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包郵 牛津英文經(jīng)典彼得·潘(英文版)
所屬叢書(shū)：
牛津英文經(jīng)典
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338
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牛津英文經(jīng)典彼得·潘(英文版) 版權(quán)信息
- ISBN：9787544781954
- 條形碼：9787544781954 ; 978-7-5447-8195-4
- 裝幀：一般輕型紙
- 冊(cè)數(shù)：暫無(wú)
- 重量：暫無(wú)
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牛津英文經(jīng)典彼得·潘(英文版) 本書(shū)特色
適讀人群 ：英語(yǔ)學(xué)習(xí)者;戲劇愛(ài)好者牛津英文經(jīng)典（Oxford World’s Classics）為牛津大學(xué)出版社百年積淀的精品書(shū)系，譯林出版社原版引進(jìn)。除牛津品牌保證的權(quán)葳原著版本之外，每?jī)?cè)書(shū)附含名家導(dǎo)讀、作品年表、文本注釋、背景知識(shí)拓展、同步閱讀導(dǎo)引、版本信息等，特別適合作為大學(xué)生和學(xué)有余力的中學(xué)生英語(yǔ)學(xué)習(xí)的材料。導(dǎo)讀者包括牛津和劍橋大學(xué)的資深教授和知名學(xué)者。整套書(shū)選目精良，便攜易讀，實(shí)為親近世界名著的經(jīng)典讀本。 英國(guó)小說(shuō)家、劇作家J. M. 巴里一生劇作眾多，在世界文壇享有盛譽(yù)。其中《彼得??潘》是巴里的代表劇作，多次被改編為影視作品，曾被《哈利??波特》作者J.K.羅琳在2012年倫敦奧運(yùn)會(huì)開(kāi)幕式上傾情朗讀。本書(shū)完整收錄《彼得??潘》《孤島歷險(xiǎn)記》《女人皆知》《瑪麗羅斯》四部久負(fù)盛名的劇作，還原一百年前轟動(dòng)倫敦的舞臺(tái)演出盛況。書(shū)中另附有約克大學(xué)英語(yǔ)及教育研究副教授、兒童文學(xué)與兒童戲劇研究學(xué)者彼得??霍蘭撰寫(xiě)長(zhǎng)文導(dǎo)讀，詳解偉大劇作的幕后故事。
牛津英文經(jīng)典彼得·潘(英文版) 內(nèi)容簡(jiǎn)介
本書(shū)收錄了英國(guó)有名作家J.M.巴里的多部經(jīng)典劇作，包括《彼得·潘》《孤島歷險(xiǎn)記》《女人皆知》《瑪麗羅斯》。《彼得·潘》（Peter Pan）是巴里的代表作，講述了不會(huì)長(zhǎng)大的男孩彼得·潘與達(dá)林家的三個(gè)孩子溫迪、約翰和邁克爾在永無(wú)島（Never Land）上的冒險(xiǎn)經(jīng)歷。《孤島歷險(xiǎn)記》（The Admirable Crichton）、《女人皆知》（What Every Woman Knows）風(fēng)趣形象地描繪了階級(jí)與性別差異，《瑪麗羅斯》（Mary Rose）則被譽(yù)為專享的舞臺(tái)幻想劇。
牛津英文經(jīng)典彼得·潘(英文版) 目錄
Introduction
Note on the Text
Select Bibliography
A Chronology of F. M. Barrie
THE ADMIRABLE CRICHTON
PETER PAN
WHEN WENDY GREW UP
WHAT EVERY WOMAN KNOWS
MARY ROSE
Explanatory Notes
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牛津英文經(jīng)典彼得·潘(英文版) 節(jié)選
The night nursery of the Darling family, which is the scene of our opening Act, is at the top of a rather depressed street in Bloomsbury. We have a right to place it where we will, and the reason Bloomsbury is chosen is that Mr Roget once lived there. So did we in days when his Thesaurus was our only companion in London; and we whom he has helped to wend our way through life have always wanted to pay him a little compliment. The Darlings therefore lived in Bloomsbury. It is a corner house whose top window, the important one, looks upon a leafy square from which Peter used to fly up to it, to the delight of three children and no doubt the irritation of passers-by. The street is still there, though the steaming sausage shop has gone; and apparently the same cards perch now as then over the doors, inviting homeless ones to come and stay with the hospitable inhabit-ants. Since the days of the Darlings, however, a lick of paint has been applied; and our corner house in particular, which has swallowed its neighbour, blooms with awful freshness as if the colours had been discharged upon it through a hose. Its card now says No children,' meaning maybe that the goings-on of Wendy and her brothers have given the house a bad name. As for ourselves, we have not been in it since we went back to reclaim our old Thesaurus. That is what we call the Darling house, but you may dump it down anywhere you like, and if you think it was your house you are very probably right. It wanders about London looking for anybody in need of it, like the little house in the Never Land.