第一篇：罪與罰英文個(gè)人評(píng)論

A: 看了部小說(shuō)《罪與罰》

B:Year,I read it before.It should be a social novel.A: 恩，是的。我還記得小說(shuō)場(chǎng)景：草市場(chǎng)上眼睛被打得發(fā)青的妓女，污濁的河水中掙扎著的投河自盡的女工，被馬車(chē)撞倒在街頭的窮困潦倒的小公務(wù)員，帶著孩子沿街乞討的發(fā)瘋女人。高利貸老太婆兇狠的眼睛，滿(mǎn)身銅臭的市儈，荒淫無(wú)度的貴族地主。

C: 確實(shí)是一部典型的social novel。那些震撼人心的悲慘畫(huà)面深深印在人們心中。連綿的懸念，跌宕的情節(jié)和急促的文字，使小說(shuō)始終具有緊張感、壓抑感，具有震撼人心的藝術(shù)力量。B：en, description of reality of this novel is really good.But I have something opposite to the author.A:我也有這種感覺(jué)。比如那個(gè)索尼婭。作者把她寫(xiě)得如此高尚，把她看作人類(lèi)苦難的象征，甚至讓她最終將主人公喚回上帝的懷抱。我覺(jué)得不恰當(dāng)。統(tǒng)治者一邊壓迫人民，一邊用宗教告訴他們要忍。那個(gè)索尼婭就是愚民工具的產(chǎn)物。

C: 這點(diǎn)我贊成。小說(shuō)通過(guò)索尼婭式的屈從,宣揚(yáng)逆來(lái)順受鼓吹以宗教信仰來(lái)代替反抗,這無(wú)疑是反動(dòng)的。應(yīng)該反抗才是。

B:I have aquestion.It’s right for the hero to kill the Hostess of Pawnshop ? I feel it very contradictory.C: 這個(gè)嘛。當(dāng)然，我很厭惡她，我覺(jué)得當(dāng)鋪老板娘該死，但這不是殺人的理由。法律上，她是無(wú)罪的。何況主人公殺她只是為了私欲，為了證明自己是個(gè)“不平凡的人”。B:You mean it’s about Morality and law.Maybe you are right.uhn when it's to“extraordinary person”,in this novel, the hero trying to prove that he is not a ordinary people.This “ not ordinary ” should be the oppressors mentioned by the author.As Tuo Dostoevsky wrote in his notes : “ slave or the rulers.” This sentence may be a creation of his apothegms.A: 我覺(jué)得這里是作者思想的又一局限

B: The same idea with me.He believes that in such a societythere was only two possibilities: oppression and the oppressed;only two kinds of people: the oppressors and the oppressed;not, nor can there be a third possibility, and the third force.I think there is a third way: revolution.C: 這個(gè)也不能怪作者，畢竟那個(gè)時(shí)代人們思想較保守。何況西方基督教義實(shí)在是“深入人心”。人在無(wú)路可走時(shí)，也只有這一條出路。這何嘗不是一種悲哀呢。

A: 嘿，你這個(gè)看法很具有歷史性。總的來(lái)說(shuō)，這是一部不錯(cuò)的小說(shuō)，值得一看。喔，對(duì)了，我還得去取郵件，你們慢慢聊，再見(jiàn)了。

B: hei, bring me a bottle of water.See you in the Canteen.

第二篇：《罪與罰》英文讀后感

The main character of the novel Crime and Punishment by Feodor Dostoevsky, Raskolnikov, is in reality two totally contradicting personalities.One part of him is the the intellectual.He is cold, unfeeling and inhumane.He exibits tremendous self-will.It is this side that enables him to commit the most terrible crime imaginablewhat is it to me? At one time Raskolnikov is both caring and concerned and yet he is able to push aside the whole affair by being totally indifferent.The goal of the novel is to make Raskolnikov into one character.Sonya helps bring Raskolnikov back into his emotional, humane side.Through her suffering, she shows him that it is important to have a love for all humanity and that no person should ever be able to exist like a parasite off of another person.Porifery, the official investigating the crime, acts as the intellectual who shows Roskolnikov that all intellect must be used for the good of mankind.

