圖書標籤: AlbertCamus 小說 哲學 法國 英文原版 外國文學 文學 英文
发表于2025-02-02
The Stranger pdf epub mobi txt 電子書 下載 2025
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.
Born in Algeria in 1913, Albert Camus published The Stranger–now one of the most widely read novels of this century–in 1942. Celebrated in intellectual circles, Camus was awarded the Nobel Prize for Literature in 1957. On January 4, 1960, he was killed in a car accident.
半夜看完瞭第一章,好適閤又睏又喪的時候看的書啊。就是那種特彆疲乏的感覺,僵硬的語句,對世界的抽離感,規則和生理上感受的違背。真的超級喪。好多事情在主角眼中都是doesn’t matter,但是社會作齣很多聯想並且幫他define瞭他是什麼樣的人,就好像一個巨型遊戲,每個人都要follow rules。之後在court上有種強烈的抽離感,my fate is decided without anyone so much as asking my opinions,最後在監獄裏沉思用瞭machinery這個詞真的好精準!但是說實話這個主角自己也太不爭取瞭,communication難道不是你的job to convey your ideas?其實讀的時候並不是很enjoy。#二刷
評分兩個晚上枕邊時間看完瞭。大學時看的中文版,那時那地的那種迷戀已不在,曾經以為的隻有自己纔是同樣的"異鄉人"的傻乎乎的自憐也早已不在。因為其實每個人都是stranger,都是深淵、毒藥和地獄。
評分2010.02.05:”對於世界,我永遠是個陌生人,我不懂它的語言,它不懂我的沉默,我們交換的隻是一點輕衊,如同相逢在鏡子中”。2018.09.20 重讀瞭一遍,男主人公並不是個anti-hero,在加繆的筆下,他更像是推石頭的西西弗斯,在否定瞭上帝的存在之後,他甚至獲得瞭片刻的幸福感。男主身上最大的特徵是無動於衷,一種對自身/他人情緒的漠視,所以他殺人的動機是blind rage,他的處世態度是gentle indifference. 問題在於將這樣一個典型的反社會人格比喻成西西弗斯,是否有些過於牽強和浪漫化瞭呢?當然我覺得加繆寫這個故事隻是為瞭最後anti-christ的那段內心獨白服務,因此是一本典型的“觀念”小說,但這本書最有意思的地方在於作者本身對男主的態度,有一種深刻的共情。
評分畢業迴國的飛機上讀的。十二個小時的飛機一大半都在哭,哭纍瞭看,看纍瞭睡,睡醒瞭哭。I knew that a part of me had died.
評分Don't really like the absurd hero.
读客这个版本,除了外书皮很难看之外,样样都不错: 译文——是一个全新的译本,流畅干净,窃以为比郭宏安的好; 内封面——黑色的硬精装上镌着加缪的头像,沉稳漂亮; 腰封——在腰封直接印上了我的ID,虽然知道这是定向赠书,但还是开心,于是这成了我拿到一本新书后唯一没有...
評分每隔些年读《局外人》都会有新收获,大概这是判断一本书能不能列为经典的标准。 1. “活在当下”既积极也消极。好的部分,那就是容易在日常生活里获得快乐。比如默尔索下班后和同事一起追着卡车跑,气喘吁吁,只为了去听卡车链条哗啦声与内燃机噼啪声。比如沿着码头傍晚散步,...
評分呆在那里,还是走开,结果一样 -----加缪《局外人》 局外人的眼光完整的还原了这个粗糙、漠然、无理性的世界 愚昧和死亡混杂的气味渗透在生的每一个细节里 生活中所有令人难以忍受的细节都被语言的慢镜头放大和重现 整个故事被安排在炎热的夏季 这个季节充斥着令人发狂的暴烈阳...
評分 評分The Stranger pdf epub mobi txt 電子書 下載 2025