最高相似度示例 · 非人工确认结果
目标片段他成为了一个职业作家。但是从托斯托耶夫斯基文学生涯一开始的命运中，你看得出来也是一个职业作家的困境。当时的经济条件让那些试图通过发单行本出版的作品，通过文学写作的作家，就是在那群人中，只有最成功、最知名的作家才是有利可图的。托斯托耶夫斯基一直到他在西伯利亚被流放归来，才能够到达那个地位。我说他在46年出版了他的第一本小说成为了职业作家。当时的职业作家意味着还意味着什么？
来源片段Is he recognised as that during his own lifetime? Well, he's more famous as a kind of philosopher and thinker than he is as a novelist at that point and it's striking that the first English translations of his novels appear in the middle of the 1880s. That's in England at the same time as the first translations of his fiction. So Tolstoy was far more influential as a sort of thinker. Someone who by that stage had become vegetarian. He'd given up all his property.
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S1：4 个窗口回退
来源片段
And can you see, it sounds like, feels like when you read your work more consumed by Conrad than fascinated by. I think that's a great word, consumed more than fascinated. And I think, you know, it's very kind of you to say these things about the book. I would like to just put in a plug for history because what it really is is a work of history and history encompasses all of the things that you just talked about. So I got interested in this idea sort of from two ends. One was reading Conrad, which I did in high school. At the time I was in school, it was pretty common, I guess, for students to be assigned Heart of Darkness, which is relatively short among its many other virtues, which makes it very suitable for giving students with short attention spans.
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在我看来，精准是思想作品翻译的最高标准。学术训练是对思想翻译作品的要求。你需要去理解这个思想家的思想背景和他的学术传承，对吧？但是你在文学作品中追求这些东西是一个很奇怪的事。我之所以做出这个观察，实际上是比如说我们去对比美国的阅读群众就Reading public.美国的阅读群众相比于中国的阅读群众，他们阅读的那个东西是远远来的，更加分散的。他们阅读的绝对不主要是小说他的阅读习惯被分散到了各种领域，有读时评的，有读书评的，有读散文的，
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I mean, this is not germane to, you know, the conversation we're having, but I'm just fascinated and I can't not ask. You've seen the journal. What is his writing like? How ordered is his thinking? What does it look like and feel like this journal? You can look at it online. We can give the link to your readers. His handwriting is pretty legible and he doodles. That's one of the great things you get when you actually look at manuscripts and it's one of the things I love about actually looking at manuscripts. So there are little doodles here and there. He writes in pencil, very short notes in the journal. It's not a thoughtful journal in terms of reflection, but little notes and then a lot of notes about how to navigate the river because he's basically having to learn his job, which is weird.
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他们阅读的绝对不主要是小说他的阅读习惯被分散到了各种领域，有读时评的，有读书评的，有读散文的，有读思想作品的，有读广义上纽约的那种文艺杂志的，反正不是一边倒的倾向文学作品OK然后宝眼哥就问我，在私下里问我，在那季播客里，他没有问，就是我为什么觉得中国读者会有这个倾向OK绕了这么一小段，我马上就要来到俄国文学了。就是我跟他说，至少在我的观察中，俄罗斯人和中国人是一样的。
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But I think the later novels, certainly the very last novels are kind of, again, they don't represent the kind of cutting edge literary style or motifs that his early work did. By the 1920s, he's writing these books that very few people are going to read now at the same time that modernism is really taking off. So when he dies, he's achieved at last a type of commercial success as well as critical success. But I think he also dies at a moment when his reputation gets a little bit bifurcated, where there's some people like, for example, a very young Ernest Hemingway who loves Conrad, who takes him up as a writer of adventure stories, sea stories, etc.
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他必须要面临的一个现状。就即便是俄罗斯的国民诗人、民族诗人普希金也经历了这种反复无常。他在1820年代初的叙事诗获得了出乎意料的商业成功。但是到了30年代，他的散文和诗歌，却在商业和评论都遭遇惨败。期刊往往会因为反复无常的审查而遭受重创，大多数期刊能够苟着不被停，就已经是幸运的了。以上这两个因素导致了一个可能在你眼中现在看起来不太重要。但事实上，你想要把任何一个领域职业化都非常重要的因素。
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They aren't people with personality or agency at all. And that's an interesting thing. It's going to come up again and again in this series on writers that we're doing, even comic books that we'll come to later on in this series. But I think one of the things you emphasize in your wonderful book is that he's prescient, that he understands our world in a way that other 19th century writers do not. There's a lovely section in your book where you write how much he connects with present day preoccupations.
