FOREWORD<br > It often has been said that the people were not properly<br > prepared for the liturgical renewal of the Second Vatican<br > Council. That was so, of course, because neither were the<br > bishops, priests, and religious educators. What was most<br > lacking on the part of all -- and especially here in the United<br > States -- was a sense of history. Liturgy had been seen as a<br > set of immutable rubrics, divinely inspired and divinely<br > transmitted. The multiple sources and the many factors that<br > brought into being our liturgy before Vatican II were not<br > generally known. If only Father Loret s book had been<br > written in 1964 and had become a part of a mandated reading<br > list for all Catholics!<br > Father Pierre Loret, C.SS.R., has written a history of the<br > Mass for everyone. That is, indeed, a brave undertaking.<br > Many scholars will criticize the book for being too simple<br > and unnuanced, some will say it does not incorporate schol-<br > arship since the time of Josef Jungmann (whose monumental<br > work appeared in German in 1948), some will say that at<br > times it seems more apologetical than historical; but I am<br > sure all will agree that the risk had to be taken and that Father<br > Loret has succeeded well.<br > The liturgical renewal of Vatican II was well prepared by<br >scholars and particular groups. Intensified historical studies<br >and monographs had been appearing in scholarly journals<br >since the last century. They were written for the most part by<br >Benedictine n~onks, forced in the period of monastic resto-<br >ration in the 19th century to record the roots of their spiritual-<br >ity. These studies had led to practical, pastoral results in the<br >liturgical movements that swept Europe and the United<br >States before and after the Second World War. Nevertheless,<br >knowledge of this renewal was still limited to experts before<br >the Council. The Council made it the living heritage of all<br >Catholics.<br >
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深入阅读后,我发现这本书在对社会阶层的刻画上展现出了令人不安的洞察力。作者毫不留情地揭示了权力结构下那些微妙的压迫与被压迫的关系。那些贵族之间的虚伪寒暄,以及底层人民在夹缝中求生存的挣扎,都被描绘得入木三分,充满了真实感和历史的沉重感。它没有进行简单的道德审判,而是将人物置于一个极其复杂的道德灰色地带,让他们做出艰难的选择。例如,某个次要角色的困境,看似与主线无关,却折射出整个时代背景下的无力感,这种细节的处理非常高明。我常常在阅读时停下来,思考那些人物在那个特定的历史节点上,除了那样做还能怎样。这本书成功地避免了将历史人物脸谱化,而是深入挖掘了他们在特定环境下人性的幽暗与光辉,读罢,心中久久不能平静,对人性的复杂性有了更深一层的理解。
评分从结构上看,作者显然在尝试一种非传统的编年体叙事,将多个时间线索编织得天衣无缝,使得整部作品的张力始终维持在高位。然而,这种复杂性也带来了一定的阅读门槛。在故事进行到中段,当我试图梳理清楚不同家族分支间的复杂联姻关系以及他们各自所扮演的历史角色时,确实需要反复回顾前面的章节。虽然这种精妙的网状结构最终会带来巨大的满足感,但初期需要读者投入极高的专注力去“搭建”这个故事的骨架。它不适合在通勤的碎片时间快速浏览,它要求你蜷缩在安静的角落,手边备着笔和纸,去标记那些关键的人名和事件节点。这本书更像是需要被“攻克”的文学堡垒,一旦成功穿透了初期的迷雾,你将会被它内部精妙的机械装置所震撼,那是一种智力上的愉悦和对作者构建世界能力的由衷敬佩。
评分这本书的封面设计极其引人注目,那种复古的烫金字体配上深沉的墨绿色背景,立刻就带给人一种历史的厚重感,仿佛真的要翻开一本尘封已久的古籍。我是在一家独立书店偶然发现它的,当时被它散发出的那种难以言喻的古典气质所吸引。拿到手里,纸张的质感也相当出色,微微有些粗粝,但翻页时发出的“沙沙”声响,让人感到一种仪式感。我期待它能讲述一个宏大叙事,或许是某个失落文明的兴衰史,或者是一段充满戏剧性转折的家族秘辛。那种需要沉下心来,细细品味文字间留白的阅读体验,正是我所追求的。我尤其希望作者能在描绘人物心理活动时,能像雕刻家一样精雕细琢,让每一个角色的喜怒哀乐都鲜活得触手可及,而不是流于表面,仅仅是事件的记录者。封面和装帧无疑成功地构建了一个引人入胜的“引子”,为接下来的阅读旅程设定了一个非常高的基调和期待值。
评分这本书的语言风格转变令人印象深刻。在描述宏大历史事件时,它的语言变得磅礴有力,句式修长,充满了史诗般的庄严感,仿佛作者本人站在时间的洪流中回望过去。然而,当视角切换到个体的情感纠葛时,语言又立刻变得短促、破碎,充满了内心独白和未尽之言,精确地传达出人物内心的焦虑和不安。这种在不同音域间自如切换的能力,体现了作者深厚的文学功底。我尤其欣赏它对“沉默”的描绘。很多时候,最关键的对话和情感的爆发点,都潜藏在人物的沉默之中,作者通过大量的环境描写和身体语言暗示来填充这些空白,留给读者巨大的想象空间。这使得阅读过程充满了互动性,读者不再是被动的接受者,而是积极的参与者,去解读那些没有被说出口的“潜台词”。这种“留白”的艺术,使得整部作品的层次感异常丰富。
评分这本书的开篇叙事节奏把握得非常巧妙,没有急于抛出核心冲突,而是用了一种近乎散文诗般的笔触,缓慢地铺陈出故事发生地的环境氛围。那种对光影、气味、乃至微小声音的捕捉,细腻得令人惊叹。我仿佛能闻到潮湿的泥土气息和远处飘来的焚香味道。作者的遣词造句功力可见一斑,很多地方的措辞是如此精准且富有画面感,读起来简直像是在欣赏一幅用文字绘制的油画。它没有采用常见的线性叙事,而是通过不同时间点的碎片化闪回,逐步揭示人物关系和背景脉络,这种处理方式极大地增加了阅读的挑战性和趣味性——你必须像一个侦探一样,将这些散落的线索拼凑起来。这种对叙事结构的创新性尝试,无疑是当代文学中一股清流,它要求读者付出更多的专注力,但回报也是丰厚的。我特别喜欢它在描述那些日常琐事时所蕴含的深层象征意义,让平凡的生活瞬间变得富有哲思。
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