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★“20世纪*富感召力作家”之一海伦?凯勒的代表作。
★荣获“国家五个一工程奖”。
★被誉为“世界文学史上无与伦比的杰作”。
★被世界上许多国家列为青少年必读书,被翻译成上百种语言畅销于世界各地。 内容简介
海伦·凯勒的散文代表作《假如给我三天光明》,她从一个失去光明者的视角,告诫所有身体健全的人们应珍惜生命,珍惜造物主赐予的一切。本书收录了凯勒著名的演讲《假如给我三天光明》,同时全文翻译了《我的故事》以及《我的世界》。 作者简介
海伦·凯勒,19世纪美国盲聋女作家、教育家、慈善家、社会活动家。她一生完成了一系列传世之作,并致力于为残疾人造福,建立慈善机构,被美国《时代周刊》评为美国十大英雄偶像,荣获总统自由勋章等奖项。译者:袁敏琴,中国人民公安大学研究生毕业,北京政法职业学院副教授,北京市青年骨干教师,长期从事一线教学工作。出版作品有《西方警务实践》《安全保卫人力防范》《超级记忆力训练》《海伦凯勒的教育》《高效时间运筹术》《感悟人生的108个经典寓言》。 目录
THE STORY OF MY LIFE
第一篇 我生活的故事
CHAPTER I / 第1章 早期的光明 2
CHAPTER II / 第2章 童年的记忆 10
CHAPTER III / 第3章 寻找希望 21
CHAPTER IV / 第4章 重塑生命 28
CHAPTER V / 第5章 认识大自然 34
CHAPTER VI / 第6章 领悟“爱”的真谛 39
CHAPTER VII / 第7章 沐浴知识的阳光 45
CHAPTER VIII / 第8章 欢乐的圣诞节 56
CHAPTER IX / 第9章 波士顿之旅 59
CHAPTER X / 第10章 和大海亲密接触 64
CHAPTER XI / 第11章 山间秋季 68
CHAPTER XII / 第12章 洁白的冰雪世界 75
CHAPTER XIII / 第13章 我要说话 79
CHAPTER XIV / 第14章 《霜王》事件 85
CHAPTER XV / 第15章 世界博览会 99
CHAPTER XVI / 第16章 学习拉丁文 105
CHAPTER XVII / 第17章 客居纽约的学习生活 108
CHAPTER XVIII / 第18章 剑桥女子中学 112
CHAPTER XIX / 第19章 冲出困境 120
CHAPTER XX / 第20章 实现大学的梦想 127
CHAPTER XXI / 第21章 爱书如命 138
CHAPTER XXII / 第22章 享受多彩的生活 156
CHAPTER XXIII / 第23章 永远的朋友 174
THREE DAYS TO SEE
第二篇 假如给我三天光明
Spend Your Days / 珍惜每一天 190
The First Day / 第一天 196
The Second Day / 第二天 201
The Third Day / 第三天 207
《大美百科全书 海伦?凯勒传》 213 精彩书摘
I was born on June 27, 1880, in Tuscumbia, a little town of northern Alabama.
The family on my father’s side is descended from Caspar Keller, a native of Switzerland, who settled in Maryland. One of my Swiss ancestors was the first teacher of the deaf in Zurich and wrote a book on the subject of their education- rather a singular coincidence; though it is true that there is no king who has not had a slave among his ancestors, and no slave who has not had a king among his.
My grandfather, Caspar Keller’s son, “entered”large tracts of land in Alabama and finally settled there. I have been told that once a year he went from Tuscumbia to Philadelphia on horseback to purchase supplies for the plantation, and my aunt has in her possession many of the letters to his family, which give charming and vivid accounts of these trips.
My Grandmother Keller was a daughter of one of Lafayette’s aides, Alexander Moore, and granddaughter of Alexander Spotswood, an early Colonial Governor of Virginia. She was also second cousin to Robert E. Lee.
