One Day in the Life of Ivan Denisovich

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出版者:Signet Classics
作者:Alexander Solzhenitsyn
出品人:
页数:176
译者:Ralph Parker
出版时间:2008-8
价格:USD 5.95
装帧:Mass Market Paperback
isbn号码:9780451531049
丛书系列:
图书标签:
  • 小说
  • 俄罗斯
  • 索尔仁尼琴
  • 俄国文学
  • 英文版
  • 其他语言
  • Alexander_Solzhenitsyn
  • 英文文学/英文写的
  • 小说
  • 苏联
  • 囚徒
  • 生存
  • 人性
  • 困境
  • 希望
  • 文学
  • 经典
  • 苦难
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具体描述

Ivan Denisovich Shukhov has been sentenced to a camp in the Soviet gulag system. He was accused of becoming a spy after being captured briefly by the Germans as a prisoner of war during World War II. He is innocent, but is sentenced to ten years in a forced labor camp.

The day begins with Shukhov waking up sick. For waking late, he is forced to clean the guardhouse, but this is a comparatively minor punishment. When Shukhov is finally able to leave the guardhouse, he goes to the dispensary to report his illness. It is relatively late in the morning by this time, however, so the orderly is unable to exempt any more workers and Shukhov must work.

The rest of the novel deals mainly with Shukhov's squad (the 104th, which has 24 members), their allegiance to the squad leader, and the work that the prisoners (zeks) do in hopes of getting extra food for their performance. For example, they are seen working at a brutal construction site where the cold freezes the mortar used for bricklaying if not applied quickly enough. Solzhenitsyn also details the methods used by the prisoners to survive; the whole camp lives by the rule of survival of the fittest.

Tiurin, the foreman of gang 104, is strict but kind, and the squad's fondness of Tiurin becomes more evident as the book progresses. Though a morose man, Tiurin is liked because he understands the prisoners, he talks to them, and he helps them. Shukhov is one of the hardest workers in the squad and is generally well-respected. Rations are meagre at the camp, but they are one of the few things that Shukhov lives for. He conserves the food that he receives and is always watchful for any item that he can hide and trade for food at a later date.

At the end of the day, Shukhov is able to provide a few special services for Tsezar (Caesar), an intellectual who does office work instead of manual labor. Tsezar is most notable, however, for receiving packages of food from his family. Shukhov is able to get a small share of Tsezar's packages by standing in lines for him. Shukhov reflects on his day, which was both productive and fortuitous for him.

《一天》 在那个寒冷刺骨的十二月,一场突如其来的暴风雪席卷了整个地区,将原本就艰难的生存环境推向了极致。积雪深厚,如同吞噬一切的白色巨兽,将道路、房屋,乃至人们的希望都埋藏在冰冷的怀抱中。寒风裹挟着冰凌,如同锋利的刀刃,无情地刮过每一寸裸露的肌肤,冻结着呼吸,也冰封着生命的气息。 在这个被大雪困住的世界里,不同的人们以各自的方式对抗着严寒与孤寂。 在偏远的北极圈,一个拥有古老智慧的萨米人部落,正经历着一年中最严峻的考验。他们的驯鹿迁徙被迫中断,赖以为生的食物来源岌岌可危。部落的长者,凭借着世代相传的经验,试图在茫茫雪海中寻找一线生机,带领族人穿越风雪,寻找避难所。年轻的猎手们,在风雪中艰难跋涉,用敏锐的嗅觉和坚韧的毅力,搜寻着为数不多的猎物,以维持族人的温饱。他们祈祷着,希望上天能够眷顾,让他们度过这个寒冬。 在繁华都市的边缘,一个被遗忘的工业区,曾经的辉煌早已被冰雪覆盖。一位孤独的守夜人,日复一日地巡视着空荡荡的厂房,耳边只剩下风穿过破损窗户的呼啸声。他怀揣着过去的记忆,回忆着曾经熙攘的人群和机器的轰鸣,而如今,只有寂静和冰冷陪伴着他。他在昏暗的灯光下,用微薄的煤火取暖,在漫长的黑夜中,与孤独和回忆搏斗。偶尔,他会对着窗外朦胧的雪景,低声吟唱一段古老的歌谣,试图唤醒那些沉睡在时间深处的温暖。 在被大雪封锁的山区小镇,一家仅存的面包店,成为人们心中最后的温暖港湾。店主老妇人,尽管年事已高,却依旧坚持着为小镇的居民烘烤面包。每天清晨,当家家户户仍在沉睡时,她便早早地点燃炉火,将面粉揉捏成饱含希望的形状。那些热气腾腾的面包,不仅填饱了人们的肚子,更温暖了人们的心灵。在这样艰难的时刻,一句简单的问候,一份传递过来的热食,都成为彼此坚持下去的力量。 而在雪山的另一侧,一场秘密的行动正在悄然进行。一群身披白色伪装的士兵,在恶劣的环境下执行着一项重要任务。他们的每一步都充满了风险,每一次呼吸都可能被寒冷夺走。指挥官冷静地分析着雪情和敌情,用精准的判断指挥着队伍前进。他们明白,他们的行动关系着许多人的未来,因此,即便在极端艰苦的环境下,他们也绝不退缩。 在这样的严寒与孤寂中,生命的韧性被展现得淋漓尽致。无论是为了生存而挣扎的部落,还是在回忆中寻找慰藉的守夜人,亦或是用温暖传递希望的面包店,以及在风雪中执行使命的士兵,他们都用自己的方式,诠释着生命的力量。 暴风雪终将过去,但它留下的印记,将成为每个人生命中不可磨灭的篇章。在等待黎明的过程中,人们学会了更加珍惜彼此,更加深刻地理解生命的意义,也更加坚信,即使在最黑暗的时刻,希望也如同埋藏在冰雪下的种子,终将迎来发芽的那一天。 《一天》所呈现的,并非一个简单的时间叙事,而是一幅多维度、多视角的人生画卷。它描绘了在极端环境下的众生相,以及生命在严酷考验中所展现出的坚韧、脆弱、希望与绝望。每一个故事,都如同滴落在冰雪上的水珠,汇聚成一股强大的力量,提醒着我们,即使在最艰难的时刻,人性的光辉也从未熄灭。

