《看得见风景的房间》观后感
看得见风景的房间 影评
去佛罗伦萨看风景吧A Room with a View / 看得见风景的房间的评论1.女人总是喜欢看得见风景的房间，而对于男人来说，风景是在心里的。
蓝蓝的天，小鸟的歌唱，这一切都在心里。
爱默森先生用叉指着自己的胸口，虔诚地说道。
这是《看得见风景的房间》那对奇怪的爱默森父子刚出场时的一句台词。
于是来自英国的美丽的露西小姐在牧师的说服下接受了他们的好意，和表姐——所有欧洲古典文学里最常见的陪衬角色——一个老处女搬进了能够看见佛罗伦萨美丽风景的房间。
镜头拉伸，从露西小姐的视野看出去，窗外是Arno河，意大利的美丽风光安静地铺陈在整个画面里。
故事就是这样的背景下展开的，舒缓而宁静，带着欧洲古朴的生活气息。
福斯特的原著我觉得甚至不如电影拍的好，有些章节太拖沓，不如电影脉络清晰。
整部影片我最喜欢的地方，就是它被分成了十几个小节，每一个小节开始之前会出现一个用繁复的花纹做外框的标题，有一种英国特有的严肃刻板的幽默成分，并且带着十足的欧洲文艺腔。
影片里的台词大部分还是忠于原著，花哨而正式的句式，从直着脖子持一口英国英语的演员嘴里说出来，显得格外的动人。
第一次看这个片子看的是中文配音版。
我认为西片如果是配音的，一般来说，好看程度就要打很大一个折扣。
因为老的配音演员总喜欢过于夸张地表现外国电影中的人物情绪。
这一次再看，不但让我感受到演员们平缓而得体地表现福斯特笔下优美的语句，而且还看到中文版中已经被剪切掉的，英国古典电影中不多见的一场裸戏。
那是露西和她的未婚夫还有妈妈一起散步时，遇见自己的弟弟、乔治还有镇上的牧师在池塘里洗澡的情境。
从露西的眼神以及偷笑的表情就可以看出，她不是那种被繁文缛节束缚着的英国上流社会人家的小姐，她必不甘于作为自己未婚夫的摆设，她的心里太多激情。
这也就是为什么在佛罗伦萨开满罂粟花的乡间，露西被乔治强吻之后，表面上如同一个大家闺秀应该做的那样愤怒地离开了他，其实心里却偷偷地萌发了爱的念头。
说起那个不由分说的吻，再和露西与那个假模假式未婚夫订婚后的那个吻一比较，后者便让人忍俊不禁了。
看得见风景的房间 读后感
This article is about the E. M Forster novel. For other uses, see Room with a View (disambiguation).A Room with a View is a 1908 novel by English writer E. M. Forster, about a young woman in the repressed culture of Edwardian England. Set in Italy and England, the story is both a romance and a critique of English society at the beginning of the 20th century. Merchant-Ivory produced an award-winning film adaptation in 1985.In 1998, the Modern Library ranked A Room with a View 79th on its list of the 100 best English-language novels of the 20th century.[edit] Part oneThe first part of the novel is set in Florence, Italy, and describes a young English woman's confusion at the Pensione Bertolini over her feelings for an Englishman staying at the same hotel. Lucy Honeychurch is touring Italy with her overbearing older cousin and chaperone, Charlotte Bartlett, and the novel opens with their complaints about the hotel,"The Pension Bertolini." Their primary concern is that although rooms with a view of the River Arno have been promised for each of them, their rooms instead look over a courtyard. A Mr. Emerson interrupts their "peevish wrangling," offering to swap rooms as he and his son, George Emerson, look over the Arno. This behavior causes Miss Bartlett some consternation, as it appears impolite. Without letting Lucy speak, Miss Bartlett refuses the offer, looking down on the Emersons because of their unconventional behaviour and thinking it would place her under an "unseemly obligation" towards them. However, another guest at the pension, an Anglican clergyman named Mr. Beebe, persuades the pair to accept the offer, assuring Miss Bartlett that Mr. Emerson only meant to be kind.The next day, Lucy embarks on a tour of Florence with another guest, Miss Eleanor Lavish, a novelist who shows Lucy the back streets of Florence, takes her Baedeker guidebook and subsequently loses her in Santa Croce, where Lucy meets the Emersons again. Although their manners are awkward and they are deemed socially unacceptable by the other guests, Lucy likes them and continues to run into them in Florence. One afternoon Lucy witnesses a murder in Florence. George Emerson happens to be nearby and catches her when she faints. Lucy asks George to retrieve some photographs of hers that happen to be near the murder site. George, out of confusion, throws her photographs into the river because they were spotted with blood. Lucy observes how boyish George is. As they stop to look over the River Arno before making their way back to the hotel, they havean intimate conversation. After this, Lucy decides to avoid George, partly because she is confused by her feelings and partly to keep her cousin happy—Miss Bartlett is wary of the eccentric Emersons, particularly after a comment made by another