My father, Arthur H. Keller, was a captain in the Confederate Army, and my mother, Kate Adams, was his second wife and many years younger. Her grandfather, Benjamin Adams, married Susanna E. Goodhue, and lived in Newbury, Massachusetts, for many years. Their son, Charles Adams, was born in Newburyport, Massachusetts, and moved to Helena, Arkansas. When the Civil War broke out, he fought on the side of the South and became a brigadier-general. He married Lucy Helen Everett, who belonged to the same family of Everett as Edward Everett and Dr. Edward Everett Hale. After the war was over the family moved to Memphis, Tennessee.
I lived, up to the time of the illness that deprived me of my sight and hearing, in a tiny house consisting of a large square room and a small one, in which the servant slept. It is a custom in the South to build a small house near the homestead as an annex to be used on occasion. Such a house my father built after the Civil War, and when he married my mother they went to live in it. It was completely covered with vines, climbing roses and honeysuckles. From the garden it looked like an arbour. The little porch was hidden from view by a screen of yellow roses and Southern smilax. It was the favourite haunt of humming-birds and bees.
The Keller homestead, where the family lived, was a few steps from our little rose-bower. It was called “Ivy Green” because the house and the surrounding trees and fences were covered with beautiful English ivy. Its old-fashioned garden was the paradise of my childhood.
Even in the days before my teacher came, I used to feel along the square stiff boxwood hedges, and, guided by the sense of smell, would find the first violets and lilies. There, too, after a fit of temper, I went to find comfort and to hide my hot face in the cool leaves and grass.
What joy it was to lose myself in that garden of flowers, to wander happily from spot to spot, until, coming suddenly upon a beautiful vine, I recognized it by its leaves and blossoms, and knew it was the vine which covered the tumble-down summer-house at the farther end of the garden! Here, also, were trailing clematis, drooping jessamine, and some rare sweet flowers called butterfly lilies, because their fragile petals resemble butterflies’ wings. But the roses-they were loveliest of all. Never have I found in the greenhouses of the North such heart-satisfying roses as the climbing roses of my southern home. They used to hang in long festoons from our porch, filling the whole air with their fragrance, untainted by any earthy smell; and in the early morning, washed in the dew, they felt so soft, so pure, I could not help wondering if they did not resemble the asphodels of God’s garden.
The beginning of my life was simple and much like every other little life. I came, I saw, I conquered, as the first baby in the family always does. There was the usual amount of discussion as to a name for me. The first baby in the family was not to be lightly named, every one was emphatic about that. My father suggested the name of Mildred Campbell, an ancestor whom he highly esteemed, and he declined to take any further part in the discussion. My mother solved the problem by giving it as her wish that I should be called after her mother, whose maiden name was Helen Everett.
But in the excitement of carrying me to church my father lost the name on the way, very naturally, since it was one in which he had declined to have a part. When the minister asked him for it, he just remembered that it had been decided to call me after my grandmother, and he gave her name as Helen Adams.
…… 前言/序言
Preface
IT is with a kind of fear that I begin to write the history of my life. I have, as it were, a superstitious hesitation in lifting the veil that clings about my childhood like a golden mist. The task of writing an autobiography is a difficult one. When I try to classify my earliest impressions, I find that fact and fancy look alike across the years that link the past with the present. The woman paints the child’s experiences in her own fantasy. A few impressions stand out vividly from the first years of my life; but “the shadows of the prison-house are on the rest. ” Besides, many of the joys and sorrows of childhood have lost their poignancy; and many incidents of vital importance in my early education have been forgotten in the excitement of great discoveries. In order, therefore, not to be tedious I shall try to present in a series of sketches only the episodes that seem to me to be the most interesting and important.
