Czesław Miłosz memorialised his Lithuanian childhood in a 1955 novel, The Issa Valley , and in the 1959 memoir Native Realm . After graduating from Sigismund Augustus Gymnasium in Vilnius, he studied law at Stefan Batory University and in 1931 he travelled to Paris, where he was influenced by his distant cousin Oscar Milosz, a French poet of Lithuanian descent and a Swedenborgian. His first volume of poetry was published in 1934.
After receiving his law degree that year, he again spent a year in Paris on a fellowship. Upon returning, he worked as a commentator at Radio Wilno, but was dismissed, an action described as stemming from either his leftist views or for views overly sympathetic to Lithuania. Miłosz wrote all his poetry, fiction and essays in Polish and translated the Old Testament Psalms into Polish.
Awarded the 1980 Nobel Prize in Literature for being an author "who with uncompromising clear-sightedness voices man's exposed condition in a world of severe conflicts."
The Captive Mind begins with a discussion of the novel Insatiability by Stanisław Ignacy Witkiewicz and its plot device of Murti-Bing pills, which are used as a metaphor for dialectical materialism, but also for the deadening of the intellect caused by consumerism in Western society. The second chapter considers the way in which the West was seen at the time by residents of Central and Eastern Europe, while the third outlines the practice of Ketman, the act of paying lip service to authority while concealing personal opposition, describing seven forms applied in the people's democracies of mid-20th century Europe.
The four chapters at the heart of the book then follow, each a portrayal of a gifted Polish man who capitulated, in some fashion, to the demands of the Communist state. They are identified only as Alpha, the Moralist; Beta, The Disappointed Lover; Gamma, the Slave of History; and Delta, the Troubadour. However, each of the four portraits were easily identifiable: Alpha is Jerzy Andrzejewski, Beta is Tadeusz Borowski, Gamma is Jerzy Putrament and Delta is Konstanty Ildefons Gałczyński.
The book moves toward its climax with an elaboration of "enslavement through consciousness" in the penultimate chapter and closes with a pained and personal assessment of the fate of the Baltic nations in particular.
相比与《一九八四》的比较,我更喜欢波莱茨基的这段评论:“数十年来,读者忽略了《被禁锢的头脑》的文学性,反而一直将其作为了解波兰斯大林意识形态的唯一一本书来看待。……不管怎么说,《被禁锢的头脑》是一部杰出的文学论文,它所论述的人的心理问题比政治问题更多;论述...
評分最快收到,从卓越网上,一看不能放下,犹如当年读《一九八四》、《哈维尔文集》、《动物庄园》等等,醍醐灌顶,解恨解馋,痛苦不已!自己更是在体制的此山中,每每对照,毫厘不爽,这就是经典的精神,结构生活的力量,让你无处可逃,赤裸裸地呈现。记得有一句话说,如果文学(...
評分闯入者最擅长的在于将自己描绘为历史进步的代表者,他们有一套完整的学说,以“新信仰”的名义,要求人们服从。为此对其他国家施行残忍的杀戮,把人们驱逐,让人们不敢声张。米沃什在本书的每一章都举了真实的例子:能给人精神上带来稳定作用的“穆尔提-丙”药丸,“道德家”阿...
評分伪装作为一种生存技能在极权社会下总是显得那么必要,不论是米沃什的《被禁锢的头脑》还是米克洛什·哈拉兹蒂的《天鹅绒监狱》,都很好地阐释了这一点。 战后的东欧处于苏联的控制之下,社会主义新信仰成功地侵入了东欧国家的肌体。现实生活中的人们不得不成为演员,他们在办...
評分或者无奈也好,真实也罢。 写作,之于这个时代,都一定会有他的背景,无论是以怎样一种方式去表达。 这一切都是一种执着,没有好与坏。 我们到底是为体制写作?为国家写作?为国家所要求的人们大众写作?还是为个人写作?为自己写作?为金钱写作? 在奥兹的《咏叹生死》一书有...
半世紀之前的政治學卻差點讀哭瞭
评分半世紀之前的政治學卻差點讀哭瞭
评分半世紀之前的政治學卻差點讀哭瞭
评分半世紀之前的政治學卻差點讀哭瞭
评分花瞭很久來讀這本小書,覺得它講齣瞭我很久以來一直不知如何錶達的東西:在一個極權社會裏,語言是如何成為囚籠並將人深睏於其中的。
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