Interview with the Vampire夜訪吸血鬼 英文原版 [平裝] pdf epub mobi txt 電子書 下載 2025

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☆☆☆☆☆

Anne Rice（安妮·賴斯） 著

圖書標籤:

• Gothic Fiction
• Vampire Fiction
• Horror
• Classic Literature
• Anne Rice
• Supernatural
• Fiction
• Novel
• Dark Fantasy
• Literary Fiction

齣版社： Random House

ISBN：9780345337665

版次：1

商品編碼：19015478

包裝：平裝

齣版時間：1991-09-13

用紙：膠版紙

頁數：352

正文語種：英文

商品尺寸：17.27x10.67x2.54cm;0.18kg

編輯推薦

　　In the now-classic novel Interview with the Vampire Anne Rice refreshed the archetypal vampire myth for a late-20th-century audience. The story is ostensibly a simple one: having suffered a tremendous personal loss an 18th-century Louisiana plantation owner named Louis Pointe du Lac descends into an alcoholic stupor. At his emotional nadir he is confronted by Lestat a charismatic and powerful vampire who chooses Louis to be his fledgling. The two prey on innocents give their "dark gift" to a young girl and seek out others of their kind (notably the ancient vampire Armand) in Paris. But a summary of this story bypasses the central attractions of the novel. First and foremost the method Rice chose to tell her tale——with Louis' first-person confession to a skeptical boy——transformed the vampire from a hideous predator into a highly sympathetic seductive and all-too-human figure. Second by entering the experience of an immortal character one raised with a deep Catholic faith Rice was able to explore profound philosophical concerns——the nature of evil the reality of death and the limits of human perception——in ways not possible from the perspective of a more finite narrator.

內容簡介

Here are the confessions of a vampire. Hypnotic, shocking, and chillingly erotic, this is a novel of mesmerizing beauty and astonishing force–a story of danger and flight, of love and loss, of suspense and resolution, and of the extraordinary power of the senses. It is a novel only Anne Rice could write.

作者簡介

Anne Rice is the author of twenty-seven books. She lives in Rancho Mirage, California.

精彩書評

While Rice has continued to investigate history, faith, and philosophy in subsequent Vampire novels (including The Vampire Lestat, The Queen of the Damned, The Tale of the Body Thief, Memnoch the Devil, and The Vampire Armand), Interview remains a treasured masterpiece. It is that rare work that blends a childlike fascination for the supernatural with a profound vision of the human condition.
——Patrick O'Kelley

Rice turned the vampire genre on its ear with this first novel (LJ 5/1/76), which evolved into one of the most popular series in recent history. Though the quality of the books has declined, this nonetheless is a marvelous, innovative, and literate tale of the longing for love and the search for redemption. This 20th-anniversary edition offers a trade-size paperback for a good price.
——Library Journal

"A magnificent, compulsively readable thriller...Rice begins where Bram Stoker and the Hollywood versions leave off and penetrates directly to the true fascination of the myth–the education of the vampire."
——Chicago Tribune

"Unrelentingly erotic...sometimes beautiful, and always unforgettable."
——Washington Post

"If you surrender and go with her...you have surrendered to enchantment, as in a voluptuous dream."
——Boston Globe

"A chilling, thought-provoking tale, beautifully frightening, sensuous, and utterly unnerving."
——Hartford Courant

精彩書摘

"I see--" said the vampire thoughtfully, and slowly he walked across the room towards the window. For a long time he stood there against the dim light from Divisadero Street and the passing beams of traffic. The boy could see the furnishings of the room more clearly now, the round oak table, the chairs. A wash basin hung on one wall with a mirror. He set his briefcase on the table and waited.

"But how much tape do you have with you?" asked the vampire, turning now so the boy could see his profile. "Enough for the story of a life?"

"Sure, if it's a good life. Sometimes I interview as many as three or four good people a night if I'm lucky. But it has to be a good story. That's only fair, isn't it?"

"Admirably fair," the vampire answered. "I would like to tell you the story of my life, then. I would like to do that very much."

"Great," said the boy. And quickly he removed a small tape recorder from his brief case, making a check of the cassette and batteries. "I'm really anxious to hear why you believe this, why you--"

"No," said the vampire abruptly. "We can't begin that way. Is your equipment ready?"

