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4,6 von 5 Sternen19
4,6 von 5 Sternen
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am 5. November 2011
Könnte ich 50 statt 5 Sterne vergeben, dieses Buch hätte sie verdient. Ich bin eher zufällig drüber gestolpert - und was bin ich froh drum. Nachdem ich Faulks' Birdsong gelesen habe (auch ein sehr gutes Buch - 5 Sterne, aber keine 50) bin ich auf eine Bücherliste gestossen: Vintage Future Classics. Leser konnten aus einer Vorauswahl von 100 Werken 15 oder so Bücher auswählen. Birdsong war dabei, dazu noch ein paar Bücher, die ich kannte und mochte (Der Name der Rose, Im Western nichts Neues). Ich hatte mir daraufhin alle gekauft und schon vor FLW auf diesem Wege ein unglaubliches Buch entdeckt: Star of the Sea. Andere waren nicht so berauschend (time travellers wife, captain corelli's mandoline) und aufgrund des Titels, der schmalzigen Verlagsnotiz auf dem Umschlag und der dunklen Erinnerung an einen Hollywoodfilm hatte ich eher seichte Kost erwartet und FLW fast widerwillig angefangen. Ich hätte mich nicht heftiger täuschen können. Fowles entführt uns nicht nur in eine andere Zeit, er entführt uns in seine Gedankenwelt und er macht das mit einer Eleganz und Eloquenz die seinesgleichen sucht. Ich habe jede Seite genossen.
0Kommentar|3 Personen fanden diese Informationen hilfreich. War diese Rezension für Sie hilfreich?JaNeinMissbrauch melden
am 17. Juni 2001
Der Film läßt einige Fragen offen. Mich interessierte, ob der Originalstoff sie beantwortet. Tut er. John Fowles beschreibt seine Figuren mit soviel Ironie, Menschenkenntnis und Liebe, daß es Spaß macht, mit ihnen seine Zeit zu verbringen. (Charles und Sara sind auf Papier bestimmt nicht weniger packend als Meryl Streep und Jeremy Irons auf der Leinwand). Die erotischen Szenen sind ausgezeichnet (so müßte man schreiben können!) und die Schilderungen von Lyme so anschaulich, daß man Lust bekommt, umgehend hinzufahren, selbst zu kucken und den Autor kennenzulernen. Muß ein unheimlich lieber, äußerst interessanter Typ sein.
0Kommentar|5 Personen fanden diese Informationen hilfreich. War diese Rezension für Sie hilfreich?JaNeinMissbrauch melden
Although not widely discussed, the themes in this novel exemplify the human experience from the point of view of an existential philosopher. One could sit and read works by Sartre or Kierkegaard and never understand the true meaning of existentialism; yet by reading this book, the essence of the underlying philosophy becomes clear. This book vividly illustrates important aspects of our lives as human beings - with and all its trials, tribulations, and choices. The French Lieutenant's Woman inspires insight for the reader and a deeper understanding of life, love, and free will.
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am 31. Januar 2003
Dieser Roman ist einfach spannend. Besonders ergreifend finde ich die Art der Erzählstruktur, die bestimmt nicht nur für Literaturstudenten ansprechend ist. Dies ist ein herrliches Buch zum schmunzeln und mitfühlen. Gerade für "graue" Tage und Teestunden empfehleswert!
0Kommentar|3 Personen fanden diese Informationen hilfreich. War diese Rezension für Sie hilfreich?JaNeinMissbrauch melden
am 18. Februar 2000
Yep, this is it: a true twentieth century masterpiece.
The first time I read this at the age of 16, I stayed up most of the night to finish it, as I had with _The Magus_. I got the heroine mixed up in the personal mythology of my mind with my high school girlfriend, Joni Mitchell, Anais Nin, and all that is eternally mysterious and wonderful about women.
Having read the book three or four more times, I am much better able to appreciate the ideas -- existential, Darwinian, Marxist -- that fit into the web of a rollicking good story. This is a novel that punches the head as unerringly as the heart.
And don't forget the element of PLAY: Fowles has said this novel was written by a man who was very tired of novels and the usual constraints under which they were written. So there are THREE endings: a false, everything-tidied-up-as-it-would-have-been-in-a-true-Victorian-novel ending about two-thirds through the book; and two opposing endings at the finish.
Fowles reportedly even wrote a farcical chapter in the style of Alice in Wonderland in which the narrator chases after the hero with an axe ... but his wife and other advisors made him leave it out. I hope we will someday get to see that one.
