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Den okñda versionen av Leo Tolstojs klassiska verk Krig och fred kan rk̃nas till de riktigt stora verken i vr̃ldslitteraturen, och romanen hr̲ till Leo Tolstojs mest ls̃ta och l̃skade verk. Mindre kñt r̃ att han skrev tv ̄olika versioner av den. Nr̃ han skrivit fr̃digt den fr̲sta br̲jade han omedelbart p ̄en ny, och det var den andra versionen som sedan publicerades v̲er hela vr̃lden. Den fr̲sta varianten har dock levt kvar, om ñ i mindre bemr̃kta sammanhang, det vill sg̃a i akademiska samlingsverk p ̄ryska.Fr̲st 2006, cirka 150 r̄ efter att den skrevs, kom den ursprungliga Krig och fred p ̄svenska, i v̲erst̃tning av Staffan Skott som gett den en modern sprk̄drk̃t.Vari bestr̄ skillnaden, och kan det verkligen vara md̲an vr̃t att ge sig i kast med detta verk igen?Skillnaderna r̃ flera: bland annat r̃ denna version betydligt kortare, den har andra fr̲vecklingar och den slutar p ̄ett helt annat st̃t. Men inte bara dessa omstñdigheter r̃ anledning nog att g̃na tid t̄ den ursprungliga Krig och fred. Det handlar helt enkelt om storartad litteratur, underhl̄lande och gripande med sina fr̃gstarka personligheter som Tolstoj s ̄ms̃terligt gestaltar p ̄ett psykologiskt trovr̃digt st̃t. Hr̃ fr̄ vi t̄er mt̲a den oemotstn̄dliga Natasja, den sympatiske cynikern furst Andrej, den taktls̲e och okultiverade Pierre Bezuchov som passar s ̄illa i de fina salongerna samt en mñgd odḡor och adelsspolingar.Tolstoj prg̃lades av ett flammande hat mot kriget, som han kñde inp ̄skinnet i Sevastopol under Krimkriget. Hr̃ tar han ls̃aren rt̃t in i kriget; man fr̄ fl̲ja bd̄e husarer och generaler, kñna den stickande krutrk̲en och hr̲a kanonmullret, och man fr̄ dessutom bevittna fredsfr̲handlingarna mellan Napoleon och tsar Alexander.Fr̲ varje litteraturintresserad person br̲ v̲erst̃tningen av den ursprungliga versionen av Krig och fredvara en hñdelse av str̲sta intresse. Att ls̃a den r̃ som att efter mn̄ga r̄ t̄erknyta bekantskapen med gamla goda vñner; de r̃ precis som de var fr̲r, s ̄vl̃bekanta och ñd ̄inte desamma. verst̃tare:Staffan Skott,Omslagsformgivare:Eva Lindeberg Design [Elib]… (mer)
Eustrabirbeonne: Well, Henri Troyat is no Tolstoy of course, and he did not pretend he was : he described himself as a mere "storyteller". Yet some of his fiction is real good, and this "cycle" is certainly his best. And of course, Russian-born Lev Aslanovich Tarasov had in mind the never-written sequel to "War and Peace" about the Decembrist uprising, which Tolstoy initiates in the final chapters of "War and Peace" with his hints at Pierre's active participation in a "society". Would Natasha, already a mother of four in 1820, have left her children behind to follow Pierre in Siberia, as other convicts' wives did?… (mer)
CurrerBell: Hardy's "Immanent Will" has much in common with Tolstoy's historical determinism. Personally, I'm in that probably quite small minority that prefers The Dynasts over Tolstoy's novel – partly because I find in Hardy's "The Road to Waterloo" scene (3.VI.vii) one of the greatest of antiwar poems.… (mer)
carajava: Es muy recomendable despues o, en todo caso antes de leer guerra y paz, puesto que, mejorarà tu forma de ver el mundo donde viviàn los rusos, comprenderlo y razonar sus precarias situaciònes.
