Alice's Adventures in Wonderland and Through the Looking Glass [精装] [8岁及以上] pdf epub mobi txt 电子书 下载 2025

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☆☆☆☆☆

Lewis Carroll 著

图书标签:

• 奇幻故事
• 儿童文学
• 经典文学
• 冒险故事
• 想象力
• 童话
• 精装本
• 8岁+
• 刘易斯·卡罗尔
• 异世界

出版社： Knopf Doubleday Publishing Group

ISBN：9780679417958

商品编码：19503008

包装：精装

丛书名： Everyman's Library Children's Classics

出版时间：2005-12-01

用纸：胶版纸

页数：336

正文语种：英文

编辑推荐

适读人群 ：8岁及以上
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内容简介

The two Alice books--Lewis Carroll's masterpieces--are ranked by many as peers of the great adult works of English literature. And despite their riches of "untranslatable" puns， nonsense， and parody， they have been happily translated around the world. The matchless original illustrations by Tenniel share with Carroll's text the glory of making Alice immortal.

作者简介

Christopher Hart is the acclaimed author of countless illustration tutorials, including two of the best-selling art books in the US-Manga Mania and Anime Mania. He has sold more than one million books worldwide and makes his home in Connecticut.

精彩书评

From Publishers Weekly
If Zwerger's Alice (reviewed above) is deliciously cryptic, Oxenbury's (Tom and Pippo books) brims with the fun and frights of a visit to an amusement park. In perhaps her most ambitious work to date, Oxenbury applies her finely honed instinct for a child's perspective to create an Alice accessible to all ages. With the opening scene of a tomboyish heroine slumped against her sister who is reading under a tree, the artist seems to answer Alice's first line: "What is the use of a book... without pictures or conversations?" Nearly every spread contains either a spot-line drawing or full-bleed full-color painting. The artist nods to Tenniel with her hilarious portrait of the waistcoated White Rabbit and even extends the metaphor of the "grin without a cat" with a quartet of watercolors as the Cheshire Cat begins to disappearAuntil only his grin remains. The villains here are more stoogelike than menacing, including the baby-throwing Duchess and the Queen of Hearts, and Oxenbury makes the most of such comic opportunities as the entangled powdered wigs of the Frog-Footman and Fish-Footman. A series of cleverly choreographed closing scenes shows Alice in the Queen's courtroom, pelted by the playing cards that, on the next spread, seem to have transformed into the falling leaves of the tree where Alice awakens and her sister gives her a kiss; a poignant parting shot of Alice's sister silhouetted at dusk under the tree, with sheep grazing in the field, acknowledges the shift in tone of Carroll's conclusion. An ideal first introduction to a lifelong favorite read. Ages 8-up. (Nov.)
Copyright 1999 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.

From School Library Journal
Grade 4 Up-- Edens has compiled and arranged illustrations from 25 editions of Alice in Wonderland published in the early to mid-1900s. The result is a fascinating look at a variety of illustrative styles. This is far less jarring than one might expect because the original illustrator, John Tenniel, has so strongly influenced his successors that their interpretations are often similar in design. In fact, the fascination in these pictures is the differing details--Alice's dress, her hairstyle, and her expressions tell much about the time period and the artist's viewpoint. Edens has also done a fine job of integrating the pictures with the text. He varies interest by utilizing full-page plates, half plates, vignettes, and even reducing some illustrations to fit the design so the book flows fairly well and these myriad illustrations blend into a whole rather than distract the eye. The reproduction is excellent. A must for collections with historical interest in children's literature and large libraries. --Karen K. Radtke, Milwaukee Public Library
Copyright 1990 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.

"A book of wonder and nonsense laced with lethal wit."
--Guardian

"Precise, dream-like, subversive."
--Independent on Sunday--From the Paperback edition.

