Ashra Mcavinue itibaren Surghuri, Punjab , India

ashramcavinue

04/29/2024

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Ashra Mcavinue Kitabın yeniden yazılması (11)

2018-04-11 02:42

Neşeli Tarih Dizisi 4 Gizemli Kent Hattuşa TrendKitaplar Kütüphanesi

Tarafından yazılmış kitap Tarafından: Arkeoloji ve Sanat Yayınları

This book begins with much promise but ultimately ends in disappointment. Prince begins by stressing the importance of historically-based analysis. He suggests that one understand Kurosawa's films as "address[ing] the Japan shattered by World War II and [as helping] reshape society." (8) This is a most interesting, preliminary claim that initially promises certain fascinating paths of reading. Also, Prince begins by criticizing 'auteurism' and naive assumptions of 'authorship'. He notes that the formation of 'film studies' as an academic field imposed a "major code" that reduced all Kurosawa films to "the ideal of humanism". Now this is also promising - finally, a comprehensive work on Kurosawa, other than that of Donald Richie, that gets beyond 'auteurism'. Unfortunately, Prince's book does not live up to these introductory assertions. First, Prince continually makes use of terms like "Zen Buddhism", "heroic ideal", "warrior ideal", instead of terms like "humanist universalism" as if they were more accurate interpretive concepts for understanding Kurosawa's films (see pp. 10, 11, 28, 30, 115). However, he never 'historicizes' these very concepts but treats them as somewhat static and a-historical. I don't think that one would find it completely convincing or that interesting if some critic put to use concepts like "Christian providence" or "protestant individualism" for the purposes of deciphering the work of Orsen Welles without demonstrating first the historic intricacies of such empty concepts and second their specific, contextual relevance to a given Welles' film-text. Thus, it must be asked: why make use of analogous empty signifiers of Japanese history and culture so carelessly in relation to Kurosawa's films? Ultimately, Prince's interpretive framework remains less than convincing , for his initial imperative to read "against the grain of history" is violated repeatedly throughout the book. Also, it is disappointing that right after Prince criticizes the usual appeal to authorship or auteurism he categorically states, "Kurosawa's films form a series of inquiries on the place and the possibilities of the autonomous self within a culture whose social relations stress group ties and obligations." (27) From this Prince establishes his own master code for interpreting the totality of Kurosawa's work based upon the supposed `intentions' of Kurosawa-as-author. It is a code that reads Kurosawa's films as being primarily about the negotiation of the ego in the modern world. Prince continues, throughout the work, to make sense of the rich diversity of films in terms of this restricted framework. He writes, "Kurosawa's world is an arena where his characters must be tested , where they must be victorious in their goals or must be broken and defeated." (116) Later, he reduces the entire complexity of Kurosawa films into a `meta-narrative' that is "...the passage from willed optimism of the early films to the ethic of resignation and despair that pervades the late works..." (154) The meaning that Prince detects in these films is not wrong per say but way too limited and reductive. There is a vast complexity of meaning and significance in Kurosawa's diverse catalogue of films, and some of it is in direct contradiction to Prince's `auteurist' thesis. I cannot say that I was satisfied with Prince's analysis for these reasons. However, if one is sympathetic to auteur forms of criticism, then this book may be for you. Just remember what Foucault says in `What is an Author?': "the author serves to neutralize the contradictions that are found in a series of texts." Personally, I think the "contradictions" that one might locate in a series of texts serve as the sites of most interest in any interpretive investigation; thus, they should not be effaced by way of some reductive narrative of authorship.

2018-04-11 07:42

Roof R1100 Telsiz Yaka Mikrofonu TrendKitaplar Kütüphanesi

Tarafından yazılmış kitap Tarafından: Roof

I was never a Stones fan, more of a Beatle girl myself, but this memoir made me rethink the way I had thought of the Stones. Truly Keith Richards if the original Ironman always thumbing his nose among other things at what we might think of a conventional ways and manners. Profane, acid head, drug impresario, and of course a total genius on the guitar and composing, Rchards comes across in the book as an "in your face" but quite likable human being. It is often hard for me to understand how Keith could still be standing given his outrageous lifestyle that always seemed to be on the edge of insanity. Pushing every limit possible, Keith seems to have that wherewithal to be timex watch...takes a lickin and keeps on tickin. Being in his presence, must be like being inside a tornado with winds blowing one onto a different planet. Brilliant and gifted in all things musical, Keith knows himself better than many of us know our ow selves. He cottons to the adage of "what you see is what you get." If you don't like that then you can (expletive expletive) Relating his childhood on the street of Danforth, England, Keith travels down a road filled with music and other things we often think as badges of the sixties and seventies, ...sex, drugs, and rock and roll. One can't help but be amazed at the road this man has travelled along with many others, the icons of the blues/rock hierarchy. He professes admiration for those who came before him and from whom he learned to love the sounds that so inspired him to become one of the top ten guitarists of all time. This book is not for those that might be offended by language or lifestyles that pushed every button, climbed every mountain, and didn't often care about those that were left behind. I am happy to have read about this man and his music. Some people are lucky enough to find that which makes them body and soul into a human. Keith Richards certainly did find himself in a world he so loves and with an audience who admires and loves him for all the outrageous, wonderful/terrible things he has done. Cheers Mr Richards for a life led that was totally on your own terms!

