| （摘要内容经过系统自动伪原创处理以避免复制，下载原文正常，内容请直接查看目录。） 家乡自己是个曩昔时，由于只要在他乡的视角才会有对家乡的存眷，然则家乡又是社会个别及群体身份构建的中间环节。跟着社会古代化和城市化过程赓续加快，本来几千年的男耕女织的稳固社会改变为活动性社会，假如说传统社会偏向于主动接收既有的文明认同，那末活动的古代社会则迫令人们自动找寻本身的文明归属。家乡这一概念随同着社会形状与价值不雅念的疾速变迁，是掉去了本来的意义，照样被付与了新的内在？片子《废墟》记载了三峡拆迁进程中底层国民的生计状况和性命寻求。面德国片子《即逝的家乡》则记载了产生在德国地域三个异样面对着被迁徙的村庄里的故事。家乡的物资载体消逝了，家乡还在么？本文以跨文明实际为基本，联合两部片子，商量在古代化和城市化的冲击下，德语论文范文，家乡传统意义的变迁和与“家乡”相接洽的要素—如平易近间风气，文明，方言等等曾经或正在渐渐消逝。在经济迅猛成长的古代情况下，德语毕业论文，家乡的社会汗青文明意义毕竟安在。归属与疏离二元张力下的家乡曾经逐渐成为一个隐约的符号。而这一变更对古代人的作用，仿佛还未获得充足的看重与表示。掉去了家乡的依托，人们如何去找寻自我身份，如何建构群体身份。这不只是中国，异样也是全球性的担心和须要思虑的成绩。 Abstract: My hometown is in the past, as long as the country will have a perspective on his attention, but also is the hometown of intermediate links to construct social individual and group identity. Along with the social modernization and urbanization process continuously accelerated, originally for thousands of years of strong social change for social activities, if say traditional society tend to take the initiative to receive the existing cultural identity, the activities of the ancient society is forced to make people find itself civilization belongs. The concept of home along with the social shape and value indecent read fast changing is lost the original meaning, can still be given a new internal? The film "ruins" records of the living conditions and the underlying national life in the process of seeking the demolition of the three gorges. The German film "surface evanescent home" record has faced by immigrants in the village in the German region three strange story. The material carrier home is gone, my hometown is? The cross culture theory, combined with the two films, to discuss under the impact of modernization and urbanization, home in the traditional sense of the change and connect with the "home" elements - such as folk culture, civilization, dialect and so on have been or are being gradually disappear. In ancient times of rapid economic development, the social and historical significance of hometown civilization after all in. Under the tension and alienation of two yuan home has become a symbol of the faint. The influence of the change of the ancient people, it has not been valued and said enough. Out of their hometown by relying on the people how to find self identity, how to construct the group identity. This is not just China, it is a global concern and require thinking achievements. 目录: 摘要 2-3 Abstract 3 1. Einleitung 6-12 1.1 Untersuchungshintergrund 6-8 1.2 Forschungszustands, Fragestellung und Methodik 8-10 1.3 Aufbau der Arbeit 10-12 2. Theoretische Einfiihrung 12-32 2.1 Heimatbegriff 12-15 2.2 Gerhard Handschuhs' vier Dimensionen von Heimat 15-18 2.3 Kultur, Kulturdimension und Kulturstandard 18-23 2.3.1 Kulturdefinition 18-20 2.3.2 Kulturdimension nach Hofstede 20-21 2.3.3 Kulturstandard 21-23 2.4 Identitat 23-27 2.4.1 Das Konzept der "kulturellen Identitat" 25 2.4.2 Das Konzept der "sozialen Identitat" 25-26 2.4.3 Heimat und Identitat 26-27 2.5 Maurice Halbwachs' Konzept des kollektiven Gedachtnisses 27-28 2.6 Fremdheit 28-30 2.7 Dokumentarfilm 30-32 3. Sozialer Hintergrund 32-38 3.1 Das Drei-Schluchten-Projekt 32-35 3.1.1 Uberblick des Drei-Schluchten-Projekts 32-33 3.1.2 Argumente von Befurwortern und Gegnern des Projektes 33-34 3.1.3 Die Umsiedlung 34-35 3.2 Bodenschatze in Deutschland und CCS 35-38 3.2.1 Bodenschatze in Deutschland 35-36 3.2.2 CCS 36-37 3.2.3 Umsiedlung 37-38 4. Analyse der Filme-"Ruinen" und "Heimat auf Zeit" 38-58 4.1 Zur Wahl des Untersuchungsgegenstands 38-39 4.2 "Ruinen" 39-42 4.2.1 Der Regisseur Liang Bibo 39-40 4.2.2 Der Handlungsablauf 40-42 4.3 "Heimat auf Zeit" 42-46 4.3.1 Der Regisseur Peter Benedix 42-43 4.3.2 Der Handlungsablauf 43-46 4.4 Der Vergleich der Filmen 46-58 4.4.1 Titel der Filme 46-48 4.4.2 Der Inhalt und die kunstlerische Ausdrucksmittel 48-51 4.4.3 Der Ausdruck der vier Dimensionen der Heimat im Filmen 51-58 5. Schlusswort 58-62 Literaturvcrzcichnis 62-67 攻读学位期间的探讨成果 67-68 Danksagung 68-70 |
