The Stranger 在线电子书 图书标签: AlbertCamus 小说 哲学 法国 英文原版 外国文学 文学 英文
发表于2024-04-27
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荒谬感, 虚无感. 译名的话, 局外人、异乡人、畸零人都要比陌生人强吧. 怎样的浮世, 才能有这般生存状态, 不少地方我都看得笑了. 醉酒, 癫狂, 耳鸣, 皆是悠然心会, 妙处难与君说, 少数派的虽败犹胜在文学作品中屡试不爽. 兰波笑说: "我是一个他人." 倒是应景非常.
评分補個標記。Matthew Ward的譯本,反复看過好幾遍,也是最喜歡的一個英譯本;比起最早Gilbert的翻譯以及Laredo的第二譯本,更加貼近法文的行文風格——情感熱烈,用詞含蓄,對多義詞的取義較為直接,而不是像前兩版的翻譯那樣死摳中心主題思想。
评分半夜看完了第一章,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
评分我咋觉得主人公这么熟呢。。。
评分荒谬感, 虚无感. 译名的话, 局外人、异乡人、畸零人都要比陌生人强吧. 怎样的浮世, 才能有这般生存状态, 不少地方我都看得笑了. 醉酒, 癫狂, 耳鸣, 皆是悠然心会, 妙处难与君说, 少数派的虽败犹胜在文学作品中屡试不爽. 兰波笑说: "我是一个他人." 倒是应景非常.
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.
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.
重读加缪的《局外人》,我印象最深的是主人公默尔索的这一句:「人生在世,永远也不该演戏作假。」可以说这正是他人生哲学的根基,也是他的悲剧根源。 《局外人》的情节很简单,主人公默尔索是一个对生活各方面都抱有「无所谓」态度的人,一次无意的杀人让他上了法庭,最终被判...
评分阳光。阿尔及尔灼热的阳光,晒得人晕头转向,每当我试图对《局外人》的阅读过程中产生的思绪作一番整理时,笼罩在头脑中的,全是书中那无数次出现的灼热阳光。 阅读是轻松的,平淡的陈述中甚至感觉到诗意流动。纯粹明洁的句子,使人在阅读时,身临其境。 为母亲守...
评分 评分重读加缪的《局外人》,我印象最深的是主人公默尔索的这一句:「人生在世,永远也不该演戏作假。」可以说这正是他人生哲学的根基,也是他的悲剧根源。 《局外人》的情节很简单,主人公默尔索是一个对生活各方面都抱有「无所谓」态度的人,一次无意的杀人让他上了法庭,最终被判...
评分The Stranger 在线电子书 pdf 下载 txt下载 epub 下载 mobi 下载 2024