Farewell Waltz

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出版者:Harper Perennial
作者:Milan Kundera
出品人:
页数:288
译者:Aaron Asher
出版时间:1998-4-21
价格:USD 12.99
装帧:Paperback
isbn号码:9780060997007
丛书系列:
图书标签:
  • MilanKundera
  • 捷克
  • 米兰昆德拉
  • 小说
  • Kundera
  • 昆德拉
  • 外国文学
  • Milan
  • 告别
  • 华尔兹
  • 爱情
  • 音乐
  • 回忆
  • 情感
  • 经典
  • 旋律
  • 时光
  • 离别
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具体描述

In this dark farce of a novel, set in an old-fashioned Central European spa town, eight characters are swept up in an accelerating dance: a pretty nurse and her repairman boyfriend; an oddball gynecologist; a rich American (at once saint and Don Juan); a popular trumpeter and his beautiful, obsessively jealous wife; an disillusioned former political prisoner about to leave his country and his young woman ward.Perhaps the most brilliantly plotted and sheer entertaining of Milan Kundera's novels, Farewell Waltz poses the most serious questions with a blasphemous lightness that makes us see that the modern world has deprived us even of the right to tragedy.

Written in Bohemia in 1969-70, this book was first published (in 1976) in France under the title La valse aux adieux (Farewell Waltz), and later in thirty-four other countries. This beautiful new translation, made from the French text prepared by the novelist himself, fully reflects his own tone and intentions. As such it offers an opportunity for both the discovery and the rediscovery of one of the very best of a great writer's works.

《告别华尔兹》 《告别华尔兹》并非一本关于一场盛大舞会落幕的记叙,也非对某个时代优雅落幕的挽歌。它是一部探寻生命中那些无声却深刻的告别的作品,那些告别,如同曼妙的华尔兹,在不经意间旋转、消逝,却在心底留下永恒的印记。 本书并非描绘具体的舞蹈场景,而是将“华尔兹”这一意象,化作一种比喻,来诠释生命中那些悄然发生、又影响深远的告别瞬间。这些告别,不总是轰轰烈烈,不总是伴随泪水与呐喊,更多时候,它们是宁静的,是沉淀的,是随着时间悄然滑落的。 第一部分:光影的流转——那些褪色的陪伴 在这一部分,作者将带领读者回溯那些我们曾经珍视的陪伴。这些陪伴,或许是童年时期的玩伴,一同在阳光下奔跑,分享着不谙世事的欢笑;或许是学生时代的学生,课桌上的涂鸦,黑板前的身影,共同度过的青葱岁月;又或许是初入职场时的同事,在格子间里一同奋斗,分享着梦想与迷茫。 这些告别,并非因为争吵或背叛,而常常是因为生活轨迹的岔开,因为各自踏上了不同的人生旅程。如同华尔兹的第一步,轻松而愉悦,然后是旋转,是彼此的靠近与默契,最后,音乐渐弱,舞伴轻轻放手,留下的是一个优雅的身影,和一抹淡淡的留恋。作者通过细腻的笔触,捕捉那些微小的细节:一个久未联系的电话,一次偶然的街头相遇,一段尘封在相册里的旧照,都能唤醒那些被遗忘的温暖,也让我们意识到,告别,并非遗忘,而是以另一种方式铭记。 第二部分:情感的潮汐——那些爱与失落的痕迹 这一部分,将触及生命中最柔软的部分——情感的告别。这里没有戏剧化的冲突,没有撕心裂肺的痛苦,而是对那些曾经深爱过、又不得不放手的关系的审视。 或许是初恋的青涩,如同初次尝试华尔兹,小心翼翼,充满好奇,但终究因为年少,因为不成熟,而留下些许遗憾。或许是亲情中的疏离,父母渐渐老去,子女羽翼渐丰,曾经的紧密联系,在岁月的冲刷下,变得疏淡。又或许是友谊的渐行渐远,曾经无话不谈的朋友,因为生活的琐事,因为观念的差异,而变得客套甚至陌生。 作者深入剖析了这些情感告别背后的原因:并非爱已不在,而是时移世易,是彼此的成长,让曾经契合的灵魂,在新的轨道上运行。华尔兹的旋转,在这里变得复杂而缠绵,有时是渐行渐远的步调,有时是眼神交汇时的释然,有时则是心照不宣的默契。本书将引导读者理解,告别,并非意味着爱的终结,而是一种情感的转化,是一种将爱意深埋心底,转化为力量继续前行的过程。 第三部分:自我的蝶变——那些成长的阵痛 告别,不仅仅是与他人,更是与过去的自我告别。第三部分将聚焦于个体内在的成长与蜕变,那些为了成为更好的自己,而不得不舍弃的旧有习惯、旧有观念、甚至旧有的身份。 每一次的成长,都伴随着一次告别。告别曾经的怯懦,去拥抱勇气;告别曾经的迷茫,去寻找方向;告别曾经的依赖,去承担责任。这些告别,如同华尔兹的最后一个旋转,带着些许挣扎,但最终以一种更加成熟、更加坚定的姿态结束。 作者通过对人物内心世界的描摹,展现了这种内在告别的过程:可能是放下不切实际的幻想,去面对现实的挑战;可能是打破固有的思维模式,去接受新的观点;可能是克服内心的恐惧,去尝试未知的领域。这些告别,虽然看不见摸不着,却比任何外在的告别都来得更加深刻,因为它改变的是一个人的灵魂。本书旨在鼓励读者,勇敢地面对自己的内在告别,拥抱每一次的蜕变,因为每一次的告别,都是一次重生的契机。 尾声:华尔兹的余韵——生命的永恒回响 《告别华尔兹》的结尾,并非一个简单的句号,而是一个悠长的回音。作者总结道,告别,是生命中最常态的存在。我们一生都在经历各种形式的告别,从童年告别天真,到成年告别幻想,从告别逝去的亲人,到告别逝去的时光。 然而,这些告别并非终点,而是新的起点。它们如同华尔兹的最后一个音符,落下之后,留下的却是在空气中久久回荡的旋律。这些旋律,是回忆,是教训,是力量,是爱,它们融入我们的生命,塑造了我们的品格,让我们得以在未来的旅途中,更加坚定地前行。 本书并非旨在哀叹过往,而是鼓励读者以一种更加积极、更加释然的态度去面对生命中的每一次告别。理解告别的意义,拥抱告别的过程,并从中汲取成长的养分。因为,每一支告别的华尔兹,都将谱写出生命更加精彩的篇章。它是一次关于理解、关于接纳、关于重生的深刻对话,也是对生命旅途中那些无声却动人告别的致敬。

