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《世界文学名著:汤姆•索亚历险记(全译本)》主人公汤姆是个敢于冒险、追求自由生活、有理想有抱负同时也有烦恼，做错事后敢于承认错误的男孩儿。同时他也是个聪明好动又喜欢调皮捣蛋的孩子，在他身上体现出诸多的才能——正义、智慧、领导、计谋、勇敢等。他有血有肉，栩栩如生，给读者留下了深刻的印象。他扮演着多重的角色，有同情心、足智多谋，厌恶现实的环境，想摆脱枷锁，当个绿林好汉，过行侠仗义的英雄般的生活。

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《世界文学名著:汤姆•索亚历险记(全译本)》主人公汤姆是个敢于冒险、追求自由生活、有理想有抱负同时也有烦恼，做错事后敢于承认错误的男孩儿。同时他也是个聪明好动又喜欢调皮捣蛋的孩子，在他身上体现出诸多的才能——正义、智慧、领导、计谋、勇敢等。他有血有肉，栩栩如生，给读者留下了深刻的印象。他扮演着多重的角色，有同情心、足智多谋，厌恶现实的环境，想摆脱枷锁，当个绿林好汉，过行侠仗义的英雄般的生活。

• 作者： 刘忙 发布时间：2016-02-29 18:18:58

  不是很严谨的史，更是一串串故事的合集，按照人物来分章节，文字和内容都略有江湖气。现在的资深电竞人大多是打压下苦过来的，随着国内各形式的娱乐越来越热，电竞也正摸索着向全面商业化前行，行业有可为。作为一本了解电竞的过去的事还是很好读的，把很多曾只是浅闻的人物重新立体了一下。

• 作者： Enya 发布时间：2010-12-19 21:46:44

  站在那些乱七八糟的畅销书的对立面~

• 作者： 秉存 发布时间：2020-11-24 23:29:04

  有些人会让你相信：地方是有主的。正如上个世纪的上海是张爱玲的上海，香港是张爱玲的香港；上个世纪的南京是白先勇的南京，台北也是白先勇的台北——并不是他们的光辉扼杀了其他人的存在，而是太多太多形色各异的人在不知不觉中融入到了他们纸笔间深邃的范畴里，以一种更为深刻亦更为持久的形式被拓落下来。正如我向来所信奉的，好的故事一定有苍凉的底蕴；而一切苍凉，都是一场严酷而清冷的降格——“年年岁岁花相似，岁岁年年人不同。寄言全盛红颜子，应怜半死白头翁。此翁白头真可怜，伊昔红颜美少年。”

• 作者： Pêche 发布时间：2010-07-29 16:59:02

  拼寫錯誤比較多，音標竟然也有錯的。不過例句的選取算是有幫助。

• 作者： 一个学生 发布时间：2018-06-30 09:58:47

  我这个看书也属于加强内心结构，加强对外界的理解。这样自证真有意思

• 作者： acAric 发布时间：2021-09-05 17:12:43

  只能说没有亮点，我本身的目标是找寻对于软件系统设计的帮助，在整个过程里不能说没有，是极少。 作者的视角完全是一个仓库管理员的维度，而没有从工厂管理这个角度来的，在高度上欠缺。

• BOOK REVIEW: HANS ULRICH OBRIST: A BRIEF HISTORY OF CURATING

  作者：沧佽° 发布时间：2015-10-11 01:23:54

  Museums have long been considered as “the cemetery for art” and “the heaven for dead useless objects.” In his conversation with HOU, Seth Siegelaub stipulates that the old-fashioned definition of the functions of a museum is “historicization,” that museums are to “kill things” and “distance them from people by taking them out of their real everything context.” The reason why all the curators interviewed in this book are regarded as pioneers of curating is that they are all fighting against such a traditional definition of museums by doing exactly the opposite: to make works of art alive and bring them closer to people and their life, giving the museum an open and experimental character.

  There are quite a few points around the subject of art museums that are shared by these interviewees. Walter Zanini and Lucy Lippard both highlighted the importance of a curator being as close as possible to the artists; documentation and archives take considerable spaces and importance in the curatorial practices of Pontus Hultén and Harald Szeemann; one can easily observe a strong focus on interdisciplinarity and the inclusion of multimedia in shows organized by Jean Leering, Zanini and Hultén; etc.