clergyman, Mr. Eager, that Mr. Emerson "murdered his wife in the sight of God." Later on in the week, a party made up of Beebe, Eager, the Emersons, Miss Lavish, Miss Bartlett and Lucy Honeychurch make their way to Fiesole, in carriages driven by Italians. The driver invites a woman he claims is his sister onto the carriage, and when he kisses her, Mr. Eager promptly forces the lady to get off the carriage. Mr. Emerson remarks how it is defeat rather than victory to part two people in love. In the fields, Lucy searches for Mr. Beebe, and asks in poor Italian for the driver to show her the way. Misunderstanding, he leads her to a field where George stands. George is overcome by Lucy's beauty among a field of violets and kisses her, but they are interrupted by Lucy's cousin, who is outraged. Lucy promises Miss Bartlett that she will not tell her mother of the "insult" George has paid her because Miss Bartlett fears she will be blamed. The two women leave for Rome the next day before Lucy is able to say goodbye to George.[edit] Part twoIn Rome, Lucy spends time with Cecil Vyse, whom she knew in England. Cecil proposes to Lucy twice in Italy; she rejects him both times. As Part Two begins, Lucy has returned to Surrey, England to her family home, Windy Corner. Cecil proposes yetagain at Windy Corner, and this time she accepts. Cecil is a sophisticated and "superior" Londoner who is desirable in terms of rank and class, even though he despises country society; he is also somewhat of a comic figure in the novel, as he gives himself airs and is quite pretentious.The vicar, Mr. Beebe, announces that new tenants have leased a local cottage; the new arrivals turn out to be the Emersons, who have been told of the available cottage at a chance meeting with Cecil; the young man brought them to the village as a comeuppance to the cottage's landlord, whom Cecil thinks to be a snob. Fate takes an ironic turn as Lucy's brother, Freddy, befriends George and invites him to play tennis one Sunday at Windy Corner. Although Lucy is initially mortified at the thought of facing both George and Cecil (who is also visiting Windy Corner that Sunday), she resolves to be gracious. Cecil annoys everyone by reading aloud from a light romance novel that contains a scene suspiciously reminiscent of when George kissed Lucy in Florence. George catches Lucy alone in the garden and kisses her again. Lucy realizes that the novel is by Miss Lavish (the writer-acquaintance from Florence) and that Charlotte must thus have told her about the kiss.Furious with Charlotte for betraying her secret, Lucy forces her cousin to watch as she tells George to leave and never return. George argues with her, saying that Cecil only sees her as an "object for the shelf" and will never love her enough to grant her independence, while George loves her for who she is. Lucy is moved but remains firm. Later that evening, after Cecil again rudely declines to play tennis, Lucy sours on Cecil and immediately breaks off her engagement. She decides to flee to Greece with acquaintances from her trip to Florence, but shortly before her departure she accidentally encounters Mr. Emerson senior. He is not aware that Lucy has broken her engagement with Cecil, and Lucy cannot lie to the old man. Mr. Emerson forces Lucy to admit out loud that she has been in love with his son George all along.The novel ends in Florence, where George and Lucy have eloped without her mother's consent. Although Lucy "had alienated Windy Corner, perhaps for ever," the story ends with the promise of lifelong love for both her and George.