具體描述
編輯推薦
★“20世紀*富感召力作傢”之一海倫?凱勒的代錶作。
★榮獲“國傢五個一工程奬”。
★被譽為“世界文學史上無與倫比的傑作”。
★被世界上許多國傢列為青少年必讀書,被翻譯成上百種語言暢銷於世界各地。 內容簡介
海倫·凱勒的散文代錶作《假如給我三天光明》,她從一個失去光明者的視角,告誡所有身體健全的人們應珍惜生命,珍惜造物主賜予的一切。本書收錄瞭凱勒著名的演講《假如給我三天光明》,同時全文翻譯瞭《我的故事》以及《我的世界》。 作者簡介
海倫·凱勒,19世紀美國盲聾女作傢、教育傢、慈善傢、社會活動傢。她一生完成瞭一係列傳世之作,並緻力於為殘疾人造福,建立慈善機構,被美國《時代周刊》評為美國十大英雄偶像,榮獲總統自由勛章等奬項。譯者:袁敏琴,中國人民公安大學研究生畢業,北京政法職業學院副教授,北京市青年骨乾教師,長期從事一綫教學工作。齣版作品有《西方警務實踐》《安全保衛人力防範》《超級記憶力訓練》《海倫凱勒的教育》《高效時間運籌術》《感悟人生的108個經典寓言》。 目錄
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 童年的記憶 10
CHAPTER III / 第3章 尋找希望 21
CHAPTER IV / 第4章 重塑生命 28
CHAPTER V / 第5章 認識大自然 34
CHAPTER VI / 第6章 領悟“愛”的真諦 39
CHAPTER VII / 第7章 沐浴知識的陽光 45
CHAPTER VIII / 第8章 歡樂的聖誕節 56
CHAPTER IX / 第9章 波士頓之旅 59
CHAPTER X / 第10章 和大海親密接觸 64
CHAPTER XI / 第11章 山間鞦季 68
CHAPTER XII / 第12章 潔白的冰雪世界 75
CHAPTER XIII / 第13章 我要說話 79
CHAPTER XIV / 第14章 《霜王》事件 85
CHAPTER XV / 第15章 世界博覽會 99
CHAPTER XVI / 第16章 學習拉丁文 105
CHAPTER XVII / 第17章 客居紐約的學習生活 108
CHAPTER XVIII / 第18章 劍橋女子中學 112
CHAPTER XIX / 第19章 衝齣睏境 120
CHAPTER XX / 第20章 實現大學的夢想 127
CHAPTER XXI / 第21章 愛書如命 138
CHAPTER XXII / 第22章 享受多彩的生活 156
CHAPTER XXIII / 第23章 永遠的朋友 174
THREE DAYS TO SEE
第二篇 假如給我三天光明
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
《大美百科全書 海倫?凱勒傳》 213 精彩書摘
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
當我提起筆來,記下從齣生到現在的生命曆程,真覺得惶恐不安。童年往事猶如籠罩在霧一般輕柔的薄幕下,現在要把它掀開,的確讓我疑慮重重。寫自傳本身是件很難的事,更何況童年早已久遠,我已經無法分清楚哪些是事實,哪些隻是我的幻覺想象。不過,在我的大腦記憶中,有些事情仍然鮮明生動地閃現齣來,雖然某些畫麵隻是片斷的、零碎的,但對於我的人生卻有或多或少的影響。為瞭避免冗長乏味,我將節選一些最有趣和最有價值的情節,來講述我生活的故事。
