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![“奥古斯丁经典作品:忏悔录(3)(英文版)(以祈祷自传手法所写的悔改故事;晚期拉丁文学代表作,古代西方文学名著) (English Edition)”,作者:[Saint Augustine]](https://images-cn.ssl-images-amazon.cn/images/I/41JWE1dbe1L._SY346_.jpg)
奥古斯丁经典作品:忏悔录(3)(英文版)(以祈祷自传手法所写的悔改故事;晚期拉丁文学代表作,古代西方文学名著) (English Edition) Kindle电子书
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内容介绍:
《忏悔录》是奥古斯丁以祈祷自传手法所写的悔改故事,原名“Confessiones”,古典拉丁文本作“承认、认罪”解,在教会文学中,转为承认神的伟大,有歌颂的意义。
当中描写早期奥古斯丁归信时的内心挣扎及转变经历。
本书为英文版本,英语爱好者不可错过。
奥氏在书中不仅流露出真挚的情感,而且对自己的行动和思想作了非常深刻的分析,文笔细腻生动,别具风格,成为晚期拉丁文学中的代表作,列为古代西方文学名著之一。
书中最突出的是虔诚的母亲莫妮卡,这是古代文献中最迷人的母子关系。
这是一部深富灵性之美的作品,《忏悔录》让我们看到一副强有力的头脑和丰富的心思、如何辛苦地迎向信心之光。
媒体推荐:
奥古斯丁认为一切美源自天主。美是分等级的,最高的、绝对的美是上帝;其次是道德美,形体美是低级的、相对的美。
低级有限的形体美本身并无独立价值,只是通向无限的绝对美的阶梯。
美体现为整一、和谐,而整一与和谐是上帝按照数学原则创造出来的,因而美的基本要素是数。
奥古斯丁主张艺术应抛弃现实世界而反映上帝,达到为宗教服务的目的,造型艺术用于装饰教堂,诗和音乐应赞美上帝;
人欣赏艺术作品实际上是欣赏艺术作品中所包含的上帝的理念。
他认为世俗艺术是不真实的,它挑动人的邪恶欲望、使人远离绝对美的上帝。
作者介绍:
圣奥勒留·奥古斯丁,罗马帝国末期北非柏柏尔人,早期西方基督教神学家、哲学家,曾任北非城市希波的主教,故史称希波的奥古斯丁。
在罗马天主教系统,他被封为圣人和圣师,并且是奥斯定会的发起人。
对于新教教会,特别是加尔文主义,他的理论是宗教改革的救赎和恩典思想的源头。
奥古斯丁一生有大量著作,主要有《教义手册》、《论三位一体》、《忏悔录》、《上帝之国》等,其中《上帝之国》是他耗时最长,论述其神学思想最成熟、最系统的一部著作。
奥古斯丁生平的著作超逾113本及500多篇讲章,他的学识跃然见于纸上。而当他每与一异端争辩时,他的神学奇才更是显露无遗,惹起神学界的注目。
奥古斯丁是基督教神学体系的创立者,教父学的著名代表。
他生活在罗马帝国末期,是奴隶主阶级的思想家,但是他的思想影响主要在西欧封建社会。
其主要著作《上帝之国》首次为神权政治思想提供了系统的理论论证,并成为封建社会中教、俗两个集团相互斗争的思想工具。
商品描述
名人推荐
"[Wills] renders Augustines famous and influential text in direct language with all the spirited wordplay and poetic strength intact."
Los Angeles Times
"[Willss] translations . . . are meant to bring Augustine straight into our own minds; and they succeed. Well-known passages, over which my eyes have often gazed, spring to life again from Willss pages."
Peter Brown, The New York Review of Books
"Augustine flourishes in Willss hand."
James Wood
"A masterful synthesis of classical philosophy and scriptural erudition."
Chicago Tribune
--此文字指其他 kindle_edition 版本。
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媒体推荐
"[Wills’s] translations . . . are meant to bring Augustine straight into our own minds; and they succeed. Well-known passages, over which my eyes have often gazed, spring to life again from Wills’s pages." —Peter Brown, The New York Review of Books
"Augustine flourishes in Wills’s hand." —James Wood
"A masterful synthesis of classical philosophy and scriptural erudition." —Chicago Tribune
--此文字指其他 kindle_edition 版本。文摘
From Mark Vessey’s Introduction to the Confessions
The Confessions stands in a unique relationship to the Western idea of the literary classic. Augustine’s most famous work challenges one of the supreme classicsof ancient Latin literature, Virgil’s Aeneid, the epic of Rome’s imperial destiny. It contends against that sacred Roman model in an idiom derived from the Jewish and Christian scriptures, texts with their own strong claim to normative status in cultures of the ancient, medieval, and modern worlds. In the Confessions we witness the collision of two mighty traditions of storytelling, alike devoted to the long-term dealing of god(s) with human beings and societies. This alone would guarantee the work’s historic interest. What makes it startling, even now, is Augustine’s attempt to tell a story of the entire human race throughout all time, in the first person singular.The example of Roman epic encouraged narrative ambition. The Hebrew psalms provided an alternative dramatic voice. To say much more than that is to say more than we can know for certain about the genesis of this strange and utterly original creation. For a long while after Augustine’s death, no one knew what to make of the Confessions. By the time we find readers responding to it with real excitement, between the twelfth and fourteenth centuries of the Christian era, they already resemble the modern selves we call our own.
