READING LOLITA IN TEHRAN(ISBN=9780812971064) 电子书 pdf 百度云 下载 epub 2025 免费 mobi 在线

　　Book De*ion

Every Thursday morning for two years in the Islamic Republic of

Iran, a bold and inspired teacher named Azar Nafisi secretly

gathered seven of her most committed female students to read

forbidden Western classics. As Islamic morality squads staged

arbitrary raids in Tehran, fundamentalists seized hold of the

universities, and a blind censor stifled artistic expression, the

girls in Azar Nafisi’s living room risked removing their veils and

immersed themselves in the worlds of Jane Austen, F. Scott

Fitzgerald, Henry James, and Vladimir Nabokov. In this

extraordinary memoir, their stories become intertwined with the

ones they are reading. Reading Lolita in Tehran is a remarkable

exploration of resilience in the face of tyranny and a celebration

of the liberating power of literature.

Amazon.com

An inspired blend of memoir and literary criticism, Reading

Lolita in Tehran is a moving testament to the power of art and its

ability to change and improve people's lives. In 1995, after

resigning from her job as a professor at a university in Tehran due

to repressive policies, Azar Nafisi invited seven of her best

female students to attend a weekly study of great Western

literature in her home. Since the books they read were officially

banned by the government, the women were forced to meet in secret,

often sharing photocopied pages of the illegal novels. For two

years they met to talk, share, and "shed their mandatory veils and

robes and burst into color." Though most of the women were shy and

intimidated at first, they soon became emboldened by the forum and

used the meetings as a springboard for debating the social,

cultural, and political realities of living under strict Islamic

rule. They discussed their harassment at the hands of "morality

guards," the daily indignities of living under the Ayatollah

Khomeini's regime, the effects of the Iran-Iraq war in the 1980s,

love, marriage, and life in general, giving readers a rare inside

look at revolutionary Iran. The books were always the primary

focus, however, and they became "essential to our lives: they were

not a luxury but a necessity," she writes.

Threaded into the memoir are trenchant discussions of the work of

Vladimir Nabokov, F. Scott Fitzgerald, Jane Austen, and other

authors who provided the women with examples of those who

successfully asserted their autonomy despite great odds. The great

works encouraged them to strike out against authoritarianism and

repression in their own ways, both large and small: "There, in that

living room, we rediscovered that we were also living, breathing

human beings; and no matter how repressive the state became, no

matter how intimidated and frightened we were, like Lolita we tried

to escape and to create our own little pockets of freedom," she

writes. In short, the art helped them to survive.

　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　--Shawn Carkonen

From Publishers Weekly

This book transcends categorization as memoir, literary criticism

or social history, though it is superb as all three. Literature

professor Nafisi returned to her native Iran after a long education

abroad, remained there for some 18 years, and left in 1997 for the

United States, where she now teaches at Johns Hopkins. Woven

through her story are the books she has taught along the way, among

them works by Nabokov, Fitzgerald, James and Austen. She casts each

author in a new light, showing, for instance, how to interpret The

Great Gatsby against the turbulence of the Iranian revolution and

how her students see Daisy Miller as Iraqi bombs fall on Tehran

Daisy is evil and deserves to die, one student blurts out. Lolita

becomes a brilliant metaphor for life in the Islamic republic. The

desperate truth of Lolita's story is... the confiscation of one

individual's life by another, Nafisi writes. The parallel to

women's lives is clear: we had become the figment of someone else's

dreams. A stern ayatollah, a self-proclaimed philosopher-king, had

come to rule our land.... And he now wanted to re-create us.

Nafisi's Iran, with its omnipresent slogans, morality squads and

one central character struggling to stay sane, recalls literary

totalitarian worlds from George Orwell's 1984 to Margaret Atwood's

The Handmaid's Tale. Nafisi has produced an original work on the

relationship between life and literature.