THE novel. In it you will find the whole human experience, in its political and social outcomes, in the reflection on life and philosophical quests, in the small worries and joys of everyday life, in the inner feelings and thoughts of human beings. More than anything else I appreciated Tolstoj 's supernatural insight in the intimate works of characters' minds, their instinctive reactions and the motivation unknown even to themselves. Here the omniscient narrator reaches its best achievement. Another main feature is Tolstoj's view of History as complex nteraction of huge forces unconsciously represented by the masses of humble human beings, compared to which "great men" are nothing more than puppets, delusional fools pushed by bigger forces to prow of the ship of History, and so erroneously convinced that they are dividing the waters in front of them while the ship drags them with her (metaphor by Tolstoj himself, as I mis-remember it after some weeks). Tolstoj invokes Providence as the Great Puppeteer, but his attention is caught by the powerful force of the masses of apparently insignificant human beings who suffer and die in the name of menaingless ideals and strategies, and who, in the end, are the ones who make History happen. Dialectical materialism is down this road, but here we are reading a novel, something which is more than the sum of the theorical positions of its writer. It reminded me of the most poetic pages on spirituality and justice in Marx's and Engels' writings except that here someone is telling us a story, and from the perspective of a conservative Russian nobleman of the 19th century, of course. IL romanzo. Dentro c'è tutta l'esperienza umana, nei suoi aspetti collettivi, nella riflessione esistenziale e filosofica, nelle minuzie della vita quotidiana, nell'interiorità. Sopra ogni cosa ho amato la mostruosa capacità introspettiva nel descrivere onestamente e spassionatamente i processi mentali dei personaggi più diversi, nelle situazioni più disparate, senza preconcetti e moralismi, e la visione della Storia come complessa interazione di forze, masse, necessità schiaccianti di fronte alle quali i "grandi uomini" risultano ridimensionati alle loro attuali proporzioni: fantocci trascinati dallo svolgersi degli eventi alla prua della nave della Storia, che credono di determinare per questo il separarsi delle onde di fronte alla chiglia (metafora dell'autore, come me la ricordo dopo un mese). Tolstoj invoca la Provvidenza come burattinaio ultimo, ma il suo interesse è catturato dalla forza trascinante della grande massa indistinta di esseri umani senza potere individuale che soffrono, muoiono, subiscono in nome di ideali e strategie senza senso, ma che alla fine sono i soli in grado di far accadere la Storia. Il materialismo dialettico è dietro l'angolo, ma la forma è il romanzo, e questo fa di Guerra e Pace qualcosa di più della somma dei ragionamenti che ho appena parzialmente e goffamente riassunto. Ricorda le pagine migliori di Marx e Hegel quando parlano di spiritualità e di giustizia, con invenzione narrativa integrata nell'analisi e la prospettiva storica di un nobile russo conservatore. Un'esperienza che consiglio a tutti. ( )
I took on the challenge of reading War and Peace in a positive frame of mind. I consider myself reasonably well read and willing to tackle books that aren't immediately easy, and I'd read many enthusiastic reviews and I was looking forward to finally tackling this classic. I've failed. I had difficulty getting to grips with the vast cast of characters, though I did eventually master these, and indeed became interested in the various family sagas which form such an important part of the narrative. I tried to interest myself in the War aspects of the book, and failed dismally. And as for the philosophical digressions, which increased towards the end of the book, and most particularly in the epilogue: I ended up skim-reading these. I kept on thinking that an editor with a very big red pencil should have been let loose on the book. I'm sure the loss is mine, but it's a book about which I'm now pleased to be able to say 'I've finished it!' ( )
A marvelous Book that repays whatever time one devoteds to it. I have read this translation, and lived in it for several weeks, and felt bad when it ended. The attempt to portray an entire culture, and, be fully aware of it has never been bettered. ( )
Obviously, I'll look like an idiot if I give this book a rating of less than five stars, but I read it after I had read many of Tolstoy's later religious works in which he had grown out of the pantheism I found inherent in this greatest of novels. It's awesome, of course, just not my favorite work of his. ( )
The title Tolstoy finally settled on was taken from the political theorist Pierre-Joseph Proudhorn's book La Guerre et L Paix (1861) a title which means what it says and no more. But when Tolstoy completed and published the final version of his novel Voyna i mir in 1869, the word mir carried a number of connotations and meanings, including a slightly obsolete one referring to society, mankind. In this case the word could mean, roughly speaking, humanity. Tolstoy's novel is concerned not merely with war and the cessation of war, it is about human beings, for whom war is a vast muddle, which is the curse of society. It is about the triumph of the human spirit in time of war; and the side that wins the war is the side that displays the stronger spirit. Natasha's dance and Andrey's sudden understanding of what matters are triumphant leaps of the human spirit; each results in an inner joy, a peace.
