从《推手》看中美家庭价值观差异
从电影《推手》看中美家庭观念的冲突与和合
在 西方 ， 孩 子 到 了 十 八 岁 以 后 就 应 该 搬 出 父 母 的家 而 独 立 生 活 。成 年 之 后 和 父 母 同住 或 啃 老 被 认 为 是 一 件 非 常 丢 人 的 事 情 。 但 是 子 女 独 立 也 并不 等于对 父母 不 管 不 问 ， 会 在 周 末 或 节 假 日去 看 望 父 母 。美 国 父母 看 重 子 女 的 独 立 精 神 ， 也 看重 自己 的 老 年 独 立 生 活 。 因此 ， 尽 管 儿 女们 经 济 条 件
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《2024年从跨文化交际的角度分析电影《推手》中的文化冲突》范文
《从跨文化交际的角度分析电影《推手》中的文化冲突》篇一一、引言电影《推手》以其细腻的描绘和深刻的主题，成功地展现了不同文化背景下的冲突与融合。
这部电影以跨文化家庭为背景，通过主人公黄师傅在美国的生活经历，展示了不同文化之间的冲突与融合。
本文将从跨文化交际的角度出发，对电影中的文化冲突进行分析。
二、电影背景与主要情节《推手》以黄师傅一家在美国的生活为主线，通过描述家庭成员间的互动以及与当地社会的交往，展现了中美文化之间的差异和冲突。
电影中，黄师傅作为中国传统文化的代表，与美国社会的价值观、生活方式等方面产生了诸多矛盾。
三、跨文化交际中的文化冲突分析1. 价值观的冲突电影中，黄师傅坚持中国传统的价值观，如尊重长辈、重视家庭等。
然而，在美国社会中，个人主义和独立精神被高度重视。
这种价值观的差异导致了黄师傅与美国社会的矛盾和冲突。
例如，黄师傅在公园练习太极拳时被误解为挑衅，以及他在超市购物时因坚持排队而被嘲笑等情节，都反映了两种价值观的冲突。
2. 沟通方式的冲突中国和美国的沟通方式存在较大差异。
中国人注重集体主义和面子，喜欢委婉、含蓄的表达方式；而美国人则更注重个人主义和直接性。
在电影中，黄师傅一家与美国邻居的交往过程中，由于沟通方式的差异，产生了许多误解和矛盾。
例如，黄师傅的妻子在面对邻居的挑衅时，选择了忍让和回避，而这种方式在美国社会可能被视为软弱和无能。
3. 社会习俗的冲突电影中还展示了不同社会习俗之间的冲突。
例如，黄师傅在参加美国朋友的聚会时，因不了解美国社会的社交礼仪而感到困惑。
此外，在饮食、节日等方面也存在较大差异。
这些差异导致了黄师傅在适应美国社会过程中的困难和挫折。
四、解决文化冲突的策略面对文化冲突，电影《推手》提供了一些解决策略。
首先，理解和尊重不同文化是关键。
只有了解对方的文化背景和价值观，才能避免误解和矛盾。
其次，学会沟通和交流也是解决文化冲突的重要手段。
通过有效的沟通，可以减少误解和矛盾，增进相互理解和信任。
电影《推手》经典观后感
电影《推手》经典观后感在人们生活中有很多比较精彩的电影作品给大家留下深刻印象，在电影《推手》中就很好的描述了我国传统的武术太极的一些故事。
相信朋友们看过会有不少感悟，下面就为大家推荐电影《推手》经典观后感，希望对朋友们有所帮助。
作为一名心理学专业的本科生，我以前从未接触过“民俗学”这门学科。
本学期有幸选修了“中国民俗学”这门课，发现这门学科并不是想象中的高不可攀，而是表现在我们生活中的方方面面，小到衣食住行，大到民族精神，民俗学包容万象。
是一门实用，有历史、民族价值的学科。
上节课观看了李安导演的作品《推手》，电影讲述了退休太极拳教授朱老被儿子接到美国后，由于语言不通，生活习惯不同，造成家庭冲突的故事。
电影中充满了中西差异的冲突，包括饮食习惯、对小孩子的教育方法、中国人的含蓄与西方人的直接等等。
导演李安通过对小家庭的矛盾冲突的描写，实际上反映出了传统的中国文化与美国的风土人情之间的不可调和的冲突。
文化的魅力在于多姿多彩，同时也造就了不同文化势必会有冲突。
这与社会心理学的基本观点“人类的共性与个体的独特性互为悖论”有异曲同工之妙。
一、电影中直接表现出的冲突生活习惯：电影一开始干脆利索，没有台词，就让我们看出在这样一个小房子里存在的两个人之间的尖锐矛盾。
简单的几个镜头，朱老在练太极拳的时候，镜头中出现马沙一张不开心的脸。
用极其简单的镜头含蓄安静地给我们呈现矛盾。
当我们单独地看二者所做的事情时，我们会觉得这都是极其平淡无常的事情，朱老专注于打太极拳，练字，立马给我们一个清晰的印象——这是传统的中国老人的形象。
马沙打字，饼干，跑步，让我们看到美国的独立女性形象。
但二者被塞进同一间屋子里面，就立马显得格格不入，给人冲突感。
饮食习惯：吃饭的时候，朱老和马沙分开吃饭。
本身在中国传统文化中就是合餐制，一家人围着桌子，边吃边聊天，其乐融融。
中国有着历史悠久的烹饪文化，对于食物有着独特的理解和感情。
注重运用烹饪加工，把生的，没有味道的原材料变成色香味俱全的佳肴。
从《推手》看中美家庭观念的差异全文
ContentI. Introduction (2)1.1 Research Background (2)1.2 Aims & Objectives (2)1.3 The Scope of this Paper (2)II. The intercultural adaptation theory (3)2.1 The process of adaptation (3)2.2 Intercultural personhood (4)III. Conflicts between Chinese and Western Culture Reflected in Pushing Hands (6)3.1 Plot of Pushing Hands—The independent space in Chinese and Westernfamily (6)3.2 Attitudes towards children (7)3.3 Chinese and Western family’s attitude toward their elders (8)3.4 The emotional expression of Chinese and Western Countries (9)IV. Conclusion (10)V. References (11)I.Introduction1.1Research BackgroundNowadays, the development of mass media provides a lot of opportunities for people to experience different cultures. Among mass media, movie industry makes themost powerful impact on human beings. Film-makers use film as a kind of art form to express their interpretations of life. Therefore, movies not only entertain us, but also influence our views on ourselves, others and the whole world. Movies, as an essential form of mass media, have played an important role in intercultural communication.1.2Aims & ObjectivesResearch on intercultural communication helps us to know how cultures permeate through our daily life, lead our behaviors, form our think patterns and influence our communications with people who have diverse culture backgrounds. Movies are the effective carriers to bring different cultures to audiences. A lot of Chinese directors stand out conspicuously in the world with their unique angle of views and techniques of expression to show Chinese traditional cultures to foreign audiences. Among them, Ang Lee is the most successful intercultural films’ director. With the background of growing up in Tai Wan and being educated in America, Ang Lee has his own cognitions of culture differences and integration. Many