含有标签 “AlbertCamus” 的结果
  • 10.0 / 2013年8月 / Albert Camus

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    / 2010年9月 / Albert Camus / 翻译: Philip Thody / 副标题: Volume 1

    From 1935 until his death, Albert Camus kept a series of notebooks to sketch out ideas for future works, record snatches of conversations and excerpts from books he was reading, and jot down his reflections on death and the horror of war, his feelings about women and loneliness and art, and his appreciations for the Algerian sun and sea. These three volumes, now available together for the first time in paperback, include all entries made from the time when Camus was still completely unknown in Europe, until he was killed in an automobile accident in 1960, at the height of his creative powers. In 1957 he had been awarded the Nobel Prize for Literature. A spiritual and intellectual autobiography, Camus' Notebooks are invariably more concerned with what he felt than with what he did. It is intriguing for the reader to watch him seize and develop certain themes and ideas, discard others that at first seemed promising, and explore different types of experience. Although the Notebooks may have served Camus as a practice ground, the prose is of superior quality, which makes a short spontaneous vignette or a moment of sensuous beauty quickly captured on the page a small work of art. Here is a record of one of the most unusual minds of our time.

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    / 1998年 / Albert Camus

  • 10.0 / 1989年6月 / Albert Camus , Philip Thody / 翻译: Philip Thody

    This selection from his essays. Lyrical and Critical, and from his private notebooks aims to present Camus as a writer and literary critic, as well as Camus the individual.

  • 9.6 / 2015年6月 / [法] 阿尔贝·加缪 / 翻译: 郭宏安 / 副标题: 加缪散文菁华

    本书收录加缪的三部散文集。《反与正》和《婚礼集》创作于早年,此时加缪刚刚步入社会,是他“在这个交织着贫穷和光明的世界中”对宇宙、人生的艰难探索,而这一时期的生活阅历与思考是他此后一生创作的最宝贵的源泉:作者以简洁、隽永的笔触回忆幼年生活、在贫困和孤寂中努力维持家计的母亲,以及阿尔及尔贫瘠的土地所能给予的人生启迪。《夏天集》的时间跨度较大,收录加缪在故乡和欧洲各地的游记,笔端虽仍带有对自然、人世的深厚情谊,但后期作品中已明显渗入荒诞意识。后附两篇演说,从中可以窥见作家对文学、艺术的功用以及所处时代的深刻认识。 尽管加缪对自己早年的创作不甚满意,并说自己在那个年岁上还不大会写作,其实,这些散文无论在技巧上还是在思想上都已相当成熟,有人甚至认为其中包含了加缪写下的“最好的东西”,完全可以与世界最优秀的散文相媲美。

  • 9.0 / 1999年2月 / [法] 阿尔贝·加缪 / 翻译: Laredo, James

    In his classic existentialist novel, Camus explores the predicament of the individual who is prepared to face the benign indifference of the universe courageously and alone.

  • 9.6 / 1989年3月 / Albert Camus / 翻译: Matthew Ward

    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.

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    / 2010年1月 / Robert Zaretsky / 副标题: Elements of a Life

  • 9.3 / 1991年5月 / Albert Camus / 翻译: Justin O'Brien

    One of the most influential works of this century, The Myth of Sisyphus and Other Essays is a crucial exposition of existentialist thought. Influenced by works such as Don Juan and the novels of Kafka, these essays begin with a meditation on suicide; the question of living or not living in a universe devoid of order or meaning. With lyric eloquence, Albert Camus brilliantly posits a way out of despair, reaffirming the value of personal existence, and the possibility of life lived with dignity and authenticity.

  • 9.2 / 2011年6月 / (法) 加缪 / 翻译: 郭宏安 / 副标题: 加缪文集3

    本书为《加缪文集》第三卷,散文集《反与正》叙述了童年生活;《婚礼集》和《夏天》表述了对生活的热爱和对死亡的恐惧;附《瑞典演说》是1957年作者荣获诺贝尔文学奖后发表的演说。

  • 9.3 / 2013年8月 / [法] 阿尔贝·加缪 / 翻译: 丁世中 , 王殿忠 / 副标题: 加缪作品 / 原名: L’Envers et L’Endroit, Noces, L’Été

    阿尔贝•加缪(1913—1960)是法国声名卓著的小说家、散文家和剧作家,“存在主义”文学的大师。1957年因“热情而冷静地阐明了当代向人类良知提出的种种问题”而获诺贝尔文学奖,是有史以来最年轻的诺奖获奖作家之一。 加缪在他的小说、戏剧、随笔和论著中深刻地揭示出人在异己的世界中的孤独、个人与自身的日益异化,以及罪恶和死亡的不可避免,但他在揭示出世界的荒诞的同时却并不绝望和颓丧,他主张要在荒诞中奋起反抗,在绝望中坚持真理和正义,他为世人指出了一条基督教和马克思主义以外的自由人道主义道路。他直面惨淡人生的勇气,他“知其不可而为之”的大无畏精神使他在第二次世界大战之后不仅在法国,而且在欧洲并最终在全世界成为他那一代人的代言人和下一代人的精神导师。

