【文章內(nèi)容簡(jiǎn)介】 rth of the second child with his son fukki Qing has returned to , Felicity never turns out in pairs., Disasters pile up on one by the Kuomintang arrested young men on the way for a sick mother, was captured by the PLA, he returned home to find his mother has died, his wife Jean with a pair of children bear bitter hardships, but unfortunately the deaf daughter, son is clever and lively, later because the county long Lady unexpectedly died of blood the cultural revolution, the great leap forward, representing the experience of natural disasters, Feng Xia and her husband died, a son of Feng Xia birth of the bitter root has not escaped the fate of the claws, finally only fukki a person, and a head of cattle and his namesake pany, which is quite alone with a pregnant meaning, sunset, already chuimu old man drove cattle further away, hoarse voice in the land at the end of the slowly rising juvenile to wander, middleaged to dig hidden, old monk.“Close this heavy blue book, the tears have wet eyes, let me not only filled with a thousand regrets variety of tragic hero experience, but because he has experienced so much, but still humble to live, he shall have been far beyond the scope of ordinary people can worst part of dying is not the one who leaves, but the one who is forced to accept only do they have more responsibility on their shoulders, but they also have fewer people to share with it is because of this that the living have to live more firmly, that is because they are carrying more than their own enjoy living, living so good, living so have read ”life“ written by Yu Huas writer, telling the protagonist Xu Fuguis life, experiencing changes in Chinese history, social unrest, three years of natural disasters, the cultural revolution and so your old age to life calm and natural us that we live to live, not live to live for you are out of trouble, you feel alive, happy, alive, then you will feel frustrated, not you help others, you feel the good life and the happy life, then you will feel how happy it is to help you are successful, you feel what is good and happy in life, and then you will feel how proud you are to is an unfortunate and fortunate man, his love life, love life, so that when he was young he suffering from an incurable disease, break through all the difficulties, to bee a great physicist, is the worlds made him so successful? He was optimistic about life and experience a little tender tooth es out of its branches, when a newborn child makes a loud the patient has the fish play happily in the water, when the birds are in the branches, the hair sounds feels good to live, happy to all depends on the beauty of life, and the good life is always with Moruo once said: ”life and death is a thing on the line.