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蒂巴萨的婚礼——加缪散文菁华
本书收录加缪的三部散文集。《反与正》和《婚礼集》创作于早年，此时加缪刚刚步入社会，是他“在这个交织着贫穷和光明的世界中”对宇宙、人生的艰难探索，而这一时期的生活阅历与思考是他此后一生创作的最宝贵的源泉：作者以简洁、隽永的笔触回忆幼年生活、在贫困和孤寂中努力维持家计的母亲，以及阿尔及尔贫瘠的土地所能给予的人生启迪。《夏天集》的时间跨度较大，收录加缪在故乡和欧洲各地的游记，笔端虽仍带有对自然、人世的深厚情谊，但后期作品中已明显渗入荒诞意识。后附两篇演说，从中可以窥见作家对文学、艺术的功用以及所处时代的深刻认识。
尽管加缪对自己早年的创作不甚满意，并说自己在那个年岁上还不大会写作，其实，这些散文无论在技巧上还是在思想上都已相当成熟，有人甚至认为其中包含了加缪写下的“最好的东西”，完全可以与世界最优秀的散文相媲美。
尽管加缪对自己早年的创作不甚满意，并说自己在那个年岁上还不大会写作，其实，这些散文无论在技巧上还是在思想上都已相当成熟，有人甚至认为其中包含了加缪写下的“最好的东西”，完全可以与世界最优秀的散文相媲美。
176 pages, Paperback
First published June 1, 2011
About the author
Albert Camus
966 books40k followersWorks, such as the novels
The Stranger
(1942) and
The Plague
(1947), of Algerian-born French writer and philosopher Albert Camus concern the absurdity of the human condition; he won the Nobel Prize of 1957 for literature.
Origin and his experiences of this representative of non-metropolitan literature in the 1930s dominated influences in his thought and work.
He also adapted plays of Pedro Calderón de la Barca, Lope de Vega, Dino Buzzati, and Requiem for a Nun of William Faulkner. One may trace his enjoyment of the theater back to his membership in l'Equipe, an Algerian group, whose "collective creation" Révolte dans les Asturies (1934) was banned for political reasons.
Of semi-proletarian parents, early attached to intellectual circles of strongly revolutionary tendencies, with a deep interest, he came at the age of 25 years in 1938; only chance prevented him from pursuing a university career in that field. The man and the times met: Camus joined the resistance movement during the occupation and after the liberation served as a columnist for the newspaper Combat.
The essay Le Mythe de Sisyphe (The Myth of Sisyphus), 1942, expounds notion of acceptance of the absurd of Camus with "the total absence of hope, which has nothing to do with despair, a continual refusal, which must not be confused with renouncement - and a conscious dissatisfaction."
Meursault, central character of L'Étranger (The Stranger), 1942, illustrates much of this essay: man as the nauseated victim of the absurd orthodoxy of habit, later - when the young killer faces execution - tempted by despair, hope, and salvation.
Besides his fiction and essays, Camus very actively produced plays in the theater (e.g., Caligula, 1944).
The time demanded his response, chiefly in his activities, but in 1947, Camus retired from political journalism.
Doctor Rieux of La Peste (The Plague), 1947, who tirelessly attends the plague-stricken citizens of Oran, enacts the revolt against a world of the absurd and of injustice, and confirms words: "We refuse to despair of mankind. Without having the unreasonable ambition to save men, we still want to serve them."
People also well know La Chute (The Fall), work of Camus in 1956.
Camus authored L'Exil et le royaume (Exile and the Kingdom) in 1957. His austere search for moral order found its aesthetic correlative in the classicism of his art. He styled of great purity, intense concentration, and rationality.
Camus died at the age of 46 years in a car accident near Sens in le Grand Fossard in the small town of Villeblevin.
Chinese 阿尔贝·加缪
Origin and his experiences of this representative of non-metropolitan literature in the 1930s dominated influences in his thought and work.
He also adapted plays of Pedro Calderón de la Barca, Lope de Vega, Dino Buzzati, and Requiem for a Nun of William Faulkner. One may trace his enjoyment of the theater back to his membership in l'Equipe, an Algerian group, whose "collective creation" Révolte dans les Asturies (1934) was banned for political reasons.
Of semi-proletarian parents, early attached to intellectual circles of strongly revolutionary tendencies, with a deep interest, he came at the age of 25 years in 1938; only chance prevented him from pursuing a university career in that field. The man and the times met: Camus joined the resistance movement during the occupation and after the liberation served as a columnist for the newspaper Combat.
The essay Le Mythe de Sisyphe (The Myth of Sisyphus), 1942, expounds notion of acceptance of the absurd of Camus with "the total absence of hope, which has nothing to do with despair, a continual refusal, which must not be confused with renouncement - and a conscious dissatisfaction."
Meursault, central character of L'Étranger (The Stranger), 1942, illustrates much of this essay: man as the nauseated victim of the absurd orthodoxy of habit, later - when the young killer faces execution - tempted by despair, hope, and salvation.