1
To Carthage then I came / Burning burning burning burning.” The mood and movement are Augustine’s, at the beginning of book 3 of the Confessions. As a Roman citizen of the late Empire, Augustine spoke and wrote in Latin. The English lines occur in a modern classic, T. S. Eliot’s The Waste Land (1922), arguably the most influential English-language literary work of the twentieth century. (Its nearest competitor would be James Joyce’s Ulysses,published in the same year, another composition that plays on a long tradition of poetry and myth from Homer forward.) In the explanatory notes that he added to his poem, Eliot acknowledged Augustine as a source, quoting the Confessions in the first translation ever made of it in English, by Tobie Matthew (1620). To Carthage then I came” was Matthew’s rendering of Augustine’s Veni Carthaginem.”
The Latin phrase had a special resonance for Augustine’s readers in the early fifth century. In the far-off days of the Roman Republic, Carthage had been Rome’s great enemy. A Carthaginian army under Hannibal once encamped beneath the walls of the city itself. Carthage must be destroyed!” That was the famous refrain of the Roman statesman Cato in his speeches to the Senate. Ancient Punic Carthage was destroyed, politically and physically. The city razed, its territories became Roman possessions. But the rivalry lingered in historical and mythological accounts of the rise of Roman power.
In the time of Augustus Caesar, the first Roman emperor, the poet Virgil devised a prophetic storyline in which the Trojan refugee Aeneas, making his way to Italy under the gods’ direction to found the future nation of Rome, was hospitably received at Carthage by Queen Dido. Aeneas’ tale of the fall of Troy, told to Dido and her entourage in books 2 and 3 of the Aeneid, is the leading first-person narrative in Roman literature. Augustine, who composed mock speeches based on episodes in the Aeneid as a schoolboy and taught the poem to his own students for years afterward, would have known it by heart. After relating the wearisome journey of himself and his fellows down to the moment of his father’s death in Sicily, before the storm at sea that cast them on the shore of Dido’s kingdom, Aeneas comes to a stop. Having come to Carthage, he has no more to tell in his own person, and reverts to being the third-person subject of a poet’s tale. In the inner time of the poem, meanwhile, Dido has fallen fatally in love with her storytelling guest. Fatally, because the fate or destiny of Rome and Aeneas is against her. The hero will go on his god-driven way, leaving Carthage and its queen behind without so much as a word of parting. Abandoned and betrayed, Dido takes her own life. As the Trojans sail over the horizon, they look back and see the city lit up by her funeral pyre. It is also the reader’s last sight of Carthage in the poem, burning.
When T. S. Eliot was asked to give a lecture on Virgil in wartime Londonanother city lit by firehe made his subject the question What Is a Classic?” (1944). He answered it by claiming Virgil as the universal classic of European literature, and the Aeneid as the poem par excellence of European civilization. For Eliot, the Roman destiny of Aeneas already prefigured the Christian destiny of the Western nations after Rome. The idea was not altogether original; like others who appealed to Virgil as guardian spirit of the West” during the dark years of the mid-twentieth century, Eliot was deeply indebted to Dante, the Christian poet who, in the Commedia (Divine Comedy) had taken the pagan Virgil as guide for part of his journey. Central to Eliot’s vision of the literary classic is a scene of poignant separation that is also a promise for the future. There are only two moments in What Is a Classic?” when he refers to a specific place in a literary text. The first is when he remembers how the shade of Dido refused to speak to Aeneas on his visit to the nether world. That passage in book 6 of the Aeneid Eliot calls one of the most civilized . . . in poetry,” because of the assurance that he found in itin his own intuition of what Aeneas must have feltthat Virgil’s hero possessed a consciousness and conscience” suitable to the forerunner of European civilization. The second moment occurs at the very end of the lecture when Eliot quotes the lines spoken by the figure of Virgil as he takes his leave of Dante in the Commedia,having, says Eliot, led Europe towards the Christian culture which he [Virgil] could never know.” These twin scenes of Virgilian wayfaring provided Eliot in 1944 with the emotional grounds for a joint definition of the literary classic and of the Christian destiny of the West, one that appealed at the time to audiences on both sides of the Atlantic and whose echo has not yet died away. Neither scene, however, could have appeared in such a light without the intervention, between the pagan Virgil and the Christian Dante, of the wayfarer of Augustine’s Confessions. Augustine, not Virgil, created the plot of the divine comedy” onto which Eliot and other post-Romantic readers of Dante would one day graft their personal histories of the West.And that is perhaps the best reason for rating this work a classic in the twenty-first century. To read the Confessions is to go back to a place in memory from which the most expansive projections of Western civilization have been madethe place that Augustine, like Virgil before and Eliot after him, calls Carthage.”
--此文字指其他 kindle_edition 版本。??????
基本信息
- ASIN : B07VPDD9DD
- 出版日期 : 2019年7月24日
- 品牌 : 先知先行
- 语言 : 英语
- 文件大小 : 416 KB
- 标准语音朗读 : 已启用
- X-Ray : 未启用
- 生词提示功能 : 已启用
- 纸书页数 : 141页
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- 商品里排第354名图书馆学/图书馆事业
- 商品里排第3,287名英语读物
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