From Library Journal

Lolita in Tehran? Yes, and plenty of other Western classics, read

and discussed by a group of women who met secretly with Nafisi, an

instructor at the University of Tehran until she was expelled in

1997 for shunning the veil and left the country.

From Booklist

Nafisi, a former English professor at the University of Tehran,

decided to hold secret, private classes at her home after the rules

at the university became too restrictive. She invited seven

insightful, talented women to participate in the class. At first

they were tentative and reserved, but gradually they bonded over

discussions of Lolita, Pride and Prejudice, and A Thousand and One

Nights. They neither draw exact parallels between the texts and

their lives nor find them completely foreign. Nafisi observes:

"Lolita was not a critique of the Islamic Republic, but it went

against the grain of all totalitarian perspectives." Nafisi mixes

literary analyses in with her observations of the growing

oppressive environment of the Islamic Republic of Iran: women are

forced to wear the veil at university and eventually separated in

class from men. Bombs fall outside while Nafisi tries to conduct

class. Nafisi's determination and devotion to literature shine

through, and her book is an absorbing look at primarily Western

classics through the eyes of women and men living in a very

different culture.

　　　　　　　　　　　　　　　　　　　　　　　　　　　　Kristine Huntley

From AudioFile

READING LOLITA IN TEHRAN is a literary and audio masterpiece. The

book is Azar Nafisi's brilliant, evocative, chilling, and highly

literary memoir of life as a woman in Iran under the current

repressive government. Although Nafisi focuses on the secret

meetings at her home with several female former students, during

which they read and discuss banned works of Western literature, the

book is also a portrait of a life of fear and optimism at a time

when hope is elusive. Lisette Lecat's reading is magnificent. She

reads with an elegance and authenticity that permit listeners to

feel as though they are also in Nafisi's home. In addition, Lecat

handles with ease and authority the passages in which Nafisi

explains the intricacies of many works of literature. Nafisi's

memoir is destined to become a classic. D.J.S. Winner of AudioFile

Earphones Award

Author's Note

Lolita

Gatsby

James

Austen

Epilogue

Acknowledgments

　　Azar Nafisi is a professor at Johns Hopkins University. She

won a fellowship from Oxford and taught English literature at the

University of Tehran, the Free Islamic University and Allameh

Tabatabai University in Iran. She was expelled from the University

of Tehran for refusing to wear the veil and left Iran for America

in 1997. She has written for The New York Times, The Washington

Post, The Wall Street Journal and The New Republic, and is the

author of Anti-Terra: A Critical Study of Vladimir Nabokov’s

Novels. She lives in Washington, D.C., with her husband and two

children.

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我们在小说中探求的并非现实，而是真相的顿悟。

我之所以欣赏她们，不仅因为她们的求生能力，也因为她们踽踽独行的人生。

poshlust不仅是显而易见的无价值，也是假重要 假美丽 假聪明 假迷人

我们所处的文化否定文学作品的价值，认为文学作品惟有能为另一种看似更迫切的议题（也就是意识形态）服务时，才算重要。

总存在着另一个世界的影子，一个惟有透过虚构方可进入的世界。这个世界让他的男女主角不至于彻底绝望，这个世界成为残酷人生中的避风港。

他们企图用自己的梦想和欲望去塑造别人。

我想被遗忘，我不是这社群的一分子。

洛丽塔不是对共和国政权的批判，但它反对一切极权思想的本质。

在读者心目中，洛丽塔的形象永远与禁锢她的人相连，独立的洛丽塔不具有意义；惟有透过牢笼的栏杆，她才有生命。

民主的第一课：所有个体，不论多令人轻蔑鄙视，都有生存，自由与追求幸福的权利。

好奇是不服从最纯粹的形式。

所有传世的小说作品，无论其呈现的现实多严酷，皆有一股借着肯定生命来对抗生命无常的基本反抗精神。这份肯定来自作者以自己的方式重述故事，掌控小说中的现实，进而创造出一个新的世界。每件伟大的艺术品都是项赞颂，都是对人生的背叛，恐惧与不义的反抗。形式的超卓与优美起而反抗主题的丑陋与猥劣。

