方法论
绝佳提问 豆瓣
A More Beautiful Question: The Power of Inquiry to Spark Breakthrough Ideas
作者: [美]沃伦·贝格尔(Warren Berger) 译者: 常宁 浙江人民出版社 2015 - 6
[内容简介]
 在这本具有开创性的书中,记者和创新专家沃伦•贝格尔向我们介绍了一个非常简单的但却未被我们重视的工具,它的力量强大,可驱使商业和日常生活发生改变。其实,这个工具从我们儿时起就一直与我们相伴,它就是“探询”。有深度的、有想象力和美妙的探询能帮助我们鉴定并解决难题,帮助我们产生能扭转局势的想法,并且也能帮助我们追寻新机遇。所以,为什么我们总是不愿意去问“为什么”呢?
 最具创造力和最成功的人往往都是探询专家。他们已经掌握了探询的艺术,会提出其他人不会提出的问题,并且他们还会寻找最有力的答案。作者带我们近距离观察了一些最具活力的公司,比如谷歌、奈飞、IDEO和Airbnb,并向我们展示出探询是如何深深植入公司的DNA的。他也给我们分享了诸多艺术家、教师、企业家、工匠和社会活动家的具有启发意义的故事,这些人改变了自己的生活和周围世界,而他们都是从“绝佳提问”开始的。
 作者研究了世界范围内上百位领导型创新者、企业家和创新思考者,他了解到这些人提问题、产生原创想法和解决问题的方式,进而提出了一个具有实际意义的探询系统,该系统由“为什么——如果——怎样”三个阶段组成。它通过创新的质问过程来指导你,帮你为自己的“美丽问题”找到具有想象力和强有力的答案。
[编辑推荐]
 未来最需要的不是知道答案的人,而是能够提出美丽问题的人。掌握提问的无穷力量,改变传统的思维方式,真正实现从0到1。
 伟大的创意与价值百亿的生意可能源于一个简单的问题。Airbnb(价值130亿美元);为什么每年都有一段时间很难找到酒店?Netflix(价值290亿美元):为什么我必须支付滞纳金?佳得乐(价值200亿美元):为什么运动员的小便不多?
 《企业家》网站(Entrepreneur.com)评选的2014年度25本最令人惊叹的图书,《赫芬顿邮报》2014年度改变思维的10本必读书,《大西洋月刊》旗下新闻网站Quartz评选的2014年度必读的13本商业类图书,美国知名的科技博客Business Insider评选的2014年度夏季20本最佳商业类图书,IDEO总裁兼首席执行官蒂姆•布朗推荐的创意领袖必读的5本书,福布斯网站创意领袖暑期必读书。
 互联网趋势专家、《纽约时报》畅销书《驱动力》作者丹尼尔•平克,IDEO公司首席执行官、《IDEO,设计改变世界》作者蒂姆•布朗,沃顿商学院管理学教授亚当•格兰特,畅销书《精益创业》作者埃里克•莱斯,squidoo.com的创始人、畅销书《伊卡洛斯的骗局》的作者赛斯•高汀, Alltop.com的联合创始人、苹果公司前首席宣传官盖伊•川崎等联袂推荐。
 湛庐文化出品。
故事 豆瓣 Goodreads 谷歌图书
Story
9.0 (137 个评分) 作者: [美] 罗伯特·麦基 译者: 周铁东 天津人民出版社 2014 - 9 其它标题: 故事
自1997年初版以来,《故事》一直是全世界编剧的第一必读经典,至今,仍属于美国亚马逊最畅销图书中的Top 1%。集结了罗伯特•麦基30年的授课经验,本书在对《教父》《阿甘正传》《星球大战》等经典影片的详细分析中,清晰阐述了故事创作的核心原理,其指导意义不应只被影视圈的人所认识,更应得到小说创作、广告策划、文案撰写人才的充分开发。
2014年《故事》中文版全新修订升级,译者周铁东拥有深厚的国内外影视行业实践经验,文风犀利。新增58条专业术语和背景知识注释,补充了未被原书整理进附录部分的剧作资料,同步更新458条所涉及影片、作品的中文信息,采用特殊开本和全新的封面材质。
游戏设计艺术(第2版) 豆瓣
8.6 (16 个评分) 作者: [美] Jesse Schell 译者: 刘嘉俊 电子工业出版社 2016 - 4
不需要是技术专家,只要阅读《游戏设计艺术(第2版)》,学习佳作,深刻认识游戏设计的真谛,人人都可以成为成功的游戏设计者!《游戏设计艺术(第2版)》作者Jesse Schell是有二十多年成功经验的游戏设计师,曾任国际游戏开发者协会主席,并在迪士尼在线游戏服务多年,获奖颇多。他以宝贵经验提出一百多套问题集,帮助你从各种角度观察游戏设计,例如心理、建筑、音乐、视觉、电影、软件工程、主题公园设计、数学、谜题设计和人类学等方方面面。
《游戏设计艺术(第2版)》主要内容包括:游戏的体验、构成游戏的元素、元素支撑的主题、游戏的改进、游戏机制、游戏中的角色、游戏设计团队、如何开发好的游戏、如何推销游戏、设计者的责任等。
2017年12月9日 已读
迷人。原本是因为看到北大的游戏分析课提到这本书,才买的。事实证明,要从学术层面去做游戏分析 (game analysis) 这回事,了解游戏本身会是更重要的事情。
参考书 方法论 游戏 游戏设计 设计
流行音乐的秘密 豆瓣
Understanding Popular Music Culture
作者: [新西兰]罗伊·舒克尔(Roy Shuker) 译者: 韦玮 世界图书出版公司 2013 - 4
消失的罗伯特·约翰逊带着令人惊异的技艺回归
他是否向魔鬼出卖灵魂以换取出色的演奏?
