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Gone with the Wind – tekijä: Margaret…

Gone with the Wind (alkuperäinen julkaisuvuosi 1936; vuoden 1960 painos)

– tekijä: Margaret Mitchell (Tekijä)

JäseniäKirja-arvostelujaSuosituimmuussijaKeskimääräinen arvioMaininnat
20,129405136 (4.29)1182
After the Civil War sweeps away the genteel life to which she has been accustomed, Scarlett O'Hara sets about to salvage her plantation home.
Teoksen nimi:Gone with the Wind
Kirjailijat:Margaret Mitchell (Tekijä)
Info:Macmillan (1960), Edition: Book Club Edition, 689 pages
Kokoelmat:Oma kirjasto
Arvio (tähdet):

Teoksen tarkat tiedot

Tuulen viemää (tekijä: Margaret Mitchell) (1936)

  1. 80
    The Wind Done Gone (tekijä: Alice Randall) (lquilter, petersonvl)
    lquilter: This work was rewritten to tell the other side of Gone With the Wind, the story that Mitchell elided with her romanticized view of racism and slavery and its "happier when they were slaves" survivors. The Mitchell estate chose to sue for copyright infringement, but lost because the court recognized that this work is an important critical commentary on Gone with the Wind, and the beliefs that animated the original.… (lisätietoja)
  2. 60
    Aina vain Amber (tekijä: Kathleen Winsor) (avalon_today)
    avalon_today: They are both scandalous women. It’s a love hate relationship.
  3. 40
    Jubilee (tekijä: Margaret Walker) (lquilter)
    lquilter: Jubilee is the true story of the author's great grandmother, a woman born to slavery as the daughter of a slave and a white slave-owner. She acted as servant to her white sister, and was a witness to antebellum life, the Civil War, and Reconstruction.
  4. 20
    Oh, Kentucky! (tekijä: Betty Layman Receveur) (blonderedhead)
    blonderedhead: Strong female heroine in a sweeping, romantic and exciting historical fiction novel. I loved both books...and think others might, too.
  5. 10
    The Wind Is Never Gone: Sequels, Parodies and Rewritings of Gone with the Wind (tekijä: M. Carmen Gomez-galisteo) (Prinzipessa, Prinzipessa)
    Prinzipessa: This book explains Gone with the Wind and analyzes its sequels, parodies as well as the fan fiction stories based on Gone With the Wind.
  6. 10
    Sota ja rauha (tekijä: Leo Tolstoy) (GCPLreader, fulner)
    GCPLreader: melodrama in the midst of war and the invasion (and burning!) of a major city
    fulner: rich people sit around and talk about war as if it didn't matter
  7. 21
    A Skeptic's Luck (tekijä: A.D. Morel) (A.D.Morel)
    A.D.Morel: There's this feeling of longing, that she will not quite get there, yet we are passionately rooting for the main character, we go through her travails with her.
  8. 10
    Far from the Madding Crowd (tekijä: Thomas Hardy) (Lapsus_Linguae)
    Lapsus_Linguae: Both main heroines are strong-willed independent women who take up entrepreneurship.
  9. 10
    The Legacy (tekijä: Katherine Webb) (tesskrose)
  10. 32
    Ylpeys ja ennakkoluulo (tekijä: Jane Austen) (StarryNightElf)
  11. 00
    Erotic Stories for Punjabi Widows (tekijä: Balli Kaur Jaswal) (fulner)
    fulner: The amount of similarities between the girls of antebellum South in Gone with the Wind and the Indian girls in Erotic Stories for Punjabi widows is striking.
  12. 00
    The Winds of Tara: The Saga Lives On (tekijä: Katherine Pinotti) (veracity)
    veracity: 'Winds of Tara' is an unauthorised sequel to 'Gone with the Wind'.
  13. 00
    Heart of the West (tekijä: Penelope Williamson) (theshadowknows)
    theshadowknows: These books share a similar epic, sweeping feel in bringing to life a lost and fading ideal (the American frontier in Heart of the West and the old, genteel south in Gone with the Wind.)
  14. 11
    My Name is Mary Sutter (tekijä: Robin Oliveira) (BookshelfMonstrosity)
  15. 12
    Katherine (tekijä: Anya Seton) (avalon_today)
    avalon_today: Its about having to deal with a very strong, charismatic man. *Sigh*
  16. 57
    Scarlett (tekijä: Alexandra Ripley) (Nyxn)
  17. 13
    Rhett (tekijä: Donald McCaig) (mrstreme)
Elevenses (186)

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» Katso myös 1182 mainintaa

englanti (392)  espanja (5)  ranska (2)  italia (2)  tanska (1)  katalaani (1)  hollanti (1)  Kaikki kielet (404)
Näyttää 1-5 (yhteensä 404) (seuraava | näytä kaikki)
I have seen the movie too many times to count, but I had never read the book. As was to be expected, the book had so much more detail than the movie. Especially about the history of life in Atlanta after the war. And now I need to watch the movie again. ( )
  BookLove80 | Mar 12, 2021 |
When I read this I could not believe the ending. 1200 plus pages for what? That! ( )
  Nicole_girl | Mar 8, 2021 |
Maybe 3.5 stars.

