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出版社:电脑报电子音像出版社,2010
简介:《Lady Gaga》包括:请叫我LADY GAGA、创造音乐奇迹、是本时尚教科书、永远的话题女王、解密LADY GAGA、专访。 Lady Gaga不仅在听觉上带来一股“高火力”音乐浪潮,更是在视觉上带来“时尚盛宴”,接受的人大呼酷辣个性,不能接受的人被雷到半死!甚至有人戏称她为美国的芙蓉姐姐。Lady Gaga穿着大胆前卫另类,最爱穿着深V字开衩连体装配肉色连裤袜外出,她的穿衣品味被人诟病但也受到许多年轻女性追捧。其实Lady Gaga很有些品味,推崇的都是Maison Martin Margiela、Hussein Chalayan、Viktor & Rolf等等前卫设计师的时装。现在,Lady Gaga也计划推出自己的时装品牌,而更有趣的是第一个产品系列可能会是裤子。
作者: (奥)维克多·E.弗兰克尔(Viktor E.Frankl)著;何忠强,杨凤池译
出版社:新华出版社,2003
简介:本书中,弗兰克尔博士介绍了导致他发现意义疗法的经历。作为集中营的长期囚徒,他发现自己几乎丧失了一切。他的父母、兄弟、妻子或病死于集中营,或被送进了燃气炉。除了妹妹,他的全家都死在了集中营。所有财物都被剥压,所有价值都遭破坏,每天经受着饥饿、寒冷和拷打的折磨,时时企望着结束自己的生命。在这种条件下,他怎能够发现生命值得留恋?因为他曾亲身经历这一极端恶劣的环境,所以他是一位值得人们仔细聆听的精神病学家。 维克多·E·弗兰克尔,维也纳医科大学心理精神病学终身教授,1997年逝世,一生著有32部著作,曾先后被
Delete:the virtue of forgetting in the digital age
作者: (英)维克托·迈尔-舍恩伯格(Viktor Mayer-Schönberger)著;袁杰译
出版社:浙江人民出版社,2013
简介:《删除:大数据取舍之道》讲述了遗忘的美德,为读者展现了大数据时代的取舍之道。数字技术赋予了我们前所未有的权利,它也产生了意想不到的可怕后果。facebook上照片会被网络永远铭记,甚至会影响到一个人的职业发展;Google记得所有我们搜索过的信息和时间。数字王国记住了那些有时最好被遗忘的信息。 删除,大数据取舍之道,就是把有意义的留下来,把无意义的去掉。只有理解了在大数据中,需要的是什么,以及如何判断这种需要,才能举一反三地明白到底为什么要去掉那些不需要的。 维克托?迈尔-舍恩伯格,大数据时代的预言家,《科学》《自然》等著名学术期刊最推崇的互联网研究者之一,拥有在哈佛大学、牛津大学、耶鲁大学和新加坡国立大学等多个互联网研究重镇任教的经历。 《删除》洞见了“被遗忘的权利”,探索了大数据时代人类该如何构建积极而安全的未来。
作者: Viktor
出版社:Hodder 2013年02月
简介:
A revelatory exploration of the hottest trend in technologyand the dramatic impact it will have on the economy, science, andsociety at large.
Which paint color is most likely to tell you that a used car isin good shape? How can officials identify the most dangerous NewYork City manholes before they explode? And how did Google searchespredict the spread of the H1N1 flu outbreak?
The key to answering these questions, and many more, is bigdata. “Big data” refers to our burgeoning ability to crunch vastcollections of information, analyze it instantly, and drawsometimes profoundly surprising conclusions from it. This emergingscience can translate myriad phenomena—from the price of airlinetickets to the text of millions of books—into searchable form, anduses our increasing computing power to unearth epiphanies that wenever could have seen before. A revolution on par with the Internetor perhaps even the printing press, big data will change the way wethink about business, health, politics, education, and innovationin the years to come. It also poses fresh threats, from theinevitable end of privacy as we know it to the prospect of beingpenalized for things we haven’t even done yet, based on big data’sability to predict our future behavior.
In this brilliantly clear, often surprising work, two leadingexperts explain what big data is, how it will change our lives, andwhat we can do to protect ourselves from its hazards. Big Data isthe first big book about the next big thing.
