Monday, June 13, 2016

另外的90% 開啟你未發掘的潛能 (The Other 90%: How to Unlock Your Vast Untapped Potential for Leadership and Life)

庫珀 (Robert K. Cooper)
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 長久以來,人們普遍認為人類的能力有種種極限,儘管已經有許多科學研究證實這種觀點的錯誤,但根深蒂固的心態仍然阻礙著我們,使我們看不見許多潛藏的可能性,未能發掘與運用自己與他人的無限潛能,於是,在面對種種壓力、變革、與不確定性下,我們感到精疲力竭、黔驢技窮。不論我們多麼勤奮努力,不論我們付出多少,仍然無法達到期盼的生活與境界。其實,還有別的方法,生命可以有另一種不同的風貌。

本書作者是神經科學先驅、同時也是知名的領導力領域專家羅伯.庫柏,敦促我們徹底改變對人類能力的觀點,他說,絕大多數人只發揮了不到百分之十的潛能。在本書中,他以淺顯易懂、容易學習的步驟教導我們如何發展與運用另外百分之九十的潛能。

......作者應用神經科學、行為心理學、工作生理學等領域的最新研究結果,提供許多鮮為人知的實用方法,教大家如何:

*提高工作時的精力,同時也擁有更多精力投入個人與家庭生活
*啟動大腦裡的“警報開關”,以消除壓力與緊張
*運用“三個不同的大腦”
*激發自己與他人的獨特才能

(摘錄自cp1897.com.hk)

Monday, June 6, 2016

Claude Monet

Nina Kalitina and Nathalia Brodskaia
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For Monet, the act of creation was always a painful struggle. His obsession to express emotions and to transmit light effects over nature was much more intense than his contemporaries. In his words: Skills come and go... Art is always the same: a transposition of Nature that requests as much will as sensitivity. I strive and struggle against the sun... should as well paint with gold and precious stones.

(Excerpt from amazon.com)


The exhibition Claude Monet: The Spirit of Place, now being held at the Hong Kong Heritage Museum from 4 May till 11 July 2016, features some of Monet’s most emblematic artworks including the famous water lilies of “Nymphéas.”

莫內的魅力

洪麟風 著
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莫內把印象派的理想,所謂「光的神祕」,將全部身心投入奉獻進去。他也是創造「組畫」的畫家,從來沒有一位畫家,將一種主題以不同時辰、不同季節、不同氣氛來表現。因為他的畫都在戶外寫生,而且尋覓到那麼多「畫點」,所以現在有所謂「莫內繪畫之旅」的導覽。

本書目錄:「光之印象.色彩的光輝」、「生活在水邊的喜悅」、「可讀時辰的畫」、「水氣.霧靄的魅力」、「在理想的風景中」、「莫內-印象派繪畫之母」、「確立印象派技法」、「維特尼的冬天」、「吉維尼終生之家」、「在南國的強光下求光色」、「連作組畫」。

(摘錄自博客來網路書店)


香港文化博物館推出「他鄉情韻--克勞德‧莫奈作品展」,展出法國印象派大師莫奈17幅畫作,展期為5月4日至7月11日。

Monday, May 30, 2016

Humans, Beasts, and Ghosts: Stories and Essays

By Qian Zhongshu (錢鍾書); Edited with an introduction by Christopher G. Rea
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Qian Zhongshu  (錢鍾書) was one of twentieth-century China's most ingenious literary stylists, one whose insights into the ironies and travesties of modern China remain stunningly fresh. Between the early years of the Second Sino-Japanese War (1937-1945) and the Communist takeover in 1949, Qian wrote a brilliant series of short stories, essays, and a comedic novel that continue to inspire generations of Chinese readers.

With this long-awaited translation, English-language readers can immerse themselves in the invention and satirical wit of one of the world's great literary cosmopolitans. This collection brings together Qian's best short works, combining his iconoclastic essays on the "book of life" from Written in the Margins of Life (寫在人生邊上) (1941) with the four masterful short stories of Human, Beast, Ghost (人獸鬼) (1946). His essays elucidate substantive issues through deceptively simple subjects-the significance of windows versus doors, for example, or the blind spots of literary critics—and assert the primacy of critical and creative independence. His stories blur the boundaries between humans, beasts, and ghosts as they struggle through life, death, and resurrection. Christopher G. Rea situates these works within China's wartime politics and Qian's literary vision, highlighting significant changes that Qian Zhongshu made to different editions of his writings and providing unprecedented insight into the author's creative process.


(Excerpt from amazon.com)

楊絳傳

羅銀勝 著
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《楊絳傳》以溫暖的筆觸敘寫了楊絳的百年人生,包括童年成長、家庭變遷、求學歷程,以及同錢鐘書半個多世紀相濡以沫的愛情,盡現其博學、睿智、寬容、韌性的純德名媛風範。

楊絳是一個從容優雅的精神貴族,她對抗戰火、疾病、政治風暴、生離死別的態度,堪稱生命的正能量;她經盡人生起起落落,依然平靜、充實、恬淡、知足又不卑不亢地生活著,她的傳記值得所有人靜下心來一讀。

(摘錄自douban.com)


楊絳,1911-2016年,本名楊季康,祖籍江蘇無錫,生於北京。著名的作家,戲劇家、翻譯家,錢鐘書的夫人。楊絳通曉英語、法語、西班牙語,由她翻譯的《唐·吉訶德》被公認為最優秀的翻譯佳作,到2014年已累計發行70多萬冊;她早年創作的劇本《稱心如意》,被搬上舞台長達六十多年,2014年還在公演;楊絳93歲出版散文隨筆《我們仨》,風靡海內外,再版達一百多萬冊,96歲成出版哲理散文集《走到人生邊上》,102歲出版250萬字的《楊絳文集》八卷。

Monday, May 23, 2016

The Glass Slipper: Women and Love Stories

Susan Ostrov Weisser
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Why is the story of romance in books, magazines, and films still aimed at women rather than at men? Even after decades of feminism, traditional ideas and messages about romantic love still hold sway and, in our “postfeminist” age, are more popular than ever. Increasingly, we have become a culture of romance: stories of all kinds shape the terms of love. Women, in particular, love a love story.

The Glass Slipper is about the persistence of a familiar Anglo-American love story into the digital age. Comparing influential classics to their current counterparts, Susan Ostrov Weisser relates in highly amusing prose how these stories are shaped and defined by and for women, the main consumers of romantic texts. Following a trajectory that begins with Jane Austen and concludes with Internet dating sites, Weisser shows the many ways in which nineteenth-century views of women’s nature and the Victorian idea of romance have survived the feminist critique of the 1970s and continue in new and more ambiguous forms in today’s media, with profound implications for women...

Review
"In this timely, valuable, relevant study, Weisser examines the ways in which traditional ideas of romantic love endure, despite decades of feminist scholarship and critique challenging sexism and misogyny and calling for change. Her prose is accessible, lively, and informed, and her discoveries outlining where feminism and romance dovetail and diverge have far-reaching implications to be valuable to anyone interested in gender studies, narrative theory, and cultural studies. Highly recommended." -- Choice