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性玩具啊、理财产品啊，就对于我来说是我完全不愿意去做的事情。这是一个几乎不存在的商业性。那现在小宇宙也是一个刚刚有商业性，但实际上也是刚刚有的状态妥私。腿夫斯基刚刚在文学世界成名的时候，他真的是一个非常拿不出手的人。接下来我们进入到一些喜闻乐见的出手环节妥私。腿夫斯基在面对文学界，对于穷人，他第一部小说关注的时候，表现出了一种极其夸张的幼稚。就他的言行很像巴尔扎克小说里的那些青年形象，我们在同时带其他俄国作家的回忆录以及妥私腿夫斯基写给他弟弟的信中，
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Rosamund Bartlett is, well, the author of the great book that we're basing the podcast on today, Tolstoy, A Russian Life. But she's not just that, she's a translator, a translator of great esteem.
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我在这个播客里面分析过很多俄国文学和托斯托耶夫斯基。我们今天关注的不是他的文学作品，而是他作为职业作家这个身份这个事实，他靠写字、吃饭。
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Just, I mean, just tell us why Tolstoy is so very totemic when it comes to looking at Russia and Russian history. Well, he had a life that was very long for a start.
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我之所以说妥斯托耶夫斯基是俄罗斯第一个职业作家，他也有一个时代因素。在19世纪30年代，妥斯托耶夫斯基开始做梦，渴望拥有文学事业的时候，俄罗斯刚刚开始具备这个条件，
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But he was still tinkering with this story long after he had abdued the writing of fiction. And, you know, he only ever wrote fiction in the 1880s and 90s and onwards to preach a moral idea. And here he was writing, you know, a piece of great, great literature. And, of course, you know, but his later ideas impinge on it because he comes down very heavily on the idea of Russian imperialism and the whole idea of government. You write at the beginning of your great biography, Rosamund, that today the Chechens admire Tolstoy for making friends with them during his time in the Caucasus and that this was highly unusual for Russian officers who tended to treat the natives with contempt.
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我们不要把他当做一个真正的贫农，但是他也不是一个富人。年轻时候的托斯托耶夫斯基满怀文学雄行。但是他不了解1840年代，在俄国真正从事写作要面临的实际困难。托斯托耶夫斯基不是一个浙江人，他不够务实，他对于写作师也在物质层面的残酷几乎一无所知。当然他很快将会面临这个问题。他热爱文学，也完全不关心那个工程学院的课程，不关心军官职业，父亲一死，条件允许，就立刻辞去了军职托斯托耶夫斯基身上抱着一种当时19世纪中叶受过教育的俄罗斯人常见的不切实际的幻想。
S3：2 个窗口回退
来源片段
I guess he would have been steeped in Confucian literature. From what we can gather, he would have had what was probably typical for a reasonably educated son from a rich rural background. Being the country said, didn't necessarily mean you're illiterate if you have money and access to education. And we certainly know from his later life where he actually became quite a skilled writer of classical Chinese poetry that he certainly had training in the Chinese classes. He also told stories about when he was at that sort of age, but he loved reading the kind of classic romantic novels of the Chinese tradition, the water margin, Outlaws of the Marsh, Tale of the Three Kingdoms.
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土壤才刚刚冒出来，能够让妥斯托耶夫斯基这样的一个不是显赫出生，没有巨额财富，但是也不是赤贫，他是在他能够有这样的一个家庭环境和学校教育中去培养他对文学的热爱，能够让这样一个拥有才华，拥有想象力，拥有学识，也不算彻底的贫困了，到就是拥有最初经济支持的未来。作家能够在作家这条路上拼一拼。首先，陀斯托耶夫斯基没有上那种会提供经典文本、人文教育的大学。当时在俄国，你要是想上那种我们想象中的那种大学的话，你只可能去读莫斯科大学，或者是圣彼得堡大学陀斯托耶夫斯基上的是帝国军官，
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Those novels which are written in a kind of form of readable classical Chinese, I think in the form that he would have read them, very much sit in that tradition. So we know he was able to absorb and understand those. You mentioned those Edgar Snow interviews and he sort of describes himself, I think, in those interviews as being hungry for knowledge. I think this is a phrase that he himself uses about himself, a buffalo charging into a vegetable garden. I love that. He was hungry, wanted to lap everything up and came from that background. At what point do we see him sort of breaking out of that model of boys his age from his background and showing himself to be something a bit special?
