1. 传记要点有哪些
“实用类文本”中的人物传记，是遵循真实性原则，用形象化的方法记述人物的生活经历、精神风貌及其历史背景的一种叙事性文体。其文体特点是真实性和文学性。其中，真实性是传记的第一特征，因为传记叙写的是历史或现实中存在的活生生的人，有真名实姓、居住地点、活动范围等，写作时不允许任意虚构。但传记不同于一般的枯燥的历史记录，它又具有文学性。它是写人的，有人的生命、情感在内；它通过作者的选择、剪辑、组接，倾注了爱憎的情感；它需要用艺术的手法加以表现，以达到传神的目的。从叙述人称看，传记可分“自传”和“他传”：前者是作者自己撰写的，后者是他人撰写的。从表达方式看，一般的传记以记叙为主，还有的传记，一面记述人物的经历，一面加以评论，记叙与评论各半，这种传记则被称为“评传”。从创作方法看，有的传记以记叙翔实的史实为主，用语比较平实，称为“历史性传记”；有的传记多
用形象化手法，描述人物的生活经历、精神风貌及其活动的历史背景等，以史实为依据，但又不排斥某些联想性的文学描写，称为“传记文学[1]”。
对人物传记的阅读，新《课程标准》提出了的这样要求：“阅读古今中外的人物传记、回忆录等作品，能把握基本事实，了解传主的人生轨迹，从中获得有益的人生启示，并形成有一定深度的思考和判断；认识传记作品的基本特性，尝试人物传记的写作。”要做到能“把握作品中具有典型意义的事件情节，理解作者对传主及有关事实所作的评价，并形成自己的思考和判断”。《新课程标准语文科考试大纲》要求：“准确解读文本，筛选、整合信息、分析思想内容、构成要素和语言特色，评价文本产生的社会功用，探讨文本反映的人生价值和时代精神。”
2. 用英语写一篇人物传记
Helen Keller was less than two years old when she came down with a fever. It struck dramatically and left her unconscious. The fever went just as suddenly. But she was blinded and, very soon after, deaf. As she grew up, she managed to learn to do tiny errands, but she also realized that she was missing something. "Sometimes," she later wrote, "I stood between two persons who were conversing and touched their lips. I could not understand, and was vexed. I moved my lips and gesticulated frantically without result. This made me so angry at times that I kicked and screamed until I was exhausted." She was a wild child.
That's Helen Keller,a greatest writer in the world.
We reported last week that Helen Keller suffered from a strange sickness when she was only 19 months old. It made her completely blind and deaf. For the next five years she had no way of successfully communicating with other people. Then a teacher Anne Sullivan arrived from Boston to help her. Miss Sullivan herself had once been blind. She tried to teach Helen to live like other people. She taught her how to use her hands as a way of speaking. Miss Sullivan took Helen out into the woods to explore nature. They also went to the circus, the theatre., and even to factories. Miss Sullivan explained everything in the language she and Helen used, a language of touch, of fingers and hands. Helen also learned how to ride to horse, to swim, to row a boat, and even to climb trees.
Helen Keller once wrote about these early days.
One beautiful spring morning I was alone in my room, reading. Suddenly a wonderful smell in the air made me get up and put out my hands . The spirit of spring seemed to be passing in my room. "What is it?"I asked. The next minute I knew it was coming from mimosa tree outside. I walked outside to the edge of the garden, toward the tree. There it was, shaking in the warm sunshine. Its long branches, so heavy with flowers, almost touched the ground. I walked through the flowers to the tree itself and then just stood silent. Then I put my foot on the tree and pulled myself up into it. I climbed higher and higher until I reached a little seat. Long ago someone had put it there. I sat for a long time... Nothing in all the world was like this.
Later Helen learned that nature could be cruel as well as beautiful. Strangely enough she discovery this in a different kind of tree.
