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牛津英文经典红字/牛津英文经典

牛津英文经典红字/牛津英文经典

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图文详情
  • ISBN:9787544783613
  • 装帧:简裝本
  • 册数:暂无
  • 重量:暂无
  • 开本:16开
  • 页数:272
  • 出版时间:2020-10-01
  • 条形码:9787544783613 ; 978-7-5447-8361-3

本书特色

“牛津英文经典”(Oxford World’s Classics)为牛津大学出版社百年积淀的精品书系,译林出版社原版引进。除牛津品牌保证的原著版本之外,每册书附含名家导读、作家简介及年表、词汇解析、文本注释、背景知识拓展、同步阅读导引、版本信息等,特别适合作为大学生和学有余力的中学生英语学习的必读材料。导读者包括牛津和剑桥大学的资深教授、知名学者。整套书选目精良,便携易读,实为亲近名著的经典读本。 牛津大学出版社版本的《红字》选择霍桑百年纪念版的文本,邀请英国伯明翰大学英语系教授布莱恩.哈丁撰写作家年表和注释,加州理工学院英语系教授辛迪?韦恩斯坦撰写导读和延伸阅读书目,为英语学习者、美国文学及霍桑的研究者提供了全面的辅助阅读材料。

内容简介

“海斯特?白兰,你和你的一切都是我的。”一位消失了两年的丈夫对他的妻子说出了这句冷酷的话。但是她紧紧抱住的孩子却不是他的,海斯特因而必须把红色的“A”字穿在胸口,让所有人知道她犯了通奸罪。无畏而骄傲的海斯特从此见证了两个不同的男人逐渐堕落,道德和法律的激烈碰撞制造了无穷的痛苦。''Thou and thine, Hester Prynne, belong to me.'' With these chilling words a husband claims his wife after a twoyear absence. But the child she clutches is not his, and Hester must wear a scarlet ''A'' upon her breast, the sin of adultery visible to all. Defiant and proud, Hester witnesses the degradation of two very different men, as moral codes and legal imperatives painfully collide.The text of this edition is taken from the Centenary Edition of Hawthorne''s works, the most authoritative critical edition.

目录

Contents
Abbreviations
Introduction
Note on the Text
Select Bibliography
A Chronology of Nathaniel Hawthorne
THE SCARLET LETTER
PREFACE TO THE SECOND EDITION
THE CUSTOM-HOUSE—INTRODUCTORY
I THE PRISON-DOOR
II THE MARKET-PLACE
III THE RECOGNITION
IV THE INTERVIEW
V HESTER AT HER NEEDLE
VI PEARL
VII THE GOVERNOR'S HALL
VIII THE ELF-CHILD AND THE MINISTER
IX THE LEECH
X THE LEECH AND HIS PATIENT
XI THE INTERIOR OF A HEART
XII THE MINISTER'S VIGIL
XIII ANOTHER VIEW OF HESTER
XIV HESTER AND THE PHYSICIAN
XV HESTER AND PEARL
XVI A FOREST WALK
XVII THE PASTOR AND HIS PARISHIONER
XVIII A FLOOD OF SUNSHINE
XIX THE CHILD AT THE BROOK-SIDE
XX THE MINISTER IN A MAZE
XXI THE NEW ENGLAND HOLIDAY
XXII THE PROCESSION
XXIII THE REVELATION OF THE SCARLET LETTER
XXIV CONCLUSION
EXPLANATORY NOTES

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节选

THE CUSTOM-HOUSE—INTRODUCTORY TO "THE SCARLET LETTER" It is a little remarkable, that—though disinclined to talk overmuch of myself and my affairs at the fireside, and to my personal friends—an autobiographical impulse should twice in my life have taken possession of me, in addressing the public. The first time was three or four years since, when I favored the reader—inexcusably, and for no earthly reason that either the indulgent reader or the intrusive author could imagine—with a description of my way of life in the deep quietude of an Old Manse. And now—because, beyond my deserts, I was happy enough to find a listener or two on the former occasion—I again seize the public by the button, and talk of my three years' experience in a Custom-House. The example of the famous "P. P., Clerk of this Parish," was never more faithfully followed. The truth seems to be, however, that when he casts his leaves forth upon the wind, the author addresses, not the many who will fling aside his volume, or never take it up, but the few who will understand him better than most of his schoolmates or lifemates. Some authors, indeed, do far more than this, and indulge themselves in such confidential depths of revelation as could fittingly be addressed only and exclusively to the one heart and mind of perfect sympathy; as if the printed book, thrown at large on the wide world, were certain to find out the divided segment of the writer's own nature, and complete his circle of existence by bringing him into communion with it. It is scarcely decorous, however, to speak all, even where we speak impersonally. But, as thoughts are frozen and utterance benumbed, unless the speaker stand in some true relation with his audience, it may be pardonable to imagine that a friend, a kind and apprehensive, though not the closest friend, is listening to our talk; and then, a native reserve being thawed by this genial consciousness, we may prate of the circumstances that lie around us, and even of ourself, but still keep the inmost Me behind its veil. To this extent, and within these limits, an author, methinks, may be autobiographical, without violating either the reader's rights or his own. It will be seen, likewise, that this Custom-House sketch has a certain propriety, of a kind always recognised in literature, as explaining how a large portion of the following pages came into my possession, and as offering proofs of the authenticity of a narrative therein contained. This, in fact—a desire to put myself in my true position as editor, or very little more, of the most prolix among the tales that make up my volume—this, and no other, is my true reason for assuming a personal relation with the public. In accomplishing the main purpose, it has appeared allowable, by a few extra touches, to give a faint representation of a mode of life not heretofore described, together with some of the characters that move in it, among whom the author happened to make one.

作者简介

纳撒尼尔?霍桑(1804—1864),美国小说家,以寓言和象征主义小说闻名,出生于马萨诸塞州的萨勒姆镇,祖先是1630年Di一批从英国移民到新英格兰的清教徒。霍桑在创作中一直保持着对出生地历史和传说的兴趣,尤其是在早期创作的小说中,对清教徒的价值观、父权压制、对艺术等各种形式的自由的追求进行了探索。1850年出版的《红字》为他带来了评论界的好评,接下来他继续创作了两部浪漫主义作品《七个尖角阁的老宅》和《福谷传奇》,巩固了他在文坛的地位。 霍桑创作中近乎完美的小说结构、对道德的深刻洞见,以及对寓言和象征主义的运用,在美国文学史上占有独特地位,赫尔曼?梅尔维尔、爱伦?坡、亨利?詹姆斯、海明威都对他的作品给予了高度评价。

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