作者: (英)古尔米特·马塔鲁(Gurmit Matharu)编著;江莉宁,刁杰译
出版社:中国青年出版社,2011
简介: 聚焦行业关键词 《什么是时装设计?》是一本针对时装设计专业学生和从业人员的综 合性指南。本书带领读者去认识错综复杂又精彩纷呈的时装业,讲述了该 行业如何历经一个世纪,从传统的手工制作发展成当今世界上规模最庞大 的产业之一。在此基础上,本书深入探讨了当前备受关注的行业关键词, 如“时装周期“与”导入时间”对品牌发展的重要性;时装、媒体和现代 “名流文化”之间的关系:”零号身材”的争论以及“快时尚”所引发的 环境问题和人道主义问题。 解析设计全过程 古尔米特?马塔鲁编著的《什么是时装设计?》从时装的分类入手, 结合当前时代背景和社会文化环境,全面而系统地解析了时装设计的全过 程。作者对各个环节进行了提炼和整合,介绍了调查研究、获取灵感、绘 制设计手稿、选择色彩和面料、运用比例和造型、细节修饰等基本设计方 法。同时,本书探讨了运用创造性思维创建一组风格鲜明的时装系列的技 巧,以及如何通过有效的策划销售手段将产品投放市场。此外,本书还介 绍了时装产业中的行业细分,并对专业学生选择院校和就业提出了中肯的 建议。 荟萃大师经典作品 古尔米特?马塔鲁编著的《什么是时装设计?》汇集了世界顶级时装 设计大师的作品,既有克里斯汀?迪奥高雅、经典的传统样式,也有艾迪 ?斯理曼时髦、前卫的摇滚风格和Viktor&Rolf令人惊叹的实验性时装。 才华横溢的大师们不仅向世人展示了时装的艺术魅力,还通过品牌运作和 扩大产品线,创建了一个个由时装、箱包、配饰、香水组成的时尚帝国, 从而引领时代的风尚!本书精心挑选了大师们最为精华、最富创意的作品, 对其进行了深入剖析,并附以丰富的发布会图片,展现给读者一个绚烂夺 目的时尚世界。
作者: Viktor
简介:
《微服务运维实战(第1卷)》详细讲解微服务和容器在软件持续集成和部署中的应用。将微服务打包成不可变的容器,通过配置管理工具实现自动化测试和持续部署,同时保证零停机且随时能回滚。采用集中日志对集群进行记录和监控,轻松实现服务器扩展。作者通过讲解相关工具(Docker、Kubernetes、Ansible、Consul等)的用法,分享自己的工作经验,帮助读者构建高效、可靠、可快速恢复的软件系统。
【媒体评论】
Viktor Farcic是CloudBees公司的资深架构师、咨询师,他有着二十多年的软件开发经验,精通多种编程语言(包括C、C 、C#、Java、Perl、Python、Scala、JavaScript等),目前他感兴趣的领域是微服务、持续集成、持续部署、测试驱动开发。
作者: (美)罗恩菲德(Lowenfeld,Viktor)著;王德育译
出版社:湖南美术出版社,1993
简介: 本书是中国第一部《美术教育译丛》丛书之一。“创造与心智的成长”是译自viktorlowenfeld的名著“creativeandmentalgrowth”的1957年版。译者王德育在1976年,曾着手翻译该书一次,惟当时时间匆促,有些地方免不了语汇艰涩,且有英文化的语气出现,这是翻译者很难避免的一种现象。事过多年,王德育已到美国深造,英文造诣也比从前高深得多;他重新检讨旧译,觉得很不满意,因而决定重译,以力求能够尽善尽美。笔者阅读了其新译,觉得比从前通顺许多,可见他的功力已不可同日而语。
Man’s search for meaning:an introduction to logotherapy
作者: 弗兰克(Viktor E. Frankl)著;赵可式,沈锦惠译
出版社:光启文化事业,2012
简介:創作「意義治療法」聞名於世的弗蘭克(Viktor E. Frankl)是一位精神官能學及精神分析學教授,對心理學界的影響及貢獻至深且鉅。納粹當政期間,曾被囚於集中營內,忍受種種非人待遇而終獲生還,因而對存在的痛苦、挫折,及現代人特有的焦慮與空虛感,特別關注。其見解深銳而透徹,為心理學注入前輩諸大師所疏忽的人道精神,開創了心理學的新里程。 本書以作者的集中營經歷為本,揭示人類生命的動力在於尋出意義;人只要參透為何而活,即能承受任何煎熬;而無論處境如何,亦皆有自由抉擇的餘地。本書深入淺出,但振聾發聵人人可讀。自出版迄今,轟動全球,堪稱為研究人類心理學與精神不可不讀的一本經典之作。
简介: 万众瞩目的《哈利波特》大结局——《哈利波特与死亡圣器》终于在7月21日揭开了她神秘的面纱。不论是该书的哈迷,还是该书的作者J.K.罗琳,都感觉非常失落,因为陪伴大家多年的哈利波特至此完成了他的使命。在大结局问世后首次现身伦敦签售并接受采访的她表示:“在写完《哈7》之后,自己感觉就像失去亲人一样的难受。”谈及未来,她表示,“我再也写不出这么受欢迎的书了……我会做些跟写《哈利波特》时相同的事——写些自己真的想写的东西,如果那跟《哈》相似,那没问题,如果很不相同,那也没问题。” 如今靠《哈利波特》小说名成利就的罗琳完成结局篇后可说是一身轻,不必再承受出版社催稿的压力,也可拋开书迷的殷切期望,目前她与丈夫和3名子女居于苏格兰爱丁堡,过着平静的生活。 据国外媒体23日报道,全球最大在线销售网站“亚马逊”和美国最大连锁书店巴诺(Barnes&Noble)均宣布,《哈利·波特与死圣》的预订量超过 100万册。在一个披头士乐队式的疯狂时刻,亚马逊网站22日当天畅销商品排行榜前七位均是与“哈利·波特”有关的产品,如《哈利·波特与死圣》CD。 《哈利·波特与死圣》在全美引发的狂潮让负责出品哈利·波特系列影片的美国华纳兄弟影业公司有点儿坐不住了。该公司承认,“哈利·波特”系列电影之五《哈利· 波特与凤凰社》的票房受到一些影响,因为“哈迷”已经忙地不可开交,哪有时间到电影院看电影。华纳兄弟影业公司发行部主任丹·菲尔曼表示:“他们希望在周六就买到那本书,然后将自己关在房间内,沉迷于哈利·波特的魔幻世界。他们可不希望自己的朋友捷足先登,在周一比自己先知道故事内容。” 如失去亲人般痛苦 “哈迷”对《哈利·波特与死亡圣器》这本书的评价几乎是异口同声的溢美之词,尽管一些“捣蛋者”在网上提前泄密了大结局,但仍无法阻挡读者对它的热情,一如既往对哈利·波特充满期待。“哈迷”网站的版主梅利莎·安妮尔说:“这本书情节引人入胜,我想在搞明白《哈利·波特7》全部内容之前,起码先大致浏览一遍。我认为书中充满了最令人激动、最令人惊喜的时刻。” 安妮尔说,她在周六一天一口气儿就读完了759页的《哈利·波特与死亡圣器》。她说:“合上书,我既狂喜又失落,故事情节和故事展开的方式不禁令人折服,失落之处在于这个童话就此结束了。感觉就像失去亲人般难受,感觉就像同多年至交说再见。” 20 岁的纽约州立大学电影系学生安娜·托德也是一名忠实的“哈迷”,为了早一点看到“哈利·波特”,她周六午夜就到巴诺连锁书店在曼哈顿的联合广场排队取书。她在晚上时断时续小睡了几觉,并最终得偿所愿,拿到了哈利·波特与死亡圣器》。托德说:“J.K.罗琳确实没有令读者失望。我想她真是太棒了。有时,我害怕一直读下去,因为读完就只能永远地同‘哈利·波特’告别了,这种感觉真是难受。” 她不禁哀叹,“我永远不会再彻夜看新的《哈利·波特》书了,也永远不会再体验半夜排队购书的经历了,永远不会再编造有关哈利的各种荒诞说法了。一切都就此结束了。感觉就好像是与最好、最亲的一个朋友永别。我能做就是一遍遍地阅读,将来我有孩子的时候,我会同他们一起分享这些书。我期待那一天早日到来。” 亚马逊网同时为您奉上: 《哈利波特与死圣》(美国版) 《哈利波特与死圣》(美国豪华版) 《哈利波特与死圣》(英国特别版) Amazon.co.uk Review The Final Chapter The pubdate of the seventh and final Harry Potter book has been announced, and the rumours are already circulating - what are the Deathly Hallows? Who will make it through to the end? This special edition of Harry Potter and the Deathly Hallows is for any major fan of the series, offering a luxury jacket and binding, this is set to make the perfect present for any muggle! From Publishers Weekly Potter fans, relax—this review packs no spoilers. Instead, we’re taking advantage of our public platform to praise Rowling for the excellence of her plotting. We can’t think of anyone else who has sustained such an intricate, endlessly inventive plot over seven thick volumes and so constantly surprised us with twists, well-laid traps and Purloined Letter-style tricks. Hallows continues the tradition, both with sly feats of legerdemain and with several altogether new, unexpected elements. Perhaps some of the surprises in Hallows don’t have quite the punch as those of earlier books, but that may be because of the thoroughness and consistency with which Rowling has created her magical universe, and because we’ve so raptly absorbed its rules. We’re also seizing the occasion to wish out loud that her editors had done their jobs more actively. It’s hard to escape the notion that the first three volumes were more carefully edited than the last four. Hallows doesn’t contain the extraneous scenes found in, say, Goblet of Fire, but the momentum is uneven. Rowling is much better at comedy than at fight scenes, and no