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『簡體書』双语译林: 伍尔夫读书笔记

書城自編碼: 2670983
分類: 簡體書→大陸圖書→外語英語讀物
作者: [英国]弗吉尼亚·伍尔夫 著;黄梅 刘炳善 译
國際書號(ISBN): 9787544756983
出版社: 译林出版社
出版日期: 2015-10-01
版次: 1 印次: 1
頁數/字數: 324/126000
書度/開本: 16开 釘裝: 平装

售價:NT$ 222

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編輯推薦:
谈到文学和写作,伍尔夫是一个无法绕开的名字。
当下写作、影视界文艺女之风盛行,孰不知,文艺女青年祖母在此!
上到习大大,下到黄口小儿,都在倡导全民阅读,怎么少得了这一本!
研究英国文学两位翻译大家,*考究的译本。
买中文送英文
內容簡介:
《伍尔夫读书笔记》双语版,主要选自弗吉尼亚·伍尔夫的散文集《普通读者》、《普通读者二集》,多为伍尔夫的读书心得和感想,故称为“读书笔记”。《伍尔夫读书笔记》的主要内容有简·奥斯汀、《简·爱》与《呼啸山庄》、现代文学随笔等文学评论性文章。
關於作者:
作者简介:
弗吉尼亚·伍尔夫,英国女作家,被誉为二十世纪现代主义与女性主义的先锋。两次世界大战期间,她是伦敦文学界的核心人物,同时也是布卢姆茨伯里派的成员之一。最知名的小说包括《达洛维夫人》《到灯塔去》《雅各的房间》。
译者简介:
黄梅,女,湖南永兴人,研究员,学术专长为英国小说研究,现从事英国文学研究。1989年毕业于美国新泽西州罗格斯大学,获博士学位。1977—1978年在中国交通部情报所工作。1981年至今在中国社会科学院外文所工作。
刘炳善,河南大学外语系教授,河南大学莎士比亚与英国散文研究中心主任。
目錄
序:弗吉尼亚·伍尔夫和她的随笔…………………………… 1
笛 福…………………………………………………………… 1
简·奥斯汀……………………………………………………… 9
玛丽·沃斯通克拉夫特………………………………………… 21
多萝西·华兹华斯……………………………………………… 28
杰拉尔丁和简…………………………………………………… 37
“我是克里斯蒂娜·罗塞蒂”………………………………… 52
《简·爱》与《呼啸山庄》…………………………………… 60
切斯特菲尔德勋爵的《教子书》……………………………… 67
《奥罗拉·李》………………………………………………… 75
《鲁滨逊漂流记》……………………………………………… 87
多萝西·奥斯本的《书信集》………………………………… 96
斯威夫特的《致斯苔拉小札》……………………………… 105
现代小说……………………………………………………… 117
保护人和番红花……………………………………………… 127
现代随笔……………………………………………………… 132
伯尼博士的晚会……………………………………………… 146
內容試閱
简·奥斯汀





若是遂了卡桑德拉·奥斯汀小的心愿,简·奥斯汀写的东西,除了几本小说以外,我们很可能就什么也见不到了。简只有在给她姐写信时才毫无顾忌;她只向姐姐坦陈心底的希冀以及她人生中的那次大失意——如果传言属实的话。可是,当卡桑德拉·奥斯汀小姐步入老境,她妹妹已经颇有名气,她疑心将来会有生人钻营打探,会有学者胡猜乱想,于是便忍痛焚烧了所有可能满足他们好奇心的书简,只留下一些她以为无关紧要或没人感兴趣的信件。



