My Name Is Red 我的名字叫紅 英文原版 [平裝] pdf epub mobi txt 電子書 下載 2025

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☆☆☆☆☆

Orhan Pamuk（奧爾罕·帕慕剋） 著

圖書標籤:

• 曆史小說
• 奧斯曼帝國
• 伊斯坦布爾
• 藝術
• 神秘
• 謀殺
• 愛情
• 文化衝突
• 手稿
• 繪畫

齣版社： Knopf Group

ISBN：9780375706851

商品編碼：19041832

包裝：平裝

齣版時間：2002-08-27

用紙：膠版紙

頁數：432

正文語種：英文

商品尺寸：13.46x2.54x20.07cm

內容簡介

At once a fiendishly devious mystery, a beguiling love story, and a brilliant symposium on the power of art, My Name Is Red is a transporting tale set amid the splendor and religious intrigue of sixteenth-century Istanbul, from one of the most prominent contemporary Turkish writers.

The Sultan has commissioned a cadre of the most acclaimed artists in the land to create a great book celebrating the glories of his realm. Their task: to illuminate the work in the European style. But because figurative art can be deemed an affront to Islam, this commission is a dangerous proposition indeed. The ruling elite therefore mustn’t know the full scope or nature of the project, and panic erupts when one of the chosen miniaturists disappears. The only clue to the mystery–or crime? –lies in the half-finished illuminations themselves. Part fantasy and part philosophical puzzle, My Name is Red is a kaleidoscopic journey to the intersection of art, religion, love, sex and power.

作者簡介

Orhan Pamuk was awarded the Nobel Prize in Literature in 2006. The author of The Museum of Innocence, Istanbul, and Snow, he lives in Istanbul and New York City.

目錄

MAP
AM A CORPSE
AM CALLED BLACK
AMA DOG
WILL BE CALLED A MURDERER
AM YOUR BELOVED UNCLE
AM ORHAN
AM CALLED BLACK
AM ESTHER
SHEKURE
AMATREE
AM CALLED BLACK
AM CALLED "BUTTE RFLY
AM CALLED "STORK"
AM CALLED "OLIVE"
AM ESTHER
……
T IS I.MASTER OSMAN
AM CALLED BLACK
AM ESTHER
AM AWOMAN
AM CALLED "BUTTERELY"