仙妮亚·唐恩从贫民窟灰姑娘一夜变为国际巨星
难道竟是因为传奇的“录音室之吻”?
科伦拜血腥枪击案的凶手皆是玛丽莲·曼森的粉丝
工业金属乐真的会诱发暴行犯罪?
流行音乐为何流行?
乐坛巨星 如何出现?
本书将告诉你流行音乐产业的门门道道
揭开它为万人所爱又遭重重争议的深层秘密……
全景展现文化大生产时代音乐的制作、发行、消费及其意义
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本书对西方流行音乐的制作、发行、消费及其意义进行了全面而通俗易懂的介绍,并讨论了围绕流行文化和流行音乐分析展开的问题和争论。作者介绍了音乐产业内部各个组成部分以及外部的政治、社会环境,探讨了塑造音乐体验的关键因素,包括音乐制作、音乐人和明星、音乐文本、音乐媒体、观众、乐迷和亚文化,以及音乐的政治行动主义和政治意识形态。
书中涉及十余流行音乐流派,重点介绍了近三十名典型音乐人及其代表作品,引用近两百首经典流行曲目。本书既是一本内容丰富的流行音乐文化研究读本,也是一本翔实全面的流行音乐发展百科全书。
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流行音乐是一种工业制造。这个显在的事实或者被粉丝们匍匐在地视而不见,或者被文化批判家高高在上一笔带过。现在,这个人细致而客观地剖开它,进入其制造业内部,展现其中的秘密。由此你发现,即便是摇滚英雄、文化全球事件,也并非那么纯粹崇高,当然,也并非只是一出提线木偶剧那么低劣。
简单说,流行音乐既是商品也是作品,既具有商业价值也具有艺术价值。一出流行大戏的面目,往往比前工业时代一个艺术现象的面目,来得更广阔而复杂,并充满了内部的矛盾。在产业震荡、全球流行音乐大变局的当下,《流行音乐的秘密》在许多关键问题上都提供了广泛反思的可能性。
——李皖
如何有效阅读一本书 豆瓣 Goodreads
読書は1冊のノートにまとめなさい
6.9 (100 个评分) 作者: [日本] 奥野宣之 译者: 张晶晶 江西人民出版社 2016 - 6
做好一本笔记,牢记每本书的精华
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※编辑推荐※
你会做笔记吗?你的笔记有章法可循吗?你怎样记,决定你记得怎样。《如何有效阅读一本书》会教你如何用一本笔记将书中的精华用最高效的方式整理记录下来,只有记得好,才能记得牢!
不止笔记,从选书到购书,到笔记的分类检索与文具的巧妙利用,读书的过程中处处皆学问。以信息整理术闻名日本的“笔记本作家”奥野宣之将在本书中告诉你,如何将读书的效率最大化,如何为你自己创造一个精神上的图书馆。
随想笔记:自由记录,信手粘贴,将枯燥笔记化为创意之源;聪明人的购书清单:激活日常求知欲,不落入营销陷阱,掌握选书主动权;“葱鲔火锅式”摘抄法:摘抄与评论交替进行,加深记忆理解,让原创思考遍地开花。
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※内容简介※
对在漫长人生中读过的书而言,人类的记忆力是有限的。如果想在读完每一本书后都有扎实的收获,就需要有技巧地写读书笔记,并养成长期的习惯。
传媒业出身的奥野宣之创造的一元化笔记读书法涵盖了从选书、购书、读书、记录到检索以备重读这五个步骤,提供了一整套科学、高效的读书方法。他倡导有目的性地购书,让读书从一开始就充满主动性;用笔记管理读书生活,养成随时记录心得体会的习惯;学会摘抄,让原书精髓与自身思维的火花交相辉映;完善整理归档工作,做好的笔记需要反复重读才能凸显其价值。他还从自身经验出发,介绍了19个让读书体验更充实、有效的小窍门。
读书笔记会帮助我们改变读书方法,而读书方法的改变又会带来思考方式的转变。如果你也想见证这段神奇的转变,那就从现在开始,随时把笔记本带在身边吧。
新闻报道与写作(插图第11版) 豆瓣
News reporting and writing,11e
作者: [美]梅尔文·门彻 译者: 展江 主译 世界图书出版公司·后浪出版公司 2014 - 1
美国经典新闻学教材最新版简体中文版
本书是被美国300多所大学所采用,泽被30万新闻学学生,培养了整整一代美国新闻人员的新闻学经典教材。自1977年出版以来,本书之所以盛行不衰,除了随课堂与媒体变化时时增补修订之外,最主要的原因是本书完备提供了新闻学学生成为职业新闻从业者所需要掌握的基本知识:从事各种媒体工作必需的技术;从事正确而含有信息的报道与写作必不可少的背景知识;指导新闻实践的价值观。在内容安排上,作者首先为学生描画了记者的工作状态,然后介绍了新闻报道的结构要素以及写作技巧,接着强调了写作优秀报道需要遵守的原则,最后描述了七个新闻条线的具体状况以及新闻报道会面临的社会层面问题,即新闻事业道德问题。
全书的写作风格也如新闻报道一般生动而信息丰富,书中大量运用真实的事迹、语录与照片,使学生仿佛受到了行业典范的言传身教,在与事例主人公一起思考的过程中培养了职业技能以及特有的思维方式。
负责任的新闻记者不能在价值无涉的真空中从业,我在作品和教学中一直致力于表现的是:最好的新闻学、新闻记者的最高成就是由那些其热情在于向人民揭示他们生活其间的世界的基本真相的人达成的。
——梅尔文·门彻(Melvin Mencher),美国新闻与大众传播协会“杰出教育家”奖得主,
哥伦比亚大学新闻学院荣誉教授
除了继续向学生传授新闻报道和写作的基本技能和专业伦理、审视那些指导和决定新闻实践的价值观之外,新版还关照了新闻报道所有领域的当下发展,探讨了记者对互联网消息来源的利用,增加了造势和选举报道、普利策奖得主们的报道诀窍以及新近的诽谤案例等内容。
——展江,北京外国语大学英语学院国际新闻与传播系教授,中山大学传播与设计学院双聘教授
门彻的教材的与众不同正是使他在新闻教育者中出类拔萃之处。他时刻谨记新闻的核心意义、重要性和真实目的,即无论使用什么媒介,好的报道将铁打的事实与虚构、想象和谎言区别开来,并尽可能准确、清楚并有道德地表述真相。这使得这本书及其练习册、网络资源成为学生理解和学习什么是好报道的最佳入门材料。
——韦恩·伍斯特(Wayne Worcester),美国康涅狄格大学新闻学教授
电影研究导论(插图第4版) 豆瓣
Introduction to Film Studies, 4e
作者: [英]吉尔·内尔姆斯 主编 译者: 李小刚 世界图书出版公司·后浪出版公司 2013
全球顶尖电影学者亲撰导读,世界知名高校指定必读经典
「编辑推荐」
•重视基础,梳理经典电影理论与研究观念
•提供新知,紧跟时下最前沿的观点与方法
•独辟视野,以新角度对电影进行独立思考
•个案分析,最细致深入的理论研究实战示范
•资料汇总,针对每章议题精选片单及参考书目
「内容简介」
本书是一部综合性的导读课本,自1996年初版以来,深受海外高校推崇。书中各领域专家对电影研究的理论重镇进行了全面的综述与检视,从最经典的蒙太奇和长镜头理论,到曾掀起思想怒潮的女性主义电影和酷儿理论;从好莱坞大片垄断全球的成功之道,到各民族电影为争取立足之地的奋力挣扎。
全书各章节皆配以丰富、精彩的个案研究,囊括120余幅电影剧照,并对关键术语与概念设计了方便详尽的边注,而章末精选延伸阅读、推荐片目及网络资源,则为有志于电影研究的读者提供全球视野、指明深入方向。
「专业领域权威专家推荐语」
一个学科和一种媒体的故事该怎么讲呢?这问题是《电影研究导论》面临的挑战。经过对旧的和新的、本土的和全球的、广为流行的和不大为人所知的大量影片进行详尽分析,本书每一篇文章都令我们感叹电影这种媒体的威力和神奇。书中还向我们介绍了电影学者尝试和提出过的概念工具和关键问题,以及今天仍在进行中的关于电影的性质、功能和价值的探寻。《电影研究导论》对当今已成为一个研究客体的电影所具有的广度和深度进行了敏锐而又细致的扫描,将形式与内容两者连缀成一个天衣无缝的整体。
——比尔·尼科尔斯,美国电影历史学家与理论家
因为由多人著述,《电影研究导论》更像是某种散点透视的小百科:既梳理变化过程,又突出检视方法;虽美英电影为主,仍兼顾其他重要国度;以理论范畴区隔,却无处不渗透工业考量。作者们试图规范电影学术,打通形式、类型、明星等媒介元素与身份、性别、国族等文化概念的藩篱。于是,在历史与当下的张力之中,“电影是什么”的原始母题获得了新的解读。
——杨远婴,博士生导师,北京电影学院教授
我在现场 豆瓣
7.2 (49 个评分) 作者: 潘绥铭 / 黄盈盈 山西人民出版社 2017 - 9
《我在现场:性社会学田野调查笔记》
(中国“红灯区”实地调查笔记,深刻展现“性工作者”群体真实的生存状况)
时间跨度十余载的性社会学田野调查笔记,记录其中的曲折经历,也记录刻骨铭心的感悟与反思。他们从田野归来,跨过社会鸿沟而来,带我们与边缘群体近距离相见,进而相知。
内容提要:
本书是兼顾故事性与方法论的社会学著作。作者系中国人民大学性社会学研究所所长黄盈盈、荣誉所长潘绥铭,及该所部分毕业生。他们采用“主体建构”的研究视角和“参与观察”的研究方法,深入“小姐”“同志”“截瘫者”等社会边缘群体,讲述与之互动的种种经历,呈现出边缘群体的生存状况和真实情感。
同时对社会学调查方法做出深刻反思,通过实践指出,田野调查的真正价值不仅在于调查到了什么,还在于社会学家自己获得了怎样的人生感悟,以及为打破社会隔阂有过哪些作为。无论从哪方面来看,这都是一本升华生命的书。
2018年9月12日 已读 买的时候倒是没想到是一本方法论的集子。看到最后对他们的研究对象没什么特别的印象,但他们进入田野的方式倒都成了业务学习。因为所有人写的都是同样的东西,人格高下之分倒是立见,诚恳的油腻的,高尚的浅薄的,清清楚楚。
业务学习 人类学 性学 方法论 田野调查
文化商人 豆瓣
作者: 约翰·B.汤普森 译者: 张志强 / 何平 译林出版社 2016 - 4
英国著名社会学家、传媒研究专家约翰•汤普森继《意识形态与现代文化》《数字时代的图书》后又一力作
透析金融危机与数字革命下之下,出版产业的生存状态与转型趋势
20世纪以来,图书出版的方法和实践发生了巨大的改变,尤其是在21世纪初,出版行业发现自己正面临着有史以来最大的挑战。金融危机下的经济压力和数字时代带来的技术变革迫使出版商改变他们一贯的做法,并对图书的未来重新进行思考。
约翰•汤普森通过分析英国和美国的大众出版行业在20世纪60年代开始的产业转型,对当今出版产业所面临的挑战做出了极为全面的解读。通过对大众出版行业的工作逻辑进行分析,他认为出版的每个领域都有一个与众不同的动力,并将其称之为“领域的逻辑”。该逻辑由一系列要素构成,它们决定了所有行为者和组织能够参与这个领域的条件。
沿着这一“领域的逻辑”在大众出版行业中留下的轨迹,本书将这一行业的主要参与者,出版商、书商、代理商等的组成结构和活动形态完整地展现在了读者面前。
国家与社会革命 豆瓣
States and Social Revolutions
8.9 (13 个评分) 作者: [美国] 西达·斯考切波 译者: 何俊志 / 王学东 上海人民出版社 2007 - 3
