内容简介
Have you ever seen a man dressed entirely in playing cards? Or a girl wearing a lollipop dress? Take a stroll through a most unusual market in this twenty-fifth anniversary edition of a Caldecott Honor Book.
作者简介
During his distinguished career Arnold Lobel wrote and/or illustrated over 70 books for children. To his illustrating credit, he had a Caldecott Medal book -- Fables (1981) -- and two Caldecott Honor Books-his own Frog and Toad are Friends (1971) and Hildilid's Night by Cheli Duran Ryan (1972). To his writing credit, he had a Newbery Honor Book -- Frog and Toad Together (1973). But to his greatest credit, he had a following of literally millions of young children with whom he shared the warmth and humor of his unpretentious vision of life.
Though he was a born storyteller -- he began making up stories extemporaneously to entertain his fellow second-graders in Schenectady, New York, where he grew up in the care of his grandparents. Mr. Lobel called himself a "lucky amateur" in terms of his writing. Viewing himself as a professionally trained illustrator (he received a Bachelor of Fine Arts degree from Pratt Institute), he said, "I know how to draw pictures. With writing, I don't really know what I'm doing. It's very intuitive."
In addition to the Frog and Toad books, Owl at Home, Mouse Tales, The Book of Pigericks, and many other popular books he created, Mr. Lobel also illustrated other writers' texts that captured his fancy. He viewed this as "something different and challenging." Often his illustrations for those books showed a different aspect of his personality and his artistic expertise, ranging from his meticulous dinosaurs in Dinosaur Time by Peggy Parish to his chilling pen-and-ink drawings in Nightmares: Poems to Trouble Your Sleep by Jack Prelutsky, about which Booklist wrote, "Young readers will be amazed that the gentle Lobel of Frog and Toad fame can be so comfortably diabolic."
In 1977 Mr. Lobel and his wife, Anita, a distinguished children's book author and artist in her own right, collaborated on their first book, How the Rooster Saved the Day, chosen by School Library Journal as one of the Best Books of the Year, 1977. They then collaborated on three more books, A Treeful of Pigs, a 1979 ALA Notable Book; On Market Street, a 1982 Caldecott Honor Book; and The Rose in My Garden, a 1984 Boston Globe/Horn Book Honor Book.
Arnold Lobel died in 1987.
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精彩书评
