蝴蝶的一个吻触读后感3篇

蝴蝶的一个吻触读后感3篇蝴蝶的一个吻触读后感　学语文2006年第5期汉语广角·汉语教学黄伯荣、廖序东主编的《现代汉语》(增订二版)上册在谈到语素时说:“&下面是小编为大家整理的蝴蝶的一个吻触读后感3篇,供大家参考。

篇一：蝴蝶的一个吻触读后感

文 2006 年第 5 期汉语广角·汉语教学黄伯荣、廖序东主编的《现代汉语》(增订二版)上册在谈到语素时说: “‘蝴蝶’只是一个语素。

　‘蝶’在别的组合如‘粉蝶、彩蝶’中仍是一个语素。”( 248 页)胡裕树主编的《现代汉语》(重订本 195 页)、张斌主编的《现代汉语》( 191 页,中央电大出版社, 1996 年)等几套有影响的高校汉语教材都持相同的观点。然而,王艾录先生对此提出质疑: “承认‘蝴蝶’是语素,同时承认‘蝶’也是语素,这在逻辑上是站不住的。至于说‘蝶’在甲词里语素,在乙词里不是语素,这恐怕在汉语研究史上是没有过的,所以其科学性值得怀疑。”对此王先生没有展开来论证,只是引来了两篇文章的结论作为论据: “《中国语文》 1999 年第 6 期、 2002 年第 2 期发表的刘萍、沈怀兴和严修鸿先生的文章都认为‘蝴蝶’是偏正式合成词( ‘蝴’ ‘蝶’都是语素),我们认为值得参考。”(见《黄廖本〈现代汉语〉词汇部分指瑕》,载《汉语学习》 2003 年第 3期 11 页)语素的鉴别,是个相当棘手的问题,是语法教学中的一大难题。我们认为黄廖本《现汉》的看法是对的。鉴别语素有三个办法:一是借助于“替换”法。许多教材都谈到了确定一个语言单位是不是语素,可以运用替换法,即某一单位,能以别的有意义的单位(语素)来替换的,就是一个语素,否则不是一个语素;一个双音节单位,如果两端都能被替换的,是两个语素,只有一端能替换的,只能算一个语素(参见邢福义主编的《现代汉语》修订版 153 页,高教出版社, 1993 年)。例如: “语素”其前后两端可分别被替换为“词素、义素、音素;语言、语法、语序”,这表明“语” “素”各是一个语素。

　“粉蝶、彩蝶”等与此同理:其前后两端都可以被别的语素替换,所以各是两个语素,而“蝴蝶”只有前端能被替换,后端不能被替换,也就是说“蝴”只能与“蝶”组合,所以“蝴蝶”只能算一个语素。同理, “菠菜、芒果”的前端可分别被“白、青” “水、苹”等替换,而后端不能被别的语素替换,“混沌”的后端可以被“乱、合”等语素替换,而“混”不能被替换;这表明“菠菜、芒果、混沌”各为一个语素。二是借助于“简称”或“指代”说。张静主编的《新编现代汉语》(上海教育出版社, 1986 年)在谈到词根和词缀的区别时说; “词根可以用作简称,或者说,在简称中可用来代替整个词;词缀不能用作简称。”如“老虎、老师、小王、椅子、石头”中的“虎、师、王、椅、石”均可用作简称( 187页)。同理, “蝶”在“粉蝶、彩蝶、幼蝶、飞蝶、凤蝶、蝶泳”中之所以是语素,是因为它是“蝴蝶”的简称,或者说“蝶”指代了“蝴蝶”。而“蝴蝶”中的“蝶”却不能说是语素,因为它只有与“蝴”组合后才算表示了一个特定的词义,即最小的意义单位。至此,王先生说的“‘蝶’在甲词里是语素,在乙词里不是语素”,也就得到了合理的解释。同样, “骆驼”和“驼”(驼铃、驼毛、驼峰、驼峰、驼背、驼绒); “蜘蛛”和“蛛”(蛛网、蛛丝马迹);“螺蛳”与“螺”(田螺、淡水螺、海螺、螺壳、螺纹); “螳螂”与“螳”(螳臂当年)也各为一个语素。三是借助于词典的注解。以《现代汉语词典》为例: “蝶:蝴蝶。”而“蝴”条下只有“蝴蝶”等四个词条的注解。

　“驼:指骆驼。”而“骆”条下虽有两个义项,但与“骆驼”无关。“蛛:指蜘蛛。”而“蜘”条下只有对“蜘蛛”一词的注解; “螺: ① 软体动物⋯⋯。”“蛳:见[螺蛳]。” “菠”条下只有“菠菜”等四个词条的注解。

