花袜子小乌鸦快乐成长纸板书：全都画好啦 pdf mobi txt 2024 电子版 下载

复活节快要到啦！大家都在忙着画彩蛋，可是，谁都不需要花袜子的帮助，小兔子提议花袜子可以负责把彩蛋藏起来！ 于是，花袜子飞越了整座森林，将彩蛋藏到了隐蔽的角落，藏着藏着，它发现了一个没画好的彩蛋，花袜子大显身手一下就画好了彩蛋，可就在这时，彩蛋晃了一晃，接着“咔嚓”一声……

无

奈乐·莫斯特，德国著名儿童文学作家，1952年出生于柏林，是一家少儿出版社的编辑。她已经撰写了大量的少儿和成年读物，“花袜子小乌鸦”系列是她的代表作。 

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编辑推荐

1.德语区畅销书作家和插画家联袂创作，聪明淘气的“花袜子”形象深受孩子喜爱

全球畅销26年，总销量950万册的《花袜子小乌鸦快乐成长绘本》低幼版，适合2-4岁宝宝阅读。本系列为国内首次引进的花袜子小乌鸦纸板故事书，帮助低龄宝宝开启阅读新世界。 

2. 适合孩子的成长主题，能够让他们在阅读中收获生活的智慧与良好的习惯

引导孩子改正自身的小缺点，体会成长中的喜悦与烦恼。

3.呈现真实的儿童世界，让孩子在花袜子的故事里看到自己的影子

故事简单不单调，对话幽默有趣，构思巧妙的情节，用“花袜子”巧妙说出孩子的内心想法，而“森林小伙伴们“就像孩子身边的朋友，一起在玩闹中快乐成长。

4.有效缓解家长育儿焦虑、轻松陪伴孩子成长 

像书中的獾妈妈一样，更宽容更有耐心的态度面对孩子的不完美。  

5.画面细节丰富，手绘场景活灵活现

惟妙惟肖的动作表情、散落在各处的零碎物品、各种各样的搞笑指示牌，一句台词都没有却无处不在的小鼹鼠，都能充分激起孩子观察和阅读兴趣。

书籍介绍

《花袜子小乌鸦快乐成长纸板书》是一套适合2-4岁的孩子和家长亲子共读的德国经典纸板书，10个短小精悍的故事，讲述了花袜子小乌鸦成为森林里的新成员之后，是如何交朋友、如何学会说“请”和“谢谢”，如何戒掉丢三落四的坏习惯、如何和朋友分享礼物、如何学会珍惜自己所有等主题，每个主题都以花袜子小乌鸦这个淘气又天马行空的顽皮形象，呈现了最真实的儿童世界，引导孩子改正自身的小缺点，体会成长中的喜悦与烦恼，收获生活中的智慧与好习惯。

1.德语区畅销书作家和插画家联袂创作，聪明淘气的“花袜子”形象深受孩子喜爱

全球畅销26年，总销量950万册的《花袜子小乌鸦快乐成长绘本》低幼版，适合2-4岁宝宝阅读。本系列为国内首次引进的花袜子小乌鸦纸板故事书，帮助低龄宝宝开启阅读新世界。

2.10个成长主题，让孩子收获生活的智慧与良好的习惯

每个成长主题背后都能引导孩子改正自身的小缺点，体会成长中的喜悦与烦恼。

3.呈现最真实的儿童世界，让孩子在花袜子的故事里看到自己的影子

故事简单不单调，对话幽默有趣，构思巧妙的情节，用“花袜子”巧妙说出孩子的内心想法，而“森林小伙伴们“就像孩子身边的朋友，一起在玩闹中快乐成长。

4.有效缓解家长育儿焦虑、轻松陪伴孩子成长

像书中的獾妈妈一样，更宽容更有耐心的态度面对孩子的不完美。

5.画面细节丰富，手绘场景活灵活现

惟妙惟肖的动作表情、散落在各处的零碎物品、各种各样的搞笑指示牌，一句台词都没有却无处不在的小鼹鼠，都能充分激起孩子观察和阅读兴趣。

分册介绍：

全都是朋友

刚刚搬进自己新鸟巢的花袜子好无聊呀，于是它决定飞出去找朋友！锁定目标向朋友扑去？

还是在森林里每个角落都贴上寻友启示呢？试了好几种方法的花袜子都没有成功交到朋友，直到有一个皮球飞进了他的鸟巢……

全都说谢谢

小獾从金阿姨那得到一个宝贝盒子，邀请小伙伴们来挑选。大家都很有礼貌地排着队，只有花袜子一下跳到了队伍前，准备抓起蚯蚓就走。被大家制止的他，不耐烦地排队等着，

终于轮到他时，小野猪和小狼突然冒了出来……花袜子会学会礼貌地说“请-谢谢”吗？

全都会发芽

艾迪熊和花袜子说，“只要在地里播种，浇水，就能收获满满！”花袜子听后兴奋极了！它把鸟巢里的宝贝全都翻了出来，埋进洞里，每天浇水施肥，满心期待的花袜子会种出它想要的“玩具车”和“棒棒糖”吗？