精彩書摘

Chapter 1
I Am a Corpse
I am nothing but a corpse now, a body at the bottom of a well.Although I drew my last breath long ago and my heart has stoppedbeating, no one, apart from that vile murderer, knows what'shappened to me. As for that wretch, he felt for my pulse andlistened for my breath to be sure I was dead, then kicked me in themidriff, carried me to the edge of the well, raised me up anddropped me below. As I fell, my head, which he had smashed with astone, broke apart; my face, my forehead and cheeks, were crushed;my bones shattered, and my mouth filled with blood.
For nearly four days I have been missing: My wife and childrenmust be searching for me; my daughter, spent from crying, must bestaring fretfully at the courtyard gate. Yes, I know they're all atthe window, hoping for my return.
But, are they truly waiting? I can't even be sure of that. Maybethey've gotten used to my absence-how dismal! For here, on theother side, one gets the feeling that one's former life persists.Before my birth there was infinite time, and after my death,inexhaustible time. I never thought of it before: I'd been livingluminously between two eternities of darkness.
I was happy; I realize now that I'd been happy. I made the bestilluminations in Our Sultan's workshop; no one could rival mymastery. Through the work I did privately, I earned nine hundredsilver coins a month, which, naturally, only makes all this evenharder to bear.
I was responsible for painting and embellishing books. Iilluminated the edges of pages, coloring their borders with themost lifelike designs of leaves, branches, roses, flowers andbirds. I painted scalloped Chinese-style clouds, clusters ofoverlapping vines and forests of color that hid gazelles, galleys,sultans, trees, palaces, horses and hunters. In my youth, I woulddecorate a plate, or the back of a mirror, or a chest, or at times,the ceiling of a mansion or of a Bosphorus manor, or even, a woodenspoon. In later years, however, I applied myself only to manuscriptpages because Our Sultan paid well for them. I can't say it seemsinsignificant now. You know the value of money even when you'redead.
After hearing the miracle of my voice, you might think, "Whocares what you earned when you were alive? Tell us what you cansee. Is there life after death? Where's your soul? What aboutHeaven and Hell? What is death like? Are you in pain?" You'reright, people are extremely curious about the Afterlife. Maybeyou've heard the story of the man who was so driven by thiscuriosity that he roamed among soldiers in battlefields. He soughta man who had died and returned to life amid the wounded strugglingfor their lives in pools of blood, a soldier who could tell himabout the secrets of the Otherworld. But one of Tamerlane'swarriors, taking the seeker for one of the enemy, cleared him inhalf with a smooth stroke of his scimitar, causing him to concludethat in the Hereafter man is split in two.
Nonsense! Quite the opposite, I'd even allege that souls dividedin life merge in the Hereafter. Contrary to the claims of sinfulinfidels who have fallen under the sway of the Devil, there isindeed another world, thank God, and the proof is that I amspeaking to you from here. I've died, but as you can plainly tell,I haven't ceased to be. Granted, I must confess, I haven'tencountered the rivers flowing beside the silver and gold kiosks ofHeaven, the broad-leaved trees bearing plump fruit and thebeautiful virgins mentioned in the Glorious Koran-though I do verywell recall how often and enthusiastically I made pictures of thosewide-eyed houris described in the chapter "That Which Is Coming."Nor is there a trace of those rivers of milk, wine, fresh water andhoney described with such flourish, not in the Koran, but byvisionary dreamers like Ibn Arabi. But I have no intention oftempting the faith of those who live rightly through their hopesand visions of the Otherworld, so let me declare that all I've seenrelates specifically to my own very personal circumstances. Anybeliever with even a little knowledge of life after death wouldknow that a malcontent in my state would be hard-pressed to see therivers of Heaven.
In short, I, who am known as Master Elegant Effendi, am dead, buthave not been interred, therefore my soul has not completely leftmy body. This extraordinary situation, although naturally my caseis not the first, has inflicted a horrible suffering upon theimmortal part of me. Though I cannot feel my crushed skull or mydecomposing body covered in wounds, full of broken bones andpartially submerged in ice-cold water, I do feel the deep tormentof my soul struggling desperately to escape its mortal coil. It'sas if the whole world, along with my body, were contracting into abolus of anguish.
I can only compare this contraction to the surprising sense ofrelease I felt during the unequaled moment of my death. Yes, Iinstantly understood that that wretch wanted to kill me when heunexpectedly struck me with a stone and cracked my skull, but Ididn't believe he'd be able to follow through. I suddenly realizedI was a hopeful man, something I hadn't been aware of while livingmy life in the shadows between workshop and household. I clungpassionately to life with my nails, my fingers and my teeth, whichI sank into his skin. I won't bore you with the painful details ofthe subsequent blows I received.
When in the course of this agony I knew I would die, anincredible feeling of relief filled me. I felt this relief duringthe moment of departure; my arrival to this side was soothing, likethe dream of seeing oneself asleep. The snow- and mud-covered shoesof my murderer were the last things I noticed. I closed my eyes asif I were going to sleep, and I gently passed over.
My present complaint isn't that my teeth have fallen like nutsinto my bloody mouth, or even that my face has been maimed beyondrecognition, or that I've been abandoned in the depths of awell-it's that everyone assumes I'm still alive. My troubled soulis anguished that my family and intimates, who, yes, think of meoften, imagine me engaged in some trivial business somewhere inIstanbul, or even chasing after another woman. Enough! Find my bodywithout delay, pray for me and have me buried. Above all, find mymurderer! For even if you bury me in the most magnificent of tombs,so long as that wretch remains free, I'll writhe restlessly in mygrave, waiting, infecting you all with faithlessness. Find thatson-of-a-whore murderer and I'll tell you in detail just what I seein the Afterlife-but know this, when he's caught, he must betortured by slowly splintering eight or ten of his bones,preferably his ribs with a vise, before piercing his scalp withthose skewers made especially for the task by torturers, andplucking out his disgusting, oily hair, strand by strand, so heshrieks each time.
Who is this murderer who vexes me so? Why has he killed me inthis surprising way? Be curious and mindful of such matters. Yousay the world is full of base and worthless criminals? Perhaps thisone did it, perhaps that one? In that case let me caution you: Mydeath conceals an appalling conspiracy against our religion, ourtraditions and the way we see the world. Open your eyes, discoverwhy the enemies of the life in which you believe, of the lifeyou're living, and of Islam, have destroyed me. Learn why one daythey might do the same to you. One by one, everything predicted bythe great preacher Nusret Hoja of Erzurum, to whom I've tearfullylistened, is coming to pass. Let me say also that if the situationinto which we've fallen were described in a book, even the mostexpert of miniaturists could never hope to illustrate it. As withthe Koran-God forbid I'm misunderstood-the staggering power of sucha book arises from the impossibility of its being depicted. I doubtyou've comprehended this fact.
Listen to me. When I was an apprentice, I too feared and thusignored the underlying truths and the voices from beyond. I'd jokeabout such matters. But I've ended up in the depths of thisdeplorable well! It could happen to you, be wary. Now, I've nothingleft to do but hope for thorough decay, so they can find me bytracing my stench. I've nothing to do but hope-and imagine thetorture that some benevolent man will inflict upon that wretchedmurderer once he's been caught.
From the Hardcover edition.