在本书中,斯考切波要揭示的是,国家结构、国际力量和阶级关系这三种要素是如何结合在一起,共同导致了社会革命转型的起源与成就。从18世纪90年代的法国到20世纪70年代的越南,社会革命虽然很少发生,但却在现代世界历史上具有无可否认的重要性。《国家与社会革命》提供了一种新的参照框架,以分析这种革命的原因、冲突和后果。而且、该书对三个主要的案例进行了深入而严肃的比较历史分析,这三个案例是:从1787年到19世纪初期的法国革命、从1917年到20世纪30年代的俄国革命和从1911年到20世纪60年代的中国革命。    作者认为,现有的革命理论,不适合用来解释革命的实际历史模式。因此,作者力促我们采用一种新的分析视角。她主张进行结构性论而非意志论的分析,强调跨国性世界-历史背景对国内政治冲突的重要作用。首先,她坚持认为,国家应该被看成是一套行政和强制组织、在阶级控制和阶级利益面前具有潜在的自主性,因此,在解释社会革命时,必须把国家置于核心地位。    为了解释法国、俄国、和中国旧制度的导向革命性政治危机的内在矛盾,斯考切波主要集中考察了国家在两个方面的基本关系:一方面是国家的统治者及其官员与国际竞争者之间的关系;另一方面是国家的统治者及其官员与支配阶级之间的关系。在解释革命的后果时,她着重关注的是,在阶级冲突和反革命军事威胁的背景下,革命领导集团建立新国家组织的方式。在革命政权得以巩固之后,她强调的是国家权力被用来改造社会的方式。在社会革命转型的模式方面,法国、俄国和中国被当成是基本类似的案例。对那些把法国革命当成是典型的资产阶级革命、或者是把俄国革命基本上看成是无产阶级的社会主义革命的理论家而言,作者的这种观点必然会引出激烈的争论。
2018年8月26日 已读 方法论意义应该远大于个案分析。强调国家的作用,历史环境的因素,以及社会结构中的阶级分析。阶级的关系则强调不同阶级之间的权力分配问题。就具体而言,印象比较深刻的还是革命从破坏旧制度开始,到建立新制度结束。
历史 历史社会学 政治学 斯考切波 方法论
历史写作简明指南 豆瓣 谷歌图书
A Short Guide To Writing About History
8.3 (13 个评分) 作者: [美] 理查德·马里厄斯(RICHARD MARIUS) / [美]梅尔文·E.佩吉(MELVIN E. PAGE) 译者: 党程程 后浪丨四川人民出版社 2018
历经30年时间打磨的经典写作教材
本书旨在教会你像历史学家一样思考和写作
史学之美与写作之美的交织
◎ 编辑推荐
史学家应该有一个承诺,那就是“理解、阐释,
甚至是超越文本与实物解释这个世界”。
《历史写作简明指南》旨在教你如何像历史学家一样思考和写作:试着去解决一些谜题,并且组织过去遗留下来的一些使人迷惑的数据来重新讲述过去的故事;从证据中寻找联系,指出原因,追踪缺陷,做比较,发现模式,找出最终结果,并揭示它如何通过一代一代人对现在产生影响。在这个过程中,你需要将自己的想法运用到原始资料中,将自己深思熟虑后的判断加在证据之上,写出既可信又真实的历史故事。
理查德·马里厄斯历史学家和小说家的双重身份赋予这本书独特的气质:它不仅具有历史学的严谨、清晰,以及能够洞穿本质的理性,并且饱含一种温情脉脉的人文气息。这两种特性在理查德·马里厄斯的笔下被完美地融合。阅读本书,你能感受到史学之美与写作之美的交织。一个好的历史学家和写作者必然激发起读者对研究的兴趣和对写作的渴望。但愿本书能为你的历史研究与写作的漫漫路途亮起一些火花。
◎ 内容简介
本书旨在教会读者如何像历史学家一样思考和写作。本书不仅关注实际的写作过程中非常细节的、技术的层面,比如,如何确定研究题目,如何有效地做读书笔记,如何引用和查找史料等,同时作者以其极好的专业修养和学识娓娓道来,将读者很自然地带入历史学家的思维方式之中,教会他们如何真正以历史学家的眼光来看待历史写作。
How to Read Literature Like a Professor 豆瓣
作者: Thomas C. Foster Harper Perennial 2014 - 2
2018年12月11日 已读
2018年12月11日 评论 摘抄 - 章节:Introduction How’d He Do That? Literature has its grammar, too. Memory. Symbol. Pattern. These are the three items that, more than any other, separate the professorial reader from the rest of the crowd. Everything is a symbol of something, it seems, until proven otherwise. A related phenomenon in professorial reading is pattern recognition. 章节:1 Every Trip Is a Quest (Except When It’s Not) We know, however, that their quest is educational. They don’t know enough about the only subject that really matters: themselves. The real reason for a quest is always self-knowledge. That’s why questers are so often young, inexperienced, immature, sheltered. Once you figure out quests, the rest is easy. 章节:2 Nice to Eat with You: Acts of Communion whenever people eat or drink together, it’s communion. literary versions of communion can interpret the word in quite a variety of ways. eating with another is a way of saying, “I’m with you, I like you, we form a community together.” And that is a form of communion. writing a meal scene is so difficult, and so inherently uninteresting, that there really needs to be some compelling reason to include one in the story. that reason has to do with how characters are getting along. show something else as sex. communion doesn’t need to be holy. Or even decent. He discovers he has something in common with this stranger—eating as a fundamental element of life—that there is a bond between them. If a well-run meal or snack portends good things for community and understanding, then the failed meal stands as a bad sign. His main goal, though, is to draw us into that moment, to pull our chairs up to that table so that we are utterly convinced of the reality of the meal. he wants to convey the sense of tension and conflict that has been running through the evening—there are a host of us-against-them and you-against-me moments earlier and even during the meal—and this tension will stand at odds with the sharing of this sumptuous and, given the holiday, unifying meal. we need to be part of that communion. The thing we share is our death. 章节:3 Nice to Eat You: Acts of Vampires Evil has had to do with sex since the serpent seduced Eve. So vampirism isn’t about vampires? there was so much the Victorians couldn’t write about directly, chiefly sex and sexuality, they found ways of transforming those taboo subjects and issues into other forms. even today, when there are no limits on subject matter or treatment, writers still use ghosts, vampires, werewolves, and all manner of scary things to symbolize various aspects of our more common reality. ghosts and vampires are never only about ghosts and vampires. Sometimes the really scary bloodsuckers are entirely human. The essentials of the vampire story, as we discussed earlier: an older figure representing corrupt, outworn values; a young, preferably virginal female; a stripping away of her youth, energy, virtue; a continuance of the life force of the old male; the death or destruction of the young woman. he deems the figure of the consuming spirit or vampiric personality a useful narrative vehicle. the thin line between the ordinary and the monstrous. That’s what this figure really comes down to, whether in Elizabethan, Victorian, or more modern incarnations: exploitation in its many forms. Using other people to get what we want. Denying someone else’s right to live in the face of our overwhelming demands. Placing our desires, particularly our uglier ones, above the needs of another. That’s pretty much what the vampire does, after all. My guess is that as long as people act toward their fellows in exploitative and selfish ways, the vampire will be with us. 