| 书名： | 方桂与我五十五年（增订本） |
| ISBN： | 978-7-100-06640-2 |
| 作者： | 徐樱 著 |
| 开本： | 32开 |
| 装订： | 平 |
| 定价： | ￥25.00 |
《加斯东·伽利玛:半个世纪的法国出版史》是由人民文学出版社出版的。
《加斯东·伽利玛:半个世纪的法国出版史》内容简介：在二十世纪法国出版史上，加斯东·伽利玛（1881-1975）创建的伽利玛出版社几乎占据了 半壁江山，与他同时代的法国作家多如繁星，风格和思想各异，却几乎都曾出现在伽利玛的书目上，只有少数几位作家成为“漏网之鱼”和他的“遗憾”。
自 伽利玛出版社创办至加斯东去世，法国人得了十八次诺贝尔文学奖，其中六位是他的作者，他的作者还得了二十七次龚古尔奖、十八次法兰西学院小说大奖、十二次 联合奖、七次美第奇奖、十次雷诺多奖、十七次费米娜奖……对许多读者来说，伽利玛简直就是法国文学的同义词。如果没有伽利玛出版社，二十世纪的法国文学将 会改写，许多作家的命运将会是另一个样子。人们不禁要问：伽利玛是怎样炼成的？
由于加斯东·伽利玛生前拒绝写回忆录，而许多档案资料属于出版社的 秘密而被封存，外界一直对这位法国出版业“大角鲨”的真实生活和工作状况不甚了了。法国《读书》杂志前主编、传记作家皮埃尔·阿苏里带着同样的好奇，访问 了伽利玛传奇的许多见证者：他的家人、朋友、作者，他的生意伙伴，甚至他的敌人，查阅数百《加斯东·伽利玛:半个世纪的法国出版史》籍和许多未公开的档案 和私人信件，十分清晰地描述了一个真实、完整的伽利玛。
《加斯东·伽利玛:半个世纪的法国出版史》是加斯东·伽利玛的人生传奇，也是贝纳尔·格拉塞、罗贝尔·德诺埃尔、勒内·朱丽亚尔等一代法国杰出出版人的群像，是半个世纪的法国出版史。
前言
第一时期 1881－1900
第二时期 1900－1914
第三时期 1914－1918
第四时期 1919－1936
第五时期 1936－1939
第六时期 1939－1944
第七时期 1944－1945
第八时期 1946－1952
第九时期 1953－1966
第十时期 967－1975
致谢
译后记
参考文献
…… [看更多目录]
如果你说话总是那么肯定，那你当不了出版人。在这个行业里干了四十年之后，我只能告诉你一件事情，就是我们永远也无法预知一本书的命运……
——加斯东·伽利玛
这就是他的父亲。年轻的加斯东是在这个男人的影子里长大的，他所遗传的并不仅仅是名画：他的某些性格后来体现在他对待女人、戏剧、金钱、艺术和生活 的态度当中，艺术家们称之为“模仿”，心理学家称之为“排斥父亲”，医生说这是遗传法则……随便怎么说吧！加斯东·伽利玛后来变成了那么复杂的一个人物， 其主要原因之一就在于父亲的遗传。
一八八九年，加斯东八岁。他的生活完全局限在圣三一教堂四周。早上，当女佣打开他房间的窗户时，他第一眼看到的 就是那座教堂。教堂的钟声从此成了他一生中的基调，如同那条美丽的商业大街的嘈杂声。那条大街行人很多，戴着帽子的男人和穿着裙子的女人在散步时常常要躲 避来往的马匹、出租马车和双篷四轮马车。
加斯东常常在圣三一教堂的广场玩耍，否则就跟兄弟们和女佣去散步。那年，为了迎接万国博览会，圣拉扎尔新车站刚刚落成。人们乘这个机会，在同一条轴线上建了一座终点站旅馆，有一条通道直接通往车站，里面的漂亮阅读长廊吸引了众多的游客，也吸引了广大的街坊。
布 朗热将军在北部、索姆省、内夏朗德、多尔多涅的全民投票中获胜后，又成功地被选人了首都。他引发了一场政治危机，这场危机虽然以他的名字命名，却超出了他 引起的这场运动的范围。这个“可敬的将军”的主要功绩在于让一场全民选举变得非常激进，他把选举不是引向社会主义，就是引向民族主义。在巴黎，人们非常警 觉，而在外省，这场运动给人们留下了一个非常深刻的印象，鼓励大家反对自由的议会制度。