° The blind (which is what Peter would have called the theatre curtain if he had ever seen one) rises on that top room, a shabby little room if Mrs Darling had not made it the hub of creation by her certainty that such it was, and adorned it to match with a loving heart and all the scrapings of her purse. The door on the right leads into the day nursery, which she has no right to have, but she made it herself with nails in her mouth and a paste-pot in her hand. This is the door the children will come in by. There are three beds and (rather oddly) a large dog-kennel; two of these beds, with the kennel, being on the left and the other on the right. The coverlets of the beds (if visitors are expected) are made out of Mrs Darling's wedding-gown, which was such a grand affair that it still keeps them pinched.° Over each bed is a china house, the size of a linnet's nest, containing a night-light. The fire, which is on our right, is burning as discreetly as if it were in custody, which in a sense it is, for supporting the mantelshelf are two wooden soldiers, home-made, begun by Mr Darling, finished by Mrs Darling, repainted (unfortunately) by John Darling. On the fire-guard hang incomplete parts of children's night attire. The door the parents will come in by is on the left. At the back is the bathroom door, with a cuckoo clock over it; and in the centre is the window, which is at present ever so staid and respectable, but half an hour hence (namely at 6.30 p.m.) will be able to tell a very strange tale to the police. The only occupant of the room at present is Nana the nurse, reclining, not as you might expect on the one soft chair, but on the floor. She is a Newfoundland dog, and though this may shock the grandiose, the not exactly affluent will make allowances. The Darlings could not afford to have a nurse, they could not afford indeed to have children; and now you are beginning to understand how they did it. Of course Nana has been trained by Mrs Darling, but like all treasures° she was born to it. In this play we shall see her chiefly inside the house, but she was just as exemplary outside, escorting the two elders to school with an umbrella in her mouth, for instance, and butting them back into line if they strayed. The cuckoo clock strikes six, and Nana springs into life. This first moment in the play is tremendously important, for if the actor playing Nana does not spring properly we are undone. She will probably be played by a boy, if one clever enough can be found, and must never be on two legs except on those rare occasions when an ordinary nurse would be on four. This Nana must go about all her duties in a most ordinary manner, so that you know in your bones that she performs them just so every evening at six; naturalness must be her passion; indeed, it should be the aim of every one in the play, for which she is now setting the pace. All the characters, whether grown-ups or babes, must wear a child's outlook on life as their only important adornment. If they cannot help being funny they are begged to go away. A good motto for all would be ‘The little less, and how much it is.’ Nana, making much use of her mouth, ‘turns down’ the beds, and carries the various articles on the fire-guard across to them. Then pushing the bathroom door open, she is seen at work on the taps preparing Michael’s bath; after which she enters from the day nursery with the youngest of the family on her back. ……
牛津英文經(jīng)典彼得·潘(英文版) 作者簡(jiǎn)介
J.M.巴里（James Matthew Barrie，1860年—1937年），英國(guó)小說(shuō)家、劇作家，生于蘇格蘭鄉(xiāng)村，畢業(yè)于愛(ài)丁堡大學(xué)，畢業(yè)后即開(kāi)始寫(xiě)作生涯。曾經(jīng)一度從事地方報(bào)館和雜志的寫(xiě)作工作，后來(lái)開(kāi)始小說(shuō)、戲劇創(chuàng)作。1904年，創(chuàng)作了戲劇《彼得??潘，不肯長(zhǎng)大的男孩》，劇本甫一面世，就極受歡迎。1911年，改編自劇本的小說(shuō)《彼得??潘》首次發(fā)行，成為經(jīng)典之作。在文學(xué)創(chuàng)作中，特別擅長(zhǎng)描寫(xiě)蘇格蘭鄉(xiāng)村和農(nóng)民的生活，喜歡大量使用蘇格蘭方言，自成一派，因此被后人稱為“白菜園派”。
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