作者简介

The Franco-Czech novelist Milan Kundera was born in Brno and has lived in France, his second homeland, since 1975. He is the author of the novels The Joke, Farewell Waltz, Life Is Elsewhere, The Book of Laughter and Forgetting, The Unbearable Lightness of Being, and Immortality, and the short-story collection Laughable Loves—all originally written in Czech. His most recent novels Slowness, Identity, and Ignorance, as well as his nonfiction works The Art of the Novel, Testaments Betrayed, The Curtain, and Encounter, were originally written in French.

The Franco-Czech novelist Milan Kundera was born in Brno and has lived in France, his second homeland, for more than twenty years.

He is the author of the novels The Joke, Life Is Elsewhere, The Farewell Party, The Books of Laughter and Forgetting, The Unbearable Lightness of Being, and Immortality, and the short story collection Laughable Loves — all originally written in Czech.

Like Slowness, his two earlier nonfiction works, The Art of the Novel and Testaments Betrayed, were originally written in French.

Biography

For someone whom the world regards as a serious intellectual, Milan Kundera has a brilliantly twisted sense of humor. His novels depict a world of awkward orgies and disastrous pool parties, mad scientists and self-pitying poets who contract pneumonia out of spite. While Kundera's works tackle profound issues of human identity, they also playfully juggle ambiguities, ironies and paradoxes. "The novelist teaches the reader to comprehend the world as a question," he said in a 1980 interview with Philip Roth. "There is wisdom and tolerance in that attitude. In a world built on sacrosanct certainties the novel is dead."