Besides his fiction and essays, Camus very actively produced plays in the theater (e.g., Caligula, 1944).
The time demanded his response, chiefly in his activities, but in 1947, Camus retired from political journalism.
Doctor Rieux of La Peste (The Plague), 1947, who tirelessly attends the plague-stricken citizens of Oran, enacts the revolt against a world of the absurd and of injustice, and confirms words: "We refuse to despair of mankind. Without having the unreasonable ambition to save men, we still want to serve them."
People also well know La Chute (The Fall), work of Camus in 1956.
Camus authored L'Exil et le royaume (Exile and the Kingdom) in 1957. His austere search for moral order found its aesthetic correlative in the classicism of his art. He styled of great purity, intense concentration, and rationality.
Camus died at the age of 46 years in a car accident near Sens in le Grand Fossard in the small town of Villeblevin.
Chinese 阿尔贝·加缪
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August 12, 2026
Continue reading Camus...
1. For the first time, I realized that Camus was an Algerian writer first, then a French writer.
He wrote this sentence so touchingly: "In the midst of winter, I found there was, within me, an invincible summer," which comes from his essay, Return to Tipasa, in this book. --Algeria is his metaphoric invincible summer!
He also wrote: "...A whole people pondered by the water, and thousands of solitudes detached themselves from the crowd," from A Short Guide to Towns Without a Past.
2. A real writer, in this ruthless world, is a presence a little bit far too gentle, isn't he?
To understand so deeply a world where people cannot understand one another—how can he not be sorrowful? Even while knowing this world's incomprehensibility and absurdity, he "keeps hope alive" and remains fiercely passionate. That must be why he could say: ...there was an invincible summer within me...
Such immense despair, helplessness, and powerlessness are, above all, a form of power and strength themselves first.
3. But when it comes to issuing guidelines or directives on the world, society, or art, things get a bit less fun. Even when it's Camus doing the talking. Lol.
1） 第一次真正意识到加缪首先是个阿尔及利亚作家，然后才是个法国作家。那句感人的话，“在隆冬，我终于知道，我身上有一个不可战胜的夏天“就是来自他的关于阿尔及利亚的一篇《重返蒂巴萨》。阿尔及利亚就是他的夏天。
还有这个，“。。整个儿的民族在水边沉思，千万个孤独从人群中升起。” 《没有过去的城市之小指南》
2）一个真正的作家，在这个无情的世界中，是作为一种太温柔的存在吧。太理解这个不能理解彼此的世界，所以不能不是忧伤的吧。明明知道了解这个世界的不理解，荒诞，仍然热烈。所以他会说出那样的话吧，“在隆冬，我的心里有一个不可战胜的夏天。”
强大的绝望，无助，无力也首先是一种强大。
3）当要对世界，社会，或艺术发表指导性意见时，就不那么好玩了。即便是加缪去说这些，也是。lol.
1. For the first time, I realized that Camus was an Algerian writer first, then a French writer.
He wrote this sentence so touchingly: "In the midst of winter, I found there was, within me, an invincible summer," which comes from his essay, Return to Tipasa, in this book. --Algeria is his metaphoric invincible summer!
He also wrote: "...A whole people pondered by the water, and thousands of solitudes detached themselves from the crowd," from A Short Guide to Towns Without a Past.
2. A real writer, in this ruthless world, is a presence a little bit far too gentle, isn't he?
To understand so deeply a world where people cannot understand one another—how can he not be sorrowful? Even while knowing this world's incomprehensibility and absurdity, he "keeps hope alive" and remains fiercely passionate. That must be why he could say: ...there was an invincible summer within me...
Such immense despair, helplessness, and powerlessness are, above all, a form of power and strength themselves first.
3. But when it comes to issuing guidelines or directives on the world, society, or art, things get a bit less fun. Even when it's Camus doing the talking. Lol.
1） 第一次真正意识到加缪首先是个阿尔及利亚作家，然后才是个法国作家。那句感人的话，“在隆冬，我终于知道，我身上有一个不可战胜的夏天“就是来自他的关于阿尔及利亚的一篇《重返蒂巴萨》。阿尔及利亚就是他的夏天。
还有这个，“。。整个儿的民族在水边沉思，千万个孤独从人群中升起。” 《没有过去的城市之小指南》
2）一个真正的作家，在这个无情的世界中，是作为一种太温柔的存在吧。太理解这个不能理解彼此的世界，所以不能不是忧伤的吧。明明知道了解这个世界的不理解，荒诞，仍然热烈。所以他会说出那样的话吧，“在隆冬，我的心里有一个不可战胜的夏天。”
强大的绝望，无助，无力也首先是一种强大。
3）当要对世界，社会，或艺术发表指导性意见时，就不那么好玩了。即便是加缪去说这些，也是。lol.
April 11, 2022
被真挚和力量深深打动
Displaying 1 - 2 of 2 reviews