One day my teacher and I were returning from a long walk. It was a fine morning but it started to get warm and heavy. We stopped to rest two or three times. Our last stop was under a cherry tree, a short way from our house. The shade was nice and the tree was easy to climb. Miss Sullivan climbed with me. It was so coot up in the tree, we decided to have lunch there. I promised to sit still until she went to the house for some food. Suddenly a change came over the tree. I knew the sky was black because all the heat which meant light to me had died out of the air. A strange odor came up to me from the earth . I knew it. It was the odor which always comes before a thunder storm. I felt alone, cut off from friends, high above the firm earth. I was frightened and wanted my teacher. wanted to get down from that tree quickly, but I was no help to myself. There was a moment of' terrible silence. Then a sudden and violent wind began to shake the tree and its leaves kept coming down all around me. I almost fell. I wanted to jump, but was afraid to do so. I tried to make myself small in the tree as the branches rubbed against me. Just us I thought that both the tree and I were going to fall, a hand touched me . It was my teacher. I held her with all my strength, then shook with joy to feel the solid earth under my feet.
Miss Sullivan stayed with Helen for many year. She taught Helen how to read, how to write and how to speak. She helped her to get ready for school and college. More than anything, Helen wanted to do what others did, and do it just as well. In time Helen did go to college and completed her studies with high honors. But it was a hard struggle. Few of the books she needed were written in the Braille language that the blind could read by touching pages. Miss Sullivan and others had to teach her what was in these books by forming words in her hands. The study of geometry and physics was especially difficult. Helen could only learn about squares, triangles and other geometrical forms by making them with wires. She kept feeling the different shapes of these wires until she could see them in her mind.
During her second year college Miss Keller wrote the story of her life and what a college meant to her. This is what she wrote.
My first day at Radcliffe college was of great interest. Some powerful force inside me made me test my mind. I wanted to learn if it was as good as that of others. I learned many things at college. One thing I slowly learned was that knowledge does not just mean power, as some people say. Knowledge leads to happiness because to have it is to know what is true and real. To know what great man of the past had thought, said, and done is to feel the heartbeat of humanity down through the ages.
All of Helen Keller's knowledge reached her mind through her sense of touch and smell, and of course her feelings. To know a flower was to touch it, feel it and smell it. This sense of touch became greatly developed as she got older. She once said that hands speak almost as loudly as words. She said the touch of some hands frightened her. The people seemed so empty of joy that when she touched their cold fingers it is as if she were shaking bands with a storm. She found the hands of others full of sunshine and warmth. Strangely enough Helen Keller learned to love things she could not hear, music for example. She did this through her sense of touch. When waves of air beat against her, she felt them. Sometimes she put her hand to a singer's throat. She often stood for hours with her hands on a piano while it was played. Once she listened to an organ. Its powerful songs made her moved her body in rhythm with the music. She also liked to go to museums. She thought she understood sculptures as well as others. Her fingers told her the true size and the feel of the material.
What did Helen Keller think of herself, what did she think about the tragic lost of her sight and hearing. This is what she wrote as a young girl.
Sometimes a sense of loneliness covers me like a cold mist. I sit alone, and wait at life ' s shut-door. Beyond there is light and music and sweet friendship. But I may not enter. Silence sits heavy upon my soul. Then comes hope with a sweet smile and said
softly " There is joy in forgetting oneself And so I tried to make the light in others' eyes my sun, the music in others' ears my symphony, the smile on others' lips my happiness.
Helen Keller was tall and strong. When she spoke, her face looked very alive. It helped to give meaning to her words. She often felt the faces of close friends when she was talking to them to discover their feelings. She and Miss Sullivan both were known for their sense of humor. They enjoyed jokes and laughing at funny things that happened to themselves or others. Helen Keller had to work hard to support herself after she finished college. She spoke to many groups around the country. She wrote several books and she made one movie based on her life. Her main goal was to increase public interest in the difficulties of people with physical problems. The work Helen Keller and Anne Sullivan did has been written and talked about for many years. Their success showed how people can conquer great difficulties. Anne Sullivan died in 1936, blind herself. Before Miss Sullivan died, Helen wrote and said many kind things about her.
It was the genius of my teacher, her sympathy, her love which made my first years of ecation so beautiful. My teacher is so near to me that I do not think of myself as a part from her. All the best of me belongs to her. Everything I am today was awakened by her loving touch .
Helen Keller died on June 1st, 1968. She was 87 year old. Her message of courage and hope remains.