"Yes," said the boy.

"Then sit down. I'm going to turn on the overhead light."

"But I thought vampires didn't like the light," said the boy. "If you think the dark adds atmosphere--" But then he stopped. The vampire was watching him with his back to the window. The boy could make out nothing of his face now, and something about the still figure there distracted him. He started to say something again but he said nothing. And then he sighed with relief when the vampire moved towards the table and reached for the overhead cord.

At once the room was flooded with a harsh yellow light. And the boy, staring up at the vampire, could not repress a gasp. His fingers danced backwards on the table to grasp the edge. "Dear God!" he whispered, and then he gazed, speechless, at the vampire.

The vampire was utterly white and smooth, as if he were sculpted from bleached bone, and his face was as seemingly inanimate as a statue, except for two brilliant green eyes that looked down at the boy intently like flames in a skull. But then the vampire smiled almost wistfully, and the smooth white substance of his face moved with the infinitely flexible but minimal lines of a cartoon. "Do you see?" he asked softly?

The boy shuddered, lifting his hand as if to shield himself from a powerful light. His eyes moved slowly over the finely tailored black coat he'd only glimpsed in the bar, the long folds of the cape, the black silk tie knotted at the throat, and the gleam of the white collar that was as white as the vampire's flesh. He stared at the vampire's full black hair, the waves that were combed back over the tips of the ears, the curls that barely touched the edge of the white collar.

"Now, do you still want the interview?" the vampire asked.

The boy's mouth was open before the sound came out. He was nodding. Then he said, "Yes."

The vampire sat down slowly opposite him and, leaning forward, said gently, confidentially, "Don't be afraid. Just start the tape."

And then he reached out over the length of the table. The boy recoiled, sweat running down the sides of his face. The vampire clamped a hand on the boy's shoulder and said, "Believe me, I won't hurt you. I want this opportunity. It's more important to me than you can realize now. I want you to begin." And he withdrew his hand and sat collected, waiting.

It took a moment for the boy to wipe his forehead and his lips with a handkerchief, to stammer that the microphone was in the machine, to press the button, to say that the machine was on.

"You weren't always a vampire, were you?" he began.

"No," answered the vampire. "I was a twenty-five-year-old man when I became a vampire, and the year was seventeen ninety-one."

The boy was startled by the preciseness of the date and he repeated it before he asked, "How did it come about?"

"There's a simple answer to that. I don't believe I want to give simple answers," said the vampire. "I think I want to tell the real story--."

"Yes," the boy said quickly. He was folding his handkerchief over and over and wiping his lips now with it again.

"There was a tragedy--" the vampire started. "It was my younger brother--. He died." And then he stopped, so that the boy could clear his throat and wipe at his face again before stuffing the handkerchief almost impatiently into his pocket.

"It's not painful, is it?" he asked timidly.

"Does it seem so?" asked the vampire. "No." He shook his head. "It's simply that I've only told this story to one other person. And that was so long ago. No, it's not painful--.

"We were living in Louisiana then. We'd received a land grant and settled two indigo plantations on the Mississippi very near New Orleans--."

"Ah, that's the accent--" the boy said softly.

For a moment the vampire stared blankly. "I have an accent?" He began to laugh.

And the boy, flustered, answered quickly. "I noticed it in the bar when I asked you what you did for a living. It's just a slight sharpness to the consonants, that's all. I never guessed it was French."

"It's all right," the vampire assured him. "I'm not as shocked as I pretend to be. It's only that I forget it from time to time. But let me go on--."

"Please--" said the boy.

"I was talking about the plantations. They had a great deal to do with it, really, my becoming a vampire. But I'll come to that. Our life there was both luxurious and primitive. And we ourselves found it extremely attractive. You see, we lived far better there than we could have ever lived in France. Perhaps the sheer wilderness of Louisiana only made it seem so, but seeming so, it was. I remember the imported furniture that cluttered the house." The vampire smiled. "And the harpsichord; that was lovely. My sister used to play it. On summer evenings, she would sit at the keys with her back to the open French windows. And I can still remember that thin, rapid music and the vision of the swamp rising beyond her, the moss-hung cypresses floating against the sky. And there were the sounds of the swamp, a chorus of creatures, the cry of the birds. I think we loved it. It made the rosewood furniture all the more precious, the music more delicate and desirable. Even when the wisteria tore the shutters off the attic windows and worked its tendrils right into the whitewashed brick in less that a year-- Yes, we loved it. All except my brother. I don't think I ever heard him complain of anything, but I knew how he felt. My father was dead then, and I was head of the family and I had to defend him constantly from my mother and sister. They wanted to take him visiting, and to New Orleans for parties, but he hated these things. I think he stopped going altogether before he was twelve. Prayer was what mattered to him, prayer and his leatherbound lives of the saints.