years of living experience in America offers him chances to go through the process of intercultural adaptation and to form the intercultural personhood.From his films, the audience could see not only the conflicts and integrations of eastern and western cultures bu t also Ang Lee’s understandings of the humanity. In his early films, eastern and western cultural conflicts are the main topics to discuss. And in his later films, he integrates eastern and western cultures and even is beyond eastern and western culture boundaries to explore and discuss humanity. With long time intercultural life experience, Ang Lee has formed intercultural personhood.1.3The Scope of this PaperThe first part introduces Ang Lee’s biography.Ang Lee’s intercultural backgroundaffords the possibility for him to form intercultural personhood.The second part is the theoretical background. It presents managing conflict and negotiating face theory, the intercultural adaptation theory and theory of intercultural personhood.The third part is a very important one. Crouching Tiger and Hidden Dragon has gained a big success. Eastern and western culture are integrated perfectly in this film, which shows that Ang Lee is in duality process because he can switch between eastern and western culture. The intercultural adaptation theory is adopted here to explain his mind’s flexibility.II.The intercultural adaptation theoryThe Intercultural adaptation process occurs when individuals travel from one culture to another, both in long and short term encounters. Along with this movement,there seems to be a process of adjustment and familiarization with the new situation.The sojourners seek out specific cultural knowledge, adopt a different style of communication, reserve judgment on unfamiliar cultural practices or withdraw from intercultural interactions (Witter, 1993). Intercultural adaptation is a complex and dynamic process which is an inevitable part of intercultural interactions.2.1 The process of adaptationIf a sojourner wants to stay in the new culture environment and lead a happy life, he/she has to go through the intercultural adaptation. Mansell pointed out that sojourners experience to one degree or another four emotional and affective states in the process of intercultural adaptation: alienation, marginality, acculturation, and duality.Alienation causes a strong desire in sojourners to retain identification with the own culture. The rejection of the host culture leads us to limit our social circle to acquaintances or work contacts and to seek out our own nationals for social enjoyment. Unable to employ the necessary skills for adjustment, we feel out of sync with the host culture and want desperately to return home.The feeling of marginality is like a sandwich, surrounding by two different cultures.Sojourners do not know which side they belong to. They would feel confused about their culture identities. During this period, sojourners can only build up superficial connections with host nationals and can enjoy neither his native culture nor the new host culture.Acculturation occurs when sojourners establish a strong need to adopt the way of living of the host culture. Our identification with the host culture means that the primary culture loses its importance. In this situation we are able to make intimate friends with the host nationals and are able gradually to replace some elements our original culture with elements of the host culture. Y et, moving too quickly to adopt the new culture may pose frustrations and obstacles to our intercultural adaptation.Duality symbolizes that even though sojourners are living in the foreign countries, they have cultivated the ability of simultaneously switching between native culture and host culture. During this period, sojourners are able to gain the achievement of being independent and subjective above primary culture and host culture. Open-mindedness and flexibility