3. 人物传记英语作文
After a chain of (一系列) unexpected defeats to Chinese favoured for the title, Rong carried the heavy hopes to make a breakthrough.
Rong` rival in the final was top Hungarian paddler Ferenc Sido.
Rong was seen as an underdog for the title as he had just lost to Sido in the team contest. Even the victory flowers were being prepared for Sido.
But much to the surprise of the 8000-member audience, Rong won three straight sets with a big margin 21-12, 21-15, and 21-14 after losing the first set 19-21. Until that very moment, Rong realized the promise he made one year ago, that was to win a world championship for his motherland.
Two years later at the 26th championship for his motherland.
Two years later at the 26th championships in Beijing, Rong led the Chinese men to win the team title.
After becoming the coach(教练) of the Chinese women`s team, Rong led the team to the winners` podium at the 28th championshipsi n 1965.
4. 写人物传记应注意运用什麽
写传记，是写历史，是写传主一生的历史，写历史中的传主的一生，写传主在历史中的作用和影响。
如实地写作者对传主的所见、所闻、所思、所感、所写、所说、所作、所为，并把这些摆到他所处的历史环境及变化中。就是说，需要跟随传主的步履，不虚构，不夸张，不回避，不掩饰。实事求是，写传记的科学基础就在这里。
事迹材料是写传记的必要依托。传记作者的手头都得要有第一手材料，要有个人观察所得、或经过鉴别核实的材料。这种材料来之不易，但只要你付出努力，终有所得。搜集材料的过程，也是认识传主的过程。作者对所搜集拥有的感性材料，进行分析、比较、揣摩，日子一久，一个完整鲜活的形象，便渐趋在头脑中形成，把这个自己感受并认识的生动形象写出来，传达给读者，是会让读者产生共鸣的。
写传，要精于对历史人物事迹的发掘，在发掘后的材料中恰当地裁剪出历史人物一生中最能表现其思想性格特点的材料，在写作前搞清这个人物一生中值得注意的事迹，判断出他的主要倾向，而给予客观公正的评述。
有了丰富的史料，还要力求使它生动，赋予其故事性。传记作者的功夫是发现蛛丝马迹，顺藤摸瓜，有机衔接，从衔接中提炼出藏匿其中的故事并将之合理地放大。并且通过对已搜集到的资料反复推敲，找出主人公思想和生命历程的端绪，想办法把笔触伸进其内心世界。在这个世界中，你也将发现很多生动传神的故事。
还有一点，就是需要大量的深入细致的采访，尽可能采访到与传主长期在一起的人。他们在与传主在交往中，自然都会有一些生动情节。写传记，得大面积地采访相关人员，如同沙里淘金，一串串被历史遗忘的珍珠便从他们的口中重现出来。
一本传里，如果不少生动的故事，反映传主在彼时的所作所为，不愁立不起传主的形象。需要指出的是，所说的故事，当然不是为了取悦读者而瞎编乱造的，件件桩桩都要取材于事实。故事也有大小，有精彩与一般之别。有时用几个小故事可以凑成一个大故事。