章节:4 Now, Where Have I Seen Her Before? the more connect-the-dot drawings you do, the more likely you are to recognize the design early on there’s no such thing as a wholly original work of literature. the mind flashes bits and pieces of childhood experiences, past reading, every movie the writer/creator has ever seen stories grow out of other stories, poems out of other poems we recognize elements from some prior text and begin drawing comparisons and parallels that may be fantastic, parodic, tragic, anything Once that happens, our reading of the text changes from the reading governed by what’s overtly on the page. This dialogue between old texts and new is always going on at one level or another. Critics speak of this dialogue as intertextuality, the ongoing interaction between poems or stories. 章节:5 When in Doubt, It’s from Shakespeare ... at some very deep level he is ingrained in our psyches. There is a kind of authority lent by something being almost universally known, where one has only to utter certain lines and people nod their heads in recognition. when we recognize the interplay between these dramas, we become partners with the new dramatist in creating meaning. Fugard relies on our awareness of the Shakespearean text as he constructs his play, and that reliance allows him to say more with fewer direct statements. 章节:8 It’s Greek to Me myth is a body of story that matters. what the artist is doing is reaching back for stories that matter to him and his community—for myth. Greek and Roman myth is so much a part of the fabric of our consciousness, of our unconscious really, that we scarcely notice. So that’s one way classical myth can work: overt subject matter for poems and paintings and operas and novels. Walcott reminds us by this parallel of the potential for greatness that resides in all of us, no matter how humble our worldly circumstances. the situations match up more closely than we might expect. The need to protect one’s family: Hector. The need to maintain one’s dignity: Achilles. The determination to remain faithful and to have faith: Penelope. The struggle to return home: Odysseus. Homer gives us four great struggles of the human being: with nature, with the divine, with other humans, and with ourselves. In our modern world, of course, parallels may be ironized, that is, turned on their head for purposes of irony 章节:9 It’s More Than Just Rain or Snow weather is never just weather. It’s never just rain. And that goes for snow, sun, warmth, cold, and probably sleet, although the incidence of sleet in my reading is too rare to generalize. Drowning is one of our deepest fears the big eraser that destroys but also allows a brand-new start. That dark and stormy evening (and I suspect that before general illumination by streetlight and neon all stormy evenings were pretty darned dark) has worlds of atmosphere and mood. why does he bring rain into it? First of all, as a plot device. The rain forces these men together in very uncomfortable (for the condemned man and the brother) circumstances. Second, atmospherics. Rain can be more mysterious, murkier, more isolating than most other weather conditions. finally there is the democratic element. Rain falls on the just and the unjust alike. One of the paradoxes of rain is how clean it is coming down and how much mud it can make when it lands. you have to be careful what you wish for, or for that matter what you want cleansed. 章节:10 Never Stand Next to the Hero nearly all literature is character-based. No matter how large or small the actions, though, the most important thing that characters can do is change—grow, develop, learn, mature, call it what you will. in story and song, book and film, there is generally no more persuasive reason for revenge, outrage, or prompting to action than the killing of the best friend (or his progeny). It really doesn’t pay to get too close to hero-types. characters are not people. if it’s not in the text, it doesn’t exist. We can only read what is present in a novel, play, or film. Characters are products of writers’ imaginations—and readers’ imaginations. Two powerful forces come together to make a literary character. The first, writerly, invention