第三篇：?jiǎn)滩妓褂⑽脑u(píng)論

經(jīng)濟(jì)學(xué)人》上喬布斯生平這篇文章會(huì)不會(huì)出考研英語(yǔ)閱讀題?轉(zhuǎn)載了這篇文章的中英文對(duì)照版，希望對(duì)你有所幫助。

《經(jīng)濟(jì)學(xué)人》網(wǎng)絡(luò)版發(fā)表評(píng)論文章，對(duì)喬布斯的逝世做出了默哀，并對(duì)喬布斯的生平進(jìn)行了總結(jié)。指出喬布斯非凡的成就源于其豐富的經(jīng)歷，而喬布斯將科學(xué)技術(shù)與人文科學(xué)和人性相結(jié)合是其產(chǎn)品成功的根本所在。

NOBODY else in the computer industry, or any other industry for that matter, could put on a show like Steve Jobs.His product launches, at which he would stand alone on a black stage and conjure up a “magical” or “incredible” new electronic gadget in front of an awed crowd, were the performances of a master showman.All computers do is fetch and shuffle numbers, he once explained, but do it fast enough and “the results appear to be magic”.He spent his life packaging that magic into elegantly designed, easy to use products.He had been among the first, back in the 1970s, to see the potential that lay in the idea of selling computers to ordinary people.In those days of green-on-black displays, when floppy discs were still floppy, the notion that computers might soon become ubiquitous seemed fanciful.But Mr Jobs was one of a handful of pioneers who saw what was coming.Crucially, he also had an unusual knack for looking at computers from the outside, as a user, not just from the inside, as an engineer—something he attributed to the experiences of his wayward youth.Mr Jobs caught the computing bug while growing up in Silicon Valley.As a teenager in the late 1960s he cold-called his idol, Bill Hewlett, and talked his way into a summer job at Hewlett-Packard.But it was only after dropping out of college, travelling to India, becoming a Buddhist and experimenting with psychedelic drugs that Mr Jobs returned to California to co-found Apple, in his parents’ garage, on April Fools’ Day 1976.“A lot of people in our industry haven’t had very diverse experiences,” he once said.“So they don’t have enough dots to connect, and they end up with very linear solutions.” Bill Gates, he suggested, would be “a broader guy if he had dropped acid once or gone off to an ashram when he was younger”.Dropping out of his college course and attending calligraphy classes instead had, for example, given Mr Jobs an apparently useless love of typography.But support for a variety of fonts was to prove a key feature of the Macintosh, the pioneering mouse-driven, graphical computer that Apple launched in 1984.With its windows, icons and menus, it was sold as “the computer for the rest of us”.Having made a fortune from Apple’s initial success, Mr Jobs expected to sell “zillions” of his new machines.But the Mac was not the mass-market success Mr Jobs had hoped for, and he was ousted from Apple by its board.Yet this apparently disastrous turn of events turned out to be a blessing: “the best thing that could have ever happened to me”, Mr Jobs later called it.He co-founded a new firm, Pixar, which specialised in computer graphics, and NeXT, another computer-maker.His remarkable second act began in 1996 when Apple, having lost its way, acquired NeXT, and Mr Jobs returned to put its technology at the heart of a new range of Apple products.And the rest is history: Apple launched the iMac, the iPod, the iPhone and the iPad, and(briefly)became the world’s most valuable listed

company.“I’m pretty sure none of this would have happened if I hadn’t been fired from Apple,” Mr Jobs said in 2005.When his failing health forced him to step down as Apple’s boss in 2011, he was hailed as the greatest chief executive in history.Oh, and Pixar, his side project, produced a string of hugely successful animated movies.In retrospect, Mr Jobs was a man ahead of his time during his first stint at Apple.Computing’s early years were dominated by technical types.But his emphasis on design and ease of use gave him the edge later on.Elegance, simplicity and an understanding of other fields came to matter in a world in which computers are fashion items, carried by everyone, that can do almost anything.“Technology alone is not enough,” said Mr Jobs at the end of his speech introducing the iPad, in January 2010.“It’s technology married with liberal arts, married with humanities, that yields the results that make our hearts sing.” It was an unusual statement for the head of a technology firm, but it was vintage Steve Jobs.His interdisciplinary approach was backed up by an obsessive attention to detail.A carpenter making a fine chest of drawers will not use plywood on the back, even though nobody will see it, he said, and he applied the same approach to his products.“For you to sleep well at night, the aesthetic, the quality, has to be carried all the way through.” He insisted that the first Macintosh should have no internal cooling fan, so that it would be silent—putting user needs above engineering convenience.He called an Apple engineer one weekend with an urgent request: the colour of one letter of an on-screen logo on the iPhone was not quite the right shade of yellow.He often wrote or rewrote the text of Apple’s advertisements himself.His on-stage persona as a Zen-like mystic notwithstanding, Mr Jobs was an autocratic manager with a fierce temper.But his egomania was largely justified.He eschewed market researchers and focus groups, preferring to trust his own instincts when evaluating potential new products.“A lot of times, people don’t know what they want until you show it to them,” he said.His judgment proved uncannily accurate: by the end of his career the hits far outweighed the misses.Mr Jobs was said by an engineer in the early years of Apple to emit a “reality distortion field”, such were his powers of persuasion.But in the end he changed reality, channelling the magic of computing into products that reshaped music, telecoms and media.The man who said in his youth that he wanted to “put a ding in the universe” did just that.到目前為止，世界上還沒(méi)有哪個(gè)計(jì)算機(jī)行業(yè)或者其他任何行業(yè)的領(lǐng)袖能夠像喬布斯那樣舉辦出一場(chǎng)萬(wàn)眾矚目的盛會(huì)。在每次蘋(píng)果推出新產(chǎn)品之時(shí)，喬布斯總是會(huì)獨(dú)自站在黑色的舞臺(tái)上，向充滿(mǎn)敬仰之情的觀眾展示出又一款“充滿(mǎn)魔力”而又“不可思議”的創(chuàng)新電子產(chǎn)品來(lái)，他的發(fā)布方式充滿(mǎn)了表演的天賦。計(jì)算機(jī)所做的無(wú)非是計(jì)算，但是經(jīng)過(guò)他的解釋和展示，高速的計(jì)算就“仿佛擁有了無(wú)限的魔力”。喬布斯終其一生都在將他的魔力包裝到了設(shè)計(jì)精美、使用簡(jiǎn)便的產(chǎn)品當(dāng)中去。