历史、后人、传记作者对传主的评价，是传记中所不可缺少的，虽然这种评价可以展开地写在传记中，也可以隐约地含在传记中。
总之，坚持真实性、准确性和可信性，写成准确的可靠的人物传记类信史，是传记写作应定下的要求和目标。保持传记的真实性，既是对传主和历史负责和尊重，也是对传记作者自身负责。在严格遵守历史真实这一原则的前提下，一切可用的表现形式和表现手法都可以适当地吸收到人物传记的写作中来。替传主向读者打开一扇既是史实又是心灵的窗口，让读者从他们已经熟知的人物和事件中再度获得一些新的感知和审美。
1、应该如何写传记？
最好的传记作家向小说求教。他们决心详查主人公的性格并写出贯穿主人公一生的连冠的线索。......斯特霍奇说：“不经解释的事实与埋在土中的黄金一样无用。”事实太多反而会掩盖实质性的真相，使读者负担过重并切断读者的眼睛和大脑之间的联系。......太多的传记，尤其是学究们写的传记，与其说是供人阅读的书籍，倒不如说是事实的堆砌。有时读完一生好像和过完一生要花费一样多的时间。
2、传记作家应如何看待传主？
一个读者进入一部小说，他就步入了作者想象的天地。而当他打开一本传记，他却同时闯入了两个人的生活：传记主人公极其作者就好像孪生兄弟一样结合在一起直至这本书变成尘埃。......一位传记作者说：“当你写一个人的一生时，他的经历经常成为你的经历，这是多么奇妙呀。这种情况从一本书延续到另一本书：他们的生活唤醒了我的生活，否则我为什么要写作呢？我写传记的目的是想知道命运为我准备的下一站是什么。”......传记是一种效忠的行为。甚至当主人公做事像个傻瓜，你也要爱他，对他负责。传记作家要与主人公站得足够近，以便同情他，但也要站得足够远，以便看清他。要解释，但不要辩护和非难。
3、一本好的传记应该是怎样的？
（当传记结束，）主人公得到了人类最难能可贵的礼物：谅解，虽然他可能已不在世间，不能亲享这个礼物了。购书者的收获也比仅仅读了一本好书要多。他观察了一个人的一生：那个人比他早一些来到世间，有过痛苦也有过欢乐，做过傻事也做过聪明事，但那个人忍受了这一切。只要人们还对其他人有兴趣，传记就总会有读者。
5. 如何写作传记 / 写作传记应该注意什么
人物传记特征及写作注意事项
定义特征
人物传记是通过对典型人物的生平、生活、精神等领域进行系统描述、介绍的一种文学作品形式。作品要求“真、信、活”，以达到对人物特征和深层精神的表达和反映。人物传记是后人或人物资料的有效记录形式，对历史和时代的变迁等方面的研究具有重要意义。人物传记是人物志的主体，是地方志中的重要内容。人物传记的特征有二个：其首要特征是真实，另一个显著特征是生动。(即真实性和文学性)
基本内容
人物传记必须坚持实事求是的科学态度，一是一，二是二，功是功，过是过，不虚构渲染，不隐恶扬善，不拔高溢美，不贬责降低，据事“直书”，做到人真、事真、言真、情真、形象真，以真取信，以真感人。只有做到“情真而不诡”，“事信而不诞”，才能有益于人，传之久远。
内容要求丰富翔实。要使传记真实可信，首先必须全面搜集、占有丰富翔实的资料，使传记所反映的人物生平事迹准确无误，完整无缺。这些资料一般包括五个基本方面的内容：
（1）人物的姓名、性别、籍贯、民族。
（2）人物的生卒年月
（3）人物的学历、简历、党派、职务。
（4）人物的贡献功绩、科技成果、著作。
（5）能反映人物思想风貌本质特征的典型事件。对于收集的大量资料，又要细心鉴别，严格选材，作一番“弃粗取精”，“去伪存真”的分析、研究、考证工作，严格坚持史实的可靠性、准确性。这样，才能为社会所公认，才能经得起历史的检验。如果史实错了，立论也就不正确了。因此编写传记时，一定要占有丰富、翔实、真实可靠的资料后，方能动笔。梅林为了写作《马克思传》，用了几乎二十年时间，搜集并深入钻研有关马克思的资料。司马迁写《史记》，经历了十年，如果加上他搜集史料，调查研究所花去的时间，可以说一部《史记》倾注了他的毕生精力。
注意事项
