- Taschenbuch: 288 Seiten
- Verlag: Harper Perennial; Auflage: Reprint (2. August 1996)
- Sprache: Englisch
- ISBN-10: 0060927518
- ISBN-13: 978-0060927516
- Größe und/oder Gewicht: 20,4 x 13,7 x 1,9 cm
- Durchschnittliche Kundenbewertung: 4.6 von 5 Sternen Alle Rezensionen anzeigen (5 Kundenrezensionen)
- Amazon Bestseller-Rang: Nr. 963.018 in Englische Bücher (Siehe Top 100 in Englische Bücher)
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Amazon.com
Milan Kundera, one of the twentieth century's masters of fiction and author of The Unbearable Lightness of Being and Immortality, offers a brilliant and thought provoking essay, following in the tradition of his highly regarded The Art of the Novel. Testaments Betrayed is written like a novel: the same characters appear and reappear throughout the nine parts of the book, as do the principal themes that preoccupy the author. Kundera once again celebrates the art of the novel, from its birth in a spirit of humor unique to European culture and sensibility - illustrated by some wonderful examples from the work of Rabelais and Cervantes - through its flowering in successive centuries. He celebrates the particular wisdom the novel offers about human existence.
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From Booklist
Kafka, Stravinsky, Rushdie--the modern artist confuses and often outrages critics looking for the clarity of orthodoxy. Kundera, whose talents as a literary and music critic almost match his formidable gifts as a novelist, defends the artist against obtuse or perverse critics, disciples, and allies. Thus he rescues Kafka the artist from the embrace of disciples who want to remake him into a thinker. Likewise, he brings the genius of Stravinsky out from under the shadow of the misguided criticism of a close friend. Similarly, Kundera reclaims Rushdie's Satanic Verses as an imaginative work from progressive intellectuals who have never read it but have claimed it as a political symbol of the need for a free press. Discipleship, friendship, and comradeship can all turn into betrayal. Against such betrayal, Kundera insists upon the creative autonomy of the novelist and the composer, whose works live in an ambiguous sphere outside of all history except the capricious history of human creativity. Though he offers keen insights into music and literature, it is in his celebration of humor in the European novel that Kundera's genial brilliance burns most brightly. Bryce Christensen
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Einleitungssatz
The pregnant Madame Grandgousier ate too much tripe, and they had to give her a purgative; it was so strong that the placenta let go, the fetus Gargantua slipped into a vein, traveled up her system, and came out of his mama's ear. Lesen Sie die erste Seite
Buchdeckel | Copyright | Inhaltsverzeichnis | Auszug | Rückseite
The pregnant Madame Grandgousier ate too much tripe, and they had to give her a purgative; it was so strong that the placenta let go, the fetus Gargantua slipped into a vein, traveled up her system, and came out of his mama's ear. Lesen Sie die erste Seite
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Format:Taschenbuch
This is one of the most important books I've ever read. It is of interest, of course, to people involved with literature, music, translation, or who are interested in Kafka, Picasso, Hemmingway, Stravinsky, or others Kundera talks about. But I think the real importance of this book applies to any reader. It has to do with Milan Kundera's beautiful illustrations as to how we as humans try to make our own heroes everyone else's heroes, too, and in the process destroy many of the things we value and love about them. This is a vital idea in the modern world, where celebrity, biography, and voyeurism are always so present. Also, the statements Kundera makes on the nature of friendship inspire deep reflection on the qualities of our relationships with those we hold dear.
Format:Taschenbuch
Mostly excellent, great stuff about Hemingway's "Hills like white elephants" and Kafka. But he makes some real DUMB remarks about sumthin he seems to know nuthin about (worse than the stuff he pans by others), jazz and rock music: "...At jazz concerts people applaud. To applaud means:..." [try Kerouac for the relationship of jazz to audience instead]. "An important FACT [my caps]: at rock concerts people do not applaud [what?]. It would be almost sacrilege to applaud and thus bring to notice the critical distance between the person playing and the person listening..." [what about Jim Morrison yelling "shut up" to squealing teeny-boppers- or Captain Beefheart stopping to command "cut it out, man, it's not even in 4/4" to a clapping dodo]. "...there are no dynamic contrasts, everything is fortissismo [yeah, right]... and resembles screaming... we're no longer in those little nightspots [i am] ...we're in huge halls, in stadiums, pressed one against the next..." [sometimes, and i don't care for that myself, but that's not the totality of "rock"]. His comments are as silly and philistinic as some 'hipster' putting down all 'longhair' (classical) music after hearing Montovani.
Format:Taschenbuch
Expanding upon the delightful discourse of "Art of the Novel", "Testaments Betrayed" serves up a feast of appreciation for some of the greatest WORKS of the modern age. It explicitly makes connections between writers like Tolstoy and Kafka, and implicity links them with Milan Kundera's own work. A deeply felt and deeply moving homage.
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A moving book on Western Culture, the novel and music.`
This is a moving book, written in Kundera`s clear, humorous style which talks about the novel and warns us from distortions of novels` meanings by translators who do not... Lesen Sie weiter...
Am 4. Februar 1999 veröffentlicht
A fantastic & amusing trip through the history of the novel
In Testaments Betrayed, Kundera describes the waning days of modernism (focusing on the novel) in an historical (and at times hysterical) light. Lesen Sie weiter...
Am 19. März 1997 veröffentlicht
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