喬布斯早在20世紀(jì)70年代便已經(jīng)看到了向普通大眾出售計(jì)算機(jī)這塊業(yè)務(wù)的潛力。在當(dāng)年世界還在使用綠黑相間的屏幕、5寸軟盤(pán)的時(shí)代，讓電腦成為家家戶(hù)戶(hù)必備的設(shè)備似乎還是一

個(gè)遙不可及的夢(mèng)想。但是喬布斯是少數(shù)幾位具有遠(yuǎn)見(jiàn)卓識(shí)的先驅(qū)之一。而更為重要的是，喬布斯擁有一個(gè)不尋常的本領(lǐng)，即他不僅會(huì)從工程開(kāi)發(fā)人員的角度從內(nèi)審視電腦，同時(shí)他還會(huì)從用戶(hù)的角度來(lái)從外界觀察人們對(duì)電腦的需求——他將這一本領(lǐng)歸功于他自己任性的青年時(shí)代。

豐富的經(jīng)歷塑造了非凡的成就

喬布斯從小在硅谷長(zhǎng)大，使得他從小便有機(jī)會(huì)耳濡目染到計(jì)算機(jī)的世界。在20世紀(jì)60年代末，他有幸認(rèn)識(shí)了自己心目中的偶像比爾·休利特(Bill Hewlett)，并成功地為自己獲得了到休利特創(chuàng)辦的惠普做暑期兼職的機(jī)會(huì)。此后他在讀了1年大學(xué)后輟學(xué)、前往印度、開(kāi)始篤信佛教并嘗試了迷幻藥劑，最終他選擇回到了加利福尼亞州并與好友聯(lián)合創(chuàng)辦了蘋(píng)果。他的公司于1976年的愚人節(jié)當(dāng)天在他的父母的車(chē)庫(kù)里正式開(kāi)張。他曾經(jīng)表示：“很多在我們這個(gè)行業(yè)的人都沒(méi)有過(guò)如此復(fù)雜的經(jīng)歷，因此他們沒(méi)有足夠的經(jīng)驗(yàn)來(lái)推出非線性的解決方案?！彼硎颈葼枴どw斯“如果在年輕的時(shí)候吸吸迷幻藥或者經(jīng)常去花天酒地一下的話，他的眼界肯定將會(huì)更加開(kāi)闊?！?/p>

例如喬布斯從大學(xué)輟學(xué)并去參加了書(shū)法班，使得喬布斯對(duì)排版產(chǎn)生了濃厚的興趣。但是他學(xué)習(xí)各種字體的目的卻是使之成為麥金塔(Macintosh)系統(tǒng)的核心賣(mài)點(diǎn)，這款由蘋(píng)果于1984年推出的電腦產(chǎn)品還具有開(kāi)拓了鼠標(biāo)驅(qū)動(dòng)、圖形優(yōu)化的特性。其中的窗口、圖標(biāo)以及菜單等用戶(hù)友好的界面和功能被外界視為一款“給大眾使用的電腦”。喬布斯在通過(guò)蘋(píng)果挖得了第一桶金子之后，便期望著通過(guò)未來(lái)新的機(jī)型獲得“數(shù)以?xún)|計(jì)”的收益。但是Mac并沒(méi)有像喬布斯的想象那樣大獲成功，而他自己也被蘋(píng)果踢出了董事會(huì)。