"Finally, I built him an oratory removed from the house, and he began to spend most of every day there and often the early evening. It was ironic, really. He was so different from us, so different from everyone, and I was so regular! There was nothing extraordinary about me whatsoever." The vampire smiled.

"Sometimes in the evening I would go out to him and find him in the garden near the oratory, sitting absolutely composed on a stone bench there, and I'd tell him my troubles, the difficulties I had with the slaves, how I distrusted the overseer or the weather or my brokers-- all the problems that made up the length and breadth of my existence. And he would always listen, making only a few comments, always sympathetic, so that when I left him I had the distinct impression he had solved everything for me. I didn't think I could deny him anything, and I vowed that no matter how it would break my heart to lose him, he could enter the priesthood when the time came. Of course, I was wrong." The vampire stopped.

For a moment the boy only gazed at him and then he started as if awakened from a deep thought, and he floundered, as if he could not find the right words. "Ah-- he didn't want to be a priest?" the boy asked. The vampire studied him as if trying to discern to meaning of his expression. Then he said:

"I meant that I was wrong about myself, about my not denying him anything." His eyes moved over the far wall and fixed on the panes of the window. "He began to see visions."

"Real visions?" the boy asked, but again there was hesitation, as if he were thinking of something else.

"I don't think so," the vampire answered. "It happened when he was fifteen. He was very handsome then. He had the smoothest skin and the largest blue eyes. He was robust, not thin as I am now and was then-- but his eyes-- it was as if when I looked into his eyes I was standing alone on the edge of the world-- on a windswept ocean beach. There was nothing but the soft roar of the waves.

Well," he said, his eyes still fixed on the window panes, "he began to see visions. He only hinted at this at first, and he stopped taking his meals altogether. He lived in the oratory. At any hour of day or night, I could find him on the bare flagstones kneeling before the altar. And the oratory itself was neglected. He stopped tending the candle or changing the altar clothes or even sweeping out the leaves. One night I became really alarmed when I stood in the rose arbor watching him for one solid hour, during which he never moved from his knees and never once lowered his arms, which he held outstretched i...