So, this book has an unlikeable narrator. Scarlett is a classic narcissist. I was warned about this when I started, I quickly saw that it was true. But it's not really an issue if you accept it. Then it becomes a bit of a fun ride about what incredibly selfish thing she will do next.

The best way to read this book is as a historical source about the mentalities that informed the construction of a memory of the Civil War south. It helps greatly in dealing with the racism and gender roles.

There are four principal characters to be concerned with here - Scarlett and Rhett, the two principal protagonists, and Ashley and Mellie, the two supporting protagonists.

Scarlett and Ashley are easy to hate. Scarlett is selfish, entitled and vindictive. Essentially she wants everything to revolve around herself, and if that does not happen, she makes sure that it does. She has three principal concerns - herself, her family plantation - Tara, and Ashley. She also cares a bit about her parents, and has a little bit of concern for others, but that is mostly in the context of how they can be of help to her. And yet, her selfishness drives her to great things, incredible feats of bravery and daring, excellent improvisation, and finally a heroic effort to overcome the restrictions of her gender. Scarlett is easy to hate, but also can be extremely entertaining. Its only when her selfishness becomes delusional that Scarlett is difficult to read. Her obsession with Ashley drives her life to ruin. Her indifference towards her children evokes genuine hate.

Ashley on the other hand is the definition of a 2-dimensional character. Always idealistic, always dreaming, and always useless. Throughout the book he is nothing but a burden - a mental and emotional one on Scarlett, and a physical one on Mellie and to an essence Scarlett. His idiotic inability to settle his awkward relationship with Scarlett leads to great misery for all.

Rhett is contradictory - he is too many things. At the beginning he is the worldly-wise realist who knows the Confederacy is doomed. Then he is the garish opportunist, indulging in greed and vulgar display, rousing anger and opposition. Then he is the sudden patriot. Then once again the opportunistand yet also a closet idealist and yet a collaborator. And then he is Scarlett's love, but always at a distance! Then he is the devoted father! Then the spurned husband. And lastly the disillusioned lover. But logic does not dictate his actions or transformations.

Why was he caught in Atlanta at all if he was so well informed and connected? Why had he not left the Confederacy before? His sudden bout of patriotism is presented as a noble act, and yet this ignores that he left three women, one of them dying, a child and an infant in a war ravaged area in the middle of the night. Why does he display his wealth and get arrested, when his money is in England and he has zero reasons to stay in Reconstruction Atlanta? If he truly loved Scarlett, always, like he claimed later, why did he not make this plain, or talk of marriage, ever? He demonstrated that he could change for his daughter, but never tried to change for Scarlett.

And finally Mellie. She is less a character, and more a caricature. Always loving, calm, trustful, well-mannered, quiet, believing - she is literally too good to be true. If Scarlett was delusional about Ashley, Mellie was delusional about Scarlett and Ashley. Her blindness severely strained credulity.

So overall, while the book is a fascinating read about the South, the characters are severely wanting. And please don't call this a romance novel. ( )
  Andorion | Feb 6, 2021 |
The reader is supposed to care whether two morally loathsome characters (one of them a philandering profiteer and the other a suggestion of Medea and succubus combined) find love together? The facile creed at the center of the novel (like suits like) just doesn't work without at least a glimmer of moral redemption. The drama kept the pages turning, but I suspect I was just aching for the moment one unscrupulous piece of work finally told the other that he didn't give a damn. ( )
  BeauxArts79 | Feb 4, 2021 |
This is a big book in every way, not just in its physical size, but also in its long term influence, and the range of issues it considers at length through its descriptive passages and the interactions over a period of years between its leading characters.

By modern standards, and even by the standards of the 1930s when it was published, this book has of course a strong racist element. The white Georgian characters who form the core of this story all clearly regard black people as inherently inferior; they do not for the most part treat them cruelly, but they regard them as wayward children or pets who cannot run their own lives and exist only to serve their white masters. Mammy, the main black character is the single exception to this rule, regarded with respect and affection by everyone, and indeed she is probably the strongest character in the book. But it is important for an understanding of the context to note that, inexplicably to us in the 21st century, Mammy and all the other black characters themselves also regard themselves as having no separate existence apart from service to their white masters, and black house servants (and yes they do use the "n" word to refer to themselves) regard black field servants as an inferior caste on whom they look down in the same way as the white people look down on the blacks as a race.

Modern discussion of this novel centres almost exclusively around its racial element, but there is so much more in here: the horrors of war and a city (Atlanta) under siege; the privations suffered by families trying to make ends meet in a situation of society tearing itself apart in the Civil War (I think perhaps we in Britain don't quite get the impact this had and still in some ways has on American society, as our own Civil War was much longer ago); the impact of what we now call post-traumatic stress disorder on the mental health and conduct of soldiers on both sides, and the ill treatment by both sides of their prisoners of war; and moral dilemmas over the lengths one can and should go to protect one's family and loved ones in a desperate situation, versus wider societal responsbility.