2018-04-11 08:42

1902 Doğumlular TrendKitaplar Kütüphanesi

Tarafından yazılmış kitap Tarafından: Saypa Yayın Dağıtım

The Godfather of Kathmandu continues Burdett’s Sonchai Jitpleecheep series showcasing a distinct oriental feel continuing to distance itself from a genre flooded with pop culture Americanised police procedurals. Not as good as its predecessors (notably Bangkok 8 and Bangkok Tattoo), Burdett’s latest effort isn’t without shock and awe moments as Sonchai investigates the macabre murder of a Hollywood film director in one of the more seedier haunts of Bankok in which the killer takes not overtly subtle liberties from the Hannibal Lector school of death. However, the case plays second fiddle to Sonchai’s latest position as Mafioso Consigliere in which he is responsible for broking a deal between drug barons from the army and police force – highlighting the more unconventional approach Burdett takes to his telling of crime fiction. On one hand, Burdett creates a spiritual and talented half farang cop, the other, a criminal whose appetite for wealth and finer things draws him to underworld antics. At times these worlds overlap with the results a joy to read - you could feel the inner turmoil as Sonchai’s conscious tries to justify or condemn his every decision. What stands in the way of making this outing especially memorable is Burdett’s tendency to push his personal beliefs on the reader which proved distracting at times. As usual, the characters are top notch, Mad Moi is exceptional – even the two female drug mules, while bit players, left a distinct impression. The Godfather of Kathmandu further enhances the reader’s perception of good/corrupt cop Sonchai and his quest for enlightenment while building on a beautifully atmospheric and unique Thailand. An enjoyable read not without its flaws but still a lot of fun with a fair degree of tongue in cheek humour – 3 stars.

2020-04-28 14:27

Hamamböcekleri - Jo Nesbo TrendKitaplar Kütüphanesi

Tarafından yazılmış kitap Tarafından: Doğan Kitap

Şaşırtıcı Oxford, Carolyn Weber agnostisizmden Hıristiyanlığa yolculuğunu paylaşır. Hikaye bir yıl boyunca geçiyor ve İngiltere'deki Oxford Üniversitesi'ndeki yüksek lisans eğitiminde Kanada'daki evinden uzakta geçirilen zamanın arka planına dayanıyor. Önsözden, Carolyn'in lisans eğitimi sırasında Protestan bir Hıristiyan profesörle karşılaştığını öğreniyoruz. John Dunne'nin bir şiirinin noktasını tamamen kaçırdığı bir makaleyi teslim ettikten sonra onunla yaptığı bir konuşmayı anlatıyor ve bu Tanrı'ya doğru dönen düşüncelerinin başlangıcı gibi görünüyor: "Gerçek paradoksta… Her şey Tanrı'ya boyun eğmekten, Tanrı'nın yüceliğinden yapılmayan hiçbir şey başarısızlığa, kırılganlığa ve boşluğa mahkumdur.Bu, insanların en çok korktuğu kutsal olmayan üçlüdür. ve gerçek olanı bilmeme masrafı. " Kitabın kendisi kronolojik olarak düzenlenmiştir ve Oxford okul takviminin her biri için bölümler bulunur. Yıl boyunca ateistlerden kararlı Hıristiyanlara kadar uzanan çok çeşitli insanlara - hem profesörlere hem de diğer öğrencilere - tanıdık. Zaman ilerledikçe ve Carolyn yolculuğu boyunca ilerledikçe, Tanrı'nın potansiyel bir işareti olarak gerçekleşen her şeyi incelemeye başladığını görüyoruz. Hatta Oxford'a vardıktan kısa bir süre sonra Stonehenge'e günlük bir gezi sırasında kaybolduktan ve hangi yöne gidileceğini anlamaya çalışan çevrelerde dolaştıktan sonra, gerçek yol işaretleri ile ilgili olarak konuşuyor: "Kıyıları ve hatta daha kolay işaretleri alay etmek, ama onları okumak, gerçekten okumak ve sonra en büyük kararı vermek, diğerlerinin ertelediği ve geri döndüğü en büyük karar - kim olduğumuzu, neyi temsil ettiğimizi ve ne için olduğunu bilmek biz sorumluyuz - işaretleri okumak ve sonra doğru yolu seçmek… iyi, bu zor. ” Bu kitapta çok etkileyici ve güzel pasajlar var ve son iç bariyerini geçtiği ve inanç sıçramasını aldığı anın tarifine hayran kaldım: "O zaman daha derin nefes almaya başladım. O içeri girdi ve beni solu ve sonra, çok yavaş bir şekilde dönüşmeye başladım.Her şeyi omuzlarımda taşımak zorunda kalmadım, herkese her şey olmak zorunda değildim. Bazen Tanrı'yı yüceltmek negatifler içerebilir mi? " Bu kitabın neredeyse iddialı olduğunu söyleyeceğim anlar vardı, ancak yazar, inancın tüm yönlerini ve yaşamı üzerindeki etkisini araştırmasında çok ciddiydi. Bence Tanrı'nın varlığı sorununun gerçekten ne kadar önemli olduğunu ve büyüdüğünüzde kim olacağınızı kavradığınızda, o zamanın yaşamınızdaki yoğunluğunu yansıtıyor. Ve sanırım hepimiz Carolyn'e yeni inancını paylaşıp tavsiye istedikten sonra yazdığı bir mektupta, yolculuğa başlayan lisans profesörü dul eşi tarafından Carolyn'e verilen öneriyi not edebiliriz: "Oh evet, ve sabır — başkalarıyla, Tanrı'yla ve en önemlisi kendinizle. Çünkü Tanrı'nın daima bizimle birlikte olduğunu gerçekten öğrendiğimiz derecelerle. ” Çok doğru.

Okuyucu Ashra Mcavinue itibaren Surghuri, Punjab , India

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