are necessary for maintaining this ability and establishing the continuity.2.2 Intercultural personhoodWhen sojourners go into duality period, their flexibility can help them engage in building a remarkable new personhood---intercultural personhood. Cultural identity in its pure form has become more a nostalgic concept than a reality. Intercultural personhood is a way of life in which an individual develops an identity and a definition of self that integrates, rather than separates, humanity. Intercultural personhood projects a kind of human development that is open to growth---a growth beyond the perimeters of one’s own cultura l upbringing (Kim, Y.1996:434). Intercultural personhood is an integration of eastern and western perspectives. With the intercultural personhood,the sojourners are able to conciliate contradictory elements and transform them into complementary, interacting parts of a single whole. The emerging intercultural personhood, then, is a special kind of mindset thatpromises greater fitness in our increasingly intercultural world (Kim, 2001).The current discussion of intercultural personhood owes much to the writings of several prominent thinkers of the 20th century who have explored ideologies with national and cultural interests and that embrace all humanity. One such work is Northrop’s The meeting of East and West (1996), in which an “international culture ideal” was presented as a way to provide intellectual and emotional foundations for what he envisioned as “partial world sovereignty.” Inspiration has also been drawn from the work of Tompson (1973), which explored the idea of “planetary culture,” or how Eastern mysticism was integrated with Western science and rationalism. The primary sources for the current analysis of Eastern and Western cultural traditions also include Nakamura’s Way of Thought of Eastern People (1964), Campbell’s The Power pf Myth(1988), Gulick’s The Eastern and the West (1963), Oliver’s Communication and Culture in Ancient India and China (1971), Capra’s The Tao of Physics (1975), and Hall’s Beyond culture (1976) and The Dance of Life (1983).The emergence of intercultural personhood is a direct function of dramatically increasing intercultural communication municating across cultural identity boundaries is often challenging because it provokes questions about people’s presumed cultural premises and habits, as well as people’s inevitable intergroup posturing and the us-and-them psychological orientation (Kim, 1995). Yet it is precisely such challenges that offer us openings for new cultural learning, self-awareness, and personal growth (Kim, 1988, 1995). The greater the severity of intercultural challenges, the greater the potential for reinvention of an inner self that goes beyond the boundaries of our original cultural conditioning. In this process, our identity is transformed gradually and imperceptibly from an ascribed or assigned identity to an achieved or adopted identity—an emergent intercultural personhood at a higher level of integration.Such an identity transformation takes place in a progression of stages. In each stage,new concepts, attitudes, and behavio rs are incorporated into an individual’s psychological makeup. As previously unknown life patterns are etched into our nervous systems, they become part of our new psyches.The evolution of our identity from cultural to intercultural is far from smooth or easy. Moments of intense stress can reverse the process at any time because individuals may indeed regress toward reidentifying with their origins, having found the alienation and malaise involved in maintaining a new identity too much of a strain. Such strain may take various forms of an identity crisis and cultural marginality. Yet the stress experience also challenges individuals to accommodate new cultural elements and become more capable of making deliberate and appropriate choices about action as situations