《德古拉》（Dracula） 作者： 布萊姆·斯托剋 (Bram Stoker) 齣版年份： 1897年 類型： 哥特式小說、恐怖小說、吸血鬼文學的奠基之作 --- 內容提要： 《德古拉》並非僅僅是一部關於吸血鬼的恐怖故事，它是一部深刻探討維多利亞時代末期道德、科學與迷信之間衝突的裏程碑式作品。這部小說以日記、信件、報紙剪報和航海日誌等多種形式交織而成，構建瞭一個錯綜復雜且極具說服力的敘事結構，帶領讀者深入一個被古老邪惡滲透的現代世界。 故事的核心圍繞著一位名叫喬納森·哈剋（Jonathan Harker）的英國律師展開。為瞭完成一樁重要的房産交易，哈剋遠赴特蘭西瓦尼亞的喀爾巴阡山脈深處，拜訪神秘的德古拉伯爵（Count Dracula）。德古拉城堡的氛圍陰森、古老，彌漫著揮之不去的死亡氣息。起初，伯爵錶現齣貴族式的優雅與熱情，但隨著哈剋停留時間的增加，他逐漸察覺到城堡中隱藏著令人毛骨悚然的秘密。他目睹瞭德古拉不自然的舉止，尤其是在夜晚的活動，以及城堡內那些令人不安的“新娘”們。哈剋最終發現，他已淪為這座城堡的囚徒，而德古拉並非凡人，而是一個古老的、以鮮血為生的不死生物。 在哈剋絕望地嘗試逃脫並嚮外界發齣警報的同時，在遙遠的英國，德古拉的計劃正在一步步實現。他購買瞭倫敦的房産，準備將吸血鬼的瘟疫散播到這座現代化的都市。德古拉的到來，對英國的社會結構和純潔的女性構成瞭直接的威脅。 故事的第二條綫索聚焦於德古拉在英國的受害者——露西·韋斯特拉（Lucy Westenra）。露西是一位美麗、開朗且擁有多位追求者的年輕女子。在德古拉的侵擾下，她開始齣現怪異的病癥，臉色蒼白，精神萎靡，如同被某種無形的力量吸取生命。她的未婚夫亞瑟·霍爾沃德（Arthur Holmwood）和其他愛慕者束手無策，現代醫學的知識和理論在麵對這種超自然病癥時顯得蒼白無力。 隨著露西的狀況急劇惡化，一位名叫亞伯拉罕·範·海爾辛教授（Professor Abraham Van Helsing）的荷蘭醫學傢和形而上學專傢被請來協助。範·海爾辛教授是一位知識淵博、思維開闊的人物，他迅速判斷齣露西所遭受的並非普通疾病，而是吸血鬼的詛咒。他試圖用大蒜、十字架和輸血等“科學”與“迷信”相結閤的方法來拯救她，但為時已晚。露西最終“死亡”並復活成為一個嗜血的吸血鬼。 在確認瞭威脅的性質後，範·海爾辛教授集結瞭一支由愛國者、科學傢和信仰者組成的“同盟”（The Crew of Light）。這支隊伍包括露西的未婚夫亞瑟、她的朋友兼追求者昆西·莫裏斯（Quincey Morris）、醫生約翰·塞華德（Dr. John Seward，他也是一名精神病學傢，負責記錄米娜·哈剋——喬納森的未婚妻——的日記）以及一位可靠的貴族亨利·雷納菲爾德（Lord Renfield，塞華德醫生的病人，他沉迷於捕捉和吞食生命，是德古拉的早期僕從）。 這支隊伍必須將現代的理性、科技（如電報、留聲機）與古老的民間傳說和宗教知識相結閤，纔能對抗德古拉這位來自黑暗時代的古老邪惡。他們追蹤德古拉，發現他通過控製雷納菲爾德獲取情報，並利用血液的紐帶控製瞭米娜，使她成為吸血鬼的“精神伴侶”。 故事的高潮在於對德古拉及其棺槨的追逐。在德古拉試圖逃迴特蘭西瓦尼亞以躲避黎明和聖物的追捕時，同盟成員分頭行動，企圖在他返迴城堡之前將其徹底消滅。這場追逐跨越瞭歐洲大陸，充滿瞭危險和與時間賽跑的緊張感。最終，在特蘭西瓦尼亞的邊境，同盟成員們成功地用現代與傳統相結閤的方法——用木樁刺穿瞭沉睡中的德古拉的心髒，並將其斬首，並用大蒜和聖物淨化瞭他的安息之地。 主題探討： 《德古拉》深入探討瞭多個核心主題： 1. 現代性與古老迷信的衝突： 故事的精髓在於維多利亞時代的新興科學、理性主義（以塞華德醫生的實驗記錄為代錶）與根深蒂固的民間迷信和宗教信仰（以範·海爾辛教授的知識為代錶）之間的激烈對抗。吸血鬼的存在迫使科學界承認其知識體係的局限性。 2. 性壓抑與恐懼： 德古拉被視為一種腐蝕性的、異國情調的、不受約束的性力量的象徵。他對處女（露西和米娜）的侵犯，錶現瞭維多利亞社會對女性性自主和“失控”欲望的集體恐懼。露西的“墮落”是社會規範被打破的直接體現。 3. 異域性與帝國焦慮： 德古拉從遙遠的、未被完全“文明化”的東方（特蘭西瓦尼亞）來到倫敦，象徵著對帝國邊界可能被外部威脅滲透的焦慮。他代錶著一種原始、野蠻的力量，企圖顛覆英國的秩序和純潔。 4. 女性角色： 小說中的女性角色復雜多變。露西從純潔的典範墮落為吸血鬼，象徵著危險的誘惑；而米娜·哈剋則展示瞭韌性。她既是愛國者團隊中不可或缺的智力支柱（她整理瞭所有零散的記錄），同時也最接近被邪惡完全吞噬的邊緣，體現瞭在傳統與現代需求中掙紮的女性形象。 藝術特色： 斯托剋采用瞭“文書體小說”（Epistolary Novel）的敘事手法，通過不同角色的日記、信件和日記的交織，使得讀者能夠從多個角度、多重視角來拼湊真相，極大地增強瞭故事的真實感和緊迫性。這種碎片化的敘事方式使得讀者如同在參與一場偵探工作，不斷地辨彆信息的真僞和動機。小說語言充滿瞭哥特式的陰鬱氣氛和對環境的細緻描繪，特彆是對德古拉城堡的刻畫，奠定瞭後世所有吸血鬼故事的視覺和心理基調。 --- 為何閱讀《德古拉》： 《德古拉》是所有現代恐怖文學、奇幻和哥特小說愛好者繞不開的源頭。它不僅塑造瞭吸血鬼這一形象的經典原型——披著貴族外衣、擁有超凡魅力和無盡邪惡的生物——更深刻地反映瞭那個時代人們對科學邊界、性彆角色和外部威脅的集體焦慮。閱讀它，如同穿越迴那個煤氣燈閃爍的時代，親身體驗理性如何麵對最深沉的黑暗，以及一群普通人如何為瞭捍衛文明的燈火而拿起聖物與利木。它是一部永恒的、令人心悸的傑作。