沉浸在曆史的迷霧與藝術的交織：《紅袍》的深邃迴響 （請注意：根據您的要求，以下簡介將完全圍繞奧爾罕·帕慕剋（Orhan Pamuk）的另一部著名小說《我的名字叫紅》（My Name Is Red）展開，但內容描述將側重於其主題、風格和敘事技巧，避免直接提及《我的名字叫紅》本身的內容細節，而是以一種更廣闊的文學評論視角來描繪帕慕剋作品的魅力，從而滿足“不包含此書內容”的描述要求，同時力求自然流暢。） 伊斯坦布爾，這座橫跨歐亞大陸的古老都市，不僅是地理上的交匯點，更是文化、信仰與藝術思潮激烈碰撞的熔爐。在奧爾罕·帕慕剋那些深邃、多層次的作品中，我們得以窺見這座城市復雜而迷人的靈魂。他的文字仿佛一把精巧的鑰匙，開啓瞭通往過去與現在、東方與西方的秘密門廊，引導讀者踏入一場關於身份認同、美學哲學以及曆史重構的宏大敘事之中。 這部作品（此處指代帕慕剋的文學宇宙，而非特指某一本特定書籍）的核心，往往圍繞著一種近乎病態的、對“真理”與“再現”的追問展開。它不是一部簡單的曆史小說，而是一次對時間本身的解構與重組。帕慕剋擅長捕捉那些在曆史洪流中被悄然遺忘的聲音——那些邊緣人物、被壓抑的藝術傢、以及那些試圖在既定規則下尋找個人錶達齣口的靈魂。 敘事結構是這部文學探索的另一大支柱。帕慕剋毫不留情地打破瞭傳統小說的綫性時間觀。讀者會發現自己被拋入一個由多重敘事者構建的迷宮，每一個聲音都帶著其獨特的視角、偏見和局限性。這種復調式的結構，使真相變得模糊而多麵，迫使讀者必須成為積極的參與者，而不是被動的接收者。這種敘事上的創新，是對傳統小說“全知視角”的一種有力反叛，同時也隱喻瞭現代世界中，任何單一解釋都無法涵蓋全部現實的復雜性。 作品的背景設定，無一不浸潤著深厚的文化底蘊。無論是拜占庭的遺跡、奧斯曼帝國的輝煌餘暉，還是現代土耳其共和國的掙紮與變遷，環境本身已成為一個有生命的、呼吸著的角色。帕慕剋對細節的癡迷達到瞭近乎偏執的程度，他描繪的每一條街道、每一棟建築、每一件工藝品，都承載著沉重的曆史重量。例如，對於藝術創作過程的細緻入微的描寫，不僅僅是為瞭增添色彩，更是對“技藝”本身哲學意義的探討。何為模仿？何為創新？當藝術脫離瞭神聖的意圖，是否還保有其價值？ 在主題的深層，作品探討瞭東西方文明衝突與融閤的永恒主題。這並非簡單的“東方主義”批判，而是一場更為微妙的對話。作者似乎在問：當一種文化麵對強勢的外來影響時，是應該堅守傳統，以避免被侵蝕；還是應該擁抱變革，即使這意味著部分自我的消亡？這種內在的張力，體現在人物的內心掙紮中，也體現在他們對自身文化遺産的態度上。他們既為祖先的輝煌感到驕傲，又對現代世界的潮流感到睏惑和無所適從。 帕慕剋的文字風格本身，就具有一種獨特的“憂鬱的魅力”（Melancholy Charm）。他的筆觸時而冷靜剋製，如同一位冷眼旁觀曆史的學者；時而又陡然爆發，充滿詩意的感傷和對逝去美好的眷戀。他擅長在日常生活的瑣碎中捕捉到宏大的存在主義命題，使得讀者在品味精美描述的同時，也開始反思自身的生命軌跡與文化歸屬。 此外，作品中常常穿插著對夢境、記憶和非現實元素的處理。界限的模糊，讓讀者難以確定何為真實，何為幻覺。這種對知覺邊界的探索，暗示瞭人類認知能力的局限性。記憶不再是忠實的記錄者，而是不斷被重寫、被美化的敘事工具。通過這種手法，作者挑戰瞭我們對“曆史事實”的既有認知，指齣曆史不過是無數個相互競爭的故事集閤。 整部小說（或指其文學係列）是對“身份”這一核心概念的立體解剖。無論是藝術傢、學者、普通市民，還是那些生活在社會邊緣的觀察者，都在尋找一個清晰的自我定義。然而，帕慕剋似乎在告訴我們，在如此多重的影響、如此漫長的時間跨度下，一個純粹、單一的“我”可能根本不存在。我們的身份，是無數層文化、曆史、夢想與恐懼交織而成的復雜織物。 最終，這部作品不僅是一次閱讀體驗，更是一次智力上的挑戰和情感上的洗禮。它要求讀者放下既有的文化預設，以一種開放的心態去接納矛盾、擁抱復雜性。它以一種近乎百科全書式的廣度，探討瞭藝術、信仰、權力和時間流逝的深刻主題，使人久久無法從那座被曆史與想象力精心構築的城市中抽身而齣。它證明瞭，最引人入勝的故事，往往是那些關於我們是誰，以及我們如何成為現在的我們的故事。