要写好人物传记，要把握以下几点：
人物本质
抓住人物本质，从环境中说明人。撰写人物传记，应把所写的人物放到他所处的社会关系中去，从表面现象深入到人物和各种社会关系的内在联系，抓住人物的本质进行记述。马克思指出：人的本质“是一切社会关系的总和。”任何人的思想和行动都受一定的社会关系的制约，人物传记就是要写出一定的社会关系造就了一定的人，而这个人又怎样对当时的社会关系施加一定的影响。马克思的论点为人物传记的创作提供了最重要的指导思想，也为真实地描述人物的本质特征指明了正确的方向。一些杰出的思想家和作家也曾经指出过，编写人物传记必须把人物放在他所处的历史环境中来描述，不能脱离当时的历史环境，这是历史唯物主义的基本观点。德国工人运动领导人罗·卢森堡，希望梅林在写作《马克思传》时，能做到从环境中说明人，从历史中说明环境。如果不顾人和社会关系的内在联系，不把人放在当时所处的历史环境之中，就不能写出具有真实感的人物，甚至歪曲历史人物的真实面貌。即使象杰出的法国作家维·雨果，他的《小拿破仑》，由于不理解法国当时的阶级斗争造成一种社会局势，使得一个平庸可笑的人物路易·波拿巴有可能扮演英雄的角色。马克思说雨果没有觉察到：“当他说这个人表现了世界历史上空前强大的个人主动作用时，他就不是把这个人写成小人而是伟人了”。而这，也就是背离了历史的真实了。可见，要写好人物传记，必须了解人物所处的历史环境与时代背景，把人物置于一定的历史环境和时代背景之中，论其世知其人，才能写得典型真实。
公允评价
从人物的复杂性中对人物作出公允的评价。历史是绚丽多彩的万花筒，历史人物有其复杂性。在错综复杂的历史条件下，大量的历史人物功过渗合，斑瑜互见。有的人功大于过，有的人过大于功。因此，我们对历史人物要全面研究，具体分析，一分为二地看人物的好与坏，功与过，决不能因为一个人后期不好，就把前期的功劳一笔勾销，也不能因为做过一些错事，就把其他方面的贡献全部抹煞，而是要尊重事实，尊重历史。司马迁写《淮阴侯列传》对韩信的军事才能是满怀激情的描写，但对韩信早年的“无行”、“不能治生商贾”、“食从人寄食饮”、“俯出胯下”却并没掩盖而是直书，读者读后反觉真实可信。所以我们写人物传记，一定要从当时社会历史的客观条件出发，实事求是地记载和评价历史人物，真实地反映历史人物的本来面目。
叙述生动
所谓生动，就是要把人物写活。写成既具有鲜明的个性，又能体现时代特征和阶级特征，栩栩如生的血肉之躯，而不是干巴枯燥的偶像或只有动作没有思想的机器人。司马迁的《史记》雄视百代，卓然独立于千古，不是偶然的，而是由于他刻划了许许多多个性鲜明的人物。马克思也曾为十八世纪末到十九世纪上半叶的军事活动家政治家写作小传。他写的《贝尔蒂埃》、《贝尔纳多特》、《布律恩》、《布里昂》，生动记述了拿破仑一世时期法国军事活动家和政治活动家的群象，其中有贪得无厌、追名逐利之徒；有渴求官职、封号和王位的野心家；有愿为任何制度效劳的不择手段的钻营者。这些小传，既描述人物的特有个性，又提供了拿破仑一世帝国资产阶级上层人物的本质特征，成为传记文章的典范。恩格斯也写过不少人物小传，恩格斯写人物传的杰出之处和马克思一样，在于紧紧抓住人物的个性，同时突出人物所代表的阶级特征。所以，在他笔下，马克思、燕妮·马克思……等人物形象，被活生生地再现出来。所以一部成功的人物传记，既要体现人物的阶级、职业、文化素质、信仰、经历、遭遇及其产生影响等方面的不同，又要体现同阶级、同职业、同素质、同信仰、同遭遇、同影响而在性格上的差异。要突出人物个性，体现人物个性形成发展的必然性。只有这样，写出的人物才能鲜明生动。
选材典型