[edit] AppendixIn some books, an appendix to the book is given entitled "A View without a Room," written by Forster in 1958 as to what occurred between Lucy and George after the events of the novel. It is Forster's afterthought of the novel, and he quite clearly states that "I cannot think where George and Lucy live." They were quite comfortable up until the end of the war, with Charlotte Bartlett leaving them all her money in her will, but World War I ruined their happiness according to Forster. George became a conscientous objector, lost his government job but was given non-combatant duties to avoid prison, leaving Mrs Honeychurch deeply upset with her son-in-law. Mr Emerson died during the course of the war, shortly after having an argument with the police about Lucy continuing to play Beethoven during the war. Eventually they had three children, two girls and a boy, and moved to Carshalton from Highgate to find a home. Despite them wanting to move into Windy Corner after the death of Mrs Honeychurch, Freddy sold the house to support his family as he was "an unsuccessful but prolific doctor."After the outbreak of World War II, George immediately enlisted as he saw the need to stop Hitler and the Nazi regime but he unfortunately was not faithful to Lucy during his time at war. Lucy was left homeless after her flat in Watford was bombed and the same happened to her married daughter in Nuneaton. George rose to the rank of corporal but was taken prisoner by the Italians in Africa. Once Italy fell George returned to Florence finding it "in a mess" but he was unable to find the Pension Bertolini, stating "the View was still there and that the room must be there, too, but could not be found." He ends by stating that George and Lucy await World War III, but with no word on where they live, for even he does not know.[edit] Major themesThe main themes of this novel include repressed sexuality, freedom from institutional religion, growing up and true love. It is written in the third person omniscient, though particular passages are often seen "through the eyes" of a specific character.A Room with a View is Forster's most romantic and optimistic book. He utilizes many of his trademark techniques, including contrasts between "dynamic" and "static" characters. "Dynamic" characters are those whose ideas and inner-self develop or change in the plot, whereas "static" characters remain constant.Published in 1908, the novel touches upon many issues surrounding society and politics in early 20th century Edwardian culture. Forster differentiates between conservative and radical thinking, illustrated in part by his contrasts between Medieval (Mr. Beebe, Miss Bartlett, Cecil Vyse) and Renaissance characters (Lucy, the Emersons).Lucy personifies the young and impressionable generation emerging during that era, during which women's suffrage would gain strong ground. Forster, manifesting his own hopes for society, ends the book with Lucy having chosen her own path—a free life with the man she loves. The novel could even be called a Bildungsroman, as it follows the development of the protagonist.Binary opposites are played throughout the novel, and often there are mentions of "rooms" and "views". Characters and places associated with "rooms" are, more often than not, conservative and uncreative — Mrs Honeychurch is often pictured in a room, as is Cecil. Characters like Freddy and the Emersons, on the other hand, are often described as being "outside" — representing their open, forward-thinking and modern character types. There is also a constant theme of Light and Dark, where on many occasions, Cecil himself states how Lucy represents light, but Forster responds but stating how Cecil is the Dark, alluding to the fact that they can never be together, and that she really belongs with George. Interestingly, the