Tags
Summary
Editor's review
Who it's for
A good fit for
- Serious readers interested in the origins and development of dystopian literature
- Philosophical thinkers eager to explore the conflict between technology, reason, and humanity
- Readers who appreciate a cold, precise literary style rich in metaphor
- Historical observers seeking to understand the spiritual predicament of early twentieth-century Russian intellectuals
Not a good fit for
- Readers of popular fiction seeking light entertainment or fast-moving plots
- Readers impatient with abstract speculation and philosophical inquiry
Reading tips
- Read it alongside George Orwell's *1984* and Aldous Huxley's *Brave New World* to understand the evolution of the dystopian tradition.
- Pay attention to the many mathematical and geometric images in the book; they are not only narrative elements but also the key to understanding its aesthetics of control.
- As you read, consider: how are the "One State" in the book and today's society shaped by big-data surveillance and algorithmic recommendation similar and different?
About the publisher
Adhering to the publishing purpose of "broad education," East China Normal University Press extends beyond its three main areas of textbooks, academic works and general-interest books, and its catalogue clearly reflects a vision that bridges Chinese and foreign humanities and social sciences. In foreign literature it offers classics such as Yasunari Kawabata's Snow Country and The Old Capital (translated by Chen Dewen), Jane Austen's Pride and Prejudice, and Rilke's annotated edition of The Notebooks of Malte Laurids Brigge (translated by Chen Zao); in architecture, Chen Congzhou's two-volume Appreciation Dictionary of Chinese Gardens; in social psychology, The Social Animal: 12th Edition; and it also includes philosophy titles, traditional-culture works such as the six-volume Paintings for the Protection of Life, and education books. Its authors include renowned Chinese and foreign writers and skilled translators, showing a publishing profile that balances classic translation, scholarly accumulation and public reading. Public information is limited; the above is based only on the books in the catalogue.
Contents
- 版权信息
- 导读
- 焚书年代的文学奇品
- 记录一 主题：公告。最英明的线。一首诗。
- 记录二 主题：芭蕾。正方形的和谐。X。
- 记录三 主题：大衣。城墙。时间表。
- 记录四 主题：带着气压计的野人。癫痫。如果。
- 记录五 主题：正方形。世界的统治者。一项令人愉悦的有用功能。
- 记录六 主题：一次偶然事件。该死的“这很清楚”。24小时。
- 记录七 主题：一根眼睫毛。泰勒。山谷里的天仙子和百合花。
- 记录八 主题：无理根。三角形。R-13。
- 记录九 主题：礼拜仪式。抑扬格和扬抑格。一只铸铁手。
- 记录十 主题：一封信。一层膜。毛茸茸的我。
- 记录十一 主题：不，我不能。我要简单地写，没有任何计划。
- 记录十二 主题：化无限为有限。天使。对诗歌的随想。
- 记录十三 主题：雾。汝。荒唐透顶的事。
- 记录十四 主题：“我的”。不可能。冷地板。
- 记录十五 主题：钟形罩。镜子般光滑的海面。我会永远燃烧。
- 记录十六 主题：黄色。二维影子。无法治愈的灵魂。
- 记录十七 主题：透过玻璃。我死了。走廊。
- 记录十八 主题：一片逻辑丛林。伤口与膏药。再也不。
- 记录十九 主题：三极数的无穷小。蹙额的人。越过护栏。
- 记录二十 主题：放电。思想的材料。零位悬崖。
- 记录二十一 主题：作者的义务。冰膨胀了。最艰难的爱。
- 记录二十二 主题：凝固了的海浪。一切都在进步。我是个细菌。
- 记录二十三 主题：花朵。水晶的溶解。只要。
- 记录二十四 主题：函数的极限值。全部划掉。复活节。
- 记录二十五 主题：从天堂降下。史上最大的灾难。已知的终结了。
- 记录二十六 主题：世界仍然存在。皮疹。41℃。
- 记录二十七 主题：没有标题。匪夷所思。
- 记录二十八 主题：两个女人。熵和能量。身体的不透明部分。
- 记录二十九 主题：脸上的线。嫩芽。不自然的压抑感。
- 记录三十 主题：最后的数。伽利略的错误。不会变得更好吗？
- 记录三十一 主题：伟大的手术。我已经原谅了一切。一场列车相撞事故。
- 记录三十二 主题：我的确不相信。拖拉机。一个人形碎片。
- 记录三十三 主题：没有提要的急就章。最后的。
- 记录三十四 主题：可以不上班的人们。阳光照耀的夜晚。报话员瓦尔基里。
- 记录三十五 主题：在铁箍中。一只胡萝卜。一名凶手。
- 记录三十六 主题：空白页。基督教的上帝。关于我的母亲。
- 记录三十七 主题：一只纤毛虫。世界末日。她的房间。
- 记录三十八 主题：我不知道主题是什么。也许只有一个：一只被丢掉的烟头。
- 记录三十九 主题：结局。
- 记录四十 主题：事实。钟形罩。我确信。
FAQ
What makes *We* distinctive compared with *1984*?
What was the background of the author, Yevgeny Zamyatin?
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About the author
Yevgeny Zamyatin was a Russian writer whose best-known novel, We, is usually classified in the Chinese-speaking world as foreign literature. Because public information is limited, this entry does not dwell on the details of his life and instead focuses on the work itself. Set in a fictional totalitarian society, We portrays a collective whose life is tightly organized and numbered, highlighting the tension between individual freedom and collective will. The style is calm and restrained, with strong satirical and speculative elements, and the narrative often uses rational language to question reality. The novel has had a profound influence on later dystopian literature and is regarded, together with related works, as one of the important sources of the genre.
Gao Yuan is an author about whom limited public information is available. What is known is that two works appear under this name, touching on two directions: foreign literature and applied psychology. The representative work We is categorized as foreign literature, and its title points toward relationships and shared experience among people; The Anxiety Personality Self-Help Manual belongs to the field of applied psychology, and judging from its title, its focus is on self-adjustment and practical methods for general readers, with a self-help and instructional tone rather than an academic or theoretical exposition. The two works span a fairly wide range of subjects—one leaning toward literature, the other toward practical psychology—suggesting that the author has tried different types of writing. Because no reliable information is available about birth and death dates, nationality, education, or writing career, it is not possible to introduce the author's life or creative trajectory in more detail; this profile is based only on the existing works and summarizes the subjects and general style of the writing for readers' reference.