“.Life is struggle, death is is active, death is sleep.” Let us live happily, live happily.第三篇：余華《活著》讀后感余華在《活著》一文中寫到：我意識(shí)到一位真正的作家所尋找的是真理，是一種排斥道德判斷的真理。作家的使命不是發(fā)泄，不是控訴或者揭露，他應(yīng)該向人們展示高尚因此，作者寫出了《活著》，用簡(jiǎn)單、潔凈、純樸的文字，通俗流暢的敘述，真實(shí)貼切的表達(dá)，向讀者展示了對(duì)一切事物理解之后的超然，對(duì)善與惡的一視同仁，以及怎樣用同情的目光看待世界。閱讀這本書，在感嘆于作者所表達(dá)的那種超然的態(tài)度之外，更被那充滿溫情與民間特色的語(yǔ)言所折服。我是農(nóng)村長(zhǎng)大的孩子，那些樸素的語(yǔ)言讓我感覺(jué)回到了家鄉(xiāng)，仿佛這是發(fā)生在我家鄉(xiāng)中的一個(gè)真實(shí)的故事。余華寫作的語(yǔ)言樸實(shí)，純粹，白話，“俗氣”。但正是這些直白純粹通俗的語(yǔ)言，讓我們一次次的感動(dòng)，一次次的流淚，一次次的與生活做斗爭(zhēng)，活著，活著！看似嘮叨是余華小說(shuō)語(yǔ)言的一個(gè)特點(diǎn)，其實(shí)不是嘮叨，人們甚至可以用“簡(jiǎn)潔”來(lái)形容他的文字。就是這些簡(jiǎn)潔的語(yǔ)言里透露出了溫情，并充分體現(xiàn)了我國(guó)民間特色。在創(chuàng)作《在細(xì)雨中呼喊》時(shí),余華已經(jīng)開(kāi)始在作品中透露悲憫的情懷,作品中的人物之間逐漸有了溫情,這在《活著》中得到了進(jìn)一步體現(xiàn),溫情已成為作品的主調(diào)。對(duì)于這種變化,余華這樣解釋道“我以前小說(shuō)里的人物,都是敘述中的符號(hào),那時(shí)候我認(rèn)為人物不應(yīng)該有自己的聲音,他們只要傳達(dá)敘述者的聲音就行了,敘述者就像是全知的上帝。但是到了《在細(xì)雨中呼喊》,我開(kāi)始意識(shí)到人物有自己的聲音,我應(yīng)該尊重他們的聲音,而且他們的聲音遠(yuǎn)比敘述者的聲音豐富。因此,我寫《活著》和《許三觀賣血記》的過(guò)程其實(shí)就是對(duì)人物不斷了解的過(guò)程,當(dāng)我感到理解得差不多了,我的小說(shuō)也該結(jié)束了?！痹凇痘钪分?很多語(yǔ)言都是符合人物性格的,如福貴在青年、壯年、老年時(shí)期的語(yǔ)言是隨著他性格的改變而改變的,這樣的語(yǔ)言更具說(shuō)服力、更有真實(shí)感?？傮w來(lái)說(shuō)，《活著》的文字有以下幾個(gè)獨(dú)特之處。一、敘述手法運(yùn)不用文人的筆法進(jìn)行環(huán)境的描寫和人物刻畫，而是以農(nóng)民福貴的回憶，用“樹(shù)下講故事”的方式，達(dá)到高超的藝術(shù)效果?！斑@位老人后來(lái)和我一起坐在了那棵茂盛的樹(shù)下，在那個(gè)充滿陽(yáng)光的下午，他向我講述了自己?！庇嗳A深怕自己作為一個(gè)旁觀者，會(huì)先入為主地影響自己對(duì)主人公的看法，從而影響到讀者，所以，他選擇了用第一人稱的方式來(lái)敘述。正如他在序中寫的：“我用的是第一人稱敘述，福貴的講述里不需要?jiǎng)e人的看法，只需要他自己的感受，所以他講述的是生活。如果用第三人稱來(lái)敘述，如果有了旁人的看法，那么福貴在讀者眼中就會(huì)是一個(gè)苦難的幸運(yùn)者?！倍骷也粌H僅用第一人稱來(lái)敘述，福貴的故事，通過(guò)他自己對(duì)小說(shuō)中一位“收集民間歌謠”的“游手好閑”者的講述展開(kāi)。無(wú)論作家以歌謠搜集者，或福貴本身來(lái)敘述，都是第一人稱，但是福貴之于歌謠搜集者，就變成了第三人稱。這種敘述方式的轉(zhuǎn)變，通過(guò)人物來(lái)敘述人物，更加真實(shí)生動(dòng)地凸現(xiàn)人物的性情，也增加了故事的真實(shí)性，使作家更好地，以一個(gè)旁觀者的身份對(duì)福貴進(jìn)行描述和解讀。二、鄉(xiāng)間自我講敘的語(yǔ)言 《活著》采用的是倒敘的敘述方式,因此,敘述者即主人公福貴在回憶自己的一生時(shí)加入了大量的自我評(píng)價(jià)。其中有對(duì)自己年輕時(shí)所犯錯(cuò)誤的懺悔,有對(duì)自己生活的寬慰也有樂(lè)天知命的順從。福貴在講述中對(duì)自己的出場(chǎng)是這樣介紹的:“我是我們徐家的敗家子,用我爹的話說(shuō)，我是他的孽子。”講到妻子家珍時(shí),他說(shuō)“家珍是個(gè)好女人,我這輩子能娶上這么一個(gè)賢惠的女人,是我前世做狗吠叫了一輩子換來(lái)的?！薄艾F(xiàn)在想起來(lái)叫我心疼啊,我年輕時(shí)真是個(gè)烏龜王八蛋。這么好的女人,我對(duì)她又打又踢?！敝v到兒子有慶時(shí),福貴說(shuō)“我覺(jué)