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东莞市第六人民医院割双眼皮手术多少钱东莞医学整形美容修眉多少钱《柳林风声》来源:The New York Times 编辑:Vicki1900年至一战期间被看作是英国儿童书的黄金时期。在那个年代的碧翠丝波特,E. Nesbit的小说, Kipling的“森林王子”等,这些大部分都被改成舞台剧了。肯尼思格雷厄姆的《柳林风声》及出生于英国的曼彻斯特最后加入美国国籍的弗朗西丝霍奇森伯内特《小公主》和《秘密花园》等。Second Wind for a Toad and His Pals The years between 1900 and the outbreak of World War I, it has often been remarked, were a golden age in Britain for the writing of children’s books. Among the books published then are most of what we remember of Beatrix Potter; several of E. Nesbit’s novels; Kipling’s “Jungle Book” and “Just So” stories, J. M. Barrie’s “Peter Pan in Kensington Gardens,” which became the basis for the stage play; Kenneth Grahame’s “Wind in the Willows”; and “A Little Princess” and “The Secret Garden,” by Frances Hodgson Burnett, who eventually became an American citizen but was born in Manchester, England. In hindsight(事后的觉悟) these books seem to reflect the long, sunny afternoon of Edwardian England, a moment of arrested innocence before the outbreak of the Great War. Many of them also yearn for a rural, preindustrial England that was aly vanishing. Part of their appeal is that they’re nostalgic(怀旧的), as we are, for childhood itself, or for a simpler past that seems to embody childhood virtue.Of all these books “The Wind in the Willows” may be the oddest and most endearing(讨人喜欢的). Too late for the centennial (一百周年)of its original publication in 1908, but a century and a half after the birth of the author, it has been reissued in two large-format annotated(有注解的) editions — one edited by Seth Lerer and published by the Belknap imprint of Harvard University Press, the other edited by Annie Gauger and published by Norton as part of its well-established series that aly includes “Alice in Wonderland,” “The Wizard of Oz,” and three volumes of Sherlock Holmes. “The Wind in the Willows” is probably most famous for a single line, Rat’s remark to Mole: “Believe me, my young friend, there is nothing — absolutely nothing — half so much worth doing as simply messing about in boats.” But the boating adventures, charming as they are, are the least of what makes the book so singular. “The Wind in the Willows” is a children’s book that, unlike most, doesn’t describe a world without grownups; instead, it parodies(模仿) the grownup world. The characters — Rat, Mole, Badger, Otter, Toad — aren’t just woodland creatures with a few anthropomorphic traits. They’re of indeterminate scale — Toad is toad-size in some scenes but in others big enough to disguise himself as a human — and they have full-blown(成熟的) adult personalities, more nearly Edwardian clubmen than rodents, burrow-dwelling(住在洞穴力里的) mammals or amphibians(两栖动物). Toad, who has certain traits in common with the overweight, fun-loving King Edward, even parts his hair in the middle, a detail that Beatrix Potter famously took exception to. “A frog may wear galoshes,” she wrote. “But I don’t hold with toads wearing beards or wigs!”The adventures depicted in the book include the famous riverine idylls(一段愉快的田园生活) and a couple of almost equally well-known scenes of cozy(安逸的) underground bachelor life, which Mr. Lerer says owe something to Ruskin’s ideal of British domesticity. There are also the much wilder episodes of Toad’s manic (狂躁的)car theft and car smashing; a Bolshevik takeover of Toad’s great manor house, Toad Hall, by the lower-class stoats and weasels; and, most bizarre of all, a moment of sexual and religious ecstasy when Mole and Rat behold, in the silvery, creeping light of dawn, no less than a naked, shaggy-flanked goat god, Pan himself, taking a break from his piping. This scene is so charged that Ms. Gauger detects an element of homoeroticism(同性恋的). But then she, by far the more extensive and detailed