Humberto Albarrán từ Kalinins'kyi, Luhans'ka oblast, Ukraine

hjalbarran

04/26/2024

Dữ liệu người dùng, đánh giá và đề xuất cho sách

Humberto Albarrán Sách lại (10)

2018-03-05 15:30

Quản Trị Doanh Nghiệp Trong Nền Kinh Tế Thị Trường Thư viện Sách hướng dẫn

Sách được viết bởi Bởi: Đỗ Thị Kim Tiên

Picasso for me has always been a legendary artist whose work flew way over my head - though visually it managed to capture my attention. After reading this memoir from his long-time girlfriend/de facto wife I learned that his art was intended to be bold enough to get me to pay attention so that I would then stop and think. Much like the young child who stomps his feet for attention feeling any is better than none, Picasso wanted to cause a stir, make you uncomfortable and even disturbed by what you saw - in his art and apparently in his life as well. Once he had your attention, there was much to be learned - for better or worse. Gilot tells what another review here on Goodreads so aptly described as a detached tale of her time with Picasso. She escapes a violent and controlled life with her father to an inspired and liberated world with Picasso, or so it seems. Picasso is far older than herself or even her father for that matter. There is a 40 year age difference. He speaks often of wanting to keep her all to himself, stashed away in secret. The romanticized sound of this to a young Gilot is truly foreshadowing of the demanding and selfish world that it is to live with Picasso. Gilot was an artist before she met Picasso and that connection is what held them together for so long. Her memories here are told from a very old soul - a young woman who gave of herself to someone she admired and learned from. Someone who tormented her but also was a source of pleasure. In the end, she was just another in his pattern of discarded partners. I feel she believed she meant something special to him - just as all of those before her and after felt as well. He clearly tormented her emotions and was a force that impacted her life ever after. But I do applaud her ability to include so many touching tales amongst the ones that depict him as monstrous emotionally. She was not innocent in her role as the other woman. And so I left this book feeling neither sorry for or happy for her. It was told very matter of factly and allowed me to project my own experiences and emotions onto the moments she chose to share. There is plenty of fascinating insight into Picasso as an artist, his creative process, the inspirations and techniques that he employed. I appreciated these bits as much as I did watching the sad but predictable train wreck of a love story gone awry. I can now revisit his art with a larger base to draw from and give it greater time and curiosity - not because he has placed a temper tantrum on a canvas in order to get me to look beneath the layers but because innovative expression deserves a second look.

2018-03-05 21:30

Những Vụ Kỳ Án Của Sherlock Holmes - Tái bản 29/04/2010 Thư viện Sách hướng dẫn

Sách được viết bởi Bởi: Arthur Conan Doyle

Le Guin handles this concept gorgeously: a man can shape reality (it's taking all my strength not to put quotation marks around that noun) through his dreams, but he does not want to. A doctor learns of his ability and tries to harness it to improve a broken society. Each iteration of the dreamscape and something new is broken, evil never goes away, but the doctor's ambition makes him blind to that. Le Guin does an amazing job evoking the *feel* of dreams in her rendering of the changed world. By the end of the book, she starts invoking the Australian concept of dreamtime, that all the world is a kind of communal dream (not just a human one, but one that incorporates the landscape as well), and I dug that a lot. Her prognostications about environmental and political catastrophes were even grimmer to read while mourning the BP spill in the Gulf, so her messages about anthrocentrism and the dangerous force of the illusion of progress rang heavy and true. It's a harrowing read with lots of momentum and yet still grace. The opening passage about a jellyfish is so beautiful, and she uses this creature as a spiritual image throughout. Sometimes her prose gets a little didactic, the allegory explicit, the evils of Dr. Haber Orwellian and unsubtle. (those two adjectives should not seem synonymous, I should add here) But I love her critique of the Enlightenment and the supposed rationality of man; by having the world change through dreams, there is always a nightmare element, always a tinge of the irrational, which I think Le Guin is saying is always true when it comes to the individual's relationship to his world. She also suggests that our longing for individualism and ambition is misplaced; Zen Buddhism plays a big role in this text, and the ability to ride the currents of history (rather than try to shape them) is prized, which makes Orr, the main character, rather an unusual and passive protagonist. A haunting book, but one that also shows signs of its late 1960s / early 1970s conception. For example, it celebrates racial diversity, but its essentialism can be a bit uncomfortable (like when Orr's whiteness is treated as a sign of his fitting in anywhere and Heather's mixed race is treated as a source of her feistiness). I would still highly recommend this book, esp. if you can sit and read it in one sitting.

Người đọc Humberto Albarrán từ Kalinins'kyi, Luhans'ka oblast, Ukraine

Người dùng coi những cuốn sách này là thú vị nhất trong năm 2017-2018, ban biên tập của cổng thông tin "Thư viện Sách hướng dẫn" khuyến cáo rằng tất cả các độc giả sẽ làm quen với văn học này.