周 珏 từ Baleecha, Rajasthan , India

iamjuejue

11/23/2024

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

周 珏 Sách lại (10)

2018-03-12 12:31

Xu Xu Đừng Khóc Thư viện Sách hướng dẫn

Sách được viết bởi Bởi: Hồng Sakura

In the wake of The Da Vinci Code, the field of art history has had a curious relationship with pop culture, especially mainstream literature. These books remain infinitely more accessible to readers than scholarly writings, and are marketed as if they carry the same amount of factual evidence, but with an enticing story so no one gets bored (overlooking the fact that the subjects were real people, and even as geniuses, were inherently boring). The result is a public that feels informed, but in fact has a sensationalized understanding of artists as heroes and their work as divine manifestations, which serves no purpose except to sell books. The Agony and the Ecstasy is no different, except that it predates The Da Vinci Code by about forty years. It discusses the life of Renaissance artist Michelangelo Buonarroti, and its depiction of Michelangelo as a divine figure among us, like Giorgio Vasari's, is largely responsible for Michelangelo's popularity today. So why did I pick up this book in the first place? Simply to make an abstract moral point on a literature-based networking site made up of people with relatively the same intellectual and financial status as myself? No. I can postulate about the publishing industry's negative effects on our culture's self-perception until the cows come home, but the reason I picked this book up is because I cannot remove myself from pop culture. I read it on the reccomendation of art history professors who told me it was upwards towards fabulous. I read it based on comments from family members and friends who talked about the enjoyable experience of artist biography. What a mistake. The book was published in 1961, a time when our understanding of Michelangelo was completely different. Part of this was a result of scholars' refusal to accept the homosexual undertones of his work and life due to contemporary morality. Even so, Stone's bibliography is primarily made up of books published in the nineteenth century, which seems to me to be a direct refusal of any real understanding of Michelangelo, ignoring important biographical information revealed about Michelangelo during the first half of the twentieth century (such as the location of his childhood home) and instead selecting certain outdated facts which create a more easily understood narrative. Yet the purposeful ignorance behind this book is more of a disservice to Michelangelo than other contemporary pop-art history books. A deeper understanding of Michelangelo is neither boring nor confusing but instead gives a more precise explanation for his interest in the human body, muscle and flesh, passion, death, intense joy, melancholy, stone, resurrection, and other ideas left untouched by his contemporaries. This picture of Michelangelo is more human, more relatable than that portrayed by Stone's novel, which inherently blocks the reader from truly understanding Michelangelo and instead forces them on their knees at the altar of a cultural genius.

2018-03-12 18:31

Bé Vẽ Sáng Tạo Và Tô Màu - Tập 1: Những Bạn Thú Đáng Yêu Thư viện Sách hướng dẫn

Sách được viết bởi Bởi: Trần Hương Bình

** spoiler alert ** Jennifer Harris created a new life for herself after the death of her best friend Cameron Quick in elementary school. He was her only friend and confidant. She was an outcast, overweight, and picked on. After her mother remarries, Jennifer recreates herself. She changes her name to Jenna Voughn, loses the weight, and resolves never to cry at school again. Until the day Cameron Quick returns to her life and everything begins to unravel. Who is she really Jenna Voughn or Jennifer Harris? And how can she face the secrets of her childhood now that Cameron is back. This book was an interesting read. The characters are well developed and the story is paced nicely. I can’t say that this book was a favorite though, because I am not sure how I feel about the main character, Jenna. She is a contradiction, and very hard to peg. Parts of her are still Jennifer Harris, while she struggles to be Jenna Voughn. It irritated me when she began to fall back into the old bad habits she had as a child, stealing and overeating, mostly because I couldn’t understand why she was doing it. Maybe for comfort, but then again maybe not. I would say the stealing bothered me the most, because there was no reason for her to do it…she wasn’t stealing because she needed to, she stole because she could and given the rest of her character that didn’t make sense to me. I guess it is one way of showing the reader that they can’t know Jenna Voughn because she doesn’t know herself. Overall, I did like the book but I wouldn’t say it was a favorite—mostly because of my frustration with the main character. It is realistic though in the sense that people tend to fall in and out of our lives and they do make an impression on us. Recommended for older teens who enjoy realistic fiction. Cautions for sensitive readers: There is some language and verbal abuse by a parent, but no violence.

Người đọc 周 珏 từ Baleecha, Rajasthan , India

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.