sketches out a figure, while the second, readerly, invention receives that figure and fills in the blank spaces. The plot needs something to happen in order to move forward, so someone must be sacrificed. literary works are not democracies. the fictive world (I’m paraphrasing here) is divided up into round and flat characters. Round characters are what we could call three-dimensional, full of traits and strengths and weaknesses and contradictions, capable of change and growth. Flat characters, not so much. They lack full development in the narrative or drama, so they’re more two-dimensional, like cartoon cutouts. we are all, each and every last one of us, the protagonist of our own story. In fictive works, some characters are more equal than other characters. A lot more equal. Even round characters are somewhat less than complete beings. They are merely simulacra, illusions meant to suggest fully formed humans. Characters are created on something like a need-to-know basis. Their utility is all that matters. plot is character in action; character is revealed and shaped by plot. What happens to Gatsby must feel like the only outcome, given who Gatsby is and who Nick is and who Daisy is. 章节:Interlude Does He Mean That? lateral thinking is what we’re really discussing: the way writers can keep their eye on the target, whether it be the plot of the play or the ending of the novel or the argument of the poem, and at the same time bring in a great deal of at least tangentially related material. 章节:11... More Than It’s Gonna Hurt You: Concerning Violence Violence is one of the most personal and even intimate acts between human beings, but it can also be cultural and societal in its implications. Violence in literature, though, while it is literal, is usually also something else. the essentially hostile or at least uncaring relationship we have with the universe. Let’s think about two categories of violence in literature: the specific injury that authors cause characters to visit on one another or on themselves, and the narrative violence that causes characters harm in general. We sense greater weight or depth in works when there is something happening beyond the surface. 章节:12 Is That a Symbol? what do you think it stands for, because that’s probably what it does. At least for you. some symbols do have a relatively limited range of meanings, but in general a symbol can’t be reduced to standing for only one thing. If they can, it’s not symbolism, it’s allegory. Here’s how allegory works: things stand for other things on a one-for-one basis. Allegories have one mission to accomplish—convey a certain message Symbols, though, generally don’t work so neatly. The thing referred to is likely not reducible to a single statement but will more probably involve a range of possible meanings and interpretations. If we want to figure out what a symbol might mean, we have to use a variety of tools on it: questions, experience, preexisting knowledge. The only thing we are sure of about the cave as symbol is that it keeps its secrets. What the cave symbolizes will be determined to a large extent by how the individual reader engages the text. The other problem with symbols is that many readers expect them to be objects and images rather than events or actions. Action can also be symbolic. Ask questions of the text: what’s the writer doing with this image, this object, this act; what possibilities are suggested by the movement of the narrative or the lyric; and most important, what does it feel like it’s doing? a reader’s imagination is the act of one creative intelligence engaging another. 章节:13 It’s All Political The political writing I personally dislike is programmatic, pushing a single cause or concern or party position, or it’s tied into a highly topical situation that doesn’t transfer well out of its own specific time and place. I love “political” writing. Writing that engages the realities of its world—that thinks about human problems, including those in the social and political realm, that addresses the rights of persons and the wrongs of those in power—can be not only interesting but hugely compelling. Nearly all writing is political on some level. most works must engage with their own specific period in ways that can be called political. writers tend to be men and women who are interested in the world around them. That world contains many things, and on the level of society, part of what it contains is the political reality of the time—power structures, relations among classes, issues of justice and rights, interactions between the sexes and among various racial and ethnic constituencies. That’s why political and social considerations often find their way onto the page in some guise, even when the result doesn’t look terribly “political.” Knowing a little something about the social and political milieu out of which a writer creates can only help us understand her work, not because that milieu controls her thinking but because that is the world she engages when she sits down to write. 