name Lucy means "light", while the name Cecil means "blind", i.e. one who is "in the dark".Forster also contrasts the symbolic differences between Italy and England. He idealized Italy as a place of freedom and sexual expression. Italy promised raw, natural passion that inspired many Britons at the time who wished to escape the constrictionsof English society. While Lucy is in Italy her views of the world change dramatically, and scenes such as the murder in the piazza open her eyes to a world beyond her "protected life in Windy Corner".Major ThemesPropriety and PassionThe conflict between social convention and passion is a central theme of the novel. Lucy's match with George, by social standards, is completely unacceptable. But it is the only match that could make her happy. Her match with Cecil is far more conventional, but marriage to Cecil would destroy Lucy's spirit. The Emersons are truly unconventional people. They care almost nothing for propriety. Mr. Emerson, a Socialist, speaks with great feeling about the importance of passion and the beauty of the human body. The British characters of the novel have very strong ideas about the need to repress passion and control young girls. To achieve happiness, Lucy will have to fight these standards, many of which she has internalized, and learn to appreciate her own desires.The beauty of human beingsA Room with a View is social commentary, but Forster's depictions of people are ultimately generous. He gently mocks the Honeychurches for their bourgeois habits, but he does not shy from depicting their strengths. They are loving and sincere, generous with guests and with each other. Cecil's greatest fault is that he is entirely too critical of people. He cannot appreciatethe good in the simple country gentry with whom Lucy has grown up. Even Charlotte, the prim spinster who is a major obstacle to the love between Lucy George, is allowed to have a moment of grace. In the end, Forster appreciates his characters' goodness much more than he mocks their faults.Travel and the idea of ItalyTravel is a powerful force in the novel, and at its best it can be a life-altering experience. The heart of travel is to allow a place to get under one's skin; staying at British pensions and scorning Italian peasants do not the constitute the best experience one can get out of Italy. Italy gives Lucy insights into her life back at Windy Corner. It changes her perspective of herself. Although her experiences there confuse her, in working through the confusion she becomes a self-assured and independent young woman.The beautiful and the delicateLucy asks in the first chapter if beauty and delicacy are really synonyms. One of Lucy's important lessons is that beauty need not be refined; much is beautiful in the gesture of kindness that oversteps propriety, or the act of passion that ignores convention. Lucy has to learn to see beauty in things that her society scorns or condemns.Woman's position and independenceThe Emersons are fervent believers in the equality of men and women. Lucy is not a rebel at heart, but she is often frustrated by the limitation put on her sex. Her marriage to Cecil could never be one between equals. Cecil is not so much in love with Lucy as he is in love with some idea of what a woman is supposed to be. He constantly compares her to a work of art, which, although it may be flattering, also objectifies her and ignores that she is a living person. What Lucy needs, although she does not know it, is a relationship between equals. She has no desire to be protected or instructed.Connection between nature and manOne of Mr. Emerson's convictions is that man and nature are inextricable from each other, and