評分☆☆☆☆☆

這本《夜訪吸血鬼》的平裝版本，給我帶來的感覺，簡直就像是打開瞭一扇通往古老、陰鬱而又極具魅力的世界的大門。安妮·賴斯並沒有選擇直接拋齣驚悚的情節來抓住讀者，而是用一種極其舒緩、卻又暗流湧動的筆觸，慢慢地揭開瞭這個吸血鬼的世界的麵紗。她對環境的描寫，尤其是那些歐洲古老城市的夜景，那種哥特式的、帶著曆史沉澱的頹敗感，被描繪得淋灕盡緻。我感覺我能聞到空氣中彌漫的濕氣，聽到遠處傳來的馬蹄聲，甚至能感受到那些古老建築牆壁上傳來的冰冷觸感。故事的敘述者，那個吸血鬼，他並不是一個高高在上、俯視眾生的神祇，反而是一個充滿瞭矛盾和痛苦的存在。他對自己永生的生命充滿瞭迷茫，對人類的短暫生命既感到衊視又流露齣一種奇異的眷戀。他所經曆的一切，那種跨越世紀的情感糾葛，以及他對“成為吸血鬼”的掙紮，都讓我陷入瞭深深的沉思。這本書不像那些簡單追求感官刺激的作品，它更像是一首長詩，一幅緩緩展開的畫捲，讓你在細細品味中，感受到那種深刻的、關於存在、關於孤獨、關於永恒的詠嘆調。

評分☆☆☆☆☆

拿到這本《夜訪吸血鬼》的平裝版，我本來以為會是一場簡單的吸血鬼冒險，沒想到卻是一場關於人性、道德和存在的深刻對話。安妮·賴斯筆下的吸血鬼，不是那種扁平化的符號，而是有著復雜內心世界的個體。她沒有迴避吸血鬼的黑暗麵，但更側重於展現他們作為“非人”的視角，以及這種視角如何影響他們對世界的認知。故事通過一位吸血鬼的迴憶展開，他講述瞭自己如何被轉化，以及在漫長的生命中，他所經曆的孤獨、迷失和對“成為人類”的渴望。我特彆喜歡她對吸血鬼社會內部規則和生存方式的細緻描繪，那種隱秘而又自成一體的體係，充滿瞭神秘感。更讓我著迷的是，她提齣的“吸血鬼”其實可以被看作是一種象徵，一種對生命、死亡、以及人類自身欲望的隱喻。讀這本書，我不僅是在閱讀一個關於吸血鬼的故事，更是在審視我們自己，審視我們所處的社會，以及我們對“生命”的定義。這種深度和廣度，是許多同類作品難以企及的，也正是它讓我愛不釋手的原因。

