｈｒｏｕｇｈ ｉｔｓ ｔｈｅｍｅ， ｐｌｏｔ ａｎｄ ｓｔｅｒｅｏｔｙｐｅｓ ｓｏ ｔｈｅ ａｕｄｉｅｎｃｅ ｗｏｕｌｄ ｕｎｄｅｒｓｔａｎｄ ｂｅｔｔｅｒ ｔｈｅ ｃｕｌｔｕｒａｌ ａｎｄ ｓｏｃｉａｌ ｉｍｐｌｉｃａｔｉｏｎｓ ｉｎ ｔｈｉｓ ｍｏｖｉｅ．Ｒｅｆｅｒｅｎｃｅ［１］ Ｄｉｃｋｓｔｅｉｎ， Ｍｏｒｒｉｓ． Ｅｄ． “Ｂｌａｃｋ Ｈｕｍｏｒ ａｎｄ Ｈｉｓｔｏｒｙ： Ｔｈｅ Ｅａｒｌｙ Ｓｉｘｔｉｅｓ”． Ｇａｔｅｓ ｏｆ Ｅｄｅｎ： Ａｍｅｒｉｃａｎ Ｃｕｌｔｕｒｅ ｉｎ ｔｈｅ Ｓｉｘｔｉｅｓ ［Ｍ］． Ｂｏｓｔｏｎ： Ｈａｒｖａｒｄ Ｕｎｉｖｅｒｓｉｔｙ Ｐｒｅｓｓ， １９９７．［２］ 彭俊 从乐观主义到黑色幽默—基于《辛普森一家大电影》的文化考察 ［Ｊ］． 北京：北京电影学院学报，２０１２．。