demand.III. Conflicts between Chinese and W estern Culture Reflected in Pushing Hands In the muti-language background, Ang Lee always tries to meet the requirement of eastern and western audiences. Crouching Tiger and Hidden Dragon, using western narrative mode to tell a Chinese story, shows the audience the Chinese spirit and western’s thinking patterns (Xu, 2001). The film is a roaring success, no matter in the perspective of commercial value or the cultural value. This film is the first Chinese film which is played in the main American theater. Through this film, Chinese Wuxia culture is firstly delivered to western audiences and firstly accepted by western mainstream culture. From his films’ success, we know Ang Lee clearly knows his cultural identity and the humanity. His films attract not only Chinese audiences but also western audiences. From this time forth, Ang Lee has formed intercultural personhood which helps him to touch those sensitive topics.3.1 Plot of Pushing Hands—The independent space in Chinese and Western familyLi Mubai is an accomplished Wudangs’ martial artists. Long ago, his master was murdered by Jade Fox. Mu Bai and Yu Shulien who have developed feelings for each other, but have never acknowledged or acted on them. Mu Bai, intending to lead a new path in life, asks Shu Lien who is on her way to Bei Jing to transport his sword, also referred to as the Green Destiny, as a gift for their friend Sir Te. At Sir Te's estate, Shu Lien meets Jen, the daughter of Governor Yu. Jen, destined for an arranged marriage and yearning for adventure, seems envious of Shu Lien's warrior lifestyle.One evening, a masked thief sneaks into Sir Te's estate and steals the sword. Mu Bai and Shu Lien, with the assistance of Sir Te's servant Master Bo, trace the theft to Governor Yu's compound and learn that Jade Fox has been posing as Jen's governess for many years. A guilt-ridden Jen returns the Green Destiny to Sir Te's estate but is intercepted by Mu Bai. Mu Bai easily defeats her and offers her to become his pupil. Jen angrily rebukes his offer and flees.That night, a desert bandit named Lo breaks into Jen's bedroom and asks her to leave with him. A flashback reveals that in the past, when Governor Yu and his family were traveling in the western deserts, Lo and his bandits had raided Jen's caravan and after a protracted desert chase, kidnapped her. However, Lo and Jen soon fell passionately in love. Jen refuses to leave with him and goes through the arranged wedding. Lo interrupts Jen's wedding procession, begging her to come away with him.3.2 Attitudes towards childrenThe story of this film happens in 18th century. At that time, younger generations marriages are arranged by their parents. There is old saying in China to describe this situation ,“arrange a match by parents’ order and on the matchmaker’s word.” Marriage is not simply meaning love. Parents, especially father, have the final word to choose future husband or wife for their children, which is always the case in collectivist society like China. One crucial factor of choosing the marriage is that the two families have the equal social status. So there is a scene that Shulien visits Jen: Yu: “Thank you for seeing me. I hear your wedding day is near. Y ou must be overwhe lmed by the preparations.”Jen: “I’m hardly doing a thing. The less I think of it the better. My parents are arranging everything. The Gous are a very powerful family. My marrying will be good for my father’s career.”Yu: “Y ou are fortunate to marry into such a noble family.”Jen: “Am I? I wish I were like the heroes in the books I read. Like you and Li Mubai. I guess I’m happy to be marrying. But to be free to live my own life, to choosewhom I love... That is true happiness.”Yu: “Do you think so? Let me tell you a story.”Jen: “About you and Li Mubai?”Yu: “Y es. Did you know I was once engaged to be married?”Jen: “No, really?”Yu: “His name