秋天的雨教案-读老人与海有感

德宏师范高等专科学校学报
2011年第2期第20卷
No2.2011vol .20
从语言的角度论电影《推手》中的跨文化适应过程
李冬竹
（德宏师范高等专科学 校外语系，云南芒市，６７８４００）
【摘要】
语言与文化关系密切。通过分析李安电影《推手 》（
1992
）中的有声语言和无声语言
（包括五个场景中的六个对话，以及三个对人 物的无声语言的描述），揭露了电影中的中国公公与美国
儿媳的跨文化适应过程。本文试图引导读者从语 言的角度来理解电影中的跨文化交际，展现了导演李
安对于中美文化冲突的敏锐洞察力。
【关键 词】电影《推手》；有声语言；无声语言；跨文化适应
PartⅠIntroduction
P ushingHands(1992)wasdirectedbyAng
Lee,whowasbor ninTaiwanin1954andstudied
atNewYorkUniversityle arningfilmmakingin
mewell-knownjustaftertherele ase
waneseupbringing,whichkept
himdeeplyroot edintheChinesewayofbeingand
living,combinedwith hiswell-informedunder-
standingofWesterncustoms andfilmmakingtech-
niqueshaveallowedhimtodispla ythetwoworlds
inawaynootherdirectorhas.
Them ainideaofthefilmwillbeintroduced
edChineseTaich ipro-
fessor,,wenttoAmericatolivewithhis
son ,ZhuXiaosheng,acomputerprofessional,who
hadmarr iedanAmericanwomancalledMarsha,a
plehadasonname d
rdailylife,conflictsarosebe-
tweentheChine se-father-in-lawandhisAmeri-
ately,thetwosides< br>graduallyadaptedtoeachother
’
sculturelat eral-
thoughtheprocesswaspainful.
Somepeople havedonecertainresearchon
mple,Meifeng(1995),Xu feng
收稿日期：2011-05-04
作者简介：李冬竹（
1981-
( 1997),Lichen(2004),andYubin(2007)focusedon
thed ramapresentationofthefilm,andMoXiaoqing
(2004), ChenXiuyuan(2008)andWangLinlin(2009)
concentrat edonthecross-culturalcommunicationin
thefilmbya nalyzingtheplotorthemeofthefilm.
However,thestu dywillanalyzethecross-cultural
communicationint hefilmfromlinguisticperspective.
Languagehasacl oserelationshipwithculture.
AsXuLishengsaid,
“
Culturalpatterns,customsand
e-spe-
cif icworldviewsarereflectedinlanguage
”
(2004:< br>156).Sapir-Whorfhypothesisalsostatesthatlan-
guageisaguidetosocialreality(Samovaretal,
1991 :151).Becauseoftheinterplaybetweenlan-
guageand culture,thechangeofthelanguageofpeo-
plefromdif ferentcultureswhilegettingalongwith
oneanotherf oraperiodoftimemayreflecttheir
yzingboth
the verbalandnonverballanguageinthefilm,the
thesisa ttemptstodetectthecross-culturaladaptation
proc essbetweentheretiredChineseTaichiprofessor
ore, the
studymayleadthereaderstounderstandthecross-
culturalcommunicationinthefilmfromanewper-
），女，云南龙陵人，德宏师范高等专科学校外语系教师，现为云南大学外国语学院
英语系在读硕士研究 生。研究方向：跨文化交际。
73