reader of the sixth book will be startled to hear that Hallows has little humor or that its characters engage in more than a few fights. Surely her editors could have helped her find other methods of building suspense besides the use of ellipses and dashes? And craft fight dialogue that sounds a bit less like it belongs in a comic book? Okay, we’re quibbling. We know these minor nuisances won’t dent readers’ enjoyment, at least not this generation of readers; we couldn’t put Hallows down ourselves. But we believe Rowling, and future readers, deserved even better. Ages 9-12. (July) Synopsis 'His hand closed automatically around the fake Horcrux, but in spite of everything, in spite of the dark and twisting path he saw stretching ahead for himself, in spite of the final meeting with Voldemort he knew must come, whether in a month, in a year, or in ten, he felt his heart lift at the thought that there was still one last golden day of peace left to enjoy with Ron and Hermione.' With these words "Harry Potter and the Half-Blood Prince" draws to a close. And here, in this seventh and final book, Harry discovers what fate truly has in store for him as he inexorably makes his way to that final meeting with Voldemort. In this thrilling climax to the phenomenally bestselling series, J.K. Rowling will reveal all to her eagerly waiting readers. More Information about Harry Potter and the Deathly Hallows Harry Potter and the Deathly Hallows is the seventh and final book in the Harry Potter series of novels by J. K. Rowling. On 21 July 2007, all editions but the American were released at a minute past midnight (00:01) BST; the American and Canadian editions was released at a minute past midnight (00:01), local time. It was released globally in 93 countries.The book reached the top spot on both the Amazon.com and Barnes and Noble best-seller lists just a few hours after the date of publication was announced on 1 February 2007. Why We Love Harry Favorite Moments from the Series There are plenty of reasons to love Rowling's wildly popular series--no doubt you have several dozen of your own. Our list features favorite moments, characters, and artifacts from the first five books. Keep in mind that this list is by no means exhaustive (what we love about Harry could fill ten books!) and does not include any of the spectacular revelatory moments that would spoil the books for those (few) who have not read them. Enjoy. The Series of Harry Potter The Harry Potter series was originally published as a children's book by British publisher Bloomsbury, and American publisher Scholastic Press. However, it rapidly became a phenomenal success amongst children and adults alike. The books each chronicle one year at school for the characters concerned and follows a long tradition of children's series about life in schools. Perhaps unlike some of the traditional series of this format, each book has matured and expanded in complexity and scope compared to the last, approximately developing with the age of the principal characters (later books are also significantly darker in tone than earlier ones). Although the author has said that she comprehensively plotted the entire series of books before the first was published, and that this plot remains unchanged, she has also stated that it has undergone a number of revisions as it has progressed. The books started as relatively slim volumes (223 pages Philosopher's Stone UK ed.), but have grown as the series progressed (766 pages Order of the Phoenix UK ed.). The books contain a significant element of fantasy and magic, but this is combined with a detective-novel approach to the story. Each volume contains a complete problem and task for the heroes to complete, but each has also added to the background information about the wizarding world in general and contains many pieces of information whose importance only becomes apparent in later volumes (known as foreshadowing). Thus a considerable fan following has developed of people wanting to discover how the many loose ends and unfinished adventures in the book will finally be completed. The author has stated that, more than with any other book in the series, the final volume continues the unfinished story in book six. She has also stated that she doesn't have plans for any other novels concerning Harry Potter. Harry Potter and the Sorcerer's Stone * Harry's first trip to the zoo with the Dursleys, when a boa constrictor winks at him. * When the Dursleys' house is suddenly besieged by letters for Harry from Hogwarts. Readers learn how much the Dursleys have been keeping from Harry. Rowling does a wonderful job in displaying the lengths to which Uncle Vernon will go to deny that magic exists. * Harry's first visit to Diagon Alley