Dữ liệu người dùng, đánh giá và đề xuất cho sách
Sách được viết bởi Bởi: Nhiều Tác Giả
snooooooooooozeville.. this book was boring as can be and it only made me hungry. Blah.
Sách được viết bởi Bởi:
A fantastic, three-tiered novel about the conflict between duty and passion -- all this unfolding amidst the discovery of the oldest text in christian history that may just make the entire religion irrelevant. Although Mawer would most likely cringe at hearing this, think of it as The Da Vinci Code for the more invested fiction-reader and with much more grandiose socio-political implications (if it were true, which it is not).
I loved this book! Had been a long time since a book fully swallowed my mind, the reality of infertility, government control, the 'haves' and the 'have-nots', and what people would be willing to do for free will, choice, the right to live life the way they want to and raising their own children, read years ago, and then had to read again and own upon my library at home!
Sách được viết bởi Bởi: Tinman Arts
Johnson's thesis is as simple as it is intriguing: that the video games and TV shows we usually dismiss as being culturally bankrupt and morally destructive are actually good for us, making us quantifiably smarter, savvier and better problem-solvers. This is not to say that all TV and video games are created equal. Watching Teletubbies and playing DOOM all day isn't going to turn you into Mozart, but whatever popular TV shows and video games as a whole have lost in moral clarity and good clean fun, they have more than made up for in the cognitive workout their complexity requires of viewers. Johnson points to shows from thirty years ago like Dragnet or Starsky and Hutch that had one storyline from which they rarely deviated, leading the viewer from one simple scene that inexorably leads to the next with the ultimate payoff of a wholly predictable ending. Compare that, Johnson asks, with the Sopranos, ER, LOST or other modern TV shows that expects its viewers to keep track of dozens of separate plotlines, many of which make no sense at the time and some of which will be dropped and not resumed until many shows into the future. In many ways, the difference between television today and thirty years ago is the difference between reading Anna Karenina and the instructions on a box of light bulbs. Video games have undergone a similar wave of complexity, becoming a force of cognitive challenge and requiring problem-solving skills unimaginable by the standards of the gawky teenagers with feathered hair of twenty-five years ago who spent their afternoons playing Pac Man, Frogger and Burgertime. Players of World of Warcraft, Sim City and Civilization IV have to learn a myriad of tasks and revise their strategic understanding of these games in a way comparable with actual public planners, generals and CEOS. They're not merely jumping over barrels or dodging around the same maze game after game. Perhaps somewhat controversially, Johnson argues that the increasing demands that pop culture places on the minds of Americans has made us a demonstrably smarter people over the last thirty years. He points to the Wynn Effect, which uses IQ test data to show that the IQ tests have periodically had to ratchet up their difficulty in order to maintain a score of 100 as its norm. When this adjustment is taken out of the collected scores, the American IQ can be shown to have jumped a whopping 18 points over the last thirty years, a fact which Johnson feels is only attributable to the increasingly difficult cerebral workouts we have been getting from our daily diets of television, video games, comic books and the like. After all, we aren't scoring any better on the subjects they're teaching in schools, so formal education can't really take the credit. The American gene pool is more or less the same as it was thirty years ago, and to have IQs skyrocket over such a wide stretch of society is unprecedented and seemingly explicable only by a phenomena which is itself equally widespread throughout the culture as our TV shows and video games. Much of the public's derision of these pastimes is centered around the fact that they seem to flaunt traditional morality and that they distract people from the more wholesome pursuits of work, outdoors play and reading. But Johnson asserts that the moral complexity of shows like the Sopranos is, in many cases, part and parcel of its cognitive complexity. Saying that a movie or a TV show "has a good message" is usually shorthand for saying that it's dull and unimaginative and is trying to make up for those shortcomings by being propagandistic, too. What's more, the only reason we view reading and physical activity as inherently superior to watching TV and playing video games is because these other activities came first, allowing us to view TV and video games from the arrogance of precedent. To demonstrate this point, Johnson takes us on a little thought experiment: imagine that TV and video games were the long-established norm, that these had been the primary ways in which our civilization had disseminated information and taught its children for thousands of years. Now, out of nowhere, suddenly children and young adults start reading. They begin to abandon their TV sets and their video games in favor of sneaking away to read a book. Imagine what the self-appointed guardians of our civilization might have to say about reading: that the mere presence of words on pages without accompanying imagery or sounds leaves the minds of children dangerously unstimulated, that it encourages solitary and anti-social tendencies, since you can only read a book by yourself. It would just be a matter of time before someone held up a copy of Lady Chatterly's Lover as proof that reading was destroying the moral fabric of society. In short, their criticisms would be much the same as the ones people today direct at television and video games. This is not to say that such criticisms of TV and video games (or literature, for that matter) are unfounded. Just that, as we do with reading, we should make the positive aspects of these newer mediums into our calculus when judging them as forms of entertainment.
Sách được viết bởi Bởi: Jules Verne
The last major, comprehensive work of Eliot Studies. Moody's work, which dates from 1979, offers an extensively detailed reading of Eliot's entire oeuvre, which at times borders on the esoteric or the obscure. There is no doubt as to its importance as the first comprehensive examination of Eliot's work since Kenner, yet it seems in many respects to be both too anachronistic and personal to open up a space for any major new development or trend in Eliot Studies.
Sách được viết bởi Bởi: Hà Mã
Kind of a YA Rocky, but African American. Liked this a lot more than I thought I might. (Hint: we learn that being a contender doesn't necessarily mean becoming a champion fighter.)
This is one of my very favorite reads. So passionate and full of heartbreak, drama and longing. Reading both Henry and Anais's letters made me feel like I was one of their trusted confidants to whom they revealed their most intimate of moments to.
I read the whole series and can't wait till the my kids get into them.
Sách được viết bởi Bởi: Bích Thu
Basically everything Michael Connelly writes is amazing and this book was no exception. I really love the parts about how people can stalk others on the net as well as the dying newspaper industry. I bought it this weekend and have already read it twice. Also, now I know that a new book is coming out in October to add to must-reads list. [purchased through Kindle for iPhone:]
I read this book as an easy read. It is amazing what one person will do to hide a secret. This book was a simple read, you could put it down and come back later, without a problem.
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.