作者简介

Aleksandr Isayevich Solzhenitsyn (11 December 1918 – 3 August 2008) was a Russian novelist, historian, and short story writer. He was an outspoken critic of the Soviet Union and communismand helped to raise global awareness of its Gulag forced labor camp system. He was allowed to publish only one work in the Soviet Union, One Day in the Life of Ivan Denisovich (1962), in the periodical Novy Mir. After this he had to publish in the West, most notably Cancer Ward (1968), August 1914 (1971), and The Gulag Archipelago (1973). Solzhenitsyn was awarded the 1970 Nobel Prize in Literature "for the ethical force with which he has pursued the indispensable traditions of Russian literature".[6] Solzhenitsyn was afraid to go to Stockholm to receive his award for fear that he would not be allowed to reenter. He was eventually expelled from the Soviet Union in 1974, but returned to Russia in 1994 after the state's dissolution.

目录信息

读后感

评分

The need for survival is always the very first step of dehumanization. In the face of hunger, cold and death; dignity, love and spirit become secondary. From the Nobel prize winner, Aleksandr Solzhenitsyn and his first-hand experience of Soviet Gulag in 1...

评分

The need for survival is always the very first step of dehumanization. In the face of hunger, cold and death; dignity, love and spirit become secondary. From the Nobel prize winner, Aleksandr Solzhenitsyn and his first-hand experience of Soviet Gulag in 1...

评分

The need for survival is always the very first step of dehumanization. In the face of hunger, cold and death; dignity, love and spirit become secondary. From the Nobel prize winner, Aleksandr Solzhenitsyn and his first-hand experience of Soviet Gulag in 1...

评分

The need for survival is always the very first step of dehumanization. In the face of hunger, cold and death; dignity, love and spirit become secondary. From the Nobel prize winner, Aleksandr Solzhenitsyn and his first-hand experience of Soviet Gulag in 1...

评分

The need for survival is always the very first step of dehumanization. In the face of hunger, cold and death; dignity, love and spirit become secondary. From the Nobel prize winner, Aleksandr Solzhenitsyn and his first-hand experience of Soviet Gulag in 1...

用户评价

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这本书的语言风格,初读时可能会让人觉得有些粗粝和单调,但细细品味,却能发现其中蕴含的巨大张力。它摒弃了华丽的辞藻和复杂的句式,用最直接、最朴素的语言去构建场景和人物心理。这种“简朴”并非乏味,而是一种高明的策略,它完美地契合了人物所处的环境——在极端匮乏的条件下,任何冗余的表达都是一种奢侈,也是不切实际的。我注意到,作者对于人物的刻画非常立体,即便是那些配角,也都有着自己独特的生存哲学和生存逻辑。有人选择彻底麻木,有人试图投机取巧,有人则在沉默中坚守着某种不可告人的原则。这种复杂的人性光谱在极端的压力下被清晰地展现出来,让人深思。它探讨的并非简单的善恶二元对立,而是人在体制下如何权衡“活下去”和“做个人”之间的界限。这本书的伟大之处在于,它没有提供简单的答案或救赎,而是将这个沉重的问题,连同那种沁入骨髓的寒意,一同交付给了读者,留下了无尽的回味和探讨空间。