Helen Keller
序 言
当我提起笔来,记下从出生到现在的生命历程,真觉得惶恐不安。童年往事犹如笼罩在雾一般轻柔的薄幕下,现在要把它掀开,的确让我疑虑重重。写自传本身是件很难的事,更何况童年早已久远,我已经无法分清楚哪些是事实,哪些只是我的幻觉想象。不过,在我的大脑记忆中,有些事情仍然鲜明生动地闪现出来,虽然某些画面只是片断的、零碎的,但对于我的人生却有或多或少的影响。为了避免冗长乏味,我将节选一些最有趣和最有价值的情节,来讲述我生活的故事。
——海伦?凯勒
《沉默的呐喊:一位音乐家的心灵史诗》 作者: 艾莉丝·范德比尔特(虚构) 译者: 林 薇 内容简介: 这不是一部关于战胜身体障碍的经典传记,而是一部深入探究人类心灵深处、关于创造与失落的恢弘叙事。艾莉丝·范德比尔特,一位在20世纪初声名鹊起的钢琴家兼作曲家,她的人生轨迹,如同她最著名的“月光奏鸣曲变奏”一般,充满了奇异的和谐与突如其来的断裂。 本书以高度文学化的笔触,细致描摹了艾莉丝从一个沉浸在维也纳音乐氛围中的贵族少女,成长为欧洲乐坛炙手可热的“缪斯”的全过程。她的童年生活,被浸泡在古典乐的熏陶之中,她的父亲是一位严苛的音乐教育家,对女儿的训练几近苛刻。书的开篇,便描绘了艾莉丝在布达佩斯音乐学院初试啼音的场景,那时的她,眼中只有音符与黑白键,对外界的纷扰一无所知。 然而,命运的转折点,并非源于身体的局限,而是源于一次情感上的彻底崩塌。1918年,在一次前往巴黎的巡演途中,她与一位年轻的、充满理想主义的剧作家相爱。这段炽热的恋情,如同一次突发的、无法预知的和弦不协和音,彻底打乱了艾莉丝既定的生命旋律。当这位剧作家在战后的动荡中神秘失踪后,艾莉丝的世界瞬间从绚烂的C大调跌入了永恒的D小调。 本书的精髓,在于对艾莉丝创作生涯的深度剖析。她用音乐来“说话”,她的后期作品,尤其是被称为“废墟交响曲”的系列,被评论家认为是“用声音雕刻的悲痛”。我们得以窥见她如何在幽暗的工作室中,与内心的创伤搏斗,将那些无法言说的痛苦转化为精妙的对位法和充满张力的和声进行。书中详细收录了她与当时多位文化名人的通信往来,包括弗洛伊德学派的心理分析师,以及几位对她影响深远的现代主义诗人。这些信件揭示了她对于艺术本质、时间流逝以及记忆不可靠性的深刻思考。 与许多励志故事不同,《沉默的呐喊》拒绝提供简单的解决方案或圆满的结局。艾莉丝并未“战胜”悲伤,而是学会了与之共存,将悲伤内化为一种独特而强大的艺术驱动力。书中探讨了身份认同的复杂性:当一个人的主要表达方式——音乐——被内在的情感风暴所淹没时,个体如何重新定义自我? 重点章节解析: “柏林的阴影与八度之谜”: 详述了她在魏玛时期与先锋派艺术家的交锋,以及她如何摒弃学院派的束缚,转向更抽象、更具实验性的音乐结构。 “未完成的协奏曲:对‘缺席’的谱写”: 深入分析了她中断创作的数年间,她如何通过对沉默(静默)的精确控制,来表达缺失的主题。这部分展示了她对音乐理论边界的不断拓展。 “镜厅的回响:公众的误读与自我的坚守”: 探讨了公众对她作品中“颓废”与“感伤”的过度解读,以及艾莉丝本人对艺术阐释权的坚持。她认为,艺术一旦被固定意义,便失去了生命力。 本书特色: 本书的叙事风格如同艾莉丝的音乐一样,充满了对细节的执着和情感的层次感。作者广泛查阅了艾莉丝在苏黎世和维也纳的私人档案,披露了大量此前未被公众所知的创作手稿和私人日记片段。它不仅是对一位艺术家的传记,更是一部关于如何在不完美的世界中,以极度敏感的心灵去构建意义的哲学沉思录。它邀请读者去倾听那些最深沉的、非语言的声音,理解创造如何成为一种必要的、有时甚至是痛苦的生存方式。 这部作品,将带领读者穿越20世纪初欧洲艺术的迷宫,探索那些被“伟大成就”光环所掩盖的、关于人性脆弱与坚韧的真实故事。它不是关于如何“听见”,而是关于如何“感受”那些被世界遗忘的声音。