tillagd av Cynfelyn | ändraSlightly Foxed, Christopher Rush(Feb 1, 2023)
The novel is not just a masterclass in fiction, Ms Li believes, but a remedy for distress. At the most difficult times in her life, she says, she has turned to it again and again, reassured by its “solidity” in the face of uncertainty.
I had it on my desk for about a year, and now I've given up and put it back on the shelf.
tillagd av Sylak | ändraStylist [Issue 338], Paula Hawkins(Oct 12, 2016)
Tolstoy’s singular genius is to be able to take the torrent of conscious experience and master it. There are countless moments in the book where this happens ...
Information från den engelska sidan med allmänna fakta.Redigera om du vill anpassa till ditt språk.
"Well, Prince, Genoa and Lucca are now no more than private estates of the Bonaparte family."
'Well, Prince, Genoa and Lucca are now nothing more than estates taken over by the Buonaparte family.' (Anthony Briggs)
Citat
Information från den engelska sidan med allmänna fakta.Redigera om du vill anpassa till ditt språk.
War is not a polite recreation but the vilest thing in life, and we ought to understand that and not play at war.
Since time began and men started killing each other, no man has ever committed such a crime against one of his fellows without comforting himself with the same idea. This idea is 'the public good', a supposed benefit for other people.
Avslutande ord
Information från den engelska sidan med allmänna fakta.Redigera om du vill anpassa till ditt språk.
Yes I will do something with which even he would be satisfied. . . . (End of First Epilogue-Maude/Maude)
In the first case it was necessary to renounce the consciousness of an unreal immobility in space and to recognize a motion we did not feel; in the present case it is similarly necessary to renounce a freedom that does not exist, and to recognize a dependence of which we are not conscious.
End of Book 15: "But why go to Petersburg?" Natasha suddenly asked, and hastily replied to her own question. "But no, no, he must. . . Yes, Mary, He must . . ." [tr. Maude/Maude]
Den okñda versionen av Leo Tolstojs klassiska verk Krig och fred kan rk̃nas till de riktigt stora verken i vr̃ldslitteraturen, och romanen hr̲ till Leo Tolstojs mest ls̃ta och l̃skade verk. Mindre kñt r̃ att han skrev tv ̄olika versioner av den. Nr̃ han skrivit fr̃digt den fr̲sta br̲jade han omedelbart p ̄en ny, och det var den andra versionen som sedan publicerades v̲er hela vr̃lden. Den fr̲sta varianten har dock levt kvar, om ñ i mindre bemr̃kta sammanhang, det vill sg̃a i akademiska samlingsverk p ̄ryska.Fr̲st 2006, cirka 150 r̄ efter att den skrevs, kom den ursprungliga Krig och fred p ̄svenska, i v̲erst̃tning av Staffan Skott som gett den en modern sprk̄drk̃t.Vari bestr̄ skillnaden, och kan det verkligen vara md̲an vr̃t att ge sig i kast med detta verk igen?Skillnaderna r̃ flera: bland annat r̃ denna version betydligt kortare, den har andra fr̲vecklingar och den slutar p ̄ett helt annat st̃t. Men inte bara dessa omstñdigheter r̃ anledning nog att g̃na tid t̄ den ursprungliga Krig och fred. Det handlar helt enkelt om storartad litteratur, underhl̄lande och gripande med sina fr̃gstarka personligheter som Tolstoj s ̄ms̃terligt gestaltar p ̄ett psykologiskt trovr̃digt st̃t. Hr̃ fr̄ vi t̄er mt̲a den oemotstn̄dliga Natasja, den sympatiske cynikern furst Andrej, den taktls̲e och okultiverade Pierre Bezuchov som passar s ̄illa i de fina salongerna samt en mñgd odḡor och adelsspolingar.Tolstoj prg̃lades av ett flammande hat mot kriget, som han kñde inp ̄skinnet i Sevastopol under Krimkriget. Hr̃ tar han ls̃aren rt̃t in i kriget; man fr̄ fl̲ja bd̄e husarer och generaler, kñna den stickande krutrk̲en och hr̲a kanonmullret, och man fr̄ dessutom bevittna fredsfr̲handlingarna mellan Napoleon och tsar Alexander.Fr̲ varje litteraturintresserad person br̲ v̲erst̃tningen av den ursprungliga versionen av Krig och fredvara en hñdelse av str̲sta intresse. Att ls̃a den r̃ som att efter mn̄ga r̄ t̄erknyta bekantskapen med gamla goda vñner; de r̃ precis som de var fr̲r, s ̄vl̃bekanta och ñd ̄inte desamma. verst̃tare:Staffan Skott,Omslagsformgivare:Eva Lindeberg Design [Elib]