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对我而言,阅读这本书的过程,更像是一场对“忍耐”极限的深度探索。它展现了人类在被剥夺了所有基本权利和尊严之后,依然能够依靠何种内在机制维持运转。这种机制,有时是愚笨的服从,有时是精明的算计,有时仅仅是对一个微小“特权”的窃喜——比如,今天比昨天多吃了几口汤,或者成功地在寒风中为自己争取到了一块稍微暖和点的砖头来垫脚。这些看似卑微的胜利,构成了主人公抵抗虚无的全部武器。作者巧妙地运用了“一天”这个时间框架,使得读者能够清晰地追踪主人公的每一个能量消耗和心理波动。我们看着他如何精打细算地分配自己的体力,如何小心翼翼地隐藏自己的情绪,如何努力不去思考明天,只专注于眼前的“此刻”。这种对当下瞬间的极致聚焦,让人对时间的感知变得异常敏锐。它让我深刻理解到,在某些时刻,生存本身就是一场持续的、高强度的智力与意志力的较量,而这本书,就是这场较量的最详实、最令人心悸的记录。

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说实话,这本书的叙事节奏和视角选择,简直是教科书级别的精准。作者似乎完全摒弃了传统小说中常见的抒情或心理分析,转而采用了一种近乎纪实的手法,以一种近乎机械的、日复一日的线性时间推进,来摹写主人公的生命体验。这种手法极大地增强了阅读的代入感,你不是在“看”一个故事,而是在“经历”那段被无限拉伸的、充满煎熬的时光。特别是对环境的描写,简直是环境描写的大师课。那种严寒的质感、砖头的冰冷、对火炉的近乎宗教般的渴求,以及那狭小空间内人与人之间微妙的权力博弈和相互依赖,都被勾勒得入木三分。我尤其欣赏作者对于“细节”的把握。一个多余的动作,一句没说出口的话,甚至一块从嘴里掉下的食物残渣,都承载着巨大的信息量和潜在的后果。这种对日常琐碎的极致聚焦,反而将集中营生活的残酷性提升到了一个哲学的高度——当生命被剥夺了一切外在光环,剩下的“自我”究竟如何自我定义?读完后,我感觉自己的时间观念都发生了扭曲,仿佛也跟着主人公一起,在无尽的等待中度过了一段漫长而又短暂的“一天”。

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这本书的魅力,在于其罕见的诚实与不加粉饰的力度。它不是在讲述一个遥远的故事,而是在向我们展示一种可能存在的、但我们又极力想避免的人类处境。它没有采用任何煽情的手段去强迫读者产生同情,相反,它用一种近乎麻木的冷峻叙事,反而激发了更深层次的共鸣和敬畏。我反复思考着主人公在那些漫长、灰暗的劳动间隙中,那些不经意的、关于过去生活的闪回。这些闪回是如此的短暂而模糊,却又如此清晰地勾勒出他曾经拥有的“正常生活”,从而反衬出此刻处境的荒谬和悲剧性。这种对比的运用,极其高明,它让读者清晰地意识到,那些被视为理所当然的日常细节——比如热水、干净的衣物、充足的睡眠——究竟承载着怎样厚重的价值。这本书像一面镜子,清晰地映照出人类在社会结构性暴力面前的脆弱性,也映照出个体如何在极端的压力下,依然努力维持住自己思维的独立性,即便这种独立性只能通过对一块砖头温度的精确判断来体现。它的震撼力是缓慢积累的,一旦渗透进去,便难以磨灭。

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这本小说读完后,我的心头像是压着一块沉甸甸的铅块,久久不能散去。它不是那种让你读完后会感到轻松愉悦的作品,毋宁说,它像一把锋利的手术刀,毫不留情地剖开了人类在极端困境下生存的真实图景。作者的笔触极其冷静、克制,仿佛一个冷眼旁观的记录者,将那些最微小、最琐碎却又决定生死的日常细节,一一呈现在我们眼前。从清晨那如同冰碴般的空气,到那永远无法填饱肚子的稀薄粥水,再到那堆积如山的、需要用颤抖的双手去完成的劳动任务,每一个场景都散发着一种令人窒息的真实感。你几乎能闻到那股常年弥漫在空气中的潮湿、汗水和劣质烟草混合的味道。更让人震撼的是,在如此非人的环境中,人物内心的挣扎、对尊严的微妙维护,以及偶尔闪现的人性光辉,是如此的微弱却又如此的顽强。这不是一个关于宏大叙事的故事,而是一个关于“如何熬过今天”的史诗。它迫使我反思,在生存的最低限度上,我们究竟还剩下些什么?那些我们习以为常的自由和舒适,一旦失去,会带来怎样彻底的崩塌。这本书的力量不在于控诉,而在于展示,展示了一种近乎雕塑般凝固的、不可更改的命运图景。

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咬着牙读下去,不敢打分

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咬着牙读下去,不敢打分

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Autobiographical fiction. Engaged literature. Focus on people's pursuit of freedom and order in the context of Stalin's totalitarian governance. Key idea: passion for making meanings out of something meaningless.

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A careful & thoughtful touch --> inspirational only when you comprehend the idea he wants to express, know the technique he chose, and also have some knowledge about the chapter called 'The Grand Inquisitor' from one of Dostoevsky's longest novels. (滑稽

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freedom meant one thing to him -- home.

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