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牛津英文經典紅字/牛津英文經典 版權信息
- ISBN：9787544783613
- 條形碼：9787544783613 ; 978-7-5447-8361-3
- 裝幀：簡裝本
- 冊數：暫無
- 重量：暫無
- 所屬分類：>
牛津英文經典紅字/牛津英文經典 本書特色
“牛津英文經典”（Oxford World’s Classics）為牛津大學出版社百年積淀的精品書系，譯林出版社原版引進。除牛津品牌保證的原著版本之外，每冊書附含名家導讀、作家簡介及年表、詞匯解析、文本注釋、背景知識拓展、同步閱讀導引、版本信息等，特別適合作為大學生和學有余力的中學生英語學習的必讀材料。導讀者包括牛津和劍橋大學的資深教授、知名學者。整套書選目精良，便攜易讀，實為親近名著的經典讀本。 牛津大學出版社版本的《紅字》選擇霍桑百年紀念版的文本，邀請英國伯明翰大學英語系教授布萊恩.哈丁撰寫作家年表和注釋，加州理工學院英語系教授辛迪?韋恩斯坦撰寫導讀和延伸閱讀書目，為英語學習者、美國文學及霍桑的研究者提供了全面的輔助閱讀材料。
牛津英文經典紅字/牛津英文經典 內容簡介
“海斯特?白蘭，你和你的一切都是我的。”一位消失了兩年的丈夫對他的妻子說出了這句冷酷的話。但是她緊緊抱住的孩子卻不是他的，海斯特因而必須把紅色的“A”字穿在胸口，讓所有人知道她犯了通奸罪。無畏而驕傲的海斯特從此見證了兩個不同的男人逐漸墮落，道德和法律的激烈碰撞制造了無窮的痛苦。''Thou and thine, Hester Prynne, belong to me.'' With these chilling words a husband claims his wife after a twoyear absence. But the child she clutches is not his, and Hester must wear a scarlet ''A'' upon her breast, the sin of adultery visible to all. Defiant and proud, Hester witnesses the degradation of two very different men, as moral codes and legal imperatives painfully collide.The text of this edition is taken from the Centenary Edition of Hawthorne''s works, the most authoritative critical edition.
牛津英文經典紅字/牛津英文經典 目錄
Contents
Abbreviations
Introduction
Note on the Text
Select Bibliography
A Chronology of Nathaniel Hawthorne
THE SCARLET LETTER
PREFACE TO THE SECOND EDITION
THE CUSTOM-HOUSE—INTRODUCTORY
I THE PRISON-DOOR
II THE MARKET-PLACE
III THE RECOGNITION
IV THE INTERVIEW
V HESTER AT HER NEEDLE
VI PEARL
VII THE GOVERNOR'S HALL
VIII THE ELF-CHILD AND THE MINISTER
IX THE LEECH
X THE LEECH AND HIS PATIENT
XI THE INTERIOR OF A HEART
XII THE MINISTER'S VIGIL
XIII ANOTHER VIEW OF HESTER
XIV HESTER AND THE PHYSICIAN
XV HESTER AND PEARL
XVI A FOREST WALK
XVII THE PASTOR AND HIS PARISHIONER
XVIII A FLOOD OF SUNSHINE
XIX THE CHILD AT THE BROOK-SIDE
XX THE MINISTER IN A MAZE
XXI THE NEW ENGLAND HOLIDAY
XXII THE PROCESSION
XXIII THE REVELATION OF THE SCARLET LETTER
XXIV CONCLUSION
EXPLANATORY NOTES
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牛津英文經典紅字/牛津英文經典 節選
THE CUSTOM-HOUSE—INTRODUCTORY TO "THE SCARLET LETTER" It is a little remarkable, that—though disinclined to talk overmuch of myself and my affairs at the fireside, and to my personal friends—an autobiographical impulse should twice in my life have taken possession of me, in addressing the public. The first time was three or four years since, when I favored the reader—inexcusably, and for no earthly reason that either the indulgent reader or the intrusive author could imagine—with a description of my way of life in the deep quietude of an Old Manse. And now—because, beyond my deserts, I was happy enough to find a listener or two on the former occasion—I again seize the public by the button, and talk of my three years' experience in a Custom-House. The example of the famous "P. P., Clerk of this Parish," was never more faithfully followed. The truth seems to be, however, that when he casts his leaves forth upon the wind, the author addresses, not the many who will fling aside his volume, or never take it up, but the few who will understand him better than most of his schoolmates or lifemates. Some authors, indeed, do far more than this, and indulge themselves in such confidential depths of revelation as could fittingly be addressed only and exclusively to the one heart and mind of perfect sympathy; as if the printed book, thrown at large on the wide world, were certain to find out the divided segment of the writer's own nature, and complete his circle of existence by bringing him into communion with it. It is scarcely decorous, however, to speak all, even where we speak impersonally. But, as thoughts are frozen and utterance benumbed, unless the speaker stand in some true relation with his audience, it may be pardonable to imagine that a friend, a kind and apprehensive, though not the closest friend, is listening to our talk; and then, a native reserve being thawed by this genial consciousness, we may prate of the circumstances that lie around us, and even of ourself, but still keep the inmost Me behind its veil. To this extent, and within these limits, an author, methinks, may be autobiographical, without violating either the reader's rights or his own. It will be seen, likewise, that this Custom-House sketch has a certain propriety, of a kind always recognised in literature, as explaining how a large portion of the following pages came into my possession, and as offering proofs of the authenticity of a narrative therein contained. This, in fact—a desire to put myself in my true position as editor, or very little more, of the most prolix among the tales that make up my volume—this, and no other, is my true reason for assuming a personal relation with the public. In accomplishing the main purpose, it has appeared allowable, by a few extra touches, to give a faint representation of a mode of life not heretofore described, together with some of the characters that move in it, among whom the author happened to make one.
牛津英文經典紅字/牛津英文經典 作者簡介
納撒尼爾?霍桑（1804—1864），美國小說家，以寓言和象征主義小說聞名，出生于馬薩諸塞州的薩勒姆鎮，祖先是1630年Di一批從英國移民到新英格蘭的清教徒。霍桑在創作中一直保持著對出生地歷史和傳說的興趣，尤其是在早期創作的小說中，對清教徒的價值觀、父權壓制、對藝術等各種形式的自由的追求進行了探索。1850年出版的《紅字》為他帶來了評論界的好評，接下來他繼續創作了兩部浪漫主義作品《七個尖角閣的老宅》和《福谷傳奇》，鞏固了他在文壇的地位。 霍桑創作中近乎完美的小說結構、對道德的深刻洞見，以及對寓言和象征主義的運用，在美國文學史上占有獨特地位，赫爾曼?梅爾維爾、愛倫?坡、亨利?詹姆斯、海明威都對他的作品給予了高度評價。
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