茨威格自传

茨威格自传

图书基本信息
出版时间:2002-10
出版社:北京广播学院出版社
作者:斯蒂芬・茨威格
页数:339
书名:茨威格自传
封面图片
茨威格自传

内容概要
这是一个背井离乡的思想者,对于精神家园逝去岁月的个人回忆,幸福与苦难、理想与现实、和平与战争、兴盛与衰败冲撞交织的时代,触动了作者敏感的心灵与尘封的记忆,不断追思曾经如此安宁、保守、富庶、文雅的故乡维也纳以及整个远去的欧洲。文学家的细腻笔触之下流动着史学家的睿智,他在为已经坍塌的整个时代造像,个体的经历融入其中,产生了一部真实却不呆板,充满细节却不失深邃的历史,其中我们感知到生命尽头的灵魂,在与自己灿烂的青春对话,梦中的家园给冰冷的现实带来一丝丝暖意,但温暖背后却是,个体对于时世变迁的惊恐与无奈。
作者简介
斯蒂芬·茨威格,奥地利著名文学家、人物传记作家,以文字华丽、思想性见长,其作品在我国拥有较多的读者。作家本人因不满30年代末和40年代初法西斯势力横行,于1942年自杀。茨威格除其在文学上的成就,其传记独树一帜,具有强烈的人道主义的精神,颂扬人类伟大的思想
书籍目录
CHAP。Ⅰ.THE
WORLD
OF
SECURITYⅡ.SCHOOL
IN
THE
LAST
CENTURYⅢ.EROS
MATUTINUSⅣ.UNIVERSITAS
VITAEⅤ.PARIS,THE
CRRY
OF
ETERNAL
YOUTHⅥ.BYPATHS
ON
THE
WAY
TO
MYSELFⅦ.BEYOND
EUROPEⅧ.LIGHT
AND
SHADOW
OVER
EUROPEⅨ.THE
EIRST
HOURS
OF
THE
WAR
OF
I9I4Ⅹ.THE
STRUGGLE
FOR
INTELLECTUAL
BROTHEHOODⅪ.
IN
THE
HEART
OF
EUROPEⅫ.HOMECOMING
TO
AUSTRIAXⅢ.INTO
THE
WORLD
AGAINXⅣ.SUNSETXⅤ.INCIPIT
HITLERXⅥ.THE
AGONY
OF
PEACE
PUBLISHER’S
POSTSCRIPT
BIBLIOGRAPHY
OF
ORIGINAL
WORKS
OF
STEFAN
ZWEIG
INDEX