  Apart from these, I would like to point out that I think Hultén really made his point on the role of collection to the curators and visitors (shared by Anne d’Harnoncourt and others): “I think the encounter between the collection and the temporary exhibition is an enriching experience… A collection isn’t a shelter into which to retreat. It’s a source of energy for the curator as much as the visitor.” I have to admit that I have since long treated the temporary exhibition separately from the collection. It is indeed hard for the public to establish such a link by themselves. Maybe what the curators should do is to reference works in a temporary exhibition to the permanent collection. Such a practice already exhibits in some museums (from my personal experiences, MFA Boston does a great job), but has not been fully exploited and requires more discretion. The programing of the temporary exhibitions should therefore also takes into consideration what can be on view in the permanent collection.

  The point that curators have the mission to help visitors establish a link between temporary exhibitions and collections also reveals the primary task of a curator or a museum director: to create a public and to make connections between art and the public, reckoned by Hultén, Leering and d’Harnoncourt. The issue of audience participation is therefore a central point here. For example, in the show Poetry Must Be Made By All! Transform the World! organized by Hultén in 1969, a wall was created for local organizations could affix documents stating their principles and goals. To me, audience participation goes beyond just making art closer to the public by facilitating exactly the reverse: bring the public closer to art. However, participation has to remain relevant in the context of the artwork and the exhibition. In Poetry (1969), the participation of local political groups is justified by the fact that the intention of the show was originally political. However, if we look back at the Céleste Boursier-Mougenot show at Palais de Tokyo, where visitors were invited to ride a boat inside the museum, the participation was purely entertaining, making Palais de Tokyo a playground.

  Inviting the public into the realization of exhibitions isn’t in itself sufficient unless the programming of exhibitions actually takes into account the interests of the people. People could be tired of playing meaningless games in the museums. It just makes them feel worse about the fact that they can’t comprehend contemporary art. I loved what Leering had said in his interview: “in a certain way, art was being “used” to get people to think and be aware of their own situations.” This explains why, for example, several shows organized by Hultén or Zanini in the 60s and 70s were very political in their nature. Those were issues that the public cared about at that time. I’m not saying that art should serve for something larger, such as politics or society. Rather, the role of the curators is to present the many different possibilities of thinking about these issues. I think people very often confuse between “political” shows and “propaganda” shows. Personally, I have always enjoyed the interaction between art and politics, like the Dinh Q. Lê: Memory for Tomorrow show I saw at the Mori Art Museum in Tokyo last summer.

  The issue of audience participation therefore opens up a deeper and larger debate on the democratization of a museum, as discussed widely by the 11 interviewees. The first level of the democratization of a museum lies again in its relation to the public. Talking about an unrealized project, d’Harnoncourt said hers was “to make the entire museum always free to the public.” Both d’Harnoncourt and Leering compared the “ideal” art museum of a public library: the principle is that everybody should have access to it. Johannes Cladders talks about the second level of democratization, which is to free the audience of the route of visit: “I want a museum that has no predetermined route.” A predetermined route implies an imposed vision. The public is therefore restricted in their appreciation of an exhibition. It also reduces possibilities of confrontation. The democratization of allowing people to wonder around and to move back and forth was perfectly experienced, for example, in the exhibition What’s Happening! (2015) at the National Gallery of Denmark (Read my piece here). The third interpretation of democratization lies in the possibility of liberating art from the museums by creating new exhibition spaces. For instance, the Museum in Progress in Vienna organized exhibition on billboards.

  The interviewees and HOU also made interesting points on aspects that are normally marginalized in discussions about exhibitions, such as the role of texts and catalogues. I tend to echo with d’Harnoncourt that “a thoughtful text of some kind is really helpful because even if you disagree with the text, it gives the visitor something to push back against.” Even though many artists today claim that the public only need to “sense” with their art, we have to admit that the practices of contemporary artists have had a strong tendency on the valorisation of extensive researches into history, society, religion and cultures. It is to somewhat extent almost impossible today to echo with an artwork without any given framework to understand. Among the 11 interviewees, we see quite a divergence in their attitudes towards catalogues. William Sandberg, Siegelaub and Lippard all produced wonderful publications accompanying their shows, while Szeemann, at some point, even stopped publishing catalogued and just printed newspapers. I reckon that a strategy of segmentation could be employed here. Many museums have been doing this. The Tinguely Museum in Basel and National Gallery of Denmark produce on one hand small newspaper-magazine style brochure free for the public and on the other hand, academic catalogues for a smaller group of people who would love to dig further into the subject, a perfect demonstration of a balance between the popular and the specialized field.