Kundera was born in Brno, Czechoslovkia in 1929. Like many young Czechs who had come of age during World War II and the German occupation, Kundera was attracted to Marxist philosophy, which seemed to promise a new freedom and peace. The first literary works he produced (three volumes of poetry and a play, The Owners of the Keys) were essentially Communist propaganda, though they didn't always conform to the tenets of socialist realism approved by the state. His resistance to the official restrictions on literature helped lead to his involvement with the "Prague Spring," the brief-lived reform movement toward "socialism with a human face."

During the '60s, Kundera began writing short stories, collected as Laughable Loves, which he would later identify as the beginning of his mature work. In several of them, jokes that start out as innocent pranks evolve into catastrophes for both perpetrator and victim -- they are deeds that, like the Czech version of Communism, have escaped the control of their creators. Kundera's first novel, The Joke, concerns a young man who is brought up on political charges after sending a teasing postcard to his girlfriend ("Optimism is the opium of the people!").

The Joke was published to wide acclaim shortly before the Soviet invasion of Czechoslovakia in 1968. Following the invasion, Kundera was ousted from his film-studies teaching job, his books were pulled from libraries and bookstores, and he was forbidden to publish new work. He went on writing, however, and his novels Life Is Elsewhere and The Farewell Party were published outside his native country. Farcical and bleak, the novels developed what would become a recurring theme for Kundera, in which commitment to an abstract moral principle paves the way for corruption and evil.

In 1975, Kundera fled Czechoslovakia and settled in France, where he eventually became a citizen. His first book produced in exile, The Book of Laughter and Forgetting, remains one of his most celebrated works, weaving together autobiographical reflections with a series of connected fictions. John Updike, writing in the New York Times, called it "brilliant and original, written with a purity and wit that invite us directly in; it is also strange, with a strangeness that locks us out." His next novel, The Unbearable Lightness of Being, also drew high praise, and the 1988 film version of The Unbearable Lightness of Being starring Daniel Day-Lewis and Juliette Binoche turned Kundera into something of a celebrity.

Despite (or perhaps because of) the political pressures that shaped his early life and works, Kundera has long insisted that the novel should be a work of art, not a political or ideological statement. By the '90s, Kundera had started to write his novels in French; he is now sometimes tagged a "Franco-Czech" author. His works are often described as "novels of ideas," but he resists the term "philosophical novel." As he said in an interview with Lois Oppenheim, "There are metaphysical problems, problems of human existence, that philosophy has never known how to grasp in all their concreteness and that only the novel can seize."

目录信息

读后感

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岁月如流。人生跌宕起伏,令人五味杂陈... 最近读了米兰・昆德拉的小说《告别圆舞曲》,感觉昆德拉的double metaphor仅稍逊于卡夫卡,那种对人性的剖析、极权之恶潜藏于日常的邪恶面孔、底层互害、相互欺骗的社会现实,都有充分的描绘… 错乱、扭曲的情欲,心灵的自我流亡,...  

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高中所写,现在看起来真可爱。 —————————————————————————— 这样可以吗,看着自己的行为被嫉妒操纵。这样可以吗,嫉妒爱人,嫉妒爱人身边的人,到一种发疯的地步让我想杀了他们。 我想,你要够坦诚,所有的一切都不可怕。被表达的...  

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 习惯于逢场做戏的爵士乐手克利马得知一位曾与自己有过一夜情缘的姑娘茹泽娜怀孕的消息后,就瞒着自己的妻子去劝说她堕胎。他的理由是:你是我心爱的人,我不想同任何人分享你的爱,哪怕是一个孩子;我们现在还不是要孩子的时候,他会影响我们的幸福....并且,他还把自己美满...  

用户评价

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读完这本书,我有一种被彻底震撼的感觉。它并非那种轻松愉快的消遣读物,而是一次对心灵的深度挖掘与洗礼。作者的文字功力深厚,那种冷静而又充满力量的叙事方式,像一把锋利的手术刀,精准地剖开了社会结构中的那些不为人知的隐秘角落。我尤其欣赏作者处理冲突的方式,那种将宏大叙事与个体命运紧密结合的技巧,使得故事充满了张力和宿命感。里面的哲学思辨极其引人入胜,它迫使读者跳出固有的思维定势,去重新审视那些被我们习以为常的价值观。每一次翻页,都像是进行了一场智力上的角力,让人大呼过瘾。虽然有些段落需要反复揣摩,但最终的回报是巨大的,它让你在合上书本时,感觉自己看待世界的角度已经悄然发生了变化。这本书无疑是近年来难得一见的思想性与艺术性兼备的杰作。