如果不是满街叫嚷的报贩，圣拉扎尔路好像对这种政治动荡漠 不关心。当然，市郊人头攒动，但离这里很远……这里的人们争先恐后地去博第尼埃剧场里看十分紧俏的演出，他们早早就在特拉普饭店订了位，左拉发起的自然主 义流派的文学大餐就在那里举行；或者在另一家饭店，帕亚尔饭店，它后来取代了著名的英国咖啡馆。大家三五成群地在那里吃饭。在那里吃饭和在那不勒斯咖啡馆 与记者和作家们吃冰淇淋一样得体，这些上流社会的人们很快就离开了“里奇咖啡馆”，嫌那里太肮脏。
三年前，在北京开会遇到彭伦，谈起他们的“出版人书系”。我很赞赏这套丛书，觉得是功德无量的大好事，并当即表示愿意“承包”法国出版界方面的选 题。第一个被我们选中的，当然是伽利玛出版社的创始人加斯东·伽利玛。“伽利玛”不是法国最大的出版社，也不是最富的出版社，但它在世界上的影响，在出版 界的声誉和在文学方面所做出的贡献是法国任何一家出版社都比不上的。可以说，它是法国出版界的一面旗帜，一个象征。正如美国一份出版杂志所说，“伽利玛是 法国文学的同义词”，“因为法国文学中最好的书有四分之一都是它出的。”没有伽利玛出版社，二十世纪的法国文学将会改写，许多作家的命运将会是另一个样 子。自伽利玛出版社创办至加斯东一九七五年去世，法国得了十八次诺贝尔文学奖，其中有六次是他的作者得的。他出版的书还获得过二十七次龚古尔奖、十八次法 兰西学院小说大奖、十二次联合奖、七次美第奇奖、十次雷诺多奖、十七次费米娜奖……
我跟伽利玛出版社已有近二十年的交情，跟他们的许多部门都熟，洽谈过不少版权，认识他们的很多作者，在巴黎期间，也常常应邀去那里参加各种活动，还见过他们现在的掌门人，加斯东的孙子安托万，深谈过几次。
加斯东虽然大名鼎鼎，但有关他的书却凤毛麟角，因为这位专门替别人出书的人不愿意别人写他。这是大出版家的风度和素质之一，正如一个好编辑往往不写作一样。
为什么要写伽利玛？因为他独一无二，非同寻常。
当然，大出版家还有，而且不少。但在上个世纪前十年投身这一冒险活动的出版家中，只有他，能在晚年的时候，翻着自己出版社厚厚的书目，对自己说：“法国文学，就是我！”
他 没有写过任何书，但所有的书上都有他的名字。在封面的下方，而不是在作家们通常署名的上方。那是他的作品。他的作品以数百万计，其封面和颜色在二十世纪所 有读书人的书房里一眼就能看出来。加斯东·伽利玛倾其一生，拿陌生的年轻作家的前途打赌。一开始，他的出版社就作长远打算。这个年轻的出版人选择了一条漫 长而艰难的道路，他不愿意盯着名家，虽然大部分读者都局限于阅读少数几个知识分子精英的作品。但干了几年之后，这个初出茅庐的年轻人马上就发现，出版，首 先是一种商务。于是，这个漫不经心的美学家、音乐会和舞会的常客，很快就变成了一个可怕的生意人，一个狡黠的吹嘘者，他能锲而不舍地恳求或请求他人。
这并非因为他是个杰出的经营者或是善于发现人才的“伯乐”，而是因为遭遇失败之后，他能清醒地从短暂的灾难中获取教训，首先把一些精英团结在自己周围。这些人以自己的才能、远见或为人处世的方式，共同创造了一个文学殿堂，它就叫做：“加斯东·伽利玛”。
他不断地把法国和外国最优秀的文学作品收罗到自己的徽标下。
)
目录The September 11 attacks on the US provoked shock and pity in the rest of the world, but mingled with the sympathy was something harsher: anti-Americanism. It wasn't confined to the West Bank or Kabul. It could be heard in English country pubs, in the bars of Paris and Rome, the tea stalls of New Delhi. ‘Hubris’ was the general idea: in one opinion poll, two-thirds of the respondents outside the US agreed to the proposition that it was ‘good that Americans now know what it’s like to be vulnerable’.