章节:14 Yes, She’s a Christ Figure, Too The bottom line, I usually tell the class, is that Christ figures are where you find them, and as you find them. 章节:15 Flights of Fancy Culturally and literarily, we have toyed with the idea of flight since earliest times. In general, flying is freedom, we might say, freedom not only from specific circumstances but from those more general burdens that tie us down. García Márquez plays on our notions of wings and flight to explore the situation’s ironic possibilities. the act of falling from vast heights and surviving is as miraculous, and as symbolically meaningful, as the act of flight itself. the antidote to limitations and shackles is freedom. Indeed, often in literature the freeing of the spirit is seen in terms of flight. 章节:16 It’s All About Sex ... Suddenly we discover that sex doesn’t have to look like sex: other objects and activities can stand in for sexual organs and sex acts, which is good, since those organs and acts can only be arranged in so many ways and are not inevitably decorous. 章节:17... Except Sex describing two human beings engaging in the most intimate of shared acts is very nearly the least rewarding enterprise a writer can undertake. most of the time when writers deal with sex, they avoid writing about the act itself. The further truth is that even when they write about sex, they’re really writing about something else. If they write about sex and mean strictly sex, we have a word for that. Pornography. He carries not a woman but an entire constellation of possibilities into the bedroom. What chance does his sexual performance have? the sex is on one level symbolic action claiming for the individual freedom from convention and for the writer freedom from censorship. You just know that these scenes mean something more than what’s going on in them. It’s true in life as well, where sex can be pleasure, sacrifice, submission, rebellion, resignation, supplication, domination, enlightenment, the whole works. 章节:18 If She Comes Up, It’s Baptism The thing about baptism is, you have to be ready to receive it. Baptism can mean a host of things, of which rebirth is only one. baptism is a sort of reenactment on a very small scale of that drowning and restoration of life The rebirths/baptisms have a lot of common threads, but every drowning is serving its own purpose: character revelation, thematic development of violence or failure or guilt, plot complication or denouement. 章节:19 Geography Matters ... In a sense, every story or poem is a vacation, and every writer has to ask, every time, Where is this one taking place? What, in other words, does geography mean to a work of literature? Geography: hills, etc. Stuff: economics, politics, history. So what’s geography? Rivers, hills, valleys, buttes, steppes, glaciers, swamps, mountains, prairies, chasms, seas, islands, people. In poetry and fiction, it may be mostly people. Literary geography is typically about humans inhabiting spaces, and at the same time the spaces inhabiting humans. Geography is setting, but it’s also (or can be) psychology, attitude, finance, industry—anything that place can forge in the people who live there. Actually, the scariest thing Poe could do to us is to put a perfectly normal human specimen in that setting, where no one could remain safe. And that’s one thing landscape and place—geography—can do for a story. Geography can also define or even develop character. the real target is the physical village—as place, as center of mystery and threat, as alien environment, as generic home of potential enemies and uncertain friends. employ geography as a metaphor for the psyche—when his characters go south, they are really digging deep into their subconscious, delving into that region of darkest fears and desires. whether it’s Italy or Greece or Africa or Malaysia or Vietnam, when writers send characters south, it’s so they can run amok. It’s place and space and shape that bring us to ideas and psychology and history and dynamism. 