  In my opinion, however, HUO is not a good interviewer. He raised a few interesting questions in his conversations but often failed to question them further in order to discuss them more profoundly with the interviewees. For example, he raised the question of whether exhibition has become the new artwork. Such a question to me is beyond the innovation of exhibition design and penetrates to the deeper issue of the role of the curators and their relations to artists. Are curators becoming too powerful? Are artists sometimes overshadowed by curators? In my opinion, it is exactly what is happening today, for example, in the Inside show at Palais de Tokyo last year. (Read my article on this exhibition here.)

  I would like to end my review with the energetic statement of Cladders, that summarizes very well the passion that is shared by all of the 11 interviewees:

  "I have always believed that it is the artist who creates a work, but a society that turns it into a work of art, an idea that is already in Duchamp and a lot of other places… So it was always clear to me that I did not need to do anything for works already declared art by common consent. Instead, I was interested in those that had not found that consent and so that were still works, not works of art…Art must move forward!"

• 有趣又有料的古代人打仗图鉴

  作者：伲凹 发布时间：2023-07-21 02:19:31

  影像中见多了热武器时代的枪炮轰炸，我都快忘记了冷兵器时代的“明枪暗箭”也曾有着独属于它的辉煌时刻。

  

  历史上记载的第一场有组织军队之间的战争发生在公元前 3000 年至 2500 年左右，发生在今天以色列、叙利亚、约旦和伊拉克周围地区的苏美尔城邦之间。

  你可以试想一下，即使是这些国家中，最大的国家也只能为短期战争而组建一支很小型军队，大部分都是戴着头盔、手持长矛的步兵，或许有着高贵的战士和弓箭手，驾着缓慢的马车交锋，是何模样，其实还蛮难以想象的，那种完全区别于影视剧中的疯狂冲阵。

  来到本书《原来古代人是这样打仗的》，你可以看到作者基于兵器的演化，佐以卡通图鉴的方式所呈现出的人类战争历史是何模样。

  

  就拿古埃及来说，他的武器是根据其需要而发展起来的。有的书中其实并未提及，古王国时期（约公元前2686年 – 前1786年）之前其实有个所谓的前王朝时期，矛是由前王朝时期的猎人发明的，到了古王国时期除了像匕首一样，尖端从燧石变成铜之外，几乎没有什么变化。早期弓、刀和斧头足以镇压当地叛乱或征服边境邻国。随着埃及在周边地区的影响力不断扩大，并与其他国家发生冲突，他们需要做出一些调整，其中之一是武器装备。

  

  那么就要说到古埃及第二中间期（前1786-前1567）了，不得不提的就是“喜克索斯人的入侵”，有充分的证据表明，喜克索斯人以多种重要方式改善了埃及文化，特别是通过武器。甚至在喜克索斯人到来之前，埃及人对马或马拉战车一无所知，他们仍然使用单拱弓并配备剑，然而这些剑在激战中并不总是可靠。

  

  喜克索斯人所做的不仅仅是为埃及人提供更好的武器，他们还给了他们使用它们的理由。埃及以前从未受过外国势力的统治，但在第二中间时期，喜克索斯人占据了下埃及的港口和该地区的大量领土，而努比亚人则只能扩展到上埃及并在那里建立防御工事。在这两个外国列强之间，只有上埃及的底比斯被埃及人统治，直到底比斯的雅赫摩斯一世将喜克索斯人赶出该国，击败了努比亚人，并在他的统治下统一了埃及，才开启了新埃及统治——新王国时期（前1567-前1085）。

  新王国时期的盾牌或许还是用覆盖兽皮的木头制成的，但那时所有的近战武器可以看到明显提升——均由青铜制成的，而且不得不提及这一时期的“臭名昭著”的镰刀剑的凶狠之处，这一切几乎持续到公元前 1274 年拉美西斯二世和穆瓦塔里二世统治下的埃及人之间的卡迭石战役之后。

  后文便有提及，通过那超长拉页的“军队构成分析”和“导演剪辑版”的战况分镜，充分感受3000多年前的那场终极之战，不失为一次享受。