要达到上述要求，一要选材典型。编写人物传要在概括人物全貌的同时，选择重大的有代表性的最能反映人物特征的事件详细记述，把不能表现人物特征的事件摒弃或一笔带过。从各种素材中加工、提炼，选择最能表现人物主要性格特征的典型事件来写。这些典型事件，往往是人物一生的关键所在。写好这些关键之处，不仅可以表现人物一生的主要功罪，而且可以显示历史发展的进程及其特点。司马迁的《史记》在这方面有不少地方值得我们借鉴，如《史记·廉颇、蔺相如列传》。廉颇和蔺相如都是赵国封建统治集团中举足轻重的人物。司马迁为了要表现廉颇、蔺相如的主要性格特征，不是给他们各开一张履历表，而是选择了“完璧归赵”、“渑池之会”、“负荆请罪”三件事来写。这三件事反映了两种矛盾，一是秦赵两国之间的矛盾，一是廉蔺两人之间的矛盾，前一个矛盾发展的后果，是构成后—个矛盾的原因。通过这两对矛盾冲突，廉颇、蔺相如的主要性格特征得到了充分的展示。同时秦赵争夺和氏璧以及渑池之会两件事，实质上是秦赵两国统治阶级两次实力较量，是秦国大举进攻赵国的前奏，所以选择这两件事情，也显示了历史发展进程的特点。写大事固然重要，但对细节描写也不可忽视，有时人物的性格特点往往在一些细节中表现出来。茅盾税：“善于描写典型的作家，不但用大事来表现人物性格，而且不放松任何细节的描写。”恰当地记述小事，能见微知著、增强传记的可信性和感染力，甚至预示着人物日后的发展。如《史记·陈涉世家》，开头写了这样一个细节：陈涉为人佣耕时，曾对同伴说：“苟富贵，无相忘”，并十分自负地说：“燕雀安知鸿鹄之志哉！”这个细节，看来或许并非必要，其实对描写人物来说，却有助于展示人物思想脉络，写出人物前后一贯的性格史。写陈涉少时就有鸿鹄之志，所以后来才发展到大泽乡起义。写陈涉少时就把别人比作微不足道的燕雀，所以称王后严重脱离群众，甚至把早年同过患难的老朋友也杀了。这是他最后失败的一个重要原因，可思想根子却早就种下了。
叙行录言
思想支配行动，行动表现思想。人物思想性格不同，所表现出来的行动也就不一样。记叙人物行动，是揭示人物内心世界和性格特点的重要方法。因此记叙人物，要选择那些最典型，最能表现人物思想性格的行动来写。例如在《吉鸿昌传》中，作者记述吉鸿昌在1931～1932被迫出国期间，为了反对美国歧视华人，特意在自己胸前佩带“我是中国人”的牌子。这个细节的描写，表现了吉鸿昌高尚的民族气节，也体现了他的个性特点。又如《史记·项羽本纪》写项羽在巨鹿之战的巨大胜利之后，叱咤风云，诸侯惧服。作者通过项羽召见侯将，侯将“无不膝行而前，莫敢仰视”的动作描写，反衬出项羽骄横不可一世的性格。可见动作的描写对记叙人物来说是非常重要的。人物有了具体的行动，才能生动感人。“言为心声”。人物的思想、感情、愿望、要求，无不表现在他们的语言中，因此选择人物的典型语言，来表现人物的性格，也是一种非常重要的方法。如《史记·项羽本纪》写项羽见秦始皇出游的壮观时说：“彼可取而代之”。而《史记·高祖本纪》写刘邦看到这种壮观时却说：“嗟呼！大丈夫当如此。”尽管他们两人的话意思都是羡慕帝王，但却体现了两种不同性格。人物的诗作、著述（包括文章、书信、日记）和话语一样，是人物思想境界的高度凝结和表露。无不凝聚着人物对客现事物的认识、主张以及所持的态度。恰到好处的引用一些人物的诗作著述，对写活人物，突出性格也是不可少的。
讲究文采
人物传虽不能偏向华丽的词藻，繁琐的描写，多余的形容，曲折的情节。但语言生动形象，用词精当贴切，句子流畅，层次分明，布局合理，一句话，文采还是必须讲究的。虽说史志中的人物传记与文学中的人物传记有区别，前者完全是根据历史事实，不允许任何虚构，后者在符合历史真实的基础上允许一定程度的虚构。但是，在需要生动因而需要文采这一点上是共同的。因为传者，传也。立人物传记就是为了传于后世，为了“记一方之言，激千秋之爱憎”为了“鉴人明事”。孔子曰：“言之无文，行而不远”。可见讲究文采，也是史志中编写人物传记应高度重视的一个问题。马克思要求人物传记应当写得有“强烈色彩”、“栩栩如生”。恩格斯认为人物形象应当“光芒夺目”。《史通》说：“夫史之称美者，以叙事为先，至若书功过，记善恶，文而不丽，质而非野，使人味其滋旨，怀其德音，三复忘返，百遍无致”。在不影响历史真实性的情况下，史志崇尚文彩，文史并茂，引人入胜，还是必要的。因此，在写人物传记时，应当重视文字锤炼，讲究艺术手法。
人物传记共同特点
人物传记，虽然形式多样，但是大体上还是前面提到的形式。它们在写作方法上千差万别。然而一切优秀的人物传记，仍是具有共同性的。其相同之处是：