was Meng Sizhao. He was a brother to Li Mubai by oath.One day, while in battle, he was killed by the sword of Li Mubai's enemy. After, Li Mubai and I went through a lot together. Our feelings for each other grew stronger. But how could we dishonor Meng's memory? So the freedoms you talk about, I too desire it. But I have never tasted it.”Jen: “Too bad for Meng, but it's not your fault, or Li Mubai's.”Yu: “I am not an aristocrat, as you are... but I must still respect a woman's duties.”From these conversations, we know that although Shulien and Li Mubai deeply fall in love with each other they could not or d are not get together for Li Mubai’s brotherhood and Shulien’s woman duty for the engagement. In their mind, Meng was killed for saving Li Mubai. As his brother, it would be a loss of face for both himself and Meng to marry Shulien. Now, Jen is forced to marriage a guy who she has never seen before. All these heroes are not free, but they are all eager to get freedom and have the “love” right. Chinese withholding love arouse because of the collectivistic culture.Traditional Chinese people care so much a bout others’ feelings and foresight. Therefore,they would take responsibility for others and live for others but not for themselves.Parents’ consent, social stratification and obligation become burdens to prevent people pursuing their freedom and the basic human right---love.3.3 Chinese and Western family’s attitude toward their eldersThe integration of eastern and western culture is shown not only in the film story but in the technique of expression. Ang lee uses western narrative model, especially H ollywood’s narrative skill to tell the audience a Chinese Wuxia story. Most of Ang Lee’s film is using the typical three-act narrative mode, which includes three scenes.The first scene: the main heroes come into the big screen and finish the premise part of the story; the second scene: the heroes encounter crisis and struggle with it; the third scene: crisis has been solved. This three-act narrative mode dominates the mainstream Hollywood films’ structure (Ding, 2001). Each scene could show its imposing dramatic power. Using this narrative model could establish tight structure so that it could attract audiences’ attention.In Crouching Tiger and Hidden Dragon, three-act narrative model has been used proficiently. The first scene is introducing the following contents: Li Mubai and Yu Shulien have strong feelings for each other; Li sends his sword Green Destiny to Sir Te so as to give up the life in Jiang Hu; Li’s master is poisoned by Fox; Jen’s parents arrange a marriage for her but she desires for Jiang Hu free life. The second scene is showing that because of the torrid love between Jen and Lo, Jen flees away from her wedding and steels the Green Destiny to adventure Jiang Hu; Li Mubai and Yu Shulientry to help and redirect Jen. The third scene is that Li kills Fox but is poisoned by Fox and died for saving Jen’s life; Jen ends up jumping to the river because of deeply remorseful.The three-act narrative model can be easily accepted by western audiences and Chinese Wuxia is always a mysterious topic for western audiences. Therefore, the three-act narrative model plus Chinese Wuxia make Crouching Tiger and Hidden Dragon a big success in the whole world.3.4 The emotional expression of Chinese and Western CountriesCrouching Tiger and Hidden Dragon is a big winner in Academy Award. This film has produced favorable comments from western audiences. Although Ang Lee uses western narrative mode to tell this story, his aim is to let the western audiences to accept and appreciate traditional Chinese culture. Therefore, Lee’s cultural orientation is his native culture---Chinese culture.Ang Lee integrates eastern and western culture to let western people can understand and follow this Chinese Wuxia story. From this film, western audiences are able to go into eastern circumstance.Chinese