李冬竹：从语言的角度论电影《推手》中的跨 文化适应过程
spective.
PartⅡLanguageAnalysisof
PushingHands
ThefilmstartswithZhuXiaosheng
’
sfamily
lifeonemonthafterhisfather
’
sarrival,soMr.
Zhu
’
sfirststageofadaptat iontothelifeinAmeri-
ca,whichwasdescribedas
“
Euphoria
”
stageby
Oberg:
“
fa scinatingandexcitingnewenvironment
”
(Benek, 2002:1),
is,theChinese-father-in-law
’
se xcitementofnew-
lyarrivalinAmericaalreadypassed awayandhe
startedtofacetheconflictsbetweentheCh inese
guageto
beanalyzedintherestadaptationp rocesswillbe
takenfromfivescenesofthefilmintime order.
BecauseonlytheChinesesubtitlewasprovided in
thefilm,somedialoguesinEnglishandthecharac-< br>ters
’
nonverballanguagetobeanalyzedhavet obe
takendownwhilewatchingandlisteningtothefilm
resixdialoguesandthreerepre-
sentationsofth echaracters
’
nonverballanguagein
lsenten cestobeanalyzedinthedia-
logueshavebeenmarkedwi thArabicnumbersfor
convenience.
2.1ConflictA risingfromDailyLife
Atthebeginningofthefilm,Mar -
shainteractedthrough
“
bodymovementorki nesics
andposture(Samovaretal:189)
”
foro versixmin-
practicingTaichiinthesitting
room whileMarshawastypinganovelinfrontofa
computerin thestudy,withthedooropen,from
shinghereand
e actionsthey
madeorverbphrasesunderlinedinScene( 1)as
follows,itcanbedetectedthatMarshawashighly

’
sbodymovementsandbe-
notfeelfreefr om
herreaction,either.
Scene(1)
cticedTai chiintheSittingRoom
RepresentationoftheCharacte rs
’
Nonverbal
Language
74
Marshaco uldn
’
tconcentrateandmadeasign,
ching,tu rnedto
thefridgeinthekitchen,dugherfingerintoac ake,
tinued
tbacktothestudy,sittingand
br ooding,andhearda
“
Pa
”

’
skick ing
t
feelsomethingandpulledthesofabackandse tback
otherfurniture,whichhehadputasideforaspac eto
nheleftthesittingroom,
wentupstairstohis ownroom,andwashedhishands
sensedkeenlyallthetin ytouches
upstairsandsqueezedsomethinghardinherr ight
ppedtheblindandthrewamaton
thefloorands tartedtomeditateandsignedheavily
…
(Lee,1992 :0
—
6
’
40
”
)
Marshahaddone themost

practicedTaichiasmanyelderlypeopled idinChina
whiletheotherrequiredaprivatespaceath omeas
ingconflictsasshownby
theirnonverballa nguagewereactuallyrootedinthe
differentvaluesof theChinesepeopleandtheAmer-
ionally,theChinesep eoplere-
specttheireldersandfeeladeepsenseofdut yto-
enrepaytheirparents
’
sacrifices
bybeingsuccessfulandsupportingtheminoldage.
Inc ontrast,takingcareofagedparentsisoften
viewedas atremendousburdeninAmerica,where
agingandfamily supportarenothonoredhighly(Xu
Lisheng,2004:94). Americansdon
’
tfeelobligedto
raisetheirp arentswhilemostAmericanparentsare
notwillingtob eaburdenoftheirchildren,either
(HuWenzhong,2005 :180).
Moreover,differentvaluesineducationanddi f-
ferentwaysofreasoningalsoshowedupbetweenthe< br>Chinesefather-in-lawandhisAmericandaughter-
lowingtwodialoguesinpart(A)and
(B)ofScene(2)are anillustration.
Scene(2)
(A)JeremybackHomeInteractionMilieu:Jeremycamehomefrom