然而塞翁失馬焉知非福，喬布斯在多年以后談到被踢出蘋(píng)果董事會(huì)這件事情的時(shí)候表示，“這是我人生經(jīng)歷當(dāng)中最令人高興的一件事?！彼陔x開(kāi)蘋(píng)果后又聯(lián)合創(chuàng)辦了皮克斯動(dòng)畫(huà)公司(Pixar)，專(zhuān)攻電腦動(dòng)畫(huà)業(yè)務(wù);并又創(chuàng)辦了另外一家從事電腦產(chǎn)品生產(chǎn)的企業(yè)NeXT。他于蘋(píng)果在1996年陷入困境的時(shí)候再度出山，在蘋(píng)果收購(gòu)了NeXT之后再度將自己的創(chuàng)意注入到了蘋(píng)果的系列產(chǎn)品當(dāng)中。之后的歷史便成為了經(jīng)典：蘋(píng)果先后推出了iMac、iPod、iPhone以及iPad，并且很快便成為了全世界市值最高的企業(yè)之一。喬布斯在2005年表示：“我敢肯定，如果蘋(píng)果當(dāng)年沒(méi)有開(kāi)除我的話，這一切都不會(huì)發(fā)生?！敝钡剿?011年8月由于健康原因辭去CEO職務(wù)之前，他一直被外界視為最杰出的CEO。而皮克斯作為喬布斯的一個(gè)副業(yè)產(chǎn)品，也為大眾帶來(lái)了大量精彩的動(dòng)畫(huà)電影。

將技術(shù)與人性結(jié)合，追尋內(nèi)心的直覺(jué)

回顧喬布斯的一生，喬布斯早在開(kāi)發(fā)出第一款蘋(píng)果電腦時(shí)便已經(jīng)遠(yuǎn)遠(yuǎn)地走在了時(shí)代的前沿。早年的計(jì)算機(jī)技術(shù)主要是強(qiáng)調(diào)技術(shù)，而喬布斯則率先關(guān)注了設(shè)計(jì)以及使用的便捷性，這也為他在后來(lái)推出產(chǎn)品的特性奠定了基礎(chǔ)。在他心目當(dāng)中，電腦應(yīng)該是一款優(yōu)雅、簡(jiǎn)潔并且可以輕松方便地用來(lái)了解世界的時(shí)尚產(chǎn)品，而大眾應(yīng)該人手一份，同時(shí)可以用它來(lái)做任何事情。喬布斯在2010年1月發(fā)布iPad時(shí)，在演說(shuō)收尾時(shí)指出：“單靠科技是遠(yuǎn)遠(yuǎn)不夠的，必需要讓科技與人文科學(xué)以及人性相結(jié)合，其成果必需能夠讓用戶(hù)產(chǎn)生共鳴?！边@段臺(tái)詞對(duì)于科技業(yè)的領(lǐng)袖來(lái)說(shuō)十分不可思議，但是如果了解了喬布斯的背景的話，這也不難理解他為何會(huì)如此表述了。

他將自己把不同行業(yè)和學(xué)科集成的思維歸功于自己關(guān)注細(xì)節(jié)。他表示，“為了讓自己能夠睡個(gè)好覺(jué)，我必須確保所有產(chǎn)品的外觀美學(xué)、設(shè)備質(zhì)量都必須一絲不茍地完成。”他在開(kāi)發(fā)第一臺(tái)麥金塔電腦的時(shí)候曾經(jīng)強(qiáng)烈要求電腦不能內(nèi)置冷卻扇，以確保電腦運(yùn)行的時(shí)候能夠足夠安靜——他將用戶(hù)的需求凌駕于了工程設(shè)計(jì)之上。他還曾經(jīng)命令一位蘋(píng)果的工程師花一個(gè)周末的時(shí)間加班解決iPhone的屏幕上一個(gè)字母的顏色不顯示精確的問(wèn)題。同時(shí)他還會(huì)經(jīng)常自己撰寫(xiě)或者修改蘋(píng)果的廣告文字。