章节摘录
  of
the
world
meant
not
only
the
triumph
of
an
individual,
but
the
victory
of
the
idea
of
youth.
That
one
did
not
have
to
be
born
a
prince
or
a
duke
to
achieve
power
at
an
early
age,
that
one
might
come
from
any
humble
and
even
poor
family
and
yet
be
a
general
at
twenty-four,
ruler
of
France
at
thirty
and
of
the
entire
world,
caused
hundreds,
after
this
unique
success,
to
abandon
petty
voca-
tions
and
provincial
abodes. Lieutenant
Bonaparte
had
fired
the
minds
of
an
entire
generation
of
youth. Fie
drove
them
to
aspire
to
higher
things,
he
made
the
erals
of
the
Grande
Armce
the
heroes
and
careerists
of
the
comEdie
humaine. It
is
always
an
in-dividual
young
person
who
aclfieves
the
unattainable
for
the
first  time
in
any
field,
and
thus
encourages
all
the
youngsters
aroundhim
or
who
come
after
him,
by
the
mere
fact
of
his
success. Inthis
sense
Hofmannsthal
and
Rilke
signified
an
unusual
impulse
forour
as
yet
unfermented
energies. Without
hoping
that
any
one
ofus
could
ever
repeat
the
miracle
of
Hofinannsthal,
we
were
nonethe
less
strengthened
by
his
mere
physical
existence. It
provedtangibly
that
a
poet
was
possible
in
our
time,
in
our
city,
in
ourmidst. For
after
all,
his
her,
a
banker,
came
from
the
sameJewish
middle
class
as
the
rest
of
us;
this
genius
had
grown
up-in
a
house
similar
to
our
own,
with
similar
furniture
and
similarmanners,
he
had
gone
to
a
similarly
sterile
Gymnasium,
he
hadstudied
out
of
the
samc
textbooks
and
had
sat
for
eight
years
onthe
same
wooden
benches,
mpatient
as
we
had
becn,
similarlyimpassioned
for
all
intellectual
values;
and
Io,
while
he
was
stillfrayiug
his
trouscrs
on
the
benchcs
and
being
forced
to
march
aroundin
thc
Gymnasium,
hc
had
socceeded
in
transccuding
space
and
confines,
city
aud
family,
by
his
flight
into
the
boundless.
ThroughHofannsthal
it
was
to
some
cxtcnt
demonstratcd
to
us,
ad
oculos,that
in
principlc
it
was
ossible,
even
at
our
age
and
in
the
prison-atmsphere
of
an
Austrian
Gymnasium,
to
create
poetry,
and
evento
create
perfection. It
was
even
possible--a
terrific
cmptatiou
fora
youthful
temperament--to
he
pubhshed,
to
be
celebrated,
tobecome
famous,
while
at
home
and
in
school
one
was
still
con-sidered
a
half-grown,
nimportant
being. Rilke
stood
for
a
different
sort
of
encouragement,
and
supple-mented
that
of
Hofmamsthal
in
a
comforting
fashion. It
wouldhave
seemed
blasphemous
for
even
the
most
daring
of
us
to
try
torival
Hofmaunsthal. We
knew
that
he
was
a
unique
miracle
ofpremature
perfection,
which
conld
never
be
repeated,
and
when
wesixteen-year-olds
compared
our
rhymes
with
the
perfectly
conceivedverses
which
he
had
written
at
the
same
age,
we
quaked
with
shame.  In
the
same
way
we
felt
humbled
in
our
knowledge
of
the
eaglesflight
with
which
he
coursed
through
cosmic
space
while
.stillthe
Gymnasium.
On
the
other
hand,
Rilke
had
begun
to
write
andpublish
his
poems
at
an
equally
early
age--when
he.
was
seventeenor
eighteen.
But
Rilkes
early
verses,
in
comparison
with
Hof-  mannsthals,
and
even
in
an
absolute
sense,
were
immature,
childishand
naive,
and
only
forbearance
could
find
a
few
slender
goldentraces
of
talent
in
them.
It
was
only
gradually,
in
his
twenty-  second
and
twenty-third
years,
that
the
personality
of
this
majesticpoet,
so
boundlessly
loved
by
us,
began
to
emerge;
an.d
that
wasan
enormous
consohdon
for
us.
It
was
not
necessary
tlaeretore
toattain
perfection
while
still
in
the
mnasium
as
Hofmannsthal
haddone,
but
like
Rilke
we
could
fed
our
way,
experiment
for
our-wives,
and
climb
upward.
We
did
not
have
to
give
up
in
immediatedespair
became
for
the
time
being
our
writing
was
unripe,
ir-responsible
and
inadequate,
and
perhaps
instead
of
the
miracle
ofHofmannsthal
we
could
repeat
in
ourselves
the
serener,
more
normalrise
of
Rilke.  For
as
was
to
be
expcted,
we
ha
long
since
begun
to
write
orto
create
verses,
to
compose
music
or
to
revite;
every
passivepassionate
attitude
is
of
itself
an
unnatural
one
for
youth,
for
it
isin
its
being
not
only
tO
take
up
impressions
but
to
reproduce
themactively.
For
a
young
man
to
love
the
theatre
means
thathe.willat
least
desire
or
dream
to
work
for,
or
in,
the
theatre.
To
admiretalent
cstatically
in
all
its
forms
irresistibly
leads
to
introspection,to
see
i~
it
is
not
possible
to
discover
some
trace
or
possibility
ofthis
choicest
of
essences
in
ones
xplored
body
or
still
doudysoul. And
so
it
occurred
in
our
class
atschool
that,
in
keepingwith
the
Viennese
atmosphere
and
the
particular
limitadons
or"
thetimes,
the
impulse
to
crcative
producdon
became.positively
epi-demic. Each
one
of
us
sought
some
talent
within
himself
andendeavoured
to
unfold
it.
Four
or
five
of
us
wished
~o
be
actors.They
imitatedd
the
diction
of
the
Imperial
players,
they
recited
and
declaimed
without
ceasing,
secretly
took
lessons
in
acting,
and,during
the
recesses
at
school,
distributed
parts
and
improvisedentire-scenes
from
the
classics,
while
the
rest
of
us
formed
a
curiousbut
exacting
audience.
Two
or
three
were
splendidly
accomplishedmusicians
but
had
not
yet
decided
whether
they
would
becomecomposers,
virtuosi,
or
conductors.
I
owe
to
them
my
first
know-ledge
of
the
new
music
which
then
was
still
generally
scorned
atthe
official
concerts
of
the
philharmonic,
whereas
they,
in
turn,came
to
us
for
the
words
for
their
songs
and
choruses.  ……
媒体关注与评论
  编者的话  《名人名传丛书》是一大型文化建设工程,在其起步之初,编者有话告之于读者:  历史是无数人物之传记。史源于事,事源于人;无人则无事,无事则无史。马克思、恩格斯有言:“历史不过是追求着自己目的的人的活动而已。”评述“追求着自己目的的人的活动”,即成传记;解读传记,因而即是解读历史。无数人物之传记构成为历史,于无数人物之传记之外另求一历史,则无历史矣。  传记是传主成败得失之记录。传记讲解传主之成败得失,名传讲解名人之成败得失。讲善恶可也,讲贤不肖可也,讲毁誉可也,但均不及讲智愚、讲成败得失来得根本。名人之跌倒与爬起、之挫败与新生,其中之“一阴一阳之道”,正是后人入世立足之航标灯、之后车鉴、之警示牌。解读传记,尤其是解读名人之传记,恰如为自己“主政”请来无数大智大勇之“垂帘听政者”。  名人所作之传记是人文之精华。名人为名人作传,恰如“酒逢知已”、“棋逢对手”,一举一动.一言一行,均了然于心,尽在不言中。凡人为名人作传,所以不能上境界,在凡人无以跟上名人之大智大慧;名人为名人作传,所以能动人心弦,在名人可以看穿名人之背后,从而能对传主之成败得失,达致“同情之了解”。酒不逢知己,酒而无味;棋不逢对手,棋而无趣。读者犹如旁观者,看两强之打斗,自可以锻炼自己、提高自己,而向名人靠近一小步。名人为名人作传,记录名人之成败得失,从而也就记录了历史。吾人解读名人所作名人之传记,读懂名人之成败得失,从而也就读懂了历史。  基于以上认识,《名人名传丛书》将尽可能发掘、整理名人所撰名人之传记。在近年内,将推出中文版名人名传100种、英文版名人名传100种,每种均在原文字基础上,配以精美插图,以收图文并茂、相得益彰之效。此工程而能完工,将是中国文化建设史上的一件大事。  《名人名传丛书)由名人传记文化研究中心编辑。该中心在编辑现有名人名传的同时,亦准备推出名人文集和名人研究系列,欢迎赐稿。
编辑推荐
  茨威格的小说深受弗洛伊德的影响。弗洛伊德在治疗精神病人的过程中,提出了心理分析法。根据弗洛伊的观点,人的思维不仅有意识,还有前意识和无意识。茨威格不仅写过大量传记和评论作品,也写了不少中短篇小说和一部长篇小说,此外早期写过诗歌,还写了一些剧本。他的写作涉及文学的体裁较多。应该说,他在中短篇小说和传记文学方面取得了较大的成功。
图书标签Tags
茨威格,自传,外国文学,传记,奥地利


