Italians love to talk about food. The aroma of a simmering ragú , the bouquet of a local wine, the remembrance of a past meal: Italians discuss these details as naturally as we talk about politics or sports, and often with the same flared tempers. In Why Italians Love to Talk About Food , Elena Kostioukovitch explores the phenomenon that first struck her as a newcomer to It...(展开全部)

This powerful collection of stories, set in the Northwest among the lonely men and women who drink, fish and play cards to ease the passing of time, was the first by Raymond Carver to be published in the UK. With its spare, colloquial narration and razor-sharp sense of how people really communicate, the collection went on to become one of the most influential pieces of literary...(展开全部)

In his second collection of stories, as in his first, Carver's characters are peripheral people--people without education, insight or prospects, people too unimaginative to even give up. Carver celebrates these men and women.

In his second collection of stories, as in his first, Carver's characters are peripheral people--people without education, insight or prospects, people too unimaginative to even give up. Carver celebrates these men and women.

Videogames! Aren’t they the medium of the twenty-first century? The new cinema? The apotheosis of art and entertainment, the realization of Wagnerian gesamtkunstwerk? The final victory of interaction over passivity? No, probably not. Games are part art and part appliance, part tableau and part toaster. In How to Talk about Videogames, leading critic Ian Bogost explores this par...(展开全部)

Videogames! Aren’t they the medium of the twenty-first century? The new cinema? The apotheosis of art and entertainment, the realization of Wagnerian gesamtkunstwerk? The final victory of interaction over passivity? No, probably not. Games are part art and part appliance, part tableau and part toaster. In How to Talk about Videogames, leading critic Ian Bogost explores this par...(展开全部)

◎ 作者简介 弗朗索瓦丝 • 芭布-高尔（Françoise Barbe-Gall），法国艺术史学者，卢浮宫学院当代艺术课程教师。曾在索邦大学与卢浮宫学院接受了完整的艺术史教育，于纽约大学巴黎校区、巴黎第三大学担任艺术史讲师，同时担任“如何欣赏画作协会”（CORETA）的长期管理者和讲师。她多次受邀担任美国、俄罗斯、法国等诸多博物馆顾问，并在世界各地多所学校举办讲座。曾出版《如何看一幅画》《读懂印象派》等多部艺术教育相关书籍，被译为多种语言。 ………………………… ◎ 译者简介 成砚，清华大学建筑设计及其理论专业博士，并在哈佛大学设计学院接受联合培养教育。师从中国勘察设计大师胡绍学与美国城市规划与建筑评论学家彼得 • 罗（Peter G. Rowe）。在建筑专业学习中看到更广阔的艺术世界，自得其乐、自享其美。 ………………………… ◎ 别册撰写者简介...(展开全部)

弗朗索瓦·芭布-高尔（Françoise Barbe-Gall），法国艺术史学者，在索邦大学与卢浮宫美术学院接受了完整的艺术史教育，之后成为艺术史教授。她排斥菁英主义，致力于为大众开启通往绘画艺术之门，为此创立了“如何欣赏画作协会”（CORETA），开办无数座谈会，并出版诸多相关著作，包括《艺术原来可以这样看》、《如何欣赏一幅画》、《了解画作的象征》等。

Anticipating how kids react to paintings by artists as diverse as Botticelli, Vermeer, Degas, Chagall, and Pollack, this resource for adults who want children to love and understand art prepares them for the types of questions kids ask. Providing parents and teachers with valuable tips for making any visit to a museum with children a success, this guide offers a great primer or...(展开全部)

我們是著了什麼魔？原本如此的快樂！那麼為什麼，我們會以所擁有的一切為賭注，投入這場豪賭，決定生小孩？ 1999年的一個星期四，即將滿16歲的凱文，在校園內射殺了9個人。他的母親艾娃在一連串寫給丈夫的懺悔信中，回溯懷胎前的猶豫及懷胎後生下凱文，一直到兒子成了殺人犯的整個過程。這位母親自兒子一出生起就討厭他。凱文隨著成長所展露出的毀滅性格更是令她心生畏懼。艾娃試圖從回顧中釐清自己所應背負的過錯與導致這樁慘劇的原因，到最後竟發展出始料未及的結果…… 在這本描繪扭曲母性的精彩小說裡，以校園慘案兇手母親的角度，尖銳地探討美國文化與青少年犯罪之間的關聯，更藉由凱文這個極端的例子，碰觸了一個極為敏感的問題──母親無法接受自己的孩子。作者不時在書中展現精闢的見解，讓讀者對艾娃在譴責與同情之間擺盪。故事接近尾聲時出現懾人心魄的驚悚、扣人心弦的領悟，...(展开全部)