with Hagrid. Full of curiosities and rich with magic and marvel, Harry's first trip includes a trip to Gringotts and Ollivanders, where Harry gets his wand (holly and phoenix feather) and discovers yet another connection to He-Who-Must-No-Be-Named. This moment is the reader's first full introduction to Rowling's world of witchcraft and wizards. * Harry's experience with the Sorting Hat. Harry Potter and the Chamber of Secrets * The de-gnoming of the Weasleys' garden. Harry discovers that even wizards have chores--gnomes must be grabbed (ignoring angry protests "Gerroff me! Gerroff me!"), swung about (to make them too dizzy to come back), and tossed out of the garden--this delightful scene highlights Rowling's clever and witty genius. * Harry's first experience with a Howler, sent to Ron by his mother. * The Dueling Club battle between Harry and Malfoy. Gilderoy Lockhart starts the Dueling Club to help students practice spells on each other, but he is not prepared for the intensity of the animosity between Harry and Draco. Since they are still young, their minibattle is innocent enough, including tickling and dancing charms. Harry Potter and the Prisoner of Azkaban * Ron's attempt to use a telephone to call Harry at the Dursleys'. * Harry's first encounter with a Dementor on the train (and just about any other encounter with Dementors). Harry's brush with the Dementors is terrifying and prepares Potter fans for a darker, scarier book. * Harry, Ron, and Hermione's behavior in Professor Trelawney's Divination class. Some of the best moments in Rowling's books occur when she reminds us that the wizards-in-training at Hogwarts are, after all, just children. Clearly, even at a school of witchcraft and wizardry, classes can be boring and seem pointless to children. * The Boggart lesson in Professor Lupin's classroom. * Harry, Ron, and Hermione's knock-down confrontation with Snape. Harry Potter and the Goblet of Fire * Hermione's disgust at the reception for the veela (Bulgarian National Team Mascots) at the Quidditch World Cup. Rowling's fourth book addresses issues about growing up--the dynamic between the boys and girls at Hogwarts starts to change. Nowhere is this more plain than the hilarious scene in which magical cheerleaders nearly convince Harry and Ron to jump from the stands to impress them. * Viktor Krum's crush on Hermione--and Ron's objection to it. * Malfoy's "Potter Stinks" badge. * Hermione's creation of S.P.E.W., the intolerant bigotry of the Death Eaters, and the danger of the Triwizard Tournament. Add in the changing dynamics between girls and boys at Hogwarts, and suddenly Rowling's fourth book has a weight and seriousness not as present in early books in the series. Candy and tickle spells are left behind as the students tackle darker, more serious issues and take on larger responsibilities, including the knowledge of illegal curses. Harry Potter and the Order of the Phoenix * Harry's outburst to his friends at No. 12 Grimmauld Place. A combination of frustration over being kept in the dark and fear that he will be expelled fuels much of Harry's anger, and it all comes out at once, directly aimed at Ron and Hermione. Rowling perfectly portrays Harry's frustration at being too old to shirk responsibility, but too young to be accepted as part of the fight that he knows is coming. * Harry's detention with Professor Umbridge. Rowling shows her darker side, leading readers to believe that Hogwarts is no longer a safe haven for young wizards. Dolores represents a bureaucratic tyrant capable of real evil, and Harry is forced to endure their private battle of wills alone. * Harry and Cho's painfully awkward interactions. Rowling clearly remembers what it was like to be a teenager. * Harry's Occlumency lessons with Snape. * Dumbledore's confession to Harry. Harry Potter and the Half-Blood Prince * The introduction of the Horcrux. * Molly Weasley asking Arthur Weasley about his "dearest ambition." Rowling has always been great at revealing little intriguing bits about her characters at a time, and Arthur’s answer "to find out how airplanes stay up" reminds us about his obsession with Muggles. * Harry's private lessons with Dumbledore, and more time spent with the fascinating and dangerous pensieve, arguably one of Rowling’s most ingenious inventions. * Fred and George Weasley’s Joke Shop, and the slogan: "Why Are You Worrying About You-Know-Who? You Should Be Worrying About U-NO-POO--the Constipation Sensation That's Gripping the Nation!" * Luna's Quidditch commentary. Rowling created scores of Luna Lovegood fans with hilarious and bizarre commentary from the most unlikely Quidditch commentator. * The effects of Felix Felicis. More About Author J. K. (Jo) Rowling was born