工程造价概论 txt 下载地址 网盘 在线 2024

展开

展开

展开

展开

展开

在线阅读地址：工程造价概论在线阅读

在线听书地址：工程造价概论在线收听

在线购买地址：工程造价概论在线购买

PDF下载地址：工程造价概论PDF下载

展开

展开

展开

查看其它书籍精彩书评

• The bowl is broken...

  作者：karenwy 发布时间：2008-12-15 21:40:41

  The Golden Bowl

  Before I read this book, I have already seen the film adapted from this novel.Uma Thurman played Charlotte and Jeremy Northam played Prince Amerigo, the director is James Ivory who is famous for his adaption from the great works of the English literature such as“The Europeans (1979)” and“The Bostonians (1984)”of 'Henry James , “Jane Austen in Manhattan (1980)” of Jane Austen ,“Quartet (1981)” of Jean Rhys or “A Room with a View (1986)”、 “Maurice

  (1987)”and “End Howswards” of

  E.M.Forsters . All the things above indicated that the film would be very brilliant. Quite the contrary, this film didn’t match the novel, the wooden performances by Uma Thurman and Jeremy Northam certainly did not help, and the real problem is with the screenplay.James Ivory didn’t comprehended Henry James’ intention nor did he handle his writing style well. James claimed that there was no attempt to tell more of a story than what was visible on the screen, yet he and his crew just tried to film every event which they had picked in the novel. All we are left with is the scenes in which people talk about what has already ocurred. Also, the dialogue is stilted. There is nothing spontaneous in anything anyone says, and this is not a result of a more formal Edwardian diction, it's a result of an

  approach to the scenes in which characters never make discoveries before our eyes. Every change that happens happened off-screen. Of course, James Ivory's direction does absolutely nothing to clue us in on the character's inner lives,and it is left to the overwhelmed actors to do everything. No actor can carry such a heavy burden, and they all crumple under the weight.

  Now come back to the novel itself. No matter how awful the film is , it cannot take the shine of the novel. You just can’t imagine how he could wrote such a book when he was 61years old.

  Charlotte is an emancipated American girl whose beauty is as much as her poorness. She has had an affair with Amerigo, an Italian Prince. Prince always marries princess, the rather that he is a prince inherited nothing but title. So the penniless prince is about to marry Maggie, the daughter of an American billionaire Adam Verver, an industrialist and art collector. Charlotte, the

  school friend of Maggie, travels to London to attend the wedding. Before the wedding she tries to confirm Amerigo that she is completely in love with him and doesn’t care if he can take care of her or not. And she convinces Amerigo to

  accompany her in search of a present for his bride. They find a golden crystal bowl but he sees a small crack in it and rejects it.

  In a ploy to be near to Amerigo, Charlotte marries Adam. Maggie, who has always

  been very close to her father, is ecstatic that her friend has in one swoop taken away his loneliness. Still, she spends a great deal of time with him. Charlotte and Amerigo use the father-daughter relationship as an excuse for their going to parties together, including a weekend away in Gloucestershire.

  Charlotte is innocently enough keeping him company in his solitude, but soon their passions take over and they share an intimate afternoon. Aunt Fanny, who introduced Maggie to Amerigo but never revealed his past, becomes aware of there affair but hopes to protect the Ververs from the scandal.

  In due course, Maggie acquires the bowl as a present for her father. Although she doesn’t detect the flaw, the dealer believes himself mysteriously honour-bound to come to her house and tell her that the flaw is there. During

  his visit, he notices photographs of Amerigo and Charlotte; tells Maggie that they were in his shop together. Thus, she learns that they knew each other before her marriage and, as she tells Aunt Fanny, ”They went about together-they’re known to have done it. And I don’t mean only before-I mean after.”

  At last, Mr Verver, who knows everything but never shows his feelings takes Charlotte to America where his museums will be located, leaves Amerigo and Maggie together. James now throws all the switches in the last paragraph:

  [Amerigo] tried, too clearly, to please her-to meet her in her own way; but with the result only that ,close to her, her face kept before him, his hands holding her shoulders, his whole act enclosing her, he presently echoed: ”’See?’ I

  see nothing but you.” And the truth of it had, with this force, after a moment, so strangely lighted his eyes that, as for pity and dread of them, she buried her own in his breast.