李 冬竹：从语言的角度论电影《推手》中的跨文化适应过程
Dialogue
:(1)Jerem y,
乖。
Jeremy:
爷爷我回来了
:(2)
啊，好乖
,
哈！
Marsha:What
’
sthat?
Jeremy:It< br>’
sabookthatImadeforyou
…
(Jim
tell sthestoryofhisminibook)
Marsha:(laughingapprovi ngly)(3)Jimdefinite-
lygetsnewidea
…
(Lee :14
’
20
”—
14
’
55
”
)
(B)Eatingtogether
InteractionMilieu:ablockofmeatonhisson
’
sbowlandthenwouldputanother
onMarsha
’
splate,butsherefused.
Dial ogue
:(4)
这美国女人，光吃青菜怎么顶
事？
咱们古有明训……
（
Marshakeptinterruptingaboutthehouseuntil
Xiaoshengstoppedbothofthemannoyingly.
）
Mars ha:(16)What
’
shebabblingabout?
Xiaosheng :Violenceincartoons.
Marsha:(17)He
’
scom plaining?(18)Heisa
martialartsexperthimself.
(19)Isn
’
titviolentenough?
(Lee:16
’
47
’’—
18
’
51
”
)
eatedt heChinesecharacter
“乖”
twiceinsentence(1)and (2)inpart(A),which
means
“
goodboywithana tureofobedience
”
.His
wordsrevealedmanyC hinesepeople
’
svalueinchil-
dreneducatio nthatobedienceisoftenemphasized,
partiallydueto thattheChinesecultureemphasizes
r,
seemedtoe xpecttheobediencefromnotonlyhis
grandson,butals ohisAmericandaughter-in-law.
WhenMarshadeclined themeathepassedtoher,he
saidasinsentence(4),add ressingMarsha,
“这美国
女人”
,whichmeans
“< br>thisAmericanwoman
”
.He
waslikelytotal kaboutsomeonethathadnorela-
tionshipwithhimandM arsha
’
sgenderwasempha-
sizedinthesenten ce,probablyshowinghisfrustra-

madeupmoreinf ormationtoprovehiscorrectness
andauthoritywithl ongsentenceswiththeChinese
idiomsinsentence(6), (7)andancientChinesepat-
ternsas
“之”
mean ing
“
of
”
in(8).Afterheunder-
stoo dthatMarsha
’
spremisetoletJeremywatchTV,
hepresentedhisideadisapprovinglyinsentences
(1 2),(13)and(14),startingwith
“这美国教小孩”
,
wh ichmeans
“
theAmericanwaytoteachchildren
”
,
andgoingonwithanotherlongsentences,withc ita-
tionandancientChinesepatternsagain,suchas< br>“唯
恐”
meaning
“
justnotbeingafraido f
”
insentence
Xiaosheng
：她怕胖。
:(5)
我怎么不胖？
(6)
这地球上有一种
东西，五谷杂粮、果木蔬菜，属于隐性。 （
Marsha
stoppedeatingandstaredathim.
）(7)
另一种东西，
牛羊猪鸡，是显性的。
(8)
两种东西配合起来吃， 才
能补先天之不足。
（
Marshainterruptedaboutherfri end
’
sinten-
tiontosellthemabighouse
）
:(9)
她嘀咕什么？
…
Jeremy:Mum,canIwatchca rtoon?
:
来杰米，吃块肉。吃肉长肉，啊。
Jeremy:
我不要，谢 谢。
Marsha:Jeremy,finishmilkandyoucanwatch
TV .
:(10)
（她）说什么？
Xiaosheng:(11)
喝完奶才看电视 。
:(12)
这美国教小孩，好像做买卖，什
么都谈条件。
Marsha:Y oushouldatleastlookatthepho-
tos,theyare...
:(13)
这小孩吃饭都不专心，还有什
么是值得专心的呢
?
(14)
还有这美国动画，完全是怪力乱神，唯恐
天下不乱。哪可以给孩子看？简直是鬼打架。
(15 )
(14).Furthermore,
insentence(4),(5),(12),( 13),(14)and
(15),itcanbefoundthathehadclearlycu taline
betweenhimandMarshawhoweretherepresenta-
tivesoftheChinesecultureandtheAmericaculturerespectively.
75

李冬竹：从语言的角度论电影《推手》中 的跨文化适应过程
OnMarsha
’
spart,herviewonchildr enedu-

’
edin
sentence(11),beforehers onwantedtodosome
otherthingsoutofroutine,shegav ehimchoicesto
dsindicate
thatbothindividualc hoicesandobligationsareem-
ld
talkingabout,a nd
tookthephrase
“
babbleabout
”
in sentence
(16)todescribethewayhetalked,withthesa me
meaningas
“嘀咕”
,
todescribehertalki nginsentence(9).Marsha