In it you will find the whole human experience, in its political and social outcomes, in the reflection on life and philosophical quests, in the small worries and joys of everyday life, in the inner feelings and thoughts of human beings.
More than anything else I appreciated Tolstoj 's supernatural insight in the intimate works of characters' minds, their instinctive reactions and the motivation unknown even to themselves. Here the omniscient narrator reaches its best achievement.
Another main feature is Tolstoj's view of History as complex nteraction of huge forces unconsciously represented by the masses of humble human beings, compared to which "great men" are nothing more than puppets, delusional fools pushed by bigger forces to prow of the ship of History, and so erroneously convinced that they are dividing the waters in front of them while the ship drags them with her (metaphor by Tolstoj himself, as I mis-remember it after some weeks). Tolstoj invokes Providence as the Great Puppeteer, but his attention is caught by the powerful force of the masses of apparently insignificant human beings who suffer and die in the name of menaingless ideals and strategies, and who, in the end, are the ones who make History happen.
Dialectical materialism is down this road, but here we are reading a novel, something which is more than the sum of the theorical positions of its writer. It reminded me of the most poetic pages on spirituality and justice in Marx's and Engels' writings except that here someone is telling us a story, and from the perspective of a conservative Russian nobleman of the 19th century, of course.
IL romanzo.
Dentro c'è tutta l'esperienza umana, nei suoi aspetti collettivi, nella riflessione esistenziale e filosofica, nelle minuzie della vita quotidiana, nell'interiorità. Sopra ogni cosa ho amato la mostruosa capacità introspettiva nel descrivere onestamente e spassionatamente i processi mentali dei personaggi più diversi, nelle situazioni più disparate, senza preconcetti e moralismi, e la visione della Storia come complessa interazione di forze, masse, necessità schiaccianti di fronte alle quali i "grandi uomini" risultano ridimensionati alle loro attuali proporzioni: fantocci trascinati dallo svolgersi degli eventi alla prua della nave della Storia, che credono di determinare per questo il separarsi delle onde di fronte alla chiglia (metafora dell'autore, come me la ricordo dopo un mese). Tolstoj invoca la Provvidenza come burattinaio ultimo, ma il suo interesse è catturato dalla forza trascinante della grande massa indistinta di esseri umani senza potere individuale che soffrono, muoiono, subiscono in nome di ideali e strategie senza senso, ma che alla fine sono i soli in grado di far accadere la Storia.
Il materialismo dialettico è dietro l'angolo, ma la forma è il romanzo, e questo fa di Guerra e Pace qualcosa di più della somma dei ragionamenti che ho appena parzialmente e goffamente riassunto. Ricorda le pagine migliori di Marx e Hegel quando parlano di spiritualità e di giustizia, con invenzione narrativa integrata nell'analisi e la prospettiva storica di un nobile russo conservatore.
Un'esperienza che consiglio a tutti. ( )