   In this book, I found Charlotte the most sympathetic of all the characters, I don’t think Henry James does her justice or, perhaps, he does her too much conventional justice, a black cloth on his head as he sentences her to a living

  death. In his works the woman must always be made to suffer for sexual transgression while the man suffers not at all or, in the ease of the Prince, very little although the renewed and intensified closeness to Maggie may well be

   a rarefied punishment that James only hints at when, for the last time, he shuts the door to the golden cage on Husband and Wife Victrix.

  When I found Charlotte does not know for certain even then that Maggie knows all and still makes great efforts to conceal the affair, I feel so sorry for this poor woman. She lives in a fictive love and marries Adam, whom she does not love at all and has nothing in common with, in order to be near the man she loves as a last attempt at happiness. She thought she could retain Amerigo’s love, but how she is able to know that compared to wealth and ambition love is no more than a flawy golden bowl.

  At first I hardly noticed Adam Verver. I only knew he is Maggie’s father, he is a billionaire, he rifles a plenty of artwork in order to memorialize himself with a museum back home. But as I read on, I regard him with new interest. What is he up to? He is plainly sly and greedy, sometimes cold-blooded. Although the simultaneous possession and ingestion of confectionery is a recurrent James theme, how this father manages to keep and devour the whole great world itself.

  He can afford everything, and he buy what he want to fill his museum. He buy the son-in-law, a handsome Italian Prince for his daughter, a great name, palazzi, the artworks. He buy the brilliant Charlotte. He keeps what he owns in perfect

  order.

  The book doesn’t show unambiguously if Adam knows everything. And it seems that Adam is practically offering himself, pressing himself upon his daughter, as a sacrifice. He will take Charlotte back to American City, he will endure the aftereffects and he will leave the field to Maggie. He has been sacrificed, but has he? Certainly father and daughter are so perfectly attuned that neither has to tell the other anything at all about the unexpected pair that they have acquired for their museum. Or even the marriage between Adam and Charlotte maybe the artifice to hold the two lovers in play. I always looks on him as a omniscient. Maggie finds herself adoring him for his stillness and his power; and for the fact “ that he was always, marvelously, young which couldn’t but crown, at this juncture, his whole appeal to her imagination”.

  It is Adam who places Charlotte in her cage - a favourite Jamesian image; and James adds the image of a noose and silken cord by which Adam leads her wherever he chooses. We can imagine how it will be like from Aunt Fanny’s description:

  ”I see the long miles of ocean and the dreadful great country, State after State, which have never seemed to me so big or so terrible. I see them at last, day by day and step by step, at the far end, and I see them never come back.”

  But the victorious Maggie believes that Charlotte will soon find life back home interesting while she and her father are the real losers because they are now for ever parted.

  I think the golden bowl here is an obvious symbol, a chief metaphor. The bowl is first seen in a Bloomsbury shop by Charlotte, who wants to buy a wedding present for her friend Maggie. She cannot afford anything expensive and the bowl attracts her. But the shopkeeper overdoes it when he says that he has been saving it for a special customer, and Charlotte comes to know there must be a flaw, so she bargains. The dealer rises to challenge: “But if it’s something

  you can’t find out, isn’t it as good as if it were nothing?” Charlotte wonders how or if one can give a present that one knows to be flawed. The dealer suggests that the flaw be noted to the recipient, as a sign of good faith. In any case, the bowl is a piece of solid crystal and crystal, unlike glass, is not easily smashed, but it can shatter ”on lines and by laws of its own.”

  Charlotte decides she can’t afford the bowl, so she turns to Amerigo, who has been waiting outside. He has seen the flaw at once and rejects it “A crack is a crack, and an omen’s an omen.” So they acquire something else.

  For the moment, the bowl’s story seems over, but James has now made the golden bowl emblematic of the relations between the lovers and their legal mates. To all appearances, the world of the two couples is a flawless rare crystal, all of a piece, beautifully gilded with Adam’s money.