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我通常不太容易被文学作品中的“氛围”所打动,但这本书在这方面做到了极致。它成功营造了一种既疏离又极度亲密的阅读体验,仿佛我正在偷窥着一场只属于书中人物的私密剧目。作者对对话的把握炉火纯青,那些看似平常的交流,却暗藏着巨大的信息量和潜在的冲突,角色的性格正是通过这些不经意的言语间缓缓展现出来的。更值得称道的是,书中对于时间流逝的描绘,那种绵长而又不可逆转的无力感,与主角们的不懈抗争形成了强烈的对比,极具感染力。这本书的结局处理得极为高明,既没有给出俗套的圆满,也没有走向彻底的虚无,留给了读者一个充满余韵的思考空间。它是一次关于人类韧性的深刻致敬,读完后,心中涌起的是一种复杂而又美好的敬畏之情,值得反复品味。

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说实话,一开始我只是抱着试试看的心态翻开这本书的,没想到却被里面那种原始而又强烈的生命力所吸引住了。作者的语言风格非常独特,既有古典文学的韵味,又不失现代语感的流畅和犀利。它描绘的那些场景,无论是广袤无垠的自然风光,还是幽深曲折的人际关系,都充满了画面感,简直可以直接搬上银幕。书中对情感的描绘达到了近乎残酷的真实,那种爱恨交织、无法抽离的宿命感,让人感同身受,甚至有些窒息。我被故事中那种对“存在”本身的追问深深吸引,它似乎在探讨,在时代的洪流中,个体如何保有其纯粹的本质。这本书的结构设计也十分巧妙,线索层层递进,直到最后一刻才揭示出所有的谜团,这种布局的精妙,足以让最挑剔的读者也为之赞叹。

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这是一本需要“用心”去读的书,而非仅仅用眼睛。它的魅力在于那种近乎实验性的叙事结构,作者似乎在不断地挑战读者的阅读习惯。情节发展并非线性,而是充满了跳跃和隐喻,这要求读者必须保持高度的专注力,去捕捉那些隐藏在字里行间的深层含义。我特别喜欢作者对环境氛围的渲染,那种潮湿、压抑而又充满希望的独特气息,几乎能从纸页间渗透出来。书中对一些社会现象的批判,是极其尖锐且不留情面的,它撕开了温情脉脉的面纱,直指核心的虚伪。对于那些习惯于快速消费故事的读者来说,这本书可能会显得有些晦涩,但如果你愿意投入时间去解构它,你会发现其中蕴含的巨大能量和无尽的解读空间。它更像是一件需要耐心打磨的艺术品,而不是快餐式的娱乐。

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这部作品,我得说,简直是文学界的奇迹。作者用他那令人惊叹的笔触,构建了一个宏大而又细腻的世界,让我仿佛身临其境。故事的节奏把握得恰到好处,时而如同奔腾的江河,一泻千里,将我卷入紧张刺激的情节之中;时而又像是涓涓细流,在不经意间触动我内心最柔软的地方。人物的塑造更是出神入化,每一个角色都鲜活得像是从我身边走出来的一样,他们的喜怒哀乐、他们的挣扎与成长,都深深地牵动着我的心弦。尤其是主角的内心独白,那种对命运的抗争与对人性的深刻洞察,让我读完后久久不能平静。这本书不仅仅是一个故事,更像是一面镜子,映照出我们每个人在面对生活洪流时的真实写照。那种对复杂人性的细腻描摹,那种对道德困境的深刻探讨,都让这本书的深度远超一般的小说范畴。我强烈推荐给所有热爱深度阅读、追求精神洗礼的读者。

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Another classic

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3.5

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绝对是好书! To commit suicide is to spit in the Creator's face. Painter: Saint Lazarus. Life without children is a tree without leaves. "Kundera remains faithful to this subtle, wily, devious talent for a fiction of 'erotic possibilities.‘" -New York Ti

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一般般

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I read it as a great comical/absurd play. It is a plot entwined with characters all bearing ambitions and such selfishness towards life and love thus who are at most of the time unsatisfied with the surroundings. But to me its setting is too distant to evoke an echoing.

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