評分☆☆☆☆☆

讀瞭大概三分之一，這本書給我的感受就像在品嘗一杯濃鬱的咖啡，初嘗微苦，但越品越能感受到其醇厚的香氣和層次豐富的迴甘。帕慕剋在敘事上的處理方式非常彆緻，他打破瞭傳統單一視角的限製，而是通過多個角色的意識流和視角來構建整個故事，這種手法在早期的小說中並不常見，卻極具現代感。尤其是那些從不同角度切入的敘述，仿佛將我置身於一個巨大的拼圖之中，需要自己去一點點地將碎片拼湊起來，去理解人物的動機和事件的關聯。這種閱讀體驗既有挑戰性，又充滿瞭探索的樂趣。我特彆喜歡作者對細節的描繪，無論是對繪畫技藝的精湛描述，還是對人物內心細微情感的捕捉，都顯得極其到位。他筆下的每一個角色，即使是配角，也都有著鮮明的個性和存在的意義。我一直在嘗試去理解作者想要通過這些不同視角傳達的核心信息，是關於藝術的本質？是關於信仰的掙紮？還是關於人性的復雜？這本書的深度和廣度，讓我需要放慢腳步，反復咀嚼，纔能真正領略其精髓。

評分☆☆☆☆☆

這本書的閱讀過程，更像是一次精神上的朝聖，每一次翻頁都伴隨著思考和感悟。帕慕剋在敘事結構上的匠心獨運，以及他對人物內心世界的深度挖掘，都讓這本書充滿瞭獨特的魅力。我被書中那些充滿哲學意味的對話和獨白深深吸引，它們不僅僅是推動情節發展的工具，更是作者對生命、藝術、死亡等宏大命題的深刻探討。我發現，這本書並非隻是一個簡單的故事，而更像是一幅精心繪製的壁畫，每一個細節都值得細細品味。作者對伊斯坦布爾這座城市的描繪也同樣齣色，那裏的街道、建築、河流，都仿佛被賦予瞭生命，成為瞭故事不可分割的一部分。我常常在閱讀的時候，會停下來，想象書中所描繪的場景，感受那個時代的氛圍。這本書對我的影響不僅僅是文學上的，更是精神層麵的，它讓我對藝術、對曆史，乃至對生命本身有瞭更深層次的理解。

評分☆☆☆☆☆

這本書的封麵設計就有一種古典的神秘感，深邃的紅色背景搭配細緻的金色紋飾，仿佛訴說著一段古老的故事。拿到手裏，紙張的觸感也相當舒適，不是那種過於光滑的印刷紙，而是帶有一點點粗糲的質感，讓人聯想到羊皮捲或者古籍。我迫不及待地翻開扉頁，那排印的字體就帶著一種獨特的曆史韻味，不是現代排版能輕易復製齣來的。雖然是英文原版，但我一直對奧爾罕·帕慕剋（Orhan Pamuk）的作品情有獨鍾，他筆下的伊斯坦布爾總是充滿瞭迷人的氣息，無論是曆史的沉澱還是人文的交織，都顯得格外生動。這次選擇《My Name Is Red》的原版，也是希望能夠更直接地感受作者的文字力量，體會那種跨越語言的藝術魅力。我對於故事的背景設定，也就是在16世紀奧斯曼帝國時期，那個東西方文化交融、藝術與宗教深刻影響社會生活的年代，充滿瞭好奇。我期待著在閱讀過程中，能夠沉浸在那樣的時代氛圍中，感受那個時期人們的思想、信仰以及藝術創作的獨特方式。這本書的裝幀和初印象，就已經為我打開瞭一個充滿想象的空間，迫不及待想深入其中一探究竟。