全都有礼物

花袜子要和朋友们一起庆祝圣诞节，忙着给所有的朋友准备圣诞小饼干的他，忘记把自己的愿望清单寄给圣诞老人了！它能如愿以偿地收到圣诞老人的礼物吗？

全都画好啦

复活节快要到啦！大家都在忙着画彩蛋，可是，谁都不需要花袜子的帮助，小兔子提议花袜子可以负责把彩蛋藏起来！ 于是，花袜子飞越了整座森林，将彩蛋藏到了最最隐蔽的角落，

藏着藏着，它发现了一个没画好的彩蛋，花袜子大显身手一下就画好了彩蛋，可就在这时，彩蛋晃了一晃，接着“咔嚓”一声……

全都找到啦

“所有东西都不见了！”花袜子呱呱叫着。作为全世界最厉害的寻宝家，花袜子是怎么找到自己的东西的呢？

全都是秘密

朋友们都来帮卷毛羊整理房间了，花袜子小乌鸦发现了一个上锁的箱子。“别动，箱子里有个秘密”，卷毛羊说。箱子里到底装着什么呢？

全都有糖吃

尼古拉斯节那一天，只要你在门前放一只鞋，尼古拉斯就会把各种好吃的都放进去。可是，花袜子根本没有鞋，淘气的他，在朋友的“允许”下，把朋友们的鞋放到了自己的鸟巢下，花袜子会收到尼古拉斯的礼物吗？ 其他的小伙伴们能吃到尼古拉斯节的糖果吗？

全都送人啦

圣诞节到了，小乌鸦载着满车礼物出发啦！可当小乌鸦回到家时，迎接它的却是空荡荡的鸟巢，送礼物真的是世界上最美好的事吗？

全都睡得香

天黑了，大家的床头都亮起了小夜灯。“我总是什么都没有。”花袜子气鼓鼓地说。“可是你还有我呀！”到底是谁在说话呢？花袜子会拥有自己的小夜灯吗？

• 作者：HenriqueZZZ 发布时间：2024-03-15 01:48:17

  这哪是文学作品，为了能薅印刷品羊毛一波，就差没直说是电视剧剧本了，还是那种情节直白，演员表演夸张，就怕观众看不懂的网剧。马伯庸的水平本就一般，没压住“哪个制片方赶紧来买我版权”的内心真实想法，就是这样一本地摊读物，弃

• 作者：秋秋亦夏 发布时间：2016-09-09 15:57:51

  最好的杨洋，给我们最好的礼物

• 作者：东洋之花 发布时间：2012-11-27 13:15:17

  魔幻现实主义

• 作者：呱呱爱喝茶 发布时间：2021-10-31 21:31:35

  排版不错，内容也比较全面，关键是心情，一定要放松，别想太多。

• 作者：TARDELLINO 发布时间：2023-10-26 18:49:50

  第二书佳，叙事有清气。

• 作者：识香知暖 发布时间：2021-11-17 22:04:10

  ◆作为一本扬名海外的本草学著作，现在拜读或许为时已晚，不过现在能够翻阅完，也算盲羊补牢，为时不晚。粗略窥探了名著的大体内容，蜗牛版本错字太多，但不影响整体效果。下一本《神农本草经》该提上日程。

  [头风白屑。用薰草、白芷等分，加水煎成汁，倒入鸡蛋白调匀，搽头几十次，以后永不生屑。]

  [妇女乳少。用王不留行、穿山甲（炮）、龙骨、瞿麦穗、麦门冬，等分为末。每服一钱，热酒调下，服药后再吃猪蹄汤，并一日数次用木梳乳，助乳汁流出。此方名“涌泉散”。]

  [ 防止受孕。用白面一升、酒一升，煮沸去渣，分三次服下（来月经的头一天晚上，第二天黎明及大明以后各服一次）。]

• 重看欧史，欲为文造题。作《五代答问》

  作者：库库子 发布时间：2019-08-27 18:51:24

  问曰：五代史事，素称纷繁无绪。五姓十三君迭相登场，其间又有子弑君父，弟篡兄国之事。契丹又颇预中国之乱。故使初学望而生畏，开卷即闭。又谈史者既说唐，遽说宋，五代之史事益不得晓矣。