natural landscape, huge desert area,view of life of Taoism and typical Chinese reserved love style are described in this film. Those essential elements in traditional Chinese culture are depicted vividly. Besides that, fight setting similar to China opera and the explanation of Xia are the attractive labels to meet the curiosity of the audience with different culture background. In this way, Ang Lee effectively promotes Chinese culture and carries on a successful intercultural communication.IV.ConclusionWe live in a time of cultural integration. As the tightly knit communication wed has brought all cultures closer than ever before, rigid adherence to the culture of our youth is no longer feasible. Culture identity in its pure form has become more a nostalgic concept than a reality. In this circumstance, Y oung Yun Kim proposed a new concept of intercultural personhood---a way of life in which an individual develops an identity and a definition of self that integrates, rather than separates, humanity.Intercultural personhood projects a kind of human development that is open to growth, a growth beyond the perimeters of one’s own cultural upbringing.he emergence of intercultural personhood is a direct function of dramatically increasing intercultural communication activities, which is from personal experiences of diverse people and events through direct encounters to observations via various communication media such as books, television programs and movies. Among them, movies play an important role in intercultural communication. With the development of film industry, people receive different culture customs from films everyday. Therefore, in this dissertation, Ang Lee’s films are chosen as research subjects. From the m, I hope to find the formation of Ang Lee’s intercultural personhood.Ang Lee, as a successful intercultural director, has long-time personal experienceof being immersed in eastern and western cultures. His films always arouse audiences to think about culture differences, culture integration and humanity. In this dissertation, it selects Ang Lee’s five representative film works, Pushing Hand, Wedding Banquet, Crouching Tiger and Hidden Dragon, Brokeback Mountain and Lust, Caution, to catch a glimpse of th e formation of Ang Lee’s interculturalpersonhood.In Pushing Hand and Wedding Banquet, Ang Lee emphasizes on showing the eastern and western culture conflicts. At that time, he was finding a way to solve this problem. Crouching Tiger and Hidden Dragon is a transition film. In that film, eastern and western cultures are perfectly integrated. From this point, Ang Lee has the flexibility to switch from eastern to western cultural perspectives. In his later two films,he focuses on exploring humanity, which is beyond culture boundaries. Thus, I can conclude that he has formed intercultural personhood, which is taking root in upbringing culture and absorbing the positive parts of western culture so as to promote the positive development of humanity.With the development of globalization, the world citizens all need to cultivate intercultural personhood. With this personality, people’s life experiences could extend beyond their native cultural world. And with this personality there would be fewer conflicts between native culture and new host culture. It is new culture identity for them,which could integrate diverse cultural elements into a single personality. With intercultural personhood, they would add the new views of nature, of evolution and of progress. In order to form intercultural personhood, people should keep keen relevance to the everyday realities, should have the courage to embrace new concepts and ideology and should have enough life experience of interfacing with other cultures.To sum up, forming intercultural personhood is important for every world citizen.With this personality, people can accept and follow other cultures as well as promote his or her native culture.V.References1. Biagi, Shirly. Media/Impact: An Introduction to Mass Media Belmont [M]. CA:Wadsworth,1999.2. Chen, G.M.