他欠缺对别人和别人生命的好奇心，和大多数独裁者一样，惟有他自己对别人的观感才是他关心所在。他创造出心中渴望的洛丽塔，而且对此形象不肯做丝毫让步。

只看到自己和自己想看的东西。

我们有多需要从现实生活暂时抽离，以便神清气爽重返现实，面对现实。

跳脱圆圈，停止与狱卒共舞的唯一方法是，设法保有自我的主体性 - 那种难以描述，但藉此与他人区分的特异性。

原来你现在也和群众一样了。”他换上更正经的口吻说：“——你接受了这文化的洗脑，认为任何带来乐趣的东西都是坏的、不道德的，枯坐在家里无所事事才比较有道德。如果你希塑我告诉你教书是你不可推御的责任，那你就找错人了。我不会这么做，我之所以叫你去教书是因为你喜欢教书：这样你才不会在家里发牢骚，你这个人才会有用武之地，说不定你的学生也会得到乐趣，甚至学到东西。”

詹姆斯年轻时写信告诉父亲，他相信“社会实体的结构组织短暂而不可靠。心智唯一可敬的状态，是不断表达对它的极度不满”。他也的确在自己最好的小说中将之付诸实践，几乎在他所有的小说中，力量的倾轧是情节发展与结局的关键。这种倾轧之所以存在，是因为主角一方面抗拒社会认可之标准，同时又渴望自己人格上完整无缺并获得认同。在《黛西·米勒》中，新旧势力的紧绷导致黛西的死亡，而《奉使记》里，纽桑姆太太对她的使者史特雷瑟与家人几近独裁的掌控与施压，则创造出情节主要的张力。有趣的是，在这股势力消长中，反派人物所代表的始终是世俗的顾虑，而主角却希望即使面临外在的险恶，依然要保有个人的尊严。

内战期间，亦即詹姆斯逐渐发现自己的力量时，写作有几分是为了补偿他自己无法参战的事实。如今到了生命尾声，他不满文字在面临如此泯灭人性的状况下使不出力道。他在1915年3月21日《纽约时报》的访谈中表示：“这场战争已耗尽了文字；文字变得虚弱无力，像汽车轮胎一样逐渐漏气；文字像其他数不清的事物，这六个月来的过度使用、消耗，远超过之前的漫长岁月，使它失去了快乐的形貌。如今我们面临的情况是，所有词汇都折旧了，换言之，由于无力感升高，失去了表达的能力，我们不免怀疑，剩下的是什么样的行尸走肉。”

尽管失望透顶，他仍回头诉诸文字，只不过这回写的不是小说而是战争橙文，他呼吁美国参成，别再对欧洲的苦难与暴行被手务观。他还写了指辞激昂的书信，有的表达对某些事件的忧惧，有的抚慰在战场上失去儿子或丈夫的朋友。

他从事一连串的活动：到医院探访比利时和英国伤兵：为比利时难民和伤患募；从1914年秋至1915年2月，持续不断写有关战争的文章。他还接受美国机动救护车志愿部队的英誉指挥官一职，并加人为比利时难民设立的切尔西基金会。对一个内向、隐世、最热情的追求仅限于小说创作的作家而言，这一切无异于旋风式的活动。诚如他的传记作者伊德尔日后所言：“……这...

