(Book Jacket Status: Jacketed)
Dostoevsky’s most revolutionary novel, Notes from Underground marks the dividing line between nineteenth- and twentieth-century fiction, and between the visions of self each century embodied. One of the most remarkable characters in literature, the unnamed narrator is a former official who has defiantly withdrawn into an underground existence. In full retreat from society, he scrawls a passionate, obsessive, self-contradictory narrative that serves as a devastating attack on social utopianism and an assertion of man’s essentially irrational nature.
Richard Pevear and Larissa Volokhonsky, whose Dostoevsky translations have become the standard, give us a brilliantly faithful edition of this classic novel, conveying all the tragedy and tormented comedy of the original.
Fyodor Mikailovich Dostoevsky’s life was as dark and dramatic as the great novels he wrote. He was born in Moscow in 1821. A short first novel, Poor Folk (1846) brought him instant success, but his writing career was cut short by his arrest for alleged subversion against Tsar Nicholas I in 1849. In prison he was given the “silent treatment” for eight months (guards even wore velvet soled boots) before he was led in front a firing squad. Dressed in a death shroud, he faced an open grave and awaited execution, when suddenly, an order arrived commuting his sentence. He then spent four years at hard labor in a Siberian prison, where he began to suffer from epilepsy, and he returned to St. Petersburg only a full ten years after he had left in chains.
His prison experiences coupled with his conversion to a profoundly religious philosophy formed the basis for his great novels. But it was his fortuitous marriage to Anna Snitkina, following a period of utter destitution brought about by his compulsive gambling, that gave Dostoevsky the emotional stability to complete Crime and Punishment (1866), The Idiot (1868-69), The Possessed (1871-72), and The Brothers Karamazov (1879-80). When Dostoevsky died in 1881, he left a legacy of masterworks that influenced the great thinkers and writers of the Western world and immortalized him as a giant among writers of world literature.
搁在当下的环境里来说,我觉得这本书极其准确的描述了抑郁者或者有抑郁倾向的一类人的心理,他们思维高度发达,擅于思辨,擅于推理,精神世界异常丰富和活跃,但与外界的关系很紧张,一点刺激皆会引起其心理上的连锁反应,进而精神紧张,行动迟缓,词不达意。换句话说,他们太...
评分本文缘起这篇评论:http://www.douban.com/review/1201657/,是对这篇评论的回应。我的观点都在文中,这里要说明我为什么选中评论《地下室手记》作为我的回应。第一,我不喜欢吵架,尤其是不喜欢和受迫害妄想狂吵架,因此我没有回帖,而是找到一本能代表我观点的小说作为我回应...
评分关于地下室人的特点,译者臧仲伦在译本前沿的总结非常到位: “地下室人”贫穷孤独,蛰居在彼得堡一间地下室里。他原本是个失意的穷官吏,历经坎坷,受尽屈辱,心中积淀了太多的怨与恨。他思想发达,洞察一切,愤世嫉俗。可是他又生性软弱,既无力改变世界,又无力...
评分关于地下室人的特点,译者臧仲伦在译本前沿的总结非常到位: “地下室人”贫穷孤独,蛰居在彼得堡一间地下室里。他原本是个失意的穷官吏,历经坎坷,受尽屈辱,心中积淀了太多的怨与恨。他思想发达,洞察一切,愤世嫉俗。可是他又生性软弱,既无力改变世界,又无力...
评分在陀思妥耶夫斯基早期作品中,他更多的是关注下层人们的痛苦。而这些痛苦更多的是由于社会环境所造成的。直到他经历了死刑-改判-流放,经过了牢狱那种极端恶劣的生活环境之后,才获得了一种全新的视角。这种视角雏形初见于《死屋手记》。 《死屋手记》记录的是陀翁在西伯利亚的...
越看越被歇斯底里的疯魔带走,颤抖着感受到与自身的亲近感。Such a self-loathing egoist, timid and arrogant to wicked. want his wanting. A male hysteria, an anti-hero.
评分It's just.......nothing that i haven't already known but also too russian for me to understand?
评分It's just.......nothing that i haven't already known but also too russian for me to understand?
评分失了智。。
评分失了智。。
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