   The bowl is bought by Maggie as a present for her father, then she learns the flaw and the affair between her husband and her best friend. The flawed bowl is smashed into two parts and the adulterine situation is broken into three parts.

   Of the four, Amerigo is the first to detect the flaw, and though he wanted no part of the actual bowl, he himself slips easily into that adulterine situation which is the flaw in their lives. Charlotte refused to buy the bowl simply

  because she cannot pay the price, yet she accepts the adultery and pays for it with her afterlife, maybe too dear. Maggie, when eventually learns everything says: “I want happiness without a hole in it, a bowl without a crack.”

   "To be completely great," Henry James once wrote, "a work of art must lift up the heart." The Golden Bowl does impress with its many moments of psychological on my mind.

  展开

• 《物种起源》又有新中文译本

  作者：Aisha 发布时间：2013-12-03 11:42:20

  转载《中国科学报》 (2013-11-29 第14版 读书)

  作者：洪蔚

  近日，译林出版社“译林人文精选”丛书推出《物种起源》新的中文译本。该译本与时下通行的《物种起源》中译本最大的不同之处，在于版本的选择。

   

  在1859年至1872年间，《物种起源》一书总共出了六版。其中第一版与第二版相隔只有一个半月。在其后的12年间陆续出版的四个版本中，达尔文作了大量的修改，以至于第六版的篇幅比第一、二两版多出了三分之一。

   

  根据该书的译者苗德岁介绍，达尔文在后四个版本的修订过程中，为了回应同时代人的批评，作了连篇累牍的答复，甚至是“违心”的妥协，以至于越来越偏离原先的立场。

   

  因此，苗德岁没有选用在20世纪前80年通行的、大多中文译本选择的第六版，而是选用了牛津大学出版社“牛津世界经典丛书”采用的第二版。

   

  在谈到第二版与第六版的区别时，苗德岁表示：“现在看来，限于当时的认识水平，当时对他的批评很多是错误的，而他的答复往往也是错误的。结果，新增的很多零乱的线索与内容，完全破坏了他第一、二版的构思之精巧、立论之缜密、申辩之有力、行文之顺畅、文字之凝练。”

   

  在2009年达尔文诞生200周年、《物种起源》问世150周年之际，江苏南京凤凰传媒集团旗下的译林出版社，经古生物学家、中国科学院院士周忠和推荐，约请美国堪萨斯大学古生物学家苗德岁，重新翻译《物种起源》。

   

  苗德岁是1978年“文革”后首批考入中科院古脊椎动物与古人类研究所的研究生，1982年赴美留学取得博士学位后，在美国高校工作至今。

   

  对《物种起源》的最新中译本，周忠和对记者作出了这样的评价：从语言上说，苗德岁的中、英文功底都非常出色，而且对英美文化有很深的了解；从科学性上说，进化论建立的主要基石是地质学和生物学的知识和理论，作为古生物学家，地质学、生物学是苗德岁倾注多年的领域，再加上译者花费了很多时间和精力来翻译此书，因此，这本《物质起源》的新译本，无论从语言水平，从科学性上说，都堪称国内目前最好的译本。

   

  译者在功能对等的原则下，除了在词汇和语义上寻求双语间的对等之外，更注重译文与原著间风格和文体的对等，因此，新译本《物种起源》在忠实于原文的同时，极少佶屈聱牙的西式句子。

  展开

• 【豆瓣鉴书团】战争与和平：包容还是排斥？

  作者：虫虫 发布时间：2018-12-17 16:44:09

  展开

• 如何了解对方想要

  作者：卡其色裤子 发布时间：2013-06-27 14:06:34

  其实我对乐嘉了解得不多，相信很多人和我一样从《非诚勿扰》这个节目认识他的，也许因为他的光头形象，也许因为他在节目上犀利的言语，对这个人印象就是很深刻。最近才知道他是中国性格色彩研究中心的创办人，而《爱难猜》这本书就是一本关于性格色彩的情感随笔。

