The Stranger

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Born in Algeria in 1913, Albert Camus published The Stranger–now one of the most widely read novels of this century–in 1942. Celebrated in intellectual circles, Camus was awarded the Nobel Prize for Literature in 1957. On January 4, 1960, he was killed in a car accident.

出版者:Vintage
作者:Albert Camus
出品人:
页数:144
译者:Matthew Ward
出版时间:1989-3-13
价格:USD 12.95
装帧:Paperback
isbn号码:9780679720201
丛书系列:Vintage Camus
图书标签:
  • AlbertCamus 
  • 小说 
  • 哲学 
  • 法国 
  • 英文原版 
  • 外国文学 
  • 文学 
  • 英文 
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The Stranger is not merely one of the most widely read novels of the 20th century, but one of the books likely to outlive it. Written in 1946, Camus's compelling and troubling tale of a disaffected, apparently amoral young man has earned a durable popularity (and remains a staple of U.S. high school literature courses) in part because it reveals so vividly the anxieties of its time. Alienation, the fear of anonymity, spiritual doubt--all could have been given a purely modern inflection in the hands of a lesser talent than Camus, who won the Nobel Prize in 1957 and was noted for his existentialist aesthetic. The remarkable trick of The Stranger, however, is that it's not mired in period philosophy.

The plot is simple. A young Algerian, Meursault, afflicted with a sort of aimless inertia, becomes embroiled in the petty intrigues of a local pimp and, somewhat inexplicably, ends up killing a man. Once he's imprisoned and eventually brought to trial, his crime, it becomes apparent, is not so much the arguably defensible murder he has committed as it is his deficient character. The trial's proceedings are absurd, a parsing of incidental trivialities--that Meursault, for instance, seemed unmoved by his own mother's death and then attended a comic movie the evening after her funeral are two ostensibly damning facts--so that the eventual sentence the jury issues is both ridiculous and inevitable.

Meursault remains a cipher nearly to the story's end--dispassionate, clinical, disengaged from his own emotions. "She wanted to know if I loved her," he says of his girlfriend. "I answered the same way I had the last time, that it didn't mean anything but that I probably didn't." There's a latent ominousness in such observations, a sense that devotion is nothing more than self-delusion. It's undoubtedly true that Meursault exhibits an extreme of resignation; however, his confrontation with "the gentle indifference of the world" remains as compelling as it was when Camus first recounted it. --Ben Guterson

From Library Journal

The new translation of Camus's classic is a cultural event; the translation of Cocteau's diary is a literary event. Both translations are superb, but Ward's will affect a naturalized narrative, while Browner's will strengthen Cocteau's reemerging critical standing. Since 1946 untold thousands of American students have read a broadly interpretative, albeit beautifully crafted British Stranger . Such readers have closed Part I on "door of undoing" and Part II on "howls of execration." Now with the domestications pruned away from the text, students will be as close to the original as another language will allow: "door of unhappiness" and "cries of hate." Browner has no need to "write-over" another translation. With Cocteau's reputation chiefly as a cineaste until recently, he has been read in French or not at all. Further, the essay puts a translator under less pressure to normalize for readers' expectations. Both translations show the current trend to stay closer to the original. Marilyn Gaddis Rose, SUNY at Binghamton

Copyright 1988 Reed Business Information, Inc. --This text refers to the Hardcover edition.

Review

“The Stranger is a strikingly modern text and Matthew Ward’s translation will enable readers to appreciate why Camus’s stoical anti-hero and ­devious narrator remains one of the key expressions of a postwar Western malaise, and one of the cleverest exponents of a literature of ambiguity.” –from the Introduction by Peter Dunwoodie

From the Hardcover edition.

Description

Through the story of an ordinary man unwittingly drawn into a senseless murder on an Algerian beach, Camus explored what he termed "the nakedness of man faced with the absurd." First published in 1946; now in a new translation by Matthew Ward.

Language Notes

Text: English (translation)

Original Language: French

From the Inside Flap

Through the story of an ordinary man unwittingly drawn into a senseless murder on an Algerian beach, Camus explored what he termed "the nakedness of man faced with the absurd." First published in 1946; now in a new translation by Matthew Ward.

具体描述

读后感

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对于世界 我永远是个陌生人. 我不懂它的语言 它不懂我的沉默 我们交换的只是一...  

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只是表面冷冰冰——读《局外人》后的琐碎感想 妈妈的同事在她婆婆的葬礼上哭得异常伤心,所有在场的吊唁者都为之动容,事后人们纷纷夸赞这个儿媳妇孝顺、有良心,婆婆在天之灵应该为有这样的儿媳妇而感到高兴。而妈妈却告诉我,她的同事和婆婆的关系其实非常不好,之所以她哭...  

用户评价

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毕业回国的飞机上读的。十二个小时的飞机一大半都在哭,哭累了看,看累了睡,睡醒了哭。I knew that a part of me had died.

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Don't really like the absurd hero.

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两个晚上枕边时间看完了。大学时看的中文版,那时那地的那种迷恋已不在,曾经以为的只有自己才是同样的"异乡人"的傻乎乎的自怜也早已不在。因为其实每个人都是stranger,都是深渊、毒药和地狱。

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半夜看完了第一章,好适合又困又丧的时候看的书啊。就是那种特别疲乏的感觉,僵硬的语句,对世界的抽离感,规则和生理上感受的违背。真的超级丧。好多事情在主角眼中都是doesn’t matter,但是社会作出很多联想并且帮他define了他是什么样的人,就好像一个巨型游戏,每个人都要follow rules。之后在court上有种强烈的抽离感,my fate is decided without anyone so much as asking my opinions,最后在监狱里沉思用了machinery这个词真的好精准!但是说实话这个主角自己也太不争取了,communication难道不是你的job to convey your ideas?其实读的时候并不是很enjoy。#二刷

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coldness as a way of life among the collective

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