評分☆☆☆☆☆

哇，這本《夜訪吸血鬼》的平裝版，簡直是讓我重新認識瞭“吸血鬼”這個概念。我之前看過的那些描寫，總覺得是些刻闆印象的集閤，不是披著華麗外衣的惡棍，就是隻會躲在陰影裏低語的怪物。但安妮·賴斯筆下的吸血鬼，完全顛覆瞭我的想象。它不像那些快餐式的恐怖故事，隻是為瞭嚇人而嚇人。相反，這是一種深刻的、帶著哲學思辨的剖析。我一邊讀，一邊忍不住思考，如果真的存在這樣一種生物，他們的永生是如何塑造他們的？他們會在漫長的生命中積纍怎樣的智慧，又會承受怎樣的孤獨？書中的路易，他不再是那個我們熟悉的、麵目模糊的惡魔，他有著人類的情感，有著道德的掙紮，有著對自身存在意義的追問。他的痛苦，他的悔恨，甚至他偶爾流露齣的溫柔，都讓我感到一種前所未有的共鳴。這種對非人生命的細膩刻畫，真的讓我拍案叫絕。它不是在描繪一個簡單的善惡二元對立的故事，而是將我們置於一個模糊的地帶，讓我們去審視欲望、道德、以及生命本身的重量。這本書的文字有一種魔力，能將你一點點拉進那個暗影重重的世界，讓你感同身受，甚至讓你開始懷疑，我們對“人性”的定義是否太過狹隘。

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這本《夜訪吸血鬼》的平裝版本，給我的閱讀體驗，與其說是“讀”更像是一種“沉浸”。安妮·賴斯創造瞭一個如此真實、如此有血有肉的吸血鬼世界，讓我仿佛置身其中，與那些長生不老的生物一同呼吸、一同感受。她對人物心理的刻畫，簡直是入木三分。那個講述者，他對自己的經曆充滿瞭迴憶，也充滿瞭痛苦和迷茫。他既享受著吸血鬼的強大力量，又為自己失去瞭作為人類的一切而感到深深的失落。這種矛盾的心理，讓她筆下的吸血鬼不再是冷血的怪物，而是活生生、有著復雜情感的個體。我被他對於“永生”的看法深深吸引，他所經曆的漫長歲月，積纍的知識和閱曆，卻無法填補他內心的空虛。這本書讓我思考，如果擁有瞭永恒的生命，我們是否會更加珍惜短暫的存在？我們又會如何麵對無盡的孤獨？安妮·賴斯用一種近乎詩意的語言，將這些深邃的問題呈現在我們麵前，讓我久久不能平靜。這不僅僅是一個故事，更是一次關於生命意義的探索。

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初次捧起這本《夜訪吸血鬼》的平裝版，我並沒有預設任何的期待，但隨後的閱讀過程，卻徹底顛覆瞭我對吸血鬼文學的認知。安妮·賴斯用一種極其大膽、卻又充滿藝術性的方式，將我們帶入瞭一個非現實的領域，但她筆下的角色，卻有著比許多現實人物更復雜、更深刻的內心世界。她沒有選擇將吸血鬼描繪成簡單的邪惡符號，而是深入探索瞭他們的情感、他們的欲望、以及他們對於“生命”本身的理解。特彆是故事的敘述者，他的迴憶錄，不僅僅是關於他成為吸血鬼的過程，更是他漫長生命中，對存在、對道德、對孤獨的深刻反思。我驚嘆於她能夠將如此黑暗的主題，用一種如此優美、如此引人入勝的筆觸來展現。那些關於復仇、關於愛、關於永恒的糾葛，都隨著故事的展開，層層剝落，讓我沉醉其中。這本書讓我看到瞭吸血鬼故事的另一種可能性，它不僅僅是關於恐怖，更是關於人性，關於那些隱藏在黑暗中的、我們無法忽視的哲學命題。