& Starosta, W.J. Foundations of Intercultural Communication[M]. Boston, MA:Allyn and Bacon, 1998.3. Claire, Kramash. Language and Culture [M]. Shanghai Foreign Language Education Press,2000.4. Dodd, C.H. Dynamics of Intercultural Communication [M]. Shanghai: Shanghai Foreign Language Education Press, 2006.5. Dou, W.C. Fundamentals of Intercultural Communication [M]. Beijing: University of International Business and Economics Press, 2007.6. Furham, A. & Bocher, S. Culture Shock [M]. London, England: Methuen, 1986.7. David, S. N. & Bryan W. V an Norden. The Ways of Confucianism: Investigations in Chinese Philosophy [M]. Open Court, 1996.8. Gudykunst, W.B. & Kim, Y.Y. Communicating With Strangers: An Approach to Intercultural Communication [M]. New Y ork: McGraw-Hill, Inc. 1997.9. Gudykunst, W.B. & Ting-Toomy, S. Culture and Interpersonal Communication [M]. Newbury Park, CA: Sage, 1988.10. Gudykunst, W.B. Cross-cultural and Intercultural Communication [M]. Shanghai: Shanghai Foreign Language Education Press, 2007.。
从《推手》看中美家庭观差异
从《推手》看中美家庭观差异学院：计算机学院班级：网络工程10-2学号：08103619从《推手》看中美家庭观差异摘要：以中国为代表的东方文化不可避免的以美国为代表的西方文化发生碰撞，交流与融合。
伴随着中国的改革开放，西方社会的文化越来越多的走进我们的视野，在这种情况下，跨国域、跨民族、跨文化的经济和社会交往与日俱增，李安导演的电影《推手》中，生动形象地描写了家庭的解构和重组，并在表现传统文化和现代文化的差异与隔膜中探讨了各种伦理道德关系，从这部电影入手，进一步分析出中美家庭观的差异，使我们更好的进行跨文化交流。
关键词：差异家庭观孝顺自由独立一、背景随着经济全球化的日益加深，“文化”全球化也蔓延在全球的各个国家。
因而以中国为代表的东方文化不可避免的以美国为代表的西方文化发生碰撞，交流与融合。
伴随着中国的改革开放，西方社会的文化越来越多的走进我们的视野，在这种情况下，跨国域、跨民族、跨文化的经济和社会交往与日俱增，但是我们所面对的是来自陌生的文化和国家，思维方式、生活习惯和行为方式与我们迥然不同，在与之交往的过程中不可避免的会出现文化冲突的现象。
跨文化交际学的创始人霍尔曾说过“文化存在于两个层次中，公开的文化和隐藏的文化。
前者可见并能描述，后者不可见，甚至连受过专门训练的观察者都难以察知”。
由李安编导的《推手》这部影片，注重在中西文化冲撞中开掘人性，生动形象地描写了家庭的解构和重组，并在表现传统文化和现代文化的差异与隔膜中探讨了各种伦理道德关系，具有独特的文化内涵和人文气韵。
要更好的进行跨文化交流，就需要深入的了解两者之间的差异。
此处我们对中美家庭观的差异进行深入的分析二、《推手》简介移民美国的北京太极拳师朱师傅在儿子优裕的家庭生活，却有寂寞之感。
原因是美国的儿媳妇玛莎接受不了这个异国的公公。
加上语言的不通，两代人的鸿沟产生了。
老人在华人学校结识台湾去的陈太太，很有好感。
老人有一次出外散步迷路，儿子下班回家见父亲不在，出门寻找，几次失望而回，与妻子产生冲突。
从_推手_看中美家庭价值观的差异_石红莉
2.宗教的原因 宗教是人类意识形成的重要的组
子，家长对孩子百般疼爱，不让孩子有任何表现自我的 成部分。《圣经》中的很多故事是关于由妻子和儿女组
机会，这实际上是剥夺了孩子独立生活的权利。现在的 成的家庭。“诺亚方舟”故事里，诺亚父子争吵后，儿女
中国家庭独生子女多，家长对孩子细声细气，唯恐吓到 远走他乡，重新组织家庭，再也没有返回原地，说明西
你了”，玛莎看到这一幕很是气愤。在美国，这种情况是
3.思想政治意识的原因 中国的家庭价值观念在
不允许的，虽然，美国的性开放程度要比中国大，但是 很大程度上受封建主义思想的影响，中国强调家族观
那是相对于成年人的。例如近期的涅 乐队的专辑封 念，而这种观念的形成主要是族长意志的体现。其中
面出现了裸体小男孩，这张封面因违反网站规定被删 “父为子纲”就明确规定了儿子要完全从属于父亲，儿
孩子，所以，社会上的伪娘越来越多，也就不足为奇了。 方人对上辈人的感情比较淡薄。
并且，现在的啃老一族队伍也越来越壮大。
中国的家庭价值观念受儒家孝道影响很深，宗族
美国人很重视别人的隐私，包括孩子。所以，当老 意识比较强烈。比如中国的传统节日“清明”就是人们
朱抱着刚洗完澡的孙子看裤裆说“朱家传宗接代全靠 还乡祭祖的日子。
1.历史的原因 美国是个新兴的移民国家，很多
编 辑：魏思思 E-mail:sisi123_0@
/ 名作欣赏 MASTERPIECES REVIEW/ 艺术广角 176
REVIEW
／ 艺 术 广 角
从《推手》看中美家庭价值观的差异
⊙石红莉［河北软件职业技术学院， 河北 保定 071000］ ⊙张 猛［保定外国语学校， 河北 保定 071000］
摘 要：《推手》是一部反映中美家庭价值观差异的电影。从影片中可以看到中国公公和美国媳妇由于文化差异而引 起的家庭生活各方面的互不适应。本文着重从家庭价值观着手来分析差异的原因和融合的趋势。 关键词：《推手》 中美文化 家庭价值观差异
推手中的中西文化冲突的文字对话
推手中的中西文化冲突的文字对话一、中西家庭观念的对比西方崇尚个人主义，主张个人独立和自由，要求家庭服从个人；中国社会更加注重家庭，自古以来强调家庭利益和它的生存发展大于个人。
所以中国传统文化就是大家庭观，与之对立的是美国的核心式家庭观。
在电影中就主要讲述了朱老先生和美国儿媳玛莎之间的矛盾冲突。
主人公朱晓生将父亲接到美国，希望一家人能共享天伦之乐，从这里可以看出他深受中国集体主义文化的影响。
朱老先生来自北京，是地地道道的中国人，代表着中国传统文化。
而他的美国儿媳则是美国主流文化的代表人物。
中国传统文化的大家庭讲究家人团聚，其乐融融；而美国的核心式家庭只包括父母和未成年的孩子而不包括祖父母。
在电影中，老朱和他的美国妻子在同一房间。
他安静地练习太极拳，练习书法，听京剧和烹饪中餐。
在这样的空间里，他按照自己的意愿行事，享受了三代人带来的幸福，但他根本没有考虑玛莎的感受。
因为在中国，个人生活和家庭生活息息相关。
玛莎是一位自由作家，在她看来，朱老的突然“闯入”占用了她的工作空间、生活空间和思考空间，让她根本没有精力专注于自己的工作，甚至是感到无所适从。
因为在玛莎看来，即使在家庭生活中，个人意愿也应得到尊重，他们也应该享受自己的私人空间。
作为自由作家，她需要一个自由和放松的环境，但是由于她的岳父已经加入了三代人的行列，她的生活受到了干扰，写作活动受到了影响。
因此她对父亲的到来极力反对，并且一直劝说晓生让朱老搬出去住老年公寓，这就让深受中国传统文化熏陶的晓生倍感苦恼。
二、中西饮食文化差异在电影中，当他们坐在一张桌子上吃饭时，食物的种类却不一样。
朱老端着一只大碗，里面有米饭和热菜，而玛莎则是吃的饼干和一盘蔬菜沙拉。
他们都各自吃得津津有味，但是又对对方吃的食物感到疑惑。
在吃早餐时，朱老从冰箱里拿出了昨晚剩下的土豆鸡块和米饭，将他们拌了一下后就放进微波炉里加热，过了一会，他才开始慢慢地、认真地享受他的早餐。
玛莎从冰箱里拿出一小块蛋糕，用食指抹了一点放进嘴里，我们可以看到蛋糕上还有无数的手指印。
推手
《推手》读后感看完推手这部电影之后对我关于认识中美方文化的认知有着极大程度的影响，让我更深刻的感受到了中美方家庭的不同，下代教育方式的不同，还有人的认知方式也不相同，美国人们法制观念较强.在此前提下,他们崇尚个人自由，,中国文化则有所不同.家庭是中国人最重视的生活集体.父母对孩子倍加珍惜,恨不能一切都为孩子，因此美国家庭培养出来的孩子相对中国家庭的孩子较成熟与稳重，处理事情更加的系统与科学，总体来看是较独立，而中国家庭培养出来的孩子依赖性相对较强，在处理很多的事情都或多或少的要依赖他人。