事实上，詹姆斯如同许多大作家和大艺术家，选择了他自已效忠的对象和国籍。他真正的故乡存在于想象中。他写给老友罗达·布罗顿的信中说：“它所汇聚的无数悲剧令我感到黑暗惊心，我再也受不了活着亲眼目睹这一切。我们这些为我们这一代增光之人，不该承受信念瓦解之苦，这么多年来，我们眼见文明茁壮成长，却又目睹最糟的事情成为可能。”他写信给伊迪丝·华顿时提到“这文明的崩溃”：“在我看来，黑暗中唯一的一线光明是全国上下起而行动，团结一致。”詹姆斯心目中的故乡和文明的概念密不可分。战争期间，他在萨塞克斯难以阅读，更无法写作。他自比为活在“死去文明的哀歌阴影下”。

1914年9月，德军攻击、摧毁比利时的理姆斯大教堂时，詹姆斯写道：“可是没有文字可以填补这种深渊一或触及这深渊，或纾解人心，或以火花照亮黑暗；黑暗阴影无法减轻一个人的心痛与对末日的烦恼，即使我们将它视为危害人类心智最可僧的罪恶。”

终其一生，他都在争取力量，不是他不屑的政治力量，而是文化力量。对他而言，文化与文明甚于一切。他说过人类最大的自由是“独立思考”，这让艺术家得以享受“生命无限多种形式的侵犯”。然而面临如此大规模的杀毅与毁灭，他感到束手无策，力不从心。他对英国与欧洲整体的亲近，源自当地的文明意识、文化传统与人文思维。可是如今他也见识到欧洲的堕落，它对自我历史的厌倦，以及它掠夺成性、愤世嫉俗的本质。无怪乎他不只运用文字的力量，更竭尽所能去帮助他认为正义的一方。他并非完全没感受到这些力量的疗伤潜力，他写信给友人露西·克利福说：“我们必须为可贵的生命对现实做出反击。”

当然不是鼓励她们以受害者自居，她们必须学会去争取自己的幸福。

我继续把靴子往雪地深处挖，同时吃力地追上他的步位，“不过只要我们无法理解这一点，只要我们继续争取政治自由，知不了解想得到政治自由必须先有个人自由，不了解你的莎娜姿不需要大老远跑到上耳其去给人追求，那么我们就不配得到这些权利。”

听了这一番训诫，我找不出任何说法加以反驳，我回到自己的思绪。我们默默走了好一阵子。“可是在设法让她们了解这点的过程中，我带给丫头们的伤害说不定大过好处，你难道看不出来吗？”我的语气或许相当戏剧化，“你知道，跟我在一起，听我说我过去的经历之后，她们开始勾勒另一个无可挑剔、闪闪发亮的世界，西方世界……我，不晓得，我想我已经……”

“你是说你已经帮她们创造出一个平行的幻想了，”他说，“这个幻想足以和共和国政权为她们的人生捏造的幻想分庭抗礼。”

“是的，是的！”我兴奋地说。

“呃，首先，这不能完全怪你。我们没有任何人能在共和国政权下这个幻想的世界里生活并幸存下去一我们都需要创造一个借以遁逃的乐园。何况，”他说，“有件事是你能够办得到的。”

“有吗？”我热切地说，既灰心又渴望知道。“有，其实你在课堂上已经做了，只要别做过头。学所有诗人对待他们的暂人之王那样，你不需要创造一个西方世界的平行幻想，只要把另一个世界所能提供的精华给她们就够了：把纯粹虚构的作品给她们一再把她们的想象还给她们！”

书籍介绍

Every Thursday morning for two years in the Islamic Republic of Iran, a bold and inspired teacher named Azar Nafisi secretly gathered seven of her most committed female students to read forbidden Western classics. As Islamic morality squads staged arbitrary raids in Tehran, fundamentalists seized hold of the universities, and a blind censor stifled artistic expression, the girls in Azar Nafisi’s living room risked removing their veils and immersed themselves in the worlds of Jane Austen, F. Scott Fitzgerald, Henry James, and Vladimir Nabokov. In this extraordinary memoir, their stories become intertwined with the ones they are reading. Reading Lolita in Tehran is a remarkable exploration of resilience in the face of tyranny and a celebration of the liberating power of literature.