In 1963, Annie Ernaux, 23 and unattached, realizes she is pregnant. Shame arises in her like a plague: Understanding that her pregnancy will mark her and her family as social failures, she knows she cannot keep that child. This is the story, written forty years later, of a trauma Ernaux never overcame. In a France where abortion was illegal, she attempted, in vain, to self-admi...(展开全部)

In 1963, Annie Ernaux, 23 and unattached, realizes she is pregnant. Shame arises in her like a plague: understanding that her pregnancy will mark her and her family as social failures, she knows she cannot keep that child. This is the story, written forty years later, of a trauma Ernaux never overcame. In a France where abortion was illegal, she attempted, in vain, to self-admi...(展开全部)

In 1963, Annie Ernaux, 23 and unattached, realizes she is pregnant. Shame arises in her like a plague: Understanding that her pregnancy will mark her and her family as social failures, she knows she cannot keep that child. This is the story, written forty years later, of a trauma Ernaux never overcame. In a France where abortion was illegal, she attempted, in vain, to self-admi...(展开全部)

In 1963, Annie Ernaux, 23 and unattached, realizes she is pregnant. Shame arises in her like a plague: understanding that her pregnancy will mark her and her family as social failures, she knows she cannot keep that child. This is the story, written forty years later, of a trauma Ernaux never overcame. In a France where abortion was illegal, she attempted, in vain, to self-admi...(展开全部)

☆★2006年度 第32回 木村伊兵衛写真賞　受賞★☆ ようこそ素晴らしきウメカヨの世界へ。 日本写真界に恐るべきオトナコドモ現る! どこにでも転がっていそうな、 しかし私達が見逃している日常の中のおかしな一瞬を、 梅佳代は逃さずかっさらう。その芸たるや天才的。 これら超ご近所写真は、いまやパリやロンドンなど、 世界各地に驚きと笑いをふりまき、 高く評価を得ているのだ。 ページをめくったら最後、誰もがつい吹き出し、 そして元気になってしまう写真。 この気楽さ、敷居の低さこそが彼女の武器であり、 写真界に吹き込む新しい風。 「くるり」岸田繁、大絶賛!!(帯コメント頂いています。)

☆★2006年度 第32回 木村伊兵衛写真賞　受賞★☆ ようこそ素晴らしきウメカヨの世界へ。 日本写真界に恐るべきオトナコドモ現る! どこにでも転がっていそうな、 しかし私達が見逃している日常の中のおかしな一瞬を、 梅佳代は逃さずかっさらう。その芸たるや天才的。 これら超ご近所写真は、いまやパリやロンドンなど、 世界各地に驚きと笑いをふりまき、 高く評価を得ているのだ。 ページをめくったら最後、誰もがつい吹き出し、 そして元気になってしまう写真。 この気楽さ、敷居の低さこそが彼女の武器であり、 写真界に吹き込む新しい風。 「くるり」岸田繁、大絶賛!!(帯コメント頂いています。)

阿蒂夫·迈恩（Atif Mian） 普林斯顿大学经济和公共政策教授，威尔逊公共政策和金融学院Julis-Rabinowitz中心主任。他在麻省理工学院获得数学和计算机双料硕士学位以及经济学博士学位。曾任教于加州大学伯克利分校和芝加哥大学布斯商学院，并于2012年加入普林斯顿大学。擅长金融和宏观经济的交叉研究。 阿米尔·苏非（Amir Sufi） 芝加哥大学布斯商学院金融学教授，国民经济研究局研究员。他是《美国经济评论》（American Economic Review）、《经济学季刊》（Quarterly Journal of Economics）的审稿人。

The Great American Recession resulted in the loss of eight million jobs between 2007 and 2009. More than four million homes were lost to foreclosures. Is it a coincidence that the United States witnessed a dramatic rise in household debt in the years before the recession—that the total amount of debt for American households doubled between 2000 and 2007 to $14 trillion? Definit...(展开全部)

阿蒂夫·迈恩（Atif Mian） 普林斯顿大学经济和公共政策教授，威尔逊公共政策和金融学院Julis-Rabinowitz中心主任。他在麻省理工学院获得数学和计算机双料硕士学位以及经济学博士学位。曾任教于加州大学伯克利分校和芝加哥大学布斯商学院，并于2012年加入普林斯顿大学。擅长金融和宏观经济的交叉研究。 阿米尔·苏非（Amir Sufi） 芝加哥大学布斯商学院金融学教授，国民经济研究局研究员。他是《美国经济评论》（American Economic Review）、《经济学季刊》（Quarterly Journal of Economics）的审稿人。

The Great American Recession resulted in the loss of eight million jobs between 2007 and 2009. More than four million homes were lost to foreclosures. Is it a coincidence that the United States witnessed a dramatic rise in household debt in the years before the recession—that the total amount of debt for American households doubled between 2000 and 2007 to $14 trillion? Definit...(展开全部)