in Chipping Sodbury in the UK in 1965. Such a funny-sounding name for a birthplace may have contributed to her talent for collecting odd names. Jo moved house twice when she was growing up. The first move was from Yate (just outside Bristol in the south west of England) to Winterbourne. Jo, her sister and friends used to play together in her street in Winterbourne. Two of her friends were a brother and sister whose surname just happened to be Potter! The second move was when Jo was nine and she moved to Tutshill near Chepstow in the Forest of Dean. Jo loved living in the countryside and spent most of her time wandering across fields and along the river Wye with her sister. For Jo, the worst thing about her new home was her new school. Tutshill Primary School was a very small and very old-fashioned place. The roll-top desks in the classrooms still had the old ink wells. Jo's teacher, Mrs Morgan, terrified her. On the first day of school, she gave Jo an arithmetic test, which she failed, scoring zero out of ten. It wasn't that Jo was stupid - she had never done fractions before. So Jo was seated in the row of desks far to the right of Mrs Morgan. Jo soon realised that Mrs Morgan seated her pupils according to how clever she thought they were: the brightest sat to her left, and those she thought were dim were seated to her right. Jo was in the 'stupid' row, 'as far right as you could possibly get without sitting in the playground'. From Tutshill Primary, Jo went to Wyedean Comprehensive. She was quiet, freckly, short-sighted and not very good at sports. She even broke her arm playing netball. Her favourite subject by far was English, but she also liked languages. Jo always loved writing more than anything. 'The first story that I ever wrote down, when I was five or six, was about a rabbit called Rabbit. He got the measles and was visited by his friends, including a giant bee called Miss Bee. And ever since Rabbit and Miss Bee, I have wanted to be a writer, though I rarely told anyone so. I was afraid they'd tell me I didn't have a hope.' At school, Jo would entertain her friends at lunchtime with stories. 'I used to tell my equally quiet and studious friends long serial stories at lunchtimes.' In these stories, Jo and her friends would be heroic and daring. As she got older, Jo kept writing but she never showed what she had written to anyone, except for some of her funny stories that featured her friends as heroines. After school, Jo attended the University of Exeter in Devon where she studied French. Her parents hoped that by studying languages, she would enjoy a great career as a bilingual secretary. But as Jo recalls, 'I am one of the most disorganised people in the world and, as I later proved, the worst secretary ever.' She claims that she never paid much attention in meetings because she was too busy scribbling down ideas. 'This is a problem when you are supposed to be taking the minutes of the meeting,' she says. When she was 25, Jo started writing a third novel ('I abandoned the first two when I realised how bad they were'). A year later, she went to Portugal to teach English, which she really enjoyed. Working afternoons and evenings, she had mornings free to write. The new novel was about a boy who was a wizard. When she returned to the UK, Jo had a suitcase full of stories about Harry Potter. She moved to Edinburgh with her young daughter and worked as a French teacher. She also set herself a target: she would finish the 'Harry' novel and get it published. In 1996, one year after finishing the book, Bloomsbury bought Jo's first novel, Harry Potter and the Philosopher's Stone. 'The moment I found out that Harry would be published was one of the best of my life,’ says Jo. A few months after 'Harry' was accepted for publication in Britain, an American publisher bought the rights for enough money to enable Jo to give up teaching and write full time - her life's ambition! Book Dimension length: (cm)24.1 width:(cm)15.5
Arztliche seelsorge:grundlagen der logotherapie und existenzanalyse
作者: (奥)维克托·E. 弗兰克尔(Viktor E. Frankl)著;徐佳译
出版社:电子工业出版社,2014
简介:奥地利著名临床心理学家维克托 E. 弗兰克尔(Viktor E. Frankl)在继承了弗洛伊德的精神分析的基础上,与其发生了决裂,创立了以“意义治疗”和“存在分析”命名的维也纳第三心理治疗学派,并在这本书中进行了详细的介绍。 《心灵的疗愈——意义治疗和存在分析的基础》提到了当今医学中过分技术化和操作化的问题,呼吁医学的再人性化。弗兰克尔一直强调,在疾病的背后,务必要注意到作为负有责任的、自由的、追求意义的存在的人。同时,本书还囊括了从意义治疗和存在分析的人类形象中精炼出来的“关于人的十个观点”。
Man's Search For Ultimate Meaning
简介: Viktor Frankl is known to millions of readers as apsychotherapist who has transcended his field in his search foranswers to the ultimate questions of life, death, and suffering."Man's Search for Ultimate Meaning" explores the sometimeunconscious human desire for inspiration or revelation, andillustrates how life can offer profound meaning at every turn.