　“豇”条下只有对“豇豆”的注释。这表明:“蝶、驼、蛛、螺、菜、豆”是有意义的语素,而“蝴、骆、蜘、蛳、菠、豇”不是语素,而是无“义”音节,因为它们无法单独注解词义。

　“骆”虽有意义,但与“骆驼”无关。与组成“沙发”的两个音节一样。归纳起来,单纯词的构造有六种形式。( 1 )无义音节(汉字)的组合,如:蜻蜓、蔷薇、窈窕、忐忑、婷婷。( 2 )一个无义音节与一个能指代所构之词的有义音节的组合,如:蝴蝶、骆驼、蜘蛛、螺蛳、螳螂。其中的“蝶、驼、蛛、螺、螳”都不是语素,但它们在别的环境(词)里能指代所构成的词,是语素(如:彩蝶、驼铃)。( 3 )一个无义音节与一个表“类”义音节(在别的场合里是语素)的组合,如:苹果、蔓草、菠菜、豇豆、牤牛。( 4 )拟声音节(符号)的组合,如:萨斯、披萨、巧克力、布谷、哗啦啦。( 5 )一个拟声音节 (符号)与一个能指代所构之词的拟声音节的组合,如:巴士、的士。其中的“巴”和“的”不是语素,但它们在别的环境(词)里却是语素,如:中巴、大巴、的哥、的姐。( 6 )非语素的表义音节的组合,如:唐突、流连、荒唐、含胡、堂皇。由上可知, “蝴蜘”是个单纯词,属于第( 2)种构成形式,说“蝴蝶”是偏正式合成词( “蝴” “蝶”都是语素),是站不住的。另外我们还想补充两点,一是对语素的认定,共时段不同,结果也会不同。比如, “蜻蜓”的“蜻”、 “蜈蚣”的“蜈”在现代汉语中不会被认定为语素,而在古代汉语中却是语素,因为它们有独立的意义(或者说能指代所构之词)。如《吕氏春秋·精谕》: “海上之人,有好蜻者,每居海上从蜻游。”其中的“蜻”即指“蜻蜓”。又如宋诗有云:“藤蛇无足蜈多趾,以假易真信用智。”其中的“蜈”即指“蜈蚣”。二是,教学语法的观点一般比较四平八稳,既不保守,也不过于前卫,而专家(理论)语法的观点可以前卫甚至偏激一点,二者是不可相提并论的。明白了这一点,我们对刘萍等三位先生的观点也就见怪不怪了。(作者单位:湖北荆州市长江大学文学院)[责编 达送]“蝶”和“蝴蝶”当各为一个语素□ 芜 崧40

篇二：蝴蝶的一个吻触读后感

Rebecca The introduction of writer: Daphne du Maurier (1907-1989) has been called one of the great shapers of popular culture and the modern imagination. Among her famous works are Jamaica Inn, The Scapegoat, Rebecca, and the short story "The Birds," all of which were subsequently made into films, the latter two were directed by Alfred Hitchcock.

　The introduction of film director:

　Alfred Hitchcock (1899-1980), an English director. He has learned engineering at London University. Then he began to produce a film in 1920 and direct his first work 6 years later .He is acknowledged as one of the most incomparable master in the history of film because of advanced technology and completed details. The Thirty-nine Steps (1935) and The Lady Vanishes (1938) are the English film under his direction. The film Rebecca (1940) is his a American work and win the bid for the Oscar prize in that year. Later, he has directed the film Phycho (1960), The Birds (1963) and Frenzy (1972).

　 The Ubiquitous Rebecca I spent the majority of this film thinking about how lucky M. Olivia really was. To be able to wrap his arms around Joan Fontaine and kiss her. She"s one of the most beautiful women I"ve ever seen. She"s also absolutely perfect in the role of the second Mrs. DeWinter, taking a character that could have transformed her into a sympathetic and interesting figure. The movie, on the whole, is similarly amazing, capturing the spirit and the tone of those great Gothic romances. Watching Rebecca, I reminded pleasantly of his other films I have seen, such as The Rear Window, just for Grace Kelley .I love her wonderful show in this film .Actually, I like all the films she was in. And It is a pity that she departed Hollywood and was willing to marry a king in reality.