’
swithdarting
andforcefulshortsentencesasinsentence(17),
(18 )and(19).Sheappliedarelativelyclear
logictoreas onherealthoughshemisunderstoodthe
sdifferentfro mMr.
Zhu
’
sreasoningwithcitations.
In short,fromtheabovetwodialogues,itcan
Marshahadd ifferent
valuesinchildreneducation,andtheythoug htin
differentways,whichcanbefoundfromtheirdif-
ile,theyjudged
eachother
’
seducation almethodswiththestan-
dardoftheirownculture,ref lectingtheirethnocen-
trism,whichwasharmfulfort heirmutualunder-
standing.
2.2CultureShockSy mptoms
Marsha
becamemoreandmoreintenseandthe ybothhad
nbeseen
frombothverbalandnonverball anguageinpart
(A)and(B)inScene(3).
Scene
（
3
）
(A)Marsha
’
sStomachache
I nteractionMilieu:Marshahadastomachcrab
andXiaos henghelpedherlieonthecouch.
Representationofthe Characters
’
Nonverbal
Language
tuptot akethepulseforMarsha.
Hepressedacertainspotonhe rwristandMarsha
wasstaringathimalertlybutalmost gotasleep
76
ssedharderabruptly,
andMarsh ascreamedinnotimeandgotastomach
hemorrhage.
(Lee:38
’
50
”—
39
’
45
”
)
(B)
’
sGettingSick
InteractionMilieu :Xiaoshengwasforcedto
makeadecisiontosendhisfat hertotheoldmen
’
s
apartment,butfoundhisf atherwassickinthebed.
Dialogue
Xiaosheng:
我给您请医生去吧。

：你呀，公司事情重要，不要为我的
事耽搁了。
Xia osheng:
爸，您别逞强了。
（嘀咕）怎么可能病了？
(1)
您这身体< br>从来不病，一病就要人命，还替您请医生吧。

：唉！
就躺下了嘛。
(2 )
五脏不平
,
气走不顺，人
(Lee:63
’
35
”—
64
’
25
”
)
Marshagotastomach acheasdescribedinpart
(A).She
“
staredat< br>”
nbeingtaken
pulsebyhimandwasoveranxious abouthistouch-
engshowed
hisworryabouthisfat her,signing
“一病就要人
命”
insentence(1),which means
“
ifaperson
whoseldomgetssickbecome sillsuddenly,hisor
hersituationmaybedangerous”
.lained
thereasonofhissituationinsentenc e(2),
“五脏
不平
,
气走不顺”
,whichmeans
“
becausemyguts
areindisorder,mybreathcanno tgosmoothly
”
.His
wordsindicatedthathisb adhealthconditionwas
renderedmainlybycompressed angerwhichoriginat-
edfromhisfailingtodealwitht herelationshipwith
shengsaid,
“
Symptomso fculture

themare
…
fearofphysicalcont actwithattendants,
theabsent-mindedstare
…Symptomscanalsoin-
cludeheadaches,stomachache s
…
loneliness
…
anger
…”
(2004: 367).BothMasha
’

’
s
symptomsseeme dtobelongtothetypicalsymptoms
ymptomsofcultures hock
actuallyoriginatedfromineffectivecommunica tion

李冬竹：从语言的角度论电影《推手》中的跨文化适应过程
betwe enthemlargelyduetotheirethnocentrism.
2.3Releas ingtheDepressedFeelings
ldnotputupwiththetensea tmo-
sphereinXiaosheng
’
sfamilyduetothec ontinu-
ousconflictsbetweenhimandMarsha,sohelef t

workedataChineserestaurantinChinatowntoearnaliving,wherehewasarrestedbypolicemen
due tohischallengeofthebosswiththeChinese
ile,Marsh astartedtofeel