作者: 李欧梵
出版社:人民文学出版社 2017年11月
简介:
导语:改编的艺术
一、 我的“后启蒙”书写
我写这本书,有一个潜在的目的,姑且称之为“后启蒙”:经由现今来重新认识过去,也经过电影来重新认识文学,特别是中外文学的经典。我“启蒙”别人,也启蒙自己——温故而知新,自我增值。
这个后启蒙的“后”字,也至少有两个涵义:一个指的当然是现今的所谓“后现代”社会,特别是在我书写的场地——市场和商品挂钩的香港;另一个“后”字则指的是“后”来居上的学问——电影,我认为现今我们已经由电影来重新认识文学经典的时候了。电影非但“后来居上”,早已成了大众消费的媒体(也逐渐不分雅俗),而且在这个后现代社会中,这个媒体和与之相关的新科技媒体(如影碟图片、电视、网络等)也早已成了我们日常生活中必不可缺的部分,它虽没有取代文字,却逐渐有凌驾以文字为主的文学的趋势。
然而“后来居上”并不表示新的比旧的更好,而是我们的日常生活的习惯改了,必会影响到所谓“品味”问题。平日浸淫在各种大众媒体的人,已经不能辨别什么是好、什么是坏,往往以价钱的贵贱为准则,当然“名牌效应”更不在话下,这个现象众所周知。而后现代的文化理论也并不能帮助我们培养识辨的能力,它把重点放在消费,而不在生产;重“工业”而不重“创意”,把整个全球社会“物质化”和商品化的景观视为理所当然,连带也影响到对于电影的研究。据我所知,目前在西方学界,研究电影和文学关系的学者并不多,其中只有极少数人是对于文学有极深修养的,纽约大学的罗拔史谭(Robert Stam)教授是其中的佼佼者,所以我当然要参阅他的几本著作,作为我个人“理论”的出发点。
史谭有一个观点,我十分同意:二三十年前(或更早)研究此类问题时,学者往往把文学视为首位,先入为主,因此改编文学经典注定不成功;所谓忠实于原著(fidelity)的问题,成了传统理论家*常用的尺度,所以史谭要反对,我也赞成他的反对意见。〔注一〕史谭把文学和电影放在平等的地位,甚至更偏向电影,认为它是一种较文学更“多声”体的艺术。史谭借用了一个名词来形容“改编”关系:palimpsest,字典上的定义指“古代将原有的文字刮去重写新字的羊皮纸或其他书写材料”,换言之,如果羊皮纸上原有的文字可以喻作文学原著的话,改编就是刮去重写。而原有的文字,他又用另外两个更抽象的理论文字(抄自法国理论家Gérard Genette)来表述:文学原典是一种hypotext,改编后的影片则是一种hypertext,我暂且把这两个名词译作“前潜本”和“后现本”;“潜”指的是潜存或残存、甚至只剩下躯壳或痕迹的原本,在时间上它必产生于前,而改后显现出来的文本,则是在上面加上去的东西,所以是“后设”,然而与“前文”仍然产生某种辩证关系。
这种理论游戏非我所长。然而即便是史谭也不会完全料到目前香港的现象——“原本”或“前本”根本没有人理会了,在大众的集体意识中根本不存在,换言之,在一切皆是媒体复制的过程中,班雅明所说的“灵光”(aura)早已失明了。
我们只能从这些复制品——如电影——去重寻一些文学经典的灵光,甚至还不一定捉摸得到。在视觉媒体凌驾文字媒体的香港,年轻人已不知经典为何物,甚至连书店以廉价出售的文学经典平装本也无人问津。
作为一个受过文学训练的影迷或影痴,我不能自僭为电影学者,但近年来不知不觉地却写了不少关于老电影(内中不少是改编自文学经典的电影)的文章,想引导有心读者在重温旧片之际回归文学,但这种“回归”并非*肯定所有原著的文学价值,有的原著(如“007”铁金刚的小说系列)并不见得好,甚至改编后的影片——如《铁金刚勇破间谍网》(From Russia with Love, 1963)反而成为电影中的经典(见后文),所以我绝非厚此薄彼,只不过觉得有一种“动力”在驱使我作这种回溯式的研究,也许免不了有点老年怀旧的情绪吧(我也曾为此写过一本书:《自己的空间——我的观影自传》),但也不尽然,从学术的立场而言,或可勉称是一种跨学科的尝试。
写完这一段转弯抹角的前言,似乎可以言归正传了。但仍须稍稍交代一下我的研究方法。
二、 文学与电影关系
电影和文学的关系,实在难以简单道明。不少理论家曾为这两种艺术作“本体论”式的描述。在一般人的心目中,文学的本体是文字,电影的本体是影像。文字又由字和句组成,串连在一起,遂而产生内容,但语言学上仍把内容和形式分开,严格来说,西方语言学理论所说的符旨(signifier)和意旨(signified)仍在语言的层次,并未涉及内容,而一般读者则只看内容,不管形式。电影亦然,一般观众只看影片中的内容情节,并不注重电影本身的意象和接剪技巧,所以如果先看文学作品再看改编的影片的话,就会觉得影片的内容浅薄多了。但西方的文学和电影理论家则往往单从形式本身着手,认为形式构成内容,甚至后者是为前者服务,这就产生了一个很大的分歧。
我想采取一个较折衷的方法,内容和形式并重,但形式*不是内容的工具;我也扬弃所有“主题先行”和上纲上线式的先入为主的政治宣传或说教的论调。至少,我觉得这种方法有助于了解电影和文学的对等关系,特别是当我们从改编后的影片来追溯和推论原来的文学经典的时候。
