Ann Patchett
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New York Times best seller | A Read with Jenna Today Show Book Club Pick | A New York Times Book Review Notable Book | Time Magazine's 100 Must-Read Books of 2019 | 2020 Audie finalist - audiobook of the year and best male narrator
Named one of the Best Books of the Year by NPR, The Washington Post; O: The Oprah Magazine, Real Simple, Good Housekeeping, Vogue, Refinery29, and Buzzfeed
Ann Patchett, the number-one New York Times best-selling author of Commonwealth, delivers her most powerful novel to date: a richly moving story that explores the indelible bond between two siblings, the house of their childhood, and a past that will not let them go. The Dutch House is the story of a paradise lost, a tour de force that digs deeply into questions of inheritance, love, and forgiveness, of how we want to see ourselves, and of who we really are.
(Excerpt from amazon.com)
Monday, October 5, 2020
當代藝術,如何看?:藝術家觀點,帶你看懂作品 (How to See: Looking, Talking, and Thinking About Art)
大衛‧薩利 (David Salle)
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好藝術,如何看?
當代藝術就是布滿專業術語的地雷區
該相信你的眼睛?藝評評價?藝術史論斷?還是市場賣價?
紐約最前線、美國80年代新表現主義大將
塗鴉藝術家巴斯奇亞、凱斯˙哈林同代人、普普大師李奇登斯坦好友
重返20世紀藝術現場,說出藝術家們的激辯、交心、回憶與自白
◎什麼因素讓當代藝術滴答運作?什麼因素讓它變成好藝術?又是什麼因素讓它顯得有趣?
自杜象1917年在小便斗上簽名後,撼動了繪畫主導的藝術世界。視覺藝術的變化速度日益加快,未來主義、構成主義、新地理、機制批判、非具象主義、表現主義、抽象表現主義、低限主義、新表現主義等新名詞大量繁殖,當代藝術成了布滿專業術語的地雷區,這些術語就像是為了將欣賞者淘汰出局而設計的。
◎近五百年後,再度挑戰「藝術家談藝術家」
美國80年代最重要的新表現主義大將:大衛•薩利(David Salle),試圖扭轉一般人被藝評家阻隔於現代藝術之外的現況。身為塗鴉藝術家巴斯奇亞和凱斯˙哈林的同代人,及普普大師李奇登斯坦的好友,他想用藝術家聚在一起聊天的語言談論當代藝術,說出一位創作人面對藝術世界這四十年來天翻地覆驟變的真心話。他是繼1550年義大利藝術家瓦薩利,時隔近五百年後,再度挑戰藝術家談藝術家的後繼者。文集收錄的主題,從當代指標型人物到歷史人物皆有。許多是作者的同代人,有些更是認識幾十年的好友、同學 ......
本書的架構分為四部分:「如何為想法賦予形式」、「當個藝術家」、「世間藝術」和「教學與論戰」。
關於藝術的「如何」論戰,沒人比大衛˙薩利探索得更棒。──作家˙魯西迪
「如果說約翰•伯格的《觀看的方式》是藝術評論的經典,探究了藝術是『什麼』,那麼大衛•薩利的《當代藝術,如何看》就是藝術家給的答覆,告訴觀者該『如何看』。篇篇精彩的文章談論藝術家在創作時,他們想什麼? 關於藝術的『如何』論題,或許從來沒人比他探索得更棒。」──作家˙魯西迪
(摘錄自博客來網路書店)
online access from iRead eBook
check holdings in CityU LibraryFind
check resources by the same author in CityU LibraryFind
好藝術,如何看?
當代藝術就是布滿專業術語的地雷區
該相信你的眼睛?藝評評價?藝術史論斷?還是市場賣價?
紐約最前線、美國80年代新表現主義大將
塗鴉藝術家巴斯奇亞、凱斯˙哈林同代人、普普大師李奇登斯坦好友
重返20世紀藝術現場,說出藝術家們的激辯、交心、回憶與自白
◎什麼因素讓當代藝術滴答運作?什麼因素讓它變成好藝術?又是什麼因素讓它顯得有趣?
自杜象1917年在小便斗上簽名後,撼動了繪畫主導的藝術世界。視覺藝術的變化速度日益加快,未來主義、構成主義、新地理、機制批判、非具象主義、表現主義、抽象表現主義、低限主義、新表現主義等新名詞大量繁殖,當代藝術成了布滿專業術語的地雷區,這些術語就像是為了將欣賞者淘汰出局而設計的。
◎近五百年後,再度挑戰「藝術家談藝術家」
美國80年代最重要的新表現主義大將:大衛•薩利(David Salle),試圖扭轉一般人被藝評家阻隔於現代藝術之外的現況。身為塗鴉藝術家巴斯奇亞和凱斯˙哈林的同代人,及普普大師李奇登斯坦的好友,他想用藝術家聚在一起聊天的語言談論當代藝術,說出一位創作人面對藝術世界這四十年來天翻地覆驟變的真心話。他是繼1550年義大利藝術家瓦薩利,時隔近五百年後,再度挑戰藝術家談藝術家的後繼者。文集收錄的主題,從當代指標型人物到歷史人物皆有。許多是作者的同代人,有些更是認識幾十年的好友、同學 ......
