Alice's Adventures in Wonderland and Through the Looking Glass [精裝] [8歲及以上] pdf epub mobi txt 電子書 下載 2025

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☆☆☆☆☆

Lewis Carroll 著

圖書標籤:

• 奇幻故事
• 兒童文學
• 經典文學
• 冒險故事
• 想象力
• 童話
• 精裝本
• 8歲+
• 劉易斯·卡羅爾
• 異世界

齣版社： Knopf Doubleday Publishing Group

ISBN：9780679417958

商品編碼：19503008

包裝：精裝

叢書名： Everyman's Library Children's Classics

齣版時間：2005-12-01

用紙：膠版紙

頁數：336

正文語種：英文

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適讀人群 ：8歲及以上
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內容簡介

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.

作者簡介

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.

精彩書評

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.

目錄

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

精彩書摘

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!"

書名：星辰的低語：銀河係邊緣的探險 作者：艾莉亞·凡爾納 裝幀：精裝 適讀年齡：12歲及以上 內容簡介： “星辰的低語”帶領讀者踏上瞭一場宏大而又無比私密的宇宙旅程，故事的主角是年輕的星圖繪製師，卡西安·洛剋伍德。卡西安生長在一個被嚴密保護的知識堡壘——“阿卡迪亞學院”中，那裏的人們相信，宇宙的真理早已被記錄在古老的星圖中，任何偏離既定航綫的探索都是危險且徒勞的。然而，卡西安的心中燃燒著對未知邊界的強烈渴望。 故事的開端設定在紀元345年的“大靜默”時期。人類文明已經擴散到銀河係的數韆個殖民地，但一場突如其來的“信息瘟疫”切斷瞭星際間的大部分實時通訊。巨大的星際網絡陷入癱瘓，各個殖民地開始退化成孤立的文化孤島。官方解釋稱這是太陽耀斑引發的自然災害，但卡西安在整理一批塵封已久的觀測數據時，發現瞭一個驚人的異常：那些被認為早已消亡的、古老文明的信號，似乎正在從銀河係最為偏遠的“暗區”——一個被官方禁止涉足的區域——微弱地響起。 卡西安的導師，嚴謹而保守的首席天文學傢奧古斯都教授，堅決否認這些信號的真實性，認為這不過是儀器老化導緻的幻影。但卡西安利用自己對失傳的“弦理論導航技術”的深刻理解，秘密修復瞭一艘老舊的勘探飛船——“信標號”。這艘飛船的獨特之處在於，它不依賴於主流的量子糾纏網絡，而是依靠一種更原始、更依賴數學和直覺的導航方式。 他的首次行動，錶麵上是為瞭測試“信標號”的引擎穩定性，但真正的目標是追蹤那個微弱到幾乎無法捕捉的信號源。這次行動立刻引來瞭學院內部安全部門的注意，特彆是冷酷的執行官維拉·薩姆斯。維拉相信秩序高於一切，任何擅自脫離管製軌道的行為都威脅著人類最後的穩定。 卡西安的旅程很快就超齣瞭預設的軌道。他穿越瞭被稱作“破碎之環”的小行星帶，那裏的碎片並非隨機分布，而是遵循著某種復雜、近乎音樂般的幾何排列。在穿越這片區域時，他首次接觸到瞭“低語”——那些從暗區傳來的信號，它們並非語言，而是一種復雜的、基於光子脈衝的情感和概念的交流。 隨著“信標號”深入銀河係外緣，卡西安遇到的挑戰也愈發超乎想象。他首先抵達的是一個被遺忘的、由早年太空移民建立的采礦殖民地——“鐵砧星站”。這裏的居民已經與世隔絕瞭數百年，他們的技術退化成瞭依靠蒸汽和機械能的工業文明，但他們保留瞭一套獨特的口述曆史，其中提到瞭“守夜人”——那些在數韆年前就預測到“大靜默”的先驅者。 在鐵砧星站，卡西安遇到瞭古怪的機械師和民間史學傢，伊萊亞斯。伊萊亞斯嚮卡西安展示瞭一張用熔融金屬鑄造的星圖，這張圖與阿卡迪亞學院的官方星圖完全不同。它將銀河係的結構描述成一個不斷自我摺疊的有機體，而“暗區”並非虛無，而是星係結構中的“摺痕”。伊萊亞斯相信，那些低語正是來自“摺痕”彼岸的智慧生命，它們試圖通過數學的和諧來重建中斷的聯係。 卡西安接受瞭伊萊亞斯的幫助，升級瞭“信標號”的接收器，使其能夠解析更深層次的“低語”。這些信息揭示瞭一個令人震驚的真相：大靜默並非自然現象，而是被一種古老的、控製信息流動的“元秩序”係統有意識地關閉的。這個係統並非為瞭毀滅，而是為瞭保護分散的人類文明免受某種“噪音”的乾擾，而這種噪音，卡西安漸漸意識到，可能就是學院一直以來所依賴的量子通訊網絡本身産生的副作用。 追捕卡西安的維拉·薩姆斯也緊隨其後。她並非純粹的反派，她隻是堅信，學院維持的秩序是抵禦混亂的唯一屏障。她的飛船“正義之劍”裝備瞭最先進的追蹤係統，她相信卡西安的行為正把人類文明推嚮未知的風險。 卡西安最終抵達瞭信號的源頭——一個被巨大的、近乎靜止的氣體雲環繞的區域，被稱為“鏡湖”。在這裏，他發現瞭一個超乎想象的結構：一個由純粹的、排列整齊的暗物質構成的巨型幾何體，它正在緩慢地、周期性地發齣那些低語。 在“鏡湖”中，卡西安與一個實體進行瞭前所未有的交流。這個實體並非生物，而是一種純粹的信息集閤體，它嚮卡西安展示瞭宇宙的真正曆史：人類文明在擴張過程中無意中激活瞭一個自我防禦機製，這個機製是為瞭防止跨越星係的意識汙染而設立的“防火牆”。 當卡西安試圖將這些發現傳迴學院時，維拉的“正義之劍”趕到。一場激烈的追逐和對峙在“鏡湖”邊緣展開。卡西安必須做齣抉擇：是服從學院的命令，將這個發現報告為“危險的異常並予以摧毀”，還是冒著被視為叛徒的風險，嘗試利用“鏡湖”的能量，嚮所有孤立的殖民地發送一個包含真相的、非主流的“基礎和弦”信號，以此重啓真正的星際對話。 在關鍵時刻，卡西安利用他對弦理論導航的直覺，引導“信標號”與“鏡湖”的幾何結構産生瞭一次短暫的共振。他成功地嚮外發送瞭信息，信息以一種全新的、非技術依賴的方式傳播，它跨越瞭被切斷的網絡，直接觸及瞭那些沉睡的殖民地的心智。 維拉目睹瞭這一過程，她開始質疑自己維護的“秩序”的本質。她最終選擇瞭停止攻擊，但她選擇瞭保持沉默，帶著“正義之劍”返迴，她需要時間來處理她所看到的與她所受教導完全相悖的事實。 故事的結局並非是所有問題都得到解決。卡西安沒有迴到阿卡迪亞學院。他選擇留在“鏡湖”附近，成為新的“守夜人”，觀察和翻譯那些從宇宙深處傳來的、持續不斷的“星辰的低語”。他知道，真正的探險纔剛剛開始——不是嚮外探索物理空間，而是嚮內探索如何重建一個基於誠實與理解的星際文明。這本書以一個開放式的、充滿希望的哲學沉思結束，邀請讀者思考，在浩瀚的宇宙中，我們所依賴的“真理”是否隻是被精心編排的局部信號。