"In a delightful and unusual book, a boy trots down Market Street buying presents for a friend, each one starting with a letter of the alphabet. Every letter is illustrated by a figure ingeniously composed of, for instance, apples or wigs or quilts. The notion is original, and the sum total enjoyable and unique."
--Horn Book
前言/序言
书名:《光影之舞:现代摄影的叙事革命》 作者:伊芙琳·里德 出版年份:2023年 --- 内容简介 《光影之舞:现代摄影的叙事革命》并非一本传统的摄影史教科书,而是一场深入现代摄影术如何重塑我们观察、记录和理解世界的精神漫游。伊芙琳·里德以其深厚的艺术理论功底和敏锐的社会洞察力,带领读者穿越二十世纪中叶至今的摄影浪潮,探讨图像如何从简单的“再现”工具,演变为复杂的“构建”媒介。 本书的核心论点在于,现代摄影的真正突破并非技术革新(尽管技术是催化剂),而是叙事手法的颠覆性转变。里德认为,从纪实摄影的黄金时代到概念摄影的兴起,再到如今数字后处理与人工智能辅助创作的交织,摄影师们一直在与“真实性”的边界进行一场永无止境的对话。 第一部分:纪实的黄昏与主观的黎明 (The Twilight of Documentation and the Dawn of Subjectivity) 里德首先回顾了战后时期,以沃克·埃文斯和多萝西娅·兰格为代表的“客观记录”范式。然而,她巧妙地指出,即便在最追求中立的纪实作品中,也潜藏着摄影师的选择、剪辑和预设的视角。 随后,本书重点分析了罗伯特·弗兰克及其《美国人》对传统纪实的冲击。弗兰克标志着摄影从外部观察转向内部体验。里德详尽剖析了其模糊的焦点、晃动的构图和对边缘人物的偏爱,是如何揭示一个由焦虑和疏离构筑的“后美国梦”景观。这种主观性不仅是风格上的,更是伦理上的——它要求观众不再是被动接受事实,而是主动参与到意义的建构中。 作者还深入探讨了“日常生活美学”(The Aesthetic of the Everyday)的兴起,特别是对美国中产阶级郊区生活的解构。她将摄影师们对平庸的迷恋视为对宏大叙事的集体抵制,认为这种对“无聊”的捕捉,恰恰是抵抗主流文化过度简化的有效手段。 第二部分:结构的解构与物质的回归 (Deconstructing Structure and Returning to Matter) 进入七八十年代,摄影的叙事不再指向外部世界,而是转向了媒介本身。里德将这一阶段视为摄影的“语言学转向”。她详细考察了“新地形学”(New Topographics)运动,阐释了这些看似冷静的景观照片,如何通过精准的网格和缺乏情感的取景,来揭示人类对环境改造的无情印记。这是一种对“观看”行为的观看。 本书的亮点之一是对概念摄影(Conceptual Photography)的细致梳理。里德并未将汉斯·哈克、伯格德·和吉尔伯特与乔治等艺术家视为孤立的个体,而是将他们的作品置于后现代主义的语境下。她论证了,当艺术家开始质疑“原作性”和“唯一性”时,摄影的叙事功能便从“记录事件”彻底转向了“阐释观念”。例如,她深入分析了如何通过对商业图像和大众媒体的挪用与拼贴,来揭示符号学循环中的权力结构。 里德对杜安·米夏尔斯和莎莉·曼的分析也极富洞察力。她认为,米夏尔斯的序列照片是对时间线性的挑战,迫使观众接受破碎的、梦境般的逻辑;而曼的私密家庭影像,则通过对脆弱性的暴露,成功地将私人记忆转化为具有普遍性的神话原型。 第三部分:数字时代的边界与幽灵 (The Boundaries and Phantoms of the Digital Age) 全书的第三部分,聚焦于千禧年后摄影面对的巨大挑战:数字化的无所不在。里德警示道,当图像可以被无限复制、修改且摆脱了胶片时代的物理限制时,“真实性”的幽灵开始在屏幕上游荡。 她探讨了“超真实”(Hyperreality)的影像如何通过高饱和度和完美无瑕的修饰,建立起一种比现实更具说服力的替代世界。这不仅体现在时尚和广告中,也渗透到了新闻报道的重构之中。 然而,里德并非全然悲观。她着重介绍了那些利用数字工具进行“后纪实”探索的当代艺术家。她认为,通过刻意地展示编辑痕迹、模糊焦点、或引入故障(Glitch)美学,当代摄影师们正在创造一种“诚实的虚假”——即承认图像的建构性,从而反而赢得了更高的信任度。 最终,本书以对人工智能生成图像(AI-Generated Imagery)的伦理与美学思考作结。里德提出了一个深刻的问题:当算法能够以我们期望的方式“讲述故事”时,摄影师的“意图”还剩下多少分量?她认为,人类的介入点将从“捕捉瞬间”转移到“训练模型”和“选择输出”,叙事革命仍在继续,只是讲述者和画笔已然改变。 总结 《光影之舞》是一部对摄影本体论的深度挖掘,它要求读者放下对“按一下快门”的迷信,转而关注图像背后的语境、权力关系和叙事策略。里德的文字流畅而富有张力,将复杂的理论分析融入到对经典作品的精妙解读之中,使本书不仅是专业人士的案头参考,更是任何对视觉文化感兴趣的读者的重要指南。它证明了,摄影的真正魔力,永远在于它如何不断地打破我们对可见世界的固有认知。
这本《市场街,25周年纪念版》简直是一场视觉和心灵的盛宴!从翻开书页的那一刻起,我就被它深深吸引住了。书中的插画色彩鲜艳,细节丰富,每一个画面都仿佛在诉说着一个故事。我特别喜欢作者对人物表情和肢体语言的描绘,能够如此生动地捕捉到孩子们纯真、好奇、以及偶尔冒出的顽皮,让我这个大人也忍不住跟着角色一起体验。故事的节奏也很棒,它没有那种跌宕起伏的冲突,而是像一条潺潺流淌的小溪,用一种温和而引人入胜的方式,带领读者感受市场街上平凡而又充满乐趣的一天。我经常会放慢阅读的速度,仔细欣赏每一页的画面,每一次重读都能发现新的惊喜。更让我感动的是,这本书传递出的那种社区的温暖和人与人之间的连接,那种简单的快乐和分享,在如今快节奏的生活中显得尤为珍贵。我给家里的小朋友读这本书,他总是会指着图画里的人物,发出咯咯的笑声,然后问我“他们要去哪里呀?”、“他们在买什么呀?”。这让我意识到,即使是最简单的故事,只要用心地去讲述,也能点燃孩子无限的想象力和好奇心。这本书不仅仅是一本童书,更是一份关于生活的美好回忆和对未来的期盼。