Is the US really so disliked? If so, why? In this issue twenty-four writers drawn from many countries describe the part America has played in their lives – for better or worse – and deliver their estimates of the good and the bad it has done as the world's supreme political, military, economic and cultural power.
List price: £10.99
Online price: £7.70
Add to basket
Pankaj Mishra: Jihadis
J. M. Coetzee: Youth
Francis Spufford: The Habit
Thomas Dworzak: Autumn in Afghanistan
Blake Morrison: Have You Decided to Love Me Yet?
Ziauddin Sardar: Mecca
Plus: Episodes and Opinions from Twenty-Four Writers
Hanan al-Shaykh, Ian Baruma, Amit Chaudhuri, Haim Chertok, Aleksa Djilas, Ariel Dorfman, Benoît Duteurtre, Hans Magnus Enzensberger, John Gray, Ramachandra Guha, Lu Gusum, James Hamilton-Paterson, Michael Ignatieff, Ivan Klíma, Doris Lessing, Yang Lian, David Malouf, Fintan O’Toole, Orhan Pamuk, Harold Pinter, Karim Raslan, Raja Shehadeh, Tara Bray Smith and Ahdaf Soueif.
| 書名/作者 | International encyclopedia of the social sciences / William A. Darity, Jr., editor in chief | |||||
| 出版項 | Detroit : Macmillan Reference USA/Thomson Gale, c2008 | |||||
| 版本項 | 2nd ed
|
導演： 橋口亮輔 Hashiguchi Ryosuke
演員： 中川雅也 Lily Franky
木村多江 Kimura Tae
得獎紀錄： 2009柏林影展
2008多倫多影展
2008倫敦影展
2008釜山影展
2008東京影展
這是一個關於平凡夫妻間簡單幸福的故事。
講述一對夫妻十年間的生活軌跡，丈夫是在法庭裡描繪犯人圖像的畫家，每天在偵查庭中面對無情殺害幼童的嫌犯，妻子則是個嚴謹的人，連性生活都要事先規劃好日子，然而流產讓妻子大受打擊，導致她精神崩潰，夫耐心的包容妻子，兩人最終攜手克服生活中的各種不如意。
【東京鐵塔】原著小說家Lily Franky首次挑戰電影演出，演出一位樸實善體人意的丈夫，自然如素人般的演技讓他獲得了日本藍絲帶最佳新人獎。
導演橋口亮輔以自身抗憂鬱症的經驗，拍出這部帶有點療傷意味的溫馨小品。
Phoebe in Wonderland is a 2009 independent film directed by Daniel Barnz.
It was screened in the Dramatic Competition at the 2008 Sundance Film Festival,[1] and received a limited theatrical release on March 6, 2009.
| Contents [hide] |
The movie tells a story of a 9 year old girl, Phoebe (Elle Fanning), with apparent Gilles de la Tourette syndrome.[2] While she deals with being odd and insecure, her mother (Felicity Huffman) and father (Bill Pullman) are dealing with complexities in their relationship with each other and their challenging child. Her little sister (Bailee Madison) feels neglected as Phoebe gains more attention.
Phoebe seeks a role in her school's play, Alice In Wonderland, directed by her school's off-beat drama teacher, Miss Dodger (Patricia Clarkson). Phoebe flourishes on stage, relaxing and feeling normal, but her impulsive speech and behavior persist off stage. Her parents hire a therapist for her, but after he proposes medication, Phoebe's mother fires him. She does not want to accept that there is anything wrong with Phoebe; when the principal questions if Phoebe behaves oddly outside of the classroom, her mother denies it even though she has many times witnessed her daughter's self-destructive rituals at home. When Phoebe is taken out of the play due to her classroom behavior, her dreams are shattered. Her mother, desperate to help her daughter feel normal, works with the drama teacher to bring Phoebe back on stage.
Although Phoebe is put back into the play, her challenges continue as she is driven to behavior she doesn't understand. She hurts herself jumping off the catwalk onto the stage, and the drama teacher is fired. Phoebe's fellow-actors descend into chaos, but Phoebe alone clings to a sense of purpose. She urges her classmates to continue their rehearsals on their own, and they do. Her mother, who has resisted efforts to label Phoebe, tells Phoebe that she has Tourette’s syndrome, and Phoebe helps her classmates understand her by explaining the condition to them.