評分☆☆☆☆☆

這次收到的是一套非常值得期待的兒童讀物，專門為八歲及以上的孩子們準備。從外觀上看，這本精裝書的設計非常吸引人，色彩明亮，圖案生動，很容易引起孩子的注意。拿到手裏，質感非常好，封麵的材質摸起來也很舒服，而且非常牢固，看起來可以經受住小孩子頻繁翻閱的考驗。我個人對童書的要求很高，希望它們不僅能夠有趣，還能在內容和形式上有所啓發。這本《愛麗絲》係列，聽名字就知道其經典程度，想必內容定然是引人入勝的。我尤其關注書的印刷質量和紙張的安全性，這本書的印刷清晰，色彩飽滿，沒有異味，這些都讓我感到很放心。孩子正是學習和探索的階段，一本好的書能夠極大地拓展他們的視野，培養他們的想象力和創造力。這套書的厚度也比較適中，對於這個年齡段的孩子來說，既有足夠的閱讀量，又不會讓他們感到畏懼。我期待著孩子們能夠在這本書裏找到屬於自己的樂趣，並且愛上閱讀，這是一份非常棒的禮物。

評分☆☆☆☆☆

這本書簡直是送給侄女的絕佳禮物！她剛剛滿八歲，正是充滿好奇心和想象力的年紀。包裝盒很精美，我選的是精裝版，觸感溫潤，看起來就很結實，想必能陪伴她度過很多年。書的尺寸也很適閤小手翻閱，不會太大也不會太小。我特彆喜歡封麵設計，色彩鮮艷又不失童趣，一看就能勾起孩子的興趣。雖然我還沒來得及細看內容，但光是看到這本厚實的書，就已經充滿瞭期待。相信她的愛麗絲冒險之旅一定會充滿驚喜和歡樂，能夠激發她對閱讀的熱愛。八歲是一個關鍵的年齡，能夠接觸到這樣經典而又充滿想象力的故事，對她日後的成長一定有積極的影響。我迫不及待地想看到她捧著這本書，沉浸在那個奇妙世界裏的樣子瞭。這本書的裝幀質量非常好，紙張也很有質感，聞起來沒有刺鼻的味道，這一點對於給孩子用的東西來說非常重要。希望這本《愛麗絲漫遊奇境》和《愛麗絲鏡中奇遇》能夠成為她童年裏一段美好的迴憶。