  就算不了解性格色彩是个什么概念，这本书还是吸引人的，因为它的实用性，它能直戳你的心理，你会发现这就是在说你自己。全书16篇文章，不多但是都很经典，作者通过剖析问题、解决问题，让读者把性格色彩的东西灵活的运用到生活中去。

  书中有篇文章提到，有时人们不愿意给对方定心丸式的承诺，是因为两性关系中，似乎有个魔咒，好像总是谁先承诺谁先死。不承诺有时也是一种逃避，其实我要的只是一句话，你肯说出来，我就会安心，哪怕你没有做到，我也不会怪你，可是作为男朋友的他却如此吝啬的不愿多说一句，这是一种另人产生质疑态度的做法，是在逃避吗？不想承担责任吗？还是我们都太小了，没有把握没有底气。我在感情上付出了很多，却突然觉得自己爱上了一个不该爱的人，没有承诺，看不到未来。

  红色性格的人特别容易没有安全感，希望对方有强烈的意愿跟自己在一起，唯有这样才能满足红色性格内心深处被认可的渴望，需要不断地确定是在被对方重视被对方爱，不然就会觉得可能不爱了。在生命中，我们每个人任何的选择都有可能在年深日久后被证明是错误的。可你必须明白，对于红色性格的人，结果本身并不重要，在当下最重要的是要那份安心的感觉。

  这是和我最有共鸣的一点。这本书很实在，没有多余的废话，值得许多人去学习，我身边很多朋友都存在感情上的困惑，关键是怎么解决，探清更深邃的人心与人性，其实，爱并不难猜。

  展开

• 团扇那堪亡国恨——也说侯李结局的必然性

  作者：青鸟.Sabrina.Q 发布时间：2011-10-10 01:06:45

           “笙箫下画楼，度清讴，迷离灯火如春昼。”在这样的夜晚，秦淮之畔，复社才子梳拢了一代名妓。这段风流韵事本有一个格外“才子佳人”的开始。或许是因为这个故事与其他传奇相比，揉进了太多沧桑，看到在乱世之中那般的坚贞和痴等，才让我在初翻《桃花扇》时，完全被那段爱情所吸引，只期盼一个完美的结局。

          曾很久不能理解，书中两人感情真挚无比，为何在久别重逢之后，在还絮絮念着“待咱夫妻还乡”的时候，竟会被张道士一言就说得两厢出家？蒋星煜教授认为：“如果虚构侯方域坚决抗清而殉难，也是悲剧，或者虚构他气节全无而投降，甘心为清廷效劳，李香君与之绝决，同样是悲剧，但康熙皇帝无论如何不可能饶恕他。原著中二人最后被动地入道，恐怕是唯一的选择，因为入道也是一种不合作，一种消极的反抗。所以处理为被动入道，使消极反抗的色彩更淡化一点，冒的风险也较少一些。就侯方域这个人物而言也显得和以前的软弱、动摇比较一致。”这种说法固然有几分道理，然而重读《桃花扇》，我却认为作者即使真的需要审时度势地改变结局，也不会仅因此就安排出一个突兀的结局。且侯方域的软弱本就表现在于私利和大义面前有时犹豫，对于个人的选择也没有明确的原则，因此就更不会因 “国在那里、家在那里”而放弃与李香君的长相厮守。再从孔尚任“写兴亡之感”的写作意图出发，我认为作者此安排虽然初读稍嫌突兀，但细细品味之下，不但合乎情理，反而比此外的诸多结局更能达到抒发“兴亡之感”的意图。