本書的架構分為四部分:「如何為想法賦予形式」、「當個藝術家」、「世間藝術」和「教學與論戰」。
關於藝術的「如何」論戰,沒人比大衛˙薩利探索得更棒。──作家˙魯西迪
「如果說約翰•伯格的《觀看的方式》是藝術評論的經典,探究了藝術是『什麼』,那麼大衛•薩利的《當代藝術,如何看》就是藝術家給的答覆,告訴觀者該『如何看』。篇篇精彩的文章談論藝術家在創作時,他們想什麼? 關於藝術的『如何』論題,或許從來沒人比他探索得更棒。」──作家˙魯西迪
(摘錄自博客來網路書店)
Monday, September 28, 2020
Through the Language Glass: Why the World Looks Different in Other Languages
Guy Deutscher
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A New York Times Editor's Choice
An Economist Best Book of 2010
A Financial Times Best Book of 2010
A Library Journal Best Book of 2010
The debate is ages old: Where does language come from? Is it an artifact of our culture or written in our very DNA? In recent years, the leading linguists have seemingly settled the issue: all languages are fundamentally the same and the particular language we speak does not shape our thinking in any significant way. Guy Deutscher says they're wrong. From Homer to Darwin, from Yale to the Amazon, and through a strange and dazzling history of the color blue, Deutscher argues that our mother tongues do indeed shape our experiences of the world. Audacious, delightful, and provocative, Through the Language Glass is destined to become a classic of intellectual discovery.
(Excerpt from amazon.com)
International Translation Day (30 September)
The United Nations designates 30 September as International Translation Day to recognise the role of language professionals in connecting nations and strengthening world peace and security. READ MORE
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A New York Times Editor's Choice
An Economist Best Book of 2010
A Financial Times Best Book of 2010
A Library Journal Best Book of 2010
The debate is ages old: Where does language come from? Is it an artifact of our culture or written in our very DNA? In recent years, the leading linguists have seemingly settled the issue: all languages are fundamentally the same and the particular language we speak does not shape our thinking in any significant way. Guy Deutscher says they're wrong. From Homer to Darwin, from Yale to the Amazon, and through a strange and dazzling history of the color blue, Deutscher argues that our mother tongues do indeed shape our experiences of the world. Audacious, delightful, and provocative, Through the Language Glass is destined to become a classic of intellectual discovery.
(Excerpt from amazon.com)
International Translation Day (30 September)
The United Nations designates 30 September as International Translation Day to recognise the role of language professionals in connecting nations and strengthening world peace and security. READ MORE
花街.廢園.烏托邦:都市空間中的日本文學
前田愛
online access from HyRead ebook
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「文學文本的閱讀行為啟動後,
一步步包圍讀者沉浸其中的『空間』,
與夢境的空間多少有幾分相似」。
日本「文學社會學」研究的傳奇作品
榮獲日本藝術選獎文部大臣獎
30年來日本文學評論不朽巨著
中文版首度於華文世界面世!
「作者與讀者如何在都市空間相遇?」
──前田愛以流麗詩意和精準科學,
處理這樣一個文學理論的大哉問。
文學只是作者的提問,但答案卻在「讀者」,
唯有讀者回應了作者,一切意義才會正式開啟;
前田愛開創「讀者」研究的新世界,
以「空間」馳騁讀者的想像力,
其觀點、技法,走在西方理論的最前緣,
以迷人的膽識,為日本文學作出最卓越的貢獻。
(摘錄自博客來網路書店)
online access from HyRead ebook
check holdings in CityU LibraryFind
check resources on the same subject in CityU LibraryFind
「文學文本的閱讀行為啟動後,
一步步包圍讀者沉浸其中的『空間』,
與夢境的空間多少有幾分相似」。
日本「文學社會學」研究的傳奇作品
榮獲日本藝術選獎文部大臣獎
30年來日本文學評論不朽巨著
中文版首度於華文世界面世!