’
smissingandwroteabookaboutaChinesefatherinAmericatotrytoexplore
’
epressedfeelings
renderedbyineffectivecr oss-culturalcommunica-
lowing
examplesareani llustration.
Scene
（
4
）
(A)Marsha< br>’
sRegretforMr.
Zhu
’
sGettingLost< br>InteractionMilieu:Marshawastalkingabout

’
smissingwithherfriendLindainthe
sittingroo m.
Dialogue
Linda:Moretremendouslysturdypion eer
women?
Marsha:(1)Actually,I
’
vewr ittendowna
Chinesefamilythefatherbroughtoverthe workon
therailroad.
Linda:Don
’
ttellm eyoumissthisfilth,
either.
Marsha:Ofcourseno t.
…
bosswiththeChinesemartialartsandwasarre sted
bysomeAmericanpolicemenlater.
Represent ationoftheCharacters
’
Nonverbal
Language

’
sfacewasdarkwithrageafterhearing
t hebossoftheChineserestaurant
’
sinsultingwor ds
abouthislowspeedofwashingdishesandtourge
himtogetout,sohechallengedthebossthatifhe
could removehimabit,hewouldgoimmediately.
Thebossclim bedonhimandcouldnotmakehim
mployeestherewere
orderedtohelp,ostoodstill,instead,
hesprayedth emasidewithhisinternalpowerof
erate,theboss
calledinfiveyoungvillainstodealwithhimbut
,tenp olicemencametoarrest
on
localTVnews.
(Lee :88
’—
93
’
33
”
)
Onetheoneh and,inthedialogueofpart(A),
lost,Marshasensedhe rhusband
’
s
upsetandcametoblameherselfas shesaidin
sentence(2).
deeper,andreleasedher regretforhismissingby
absorbinghimintohernewnov elasshesaidin
sentence(1),although
“
thef atherwhobroughthis
familyovertheworkontherailro ad
”
wasindeed
.
Ontheotherhand,inpart (B),med
tohavechosenanextremewaytoreleasehis
rontedthebossoftheChinese

sprungawaysevens turdyyoungmenandfiveyoung
villains,andalmostmat chedwithtenwell-trained
ghhisinternalpowerof
martialartsmaybeexaggeratedtoacertainextent,
h ewastrulytryingtogetridofhishighlycompacted
sac tions,theaudiencemayfeelhis
greatpainofnotbeing abletolivewithhisownson

elderlyman,whowasov er60andawidower,and
77
Linda:He(Xiaosheng)bl amesyou,does
he?
Marsha:No,he
’
sjusta nxious.(2)Ijust
blamemyself.
(Lee:86
’
34
”—
87
’
01
”
)
(B)onstrat edthe
PowerofTaichi
InteractionMilieu:Beingi nsultedbytheboss
ofaChineserestaurantofChinatow n,wherehe
workedtoearnaliving,llengedthe

李冬竹：从语言的角度论电影《推手》中的跨文化适应过程
hadgrownupinthet raditionalChineseculture,it
djusthimselftoa
differentculturethanMarshato,whocouldjusttalk
t oherfriendandwritetoreleaseherfeelings.
Instead ,hewouldratherkeepeverythingtohimself,
feelingr eluctanttotellothershisrealsituationin
ordernot toloseface.
2.4ComingtoUnderstandingBilaterally
Fortunately,Marshacameto
understandeachothe r
’
sculturegradually,although
lowing
dialoguesinpart(A)and(B)inScene(5)arean
illustr ation.
Scene(5)
(A)
’
sProposaltoLiveA lone
InteractionMilieu:Xiaoshengwenttothe
pr isontopickuphisfather.
Dialogue
Xiaosheng:爸
!

