作者： [法]米歇尔·佩罗（Michelle Perrot），法国当代史学界标杆人物，著名文化史与女性史学者，原巴黎第七大学当代史荣誉教授，《解放报》长期撰稿人，费米娜散文奖与西蒙娜·德·波伏娃奖双料获得者。 主要著作有：与乔治·杜比共同主编《女性史》（五卷本）（l'Histoire des Femmes en Occident）；《以女历史学家的身份介入》（S'engager en historienne, 2024）；《女性或历史的沉默》（Les femmes ou Les silences de l'histoire, 2020）；《乔治·桑在诺昂》（George Sand à Nohant, 2018）；等等。 译者： 应远马，浙大城市学院外国语学院法语讲师、浙江大学世界史专业（法国史方向）博士。曾任中国翻译协会理事、浙江省翻译协会常务理事兼...(展开全部)

"Animal Eyes" aims to provide a comprehensive account of all known types of eye. It takes the diversity of optical mechanisms as a framework, but many other aspects of the structure and function of eyes are examined. Visual ecology, for example, the way that eyes are specifically adapted to the lifestyles of the animals that bear them, is another important theme. The 'design ph...(展开全部)

The great 17th-century Dutch artist Rembrandt van Rijn left us so many arresting self-portraits, painted at every stage in his eventful life, that his distinctive face and bearing are a familiar part of the 20th-century cultural landscape, a recognizable presence in galleries across Europe and North America. Nonetheless, the artist himself remains an enigma. Rembrandt was a not...(展开全部)

Marguerite Duras about her films, filming, film aesthetics, cinema and spectators, about Godard, Chaplin, Woody Allen and Tati, Renoir, Bresson and Cocteau, on May 1968, about books in general and about her own books.

For Rembrandt as for Shakespeare, all the world was indeed a stage, and he knew in exhaustive detail the tactics of its performance: the strutting and mincing; the wardrobe and the face paint; the full repertoire of gesture and grimace; the flutter of hands and the roll of the eyes; the belly laugh and the half-stifled sob. He knew what it looked like to seduce, to intimidate, ...(展开全部)

【作者简介】 西蒙·沙玛（Simon Schama，1945—） 英国历史学家、艺术史学家，先后任教于剑桥大学、牛津大学、哈佛大学和哥伦比亚大学，也是BBC纪录片撰稿人和主持人、《纽约客》文艺评论员。编写并主持过获奖纪录片《英国史》《艺术的力量》和《犹太人的故事》。代表著作有《风雨横渡：英国、奴隶和美国革命》《风景与记忆》《富庶的窘境：黄金时代荷兰文化解析》《死亡的确定性：无端猜测》等。曾获沃尔夫森历史奖、美国国家书评人协会奖、W. H. 史密斯文学奖等诸多嘉誉。 【译者简介】 黄格勉 北京大学艺术史论文学学士及经济学学士，伦敦大学学院博物馆学文学硕士，现为艺术从业者和译者。 林晓筱 浙江传媒学院教师，浙江大学比较文学与世界文学专业博士，文学译者。曾翻译出版大卫·福斯特·华莱士、艾拉·莱文、雷蒙·格诺等作家的作品

The great 17th-century Dutch artist Rembrandt van Rijn left us so many arresting self-portraits, painted at every stage in his eventful life, that his distinctive face and bearing are a familiar part of the 20th-century cultural landscape, a recognizable presence in galleries across Europe and North America. Nonetheless, the artist himself remains an enigma. Rembrandt was a not...(展开全部)

【作者简介】 西蒙·沙玛（Simon Schama，1945—） 英国历史学家、艺术史学家，先后任教于剑桥大学、牛津大学、哈佛大学和哥伦比亚大学，也是BBC纪录片撰稿人和主持人、《纽约客》文艺评论员。编写并主持过获奖纪录片《英国史》《艺术的力量》和《犹太人的故事》。代表著作有《风雨横渡：英国、奴隶和美国革命》《风景与记忆》《富庶的窘境：黄金时代荷兰文化解析》《死亡的确定性：无端猜测》等。曾获沃尔夫森历史奖、美国国家书评人协会奖、W. H. 史密斯文学奖等诸多嘉誉。 【译者简介】 黄格勉 北京大学艺术史论文学学士及经济学学士，伦敦大学学院博物馆学文学硕士，现为艺术从业者和译者。 林晓筱 浙江传媒学院教师，浙江大学比较文学与世界文学专业博士，文学译者。曾翻译出版大卫·福斯特·华莱士、艾拉·莱文、雷蒙·格诺等作家的作品

Marguerite Duras about her films, filming, film aesthetics, cinema and spectators, about Godard, Chaplin, Woody Allen and Tati, Renoir, Bresson and Cocteau, on May 1968, about books in general and about her own books.