only the mistakes of civilization separate man from his natural state. Closely connected to the theme of passion and the body, this theme runs throughout the novel. Forster emphasizes it by having the weather often mirror the thoughts of his characters. He also connects George and Lucy to the land at key points.Passion and the bodyIf nature and man are inextricable from each other, it follows that there should be no shame for the body or passion. Society's conventions try to hide both. The body must be hidden, a thing of which one should feel ashamed; passions must be controlled and regulated by rules tied to class and gender. Lucy has to overcome these conventions if she is to allow herself to love George.The Medieval/the Renaissance/the ClassicalForster uses time periods to represent characters and their attitudes. Uptight Cecil is always associated with the medieval; George is associated with the myths of the classical world. Italy is the land of both the classical Roman world and the Renaissance, and Forster uses these eras as symbols of beauty and passion.MusicLucy's relationship to her music is an important insight into her character. Her playing is an indication that she has untapped reserves of passion; Mr. Beebe remarks that one day Lucy will live as well as she plays. Lucy's music also articulates her feelings better than her words can, and after playing she is more certain of what she wants.The MuddleForster constantly uses the word "muddle" to describe Lucy's state of mind. The muddle arises when everything that one has been taught suddenly is thrown into doubt. It is one of the marks of growing up. Lucy's muddle is frightening and confusing, but in working through it she will become a stronger and wiser person.Class snobberyClass snobbery is a constant feature of A Room with a View. The Emersons, because they are not refined, are the most frequent victims of this snobbery. Country gentry look down on those who work hard for a living; Cecil looks down on the suburban ways of country gentry. Lucy has to overcome the class bigotry that she has been taught.Preview… EM Forster always does an outstanding job developing his characters, blurring the line between fiction and reality in the reader’s mind. In one of his earlier works, “A Room with a View”, we become acquainted with Lucy Honeychurch as she travels the major cities of Italy—most notably Florence—under the watchful eye of her cousin and chaperone, Charlotte. Upon arrival at the hotel, the women are dismayed upon their receipt of a room overlooking the courtyard, when they had specifically and clearly requested a room with a view. Another English guest, Mr. Emerson, offers the room he is sharing with his son, George, to the ladies for its coveted view. Offended by his brash behavior, Charlotte and Lucy begrudgingly accept.This chance encounter sets the whole story into motion: a murder in the piazza, a scandalous kiss that later finds itself nestled in the pages of a laughably bad novella (a humorous story within the story), a chance reencounter, an ill-suited engagement, gratuitous male nudity and latent homosexuality among the parish. Ultimately, Lucy must choose between a socially acceptable match with her fiancé Cecil or love’s true calling with George. The book becomes most meaningful when the reader uncovers the hidden depths of the story pertaining to EM Forster’s own life. As a late Victorian era homosexual, Forster was unable to pursue his own love story due to the condescending eye of society. Maybe he will let Lucy and George have their fairy tale ending, since he never had his.You may like this book if… you enjoy other works by Forster, you like novels with exceptional character