：炼神还虚……不容易啊
!
Xiaosheng:(1)< br>爸，我们搬了新房子
,
比现在大
很多。
pushinghands,f orhim,itwasawaytoavoidother
people.
Marsha:( 9)Pushinghands?
Xiaosheng:(10)It
’
slikea Taichifortwo,away
ofkeepingyourbalancewhileunba lanceonyour
opponent.
Marsha:(11)Likemarriag e?
…
(Lee:97
’
21
’’—
98
’
21
”
)
Inthedialogueofpart(A),Xiaoshengt oldMr.
Zhuthattheyhadgotabiggerhouseassentence( 1),
liedcoldlywiththreeinterrogative
sentenc es,showingaresistancefromhissonora
deephurtfrom theconflictwiththeAmerican
eesentencesaresenten ce(2)
“干什
么？”
meaning
“
Whatareyoud oing?
”
,sentence(3)
“回家？”
meaning
“
Gohome?
”
andsentence(4)
“回
谁的家？”
meaning
“
WhosehomeshouldIgo?
”
.< br>Thesequestionssomehowindicatedhisgradual
per ceptionofthedifferentconceptsof
“
family
”
in
AmericaandChina,althoughhewasnotsowilli ngto
osedtolivealoneinarented
apartmentinsen tence(5),showinghisreluctanceto
leavebuthehadto changehismindforhisloveof
Xiaoshengandhisfamily .
Inthedialogueofpart(B),althoughMarshawas
l dcomebackornot,
shedecoratedaroomtoexpecthiscom ingwith
stionssheaskedasinsentence
(6)and(9) canalsoshowhercuriosityaboutTaichi.

practic edTaichiasinsentences(7)and(10).Mar-
shaseemedc onfused,butmadeasimilebetween
marriageandTaichi asinsentenced(11)togeta
betterunderstandingofTa ichiinherownway.
PartⅢConclusion
Afteranalyz ingsixdialoguesandthreerepre-
sentationsofthech aracters
’
nonverballanguagein
fivescenes inAngLee
’
sfilm,PushingHands,the
thesisd etectstheadaptationprocessbetweenthere-
tiredCh ineseTaichiprofessorandhisAmerican
guageinScene (1)and
(2)showtheconflictbetweentheChinesefathe r-

：
(2)
干什么？
Xiaosheng:
请你回家:(3)
回家？
(4)
回谁的家？
Xiaosheng:
我的家 就是您的家。

：
(5)
算了，我想开了
,
只要你们的生活很幸福
,
其他的事情都不重要
,
你有孝心的话
,
就在 中国城附近，租一间公寓
,
让我一个人安安
静静，存神养性
,
如果有 空的话
,
带着孩子来看看
我
,
这样大家见面还有三分情
.< br>(Lee:95
’
27
”—
96
’
32
”< br>)
(B)Marsha
’
sCuriosityaboutTaichi
InteractionMilieu:Marshawashanginga
,incase
thathewouldliketocomebackonedayandasked
Xiaosh engtohelp.
Dialogue
Marsha:(6)Whyhaven
’< br>tyoulearntTaichi
fromyourfather?
Xiaoshen g:(7)Youknow,fordad,Taichiisa
wayofescapefromre ality.(8)Eventhoughhedid
78

李冬竹：从语言的角 度论电影《推手》中的跨文化适应过程
in-lawandtheAmericandaughter- in-lawintheir
dailylife;thelanguageinScene(3)sh owstheircul-
tureshocksymptoms;thelanguageinSce ne(4)re-
flectstheirownwaystoreleasethestressre ndered
byineffectivecross-culturalcommunication ;and
thelanguageinScene(5)showstheirgraduallymu -
cessoftheanalysisof
boththeverbalandnonver ballanguageinthefilm
maynotonlyleadtoadeeperund erstandingofthe
cross-culturalcommunicationbetw eenthetwo,but
alsoexposeAngLee
’
skeenins ightintothecross-
culturalconflictsintheChinese Americanfamily
andhistalenttoexhibitthecross-cu lturaladaptation
processbetweenthepeoplefromthe twoculturesby
changingtheirlanguageaccordingly.
参考文献：
g,LuoHeng,ZhouYan,
“
StudyofUS- Chinacultures:Comparisonoffamilystructure
betwe enChinaandtheU.S.
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