Unit-5-The-Tapestry-of-Friendship课文翻译综合教程四.docxVIP

Unit 5 The Tapestry of Friendship Ellen Goodman 1 It was, in many ways, a slight movie. Nothing actually happened. There was no big-budget chase scene, no bloody shoot-out. The story ended without any cosmic conclusions. 2 Yet she found Claudia Weill ’films Girlfriend gentle and affecting. Slowly, it panned across the tapestry of friendship – showing its fragility, its resiliency, its role as the connecting tissue between the lives of two young women. 3 When it was over, she thought about the movies she had seen this year – Julia ， The Turning Point and now Girlfriends . It seemed that the peculiar eye, the social lens of the cinema, had drastically shifted its focus. Suddenly the Male Buddy movies had been replaced by the Female Friendship flicks. 4 This wasn’ t just another binge of trendiness, but a kind of cinema vérit .éFor once the movies were reflecting a shift, not just from men to women but from one definition of friendship to another. 5 Across millions of miles of celluloid, the ideal of friendship had always been male – a world of sidekicks and “ partners ” of Butch Cassidys and Sundance Kids. There had been something almost atavistic about these visions of attachments – as if producers culled their plots from some pop anthropology book on male bonding. Movies portrayed the idea that only men, those direct descendants of hunters and Hemingways, inherited a primal capacity for friendship. In contrast, they portrayed women picking on each other, the way they once picked berries. 6 Well, that duality must have been mortally wounded in some shootout at the You’ reOK, I ’ mOK Corral. Now, on the screen, they were at least aware of the subtle distinction between men and women as buddies and friends. 7 About 150 years ago, Coleridge had written, “ Awoman’ s friendship borders more closely on love than man ’ s. Men affect each other in the reflection of noble or friendly acts, whilst women ask fewer proofs and more signs and expressions of attach