因此,我们对简·奥斯汀的了解就只能来自一鳞半爪的闲言碎语、为数不多的书信和她的小说。说到闲言碎语,凡能流传下来的街谈巷议都绝不可以轻视;只要对之稍加整理它们就能很有成效地帮助我们。比如说,小费拉德尔菲亚·奥斯汀这样评论自己的表妹:简“算不上漂亮,还一本正经,不像12岁的小姑娘……又刁钻任性又装腔作势”。我们还有米特福德小姐,奥斯汀姐妹年纪轻轻时她就认识她俩,她认为简是“她记忆中一心要捕捉丈夫的最俊俏、最傻气、最做作的浮浪花蝴蝶”。再次,还有米特福德小姐那没有留下姓名的朋友,“她目前正在简那儿做客,说简如今变得古板,成了古往今来最僵挺笔直、一丝不苟、沉默寡言的‘单身福女’,而且,若不是《傲慢与偏见》揭示出在那僵硬匣子里藏着多么珍贵的宝石,她在社交圈里不会比拨火棍或挡火屏更引人注意……现在情况当然大不相同了,”那位淑媛接着说,“她仍然是拨火棍——不过如今是人人害怕的拨火棍……不声不响,闷头摹写人物的才女,着实叫人害怕!”另一方面,当然了,还有奥斯汀一家,他们很少自夸自赞,尽管如此,据说兄弟们都“非常喜爱简,都因她而自豪。他们喜欢她的才气、她的美德和她讨人喜欢的风度。每个人后来都乐于在某个侄女或自家女儿身上发现与亲爱的姐妹简有几分相似的地方,但是若说到堪与简比肩媲美的人,他们压根就没指望能够再见到”。可爱迷人却又僵挺笔直,在家里受宠爱却被外人惧怕,刀子嘴豆腐心——这些相反的特征并非不能调和共存,当我们转而阅览奥斯汀的小说时,也会在故事中跌跌绊绊地碰上同样的复杂性,一如解读作者本人。



首先,被费拉德尔菲亚认定不像12岁孩子的那个又任性又做作的小姑娘很快成了女写家,完成了一篇毫不孩子气的令人惊讶的故事,即《爱情与友谊》。虽说似乎有点难以置信,该作品写于作者15岁之时。很显然,写它是为了让家庭教室里的诸君取乐,抄在同一册的故事中有一篇以搞笑的庄重口吻献给她哥哥;还有一篇由姐姐配上了笔触简洁的水彩头像插图。人们会觉得,有些玩笑是全家人的共有财富,有些讽刺力道十足,是因为全体小奥斯汀都嘲笑“在沙发上叹息并昏厥”的优雅淑女。



兄弟姐妹们一致对某些陋习表示厌恶,当奥斯汀大声朗读她对这些恶俗的最后致命攻击时,大家肯定曾一道开怀畅笑:“失去奥古斯塔斯都真让我伤心备至,终为悲恸而献身。一次致命的晕厥让我一命归西。可得警惕晕厥呀,亲爱的劳拉……如果你愿意,尽管发疯好了,但是不要晕倒……”如此这般,尽自己写字的速度,甚至比拼读发音还要快,她急匆匆地讲述那些不可思议的冒险故事,关于劳拉和索菲亚,关于菲兰德和古斯塔夫,关于每隔一天就驱车来往于爱丁堡和斯特灵两地间的那位绅士,关于藏在桌子抽屉内大笔财物的失窃,还有食不果腹的妈妈们和扮演麦克白的儿子们。毫无疑问,那些故事曾让教室里哄堂大笑。然而,最明显不过,坐在客厅僻静一角的15岁姑娘提笔并不是为了博兄弟姐妹一笑,不是为了让自家人享用。她写达西是为所有人,又不为任何人,是为我们的时代,也为她自己的时代;换言之,尽管那时奥斯汀不过小小年纪,却已经名副其实是在从事写作。从她那些节奏鲜明、匀称齐整、严谨有序的文句,我们可以听出这一点。“她是个脾气好、懂礼貌、善迎合的年轻姑娘,人们没法讨厌这样的人——她不过是招人蔑视而已。”如此这般的句子原是打算要存活得比那段圣诞节期更长久的。活泼,轻快,妙趣横生,自由无羁到戏谑恶搞的地步——《爱情与友谊》具备上述所有特点,然而,那贯穿全书、不曾消融于其他种种之中的独特声音又是什么?是笑的声音。15岁的女孩在其小小一隅嘲笑全世界。



Content

Defoe… …………………………………………………………………1

Jane Austen………………………………………………………………9

Mary Wollstonecraft… ……………………………………………… 20

Dorothy Wordsworth… ……………………………………………… 27

Geraldine and Jane…………………………………………………… 34

“I Am Christina
Rossetti”… ………………………………………… 48

“Jane Eyre” And
“Wuthering Heights” … …………………………… 55

Lord Chesterfield’s Letters to His
son………………………………… 61

“Aurora
Leigh”………………………………………………………… 67

“Robinson Crusoe”…
………………………………………………… 78

Dorothy Osborne’s “Letters”…
……………………………………… 85

Swift’s “Journal to Stella”…
………………………………………… 92

Modern Fiction… ……………………………………………………101

The Patron and the
Crocus……………………………………………109

The Modern Essay……………………………………………………113

Dr. Burney’s Evening Party… ………………………………………124



试读:

Jane Austen





It is probable that if Miss Cassandra Austen
had had her way we should have had nothing of Jane Austen’s except her novels.
To her elder sister alone did she write freely; to her alone she confided her
hopes and, if rumour is true, the one great disappointment of her life; but
when Miss Cassandra Austen grew old, and the growth of her sister’s fame made
her suspect that a time might come when strangers would pry and scholars
speculate, she burnt, at great cost to herself, every letter that could gratify
their curiosity, and spared only what she judged too trivial to be of interest.

Hence our knowledge of Jane Austen is derived
from a little gossip, a few letters, and her books. As for the gossip, gossip
which has survived its day is never despicable; with a little rearrangement it
suits our purpose admirably. For example, Jane “is not at all pretty and very
prim, unlike a girl of twelve ... Jane is whimsical and affected, ” says little
Philadelphia Austen of her cousin. Then we have Mrs. Mitford, who knew the
Austens as girls and thought Jane “the prettiest, silliest, most affected
husband-hunting butterfly she ever remembers.” Next, there is Miss Mitford’s
anonymous friend “who visits her now [and] says that she has stiffened into the
most perpendicular, precise, taciturn piece of ‘single blessedness’ that ever
existed, and that, until Pride and
Prejudice showed what a
precious gem was hidden in that unbending case, she was no more regarded in
society than a poker or firescreen .... The case is very different now”, the
good lady goes on; “she is still a poker — but
a poker of whom everybody is afraid .... A wit, a delineator of character, who
does not talk is terrific indeed!” On the other side, of course, there are the
Austens, a race little given to panegyric of themselves, but nevertheless, they
say, her brothers “were very fond and very proud of her. They were attached to
her by her talents, her virtues, and her engaging manners, and each loved
afterwards to fancy a resemblance in some niece or daughter of his own to the
dear sister Jane, whose perfect equal they yet never expected to see.” Charming
but perpendicular, loved at home but feared by strangers, biting of tongue but
tender of heart — these contrasts are by no means incompatible,
and when we turn to the novels we shall find ourselves stumbling there too over
the same complexities in the writer.

To begin with, that prim little girl whom
Philadelphia found so unlike a child of twelve, whimsical and affected, was
soon to be the authoress of an astonishing and unchildish story, Love and Freindship, which, incredible though it appears, was written
at the age of fifteen. It was written, apparently, to amuse the schoolroom; one
of the stories in the same book is dedicated with mock solemnity to her
brother; another is neatly illustrated with water-colour heads by her sister.
These are jokes which, one feels, were family property; thrusts of satire,
which went home because all little Austens made mock in common of fine ladies
who “sighed and fainted on the sofa”.

Brothers and sisters must have laughed when
Jane read out loud her last hit at the vices which they all abhorred. “I die a
martyr to my grief for the loss of Augustus. One fatal swoon has cost me my
life. Beware of Swoons, Dear Laura .... Run mad as often as you chuse, but do
not faint .... ” And on she rushed, as fast as she could write and quicker than
she could spell, to tell the incredible adventures of Laura and sophia, of
Philander and Gustavus, of the gentleman who drove a coach between Edinburgh
and Stirling every other day, of the theft of the fortune that was kept in the
table drawer, of the starving mothers and the sons who acted Macbeth. Undoubtedly,
the story must have roused the schoolroom to uproarious laughter. And yet,
nothing is more obvious than that this girl of fifteen, sitting in her private
corner of the common parlour, was writing not to draw a laugh from brother and
sisters, and not for home consumption. She was writing for everybody, for
nobody, for our age, for her own; in other words, even at that early age Jane
Austen was writing. One hears it in the rhythm and shapeliness and severity of
the sentences. “She was nothing more than a mere good-tempered, civil, and
obliging young woman; as such we could scarcely dislike her — she was only an object of contempt.” Such a
sentence is meant to outlast the Christmas holidays. Spirited, easy, full of
fun, verging with freedom upon sheer nonsense, — Love and Freindship is all that; but what is this note which
never merges in the rest, which sounds distinctly and penetratingly all through
the volume? It is the sound of laughter. The girl of fifteen is laughing, in
her corner, at the world.

 

 

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