喬布斯在公眾場(chǎng)合上是一個(gè)如禪宗一般神秘的人物。他是一個(gè)專(zhuān)制而脾氣暴躁的經(jīng)理人。但是他是有狂妄的本錢(qián)的。他在評(píng)估和開(kāi)發(fā)潛在新產(chǎn)品的時(shí)候總是拒絕使用市場(chǎng)調(diào)研以及觀察機(jī)構(gòu)，而更樂(lè)意相信他自己的直覺(jué)。他表示：“很多情況下，人們?cè)谝?jiàn)到一件新事物之前是很難說(shuō)出自己到底想要什么的?！倍挠^點(diǎn)在大多數(shù)情況下毫無(wú)疑問(wèn)是正確的：在他的職業(yè)生涯中，他的成功遠(yuǎn)遠(yuǎn)超過(guò)了失敗。一位蘋(píng)果的早期員工稱(chēng)喬布斯擁有“屏蔽現(xiàn)實(shí)”的本領(lǐng)，以便追尋自己的內(nèi)心直覺(jué)，但是最終他卻能夠改變現(xiàn)實(shí)，通過(guò)魔法般的手段重塑了電腦與音樂(lè)、通訊以及媒體的關(guān)系。喬布斯在年輕的時(shí)候曾經(jīng)表示“希望能夠做出一番讓宇宙為之一震的事業(yè)?！倍驳拇_做到了。

第四篇：三個(gè)火槍手 英文評(píng)論

The Three Musketeers

Title（English and Chinese）：The Three Musketeers

三個(gè)火槍手/三劍俠3D：雙城暗戰(zhàn)(香港譯名)/3D劍客聯(lián)盟：云端之戰(zhàn)(臺(tái)灣譯名)Company ：Summit Entertainment

Director：Paul W.S.Anderson

Scriptwriter：Alex Litvak, Andrew Davies

Cast：Logan Lerman....D'Artagnan

Milla Jovovich....Milady de Winter

Matthew Macfadyen....Athos

Luke Evans....Aramis

Ray Stevenson....Porthos

Orlando Bloom....Duke of Buckingham

Christoph Waltz....Richelieu

Freddie Fox....King Louis XIII of France

Juno Temple....Queen

The year：2011

1.Introduction

This movie talks about that in the 17th century French Catholic and

protestant fighting for the historical context, the protagonist D'Artagnan and other three musketeers try to retrieve the queen's necklace and break the many obstacles set by the cardinal Richelieu, finally saved the reputation of the queen's and the peace of their country.2.Argumentation

In act I the director set a hook which is in a dive into Da Vinci chamber of the action the three musketeers Athos, Aramis, Porthos who are betrayed by Milady and Buckingham.They have to prowl the country.After successfully attract the attention of the audience, the protagonist D'Artagnan comes to the stage: Three years later, three people meet the young knight errant D'Artagnan in Paris, all of them are no discord, no concord.The key line is four people for the same hatred of evil master education in cardinal Richelieu and freemasonry.They form into an elusive swordsman alliance, punishing evil eliminating traitors and completing secret missions.In act II shortly they accidentally know the cardinal plans to provoke the Anglo-French relations and destroy their own countries with making a royal scandal which is to make a misunderstanding between King Louis and Queen Anna.In addition to timely preventing Richelieu’s rebellion plan, saving the people suffering from war, and taking a revenge to Buckingham and Milady, the three musketeers decide to across the English Channel and fight from Paris to London, from the land to the sky with D'Artagnan.In act III the denouement is looks like eventually they shatter Richelieu’s

intrigues which is maintaining the queen Anna innocence, keeping peaceful relations of Britain and France, however, in the last scene, Buckingham led his flybrow army already to attract France which left to the audience infinite imaginary space.3.Conclusion

This movie is adapted from Alexandre Dumas’ famous novel The Three Musketeers.Dumas try to transmit the knight creed: One for all, all for one

which lasted till today.The Three Musketeers is a marvelous journey and should be appreciated foremost for its engaging story.The techniques Dumas employed to such success in 1840--particularly his mastery of the form of the

Romance--still work in this movie.The director said” The content of the whole novel is very compact and almost flawless.So I removed some too wordy and aggravating plots and background, make the film into a risk as the main line of the story”.In this movie, France and England very nearly fight a war simply because the Duke of Buckingham loves Anne of Austria and so on.The dramatic plots and continuous suspense make the audiences cannot help carrying on.References

Alexandre Dumas．The Three Musketeers[M]．Lowell Bair，translated．New York：Bantam Books，1984．

樊麗芳.《三個(gè)火槍手》——法國(guó)歷史通俗小說(shuō)典范之作[D].湘潭大學(xué)，2009.影視歌空間：http://hi.baidu.com/chinagcw/item/f9d8b61bea6fdcf587ad4ea0

第五篇：《罪與罰》讀后感

《罪與罰》讀后感范文三篇

《罪與罰》讀后感范文1

對(duì)莉扎韋塔的人物理解

高中時(shí)就聽(tīng)說(shuō)過(guò)俄國(guó)著名作家陀思妥耶夫斯基的著作《罪與罰》然而真正拿起這個(gè)沉甸甸的書(shū)則是在大一，但是我讀得囫圇吞棗，只是把大致的情節(jié)啃完。時(shí)隔半年再拿起這本書(shū)，又有另外的感覺(jué)。才發(fā)現(xiàn)《罪與罰》像一劑中藥，剛開(kāi)始喝感覺(jué)苦澀難以下咽但細(xì)細(xì)品味那份甘甜才在口中蔓延，最后達(dá)到了健強(qiáng)筋骨的功效。