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评论与打分
  •     偶第一个评论,看看显示不?
  •     代朋友买的,你从这个角度看这篇小说还挺有意思的
  •     所以买来这本书决定读读。,实物比图片感觉更好
  •     可以买来看看。,这可能不叫罗嗦
  •     孩子放假正好看,这几本书非常好看
  •     数质量很好,期待!
    已经快读完了
  •     远离喧嚣,正版书。
  •     不读很可惜的,印刷注释都不错
  •     我的书皮没画像,也读了很多遍。
    在村上的作品里我最喜欢的。
  •     还没拜读呢,但是心要静下来......
  •     学到了人性中好多东西,挺喜欢在仔细阅读
  •     就是字小了一点。买给孩子看的。,充着鲁迅买了
  •     包装很好 质量好,小朋友很喜欢。
  •     一本读后让人很有感触的书,沉思录这本书刚收到
  •     比较吸引人,外观很好。
  •     我收到的这本书的质量不怎么好。外壳都歪的,学好历史
  •     一次性买太多了,如题。 封面很好
  •     上初中的时候晚上看《巴斯克维尔的猎犬》就被吓死了,能获得最佳小说奖
  •     觉得古都比雪国好看些,注意是中文的
  •     拍下全班共享。,就是书薄了点
  •     都有封皮。,这种书