人物的真实性
我国几千年的历史变革，出现过许多不同类型的人物。既有推动历史向前发展的伟人，也有逆历史激流而动的罪人，并有出身、地位、经历、思想、性格等方面的不同。这些人物在历史上起过一定作用，有过一定影响，就会在历史上留了他们的影子。作者，为这些人树碑立传的目的就是要抑恶扬善，“表彰以劝世道，贬斥以戒人心”， 两千多年以来，传记作者把崇高的荣誉给予那些热爱祖国，不畏强暴，视死如归的英雄，同时对奸臣逆子也进行了无情地诛伐与鞭打。一切优秀的人物传记在内容表达上都力求真实，忠于历史，忠于事实，并且是非明断，褒贬准确。
人物的时代性
优秀的传记作者由于做到了“其文直，其事核，不虚美，不隐恶”，所以留在传记中的人物都具有时代的特色。例如同是处于封建社会中的知识分子，由于时代不同，传中所表现出的特点是不相一致的。《五柳先生传》中的五柳先生（即陶渊明），他那种“不戚戚于贫贱，不汲汲于富贵”的精神，与他那个时代知识分子特点——尚清谈和以清高自愉相一致的；而袁宏道的《徐文长传》则是一篇奇人的传略。尽人皆知，明代社会黑暗，特务横行，文字狱大兴，知识分子“动辄得疯”，所以徐文长的一生只能是从不得志到疯，从疯到坐牢至死。他的悲剧是社会造成的，是时代的悲剧。以上二例，传主同是文人，由于时代不同，他们的性格不同，遭遇者不一样。
人物的个性
读优秀的人物传记，犹如参观罗汉堂。众多泥塑，面目不一，神态各异。一些传记所以达到这么高的水平，是由于传记家们懂得和善于处理人物的共性与个性的辩证关系的结果。
区别纪传
传记在内容表述上忠于史实和抑恶扬善，是我国人物传记写作的优良传统，一直持续到今天，这是各种形式的人物传记的共同特点。但是，各种传记在表述方法上又存在着很大的差别。首先，志传和纪传不同。一是“纪传”注重在文采方面，特别是在“词藻”上下功夫。有大量的形容词和修饰语，以增强传记的文学性；二是“纪传”在撰写人物时虽然也以事实为根据，同时它又偏重于文学形象的刻划。使历史传记同文学传记合为一体，这就不能不使人物历史的真实性受到某种程度的影响；三是在“纪传”文章的最后都要加上一段评语，如“太史公曰”、“赞曰”等等。作者公开站出来对人物进行评价。以上三点在“志传”中是绝对不能允许的。其次，志传与史传不同。有专家从“志属史体”出发，进一步指出方志传记与历史传记是一样的，属于同一种体裁——史体。但史传可以史论结合，有史有论，志传不能议论，是“寓褒贬于记述之中”。史传手法多样，可以夹叙夹议，也可以先议论、后记事，或者先叙述后议论。而志传只能记述人物的生平、事迹和功过。人物的善、恶、美、丑则需要通过叙述反映出来。应该说志传别于史传，因此在志传的写作中，文字运用就要仔细地斟酌，对传主的是非不能明断，但又要让读者从字行间看得出来。
6. 英语的人物传记怎么写
Biography
7. 我要写一篇关于人物传记的英语演讲稿，字数150左右，请问我该注意些什么我的意思是整篇文章的调理该怎样
语法的运用，顺序
8. 关于中国人物传记(有小标题)的英文作文
Albert Einstein was bron in Germany in 1879.he started instered in Compass whe he was a little boy .he likes doing some small research by himself .he study high maths in high scool.when he finish the collage ,he moved to swiss and published the photoelectric effect speech.he became the most famous sincentist in the world .
At last ,he died in 1955.we lost a greatest scientist in the world.we miss him for ever.