在罪與罰中最值得探究的角色我認(rèn)為除了拉斯科爾尼科夫外首推莉扎韋塔。全本莉扎韋塔的著墨并不多，只有在第一章有較多的描寫(xiě)，中間完全沒(méi)有提及，只在最后索尼娜把莉扎韋塔的銅質(zhì)十字架交給拉斯科爾尼科夫時(shí)略有提及。

細(xì)細(xì)閱讀全文之后我對(duì)其中的一個(gè)細(xì)節(jié)感覺(jué)十分奇怪。拉斯科爾尼科夫用斧子不但劈死了放高利貸的老太婆阿廖娜，也劈死了偶然看到拉斯科爾尼科夫殘忍舉動(dòng)的無(wú)辜的老太婆的妹妹莉扎韋塔。作者為什么要安排拉斯科爾尼科夫殺死兩個(gè)人？既然安排男主人公殺死兩個(gè)人，那為什么后文對(duì)于莉扎韋塔的死卻很少提及，莉扎韋塔可以說(shuō)似乎被完全忽視了呢？在拉斯科爾尼科夫幾次敘事中也只是一再?gòu)?qiáng)調(diào)阿廖娜的死，當(dāng)他對(duì)索尼婭坦白的時(shí)候，他說(shuō)“我不過(guò)殺了一只虱子，索尼婭，我殺了一只不中用的、討厭的、有害的虱子。“連負(fù)責(zé)行刑的波爾菲里·彼得洛維奇在勸拉斯科爾尼科夫自首的時(shí)候也說(shuō)：“幸好，您只殺死了一個(gè)老太婆，如果您想出另一套理論，也許您會(huì)干出要壞一萬(wàn)萬(wàn)倍的事情來(lái)?！罢啃≌f(shuō)就算刪掉莉扎韋塔這個(gè)人故事似乎完全沒(méi)有影響，那么作者為何要安排莉扎韋塔這個(gè)人物呢？

莉扎韋塔在我看來(lái)是個(gè)大個(gè)子的傻女人。她雖然和她的同父異母的姐姐阿廖娜一起生活，相依為命，兩人之間卻不是相互扶持相互幫助而更像是上下級(jí)的關(guān)系。莉扎韋塔起早貪黑為姐姐做事，平日的生意由姐姐阿廖娜做主，所得錢(qián)全數(shù)交給阿廖娜，就連阿廖娜死后的財(cái)產(chǎn)她也一個(gè)子都得不到。但她似乎毫無(wú)怨言。更讓人驚奇的是她經(jīng)常懷孕，用書(shū)中大學(xué)生的話來(lái)說(shuō)“她是如此溫柔、柔順、馴服、隨和；什么都能答應(yīng)“.所以無(wú)論男子是真心對(duì)她還是只是將她當(dāng)作泄欲的工具，她都沒(méi)有拒絕。她像是一個(gè)苦難的黑洞，什么壓迫和欺凌她都能吞下去，都能消化掉。她低到塵埃里但沒(méi)能開(kāi)出花來(lái)，她的沉默和隱忍讓她所做在一切在別人看來(lái)是理所應(yīng)當(dāng)?shù)?，像自然法?guī)一樣順理成章。而正因?yàn)槿绱?，她才?huì)越發(fā)的受人怠慢，被人遺忘，以至于就連她的死也經(jīng)不起一絲波瀾。由此可看作者寫(xiě)莉扎韋塔的.篇幅較少也正符合了人物性格和地位的設(shè)定。

