This is the third volume to appear in an edition that will be the first complete, critical, and annotated English translation of all of Nietzsche's work. Volume 2: "Unfashionable Observations," translated by Richard T. Gray, was published in 1995; Volume 3: "Human, All Too Human (I)," translated by Gary Handwerk, was published in 1997. The edition is a new English translation, by various hands, of the celebrated Colli-Montinari edition, which has been acclaimed as one of the most important works of scholarship in the humanities in the last half century. The present volume provides for the first time English translations of all of Nietzsche's unpublished notebooks from the summer of 1872 to the end of 1874. The major works published in this period were the first three "Unfashionable Observations": "David Strauss the Confessor and the Writer," "On the Utility and Liability of History for Life," and "Schopenhauer as Educator." Translations of the preliminary notes for these pieces are coordinated with the translations of the published texts printed in Volume 2: "Unfashionable Observations." The content of these notebooks goes far beyond the notes and plans for published and unpublished "Unfashionable Observations," encompassing numerous sketches related to Nietzsche's major philological project from this period, a book on the pre-Platonic Greek philosophers. The ideas that emerged from Nietzsche's deliberations on these early Greek thinkers are absolutely central to his thought from this period and contribute in significant ways to the development of several of his major themes: the role of the philosopher vis-a-vis his age and the surrounding culture; the relationships among philosophy, art, and culture; the metaphorical nature of language and its relationship to knowledge; the unmasking of the modern drive for absolute "truth" as a palliative against the horror of existence; and Nietzsche's "unfashionable" attack on modern science and modern culture, especially on the Germany of the Bismarck Reich. These notebooks represent important transitional documents in Nietzsche's intellectual development, marking, among other things, the shift away from philological studies toward unabashed cultural criticism.
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这部作品的行文节奏极不稳定,时而像被按下快进键的电影,信息量爆炸,要求读者以极高的速度处理信息;时而又陷入一种近乎停滞的、冗长而细密的自我对话中,仿佛作者正对着一面镜子,试图辨认出镜中那个“不合时宜”的自己。我个人最欣赏的是其中对“沉默的价值”的探讨,作者似乎认为,真正深刻的见解往往无法用语言完整表达,因此他留下了大量的空白、断裂和未完成的句子,这些“留白”反而比满溢的文字更具张力。这种对语言局限性的承认,展现了一种超越技巧的坦诚。这本书更像是一份私人日记的节选,未经编辑,未经粉饰,带着一股原始的、未经驯服的力量,它不迎合任何人,也不解释自己,只是以一种近乎傲慢的姿态,邀请那些有勇气深入的人,去探索它那广阔而荒凉的内心疆域。
评分这本书给我的感觉,就像是走进了一个极其私人化的精神迷宫,作者似乎完全不顾及读者的感受,任性地将他脑海中闪过的所有碎片化的思想、零星的观察和未经修饰的情感倾泻而出。文字的密度高得惊人,几乎没有喘息的空间,每一个句子都像是一个微缩的世界,承载着沉重的哲学思辨或者是对日常琐事的近乎偏执的记录。我尤其注意到其中关于时间流逝的描绘,它不是线性的,而是像钟摆一样在过去与现在之间剧烈摇摆,充满了对“错过”和“未曾发生”的深刻喟叹。这种非线性的叙事,虽然在结构上显得有些松散,却极大地增强了作品的真实感和原始冲动力,仿佛我们真的在偷窥一个天才不为人知的工作手稿。读完之后,我感到一种深刻的疲惫,但随之而来的是一种奇特的满足感,仿佛完成了一次漫长而艰苦的朝圣之旅,虽然目的地模糊不清,但过程本身已足够震撼人心。
评分从文学技巧的角度来看,这部作品展现出一种令人咋舌的实验精神。它毫不留情地打破了传统小说的叙事规范,场景转换如同梦境一般毫无预兆,人物的身份和背景在不同章节间发生模糊的重叠,令人真假难辨。我曾尝试梳理出一条清晰的故事情节主线,但很快就放弃了,因为这似乎违背了作者的初衷。这本书似乎更专注于捕捉“瞬间的本质”而非宏大的叙事。作者对细节的捕捉能力令人称奇,他能将一个极其微小的动作,比如阳光穿过窗帘缝隙投下的光斑,扩展成一段绵延数页的沉思,探讨物理现象与人类心理状态的相互作用。这种将微观放大到近乎失真的处理方式,使得阅读体验充满了不确定性,你永远不知道下一秒等待你的是诗意的颂歌还是尖锐的讽刺,风格的极端摇摆让人始终保持着高度的警觉。
评分这部书的封面设计简直是视觉上的挑战,厚重且略显陈旧的装帧,仿佛是从一个尘封已久的阁楼角落里被小心翼翼地取出来。内页的纸张泛着一种柔和的米黄色,触感粗粝,散发着一种难以言喻的古旧气息,让人不禁联想到那个遥远而“不合时宜”的年代。书名本身就带着一种反叛的意味,似乎在宣告着对当下流行文化的蔑视,而内容更是充满了难以捉摸的跳跃性和跳跃性的叙事结构。阅读的过程中,我时常感到一种强烈的疏离感,仿佛作者的思维像是一条曲折的河流,时而湍急地冲刷着既有的认知,时而又陷入低吟的沉思。有些段落的语言极其晦涩,充满了生僻的词汇和复杂的句式,需要反复揣摩才能捕捉到其背后的意图,这无疑给普通读者设置了不小的门槛。然而,正是这种挑战性,让我更加沉浸其中,试图在字里行间寻找那些被主流社会所忽视的真理和洞察,它更像是一场智力上的攀登,而非轻松的阅读体验。
评分老实说,这本书绝对不是那种适合在咖啡馆里轻松翻阅的读物,它更像是需要一盏台灯、一把舒服的椅子以及一整段不受打扰的时间,才能与之“对话”。我发现自己不得不频繁地停下来,拿出笔记本记录下那些触动我的句子,因为它们往往一闪而过,稍不留神就会被后面的内容淹没。书中流露出的那种“不合时宜”感,并非故作姿态,而是一种深植于作者世界观中的真实写照,他似乎对那些被时代推崇的价值观抱有一种近乎本能的抵触。这种疏离感,反而形成了一种独特的魅力,它迫使我们审视自身所处的环境,反思我们为了融入“时尚”而放弃了多少本真的思考。如果你期待的是一本能提供明确答案或轻松娱乐的作品,那么你很可能会感到失望和挫败,但如果你渴望的是一种对思维边界的拓展,那么这本书无疑是一剂强效的催化剂。
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