目录

Autobor's Note
ONE Down the Rabbit-Hole
TWO The Pool of Tears
THREE A Caucus-Race and a Long Tale
FOUR The Rabbit Sends in a Little Bill
FIVE Advice from a Caterpillar
SIX Pig and Pepper
SEVEN A Mad Tea-Party
EIGHT The Queen's Croquet Ground
NINE The Mock Turtle's Story
TEN The Lobster Quadrille
ELEVEN Who Stole the Tarts?
TWELVE Alice's Evidence

精彩书摘

From Tan Lin's Introduction to Alice's Adventures in Wonderland and Through the Looking-Glass

Alice's Adventures in Wonderland and Through the Looking Glass and What Alice Found There pursue what lies beyond and down rabbit holes and on reverse sides of mirrors. But mainly their subject is what comes after, and in this sense the books are allegories about what a child can know and come to know. This quest, as in many great works of literature, unwinds against a larger backdrop: what can and what cannot be known at a particular historical moment, a moment that in Lewis Carroll's case preceded both Freud's speculations on the unconscious and Heisenberg's formulation of the uncertainty principle. Yet because the books were written by a teacher of mathematics who was also a reverend, they are also concerned with what can and cannot be taught to a child who has an infinite faith in the goodness and good sense of the world. But Alice's quest for knowledge, her desire to become something (a grown-up) she is not, is inverted. The books are not conventional quest romances in which Alice matures, overcomes obstacles, and eventually gains wisdom. For when Alice arrives in Wonderland, she is already the most reasonable creature there. She is wiser than any lesson books are able to teach her to be. More important, she is eminently more reasonable than her own feelings will allow her to express. What comes after for Alice? Near the end of Through the Looking Glass, the White Queen tells Alice, "Something's going to happen!"

Quests for mastery are continually frustrated in the Alice books. In comparison with the ever—sane Alice, it is the various Wonderland creatures who appear to be ridiculous, coiners of abstract word games. Yet Carroll also frustrates, with equal precision, Alice's more reasonable human desires. Why, after all, cannot Alice know why the Mad Hatter is mad? Or why will Alice never get to 20 in her multiplication tables? In Carroll, the logic of mathematical proofs runs counter to the logic of reasonable human desire—and neither logic is easily mastered. To his radical epistemological doubt, Carroll added a healthy dose of skepticism for the conventional children's story—a story that in his day came packaged with a moral aim and treated the child as an innocent or tabula rasa upon which the morals and knowledge of the adult could be tidily imprinted.

Alice embodies an idea Freud would later develop at length: What Alice the child already knows, the adult has yet to learn. Or to be more precise, what Alice has not yet forgotten, the adult has yet to remember as something that is by nature unforgettable. In other words, in Alice childhood fantasy meets the reality of adulthood, which to the child looks as unreal and unreasonable as a Cheshire Cat's grin or a Queen who yells "Off with her head!" But even as she calls adult reality unreal, Alice, as the most reasonable creature in her unreasonable dreams, doesn't quite yet realize that the adult's sense of reality has already taken up residence in her. The principal dream of most children—the dream within the dream, as it were—is the dream of not dreaming any longer, the dream of growing up. For the adult, the outlook is reversed. The adult's quest is an inverted one: to find those desires again, in more reasonable forms—and this involves forgetting the original childhood desires (to become an adult) in order to remember them as an adult. The psychoanalyst Adam Phillips notes: "Freud is not really saying that we are really children, but that the sensual intensities of childhood cannot be abolished, that our ideals are transformed versions of childhood pleasures. Looking forward . . . is a paradoxical form of looking back. The future is where one retrieves the pleasures, the bodily pleasures of the past."1 The Alice books manage to show both these quests—that of the child to look forward, and of the adult to look back—simultaneously, as mirror logics of each other.

Like both Freud and the surrealists, Carroll implicitly understood that a child's emotions and desires appear omnipotent and boundless to the child—and thus make the adult's forgetting of them difficult if not illogical. Growing up poses psychological and logical absurdities. The quandary of a logically grounded knowledge constituted out of an illogical universe pervades both books. The questions that Alice asks are not answered by the animals in Wonderland nor by anyone after she wakens. It is likely that her questions don't have answers or that there are no right questions to ask. Alice's Adventures in Wonderland and Through the Looking Glass remain the most prophetic of the nineteenth century's anti-narratives, inverted quest romances, circular mathematical treatises on the illogical logic of forgetting one's desires. They display a logic that the child must master in order to grow up. As the White Queen remarks of the Red Queen: "She's in that state of mind . . . that she wants to deny something—only she doesn't know what to deny!"