章节:20... So Does Season the speaker is seriously feeling his age here and making us feel it, too, with those boughs shaking in the cold winds, those last faded leaves still hanging, if barely, in the canopy, those empty limbs that formerly were so full of life and song. A few other writers have also had something to say about the seasons in connection with the human experience. Maybe it’s hard-wired into us that spring has to do with childhood and youth, summer with adulthood and romance and fulfillment and passion, autumn with decline and middle age and tiredness but also harvest, winter with old age and resentment and death. This pattern is so deeply ingrained in our cultural experience that we don’t even have to stop and think about it. we can start looking at variation and nuance. Every writer can make these modifications in his or her use of the seasons, and the variation produced keeps seasonal symbolism fresh and interesting. We read the seasons in them almost without being conscious of the many associations we bring to that reading. 章节:Interlude One Story there’s only one story. What’s it about? That’s probably the best question you’ll ever ask, and I apologize for responding with a really lame answer: I don’t know. It’s about everything that anyone wants to write about I suppose what the one story, the ur-story, is about is ourselves, about what it means to be human what our poets and storytellers do for us—drag a rock up to the fire, have a seat, listen to this one—is explain us-and-the-world, or us-in-the-world. The basic premise of intertextuality is really pretty simple: everything’s connected. The result is a sort of World Wide Web of writing. “Archetype” is a five-dollar word for “pattern,” or for the mythic original on which a pattern is based. It’s like this: somewhere back in myth, something—a story component, let’s call it—comes into being. What does matter is that there is this mythic level, the level on which archetype operates and from which we borrow the figure of, for instance, the dying-and-reviving man (or god) or the young boy who must undertake a long journey. 章节:21 Marked for Greatness First, the obvious but nonetheless necessary observation: in real life, when people have any physical mark or imperfection, it means nothing thematically, metaphorically, or spiritually. but in literature we continue to understand physical imperfection in symbolic terms. physical markings by their very nature call attention to themselves and signify some psychological or thematic point the writer wants to make 章节:22 He’s Blind for a Reason, You Know There are a lot of things that have to happen when a writer introduces a blind character into a story, and even more in a play. Clearly the author wants to emphasize other levels of sight and blindness beyond the physical. Moreover, such references are usually quite pervasive in a work where insight and blindness are at issue. The challenging thing about literature is finding answers, but equally important is recognizing what questions need to be asked, and if we pay attention, the text usually tells us. What it does, though, is set up a pattern of reference and suggestion as the young boy watches, hides, peeks, and gazes his way through a story that is alternately bathed in light and lost in shadow. A truly great story or play, as “Araby” and Oedipus Rex are, makes demands on us as readers; in a sense it teaches us how to read it. We feel that there’s something more going on in the story—a richness, a resonance, a depth—than we picked up at first, so we return to it to find those elements that account for that sensation. when literal blindness, sight, darkness, and light are introduced into a story, it is nearly always the case that figurative seeing and blindness are at work. seeing and blindness are generally at issue in many works, even where there is no hint of blindness on the part of windows, alleys, horses, speculations, or persons. if you want your audience to know something important about your character (or the work at large), introduce it early, before you need it. 章节:23 It’s Never Just Heart Disease ... And Rarely Just Illness In literature there is no better, no more lyrical, no more perfectly metaphorical illness than heart disease. More commonly, though, heart trouble takes the form of heart disease. If heart trouble shows up in a novel or play, we start looking for its signification, and we usually don’t have to hunt too hard. The other way around: if we see that characters have difficulties of the heart, we won’t be too surprised when emotional trouble becomes the physical ailment and the cardiac episode appears. Their choice of illness is quite telling: each of them elects to employ a fragile heart as a device to deceive the respective spouse, to be able to construct an elaborate personal fiction based on heart disease, to announce to the world that he or she suffers from a “bad heart.” Every age has its special disease. The Romantics and Victorians had consumption; we have AIDS. That’s what happens when works get reenvisioned: we learn something about the age that produced the original as well as about our own. 