  吾欲得一线贯五代而明之，不知其说可得而闻欤？

  答曰：可。

  五代史事，一言以蔽之，曰：削藩，姑息

  。

  自黄巢起，藩镇之势益炽。唐虽引沙陀之援破之，然天子号令由此不能出长安矣。藩镇既无节制，遂互为兼并战。势均者交斗，力败者先亡，理固宜也。梁祖拥宣武之众，据四战之地，东征西讨，沙陀力不得渡河，淮夷亦无意于问鼎。十几年间，中原多为其所有，梁无敌于天下。唐天命已尽，昭宗遂为所制。梁祖于是行篡位之事。五代从此启也。梁祖生性残虐，嗜于杀害。氏叔琮、朱友恭、王重師之俦，皆披荆棘，暴霜露，披坚执锐，血战数载以助梁祖成大业者也。一朝有小过，卒被大戮。臣下见其如此，无不惴恐，相率奉命于朝廷，莫不唯唯，不敢有异词。故曰：梁祖者，以削藩为策之主也。

  及末帝即位，国家不安矣。杨师厚制魏博劲兵，朝廷不敢问。师厚死，末帝竟私贺大臣于朝廷。其愞弱不堪天下之任，可知也。故十年之间，梁由强变弱，从攻为守。竟为唐庄所灭，梁社稷为丘墟矣。唐庄不习政事，特一斗将军帅耳，三四年间，身死国灭，为天下笑。享国不永，是以不论。

  至于唐明登大宝，姑息之政遂行矣。唐明本为乱兵所拥立，深知骄兵悍将之难制，惧其为乱害己，故将士行不法，亦释而不问。孟知祥自入川便怀不轨，天下共知。求得蜀王，已为大逆不道，然唐明卒听而与之。知祥以此益骄，故昨为唐臣，今为蜀帝矣。两川之地唐从此失之。此为唐明姑息之大祸也。然天下以此得稍安，百姓无得转于沟壑，兵祸不起于中原。当此之时，称为小康，唐明可谓五代之仁君矣。至于削平天下之事，则无能为矣。

  迄于石晋，中国受制于契丹，皇帝称儿于蛮夷，其人虽不以为羞，天下耻之。石晋之事，何足道哉！契丹南下，晋遂亡。刘知远乘中国无主，起于河东，虽有受命之称，然无人君之德。是以二三年间，隐帝出奔，死于纛下。

  周祖以枢密兼藩镇之重任，得诛灭之诏，起兵邺都，称兵犯阙，终迁鼎于周。周世宗即位，姑息之政遂息，削藩之策再起。简诸军，选精兵，募壮士，皆令詣闕。藩镇日弱，朝廷日强矣。是以王师所当者破，所击者服，背叛不臣者无不应时覆灭。加之御驾亲征，北伐则收三关，兵不血刃；南征则破南唐，指划如神。四五年间，区夏混一之势遂定。

  故曰：梁祖死而削藩之策停，世宗嗣而削藩之策行

  。策停，则天下兵戈无已，生灵涂炭，家家思乱，故五十年而天下犹四分五裂，不见汉唐之时。策行，则朝廷尊而藩镇服，根强而枝弱。王师四出征讨，皆有克获。蜀帝颤惧，唐帝去号。奈何天不假世宗以永年，使宋太祖一朝登大位。良可痛也。世宗虽死，天下大局已定矣。后人但道宋祖功德如何，岂知世宗为之奠基乎！

• Venturi, Pre and Post

  作者：liovang 发布时间：2008-08-20 23:35:50

  Book review on

  Learning from Las Vegas:

  The Forgotten Symbolism of Architectural Form

  By Robert Venturi, Denise Scott Brown, and Steven Izenour

  ISBN 0-262-72006

  The MIT Press

    

  The modern movement in architecture overthrew the Beaux-Arts Style, not only because of the revolutionary architects lead by Le Corbusier, Walter Gropius, but also by pioneers of many other areas in art, such as Cubism in painting, Art Deco in industrial design, it was an inevitable progression.

    

  Architecture in that big history background was heavily influenced by the industrial world, that was when the proletarian functionalism and bourgeoisie "ornamentalism" collided, the working class couldn't afford all those flamboyant ornaments, it was seen as a bad taste in the reformists’ eyes , the political correctness at that time was to abandon all the ornaments, because it was not readable by working class, through that, modern architects revolutionized the whole vocabulary of architecture, to be more suitable and approachable by common people.