　I must assume that the guiding hand of Hitchcock played no small role in

　  recreating the feel of a Gothic romance. There are very few that would be able to take a love story, infusing it with such gloom, with such a sense of Gothic scary, and still manage to create something that ends happily . I"d also like to draw everyone"s attention to the incredibly moving section of the film that occurs between the arrival of the second Mrs. DeWinter at Manderly. The emotional change on the Joan Fontaine character is so palpable which pains me to watch. I feel hurt along with her. Few other movies affect me so deeply in emotion.

　On a cliff of south France, she meets an odd, grieved, but glamour man by mistake. Maxim De Winter has lost her wife several years ago. Apparently, he is in blue mood because his wife was drawn herself and even he wants to commit suicide for frustrated love. But the true fact is that Maxim has killed his wife and he could not escape the feeling of evil, and he is in scary everyday .That spirit of Rebecca is wander in Manderly. Then Mr.Winter fall in love with that lovely and kind-hearted girl and propose to her when she is going to leave with her master. So, they come back together to Manderly. Mrs. Danvers has never shown her emotion in the house. She is a woman filled of mystery. Her ramble represent in the room will make you can not breath and quicken your rate of heart. She always representing in where she should have not and with the statue of higher position. It seems that Mrs. Danvers is a Rebecca. In this film ,the photographer has never paned the camera to Mrs. Danvers to display her coming, but make the music and sound go faster than her. Under her caution arrangement in the house, a sense of horrible feeling is flooded into the young lady.

　Mrs. Winter is trapped in uneasy state now. Of course, she eagers to blend with the family life well with the other people. But anything she could find suggests that her husband still love Rebecca. Therefore she planted to wear the new dress like the oil painting in the room so that to make her husband happy and love her more. What is she never can know is that the women in dress on the oil painting is Rebecca, which disclose a murder case many years ago! When Mr. Winter has seen her dress, he is extremely angry. His bad temper and odd manner let her feel hurt. In order to save her heart, he admits that he killed Rebecca, that immoral, heartless and evil-minded

　  woman. Mrs. Winter nearly commits suicide under the huge press coming form Mrs. Danvers. The dead woman, Rebecca, has so much mystery upon her. At this time, the sunken ship with the body of Rebecca is found on the sea and her cause to death allure curiosity. Later, the winter couple knows that Rebecca has infected heavy cancer before her death, and she took advantage of this to revenge Mr. Winter. Mrs. Danvers burn Manderly with herself accounting for she can not receive the result, the Rebecca in reality.

　They contrive sincere and affection love forms each other after they know the fact of all things. I have never known the looks of Rebecca, but felt her Ubiquitous in the room. Mr. Winter and his wife live in the room filled of the letter R, which represent the ex-wife of Mr. Winter, Rebecca, the hostess in Manderly. The film Rebecca has never forgotten to make exaggerated additions to the handkerchief, bed sheet and clothes. And this not existing Rebecca promote the development in this story and affect everyone once has went along with her .It seems like Mrs. Danvers is another Rebecca. And I see a strong and existing form her speech and smile. This typical style to shoot a film is out of the ordinary and imitated by people in the following days to film mystery movies.

篇三：蝴蝶的一个吻触读后感

草人与蝴蝶》读后感

　不知道你读没读过《稻草人与蝴蝶》这本书？它是黛安写的。今天，就让我带着你仔细品读这本书吧。

　这本书主要讲述了黛安的童年，黛安把自己写的这本书献给了自己的童年与故乡。

　作者小时候上学时，总是在村子里逛一圈，看看各家在干什么？然后，又总是第一个到校。那时候，没有钟表，连个马蹄子闹钟都没有。作者就借助纸糊的窗户，看到窗户透白，就知道天快亮了。每到天亮，作者就急忙背上书包出发。

　作者小时候生活条件艰难，没有手机、电脑与电视，只有无尽的大自然，大自然像一张密密的网罩着孩子们。作者喜欢在稻田里窜来窜去；喜欢和小伙伴们挖荠菜、吃荠菜；喜欢在杏花树下背杏花的古诗；喜欢盼着椿树发芽，好让娘做椿芽菜；还喜欢坐在教室里的北墙窗户边上和小花一起看外面一大片的黄油菜花…… 读完这本书，我感受到作者童年的美好与乐趣。我心想：我们一定要珍惜童年的美好时光，珍藏童年的美好。不要虚度时光，让自己的童年乏味无趣，毫无纪念感。当我们长大成人时，再翻一翻自己珍藏的日记本，看看自己童年时样子与做过的几件傻事，你一定会情不自禁地傻笑起来。

　作者：刘璐遥

　指导老师：任萍

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