development, you have a good sense of humor, you have travelled to Italy or enjoy reading about its imagery, you like unlikely matches, you are all about examining the changing values of society, you enjoy a quick classic, you have already watched the 1986 film adaptation (this is one of the films most perfectly true to its source novel that I have ever seen)You may not like this book if… you get too upset by the snobbery and irrationality of some of the upper class old school characters, you cannot stand the fact that our protagonist might marry the wrong man in the end, you do not enjoy the fact that there are homosexual tendencies given to a clergyman, you’ve had enough of literature from this era and don’t think you could possibly stomach anymoreBook Review on A Room with a ViewSarahwwA Room with a View is a 1908 novel by English writer E.M. Forster. It is one of Forster’s most celebrated works and has been treated as a fine example of travel literature, character development, satire, comedy, writing style, and a modernization ofancient myths. It touches upon many issues surrounding society and politics in early 20th century Edwardian culture. Forster differentiates between conservative and radical thinking, illustrated in part by his contrasts between Medieval_r(Mr. Beebe, Miss Bartlett, Cecil Vyse) and Renaissance characters (Lucy, the Emersons).The main themes of this novel include repressed sexuality, freedom from institutional religion, growing up and true love, with its central theme, the conflict between social convention and passion, dominating the whole story. It is the story of a young English middle-class girl, Lucy Honeychurch. While vacationing in Italy, Lucy meets and is wooed by two gentlemen, George Emerson a nd Cecil Vyse. According to social standards, Lucy’s match with George, a socialist who speaks with great feeling about the importance of passion and the beauty of human body, is completely unacceptable, yet is the only match that could make her happy. Meanwhile, her match with Cecil, who is a more socially acceptable mate, is far more conventional, but it would destroy her spiritual pleasure, because they have completely different values, beliefs, and noting in common. After numerous miserable struggles she finally follows what her soul truly wants, that is to pursuit her own happiness by choosing to go honeymoon with her true love, George Emerson.The central theme of this novel is also interwoven with a constant feature, the class snobbery. The Emersons, because they are not refined, are the most frequent victims of this snobbery. For me, one of the most absurd things is the refusal to accept the Emersons’ offer of the room with a view, when Lucy and her aunt Miss Bartlett is deeply longing for that of fer. Miss Bartlett rejected not only because of her narrow-mindedness, but also because of the strong arrogance exerted by the class snobbery.However, no matter how sharp the conflict is, or how deep the social gap is, the result of the story is pleasant and satisfactory. In this matter it could also be regarded as a comedy, with its vivid cast of characters, enjoyable travel to Italy, connection between nature and man, humorous dialogue, comedic play upon the manners of the day, and the longing for freedom and happiness as a whole. The book itself seems to enjoy its storytelling so much that I enjoy the very process of it. Moreover, it is appreciable and significant in reflecting the social and cultural background and thus really worth our time.Lucy对俊美迷人的George心存好感，在河边George暗示他的爱意之时，她却碍于身份冷漠对待。
[看得见风景的房间]看得见风景的房间影评
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[看得见风景的房间]看得见风景的房间影评二十岁那年，我才有了属于自己的房间。
二十岁以前，我、姐姐和爸爸妈妈挤在16平米的小房子里住了十年。
