內容簡介
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.
作者簡介
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.
內頁插圖
精彩書評
"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
書名:《光影之舞:現代攝影的敘事革命》 作者:伊芙琳·裏德 齣版年份:2023年 --- 內容簡介 《光影之舞:現代攝影的敘事革命》並非一本傳統的攝影史教科書,而是一場深入現代攝影術如何重塑我們觀察、記錄和理解世界的精神漫遊。伊芙琳·裏德以其深厚的藝術理論功底和敏銳的社會洞察力,帶領讀者穿越二十世紀中葉至今的攝影浪潮,探討圖像如何從簡單的“再現”工具,演變為復雜的“構建”媒介。 本書的核心論點在於,現代攝影的真正突破並非技術革新(盡管技術是催化劑),而是敘事手法的顛覆性轉變。裏德認為,從紀實攝影的黃金時代到概念攝影的興起,再到如今數字後處理與人工智能輔助創作的交織,攝影師們一直在與“真實性”的邊界進行一場永無止境的對話。 第一部分:紀實的黃昏與主觀的黎明 (The Twilight of Documentation and the Dawn of Subjectivity) 裏德首先迴顧瞭戰後時期,以沃剋·埃文斯和多蘿西婭·蘭格為代錶的“客觀記錄”範式。然而,她巧妙地指齣,即便在最追求中立的紀實作品中,也潛藏著攝影師的選擇、剪輯和預設的視角。 隨後,本書重點分析瞭羅伯特·弗蘭剋及其《美國人》對傳統紀實的衝擊。弗蘭剋標誌著攝影從外部觀察轉嚮內部體驗。裏德詳盡剖析瞭其模糊的焦點、晃動的構圖和對邊緣人物的偏愛,是如何揭示一個由焦慮和疏離構築的“後美國夢”景觀。這種主觀性不僅是風格上的,更是倫理上的——它要求觀眾不再是被動接受事實,而是主動參與到意義的建構中。 作者還深入探討瞭“日常生活美學”(The Aesthetic of the Everyday)的興起,特彆是對美國中産階級郊區生活的解構。她將攝影師們對平庸的迷戀視為對宏大敘事的集體抵製,認為這種對“無聊”的捕捉,恰恰是抵抗主流文化過度簡化的有效手段。 第二部分:結構的解構與物質的迴歸 (Deconstructing Structure and Returning to Matter) 進入七八十年代,攝影的敘事不再指嚮外部世界,而是轉嚮瞭媒介本身。裏德將這一階段視為攝影的“語言學轉嚮”。她詳細考察瞭“新地形學”(New Topographics)運動,闡釋瞭這些看似冷靜的景觀照片,如何通過精準的網格和缺乏情感的取景,來揭示人類對環境改造的無情印記。這是一種對“觀看”行為的觀看。 本書的亮點之一是對概念攝影(Conceptual Photography)的細緻梳理。裏德並未將漢斯·哈剋、伯格德·和吉爾伯特與喬治等藝術傢視為孤立的個體,而是將他們的作品置於後現代主義的語境下。她論證瞭,當藝術傢開始質疑“原作性”和“唯一性”時,攝影的敘事功能便從“記錄事件”徹底轉嚮瞭“闡釋觀念”。例如,她深入分析瞭如何通過對商業圖像和大眾媒體的挪用與拼貼,來揭示符號學循環中的權力結構。 裏德對杜安·米夏爾斯和莎莉·曼的分析也極富洞察力。她認為,米夏爾斯的序列照片是對時間綫性的挑戰,迫使觀眾接受破碎的、夢境般的邏輯;而曼的私密傢庭影像,則通過對脆弱性的暴露,成功地將私人記憶轉化為具有普遍性的神話原型。 第三部分:數字時代的邊界與幽靈 (The Boundaries and Phantoms of the Digital Age) 全書的第三部分,聚焦於韆禧年後攝影麵對的巨大挑戰:數字化的無所不在。裏德警示道,當圖像可以被無限復製、修改且擺脫瞭膠片時代的物理限製時,“真實性”的幽靈開始在屏幕上遊蕩。 她探討瞭“超真實”(Hyperreality)的影像如何通過高飽和度和完美無瑕的修飾,建立起一種比現實更具說服力的替代世界。這不僅體現在時尚和廣告中,也滲透到瞭新聞報道的重構之中。 然而,裏德並非全然悲觀。她著重介紹瞭那些利用數字工具進行“後紀實”探索的當代藝術傢。她認為,通過刻意地展示編輯痕跡、模糊焦點、或引入故障(Glitch)美學,當代攝影師們正在創造一種“誠實的虛假”——即承認圖像的建構性,從而反而贏得瞭更高的信任度。 最終,本書以對人工智能生成圖像(AI-Generated Imagery)的倫理與美學思考作結。裏德提齣瞭一個深刻的問題:當算法能夠以我們期望的方式“講述故事”時,攝影師的“意圖”還剩下多少分量?她認為,人類的介入點將從“捕捉瞬間”轉移到“訓練模型”和“選擇輸齣”,敘事革命仍在繼續,隻是講述者和畫筆已然改變。 總結 《光影之舞》是一部對攝影本體論的深度挖掘,它要求讀者放下對“按一下快門”的迷信,轉而關注圖像背後的語境、權力關係和敘事策略。裏德的文字流暢而富有張力,將復雜的理論分析融入到對經典作品的精妙解讀之中,使本書不僅是專業人士的案頭參考,更是任何對視覺文化感興趣的讀者的重要指南。它證明瞭,攝影的真正魔力,永遠在於它如何不斷地打破我們對可見世界的固有認知。
《市場街,25周年紀念版》這本書,怎麼說呢,它就像一杯陳年的老酒,越品越有味道。我是在一個偶然的機會下接觸到這本書的,當時就被它獨特的畫風吸引瞭。書中的插畫雖然不是那種極其華麗的風格,但卻充滿瞭生命力和藝術感,有一種樸實而動人的力量。故事的情節並不復雜,講述瞭一個孩子在市場街上的一天,但就是這樣簡單的故事,卻能勾起我內心深處最柔軟的部分。我看到瞭孩子們的好奇心,看到瞭人與人之間的互動,看到瞭生活的熱鬧和煙火氣。最讓我感動的是,這本書沒有刻意去製造衝突或賣弄技巧,而是用一種真誠的態度,去展現生活最真實的一麵。我特彆喜歡書中對細節的刻畫,比如某個攤販的笑容,某個孩子的眼神,這些看似不起眼的細節,卻構成瞭整個故事的靈魂。它讓我覺得,生活中的每一天,都是值得被記錄和被珍視的。作為一名傢長,我希望我的孩子也能從這本書中,學會去發現生活中的美好,去感受人與人之間的溫暖,去擁有那種簡單而純粹的快樂。這本書絕對是我近期讀過的最棒的童書之一,強烈推薦!