    

  Le Corbusier expressed an admiration of American engineers for their scientific and exact calculated designs, advocated the idea of combining architecture with industrial machines,[1] thus the machine for living. His idea of Ville Radieuse is the utopian communism idea in the architectural context.

    

  The sympathy towards the working class created modern architecture and urban planning, it is economic, firm and "delightful", as most modern architects see it.

    

  However, Venturi saw the modern architects trying to twist that definition into "economicness and firmness IS delight".[2]

    

  Modernists refuse and condemn any symbols in the architecture, let alone any signs. It is clean and geometrically straightforward.

    

  Venturi challenged the modernist thinking that symbol (ornament) is crime; he reckoned it was more symbolic than functional, it was symbolically functional. It represented function more than resulted from function. It looked functional more than worked functionally.

  The art in architecture was to come from the expression of original functional forms rather than from the meaning of familiar decorative symbols. But when architects demoted the aesthetic element of the Vitrurian trio to an incidental by-product, they made of their work fragile tours de force built on shaky theoretical bases.[3]

    

  Architecture is complex and contradictory, when modernists eschewed formal classical vocabularies and applied their own language to the complex, and unpredictable reality, they became subject to the dangers of unconscious formalism. They twisted the whole building into one big ornament by articulation of structural exhibitionism and spatial expressionism, which is quite ironic and irresponsible.[4]

    

  What Venturi found in Las Vegas is a way to save our architects from the deterioration, sterility and by all means a dead end of modern architecture, to inject new blood to our architects’ bodies. What he suggested is to look at the commercial vernacular, the folk art, especially in the Las Vegas strip, the Route 66 with its huge signs, in the same manner those early modern architecture explorers did to the industrial vernacular.

    

  The book I have is the revised second edition of Learning from Las Vegas, with an added subtitle-The Forgotten Symbolism of Architectural Form. It was well stated in the preface of the revised edition that Las Vegas is not the subject in this book, but the symbolism of architecture is.

    

  The whole strip is built based on complex signal systems, not architecture, the language of the big signs and the symbolic forms of casinos implied commercial necessity. It was a result from fierce but healthy competitions of the market, rather than from a brilliant architect’s ingenious plan. Hence the system worked more efficiently and organically.

    

  The symbols and signals function more than buildings in this context, Venturi promoted the idea that the signal IN the design of a building is surpassed by signal simply ON a building.[5]

    

  The existence of architecture is to convey information it should carry a hell lot of information: like Gothic cathedrals using their large stained glass as an effective propaganda tool, let people visualize the stories in Bible etc; the frescos in palaces and manors often tell the story of gods, they were ancient comic books; the pediments in classical world often showed the people’s understanding of gods; the same thing happened to traditional Chinese architecture, as the whole structure is in timber, they have the space beneath trusses and between columns filled with beautifully carved wood, often have folk stories on it.

    

  Thus architecture became the place of narrative. Venturi argued that it was better using old cliché to convey or express new meanings rather than inventing something which nobody understood even the creator him/herself. Good rather than original. It is a point which some of the later post-modernist deliberately misinterpreted. Learn from Las Vegas, learn from Rome became take anything from Rome without understanding of its very own context. The core of his theory to my understanding is that post-modernism should not be a fixed style, in order not to fall into its own formalism, it should be eclectic and pluralist, a continuing effort should be made to patch the holes for what modernists did not achieve.

  It is rather a spirit of ongoing innovation, it corresponded with Le Corbusier’s statement that architecture has no relationships with styles[6], he taught architects not to think about styles, but to understand people’s needs and with that in mind, to work with context.

    

  History is not linear, it is spiral in a sense[7]. When it stops moving forward, people will push it, when it goes a step too far, we need to stop, look backward and think. The conflicts between exuberance and sobriety will not end, but the aim that architecture is for people remains constant, and the spirit of innovation shall pass from generation to generation.

    

                                                                                                                                          

    

    

    

  Bibliography

    

    

   Vers Une Architecture, Le Corbusier

   Functionalism, Yes, But, Robert Venturi and Denise Scott Brown

   Lecture by Venturi in Tsinghua University, China 2000

   Macro-history, Renyu Huang

    

  --------------------------------------------------------------------------------

  [1] P28, Vers Une Architecture, Le Corbusier

  [2] Functionalism, Yes, But, Robert Venturi and Denise Scott Brown

  [3] Functionalism, Yes, But, Robert Venturi and Denise Scott Brown

  [4] Functionalism, Yes, But, Robert Venturi and Denise Scott Brown

  [5] Lecture by Venturi in Tsinghua University, 2000

  [6] Vers Une Architecture, Le Corbusier

  [7] Macro-history, Renyu Huang