我是那么想要一间自己的房间。
不要大，只要它属于我自己。
白色的墙壁，蓝色的窗帘，我的小床，一张书桌。
关上门，全世界便只有我一个人。
仅此而已。
可是，我只有一个兼做客厅、餐厅、书房和卧室的小得不能再小的所在。
吃饭、看电视和做作业的时候，我只能坐在自己的床上，来了客人，我就要闪到屋子的一角呆着。
尽管如此，那个见不到阳光的局促的住所，仍然集聚了我成长岁月里所有的或温暖或快乐或惆怅或忧伤的记忆。
虽然小，但它是我的家，我和爸爸妈妈亲爱的家。
没人能够理解我是多么疯狂的渴望让爸爸妈妈住上大房子，还有洒满阳光的小小院落。
上大学的某天夜里，同寝室的姐妹聊起各自的理想。
我说，我要找到好的工作，我要拼命挣钱，我希望可以带父母走进我为他们在市郊一个美丽的湖畔购置的新家。
虽然不那么大，但是足够可爱。
一楼，有小小的院落，明媚的阳光房，从卧室的窗外看去，有青翠的绿树和美丽的鲜花，空气中散发着淡淡的湖水的芬芳。
更重要的是，我们一家人仍然亲亲爱爱的在一起。
每天吃过晚饭，我和妈妈一起推着小车带孩子去湖边散步，半个小时后慢悠悠地溜达回家，客厅的灯温柔地亮着，老公已经回家了，坐在餐桌旁吃饭。
爸爸在小花园里忙碌着，把他的栀子花从左边移栽到右边，或者从右边移栽到中间。
孩子坐在他的小车里开始咿呀乱叫，和外公打招呼。
我会在暮色中呵呵地笑。
说完这些后我就开始痛哭，用完整整一盒纸巾。
现在，我的理想，仍然在远远的天空悬挂着，等着我触碰。
妈妈却离开我八年了。
偶尔闪念想起从前老房子被我画得班驳的墙壁，暑假里妈妈上班前放在我枕边的早点钱，还有爸爸曾经亲手为我打制的书桌，我仍然会流出眼泪。
现在我已是孩子的母亲，看着他一天一天长大，我想：飘走的妈妈在微笑，因为在看得见或者看不见风景的房间里，我很幸福。
因为有爱。
看得见风景的房间
看得见风景的房间嬉戏的儿童、散步的老人、来往的车辆、高耸的楼房，这是我透过玻璃窗看到的景象。
然而，自从一本本的书走进我小小的世界，给我开启了一扇又一扇精彩世界的大门，我才发现这里的风景更迷人通过书，我了解了中华民族漫长的历史；通过书，我明白了恐龙为什么会灭绝；通过书，我知道了古埃及金字塔不解之谜。
书就像一个博学多才的老师，使我的知识日益丰富，让我的视野更广阔。
书也让我了解了更美丽的风景：我没有游览过红叶似火的香山，却从书中欣赏到了停车坐爱枫林晚，霜叶红于二月花的美景；我没有看见过气势宏伟的庐山瀑布，却从书中领略到了它那飞流直下三千尺，疑是银河落九天的壮观。
书是知识的源泉，是开启智慧的钥匙，书中蕴藏着无数的宝藏，我们应当用蜜蜂采蜜的方法，获得其中的精髓与真谛。
我从书中看世界风情，看人间万象。
在书的世界里，是《十万个为什么》让我学会了求知；是《林肯搬石头》让我懂得了怎样做事；从《团结是一种智慧》一书中，让我明白了如何与人共处；在于谦、文天祥等名人传记中，让我学会了怎么样堂堂正正地做人！在书中，我感到了一切都是那么美好：没有了残酷的战争，没有了流离失所的儿童，取而代之的是美好与和平，看到的是无忧无虑玩耍的小孩，还有人类美好的理想家园。
这所有风景，都是我从房间那一个小小的书柜看到的，书使我从一个知识贫乏的小女孩变成了一个有了一定的判断能力、理解能力的小学生。
在书的世界里，我如饥似渴地吸取着知识的养分。
我爱书，更爱书的世界。
看得见风景的地方有很多很多，每一处的风景都吸引了众多的游客，让他们流连忘返。
但是你知道吗？我最爱看风景的地方是我那小小的房间，因为这里的风景更美丽、更独特、更令我陶醉。
逃离城市：《看得见风景的房间》的另一种解读
逃离城市：《看得见风景的房间》的另一种解读《看得见风景的房间》（A Room With A View）这部小说具有逃离城市的主题，主人翁露西所期望的“风景”不是在“房间”中观察，而是发自自我内心寻找到的风景。
所以露西敢于追求自我，寻找真我。
本文试着从主人翁露西慢慢觉醒的意识中叙述这一主题。
标签：看得见风景的房间;逃离城市城市，从地理学上讲就是非农产业和非农人口的集聚点。
它涉及到广泛的区域，人口相对比较稠密之处。
“城”与“市”如果分开来讲，“城”是用来防御的，“市”是贸易的公共区域。
这两种解释中都涉及到人的因素在其中，有人喜欢城市的喧闹，有人侧喜欢脱离城市的喧嚣，追求自己内心的所向。
《看得见风景的房间》中的女主人翁露西展现出逆城市化现象，她对大自然的美好充满了向往，同时也展现作家福斯特的写作主旨：女性冲破传统思想意识的束缚，奔向自我选择的生活。
作为“房间”的城市是封闭空间在小说的题目中，“房间”是一个密闭的空间，在文化生活中它象征令人压抑的生活空间———城市。
小说的第一个章节中，叙述到：女主人翁露西看到“望着悬挂在英国人背后、装在厚实宽边镜框里的已故女王与已故桂冠诗人的肖像;望着那张英国国教的通告，这是墙上除了肖像外的唯一装饰品”，这个唯一饰品突显了露西的厌恶感，同时还有当地人说着“满口伦敦东区土话”，女主人翁感觉到“好像还在伦敦”。
这个时候，“房间”的象征意义，就是自身被当时社会阶层及城市的束缚丝毫没有减少，使主人翁感受到这所“房间”的影响如此深远，以至于自己还有压抑的空间围绕在四周。
小说中的塞西尔和牧师伊格就是女主人翁周围的“房间”，是他们的束缚使露西想逃脱周围的这个生活环境。
塞西尔没有自由平等的思想，只是把女人看做自己生活中的艺术品;牧师伊格表面上是一个堂堂正正的传道士，让人感觉到他很神圣，事实上他好如一個装在套子里的人，极度装作正派高尚而已。
在这个社会的束缚之下，有一个牺牲品形象跃然在读者眼前，这个人就女主人翁的表姐巴特利特。
看得见风景的房间观后感
看得见风景的房间观后感我最近有幸入住了一间特别的房间，这是一间可以看得见风景的房间。
入住后的感受令我难以忘怀，简直就像是进入了一个梦幻世界。
进入房间的一瞬间，我被眼前的景象惊艳到了。
整个房间的一面墙被打造成巨大的玻璃窗，透过它可以看到外面的美景。
天空湛蓝，云朵洁白，阳光透过树叶洒下来，在地板上绘制出斑驳的光影。
我不禁感叹自然的美丽。
房间的设计非常巧妙，每一个角落都被精心打造。
房间内摆设着一张舒适的沙发，墙上挂着一幅抽象画，地上铺着柔软的地毯。
整个空间散发出一种温馨的氛围，让人感到宁静和舒适。
我走到窗前，仔细欣赏着窗外的风景。
远处是一片湖泊，湖面上的水波荡漾，仿佛在欢快地跳舞。
湖边的杨树轻轻摇曳着，似乎与微风做着柔软的对话。
湖的对面是一片山脉，山峦起伏，雄伟壮观。
远处是一座小桥，桥上有人正在悠闲地垂钓。
整个景色宛如一幅画卷，让人沉醉其中。
坐在窗前，我不禁开始思考起生活的意义。
看着外面的风景，我感到自己与大自然的联系更加紧密了。
在喧嚣的城市中，人们往往忽略了自然的美丽，心灵也逐渐迷失了方向。
而这个房间，给了我一个机会，让我重新审视生活，感受大自然的美好。
在这个房间里，时间似乎也变得不再重要。
我可以静静地坐在窗前，欣赏风景，思考人生。
也可以在房间内漫步，品味每一个角落的设计。
内心的烦忧和压力，在这个房间里都可以暂时抛到脑后，感受到一种解脱和放松。
除了美景和宁静的氛围，这个房间还提供了一些额外的服务。
房间内有一台音乐播放器，我可以根据自己的喜好选择歌曲。
音乐的韵律与外面的风景相得益彰，让我感到更加愉悦。
另外，房间里还提供了一些书籍，我可以随意选择阅读。
在阅读的过程中，我可以感受到知识的力量，同时也可以拓宽自己的视野。
这个房间的设计理念令人深思。
它告诉我，生活不仅仅是忙碌和压力，更是要有自己的空间和时间去思考和放松。
人们应该学会与自然相融合，感受大自然的美丽和力量。
只有这样，才能找到内心的宁静和平衡。
离开这个房间时，我感到心满意足。
浅析《看得见风景的房间》中女性意识的觉醒
浅析《看得见风景的房间》中女性意识的觉醒作者：刘洋来源：《赤峰学院学报·哲学社会科学版》 2012年第12期刘洋（安徽农业大学经济技术学院，安徽合肥 230036）摘要：在小说《看得见风景的房间》里，福斯特给我们讲述了贵族少女露西的爱情故事。
露西依靠女性自我意识的觉醒，逐步解构男权社会的迂腐道德准则与观念，追求真爱，最终达到确立女性自我意识的目的。
关键词：联系；女性意识；女性角色；风景中图分类号：I106 文献标识码：A 文章编号：1673-2596（2012）12-0147-02一E.M.福斯特是20世纪英国著名的小说家、文艺理论家和散文家。
1908年，《看得见风景的房间》出版时，福斯特只有29岁。
在此之前，他已经出版了《天使们不敢踏上的地方》和《最长的行程》。
当时，他虽然受人尊敬，但尚未享有盛名。
而出现在前两部小说中的主题——激情和传统、真实与矫饰——也是在这第三部小说中方显成熟，层次更加丰满，说服力也更强[1]。
