Little Reunions

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Eileen Chang (1920–1995) was born into an aristocratic family in Shanghai. Her father, deeply traditional in his ways, was an opium addict; her mother, partly educated in England, was a sophisticated woman of cosmopolitan tastes. Their unhappy marriage ended in divorce, and Chang eventually ran away from her father—who had beaten her for defying her stepmother, then locked her in her room for nearly half a year. Chang studied literature at the University of Hong Kong, but the Japanese attack on the city in 1941 forced her to return to occupied Shanghai, where she was able to publish the stories and essays (collected in two volumes, Romances, 1944, and Written on Water, 1945) that soon made her a literary star. In 1944 Chang married Hu Lan-ch’eng, a Japanese sympathizer whose sexual infidelities led to their divorce three years later. The rise of Communist influence made it increasingly difficult for Chang to continue living in Shanghai; she moved to Hong Kong in 1952, then immigrated to the United States three years later. She remarried (an American, Ferdinand Reyher, who died in 1967) and held various posts as writer-in-residence; in 1969 she obtained a more permanent position as a researcher at Berkeley. Two novels, both commissioned in the 1950s by the United States Information Service as anti-Communist propaganda, The Rice-Sprout Song (1955) and Naked Earth (1956), were followed by a third, The Rouge of the North (1967), which expanded on her celebrated early novella, “The Golden Cangue.” Chang continued writing essays and stories in Chinese and scripts for Hong Kong films, and began work on an English translation of the famous Ch’ing novel The Sing-Song Girls of Shanghai. In spite of the tremendous revival of interest in her work that began in Taiwan and Hong Kong in the 1970s, and that later spread to mainland China, Chang became ever more reclusive as she grew older. She was found dead in her Los Angeles apartment in September 1995. In 2006 NYRB Classics published a collection of Chang’s stories, Love in a Fallen City, and in 2007, a film adaptation of her novella Lust, Caution, directed by Ang Lee, was released.

出版者:New York Review Books
作者:Eileen Chang
出品人:
页数:332
译者:Jane Weizhen Pan
出版时间:2018-1-16
价格:USD 15.95
装帧:Paperback
isbn号码:9781681371276
丛书系列:
图书标签:
  • 文学 
  • 张爱玲 
  • 小团圆 
  • Eileen_Chang 
  • Eileen 
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Now available in English for the first time, Eileen Chang’s dark romance opens with Julie, living at a convent school in Hong Kong, on the eve of the Japanese invasion. Her mother, Rachel, long divorced from Julie’s opium-addict father, saunters around the world with various lovers. Recollections of Julie’s horrifying but privileged childhood in Shanghai clash with a flamboyant, sometimes incestuous cast of relations that crowd her life. Eventually, back in Shanghai, she meets the magnetic Chih-yung, a traitor who collaborates with the Japanese puppet regime. Soon they’re in the throes of an impassioned love affair that swings back and forth between ardor and anxiety, secrecy and ruin. Like Julie’s relationship with her mother, her marriage to Chih-yung is marked by long stretches of separation interspersed with unexpected little reunions. Chang’s emotionally fraught, bitterly humorous novel lifts a fractured mirror directly in front of her own heart.

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豆瓣排版功能不强大,所以看着稍有点乱。—.— ——————以下是正文———————— 我的普通话不是很好,但是今天不用怕,因为我今天用张爱玲跟我爸爸妈妈的话,韩老师会帮我读出他们要说的话。 首先我要说明我跟张爱玲的关系。 (对照记)“一九五四年我住在香港英皇...  

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看《小团圆》,其中有一点感触,是关于她的自卑。 即便有那么高的才分,即便早年的散文里那样眉飞色舞骄傲无匹, 但是其实内心里,她一直非常自卑。 因为母亲的不接纳,因为父亲的不接纳,因为爱人的不接纳。 所有的亲密关系,都进退得失微妙尴尬,她活得小心翼翼, 书里最多提...  

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看《小团圆》,其中有一点感触,是关于她的自卑。 即便有那么高的才分,即便早年的散文里那样眉飞色舞骄傲无匹, 但是其实内心里,她一直非常自卑。 因为母亲的不接纳,因为父亲的不接纳,因为爱人的不接纳。 所有的亲密关系,都进退得失微妙尴尬,她活得小心翼翼, 书里最多提...  

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嘈嘈切切错杂弹。 忽然觉得她的语速急切而不连贯起来,变得像伍尔芙。 也许是关心则乱。 她努力对自己冷静犀利,但是做不到呵做不到。这一个,毕竟是她自己的肉身和灵魂。 很多人跟我说起过张爱玲,问我怎样怎样。好像我念文学这么多年,就应该很喜欢她。事实上,从少年到现在...  

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《倾城之恋》里,白流苏和范柳原在浅水湾附近的断桥边散步,那是傍晚,说起来地老天荒,两人都不讳言此刻彼此没有真心,希望辽远辽远的将来,也许会有的吧。一定是要现实生活都全部毁损了,才能有原始朴素的情感。否则,都是装扮。这大约就是遗少们的期盼。在他们的世界里,规...  

用户评价

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并不是译笔不好,只不过真的太太太太不像Eileen Chang了_(:з」∠)_

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??英文版?

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??英文版?

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并不是译笔不好,只不过真的太太太太不像Eileen Chang了_(:з」∠)_

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前面好像好一点,后面好像翻译烦了似的,越译越差,不过对于张爱玲和小团圆来说,译成这样也就可以了

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