of the two annotators(注解者), is quick to find an erotic subtext throughout a work that Grahame declared to be “free of the clash of sex.” After Toad and Mole companionably spend the night together, she notes, “If this were a novel for adults, Mole and Rat would perhaps consummate their relationship amorously.” This kind of observation is indicative of the problems inherent in annotating a classic text, even one as well known as this. On the one hand, parts of the cultural landscape that inspired the book are aly lost to us, and there are echoes and allusions that we remain deaf to even after having them pointed out, others that we are apt to misinterpret (曲解,误解)from our habit of seeing sex everywhere. On the other hand, the book is still perfectly able without pedantic notes or explanations, and Ms. Gauger’s edition, in particular, is so laden with commentary that it sometimes resembles the Talmud, with more commentary than text on the page. Both editors devote vast amounts of space to defining words like “panoply(全套甲胄),” “repast(设宴),” “provender(干饲料),” “vouchsafe(赐予,允诺),” “sniffy,” “fusty,” “hummocky” that are all in the dictionary and whose meaning hasn’t changed much, if at all, since 1908. And neither is entirely reliable: both think that a “well-metalled road” is one literally paved with metal when a glance at Google would have told them that the term is a synonym for what we think of as tarmac.Both editors, to be fair, are very good at picking up echoes of Romantic poetry, huge chunks of which were clearly swirling(漩涡) inside Kenneth Grahame’s head while he was writing “The Wind in the Willows,” and both illuminate the text by suggesting, among other things, that Toad — blusterer, aesthete, jailed prisoner — was inspired in part by Oscar Wilde. He probably also owes something to Horatio Bottomley, a flamboyant(浮夸的), gasbag (废话连篇的)journalist and politician of the time. Mr. Lerer further suggests that Toad’s mania(疯狂), his grandiosity(宏伟,夸张), his compulsive(极有趣的) lies and self-deceptions (自欺)may derive from Grahame’s ing in Krafft-Ebbing’s “Textbook of Insanity.” A simpler explanation of Grahame’s understanding of wild, unpredictable personality may be that he grew up with an unreliable, alcoholic father who eventually abandoned his two sons.In general Ms. Gauger is more willing than Mr. Lerer to find the roots of “The Wind in the Willows” in Grahame’s biography, and though she sometimes overdoes it, or explains the parallels at tedious length, her commentary nevertheless provides a sad and illuminating subplot of sorts. In many ways Grahame resembles A. A. Milne, who in 1929 dramatized the Toad sections of “The Wind in the Willows,” which always remained his favorite book. Both, though they had little use for women, were married to remote, difficult wives (Grahame courted his by writing to her in baby talk), and each had a single son whom he both doted on and neglected. “The Wind in the Willows” began as a bedtime story and evolved over a series of letters (reproduced in the Gauger edition) that Grahame wrote to his son, Alastair, during the long months when he was farmed out to a nanny. Alastair Grahame was born part blind (an inspiration for Mole?) and appears to have been emotionally disturbed. After a miserable experience at school he lay down on some train tracks while an undergraduate at Oxford and was decapitated(杀头).Kenneth Grahame’s own early life was scarcely much happier. His mother died when he was 5, his father ran off, and he was raised by relatives who were too stingy to send him to university. Like P. G. Wodehouse, another aspiring writer with a blighted childhood, Grahame went into the banking business. Unlike Wodehouse, he stuck it out, and by the age of 39 had risen to become secretary of