在他的作品中，福斯特一向致力于强调“个人与个人之间的联系”的重要性，他将这种个人与个人之间的真诚关系称为“唯一”的联系[2]，而当这种联系具体在他作品中的某一个女主人公身上时——如《看得见风景的房间》中露西与乔治、塞西尔的关系上时，我们不难发现福斯特作品中女性意识的觉醒——女性对于自身情感的正视和对真实生活的追求。
二20世纪初正是西方女权主义运动崛起的时候，西方的妇女开始重新审视她们在家庭和社会中的定位。
在传统社会中（包括农业社会和工业社会早期），女性不但政治经济地位低下，而且遭受伦理道德规范的压迫和束缚。
女人被禁锢在家庭中，除了做一个“贤妻良母”，便无处施展自己的才能。
我们把女性的这种定位称之为“女性角色”[3]。
女性追求个性自由和解放，就不可避免地与社会发生冲突，这种冲突可以表现为争取政治经济地位平等的社会冲突，但更多的是表现为单个女性反抗既定社会角色的个人冲突。
由于女性被限制在婚姻和家庭之内，与此相关的束缚人性的道德规范也主要指向女性，比如女性必须保持贞洁，相夫教子，从一而终，任何婚外性行为都是禁止的，是道德败坏的，因此，女性意识的觉醒首先就出现在对婚姻和家庭生活的反叛上。
《看得见风景的房间》中的女性意识探析
《看得见风景的房间》中的女性意识探析《看得见风景的房间》描绘了一对受社会压迫的少女感情的故事。
本文尝试从女性意识的角度来探析小说的主要人物的情感变化。
一、小说中的女性意识1、独立思考能力——两个女主人公都有自己独立和不同于众多的思想，“尽管她们无法解决所有的问题，但也试图以自己的方式去解决自己的问题。
”这表明她们在压力下也不会被深陷爱情而混乱头脑，能够独立思考，从而获得一个更好的结果。
2、神圣婚姻感——尽管友美有自己的个人目标以及一段令人艳羡的小家庭，但她仍愿意参加平民化的婚礼，彰显出她内心深处对婚姻至高无上的尊重，表现出女性神圣婚姻感。
3、反叛式坚守——寻亲女性把看护婚姻的期望置于一旁，决然地选择了反叛，表现出女性的理想主义和内心的担当。
二、小说中的女性受压迫1、长久的婚姻传统——在小说中，清廉的社会立场是传统期望婚姻走向的重要标志，也成为女性受社会压迫的表现之一，造成女性在感情上的无力感。
2、婚姻被他人牵制——对女性而言，婚姻不仅关乎自己的命运，也影响全家的命运，因此经常面临男人外表上的礼仪和他人的审判，因而陷入极端困境下回避正常的婚姻旅程。
三、小说中的女性解放1、追求自由——尽管友美的生活宏大小美丽，但她的内心还是不愿屈服，半哑半清的咬文嚼字中透露出顽强而勇敢的追求自由的力量，这种情绪表达让人打动，在爱情诗词中流露出充满自由狂舞的颓废感。
2、用微笑应对苦难——在经历苦难后仍用无论多么简陋的微笑应对苦难，这标志着女性解放的一个里程碑，也是友美表达出绝望、勇敢和美好的一种方式。
3、用温柔抗拒传统——在小说中，友美以温和的态度抗争传统观念，表明女性的意识正在不断的成长和改变，进而将社会的传统观念和价值观得到改善。
总结：《看得见风景的房间》小说中的女性意识体现了女性在社会上被压抑的普遍现象，其中，独立思考能力、神圣婚姻感、反叛式坚守、对婚姻传统的受压、追求自由、微笑应对苦难以及用温柔抗拒传统等方面都体现了女性的意识的解放与发展，体现了女性不畏惧压力、勇敢抗争、体现独立、自主、坚强的精神。
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这是一部多年前在电视上看到的电影，其制作之精美令人赞叹，其中最出色的演员我以为是玛吉史密斯，把一个典型的英国老姑娘演得极其到位，那个扮演乔治的父亲的老演员也很好。
至于漂亮的男女主角，倒是没有什么深刻的印象，当然还是记住了海仑那美丽而忧伤的大眼睛，整个人象只小鸟。
对大多数人最为赞叹的意大利的风景，甚至片子里大部分的场景都忘记的差不多了，对接吻的场景倒是记得蛮清的，因为那时自己还是个没有接吻经历的女孩子，所以看到那样的镜头就特别脸热心跳。
最为清晰的记忆是那场露西独自去街上，看到了那雄健的男人的裸体雕塑，目睹了一幕街头斗殴，便昏了过去。
其实很有意思，似乎世界上有几个地方是特别容易产生浪漫爱情的地方，对于传统的北欧新教徒来说，热情的天主教南欧才是产生艺术和爱情的的地方，那里温暖的气候，热烈的感情，那些充满了生命力的雕塑，对于冷静刻板的维多利亚式的教条是一种摧毁。
当露西看到那些刚健的男性裸体时，镜头就突出了这种冲击力。
那是对一个深受礼教束缚，内心却渴望情欲的，一种少女矛盾心理的刻画。
在这儿，情欲第一次觉醒了。
一个看似文静一本正经的少女，居然喜欢弹奏贝多芬，这是一个征兆。
因为贝多芬绝对是最男性化的音乐家，他的力量，粗旷，几乎要挣脱古典主义束缚的，浪漫主义几乎要释放的激情，是一个充满热烈情感的灵魂最坦率的表露。
音乐是最能立刻发现心灵秘密的艺术手段。
整个的故事，就是心灵的觉醒，情欲的释放，清教徒的理性对于传统希腊人性美--罗马是继承了西方文明这一传统的的臣服。
心对于脑的胜利。
在众多的西方文学作品中，这种宗教与人性的挣扎是永远的主题。
就欧罗巴人自由与追求美和极致的天性来说，基督教是一种束缚这种天性唯一的绳索，鞭打这过于精力充沛和狂放的肉体是这宗教征服罗马和欧洲的法宝。
但是，人性总要萌芽，也要有所束缚。
这是一部女性电影，因为它对女性心理的刻画非常细腻，无论是对少女还是老姑娘，女人的心灵在一坐充满男性魅力和爱情的城市打开了，即便在回到理性与幽雅的不列颠，那心是再也关不住了。
打开心灵的窗子，就看到了爱情。
女人总是喜欢看得见风景的房间，而对于男人来说，风景是在心里的。
蓝蓝的天，小鸟的歌唱，这一切都在心里。
爱默森先生用叉指着自己的胸口，虔诚地说道。
这是《看得见风景的房间》那对奇怪的爱默森父子刚出场时的一句台词。
于是来自英国的美丽的露西小姐在牧师的说服下接受了他们的好意，和表姐——所有欧洲古典文学里最常见的陪衬角色——一个老处女搬进了能够看见佛罗伦萨美丽风景的房间。
镜头拉伸，从露西小姐的视野看出去，窗外是Arno河，意大利的美丽风光安静地铺陈在整个画面里。
故事就是这样的背景下展开的，舒缓而宁静，带着欧洲古朴的生活气息。
福斯特的原著我觉得甚至不如电影拍的好，有些章节太拖沓，不如电影脉络清晰。
整部影片我最喜欢的地方，就是它被分成了十几个小节，每一个小节开始之前会出现一个用繁复的花纹做外框的标题，有一种英国特有的严肃刻板的幽默成分，并且带着十足的欧洲文艺腔。
影片里的台词大部分还是忠于原著，花哨而正式的句式，从直着脖子持一口英国英语的演员嘴里说出来，显得格外的动人。
第一次看这个片子看的是中文配音版。
我认为西片如果是配音的，一般来说，好看程度就要打很大一个折扣。
因为老的配音演员总喜欢过于夸张地表现外国电影中的人物情绪。
这一次再看，不但让我感受到演员们平缓而得体地表现福斯特笔下优美的语句，而且还看到中文版中已经被剪切掉的，英国古典电影中不多见的一场裸戏。
那是露西和她的未婚夫还有妈妈一起散步时，遇见自己的弟弟、乔治还有镇上的牧师在池塘里洗澡的情境。
从露西的眼神以及偷笑的表情就可以看出，她不是那种被繁文缛节束缚着的英国上流社会人家的小姐，她必不甘于作为自己未婚夫的摆设，她的心里太多激情。
这也就是为什么在佛罗伦萨开满罂粟花的乡间，露西被乔治强吻之后，表面上如同一个大家闺秀应该做的那样愤怒地离开了他，其实心里却偷偷地萌发了爱的念头。
说起那个不由分说的吻，再和露西与那个假模假式未婚夫订婚后的那个吻一比较，后者便让人忍俊不禁了。
我们这位戴着金边夹鼻眼镜的未婚夫对露西说，露西，好像我们订婚之后我还没有吻过你。
露西说，是的。
未婚夫说，那我可以吻你么。
露西说，当然可以。
于是未婚夫紧紧地抿着双唇像品尝中药那样蹙着眉接近了露西，在十分勉强的接触中，这位先生的夹鼻眼镜险些掉了下来，慌忙地用手去扶。
露西说对不起。
未婚夫说没关系。
然后他又扶了扶眼镜，捋了捋头发，像一个绅士一样拿着文明棍走在前面。
影片的音乐是另一个动人的部分。
里面多次选取了贝多芬、莫扎特和舒伯特的曲子，在乔治第一次吻露西的时候，还引用了普契尼的歌剧燕子中的咏叹调朵瑞塔的梦想。
那也是一个和爱情有关的故事，故事的女主角朵瑞塔也和男主角有着让人荡气回肠的一吻。
而片头普契尼脍炙人口的唱段我亲爱的父亲与影片主题也有着某种意义上的吻合，描述的都是女主角爱上了不该爱的人。
这个曲子在鉴赏课的时候老师曾经提醒我们注意其中凄婉的意味。
老师是个意大利中年女子，她说英语的时候，某些音节仍让我联想起那些优美的咏叹调，难怪人有曾经告诉我意大利语是音乐的语言。
我想用乔治在说服露西离开她未婚夫时的话语来结束这篇文章，他说：他只是想占有你，然后像欣赏一副油画或者一个象牙盒子一样看着你。
你只是他可以占有并展示的一件东西。
他不希望你思考，不需要你真实地存在。
他不爱你，可是我爱。
即使当我紧紧拥抱你的时候，我仍然希望你有自己的想法和感受。
这是我们最后的机会了…
看完这样的电影，我去欧洲的念头又更强烈了一些。