Why did the latest publisher put a cute blonde on the cover! (I'm assuming she is NOT meant to depict the secondary love interest, Charles's fiancee.) This is almost as bad an aesthetic decision as casting Meryl Streep in the movie version, though she made an admirable attempt to be Sarah. Try to get a copy with the original cover art -- a choppy woodcut of a brunette with a distant gaze -- and that will get you launched into the story in the right mood.
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am 8. Januar 2000
What to make of a Victorian novel by a contemporary existentialist who steps into the book twice and can't decide how to end it? I cannot imagine a more satisfying inconclusive book.
Charles gets the girl. Or maybe not? It doesn't matter. Fowles' novels are always superficially simple and unplumbable in their philosophical depths: _The Collector_, _The Magus_, _The French Lieutenant's Woman_, _A Maggot_.
Sarah Woodruff is at once utterly inexplicable and absolutely believeable. And her believeability extends to the unthinkable. As well as we "understand" her, we cannot choose the "right" ending any more than Fowles can. Humans are creatures of dizzying Hazard. I once heard Richard Loewentin argue that even if behavior could be "determined" by complete knowledge of motives and stimuli, as the social Darwinists believe, the sheer volume of those motives and causes would allow virtual free will. Even so, no depth of understanding can determine Sarah's behavior, no fount of self-knowledge binds her to any course.
Chance circumstances, trivial as the nail lost from the horse's shoe, trigger the chaotic avalanche of the action after the incredible sex scene. So it is in life; the trivial becomes the deciding element.
I lost a Sarah, as randomly and as much through my own error as Charles did. And I remain as uncertain as he of the magnitude of that loss, however familiar I am with the scale of my grief. What a heartbreaking book, what terrible truths.
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am 22. April 1999
A novel that can be read on a multitude of levels this is a masterpiece. As a deconstruction of textual boundaries, as best represented by the Victorian romance novel, and as a reconciliation of polyphony (multiple text sources/styles) Fowles work here places him amongst the greats of the century. He has taken some of the great questions of modernist and postmodernist writing and answered them experimentally but also accessibly. The sucess of this final point is best demonstrated by the masses of readers who happily devour this novel as a tragic romance. As a sidetrack I disagree with the reviewer from Ottawa, the film version is fine if you divorce it from the novel(as it is always healthy to do when viewing adaptations). As to my keyline I am referring to the spare prose of Fowler which shows up Byatt's somewahat flowery attempt at the same field of reinterpreting the romance.
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am 14. Mai 1999
I first read this book sitting at a window over a period of seven long days of an endless spring rain. The sky never brightened beyond the pale, silvery suffusion of light common in such weather, but it was a perfect backdrop to my reading of FLW, a sensual extension of the rich textures Fowles has created. It is tragic romance, make no mistake, but an alluring journey throughout. The ending has always been something of a controversy, but the book on the whole is a magnificent read. RLS is known to have said, "It is better to travel hopefully than to arrive," and FLW is certainly that kind of journey, a great transportation from this present world. Make this a mainstay in your library, next to all the English classics, and some modern ones, POSSESSION and THE ENGLISH PATIENT. You will always find solace there on those long, rainy, soft days.
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am 19. April 2000
I first read this wonderful book in the late 60's, shortly after it published. As a high school student, I was simply blown away by the story, the virtuosity of the endings, by its ambiguity, but most of all by the richness of its language.
The scene when Charles and Sarah confront each other in the shed in the undercliff has more tension and suspense than a thousand horror movies, because it was so real.
In the intervening 30 years, I've re-read this novel every five years or so. Like other great works, each re-reading brings something new (because I continue to change).
The great tragedy, at least in my view, is that what has followed from John Fowles has never risen to the heights of this novel. Daniel Martin was a huge disappointment to me (so self-indulgent and empty). The Maggot has some moments, but was ultimately disappointing. Only The Magus, and, to a lesser degree, The Collector, rival The French Lieutentant's Woman.
That said, Fowles has always been his own man and has stuck to his view of the world. I've read some of his philosophy of life in the Aristos and found most of it to be inconsistent with my own world view.
But in this great book, Fowles and I connected. I hope when I'm ninety, I can sit down and read it again (and find something fresh and new).
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am 22. Oktober 1999
This is great book, and Fowles seems to use this as a mechanism to highight the ironies and contradictions of the society in which we live. The reader is led deceptively to a convincing plot set in Victorian England and is constantly jolted back to reality by Fowles' unexpected and somewhat unconventional interjections. Despite constant reminders (or perhaps because of them) that all the characters are fictional, I feel that each chracter has been well developed and full of life. In the end, the ending does not matter, it is the choices that one makes to get there that does. A remarkable book and an experience to read.
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