  • 8.4 / 2013年8月 / (法)阿尔贝·加缪 / 翻译: 刘华 / 原名: Le Premier Homme

    阿尔贝•加缪(1913—1960)是法国声名卓著的小说家、散文家和剧作家,“存在主义”文学的大师。1957年因“热情而冷静地阐明了当代向人类良知提出的种种问题”而获诺贝尔文学奖,是有史以来最年轻的诺奖获奖作家之一。 加缪在他的小说、戏剧、随笔和论著中深刻地揭示出人在异己的世界中的孤独、个人与自身的日益异化,以及罪恶和死亡的不可避免,但他在揭示出世界的荒诞的同时却并不绝望和颓丧,他主张要在荒诞中奋起反抗,在绝望中坚持真理和正义,他为世人指出了一条基督教和马克思主义以外的自由人道主义道路。他直面惨淡人生的勇气,他“知其不可而为之”的大无畏精神使他在第二次世界大战之后不仅在法国,而且在欧洲并最终在全世界成为他那一代人的代言人和下一代人的精神导师。

  • 9.0 / 1991年5月 / Albert Camus / 翻译: Justin O'Brien (Translator)

    Elegantly styled, Camus' profoundly disturbing novel of a Parisian lawyer's confessions is a searing study of modern amorality.

  • 9.3 / 2013年8月 / (法)阿尔贝·加缪 / 翻译: 柳鸣九 / 副标题: 加缪作品 / 原名: L’Étranger

    阿尔贝•加缪(1913—1960)是法国声名卓著的小说家、散文家和剧作家,“存在主义”文学的大师。1957年因“热情而冷静地阐明了当代向人类良知提出的种种问题”而获诺贝尔文学奖,是有史以来最年轻的诺奖获奖作家之一。 加缪在他的小说、戏剧、随笔和论著中深刻地揭示出人在异己的世界中的孤独、个人与自身的日益异化,以及罪恶和死亡的不可避免,但他在揭示出世界的荒诞的同时却并不绝望和颓丧,他主张要在荒诞中奋起反抗,在绝望中坚持真理和正义,他为世人指出了一条基督教和马克思主义以外的自由人道主义道路。他直面惨淡人生的勇气,他“知其不可而为之”的大无畏精神使他在第二次世界大战之后不仅在法国,而且在欧洲并最终在全世界成为他那一代人的代言人和下一代人的精神导师。

  • 9.5 / 2013年8月 / [法] 阿尔贝·加缪 / 翻译: 李玉民 / 副标题: 加缪作品 / 原名: Caligula

    阿尔贝•加缪(1913—1960)是法国声名卓著的小说家、散文家和剧作家,“存在主义”文学的大师。1957年因“热情而冷静地阐明了当代向人类良知提出的种种问题”而获诺贝尔文学奖,是有史以来最年轻的诺奖获奖作家之一。 加缪在他的小说、戏剧、随笔和论著中深刻地揭示出人在异己的世界中的孤独、个人与自身的日益异化,以及罪恶和死亡的不可避免,但他在揭示出世界的荒诞的同时却并不绝望和颓丧,他主张要在荒诞中奋起反抗,在绝望中坚持真理和正义,他为世人指出了一条基督教和马克思主义以外的自由人道主义道路。他直面惨淡人生的勇气,他“知其不可而为之”的大无畏精神使他在第二次世界大战之后不仅在法国,而且在欧洲并最终在全世界成为他那一代人的代言人和下一代人的精神导师。

  • 9.3 / 2010年8月 / [法] 阿尔贝·加缪 / 翻译: 柳鸣九 / 原名: L'Etranger

    《局外人》是法国作家加缪的成名作,同时也是存在主义文学的杰出作品之一,该书以一种客观记录式的“零度风格”,粗线条地描述了主人公默尔索在荒谬的世界中经历的种种荒谬的事,以及自身的荒诞体验。从参加母亲的葬礼到偶然成了杀人犯,再到被判处死刑,默尔索似乎对一切都无动于衷,他像一个象征性的符号,代表了一种普遍的存在,又像是一个血红色的灯塔,具有高度的警示性。然而,局外人现象的产生无疑是由这个世界本身所孕育的,默尔索的存在有其深刻的外部原因。

  • 8.3 / 2013年8月 / [法] 阿尔贝·加缪 / 翻译: 丁世中 / 副标题: 加缪作品 / 原名: La Chute

    阿尔贝•加缪(1913—1960)是法国声名卓著的小说家、散文家和剧作家,“存在主义”文学的大师。1957年因“热情而冷静地阐明了当代向人类良知提出的种种问题”而获诺贝尔文学奖,是有史以来最年轻的诺奖获奖作家之一。 加缪在他的小说、戏剧、随笔和论著中深刻地揭示出人在异己的世界中的孤独、个人与自身的日益异化,以及罪恶和死亡的不可避免,但他在揭示出世界的荒诞的同时却并不绝望和颓丧,他主张要在荒诞中奋起反抗,在绝望中坚持真理和正义,他为世人指出了一条基督教和马克思主义以外的自由人道主义道路。他直面惨淡人生的勇气,他“知其不可而为之”的大无畏精神使他在第二次世界大战之后不仅在法国,而且在欧洲并最终在全世界成为他那一代人的代言人和下一代人的精神导师。