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他们阅读的绝对不主要是小说他的阅读习惯被分散到了各种领域，有读时评的，有读书评的，有读散文的，有读思想作品的，有读广义上纽约的那种文艺杂志的，反正不是一边倒的倾向文学作品OK然后宝眼哥就问我，在私下里问我，在那季播客里，他没有问，就是我为什么觉得中国读者会有这个倾向OK绕了这么一小段，我马上就要来到俄国文学了。就是我跟他说，至少在我的观察中，俄罗斯人和中国人是一样的。
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and say actually there's the beginnings of sense of nationalism on or not even ukrainian historians claim that at this point he might do he might say that i mean i think he would say that um these cossack communities are sort of precursors of the of the ukrainian state and that their spirit or sort of semi-democratic elected hetmans and that their community was a precursor to the sort of more free more westernized more democratic tradition that we now see in ukraine well if we had a russian historian now in he would say absolute nonsense a russian historian would say actually these cossacks were just cossacks they had no interest in the ukrainian speaking peasantry and that they now they were they were sort of semi-traitor as russian allies and ultimately the
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有读思想作品的，有读广义上纽约的那种文艺杂志的，反正不是一边倒的倾向文学作品OK然后宝眼哥就问我，在私下里问我，在那季播客里，他没有问，就是我为什么觉得中国读者会有这个倾向OK绕了这么一小段，我马上就要来到俄国文学了。就是我跟他说，至少在我的观察中，俄罗斯人和中国人是一样的。在俄罗斯的阅读群众传统中，他们读的也主要是文学作品。在我看来，俄罗斯也是一个国民文学性，要大于思想性或者政治性的国家。我们在这里就不讨论，为什么在中国是这样，对吧？我可以讨论为什么在俄国是这样OK绕圈成功，我们回到了扯回了妥子腿。
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I think it was something really complicated, like a ringtone, which is kind of within my capability. Anyway, look at the start of the book on the Russian Revolution, Orlando Figes makes a case. He says the Russian Revolution is the most significant event in the last 100 years. It's a wonderful quote at the beginning of people's tragedy. Yeah. Yeah, it is hard to think of an event or a series of events that has affected the history of the past 100 years more profoundly than the Russian Revolution of 1917, a generation after the establishment of the Soviet system, one third of the human race was living under the regimes modeled more or less upon it.
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夫斯基，我认为有两个因素，这两个因素分别是总体文化水平低，加上铁拳，我说的是妥子腿。夫斯基时代的俄罗斯，在这个总体文化水平低，加上又有铁拳的大环境中，这两个因素加起来，导致能够勉强存活的，只有想象文学作品就其他的那些靠写作、吃饭的什么书评啊、时政评论啊、散文啊就想都不要想了。我跟你说，小说能苟延残喘的活着吗？已经很好了OK第一个是读者群体本身的数量之少和匮乏。在妥子腿夫斯基时代是最为明显的。一直到1897年，俄罗斯帝国才第一次开始统计大众十字律经过数十年教育机会增加之后，十字律也只有21%远低于当时英、
来源片段
You give an impression of a man that's not actually unintelligent, though, although he's isolated and living in a sort of bubble of his own sort of sacrality, he reads Tolstoy, he likes Tchaikovsky, he's well educated. And he's very good at languages. So he's highly intelligent. I don't think he was stupid at all. But the question is, did he have political acumen, which is a totally different thing? And the Tsar of Russia had to know what he wanted to do. And also, I mean, you point out in your book, the Romanoffs, that this is a man who had ambitions greater than his stature.
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我们不要把他当做一个真正的贫农，但是他也不是一个富人。年轻时候的托斯托耶夫斯基满怀文学雄行。但是他不了解1840年代，在俄国真正从事写作要面临的实际困难。托斯托耶夫斯基不是一个浙江人，他不够务实，他对于写作师也在物质层面的残酷几乎一无所知。当然他很快将会面临这个问题。他热爱文学，也完全不关心那个工程学院的课程，不关心军官职业，父亲一死，条件允许，就立刻辞去了军职托斯托耶夫斯基身上抱着一种当时19世纪中叶受过教育的俄罗斯人常见的不切实际的幻想。
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There was actually a kind of moment of flowering of Ukrainian literature and the arts. There's a Ukrainian contemporary art movement, a Ukrainian constructivism.
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这不仅仅是俄国文学文化的转型，也是俄国在农奴解放之后的现代化进程。我们可以说在托斯托耶夫斯基之前，实际上这个俄国文学的文化土壤是刚刚冒出来，刚刚开始兴盛。
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1936 and 1948. Shostakovich was denounced both times as a bourgeois formalist, someone who wrote music with only western intellectualism in mind, not the music of the people, which was intended to be bright, optimistic, and a paragon of the successes of socialism. While the 1936 denunciation was terrible for Shostakovich, the 1948 denunciation was even worse. He lost his job, lost his commissions, and was forced to deliver speech after speech,
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当时的经济条件让那些试图通过发单行本出版的作品，通过文学写作的作家，就是在那群人中，只有最成功、最知名的作家才是有利可图的。托斯托耶夫斯基一直到他在西伯利亚被流放归来，才能够到达那个地位。我说他在46年出版了他的第一本小说成为了职业作家。当时的职业作家意味着还意味着什么？还意味着他要去打散工。托斯托耶夫斯基在1847年开始给彼得堡新闻撰写文化专栏。他在评价当代都市文化总体上评价都是负面的，都是在骂人。他在文化专栏上描绘出一个缺乏新闻自由的俄罗斯。