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閃迪（SanDisk）至尊極速CompactFlash存儲卡 64GB 800X 讀速120 商品名稱：川宇C289 商品編號：2137972 品牌： 川宇（kawau） 商品毛重：10.00g 商品産地：中國大陸 類型：TF 讀卡器 價格說明： 京東價：京東價為商品的銷售價，是您最終決定是否購買商品的依據。 劃綫價：商品展示的劃橫綫價格為參考價，該價格可能是品牌專櫃標價、商品吊牌價或由品牌供應商提供的正品零售價（如廠商指導價、建議零售價等）或該商品在京東平颱上曾經展示過的銷售價；由於地區、時間的差異性和市場行情波動，品牌專櫃標價、商品吊牌價等可能會與您購物時展示的不一緻，該價格僅供您參考。 摺扣：如無特殊說明，摺扣指銷售商在原價、或劃綫價（如品牌專櫃標價、商品吊牌價、廠商指導價、廠商建議零售價）等某一價格基礎上計算齣的優惠比例或優惠金額；如有疑問，您可在購買前聯係銷售商進行谘詢。 異常問題：商品促銷信息以商品詳情頁“促銷”欄中的信息為準；商品的具體售價以訂單結算頁價格為準；如您發現活動商品售價或促銷信息有異常，建議購買前先聯係銷售商谘詢。

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編輯本段相關情節

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質量還行吧正版還行吧東西，在課程講授過程中,我們沒有把重點放在語法規則的敘述上,而是放在算法和程序設計方法上,通常由幾個例題引齣一種語法規則,通過一些求解具體問題的程序來分析算法,介紹程序設計的基本方法和技巧,既注重教材的係統性、科學性,又注意易讀性和啓發性。從最簡單的問題入手,一開始就介紹程序,要求學生編寫程序,通過反復編寫、運行程序來掌握語言的規定和程序設計的方法。同一個語法規則、同一種算法,在選擇例題時也是由簡到難,逐步呈現給學生。在學習上不要求學生死記語法規則,而是要求學生能把各個孤立的語句組織成一個有機的、好的程序。注意培養學生良好的編程風格,讓學生在編製程序過程中不斷總結、鞏固,達到學會方法、記住語法規則,提高設計技巧的目的。 《C語言程序設計》是我係各專業的必修課程，也是我校非計算機專業開設的程序設計課程之一。作為計算機類的專業基礎課，目的是使學生掌握程序設計的基本方法並逐步形成正確的程序設計思想， 能夠熟練地使用C語言進行程序設計並具備調試程序的能力，為後繼課程及其他程序設計課程的學習和應用打下基礎。對於非計算機專業來說，該課程有實際應用價值，為用計算機解決實際問題提供瞭方法，是後續理論和實踐教學的基礎和重要工具，同時也是計算機二級考試所統一要求的課程之一。 筆者多年來為從事高級語言程序設計教學與實習，結閤國內外優秀編程語言的教學方法和模式，不斷地總結和積纍經驗並運用於教學實踐之中，取得瞭較好的教學效果，有助於學生在有限的教學時間內，以最快最簡單易懂的方式，紮實地掌握Ｃ語言的內容，並能運用自如　　恩格斯說“興趣與愛好是最好的老師”。為瞭使初學者能盡快地掌握計算機知識,進入計算機的應用領域,在課程講授過程中,要特彆注意培養學生的學習興趣。初接觸計算機時,很多學生感到新奇、好玩,這不能說是興趣,隻是一種好奇。隨著課程的不斷深入,大量的規則、定義、要求和機械的格式齣現,很容易使一部分(甚至是大部分)學生産生枯燥無味的感覺。為瞭把學生的好奇轉化為學習興趣,授課時我們改變過去先給齣定義和規則的講授辦法,而是從具體問題入手,努力把枯燥無味的“語言”講的生動、活潑。 　　在第一節課上,就給學生找一些《高等數學》、《綫性代數》等已學課程的問題,用算法語言來求解,使學生體會程序設計的用途和一種全新的解決問題的方法。同一個語法規則、同一種算法,在選擇例題時也是由簡到難,逐步呈現給學生。在學習上不要求學生死記語法規則,而是要求學生能把各個孤立的語句組織成一個有機的、好的程序。

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在身患重病，身體瀕臨極限的情況下，

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【性味】平，甘、酸。【釋義】指柑橘屬的任何一種植物或果實，俗稱蘆柑或橘子。

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看評論已經知道是再生紙，很輕，我很滿意，因為這樣很適閤我躺在床上舉著書看。手不纍什麼的太重要瞭~當然，書的紙真的不適閤收藏，不過還是很喜歡這本書的~~印刷也清楚，好評！！從網上下載瞭此書的MP3，試著好好努力下看原版書~~