the Bank of England, a post that doesn’t seem to have required him to do a whole lot.His ostensible(假装的) life was that of a proper Edwardian gent, with lots of male bonding and messing about in boats, and yet privately he burned to write, to live in his imagination. For all its apparent celebration of neatness and domestic orderliness “The Wind in the Willows” is really a book about letting go. It begins with Mole, tired of spring cleaning, putting aside his whitewash brush and taking to the road, and its true hero is Toad, who is anarchy(混乱) incarnate(人体化的). Officially the text seems to disapprove of him: vain, swaggering(自鸣得意的) and boastful(好自夸的), Toad is reprimanded(惩戒) and briefly chastened(变乖了的), and at one point the other characters even stage what we would call a full-scale intervention to confront him with his car-wrecking addiction. But he nonetheless runs away with the book, just as he runs away from prison disguised as a washerwoman, and supplies most of its narrative energy. Though Rat is supposed to be a poet, Toad’s Song of Himself, sung to an imaginary audience near the end, is the novel’s most exuberant(愉快的) creation. To say that he is Grahame’s alter ego is too simple. More likely he’s the alter ego Grahame wished he could have but was also a little afraid of. Like a surprising number of stuffy-seeming Edwardians, Grahame was half in love with, and half terrified of, the idea of Pan, who never grows old, never goes to the office, never even bothers to put on clothes, and yet embodies all that is magical about the world we imagined we grew up in.Keke View:Kenneth Graham (1859-1932) 出生于英国的爱丁堡郡,在伯克夏郡的亲戚家长大,在那里,他喜欢上了泰晤士河畔的美丽风景,并在英国的牛津市上学,不过他去了英国而没去牛津大学。他的主要作品有:The Golden Age and Dream Days ,其中的一篇Reluctant Dragon更被改为迪士尼影片。在《柳林风声》这本书中,Kenneth Graham Kenneth Graham 的人物Toad原型为自己的小儿子Alistair。 /200907/77310东莞企石桥头东坑镇做双眼皮多少钱 东莞华美整形祛眼袋手术多少钱

广东省东莞去痤疮多少钱东莞寮步大岭山大朗镇隆下巴多少钱 东莞华美整形整形

东莞注射隆鼻多少钱What would you say when you are under work pressure, “stressed out and frantic” or “challenged and energized”? There is very little physiological difference between the two, says a growing contingent of experts who claim works stress has an upside. These experts believe that stress can strengthen you or tear you down. In most cases, you can choose.当你受到工作压力的时候,你会说些什么,是“快受不了了,要发疯了”还是“很有挑战性呀”?越来越大比例的专家认为工作压力有其积极的一面,他们认为,本质上,上述两种说法的区别不大。这些专家相信,压力要么可以让你更有力量,要么可以把你打垮。多数情况下,你是有得选的。Give stress a good name why recent work stress -- it's an indicator that your career is advancing. Think of a heavy work load as an exciting opportunity to push yourself, learn new skills and show your mettle. Complaining depletes your energy; instead greet an overloaded day with optimism. Tell yourself, “This is a challenge I am capable of handling.”如果我们要给工作压力起个好听的说法的话,可以说它说明了你的工作在进步。把大的工作量作为一种推动你自己向前、学习新技能、展示你的精神风貌的好机会。抱怨只会让你精疲力竭,相反,应以乐观的态度对待每日重工作。对自己说:“这个问题,我能搞定。”Put it in perspective sometimes it's impossible to talk about the positive side of stress -- say your computer crashes and you lose valuable work -- but you can moderate your reaction. Rate your distress on a scale of 1 to 10, 1 being mild irritation and 10 extreme panic or anger. Now, rank the importance of the situation from 1 ( a notice )to 10 ( you're fired )。 If your distress ranks higher than the seriousness of the situation, ask yourself: Is this something I will remember in four years, four months, four days? Then downshift your response accordingly, saving your emotional energy for disasters.有时候,你可能找不出压力有什么好处,比如电脑突然坏掉了,你失业了,但这时候,你可以舒缓自己的情绪。把自己的沮丧分个级,从1到10,1是微怒,10是极度恐慌或暴怒。现在再把所面临的状况按重要性分个级,从1到10,1是接到一个临时通知,10是你被炒鱿鱼了。如果你的沮丧程度比所面临问题和重要性要高的话,那就问问自己:这些事情我还要记多久?四年?四个月?四天?因此别做出太激动的反应了,省省力量以面对将来更为严重的问题。 /201003/97886 东莞华美整形医院美容整形科东莞双眼皮埋线



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