「作者與讀者如何在都市空間相遇?」
──前田愛以流麗詩意和精準科學,
處理這樣一個文學理論的大哉問。
文學只是作者的提問,但答案卻在「讀者」,
唯有讀者回應了作者,一切意義才會正式開啟;
前田愛開創「讀者」研究的新世界,
以「空間」馳騁讀者的想像力,
其觀點、技法,走在西方理論的最前緣,
以迷人的膽識,為日本文學作出最卓越的貢獻。
(摘錄自博客來網路書店)
Monday, September 21, 2020
The Craft of Research
Wayne C. Booth, Gregory G. Colomb, Joseph M. Williams, Joseph Bizup, William T. FitzGerald
online access from Ebook Central Academic Complete
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With more than three-quarters of a million copies sold since its first publication, The Craft of Research has helped generations of researchers at every level—from first-year undergraduates to advanced graduate students to research reporters in business and government—learn how to conduct effective and meaningful research. Conceived by seasoned researchers and educators Wayne C. Booth, Gregory G. Colomb, and Joseph M. Williams, this fundamental work explains how to find and evaluate sources, anticipate and respond to reader reservations, and integrate these pieces into an argument that stands up to reader critique.
The fourth edition has been thoroughly but respectfully revised by Joseph Bizup and William T. FitzGerald. It retains the original five-part structure, as well as the sound advice of earlier editions, but reflects the way research and writing are taught and practiced today. Its chapters on finding and engaging sources now incorporate recent developments in library and Internet research, emphasizing new techniques made possible by online databases and search engines. Bizup and FitzGerald provide fresh examples and standardized terminology to clarify concepts like argument, warrant, and problem.
Following the same guiding principle as earlier editions—that the skills of doing and reporting research are not just for elite students but for everyone—this new edition retains the accessible voice and direct approach that have made The Craft of Research a leader in the field of research reference. With updated examples and information on evaluation and using contemporary sources, this beloved classic is ready for the next generation of researchers.
(Excerpt from amazon.com)
online access from Ebook Central Academic Complete
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With more than three-quarters of a million copies sold since its first publication, The Craft of Research has helped generations of researchers at every level—from first-year undergraduates to advanced graduate students to research reporters in business and government—learn how to conduct effective and meaningful research. Conceived by seasoned researchers and educators Wayne C. Booth, Gregory G. Colomb, and Joseph M. Williams, this fundamental work explains how to find and evaluate sources, anticipate and respond to reader reservations, and integrate these pieces into an argument that stands up to reader critique.
The fourth edition has been thoroughly but respectfully revised by Joseph Bizup and William T. FitzGerald. It retains the original five-part structure, as well as the sound advice of earlier editions, but reflects the way research and writing are taught and practiced today. Its chapters on finding and engaging sources now incorporate recent developments in library and Internet research, emphasizing new techniques made possible by online databases and search engines. Bizup and FitzGerald provide fresh examples and standardized terminology to clarify concepts like argument, warrant, and problem.
Following the same guiding principle as earlier editions—that the skills of doing and reporting research are not just for elite students but for everyone—this new edition retains the accessible voice and direct approach that have made The Craft of Research a leader in the field of research reference. With updated examples and information on evaluation and using contemporary sources, this beloved classic is ready for the next generation of researchers.
(Excerpt from amazon.com)
命子
董啟章
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榮獲第十三屆香港書獎
寫給爸爸、寫給兒子、寫給自己,建構三代人,一個完美,有溫度,香港人的故事三稜鏡......
《命子》以父親的角度,進入存在或不存在的兒女之人生。第一部分〈命子:果〉以回憶錄/生活散文形式,寫父子的相處日常和兩人之間的相互「忍讓」,寫兒子果之執著,為人父母之甜蜜無奈,讀來生動幽默。第二部分〈笛卡兒的女兒〉,則是沒有女兒的作者,透過虛構笛卡兒的人物傳記,想像一個有女兒的人生。第三部分〈命子:花〉則虛構另一個不存在的兒子花的書信,試圖作為真實兒子的對照,也帶入自己孩提時的記憶,作為另一種隱性式父對子的期待。
(摘錄自博客來網路書店)
online access from iRead eBook
check holdings in CityU LibraryFind
check resources by the same author in CityU LibraryFind
榮獲第十三屆香港書獎
寫給爸爸、寫給兒子、寫給自己,建構三代人,一個完美,有溫度,香港人的故事三稜鏡......
《命子》以父親的角度,進入存在或不存在的兒女之人生。第一部分〈命子:果〉以回憶錄/生活散文形式,寫父子的相處日常和兩人之間的相互「忍讓」,寫兒子果之執著,為人父母之甜蜜無奈,讀來生動幽默。第二部分〈笛卡兒的女兒〉,則是沒有女兒的作者,透過虛構笛卡兒的人物傳記,想像一個有女兒的人生。第三部分〈命子:花〉則虛構另一個不存在的兒子花的書信,試圖作為真實兒子的對照,也帶入自己孩提時的記憶,作為另一種隱性式父對子的期待。
(摘錄自博客來網路書店)
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