Reading Lolita in Tehran 在线电子书 图书标签:
发表于2024-11-26
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阿扎尔•纳菲西(Azar Nafisi)
伊朗裔美国女作家、学者、评论家。
1955年生于伊朗,13岁赴海外留学,26岁时获得美国俄克拉荷马州立大学文学博士学位。后归国任教于德黑兰大学等三所高校,但因在女性的穿着与行为等问题上与校方产生严重分歧而被辞退。1997年纳菲西返回美国,以访问学者的身份就职于约翰•霍普金斯大学。
除此书以外,纳菲西还在《纽约时报》、《华盛顿邮报》、《华尔街日报》等主流媒体上发表文化批评专栏,如今已成为美国炙手可热的评论家。
We all have dreams—things we fantasize about doing and generally never get around to. This is the story of Azar Nafisi’s dream and of the nightmare that made it come true.
For two years before she left Iran in 1997, Nafisi gathered seven young women at her house every Thursday morning to read and discuss forbidden works of Western literature. They were all former students whom she had taught at university. Some came from conservative and religious families, others were progressive and secular; several had spent time in jail. They were shy and uncomfortable at first, unaccustomed to being asked to speak their minds, but soon they began to open up and to speak more freely, not only about the novels they were reading but also about themselves, their dreams and disappointments. Their stories intertwined with those they were reading—Pride and Prejudice, Washington Square, Daisy Miller and Lolita—their Lolita, as they imagined her in Tehran.
Nafisi’s account flashes back to the early days of the revolution, when she first started teaching at the University of Tehran amid the swirl of protests and demonstrations. In those frenetic days, the students took control of the university, expelled faculty members and purged the curriculum. When a radical Islamist in Nafisi’s class questioned her decision to teach The Great Gatsby, which he saw as an immoral work that preached falsehoods of “the Great Satan,” she decided to let him put Gatsby on trial and stood as the sole witness for the defense.
Azar Nafisi’s luminous tale offers a fascinating portrait of the Iran-Iraq war viewed from Tehran and gives us a rare glimpse, from the inside, of women’s lives in revolutionary Iran. It is a work of great passion and poetic beauty, written with a startlingly original voice.
生活在一个极权社会中,人们不自觉的生出许多反抗的方式。一、两个“自我”,一个在明,一个在暗;一个伪装,一个真实。二、政*治之战与生存之战,达者直指政*权的弊端,穷者利用政*权的空隙为自己创造更好的生存条件。三、对文化压制的反抗,可谓花样繁多,技术先进,...
评分1956年,纳博科夫在《洛丽塔》的出版后记中有些悲观的写到,不应指望一个自由国家的作家会关心美感和肉欲之间的确切界限。在对《洛丽塔》的解读中,他遭受到了各式各样的误读,色情可能是贴到这部作品上最耀眼的标签,而类似于“古老的欧洲诱奸了年轻的美国”这样的隐喻式评价...
评分澎湃新闻:为什么会写下《在德黑兰读洛丽塔》? 纳菲西:与其说是作家选择了写作主题,不如说是这些主题选择了作家。我的某个经历、想法或某种情绪会牢牢抓住我,萦绕心间。我常常夜不能寐地思考这些,然后很快就想从各个角度调查并研究它,这是我开始创作的原因。住在伊朗的...
评分采用的是台版翻译,有些书名人名跟大陆习惯的译法有所不同,这里顺手列出来,给大家一个便利咯: 根据阅读进展不断更新中,以首次出现为序 (书中台译/通用陆译) 《斩首的邀请》/《斩首之邀》 雪赫拉莎德/舍赫拉查德 《塞巴斯钦·奈特的真实生活》/《塞巴斯蒂安·奈特的真实生...
评分将“德黑兰”与“《洛丽塔》”置放于同一语境中,显然有撩拨读者想象空间的意味。而事实上,伊朗女学者阿扎尔•纳菲西的《在德黑兰读〈洛丽塔〉》并无哗众之意,只是平实地讲述一段往事而已,不过因为处于特殊时期(上世纪八十年代的伊朗),连阅读西方小说也成为禁忌,于...
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