因此拉斯科爾尼科夫在后文沒(méi)有提及莉扎韋塔可能有兩個(gè)原因。第一個(gè)原因是在拉斯科爾尼科夫心里認(rèn)為無(wú)論在他自己看來(lái)還是其他人看來(lái)莉扎韋塔都是一個(gè)可有可無(wú)的存在，就算她消失了也不會(huì)有人記得。因此也不用在意她的死亡，甚至無(wú)需掩藏。莉扎韋塔的死就像是一片葦葉落在水面引不起太大波瀾反而會(huì)隨著水的流逝徹底消失在人們的視線中。第二個(gè)原因可能是莉扎韋塔在他心里始終是一根不愿提及的刺。他的無(wú)政府主義和激進(jìn)的思想促使他把自己想成像拿破侖一樣，他認(rèn)為殺掉像蚊子一樣不斷吸食人血和像帝王般肆意掌握租客生死阿廖娜是正義之舉，是勇敢的行為，是歷史賦予他的使命。但是莉扎韋塔是一個(gè)像白紙一樣人，她是一個(gè)全然無(wú)辜的人。只是在偶然的情況下她看到了拉斯科爾尼科夫的罪行然后被滅口了。這在拉斯科爾尼科夫的心里留下了一個(gè)裂痕，使他的壯舉，那本應(yīng)該被人贊頌的行為染上了污點(diǎn)。他那被激進(jìn)所蒙蔽的良心受到了第一輪的重?fù)簦辉敢馊ハ肜蛟f塔更不愿意承認(rèn)莉扎韋塔的死亡。因?yàn)樗辉敢馊コ姓J(rèn)自己的錯(cuò)誤和罪行。這有點(diǎn)像宗教里的“原罪“,宗教里認(rèn)為人生來(lái)就是有罪的。莉扎韋塔就像是拉斯科爾尼科夫的“原罪“,拉斯科爾尼科夫?qū)λ龥](méi)有任何惡意因?yàn)楸灸芏鴼⒘怂?/p>

莉扎韋塔在我看來(lái)象征著最廣大的底層人民，他們像組成這個(gè)世界的一粒粒塵埃，必不可少但是默默無(wú)聞。他們是這個(gè)社會(huì)的基石，卻也是最容易被忽視的存在。他們勤勤懇懇，安分守己，善良淳樸但是被所謂的上層壓迫剝削甚至被肆意的殺戮。他們的悲慘甚至引不起應(yīng)有的同情和幫助，即使是在同階層的人之中。而他們本身自己對(duì)自己的狀況也是不自知的，即使知道他們也認(rèn)為自己無(wú)法反抗而一味的去承受了。

莉扎韋塔在我看來(lái)是個(gè)大個(gè)子的傻女人。她雖然和她的同父異母的姐姐阿廖娜一起生活，相依為命，兩人之間卻不是相互扶持相互幫助而更像是上下級(jí)的關(guān)系。莉扎韋塔起早貪黑為姐姐做事，平日的生意由姐姐阿廖娜做主，所得錢(qián)全數(shù)交給阿廖娜，就連阿廖娜死后的財(cái)產(chǎn)她也一個(gè)子都得不到。但她似乎毫無(wú)怨言。更讓人驚奇的是她經(jīng)常懷孕，用書(shū)中大學(xué)生的話來(lái)說(shuō)“她是如此溫柔、柔順、馴服、隨和；什么都能答應(yīng)“.所以無(wú)論男子是真心對(duì)她還是只是將她當(dāng)作泄欲的工具，她都沒(méi)有拒絕。她像是一個(gè)苦難的黑洞，什么壓迫和欺凌她都能吞下去，都能消化掉。她低到塵埃里但沒(méi)能開(kāi)出花來(lái)，她的沉默和隱忍讓她所做在一切在別人看來(lái)是理所應(yīng)當(dāng)?shù)模褡匀环ㄒ?guī)一樣順理成章。而正因?yàn)槿绱?，她才?huì)越發(fā)的受人怠慢，被人遺忘，以至于就連她的死也經(jīng)不起一絲波瀾。由此可看作者寫(xiě)莉扎韋塔的篇幅較少也正符合了人物性格和地位的設(shè)定。

因此拉斯科爾尼科夫在后文沒(méi)有提及莉扎韋塔可能有兩個(gè)原因。第一個(gè)原因是在拉斯科爾尼科夫心里認(rèn)為無(wú)論在他自己看來(lái)還是其他人看來(lái)莉扎韋塔都是一個(gè)可有可無(wú)的存在，就算她消失了也不會(huì)有人記得。因此也不用在意她的死亡，甚至無(wú)需掩藏。莉扎韋塔的死就像是一片葦葉落在水面引不起太大波瀾反而會(huì)隨著水的流逝徹底消失在人們的視線中。第二個(gè)原因可能是莉扎韋塔在他心里始終是一根不愿提及的刺。他的無(wú)政府主義和激進(jìn)的思想促使他把自己想成像拿破侖一樣，他認(rèn)為殺掉像蚊子一樣不斷吸食人血和像帝王般肆意掌握租客生死阿廖娜是正義之舉，是勇敢的行為，是歷史賦予他的使命。但是莉扎韋塔是一個(gè)像白紙一樣人，她是一個(gè)全然無(wú)辜的人。只是在偶然的情況下她看到了拉斯科爾尼科夫的罪行然后被滅口了。這在拉斯科爾尼科夫的心里留下了一個(gè)裂痕，使他的壯舉，那本應(yīng)該被人贊頌的行為染上了污點(diǎn)。他那被激進(jìn)所蒙蔽的良心受到了第一輪的重?fù)?，他不愿意去想莉扎韋塔更不愿意承認(rèn)莉扎韋塔的死亡。因?yàn)樗辉敢馊コ姓J(rèn)自己的錯(cuò)誤和罪行。這有點(diǎn)像宗教里的“原罪“,宗教里認(rèn)為人生來(lái)就是有罪的。莉扎韋塔就像是拉斯科爾尼科夫的“原罪“,拉斯科爾尼科夫?qū)λ龥](méi)有任何惡意因?yàn)楸灸芏鴼⒘怂?/p>

