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『簡體書』简爱:JANE EYRE(英文原版)(附赠配套英文朗读CD光盘)

書城自編碼: 2723090
分類: 簡體書→大陸圖書→外語英語讀物
作 者: [美]弗兰西斯·H·伯内特
國際書號(ISBN): 9787201100326
出版社: 天津人民出版社
出版日期: 2016-01-26
版次: 1 印次: 1
頁數/字數: 550/520000
書度/開本: 32开 釘裝: 平装

售價:NT$ 224

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編輯推薦:
《简·爱》(Jane Eyre)十九世纪英国著名女作家夏洛蒂·勃朗特的代表作,人们普遍认为《简·爱》是夏洛蒂·勃朗特“诗意的生平写照”,是一部具有自传色彩的作品。讲述了一位从小变成孤儿的英国女子在各种磨难中不断追求自由与尊严,坚持自我,*终获得幸福的故事。本书为英文原版,同时随书附赠配套朗读CD,让读者在阅读精彩故事的同时,亦能提升英文阅读水平。
內容簡介:
《简·爱》(Jane Eyre)十九世纪英国著名女作家夏洛蒂·勃朗特的代表作,人们普遍认为《简·爱》是夏洛蒂·勃朗特“诗意的生平写照”,是一部具有自传色彩的作品。讲述了一位从小变成孤儿的英国女子在各种磨难中不断追求自由与尊严,坚持自我,最终获得幸福的故事。小说引人入胜地展示了男女主人公曲折起伏的爱情经历,歌颂了摆脱一切旧习俗和偏见,成功塑造了一个敢于反抗,敢于争取自由和平等地位的妇女形象。

《简·爱》这本小说的主题通过对孤女坎坷不平的人生经历,成功地塑造了一个不安于现状、不甘受辱、敢于抗争的女性形象,反映了一个平凡心灵的坦诚倾诉的呼号和责难,由一个小写的人成为一个大写的人的渴望。小说通过罗切斯特两次截然不同的爱情经历,批判了以金钱为基础的婚姻和爱情观,并始终把简·爱和罗切斯特之间的爱情描写为思想、才能、品质与精神上的完全默契。

本书为英文原版,同时随书附赠配套朗读CD,让读者在阅读精彩故事的同时,亦能提升英文阅读水平。



Jane Eyre originally published as Jane Eyre: An Autobiography is a novel
by English writer Charlotte Bront. It was published in 1847, under the pen
name “Currer Bell”.

Primarily of the bildungsroman genre, Jane Eyre follows the emotions and
experiences of its title character, including her growth to adulthood and her
love for Mr. Rochester, the Byronic master of fictitious Thornfield Hall. In
its internalisation of the action—the focus is on the gradual unfolding of
Jane''s moral and spiritual sensibility, and all the events are coloured by a
heightened intensity that was previously the domain of poetry—Jane Eyre revolutionised
the art of fiction. Charlotte Bront has been called the “first historian of
the private consciousness” and the literary ancestor of writers, like Joyce and
Proust. The novel contains elements of social criticism, with a strong sense of
morality at its core, but is nonetheless a novel many consider ahead of its
time given the individualistic character of Jane and the novel''s exploration of
classism, sexuality, religion, and proto-feminism.

Jane Eyre may not be the first feminist novel, but it is certainly one of
the most enduring. There have been at least 20 movie and television versions of
Charlotte Bront’s gothic love story, even more than of Emma or Pride and
Prejudice.
關於作者:
夏洛蒂·勃朗特(Charlotte Bronte,1816-1855年),英国小说家,生于贫苦的牧师家庭,曾在寄宿学校学习,后任教师和家庭教师。1847年,夏洛蒂·勃朗特出版著名的长篇小说《简·爱》,轰动文坛。1848年秋到1849年她的弟弟和两个妹妹相继去世。在死亡的阴影和困惑下,她坚持完成了《谢利》一书,寄托了她对妹妹艾米莉的哀思,并描写了英国早期自发的工人运动。夏洛蒂·勃朗特善于以抒情的笔法描写自然景物,作品具有浓厚的感情色彩。
內容試閱
There was no possibility of
taking a walk that day. We had been wandering, indeed, in the leafless
shrubbery an hour in the morning; but since dinner Mrs. Reed, when there was
no company, dined early the cold winter wind had brought with it clouds so sombre,
and a rain so penetrating, that further out-door exercise was now out of the
question.

I was glad of it: I never
liked long walks, especially on chilly afternoons: dreadful to me was the
coming home in the raw twilight, with nipped fingers and toes, and a heart
saddened by the chidings of Bessie, the nurse, and humbled by the consciousness
of my physical inferiority to Eliza, John, and Georgiana Reed.

The said Eliza, John, and
Georgiana were now clustered round their mama in the drawing-room: she lay reclined
on a sofa by the fireside, and with her darlings about her for the time
neither quarrelling nor crying looked perfectly happy. Me, she had dispensed
from joining the group; saying, “She regretted to be under the necessity of
keeping me at a distance; but that until she heard from Bessie, and could
discover by her own observation, that I was endeavouring in good earnest to
acquire a more sociable and childlike disposition, a more attractive and
sprightly manner—something lighter, franker, more natural, as it were—she
really must exclude me from privileges intended only for contented, happy,
little children.”

“What does Bessie say I have
done?” I asked.

“Jane, I don’t like cavillers
or questioners; besides, there is something truly forbidding in a child taking
up her elders in that manner. Be seated somewhere; and until you can speak
pleasantly, remain silent.”

A breakfast-room adjoined the
drawing-room, I slipped in there. It contained a bookcase: I soon possessed
myself of a volume, taking care that it should be one stored with pictures. I
mounted into the window-seat: gathering up my feet, I sat crosslegged, like a
Turk; and, having drawn the red moreen curtain nearly close, I was shrined in
double retirement.

Folds of scarlet drapery shut
in my view to the right hand; to the left were the clear panes of glass,
protecting, but not separating me from the drear November day. At intervals,
while turning over the leaves of my book, I studied the aspect of that winter
afternoon. Afar, it offered a pale blank of mist and cloud; near a scene of wet
lawn and storm-beat shrub, with ceaseless rain sweeping away wildly before a
long and lamentable blast. I returned to my book—Bewick’s History of British
Birds: the letterpress thereof I cared little for, generally speaking; and
yet there were certain introductory pages that, child as I was, I could not
pass quite as a blank. They were those which treat of the haunts of sea-fowl;
of “the solitary rocks and promontories” by them only inhabited; of the coast
of Norway, studded with isles from its southern extremity, the Lindeness, or
Naze, to the North Cape—

“Where
the Northern Ocean, in vast whirls,

Boils
round the naked, melancholy isles

Of
farthest Thule; and the Atlantic surge

Pours
in among the stormy Hebrides.”

Nor could I pass unnoticed the
suggestion of the bleak shores of Lapland, Siberia, Spitzbergen, Nova Zembla,
Iceland, Greenland, with “the vast sweep of the Arctic Zone, and those forlorn
regions of dreary space, —that reservoir of frost and snow, where firm fields
of ice, the accumulation of centuries of winters, glazed in Alpine heights
above heights, surround the pole, and concentre the multiplied rigours of
extreme cold.” Of these death-white realms I formed an idea of my own: shadowy,
like all the half-comprehended notions that float dim through children’s
brains, but strangely impressive. The words in these introductory pages
connected themselves with the succeeding vignettes, and gave significance to
the rock standing up alone in a sea of billow and spray; to the broken boat
stranded on a desolate coast; to the cold and ghastly moon glancing through
bars of cloud at a wreck just sinking.

 

 

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