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内容简介

"When Gregor Samsa woke up one morning from unsettling dreams, he found himself changed in his bed into a monstrous vermin." With this startling, bizarre, yet surprisingly funny first sentence, Kafka begins his masterpiece, The Metamorphosis. It is the story of a young man who, transformed overnight into a giant beetlelike insect, becomes an object of disgrace to his family, an outsider in his own home, a quintessentially alienated man. A harrowing -- though absurdly comic -- meditation on human feelings of inadequecy, guilt, and isolation, The Metamorphosis has taken its place as one of the mosst widely read and influential works of twentieth-century fiction. As W.H. Auden wrote, "Kafka is important to us because his predicament is the predicament of modern man".

　　《变形记》创作于1912年，发表于1915年。小说分成三部分，用一、二、三标明。课文节选了原小说的一半内容。第一部分，写格里高尔发现自己变成“巨大的甲虫”，惊慌而又忧郁。父亲发现后大怒，把他赶回自己的卧室。第二部分，格里高尔变了，养成了甲虫的生活习性，却保留了人的意识。他失业了，仍旧关心怎样还清父亲欠的债务，送妹妹上音乐学院。可是，一个月后，他成了全家的累赘。父亲、母亲、妹妹对他改变了态度。第三部分，为了生存，家人只得打工挣钱，忍受不了格里高尔这个负担。妹妹终于提出把哥哥弄走。格里高尔又饿又病，陷入绝望，“他怀着深情和爱意想他的一家人”，“然后他的头就不由自主地垂倒在地板上，鼻孔呼出了最后一丝气息”，死了。父亲、母亲和妹妹开始过着自己养活自己的新生活。

作者简介

Franz Kafka was born in 1833 to a well-to-do middle-class Jewish family. His father, the self-made proprietor of a wholesale haberdashery business, was a domineering man whose approbation Franz continually struggled to win. The younger Kafka's feelings of inadequacy and guilt form the background of much of his work and are made explicit in his "Letter to His Father" (excerpted in this volume), which was written in 1919 but never sent. Kafka was educated in the German language schools of Prague and at the city's German University, where in 1908 he took a law degree. Literature, however, remained his sole passion. At this time he became part of a literary circle that included Franz Werfel, Martin Buber, and Kafka's close friend Max Brod. Encouraged by Brod, Kafka published the prose collection Observations in 1913. Two years later his story "The Stoker" won the Fontaine prize. In 1916 he began work on The Trial and between this time and 1923 produced three incomplete novels as well as numerous sketches and stories. In his lifetime some of his short works did appear: The Judgment (1916), The Metamorphosis (1916), The Penal Colony (1919), and The Country Doctor (1919). Before his death of tuberculosis in 1924, Kafka had charged Max Brod with the execution of his estate, ordering Brod to burn the manuscripts. With the somewhat circular justification that Kafka must have known his friend could not obey such an order, Brod decided to publish Kafka's writings. To this act of "betrayal" the world owes the preservation of some of the most unforgettable and influential literary works of our century.

精彩书评

“Kafka’s survey of the insectile situation of young Jews in inner Bohemia can hardly be improved upon: ‘With their posterior legs they were still glued to their father’s Jewishness and with their wavering anterior legs they found no new ground.’ There is a sense in which Kafka’s Jewish question (‘What have I in common with Jews?’) has become everybody’s question, Jewish alienation the template for all our doubts. What is Muslimness? What is femaleness? What is Polishness? These days we all find our anterior legs flailing before us. We’re all insects, all Ungeziefer, now.”
—Zadie Smith

“Kafka engaged in no technical experiments whatsoever; without in any way changing the German language, he stripped it of its involved constructions until it became clear and simple, like everyday speech purified of slang and negligence. The common experience of Kafka’s readers is one of general and vague fascination, even in stories they fail to understand, a precise recollection of strange and seemingly absurd images and descriptions—until one day the hidden meaning reveals itself to them with the sudden evidence of a truth simple and incontestable.”
—Hannah Arendt
The Metamorphosis变形记 英文原版 [平装] 电子书 下载 mobi epub pdf txt

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　　梆子腔与皮黄腔在继承先辈的艺术长处的基础上，弥补了先辈的艺术局限，实现了如下五大变革：第一大变革是梆子腔与皮黄腔的形成与发展，标志着我国戏曲音乐已由专业性的文人音乐（创作）时代走向了广泛的业余性民间音乐（创作）的时代。反映了普通老百姓在音乐方面的审美好尚，增强了戏曲音乐与群众的密切关系，空前地加速了戏曲艺术的传播与发展。在仅仅一两百年的时间内就传遍了黄河上下、大江南北。第二大变革是发展了依情变曲和依人变曲的板式变化体，增强了音乐的叙述性与戏剧性功能，在表现戏剧性情节的功能方面发生了质的变化；从而解决了音乐方面统一性与对比性的辩证关系，符合我们民族“在统一的前提下求对比”的“和”的审美意识。第三大变革是发展了文场（管弦）过门，不但增强了音乐的表现手段——器乐的表现空间与表现功能，而且使戏曲音乐有了能辨别什么剧种、什么声腔甚至什么板式的音乐“主题”。第四大变革是皮黄腔在梆子腔的单腔系统板式变化体之后，发展了拥有西皮腔、二黄腔等多腔系统的板式变化体，使音乐表现能在更多和更大的空间展示自己的艺术功能。第五大变革是皮黄腔划时代地实现了男女与行当分腔，从而解放了戏曲舞台上长期在音乐方面被压抑的男性角色、男性唱腔、男声演唱半边天，大大提高与推动了戏曲音乐的性格化发展。以上五方面空前的历史突破，形成了戏曲音乐历史发展的第三个发展时期，即梆子腔、皮黄腔盛行的时期，标志着戏曲音乐的首次重大变革。第二，依人选曲和依情选曲的曲牌联缀体，长于抒情性和歌唱性，却逊于叙述性与戏剧性。不利于对戏剧性强的情节给以戏剧性的音乐表现，从而妨碍了戏曲音乐的全面发展。以上既是它们珍贵的艺术价值与历史价值，也是它们难以逾越的艺术局限与历史局限。这一历史实际必然呼唤能够弥补这些局限的后来者，从而引发了17世纪明末清初梆子腔以及后来的皮黄腔。

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