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Overview

Audiolibro dramatizado en español basado en la historia original de Víctor Hugo. Catalogada como la primera novela social de su época, Los miserables, es una de obras literarias las más famosas de todos los tiempos. Es la historia de Jean Valjean, un convicto que estuvo injustamente encarcelado por 19 años por haberse robado una rebanada de pan. Al ser liberado de su injusta condena, Valjean trata de escapar de su pasado, lleno de maldad y depravación, para vivir una vida digna y honesta. Sin embargo, esto se ve truncado al ser reconocido por el inspector Javert, quien lo persigue obsesionadamente para enviarlo de nuevo a prisión. Esta persecución consume la vida de ambos hombres, terminando en un inesperado desenlace. FonoLibro les presenta esta excelente dramatización de la obra maestra de Víctor Hugo, con un elenco completo, música original, y excelentes efectos de sonido, la cual le estremecerá, y le llegará al corazón. (Duración: 4 horas. 4 CDs)

Product Details

ISBN-13: 9782380370379
Publisher: Reading Time
Publication date: 07/14/2019
Sold by: Bookwire
Format: eBook
Pages: 1000
File size: 4 MB

About the Author

About The Author
Victor Marie Hugo (26 February 1802 – 22 May 1885) was a French author best remembered as the writer of "Les Misérables", and "Notre-Dame de Paris" (or "The Hunchback of Notre Dame").

American comics artist GERALD MCCANN contributed to the legendary Classics Illustrated series. McCann illustrated the adaptation of Alexandre Dumas's 'The Conspiritors', Jules Verne's 'Off on a Comet' and Francis Parkman's 'The Conspiracy of Pontiac' between in 1959 and 1960. He also cooperated on several special issues of the collection, such as 'Crossing the Rockies', 'Royal Canadian Mounted Police' and 'Men, Guns and Cattle'.

NORMAN NODEL (Nochem Yeshaya) was a noted artist and illustrator of children's books and magazines. Nodel began his illustrious career as a field artist in the army, drawing military maps during World War II. After the war, he pursued a successful career as an artist in a variety of styles, notably illustrating a great many issues in the famous 'Classics Illustrated' series in the 1950s. In the 1940s, he had previously been an assistant to George Marcoux, and he has done comic book art for True Comics and Sun Publications.
His contributions to 'Classics Illustrated' varied from 'Ivanhoe' to 'Faust' and 'The Invisible Man'. He was also a regular on Charlton's teen, horror and romance titles of the 1960s and 1970s. In the 1960s he contributed to the Warren magazines Eerie and Creepy, using the pen name Donald Norman.
During the last twelve years of his life, Mr. Norman Nodel devoted a major amount of his time and energy to illustrating books and magazines specifically for Jewish children, which gave him great pleasure and satisfaction. Norman Nodel worked to the last day of his life. He died on the 25th of February, 2000.

Date of Birth:

February 26, 1802

Date of Death:

May 22, 1885

Place of Birth:

Besançon, France

Place of Death:

Paris, France

Education:

Pension Cordier, Paris, 1815-18

Read an Excerpt

So long as there shall exist, by reason of law and custom, a social condemnation, which, in the face of civilisation, artificially creates hells on earth, and complicates a destiny that is divine, with human fatality; so long as the three problems of the age--the degradation of man by poverty, the ruin of woman by starvation, and the dwarfing of childhood by physical and spiritual night--are not yet solved; as long as, in certain regions, social asphyxia shall be possible; in other words, and from a yet more extended point of view, so long as ignorance and misery remain on earth, books like this cannot be useless. Hauteville House, 1862.


1815, M. Charles Franois-Bienvenu Myriel was Bishop of D----. He was a man of seventy-five, and had occupied the bishopric of D---- since 1806. Although it in no manner concerns, even in the remotest degree, what we have to relate, it may not be useless, were it only for the sake of exactness in all things, to notice here the reports and gossip which had arisen on his account from the time of his arrival in the diocese.

Be it true or false, what is said about men often has as much influence upon their lives, and especially upon their destinies, as what they do.