——海倫?凱勒
《沉默的呐喊:一位音樂傢的心靈史詩》 作者: 艾莉絲·範德比爾特(虛構) 譯者: 林 薇 內容簡介: 這不是一部關於戰勝身體障礙的經典傳記,而是一部深入探究人類心靈深處、關於創造與失落的恢弘敘事。艾莉絲·範德比爾特,一位在20世紀初聲名鵲起的鋼琴傢兼作麯傢,她的人生軌跡,如同她最著名的“月光奏鳴麯變奏”一般,充滿瞭奇異的和諧與突如其來的斷裂。 本書以高度文學化的筆觸,細緻描摹瞭艾莉絲從一個沉浸在維也納音樂氛圍中的貴族少女,成長為歐洲樂壇炙手可熱的“繆斯”的全過程。她的童年生活,被浸泡在古典樂的熏陶之中,她的父親是一位嚴苛的音樂教育傢,對女兒的訓練幾近苛刻。書的開篇,便描繪瞭艾莉絲在布達佩斯音樂學院初試啼音的場景,那時的她,眼中隻有音符與黑白鍵,對外界的紛擾一無所知。 然而,命運的轉摺點,並非源於身體的局限,而是源於一次情感上的徹底崩塌。1918年,在一次前往巴黎的巡演途中,她與一位年輕的、充滿理想主義的劇作傢相愛。這段熾熱的戀情,如同一次突發的、無法預知的和弦不協和音,徹底打亂瞭艾莉絲既定的生命鏇律。當這位劇作傢在戰後的動蕩中神秘失蹤後,艾莉絲的世界瞬間從絢爛的C大調跌入瞭永恒的D小調。 本書的精髓,在於對艾莉絲創作生涯的深度剖析。她用音樂來“說話”,她的後期作品,尤其是被稱為“廢墟交響麯”的係列,被評論傢認為是“用聲音雕刻的悲痛”。我們得以窺見她如何在幽暗的工作室中,與內心的創傷搏鬥,將那些無法言說的痛苦轉化為精妙的對位法和充滿張力的和聲進行。書中詳細收錄瞭她與當時多位文化名人的通信往來,包括弗洛伊德學派的心理分析師,以及幾位對她影響深遠的現代主義詩人。這些信件揭示瞭她對於藝術本質、時間流逝以及記憶不可靠性的深刻思考。 與許多勵誌故事不同,《沉默的呐喊》拒絕提供簡單的解決方案或圓滿的結局。艾莉絲並未“戰勝”悲傷,而是學會瞭與之共存,將悲傷內化為一種獨特而強大的藝術驅動力。書中探討瞭身份認同的復雜性:當一個人的主要錶達方式——音樂——被內在的情感風暴所淹沒時,個體如何重新定義自我? 重點章節解析: “柏林的陰影與八度之謎”: 詳述瞭她在魏瑪時期與先鋒派藝術傢的交鋒,以及她如何摒棄學院派的束縛,轉嚮更抽象、更具實驗性的音樂結構。 “未完成的協奏麯:對‘缺席’的譜寫”: 深入分析瞭她中斷創作的數年間,她如何通過對沉默(靜默)的精確控製,來錶達缺失的主題。這部分展示瞭她對音樂理論邊界的不斷拓展。 “鏡廳的迴響:公眾的誤讀與自我的堅守”: 探討瞭公眾對她作品中“頹廢”與“感傷”的過度解讀,以及艾莉絲本人對藝術闡釋權的堅持。她認為,藝術一旦被固定意義,便失去瞭生命力。 本書特色: 本書的敘事風格如同艾莉絲的音樂一樣,充滿瞭對細節的執著和情感的層次感。作者廣泛查閱瞭艾莉絲在蘇黎世和維也納的私人檔案,披露瞭大量此前未被公眾所知的創作手稿和私人日記片段。它不僅是對一位藝術傢的傳記,更是一部關於如何在不完美的世界中,以極度敏感的心靈去構建意義的哲學沉思錄。它邀請讀者去傾聽那些最深沉的、非語言的聲音,理解創造如何成為一種必要的、有時甚至是痛苦的生存方式。 這部作品,將帶領讀者穿越20世紀初歐洲藝術的迷宮,探索那些被“偉大成就”光環所掩蓋的、關於人性脆弱與堅韌的真實故事。它不是關於如何“聽見”,而是關於如何“感受”那些被世界遺忘的聲音。