书名：星辰的低语：银河系边缘的探险 作者：艾莉亚·凡尔纳 装帧：精装 适读年龄：12岁及以上 内容简介： “星辰的低语”带领读者踏上了一场宏大而又无比私密的宇宙旅程，故事的主角是年轻的星图绘制师，卡西安·洛克伍德。卡西安生长在一个被严密保护的知识堡垒——“阿卡迪亚学院”中，那里的人们相信，宇宙的真理早已被记录在古老的星图中，任何偏离既定航线的探索都是危险且徒劳的。然而，卡西安的心中燃烧着对未知边界的强烈渴望。 故事的开端设定在纪元345年的“大静默”时期。人类文明已经扩散到银河系的数千个殖民地，但一场突如其来的“信息瘟疫”切断了星际间的大部分实时通讯。巨大的星际网络陷入瘫痪，各个殖民地开始退化成孤立的文化孤岛。官方解释称这是太阳耀斑引发的自然灾害，但卡西安在整理一批尘封已久的观测数据时，发现了一个惊人的异常：那些被认为早已消亡的、古老文明的信号，似乎正在从银河系最为偏远的“暗区”——一个被官方禁止涉足的区域——微弱地响起。 卡西安的导师，严谨而保守的首席天文学家奥古斯都教授，坚决否认这些信号的真实性，认为这不过是仪器老化导致的幻影。但卡西安利用自己对失传的“弦理论导航技术”的深刻理解，秘密修复了一艘老旧的勘探飞船——“信标号”。这艘飞船的独特之处在于，它不依赖于主流的量子纠缠网络，而是依靠一种更原始、更依赖数学和直觉的导航方式。 他的首次行动，表面上是为了测试“信标号”的引擎稳定性，但真正的目标是追踪那个微弱到几乎无法捕捉的信号源。这次行动立刻引来了学院内部安全部门的注意，特别是冷酷的执行官维拉·萨姆斯。维拉相信秩序高于一切，任何擅自脱离管制轨道的行为都威胁着人类最后的稳定。 卡西安的旅程很快就超出了预设的轨道。他穿越了被称作“破碎之环”的小行星带，那里的碎片并非随机分布，而是遵循着某种复杂、近乎音乐般的几何排列。在穿越这片区域时，他首次接触到了“低语”——那些从暗区传来的信号，它们并非语言，而是一种复杂的、基于光子脉冲的情感和概念的交流。 随着“信标号”深入银河系外缘，卡西安遇到的挑战也愈发超乎想象。他首先抵达的是一个被遗忘的、由早年太空移民建立的采矿殖民地——“铁砧星站”。这里的居民已经与世隔绝了数百年，他们的技术退化成了依靠蒸汽和机械能的工业文明，但他们保留了一套独特的口述历史，其中提到了“守夜人”——那些在数千年前就预测到“大静默”的先驱者。 在铁砧星站，卡西安遇到了古怪的机械师和民间史学家，伊莱亚斯。伊莱亚斯向卡西安展示了一张用熔融金属铸造的星图，这张图与阿卡迪亚学院的官方星图完全不同。它将银河系的结构描述成一个不断自我折叠的有机体，而“暗区”并非虚无，而是星系结构中的“折痕”。伊莱亚斯相信，那些低语正是来自“折痕”彼岸的智慧生命，它们试图通过数学的和谐来重建中断的联系。 卡西安接受了伊莱亚斯的帮助，升级了“信标号”的接收器，使其能够解析更深层次的“低语”。这些信息揭示了一个令人震惊的真相：大静默并非自然现象，而是被一种古老的、控制信息流动的“元秩序”系统有意识地关闭的。这个系统并非为了毁灭，而是为了保护分散的人类文明免受某种“噪音”的干扰，而这种噪音，卡西安渐渐意识到，可能就是学院一直以来所依赖的量子通讯网络本身产生的副作用。 追捕卡西安的维拉·萨姆斯也紧随其后。她并非纯粹的反派，她只是坚信，学院维持的秩序是抵御混乱的唯一屏障。她的飞船“正义之剑”装备了最先进的追踪系统，她相信卡西安的行为正把人类文明推向未知的风险。 卡西安最终抵达了信号的源头——一个被巨大的、近乎静止的气体云环绕的区域，被称为“镜湖”。在这里，他发现了一个超乎想象的结构：一个由纯粹的、排列整齐的暗物质构成的巨型几何体，它正在缓慢地、周期性地发出那些低语。 在“镜湖”中，卡西安与一个实体进行了前所未有的交流。这个实体并非生物，而是一种纯粹的信息集合体，它向卡西安展示了宇宙的真正历史：人类文明在扩张过程中无意中激活了一个自我防御机制，这个机制是为了防止跨越星系的意识污染而设立的“防火墙”。 当卡西安试图将这些发现传回学院时，维拉的“正义之剑”赶到。一场激烈的追逐和对峙在“镜湖”边缘展开。卡西安必须做出抉择：是服从学院的命令，将这个发现报告为“危险的异常并予以摧毁”，还是冒着被视为叛徒的风险，尝试利用“镜湖”的能量，向所有孤立的殖民地发送一个包含真相的、非主流的“基础和弦”信号，以此重启真正的星际对话。 在关键时刻，卡西安利用他对弦理论导航的直觉，引导“信标号”与“镜湖”的几何结构产生了一次短暂的共振。他成功地向外发送了信息，信息以一种全新的、非技术依赖的方式传播，它跨越了被切断的网络，直接触及了那些沉睡的殖民地的心智。 维拉目睹了这一过程，她开始质疑自己维护的“秩序”的本质。她最终选择了停止攻击，但她选择了保持沉默，带着“正义之剑”返回，她需要时间来处理她所看到的与她所受教导完全相悖的事实。 故事的结局并非是所有问题都得到解决。卡西安没有回到阿卡迪亚学院。他选择留在“镜湖”附近，成为新的“守夜人”，观察和翻译那些从宇宙深处传来的、持续不断的“星辰的低语”。他知道，真正的探险才刚刚开始——不是向外探索物理空间，而是向内探索如何重建一个基于诚实与理解的星际文明。这本书以一个开放式的、充满希望的哲学沉思结束，邀请读者思考，在浩瀚的宇宙中，我们所依赖的“真理”是否只是被精心编排的局部信号。