M. Myriel was the son of a counsellor of the Parlement of Aix; of the rank given to the legal profession. His father, intending him to inherit his place, had contracted a marriage for him at the early age of eighteen or twenty, according to a widespread custom among parliamentary families. Charles Myriel, notwithstanding this marriage, had, it was said, been an object of much attention. His person was admirably moulded; although of slight figure, he was elegant andgraceful; all the earlier part of his life had been devoted to the world and to its pleasures. The revolution came, events crowded upon each other; the parliamentary families, decimated, hunted, and pursued, were soon dispersed. M. Charles Myriel, on the first outbreak of the revolution, emigrated to Italy. His wife died there of a lung complaint with which she had been long threatened. They had no children. What followed in the fate of M. Myriel? The decay of the old French society, the fall of his own family, the tragic sights of '93, still more fearful, perhaps, to the exiles who beheld them from afar, magnified by fright--did these arouse in him ideas of renunciation and of solitude? Was he, in the midst of one of the reveries or emotions which then consumed his life, suddenly attacked by one of those mysterious and terrible blows which sometimes overwhelm, by smiting to the heart, the man whom public disasters could not shake, by aiming at life or fortune? No one could have answered; all that was known was that when he returned from Italy he was a priest.

In 1804, M. Myriel was cure of B----(Brignolles). He was then an old man, and lived in the deepest seclusion.

Near the time of the coronation, a trifling matter of business belonging to his curacy--what it was, is not now known precisely--took him to Paris.

Among other personages of authority he went to Cardinal Fesch on behalf of his parishioners.

One day, when the emperor had come to visit his uncle, the worthy cure, who was waiting in the ante-room, happened to be on the way of his Majesty. Napoleon noticing that the old man looked at him with a certain curiousness, turned around and said brusquely:

'Who is this goodman who looks at me?'

Table of Contents

Introduction7
Part 1Fantine
IAn Upright Man19
IIThe Outcast71
IIIIn the Year 1817119
IVTo Trust is Sometimes to Surrender144
VDegradation155
VIJavert191
VIIThe Champmathieu Affair202
VIIICounter-Stroke260
Part 2Cosette
IWaterloo279
IIThe Ship Orion325
IIIFulfilment of a Promise338
IVThe Gorbeau Tenement385
VHunt in Darkness399
VILe Petit-Picpus425
VIIICemeteries Take What They are Given451
Part 3Marius
IParis in Microcosm495
IIA Grand Bourgeois512
IIIGrandfather and Grandson522
IVThe ABC Society555
VThe Virtues of Misfortune584
VIConjunction of Two Stars603
VIIPatron-Minette619
VIIIThe Noxious Poor627
Part 4The Idyll in the Rue Plumet and the Epic of the Rue Saint-Denis
IA Few Pages of History705
IIEponine739
IIIThe House in the Rue Plumet756
IVHelp from Below May be Help from above788
VOf Which the End Does Not Resemble the Beginning797
VIThe Boy Gavroche812
VIIIEnchantment and Despair844
IXWhere are They Going?876
X5 June 1832883
XIThe Straw in the Wind904
XIICorinth915
XIIIMarius Enters the Darkness943
XIVThe Greatness of Despair953
XVIn the Rue de L'Homme-Arme970
Part 5Jean Valjean
IWar within Four Walls987
IIThe Entrails of the Monster1061
IIIMire, But the Soul1076
IVJavert in Disarray1104
VGrandson and Grandfather1110
VIThe Sleepless Night1129
VIIThe Bitter Cup1145
VIIIThe Fading Light1162
IXSupreme Shadow, Supreme Dawn1173
Appendix AThe Convent as an Abstract Idea (Part Two, Book VII)1202
Appendix BArgot (Part Four, Book VII)1214

What People are Saying About This

V. S. Pritchett

Hugo's genius was for the creation of simple and recognisable myth. The huge success of Les Miserables as a didactic work on behalf of the poor and oppressed is due to its poetic and myth-enlarged view of human nature... Hugo himself called this novel 'a religious work'; and it has indeed the necessary air of having been written by God in one of his more accessible and saleable moods.

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