现今观众看的都是有声片,特别是荷里活传统影响下的有声片,而忽略了默片。有声片可以用旁白,一定包括大量对话,所以和小说的戏剧的形式,比默片接近一点,而默片虽有字幕,但还是用影像来说故事。不少早期的西方电影理论皆以默片为主要材料,俄国形式主义的大师史克洛夫斯基(Viktor Shklovsky)在一篇经典论文〈Literature and Cinematography〉(英译变成一本小书)中,就特别指出——电影其实是一种符号(semiotic)式的艺术,它的“连贯性”是假的,它是观众视觉上的“误觉”:菲林连在一起从放映机投射出来的动作(motion)像是不停地在动,其实不然。换言之,“电影只能处理动的符号”,而在内容意义上根本无法表达所谓“陌生化”(defamiliarized)的文学语言。他当时十分重视电影这个新媒体,但对早期默片改编文学作品的尝试则嗤之以鼻。后来的法国电影理论家——如梅兹(Christian Metz)——亦从这种形式主义立场作“结构主义”的论述,一切形式至上,几乎不谈内容。
我想这种理论本身就是一个二十世纪西方现代主义的一个趋势:在文学上变成了“语化转向”(linguistic turn),而在电影的研究上又如何?过度地重视电影本身语言的独特性,则无形中忽略了“呈现”或“再现”(representation)现实的问题。荷里活的剧情片,大多是写实片,中国的老电影亦然,更遑论五四小说。现实如何用电影的语言来呈现或再现?在电影理论中,巴赞(André Bazin)——也是法国新浪潮派导演的教父——是经典人物,他的“深焦距长镜头”(deep?focuslong?take)理论为人津津乐道,至今仍然是研究荷里活老电影*适当的理论,我在本书中自不免俗,亦会稍稍提及,有所发挥。
总而言之,我不拟把抽象理论故意套用在我的研究上,而是从甚多的个案例子中看出——或悟出——一些浅显的道理,以便有助于普通读者和影迷观赏电影和阅读文学。
且先从电影谈起。
三、 荷里活剧情片的模式
一部普通的剧情片,一定有一个故事情节。严格地说,故事又和情节不同,前者可以泛指影片背后的故事——包括神话、传说、历史和社会现象中的材料——而后者则指影片作品中的故事,英文称为plot,但在一般人心目中两者往往混为一谈。任何一个文化传统中都有不少“大故事”,其主题结构往往会被各种作品引用并改头换面,所以,在*广义的层次,几乎所有的作品都是从几个大架构或主题中“改编”出来的,因此有的理论家说:所谓文化上的深层结构,特别是神话和传说,是一切故事的源泉。
本书中所说的“故事”则较有现实性,指的是古今现实生活中的材料,也用之不尽,取之不竭,文学和电影从中取用的更多。从生活的故事变成小说或电影的情节,是一个“叙事”(narrative)的过程,日久也形成各种类型和结构,小说和荷里活电影尤然。文学和电影理论家不知有多少人在这方面花上精力,著书立说。
从这个“叙事”的角度而言,文学(特别是小说)和电影(特别是剧情片)确有不少共通之处:二者都是在有限的时间内说一个故事。所以十九世纪西方写实主义的小说,被改编成电影的*多,譬如狄更斯(Charles Dickens)的《苦海孤雏》(Oliver Twist)就被多次搬上银幕,还改编成歌舞剧,又据此再改编成歌剧片。(妙的是自从晚清时期西方小说被介绍到华土后,小说类中也以林琴南翻译的狄更斯小说*为有名)。
这并不表示十九世纪的小说中的人物逼真、故事生动,所以才容易被接受,其实狄更斯的小说内容十分琐碎,改编成电影并不容易,当中必须删减不少细节。从荷里活剧情片的立场看来,其基本情节架构和这种小说往往暗合,它们都包含几个不可或缺的因素:人物有身世,行为有动机,故事有结局,而叙事必须直线进行,即便是倒叙,也把时间的先后秩序注明,不可能事情还没有发生就先“先叙”起来,那是“后现代”式的技巧。*重要的是:情节有始有终,中间有转折,结尾前有高潮,把情节和人物中的冲突解决了,或悲或喜,有时更会在高潮时作正邪、忠奸或明暗的强烈对比,高潮结局后则恢复“正常”。
.......
出版社:北京东方影音公司,[2013]
简介: 一个大学生偶然发现他父亲留给他的跑车可以飞,就此他的生活发生了翻天覆地的变化。 由于这些巨大变化,他决定从一个平凡大学生变身成为和罪犯作对的“黑色闪电”大侠。他没有察觉罪恶势力正在一旁虎视眈眈。他们想得到这部神奇的汽车,并为此不惜一切代价,就算是杀掉“黑色闪电”和破坏他们的城市,也在所不惜。 《黑色闪电》由曾经执导《守夜人》和《通缉犯》的基穆尔·别克曼杰多夫一手打造。特效制作团队是《通缉犯》的同班人马,特技人员更是来自《谍影重重》和《007: 大破量子危机》。 精彩剧照:
作者: (俄)维·弗·叶罗菲耶夫(Viktor Jerofejew)著;陈淑贤译
出版社:长江文艺出版社,2005
简介: 长篇小说《好的斯大林》在德国《法兰克福汇报》连载后,于2004年4月德国出版德文版。5月在俄罗斯出版俄文版。作品顿时引起广大读者的兴趣,人们争相购买,媒体纷纷报道。 小说展现上世纪四十年代苏联风云变幻背景下一个知名外交官家庭的生活和父子两代人的矛盾。父亲弗拉季米尔·叶罗菲耶夫当过莫洛托夫助手、斯大林专职法语翻译和多任驻外使节,亲历二战和战后冷战,信仰坚定,正直勤勉,忠诚于党和国家事业。跟他在国外长大,自幼受西方民主思想影响的儿子维克多,则在成长过程中日益滋生着对苏联社会的不满情绪,1979年和同道出版地下刊物,发表未经审查的突破性作品,在文学界爆炸了一枚“核弹”,当即被当局查禁,开除出作协,父亲的政治生命也因此被扼杀。 书中的斯大林集神与人,善与恶于一身,既有独裁专制、冷酷无情的一面,又有关心体贴下级的表现。作者通过人物人口肯定“斯大林是世界级最有吸引力的人物”,“人民心中珍藏着好的斯大林”,“俄罗斯就其本质而言是斯大林魂魄”。维克多认为自己的父亲就是“好的斯大林”,对他有批评,也有怀念和赞美,维克多本人也在复杂的矛盾冲突中历练着自己的观察和思考。 小说还写到许多重要人物和事件的细节和侧面,艺术手法也有自己的创造和特色。作者特为中译本的出版,写信向中国读者致意。 [