章节:24 Don’t Read with Your Eyes On the other hand, a too rigid insistence on the fictive world corresponding on all points to the world we know can be terribly limiting not only to our enjoyment but to our understanding of literary works. What I really mean is, don’t read only from your own fixed position in the Year of Our Lord two thousand and some. Instead try to find a reading perspective that allows for sympathy with the historical moment of the story, that understands the text as having been written against its own social, historical, cultural, and personal background. also need to acknowledge here that there is a different model of professional reading, deconstruction, that pushes skepticism and doubt to its extreme, questioning nearly everything in the story or poem at hand, to deconstruct the work and show how the author is not really in charge of his materials. The goal of these deconstructive readings is to demonstrate how the work is controlled and reduced by the values and prejudices of its own time. Too much acceptance of the author’s viewpoint can lead to difficulties. What I would suggest is that we see Shylock’s villainy in the context of the difficult and complex situation Shakespeare creates for him, see if he makes sense as an individual and not merely as a type or representative of a hated group, see if the play works independently of whatever bigotry might lie behind it or if it requires that bigotry to function as art. For me, if it must rely on hatred i […] 章节:25 It’s My Symbol and I’ll Cry If I Want To A lot of things in the world have more or less ready-made associations—or associations so long in use that they seem ready-made to us latecomers. One of the things we’ve been talking about in this book is how we can build a sort of literary database of imagery and its uses: rain, check; shared meals, check; quests, check; and so on. What that database relies upon, naturally, is repetition. The point is, we have, as writers, artists, and readers, a common pool of figurative data built up over centuries of use in a host of situations and for a multiplicity of purposes—a store of images, symbols, similes, and metaphors that we not only can access but do, almost automatically. This warehouse of implications, as it were, permits texts to mean more than one thing simultaneously. Let’s be clear, just so no one runs off the rails: these implications are invariably secondary. The primary meaning of the text is the story it is telling, the surface discussion (landscape description, action, argument, and so on). The gyres embody opposing historical or philosophical or spiritual forces, so they’re a little like Hegel’s or Marx’s dialectic, in which opposing forces clash together to create a new reality. Except that dialectics don’t spin or whirl. Singular systems don’t get general discussions. every work teaches us how to read it as we go along. every page of a literary work is part of an education in reading. humans are very good at entering these “private” realms, at inferring meanings, at judging the implications of texts—in other words, we’re good at reading. 章节:26 Is He Serious? And Other Ironies That’s irony—take our expectations and upend them, make them work against us. What is a sign? It’s something that signifies a message. The signifier, in other words, while being fairly stable itself, doesn’t have to be used in the planned way. Its meaning can be deflected from the expected meaning. Mysteries, like irony, make great use of deflection. irony doesn’t work for everyone. Because of the multivocal nature of irony—we hear those multiple voices simultaneously—readers who are inclined toward univocal utterances simply may not register that multiplicity. We must remember: irony trumps everything. In other words, every chapter in this book goes out the window when irony comes in the door.
文学评论 方法论 美国
社会学的想象力 豆瓣
作者: [美]C.赖特·米尔斯 2016 - 5
《社会学的想象力》堪称C·赖特·米尔斯一生学术精华的大成之作;它以批判美国社会学界的成果作为全书的探讨主题,运用知识社会学的观点,并结合作者在社会阶层等方面的研究经验,批判传统学科的抽象与僵化界限,由此强调“社会学想像力”的重大意义。本书初版于1959年,现在已成为英语世界,乃至世界各地社会学教学中广受推崇的入门经典;1989年美国社会学界还就本书发表30周年召集学者进行回顾性的专题研讨。现在这个中译本据牛津大学出版社刊行的40周年纪念版译出。
观看的方法:如何解读视觉材料 豆瓣
Visual Methodologies: An Introduction to Researching with Visual Materials 3e
作者: [英] 吉莉恩·罗斯 译者: 肖伟胜 拜德雅丨重庆大学出版社 2017 - 5
-编辑推荐-
•本书是近二十年来,视觉研究方法领域的权威著作。就它企图对研究视觉材料的各式各样的方法进行全面而系统的讨论和评价而言,本书依然独一无二。
•本书第3版,增加了对受众研究、民族志、照片文档、照片引谈、摄影小品,以及视觉伦理研究等视觉方法的讨论,展示了视觉研究及其方法的不断发展的本质。
•书中穿插的大量关于数字媒体的内容,亦是新版的一大亮点。
-内容简介-
本书坚定地专注于研究方法而不是媒体。书中的主体章节,每一章都会讨论一种可用于诠释视觉材料的方法,而每一章要用何种视觉材料来探究这种方法,则取决于它是否最能体现这种方法的步骤、长处和不足。本书要做的就是深度探讨每一种方法。
第1章是对用来理解视觉文化各种不同理论方法的概览,同时也探究了一些关于无处不在的数字影像所造成的差异问题。
在第2章中,作者精心制作了一个指导读者使用她提出的“批判性视觉方法论”的实用性框架。
第3章详细解释了本书的结构,这将有助于读者从随后讨论方法的章节中有所斩获。
从第4章到第10章均专注于处理既有影像的方法,如内容分析、符号学、精神分析和话语分析等。
第11章比前一版更为细致地专注于另外一些研究视觉影像的方法,这些方法旨在处理为解答研究的问题而制作的视觉影像。
视觉伦理学是第3版中全新的一章。研究活动中的伦理学关乎研究者的行为。它关注他们研究中自身的诚实和坚定性,以及他们正在与什么材料,或跟谁一起展开研究如此这般的关系问题。