The central character Scarlett O'Hara is often irritating, shallow and selfish, but also capable of strong love and loyalty, strong-willed and resourceful, and very willing to challenge the rigidly stereotypical standards of a society that believed it wrong for women to assert themselves in personal relationships or economic terms. When the former characteristics were to the fore, she reminded me rather of Becky Sharp in Thackeray's Vanity Fair, but Scarlett has more positive features (by the same token, Melanie Hamilton was much like Amelia Sedley in the Thackeray classic, looking for love and security and easily duped). Rhett Butler is the ultimate cynical character and epitome of the man determined to preserve his freedom of action in all circumstances by not committing himself, but also refreshing in his lack of tolerance of the cant and hypocrisy that dominates society's mores. It is ironic that Scarlett and Rhett, while being the central heroes of the novel, regularly flout the conventions and rigid morals of a society with which the author clearly totally identifies. Meanwhile, the other main male character, the cultured and well travelled Ashley Wilkes, with whom Scarlett is in love for almost the whole of the novel, pales into watery insignificance next to these central pairing.

There is much more that could be written about this novel, such as the author's very partial political views of the Reconstruction period after the Civil War, and her seeming complete lack of recognition that slavery was in any way wrong. This will always be a controversial novel, but overall it deserves its reputation as a sweeping epic and flawed masterpiece of American and world literature. ( )
1 ääni john257hopper | Nov 17, 2020 |
Näyttää 1-5 (yhteensä 404) (seuraava | näytä kaikki)
An old fashioned, romantic narrative with no Joycean or Proustian nonsense about it, the novel is written in a methodical style which fastidious readers may find wearying. But so carefully does Author Mitchell build up her central character of Scarlett O'Hara, and her picture of the times in which that wild woman struggled, that artistic lapses seem scarcely more consequential than Scarlett's many falls from grace.
lisäsi Shortride | muokkaaTime (Jul 6, 1936)
This is beyond a doubt one of the most remarkable first novels produced by an American writer. It is also one of the best.
lisäsi Shortride | muokkaaThe New York Times Book Review, J. Donald Adams (maksullinen sivusto) (Jul 5, 1936)
The historical background is the chief virtue of the book, and it is the story of the times rather than the unconvincing and somewhat absurd plot that gives Miss Mitchell's work whatever importance may be attached to it.
lisäsi Shortride | muokkaaThe New York Times, Ralph Thompson (maksullinen sivusto) (Jun 30, 1936)

» Lisää muita tekijöitä (28 mahdollista)

Tekijän nimiRooliTekijän tyyppiKoskeeko teosta?Tila
Mitchell, Margaretensisijainen tekijäkaikki painoksetvahvistettu
Auterinen, MaijaliisaKääntäjämuu tekijäeräät painoksetvahvistettu
Beheim-Schwarzbach, MartinKääntäjämuu tekijäeräät painoksetvahvistettu
Roldanus, Willem Jacob AarlandKääntäjämuu tekijäeräät painoksetvahvistettu
Stahl, BenKuvittajamuu tekijäeräät painoksetvahvistettu

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Epigrafi (motto tai mietelause kirjan alussa)
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Ein Mensch ist in seinem Leben wie Gras/er blühet wie eine Blume auf dem Felde;/wenn der Wind darüber geht, so ist sie nimmer da,/ und ihre Stätte kennet sie nicht mehr. Psalm 103
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To J. R. M.
Ensimmäiset sanat
Tiedot englanninkielisestä Yhteisestä tiedosta. Muokkaa kotoistaaksesi se omalle kielellesi.
Scarlett O'Hara was not beautiful, but men seldom realized it when caught by her charm, as the Tarleton twins were.
Tiedot englanninkielisestä Yhteisestä tiedosta. Muokkaa kotoistaaksesi se omalle kielellesi.
As God is my witness, I'll never be hungry again. (Scarlett)
I don't know nothin' 'bout birthin' babies. (Prissy)
After all, tomorrow is another day.
My dear, I don't give a damn.
Viimeiset sanat
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Tiedot englanninkielisestä Yhteisestä tiedosta. Muokkaa kotoistaaksesi se omalle kielellesi.
This LT work is for Margaret Mitchell's original 1936 novel, Gone with the Wind. Please distinguish it both from partial copies of the work (one or another volume from a 2, 3 or 4-volume set) and from the 1939 movie version of the same name. Thank you.
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Englanninkielinen Wikipedia (3)

After the Civil War sweeps away the genteel life to which she has been accustomed, Scarlett O'Hara sets about to salvage her plantation home.

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Keskiarvo: (4.29)
0.5 6
1 95
1.5 4
2 162
2.5 39
3 616
3.5 104
4 1377
4.5 187
5 2825

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