評分☆☆☆☆☆

我是一位資深的愛麗絲迷，從孩提時代就開始接觸這兩個故事，這次購買精裝版，主要是為瞭收藏。這套書的齣版質量著實令人驚喜，比我預期的還要好。精裝的封麵設計非常有品味，圖案的印刷清晰，色彩的還原度也非常高，充滿瞭復古的韻味。翻開書頁，紙張的厚度適中，觸感細膩，無論是用手觸摸還是翻動，都能感受到一種高級的質感。我尤其欣賞的是文字的排版，清晰易讀，即使是長篇幅的對話，也不會讓人感到擁擠或疲憊。雖然我非常熟悉這些故事，但每次閱讀，總能從中發現新的樂趣和深意。愛麗絲的奇思妙想，鏡子世界的邏輯顛倒，都是對我們思維定式的挑戰，總能引發深刻的思考。這本書的尺寸也比較適中，既方便閱讀，也適閤擺放在書架上作為裝飾。對於任何熱愛經典文學，尤其是喜歡維多利亞時代奇幻故事的讀者來說，這本精裝版絕對是物超所值。它不僅僅是一本書，更是一件藝術品，是連接過去與現在的橋梁。

評分☆☆☆☆☆

我是一位對兒童教育有研究的傢長，一直以來都在尋找能夠真正激發孩子想象力和創造力的讀物。這本《愛麗絲》係列的精裝版，從它標注的“8歲及以上”的年齡範圍，我就覺得非常適閤。我注意到它的精裝設計，這意味著它更加耐用，也更適閤作為傳傢寶，能夠讓孩子反復閱讀，並在不同的人生階段從中獲得新的感悟。從拿到書的第一眼起，我就感受到瞭它的分量和品質。封麵的設計彆具一格，色彩搭配和諧，圖案富有藝術感，能夠迅速抓住孩子的眼球，讓他們産生閱讀的興趣。更重要的是，我一直很看重書籍的內在品質，而《愛麗絲》係列作為世界聞名的經典童話，其豐富的想象力、獨特的敘事風格以及對兒童心理的深刻洞察，無疑能夠為孩子提供一個絕佳的思考和學習平颱。這本書的製作工藝非常精良，紙張質量上乘，印刷清晰，細節處理到位，這些都讓我對它充滿信心。我相信，這本高質量的書籍，一定能成為孩子成長道路上一位重要的啓濛者。

評分☆☆☆☆☆

作為一名對文學經典情有獨鍾的成年讀者，這次入手這本《愛麗絲》係列的精裝版，更多的是一種情懷。書的整體設計非常考究，封麵圖案的細節處理得相當到位，給人一種沉靜而富有曆史感的體驗。我喜歡精裝書帶來的那種厚重感和儀式感，它讓閱讀本身變成瞭一種享受。翻開書頁，紙張的質地讓我感到滿意，柔韌度適中，光澤度也恰到好處，閱讀起來非常舒適。即使不閱讀，僅僅是擺放在書桌上，也能增添幾分文藝氣息。這些年來，我讀過不同版本的《愛麗絲》，但總覺得少瞭點什麼。這次購買的精裝版，從外在到內在，都散發著一種獨特的魅力，仿佛能將我帶迴那個充滿奇幻色彩的年代。我喜歡它的排版，字體的選擇也很經典，閱讀起來沒有任何障礙。我相信，對於那些真正熱愛閱讀，追求高品質閱讀體驗的讀者而言，這本精裝版的《愛麗絲》係列，絕對是一個不容錯過的選擇。它承載的不僅僅是故事，更是文化的積澱。

評分☆☆☆☆☆

666，很好看

評分☆☆☆☆☆

京東送貨速度很快很好，贊一個！

評分☆☆☆☆☆

京東送貨速度很快很好，贊一個！

評分☆☆☆☆☆

商品很好，多次購買，下次還會光臨。

評分☆☆☆☆☆

很好的書，很好的書，買買買，剁剁剁。。。

評分☆☆☆☆☆

京東購物已成習慣，方便快捷。

評分☆☆☆☆☆

666，很好看

評分☆☆☆☆☆

好書

評分☆☆☆☆☆

除瞭包裝不好，其餘還可以。建議使用紙箱裝的時候添加泡沫