The Double Life of Véronique (French: La double vie de Véronique, Polish: Podwójne życie Weroniki) is a 1991 French- and Polish-language film directed by Krzysztof Kieślowski, co-written by Kieślowski and Krzysztof Piesiewicz, starring Irène Jacob, with music by Zbigniew Preisner. The film was Kieślowski's first to be produced partly outside Poland[1].
A Criterion Collection region 1 DVD was released in November 2006 in the USA and Canada only. It includes an alternate ending which Kieślowski did at the request of Harvey Weinstein of Miramax for the American release.
The film follows the lives of a young woman first in Poland, Weronika, and then a young woman in France, Véronique, both played by Irène Jacob. Though unrelated, the two appear identical, share many personality traits, and seem to be aware of each other on some level, as if they are doppelgängers; but except for a brief glimpse through a bus window in Kraków, they never meet. After Weronika sacrifices everything in the pursuit of a singing career, Véronique abandons her own similar goal because of poor health and attempts to find an independent course for her life, while becoming involved with a manipulative man who is fascinated by clues to her double nature. The man is a puppeteer and maker of marionettes, helping raise the questions that are central to the film: is there such a thing as free will, or is it up to a creator of some kind, or is it just a matter of chance that one acts and thinks as one does? [2] [3] [4]
The film has a strong fantasy element, though the supernatural aspect of the story is never explained. Like the later Three Colors: Blue, it showcased Preisner's musical score as a major plot element, crediting his work to the fictional van den Budenmayer. The cinematography is highly stylized, using color and camera filters to create an ethereal atmosphere; the cinematographer, Sławomir Idziak, had previously experimented with these techniques in one episode of The Decalogue, and Kieślowski would later use color for a wider range of effects in his Three Colors trilogy. Kieślowski had earlier used the idea of exploring different paths in life for the same person, in his Polish film Przypadek (Blind Chance), and the central choice faced by Weronika/Véronique is based on a brief subplot in the ninth episode of The Decalogue.
Film critic Marek Haltof, like many Polish viewers, sees the film as a political allegory in which Weronika represents Poland and Véronique France, or the West: both are highly cultured, but while Véronique is seemingly free to choose her destiny, Weronika's early death represents the sacrifice of Poland during the Second World War and its subsequent incorporation into the Soviet bloc; Véronique senses this loss without realizing what it is, and that she is incomplete without Weronika.
Influential film critic Roger Ebert entered the film to his Great Movies collection in February, 2009.[5] The film got 4-stars (out of 5) rating plus "High Artistic Quality" on www.allmovie.com [6]. At the Internet movie database, the film holds user rating of 7.8 (out of 10), based on 9558 votes [7]. Sete about.com, which specializes on DVD reviews, gave the film 5 of 5 stars in their critical review [8]. The film got favourable rating (3 of 5 stars) on www.bbc.co.uk/films [9] and holds 84 % rating on www.rottentomatoes.com [10]
 |  | |
 |  |  |
| |||
 | |||
 作 者： | (日)稻葉和也 | ||
| |||
| 出版單位： | 清華大學 | ||
| |||
| 出版日期： | 2010.01 | ||
作者簡介：稻葉和也
1938年出生。1963年，早稻田大學理工學部建築學專業畢業，早稻田大學研究生院博士課程結業（建築史專業），師從于田邊泰博士、渡邊保忠博士。參加早稻田大學古埃及調查（1969-1975）。
歷任早稻田大學產業技術專修學校講師、文化學院講師。現任東海大學副教授。
著作有《建築大辭典》（合著）、《建築學便覽》（合著）等。
中山繁信
1942年出生。1971年，法政大學研究生院碩士課程結業。歷任宮脅檀建築研究室、工學院大學建築學專業伊藤鄭爾研究室助教。現任中山繁信+TESS計畫研究所責任人，工學院大學工學部教授，日本大學生產工學部外聘講師。
著作有《日本人的住居》（建築繪本）（合著）、《住居的水與火》（建築繪本）（合著）、《夏目漱石博物館》（建築繪本）（合著）、《眼與手的修煉 宮脅檀住宅設計塾》（合著）等。
| 主要作者 | Crowther-Heyck, Hunter, 1968- |
| ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Highly relevant titles 條目 2-41
Very relevant titles 條目 42-60