         首先从情节安排上分析，香君和侯生的感情无疑是故事的主线。从《访翠》中初见面香君的娇羞，《眠香》中的题扇订盟，《却奁》里冲突中的互相了解，到《辞院》里两相分别，香君的“离合悲欢分一瞬，后会期无凭准”和侯生的“吹散俺西风太紧，停一刻无人肯”也都鲜明的表现了两人难舍难分的依依之情以及对于再会无定期的焦虑。分别之后，两人也各自坚守。《拒媒》中的“定情诗红丝拴紧，抵过他万两雪花银”已经道出香君对爱情的忠诚，所以在《守楼》中，才有了香君的誓死抵抗。从“案齐眉，他是我终身倚，盟誓怎移。宫纱现有诗题，万种恩情，一夜夫妻。”“便等他三年，便等他十年，便等他一百年”到不得以“倒地撞头晕卧”，香君的忠贞在这一齣中淋漓尽致。而第二十八齣侯生回到人去楼空的媚香楼，以为香君在内，每走一步便细述心情，想象美人在卧，“应有娇羞人面”，轻手轻脚走进，“俺且不要唤他，慢慢的上了妆楼，悄立帐边；等他自己醒来，转睛一看，认得出是小生，不知如何惊喜哩！”这一番心思，亦是充满柔情与怜惜。得知香君入宫后，先是挥泪，又在杨龙友说香君出宫无期，叫他别寻佳丽时表明“怎忍负约”。到此，侯生的相思之情，爱恋之深，也完全跃然纸上了。

         照这样的痴情与等待，他们本是可以相聚后就此相守。然而“离”这一结局，却也在之前炙热的爱情中就早早埋下伏笔。且不说叙述剧情的《试一齣》、《加二十一齣》等，在《眠香》中的新婚之夜， “脂香粉腻满东流，夜夜春情散不收”之中，收尾诗却写“江南花发水悠悠，人到秦淮尽解愁；不管烽烟家万里，五更怀里啭歌喉”。这 “不管烽烟家万里”无疑暗示了情节的发展——他们将被卷进历史的大潮流中，“爱情”不再承担他们故事的全部重量。紧接着《辞院》中，阮圆海便借由国家的战乱来打击侯生与香君。侯李因此分离。至此，侯李的命运就与国运联系了起来。到了二十八齣《题画》，侯生重至媚香楼，末四句诗又道：“美人公子飘零尽，一树桃花似往年”。寻人不得固然是情节发展所致，但人去楼空的怅惘又兼如此诗句作结，无疑也暗示出两人不能相伴而终的末话。这一“飘零尽”更是极为切合二人的结局，可见孔尚任对这样的写法是早有安排，并非写至结局，怕因之获罪而不得以为之的了。紧接着《逮社》中侯生又唱出“当年烟月满秦楼，梦悠悠，萧声非旧。”更是用物是人非暗示了环境已彻底改变，最后二人即使相遇也不能再回到从前了。如此结局，亦合常理。

          再从人物性格探讨：侯生的出场本不讨好，尽是给人些软弱、摇摆的印象，写几首小诗便爱耍风流，顶着复社文人的衔，却在原则、甚至大是大非面前亦不明晰。在事情上也诸多被动，被起哄梳拢香君，接受阮圆海的妆奁，听香君推掉妆奁，从人建议投靠史可法……然而侯生这一投靠，便投靠到了掌军权的最前线，彻底卷入到明末的战争之中。在香君独守媚香楼痴痴等待时，侯生已有了更大的视角，他看到了战争、杀戮、荒城，他心中那些学子的凛然之气被彻底激发出来，此时他已经怀了一份对家国的大忧虑，才唱出“国仇未雪，乡心难说，把闲情丢开后些。”而之后细数福王“三大罪”、“五不可立”，更是与之前软弱摇摆的态度形成对比，纵然此处有孔尚任的夸张在其中，但可看出作者着意塑造了一个心境和态度都与以前有了明显变化的侯生。等到经历了福王登极后的种种败象，及又见“大路之上，纷纷乱跑，皆是败兵”。此时的侯生心中，已经对自己坚信的一些东西产生了动摇和茫然，但他并没有正面思考这些，而是暂时选择逃避，不再卷入战争而是去南京寻找香君。但这一番寻不着又落牢狱，再出来大明已一败涂地。逃亡路上恰逢着史可法投江，侯生不禁伏衣大恸。这一哭，不仅是哭史可法之忠之节，哭大明江山基业之散，恐怕心中至为悲痛的，是他终于隐约意识到奸臣当道，忠臣投河，大明的灭亡其实早已成了历史的注定。当这样的洪流不可逆转地到来，它所覆盖下的一切所作的挣扎都是渺小并且徒劳的。它的背后必然还有着更深刻的腐朽。这样一种无力感从他心中翻涌上来，当他再抬头说“你看一望烟尘，叫小生从那里归去”时，就与《辞院》中“天涯到处迷，将身怎隐”中的没有主见形成了鲜明的对比。此时的侯生不仅是对个人前路的迷茫，更是对社会和人生的迷茫。他感到了一种不知从何而来的，掏空一般的失落感。看到这一层，就不难解释为什么出场时一直被动的侯生，最后却是主动入道了。乱世之中因为与香君始终未曾见面，也未能面对心中的这些矛盾，就更没有思考这与他和香君的感情有什么关系。因了未曾思考便一直坚持着最初的盟誓与痴守。但毕竟这样的失落感与茫然反复折磨过侯生，因此在张道士一句大喝直抵侯生心中的谜团时，便有了他的当场顿悟。