在家庭成员的相互关系上，我国家长大多处于统治地位，而美国家长更注重与孩子平等相处，所以在这两种文化中两种家庭的孩子的个性截然不同，中国孩子的优秀典范经常是人人口中的乖乖孩子，但美国的孩子往往是越野长大之后反而能成才，对于中国的孩子而言以父母为榜样来生活的思想是从小就有的，对于美国的孩子来说呢，他们从小就受各种电视里英雄主义的熏陶，同时父母又要求他们独立，所以就培养了一种跟过去的我竞争的思想，关于为人处事方面，我国重义轻利,美国人重利轻义.我国法制观念较淡薄,而在美国,人们的法制观念较强。
法制观念的强弱创造了双方不同的社会文化环境，这种文化环境又熏陶了相互各自不同的人群思想，于是双方社会相比较中国社会比较随性，而美国社会就比较严谨。
中国文化等级观念强烈.无论是在组织里,还是在家庭里.忽略等级,地位就是非礼.尽管传统理智中等级制度以被消除,但等级观念至今仍对中国文化产生影响，而在美国特别重视隐私权,他们一般不愿意干涉别人的隐私和私生活,也不愿被人干涉，两方文化对待家庭地位与隐私的态度截然不同，当双方文化交流时就肯定会出现很多的冲突与问题啊，就拿一个例子来说，在中国，中国家庭的父母总是随意的偷看他们孩子的日记或者其它东西，在他们看来孩子就是他们的附属品而已，国家也没有什么明文规定不许，但在美国就不同，美国孩子从小就被要求培养独立自主性，同样的也正因为此，美国孩子的隐私就从有意识开始就受法律的保护，父母无权对其进行非法翻阅，这样的育儿方式就造成美国男孩通常要比中国男孩胆大。
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Functionalist Approach73 愉快教学法在初中英语教学中的应用74 理智的动人诗篇——《马语者》75 唯美主义理论与实践的矛盾——解析王尔德的矛盾性76 从圣诞节和春节看中西方文化差异77 英汉化妆品说明书对比及汉译策略78 从《小公主》看童话对于当今的现实意义79 从目的论角度看英语广告中双关语的翻译80 不同的阅读任务对高中生英语词汇附带习得的影响81 从西方讽刺剧看品特的威胁喜剧82 删译在中英诗歌翻译中的应用83 中西方家庭观比较研究84 浅析《儿子与情人》中的象征意蕴85 透过《丛林》看美国梦的破灭86 从奥斯丁和伍尔夫看英国女权主义思潮的演变87 英语委婉语在英语教学中的应用88 《榆树下的欲望》之农场意象－－基于生态女性主义的分析89 问题类型对TEM阅读成绩影响的实证研究90 “自我”的迷失与重构：论卡勒德•胡塞尼《追风筝的人》(开题报告+论文)91 从电影《吸血鬼日记》分析现代西方人们新的价值取向92 Advertising Language: A Mirror of American Value93 斯佳丽：“旧”时代的“新”女性94 Scarlett’s Pragmatism in Gone with the Wind95 科技英语翻译中的词性转换研究96 论伊恩•麦克尤恩作品《赎罪》中的道德观97 马斯洛需求理论视角下的斯嘉丽98 从《喧哗与骚动》中凯蒂的悲剧看女性的社会地位99 Pragmatic Analysis of Dialogues in Hemingway’s “Hills Like White Elephants”—Violation of Cooperative Principle and Observance of Politeness Principle100 浅析小组合作在小学英语教学中的应用101 从心理分析的角度探索《马贩子的女儿》中主要人物的心理现象102 论口译中的跨文化意识103 试析杰克伦敦的《野性的呼唤》中的自然主义104 无尽的欲望致使毁灭105 从功能翻译理论谈旅游手册中文化因素的翻译106 从认知角度研究英语商标中的隐喻107 《双城记》中的象征手法分析108 基于中西文化差异的翻译策略研究109 中英酒俗对比110 透析《劝导》中的新女性形象111 海明威《印第安人营地》新解112 电影英文片名汉译的原则113 中美称赞语的对比分析114 浅析哈代笔下经典女性苔丝和苏的人物形象115 比较研究王维与华兹华斯的自然观116 论中美家庭教育的差异117 《吉姆老爷》中吉姆的性格分析118 《威尼斯商人》中鲍西亚形象浅析119 中美隐私观的跨文化视角分析120 国际贸易中常用支付方式下的风险及其防范121 浅析语用预设在广告语中的运用122 新兴资产阶级代表—鲁滨逊克鲁索123 分析《呼啸山庄》的哥特式特征124 An Analysis of Imprisonment and Liberation in Great Expectations125 功能对等理论视角下汉语新词的翻译126 浅析《喜福会》中母女冲突的存在与消融127 任务型教学在高中英语阅读课堂中的实施128 华兹华斯的浪漫主义文学在《嘉莉妹妹》中的再现129 中国英语与中式英语之比较130 论礼貌制约下You-attitude在英语商务信函中的用法131 美国电影文学中种族歧视现象研究132 The Emerging Tendency of Marketing—Network Marketing133 分析《永别了，武器》中Henry的硬汉形象134 理想与现实的冲突——《献给艾米丽的玫瑰》新解读135 浅析《爱玛》中女主人公的女性意识136 从自然主义角度解读《苔丝》的悲观主义137 情景教学法在小学英语课堂中的运用138 英汉诗歌中动物意象比较研究139 隔离与异化：福克纳短篇小说中的人际关系研究140 中英动物习语的文化内涵及其差异141 索尔贝娄《挂起来的人》的存在主义解读142 《呼啸山庄》中窗的意象143 《嘉莉妹妹》中嘉莉的欲望分析144 从《红楼梦》两个译本论归化翻译和异化翻译145 功能对等理论在新闻英语翻译中的应用146 浅析《老人与海》中的英雄主义147 商标翻译的方法及其影响因素148 英汉禁忌语的对比分析149 论苔丝悲剧的成因150 从《去吧，摩西》中的“熊”看福克纳对人性的探讨151 On the Functions of Metaphor in Obama’s Inaugural Address152 格赖斯会话合作原则与莎士比亚喜剧中的幽默解读153 论凯瑟琳﹒曼斯菲尔德作品中的彼得﹒潘情结154 《远大前程》中皮普成长的心路历程155 成长小说视角下的史蒂芬•乔布斯基《壁花少年》156 从美学角度分析英文电影《阿凡达》的汉语翻译157 《傲慢与偏见》中的婚姻观158 回译在翻译教学中的作用159 初中英语课堂教学现状调查160 小学英语学习策略及研究161 论《了不起的盖茨比》中美国梦的幻灭与重生162 “理想化”和“反理想化”－－《不能承受的生命之轻》主题辩析163 浅析中文商标词英译的原则和方法164 英汉称谓的文化差异研究165 “黑尔舍姆”教育尝试的失败—析石黑一雄小说《别让我走》（开题报告+论）166 A CP-based Analysis of Humor in Friends167 狄更斯在《双城记》中的人道主义思想168 从接受理论看赛珍珠的《水浒传》翻译169 《隐形人》中主人公的性格分析170 解读奥斯卡•王尔德的《莎乐美》中的女性意识171 An Ecocritical Analysis on Lady Chatterley’s Lover172 从文化视角浅谈旅游英语翻译173 《汤姆叔叔的小屋》中伊万杰琳形象分析174 影响二语习得的因素－－案例研究175 An Analysis of the Initiation Theme in The Child in Time176 Tradition and Beyond—Reading The Diviners as a Bildungsroman177 《红楼梦》两个译本中称呼语翻译的对比研究178 本我,自我,超我－－《名利场》中利蓓加的形象分析179 基于质量准则的英语修辞分析180 论人性自私在《呼啸山庄》中的体现181 外交语言策略中的合作原则182 从文学伦理阐释《榆树下的欲望》母杀子的悲剧183 中西方文化差异对商务谈判的影响184 浅析丹尼尔•笛福《摩尔•弗兰德斯》的主题思想185 浅析《献给艾米莉的玫瑰》中渐渐消失的玫瑰186 从《小王子》看成人世界的身份危机187 从涉外婚姻分析中西方文化差异188 违反合作原则下的幽默效果189 英语语言中的性别歧视190 从功能翻译理论的角度论中文菜单的英译191 从《弗洛斯河上的磨坊》看维多利亚时期的新女性主义观192 体验式教学模式在初中英语阅读教学中的应用193 美国梦的迷失—解析《了不起的盖茨比》194 Angelic devil: an analysis of the image of Catherinein Wuthering Heights 195 美狄亚的女性主义分析196 从诗歌分析威廉.华兹华斯的人生观和自然观197 《了不起的盖茨比》叙述者尼克分析198 探讨中英文化差异——以宗教习语翻译为案例199 中国文化特色词汇的音译与中国文化的传播200 《林湖重游》中的静态美分析。