书名：The Art of the Novel 小说的艺术 

作者：Milan Kundera米兰·昆德拉

出版社名称：Harper Perennial

出版时间：2003

语种：英文

ISBN：9780060093747

商品尺寸：13.5 x 1 x 20.3 cm

包装：平装

页数：166 （以实物为准）

The Art of the Novel《小说的艺术》是米兰·昆德拉的知名学术论著，这本书是关于其对写作态度、文学传统的了解和认识等方面的自述，就如作者自己所说的“我并不擅长理论。以下思考是作为实践者而进行的。每位小说家的作品都隐含着作者对小说历史的理解，以及作者关于‘小说究竟是什么’的想法。在此，我陈述了我小说中固有的、我自己关于小说的想法。”本书为英译版，适合有一定英文基础的文学或小说爱好者阅读。 推荐理由： 1.经典理论著作，笔触幽默，视觉独特，学习小说或写作的读者必读； 2.由翻译名家Linda Asher翻译，忠实原著，用词地道，语言表达流畅自然； 3.英文原版，印刷清晰，字体较大，纸质护眼，阅读舒适； TRANSLATED FROM THE FENCH BY LINDA ASHERReview Every novelist’s work contains an implicit vision of the history of the novel, an idea of what the novel is. I have tried to express here the idea of the novel that is inherent in my own novels. — Milan KunderaIncites us to reflect on fiction and philosophy, knowledge and truth, and brilliantly illustrates the art of the essay.— New RepublicRefreshing, unorthodox, valuable.Incandescent illumination by one of the literature’s most important voices. — Kirkus ReviewsLucid, detached, and epigrammatic ...The book has its author’s familiar swiftness and variety of attack and his elegant, provocative irony.— The New Yorker

小说家一旦扮演公众人物的角色，就使他的作品处于危险的境地，因为它可能被视为他的行为、他的宣言、他采取的立场的附庸。 米兰·昆德拉自认并不擅长理论。书中的思考是作为实践者而进行的。每位小说家的作品都隐含着作者对小说历史的理解，以及作者关于“小说究竟是什么”的想法。在此，米兰·昆德拉陈述了他小说中固有的、他自己关于小说的想法。 Kundera brilliantly examines the work of such important and diverse figures as Rabelais, Cervantes, Sterne, Diderot, Flaubert, Tolstoy, and Musil. He is especially penetrating on Hermann Broch, and his exploration of the world of Kafka’s novels vividly reveals the comic terror of Kafka’s bureaucratized universe. Kundera’s discussion of his own work includes his views on the role of historical events in fiction, the meaning of action, and the creation of character in the post-psychological novel.

米兰·昆德拉（Milan Kundera），小说家，出生于捷克斯洛伐克布尔诺，自1975年起，在法国定居。长篇小说《玩笑》《生活在别处》《告别圆舞曲》《笑忘录》《不能承受的生命之轻》和《不朽》，以及短篇小说集《好笑的爱》是以作者母语捷克文写成。而他出版的长篇小说《慢》《身份》和《无知》及随笔集《小说的艺术》和《被背叛的遗嘱》是以法文写成。《雅克和他的主人》系作者戏剧代表作。 The Franco-Czech novelist and critic Milan Kundera was born in Brno and has lived in France, his second homeland,since 1975. He is the author of the novelsThe Joke,Life Is Elsewhere,The Farewell Party,The Books of Laughter and Forgetting,The Unbearable Lightness of Being, andImmortality, and the short story collectionLaughable Loves—all originally written in Czech. Like Slowness, his two earlier nonfiction works,The Art of the Novel andTestaments Betrayed, were originally written in French.

Part One  The Depreciated Legacy of Cervantes 受到诋毁的塞万提斯遗产 Part Two Dialogue on the Art of the Novel 关于小说艺术的谈话 Part Three  Notes Inspired by “The Sleepwalkers” 受《梦游者》启发而作的札记 Part Four  Dialogue on the Art of Composition 关于小说结构艺术的谈话 Part Five  Somewhere Behind那后边的某个地方 Part Six  Sixty-three Words 六十七个词 Part Seven Jerusalem Address: The Novel and Europe耶路撒冷演讲：小说与欧洲

In 1935, three years before his death, Edmund Husserl gave his celebrated lectures in Vienna and Prague on the crisis of European humanity. For Husserl, the adjective “European” meant the spiritual identity that extends beyond geographical Europe (to America, for instance) and that was born with ancient Greek philosophy. In his view, this philosophy, for the first time in history, apprehended the world (the world as a whole) as a question to be answered. It interrogated the world not in order to satisfy this or that practical need but because “the passion to know had seized mankind.” The crisis Husserl spoke of seemed to him so profound that he wondered whether Europe wasstill able to survive it. The roots of the crisis lay for him at the beginning of the Modern Era, in Galileoand Descartes, in the one-sided nature of the European sciences, which reduced the world to a mereobject of technical and mathematical investigation and put the concrete world of life, die Lebenswelt ashe called it, beyond their horizon. The rise of the sciences propelled man into the tunnels of the specialized disciplines. The more headvanced in knowledge, the less clearly could he see either the world as a whole or his own self, and hep lunged further into what Husserl’s pupil Heidegger called, in a beautiful and almost magical phrase, “the forgetting of being.”