         香君的性格要比侯生简单的多，憎是憎，爱是爱，一向分明。青楼女子身上有着文人也难能的正气，这在《却奁》与《骂筵》两齣尤为鲜明。这个人物已经被太多次分析过了，孔尚任给予她太多的爱，也把她塑造成了一个简单的完美人物，我也没法说出更多。但我认为也正因为此，许多抉择在香君这里也比侯生要简单得多。因为太执着于与侯生的约定，或是说太多蚀骨的相思包裹了她，使我们看到的更多是她执著于爱情的一面。但香君曾真正深入了福王的朝廷，真正见识了奸臣的得势、福王的荒淫，与并与宫廷一起经历了南朝的灭亡。这些对于香君造成的影响，或许因为对侯生的思念而一时被她自己忽视，但以香君的性格，这般的兴亡之变，不会不给她留下永难愈合的伤痕。因此这般结果，也是自然。

         最后从历史背景来说，乱世从来是催生爱情的时代，也是葬送爱情的时代。没有什么比战争更能够摧毁一个人的内心与信仰。“你看国在那里，家在那里，君在那里，父在那里！”这每一句，无疑都是掷地有声的质问，让人从爱情的春梦中惊醒，生出一种国破家亡的深沉悲凉。

         人对国家和民族的情感是一种大情感，是人在通过对与自己有相同文化传统与情感的一个群体的认知达到对自我的认知，并通过对这个群体的肯定寻求对自我的肯定。所以当这一信仰破灭的时候其中的人也会遗失对自我的认知，形成人格中难以填补的巨大缺口。所以当这种大感情失去依存无法寄托，男女之间的小感情自然也没有了维系。当一柄团扇承不住国恨之重，毁扇出家就成了唯一的出路。这样一种相会而不能复合的惆怅，显示出“兴亡”在人心中留下的不可愈合的伤痕。“兴亡之感”也就不只来自旧墙烂瓦，破墓废宫给人的《黍离》之悲，更有无数人在清兴明亡的过程中丢失的自我。

         《桃花扇》全书，皆是借侯生与香君的离合之情，抒发兴亡感触。但两者在情节上却并没有大的相合。唯有在此一处，离合之情与兴亡之感重叠起来。他们早非先前的他们，归于安定的国家也并非从前的家国。如此，便只能是这样一种会而不合的结果。一直作为线索与国运相并发展的侯生与香君之恋，与乱世之中始终不弃的执著与痴等，在相会的一刻骤然而断。当注定的悲剧最终发生，这骤然的“断”就如奏琴至最为凄切处突然弦断，弦音哑然，只听得空落得让人痛彻的余声，当侯生与香君这根与国运相联的线索骤然而断，便只剩下朝代兴亡这历史不可避免的悲剧中的沧桑悲凉。而带着这一点余音不能散的切切的悲凉，看到结尾处苏昆生唱出“眼见他起朱楼，眼见他宴宾客，眼见他楼塌了”时，才更能体会到那种带许多绝望，又带许多茫然的悲怆。

         团扇哪堪亡国恨？不得不会，不得不离，不得不悲。

  展开