莉扎韋塔在我看來(lái)象征著最廣大的底層人民，他們像組成這個(gè)世界的一粒粒塵埃，必不可少但是默默無(wú)聞。他們是這個(gè)社會(huì)的基石，卻也是最容易被忽視的存在。他們勤勤懇懇，安分守己，善良淳樸但是被所謂的上層壓迫剝削甚至被肆意的殺戮。他們的悲慘甚至引不起應(yīng)有的同情和幫助，即使是在同階層的人之中。而他們本身自己對(duì)自己的狀況也是不自知的，即使知道他們也認(rèn)為自己無(wú)法反抗而一味的去承受了。

《罪與罰》讀后感范文2

《罪與罰》這本書(shū)主要講述了一個(gè)極其窮困的大學(xué)生，因痛恨當(dāng)鋪老板娘的盤(pán)剝，憤而行兇——?dú)⒘死习迥?，卻自以為是伸張正義。但以后的日子里，他飽受殺人的恐懼，良心的譴責(zé)。最后，他醒悟了。在家人、朋友的幫助下，投案自首。

其實(shí)那位大學(xué)生有正義感是好事，可我認(rèn)為他用了一種最極端的方式去伸張正義，結(jié)果事得其反。變成了殺人兇手。有時(shí)候，在做一些事情之前，要想清楚這些事該怎么做，事情才能做得更好，更完美。而那位大學(xué)生正是因?yàn)樘蘩习迥?，頭腦發(fā)熱，才殺人行兇的。

但主人公畢竟是受過(guò)教育，有良知的一個(gè)人。他在殺人后十分不安，就怕自己被抓。這時(shí)，我想他已經(jīng)明白，自己即使逃脫了，也會(huì)不安地度過(guò)一生。于是，大學(xué)生首先把殺人的事實(shí)告訴了自己的愛(ài)人、親人、朋友。并最后告訴了警官。這也是這本書(shū)要告訴我們的第二個(gè)道理：在你犯錯(cuò)后，一定要勇于去承擔(dān)責(zé)任，而并不是去逃避。因?yàn)檫@樣，你的一生都會(huì)充滿(mǎn)恐懼。

所以，我們一定要用大腦思考后才能做事。哪怕做錯(cuò)了，也要敢于承認(rèn)事實(shí)。這也就是《罪與罰》要告訴我們的道理。

《罪與罰》讀后感范文3

最近我讀了一部有關(guān)社會(huì)心理的小說(shuō)。小說(shuō)描寫(xiě)了貧困交迫的大學(xué)生羅佳·拉斯柯尼柯夫因痛恨放貸款的老板娘的盤(pán)剝，憤而行兇，卻自認(rèn)為是伸張正義。然而由于殺人的恐懼、良性的譴責(zé)，使其飽受心靈的煎熬，整日心驚膽戰(zhàn)，最終在愛(ài)人、朋友、家人和警官的幫助下投案自首。

這部小說(shuō)譜寫(xiě)了不朽的長(zhǎng)歌。小說(shuō)中的羅佳啊!你是個(gè)大學(xué)生應(yīng)該很有自判能力的，當(dāng)我讀到：“他們說(shuō)的沒(méi)錯(cuò)我這么做是為了伸張正義，是為了補(bǔ)救更多的貧困大學(xué)生，就不會(huì)有那么多跟我一樣的大學(xué)生受苦受難了?！边@句話你表面上是在在同情別人，其實(shí)你是在虛掩自己脆弱不敢的負(fù)面心理。后來(lái)我又讀到：“卡琳達(dá)——你的妹妹，比爾——你的妹夫他們整天奔波在外是為了什么，是為了你啊?！绷_佳你有那么多的親人、朋友，你為什么不珍惜卻去干出那么蠢的事。而且那老太婆有肺炎過(guò)不了多久就會(huì)死的你想為了一個(gè)對(duì)社會(huì)百害無(wú)一利的人需要用一個(gè)英才去除掉他呢?