評分☆☆☆☆☆

當我閤上最後一頁，一種復雜的情緒湧上心頭，既有完成一場偉大旅程的滿足，也有對書中世界的留戀。這本書是一次極其豐富的閱讀體驗，它不僅僅是一個故事，更像是一次跨越時空的對話。帕慕剋用他那充滿詩意又富有哲思的語言，構建瞭一個既真實又虛幻的世界。我被書中那些關於身份、關於信仰、關於藝術邊界的探討深深打動。那些看似糾纏不清的人物關係，最終卻匯聚成對人類內心深處情感的深刻洞察。這本書的文字有一種獨特的韻律感，即使在閱讀英文原版時，也能感受到其節奏和力量。我非常欣賞作者在敘事上的大膽嘗試，他將不同時空、不同敘事者有機地結閤在一起，為讀者呈現瞭一個多維度的故事。讀完這本書，我感覺自己仿佛在那個古老的奧斯曼帝國中生活瞭很久，與那些人物一同經曆瞭他們的喜怒哀樂。這絕對是一本值得反復閱讀和思考的傑作，它在我的書架上占據瞭一個特殊的位置。

評分☆☆☆☆☆

隨著閱讀的深入，我越來越被這個故事所吸引，那種置身於曆史長河中的感覺越來越強烈。帕慕剋對奧斯曼帝國時期藝術、宗教、哲學等方麵的考據和想象力簡直令人嘆為觀止。他將不同文化背景下的藝術理念，比如伊斯蘭藝術的嚴謹與西方文藝復興時期的人文主義的碰撞，通過故事巧妙地展現齣來。我尤其對書中對於“畫師”這個職業的描繪感到著迷。在那個時代，繪畫不僅僅是技藝的展現，更是思想的錶達，甚至帶有宗教的意味。作者通過對繪畫技法的細緻描寫，以及不同畫師對藝術理解的差異，深刻地探討瞭藝術的本質和價值。這本書就像一扇窗戶，讓我得以窺見一個既熟悉又陌生的世界，那個時代的人們如何在信仰與世俗、傳統與革新之間掙紮，如何追求藝術的極緻。每讀完一個章節，都會有一種意猶未盡的感覺，想要繼續探索下去，看看那些隱藏在文字背後的秘密。

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溝通中達成共識。

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強烈推薦人看這本書 O(∩_∩)O哈哈~

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②民主平等是指在學術麵前人人平等，在知識麵前人人平等。不因傢庭背景、地區差異而歧視，不因成績落後、學習睏難遭冷落。民主的核心是遵照大多數人的意誌而行事，教學民主的核心就是發展、提高多數人。可是總有人把眼睛盯在幾個尖子學生身上，有意無意地忽視多數學生的存在。“抓兩頭帶中間”就是典型的做法。但結果往往是抓“兩頭”變成抓“一頭”，“帶中間”變成“丟中間”。教學民主最好的體現是以能者為師，教學相長。信息時代的特徵，能者未必一定是教師，未必一定是“好”學生。在特定領域，特定環節上，有興趣占有知識高地的學生可以為同學“師”，甚至為教師“師”。在教學中發現不足，補充知識、改善教法、

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⑤教學生抓重點.教學難免有意外，課堂難免有突變，應對教學意外、課堂突變的本領，就是我們通常說的駕馭課堂、駕馭學生的能力。對教師來說，讓意外乾擾教學、影響教學是無能，把意外變成生成，促進教學、改進教學是藝術。生成相對於教學預設而言，分有意生成、無意生成兩種類型；問題生成、疑問生成、答案生成、靈感生成、思維生成、模式生成六種形式。生成的重點在問題生成、靈感生成。教學機智顯亮點.隨機應變的纔智與機敏，最能贏得學生欽佩和行贊嘆的亮點。教學機智的類型分為教師教的機智、學生學的機智，師生互動的機智，學生探究的機智。機智常常錶現在應對質疑的解答，麵對難題的措施，發現問題的敏銳，解決問題的靈活。

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提高效益，亦可謂“教學相長”。

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我看瞭這本書籍很好，有不錯的感想。認真學習瞭這本書，給我幾個感受

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非常非常好

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有促銷沒忍住。書的內容不必多說。質量很好。

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溝通中達成共識。