评分☆☆☆☆☆

作为一名对文学经典情有独钟的成年读者，这次入手这本《爱丽丝》系列的精装版，更多的是一种情怀。书的整体设计非常考究，封面图案的细节处理得相当到位，给人一种沉静而富有历史感的体验。我喜欢精装书带来的那种厚重感和仪式感，它让阅读本身变成了一种享受。翻开书页，纸张的质地让我感到满意，柔韧度适中，光泽度也恰到好处，阅读起来非常舒适。即使不阅读，仅仅是摆放在书桌上，也能增添几分文艺气息。这些年来，我读过不同版本的《爱丽丝》，但总觉得少了点什么。这次购买的精装版，从外在到内在，都散发着一种独特的魅力，仿佛能将我带回那个充满奇幻色彩的年代。我喜欢它的排版，字体的选择也很经典，阅读起来没有任何障碍。我相信，对于那些真正热爱阅读，追求高品质阅读体验的读者而言，这本精装版的《爱丽丝》系列，绝对是一个不容错过的选择。它承载的不仅仅是故事，更是文化的积淀。

评分☆☆☆☆☆

这本书简直是送给侄女的绝佳礼物！她刚刚满八岁，正是充满好奇心和想象力的年纪。包装盒很精美，我选的是精装版，触感温润，看起来就很结实，想必能陪伴她度过很多年。书的尺寸也很适合小手翻阅，不会太大也不会太小。我特别喜欢封面设计，色彩鲜艳又不失童趣，一看就能勾起孩子的兴趣。虽然我还没来得及细看内容，但光是看到这本厚实的书，就已经充满了期待。相信她的爱丽丝冒险之旅一定会充满惊喜和欢乐，能够激发她对阅读的热爱。八岁是一个关键的年龄，能够接触到这样经典而又充满想象力的故事，对她日后的成长一定有积极的影响。我迫不及待地想看到她捧着这本书，沉浸在那个奇妙世界里的样子了。这本书的装帧质量非常好，纸张也很有质感，闻起来没有刺鼻的味道，这一点对于给孩子用的东西来说非常重要。希望这本《爱丽丝漫游奇境》和《爱丽丝镜中奇遇》能够成为她童年里一段美好的回忆。