Big data:a revolution that will transform how we live, work, and think
作者: 麦尔荀伯格(Viktor Mayer-Schonberger),库基耶(Kenneth Cukier)原著;林俊宏译
简介: 汽車烤漆的顏色能告訴你,這輛二手車的故障率高低嗎?市政府要怎樣清查,才能迅速找出有致命危險的人孔蓋?從谷歌的搜尋字眼,怎麼預測流感疫情的蔓延?要回答這些問題,關鍵就在於巨量資料(俗稱大數據)。「巨量資料分析」是一門新興科技,能夠解讀和預測無數的現象,包括預測機票的價格、好萊塢新片的票房、你家裡的青少年是否未婚懷孕!也能協助診斷早產兒的健康情況,探查收入高低與幸福快樂的相關程度,幫忙規劃快遞的送貨路線、電動車的充電站應該設置在哪裡,還能用來發展自動導航的無人駕駛汽車、以及「從駕駛人的臀部形態判斷是否為車主」的防盜系統,也能夠快速進行多種語文的互譯……兩位最頂尖的大數據專家,真正掌握到巨量資料思維的精髓,在這本書裡,清晰曉暢的解釋了巨量資料是什麼,它將如何改變我們的生活,對經濟、社會和科學會帶來什麼影響,我們又能夠做些什麼,趕搭上這波新潮流,同時也懂得保護自己,避免個人資料和隱私受到侵害。
作者: Janice
出版社: 2011年09月
简介: 本書是資深時尚媒體工作者JaniceWong與十八位18位國際著名時裝設計師過往20年來的接觸和訪談。籍此希望讀者們更瞭解衣服背後的靈魂,以及Janice在歐洲時尚界的經歷。這18位名師包括:Tom Ford、John Galliano、Lee Alexander McQueen、ChristopherBailey、Gianfranco Ferre、Miuccia Prada、Dolce & Gabbana、FridaGiannini、Jean Paul Gaultier、Karl Lagerfeld、Christian Lacroix、HediSlimane、Martin Margiela、Viktor & Rolf、Limi Yamamoto等等。 從學生到設計師,從設計師到潮流帶領者,Janice見證著一個又一個時裝大師的成長和國際品牌的誕生。多年來與這些時裝設計師的接觸與訪談,令Janice得以將她獨到的觀察和體會融入她的文字中,令這些人物的形象更立體、更豐富。 本書另一最值得收藏的是,內裡收錄了由Janice以及各著名設計師和品牌所提供的珍貴相片。翻閱這本書,你同時可看到各位頂級時裝設計師從最早期的「處女秀」,像John Galliano與 Lee Alexander McQueen 分別於1984年及1992的畢業展作品、MartinMargiela於1989年的第一個時裝系列……以至他們最近期的時裝作品,讓你更深入瞭解設計師們的創作歷程和風格演變、華衣背後的靈魂。
作者: (德)维克多·J. 范伯格(Viktor J. Vanberg)著;史世伟,钟诚译
出版社:陕西人民出版社,2011
简介: 人们何以会选择工业化,何以会选择官僚化,聪明人为什么并不一定会选择聪明的政策,科学技术何以成为生产力,本套丛书试图找到答案,而解决这些问题,应该是知识分子利用自己的思想有事,干预权利与金钱博弈的契机。 《经济学中的规则和选择》综合了三大学派的经济学思想:奥地利学派(哈耶克为代表)、弗莱堡学派(也称秩序自由主义学派)和宪政经济学学派(主要分析政府的财政规则和宪政规则)。反映了经济学中两个层面的核心对象:第一?层面是选择(解决稀缺),即一般经济学的研究对象;第二个层面则更高,研究规则及选择。
出版社:三辰影库音像出版社,2009
简介: 俄罗斯当代最著名导演尼基塔·米哈尔科夫自导自演最新大片! 威尼斯电影节荣誉金狮奖!奥斯卡最佳外语片奖! 《12怒汉:大审叛》是俄国大导演尼基塔?米哈尔科夫(Nikita Mikhalkov)的最新作品,也是他继荣获‘威尼斯金狮奖’最佳影片《蒙古精神》和荣获‘奥斯卡金像奖’最佳外语片的《烈日灼身》后,再次感动世人的杰作。《12怒汉:大审叛》虽取材自好莱坞名导薛尼卢梅(Sidney Lumet)50年代的同名旧作,片长却长达159分钟,不但比旧作版本多出63分钟,并将时空搬移至今天俄国,叙述一名陪审团员为一名被控谋杀的车臣少年奔走翻案的故事。 为了精采演出《12怒汉:大审叛》,米哈尔科夫不但亲自挑选俄国一流的影帝及演员来演出片中的11名陪审员,而自己则‘内举不避亲’地亲自出饰‘陪审团主席’一角,以增加电影的传奇性;有趣的是,他这次更豁出去了,连俄国版的电影海报都由他亲自上阵。由于米亥可夫在俄国地位崇高,《12怒汉:大审叛》果然在俄国开出大红盘,创下了将近三亿台币的票房纪录。 《12怒汉:大审叛》不但剧情峰回路转、高潮迭起,其中一句句精采的激辩,更是导演米亥可夫对生命与自由的全新思考…。这部精采的世纪杰作,不但荣获了2007威尼斯影展的‘荣誉金狮奖’,更获得2008奥斯卡最佳外语片的提名。
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