评分☆☆☆☆☆

我是一位对儿童教育有研究的家长，一直以来都在寻找能够真正激发孩子想象力和创造力的读物。这本《爱丽丝》系列的精装版，从它标注的“8岁及以上”的年龄范围，我就觉得非常适合。我注意到它的精装设计，这意味着它更加耐用，也更适合作为传家宝，能够让孩子反复阅读，并在不同的人生阶段从中获得新的感悟。从拿到书的第一眼起，我就感受到了它的分量和品质。封面的设计别具一格，色彩搭配和谐，图案富有艺术感，能够迅速抓住孩子的眼球，让他们产生阅读的兴趣。更重要的是，我一直很看重书籍的内在品质，而《爱丽丝》系列作为世界闻名的经典童话，其丰富的想象力、独特的叙事风格以及对儿童心理的深刻洞察，无疑能够为孩子提供一个绝佳的思考和学习平台。这本书的制作工艺非常精良，纸张质量上乘，印刷清晰，细节处理到位，这些都让我对它充满信心。我相信，这本高质量的书籍，一定能成为孩子成长道路上一位重要的启蒙者。

评分☆☆☆☆☆

我是一位资深的爱丽丝迷，从孩提时代就开始接触这两个故事，这次购买精装版，主要是为了收藏。这套书的出版质量着实令人惊喜，比我预期的还要好。精装的封面设计非常有品味，图案的印刷清晰，色彩的还原度也非常高，充满了复古的韵味。翻开书页，纸张的厚度适中，触感细腻，无论是用手触摸还是翻动，都能感受到一种高级的质感。我尤其欣赏的是文字的排版，清晰易读，即使是长篇幅的对话，也不会让人感到拥挤或疲惫。虽然我非常熟悉这些故事，但每次阅读，总能从中发现新的乐趣和深意。爱丽丝的奇思妙想，镜子世界的逻辑颠倒，都是对我们思维定式的挑战，总能引发深刻的思考。这本书的尺寸也比较适中，既方便阅读，也适合摆放在书架上作为装饰。对于任何热爱经典文学，尤其是喜欢维多利亚时代奇幻故事的读者来说，这本精装版绝对是物超所值。它不仅仅是一本书，更是一件艺术品，是连接过去与现在的桥梁。

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这次收到的是一套非常值得期待的儿童读物，专门为八岁及以上的孩子们准备。从外观上看，这本精装书的设计非常吸引人，色彩明亮，图案生动，很容易引起孩子的注意。拿到手里，质感非常好，封面的材质摸起来也很舒服，而且非常牢固，看起来可以经受住小孩子频繁翻阅的考验。我个人对童书的要求很高，希望它们不仅能够有趣，还能在内容和形式上有所启发。这本《爱丽丝》系列，听名字就知道其经典程度，想必内容定然是引人入胜的。我尤其关注书的印刷质量和纸张的安全性，这本书的印刷清晰，色彩饱满，没有异味，这些都让我感到很放心。孩子正是学习和探索的阶段，一本好的书能够极大地拓展他们的视野，培养他们的想象力和创造力。这套书的厚度也比较适中，对于这个年龄段的孩子来说，既有足够的阅读量，又不会让他们感到畏惧。我期待着孩子们能够在这本书里找到属于自己的乐趣，并且爱上阅读，这是一份非常棒的礼物。

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好、、、、、、、、、、、、、、、

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商品很好，多次购买，下次还会光临。

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好、、、、、、、、、、、、、、、

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京东购物已成习惯，方便快捷。

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都是自己喜欢的书 推荐给大家

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京东送货速度很快很好，赞一个！

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除了包装不好，其余还可以。建议使用纸箱装的时候添加泡沫

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非常喜欢这个版本的爱丽丝漫游仙境，里面的文字和配图都很好，人人文库的质量还是一如既往的好！

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create an Alice accessible to all ages. With the opening scene of a tomboyish heroine slumped against her sister who is reading under a tree, the artist seems to answer Alice's first line: "What is the use of a book... without pictures or conversations?" Nearly every spread contains either a spot-line drawing or full-bleed full-color painting. The artist nods to Tenniel with her hilarious portrait of the waistcoated White Rabbit and even extends the metaphor of the "grin without a cat" with a quartet of watercolors as the Cheshire Cat begins to disappearAuntil only his grin remains. The villains here are more stoogelike than menacing, including the baby-throwing Duchess and the Queen of Hearts, and Oxenbury makes the most of such comic opportunities as the entangled powdered wigs of the Frog-Footman and Fish-Footman. A series of cleverly choreographed closing scenes sh