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• 作者：江阳 发布时间：2024-02-25 21:05:16

  证券的实质就是花钱请别人帮自己挣钱，风险与收益则是证券要平衡的一大矛盾，在理想的模型中，风险与收益成绝对的反比关系，这也是投资的本质。

  朱老师在书中多次提及对于自由市场的渴望，市场的问题交给市场解决才能最大化经济运行的效率，因而他希望国内能建立起“市场开放—市场选择—市场追究”的机制。“与其把精力放在政府管制上，还不如投资到法院的建设上”—对证券领域行政和司法现状表达了深深不满。

  案例约占全书四分之一篇幅，引述的案例和媒体报道多发生于上世纪末的美国，让人有考古之感。看完“公司收购”一章想买朱老师《公司法》教材的冲动更强烈了，啥时候更新呀。

  最后一章基本是法条的引述。

• 作者：林北 发布时间：2019-12-09 16:35:03

  缺注释

• 作者：孟梦 发布时间：2020-04-29 13:27:43

  要素主义教育理论，但貌似只有观点，没有实践支撑，是一种教育理念，而且较为大方向，和进步主义教育理论对峙而产生。里面有个比喻很有意思：共产主义能不能在倒掉洗脚水的同时不倒掉里面的婴儿。

• 作者：幻無蝶音 发布时间：2018-04-23 21:38:36

  翻译实在是奇怪的很，完全看不懂只能靠猜了。大意可能是批判那些既想拥有科学性又想为某种政体（自由民主）唱赞歌的历史写作，姑且当作对新文化史学派的批判？对于历史研究，个人还是觉得奥克肖特的辩护最为有力，即认为真正的历史研究不过纯粹是对于“过去”的好奇。可这样一来“历史”的拥趸还能剩下几个人呢？

• 作者：泽菲利恩 发布时间：2013-02-04 09:38:55

  图书馆借的，在地铁上读完了。三到四星之间。排版字太大，阅读过程中，例证，精神分析，你的一言一行其实反映的是你的心理与思想状态。到头来，我们大多数人都是徘徊在正常人与精神病人之间。一不小心，就变成了症状性神经病。

• 作者：DevilDolores。 发布时间：2016-06-19 23:13:21

  夫妻档作品。小阿力照顾小麻雀的时候，也得到了成长，增添了勇气。一种上学前的恐惧和焦虑，但是我们都会克服的。

• INTRODUCTION&AFTERWORD 文字很好 图片太好

  作者：Yuki Albran 发布时间：2022-03-21 23:00:44

  INTRODUCTION

  I start this conversation because....

  To be precise, on October 24, 2002,at six-thirty in the evening,in a small apartment located in the

  Chelsea section of New York City, something happened to me.I experienced the other side of a decisive moment-a photograph found me.It could only be this photograph. As the evening progressed,my thoughts kept returning to that image. Even when I was no longer near it and time had passed,it persistently reconstructed itself in my mind.That moment,and my surprise at seeing and being seduced by this photograph, had left its mark.

  The funny thing is,I never searched for the photographer or even wanted to know what the image was called,I just knew it was something I couldn't forget.A few years later, almost to the day,I saw the image again at the Photo New York Show in the booth of Modernbook Gallery,and a rich world of images by the artist Fan Ho was opened to me.But I will never forget that first moment and that first singular image's impression on me.

  Fan Ho's"Pattern"was a puzzle to me;a mystery,a spiral made of dark and light. Even though the viewer looks straight in on the scene,it also appears that one is looking down towards a great landscape,or up towards the highest tower.The modernist feel,of what else but patterns,is so heady that you almost miss seeing the little human figure going about his business, frozen for all time.Is that old posters or birds trying to escape?A new form of calligraphy?No, maybe just great hunks of old plaster.

  Are we sure?

  Tonight as I dwell on what was,for me,a haunting photograph and an introduction to someof the many photographs taken by this little known Master,an idea came to my feverish mind:

  There are no yesterdays....

  The accumulation of visual and cultural associations puts the past into the future EVERYDAY.I was thrown off balance because in 2002 I saw timelessness in Fan Ho's photographs.They are what they are,but they also bring an association of time,place,and history.I see cinema and film noir;I see Chinese paintings,surrealism, and German expressionism.I see elegant shadows like Frantisek Drtikol,I see the future world of Ridley Scott's"Blade Runner."I see a Hong Kong that is...?

  John A.Bennette-2006

  AFTERWORD

  To begin to describe the photography of Fan Ho, we must first introduce the man.But grasping the essence of Fan Ho the man can be as elusive as attempting to grasp water.

  At first glance, Ho is reserved and unassuming. However,what lies beneath this fagade is a man full ofemotion, romance,and compassion;what is truly the heart of an artist.

  Fan Ho is a voyeur;he watches and waits.The result of his patience is the creation of compelling images of a time and place that no longer exist.But beyond the physical space,Ho captures the mood and the atmosphere,that which is visceral and timeless.

  These early vintage photographs, developed and printed by Ho, are a document of his relentless search for the beauty which was hidden amongst the overcrowded chaos of everyday life in the Hong Kong of the 1950s and early 1960's.

  Through these images, one can trace the path of Fan Ho as an artist-from photographer to the vanguard of Asian film directors.

  Come share the journey with us.

  Mark Pinsukanjana

  Bryan Yedinak-2006

  精妙绝伦。何拍船时会让水闪光，波纹凝固成巧克力。有那种史诗化的广角镜头，会用顶光，但保留了会让人触动的细节

  《construction》《approaching shadow》《Evening in Aberdeen》极佳

  老旧的香港似乎“不会”被这么拍摄，其构图是“外来”的，非自然主义的，但成片却非常“香港”，如果我对香港有什么想象或stereotypr（中性描述），那就是何拍出来的样子

• 遗憾中的希望

  作者：开心 发布时间：2011-08-07 21:08:36

   先看来电视剧版的《康熙大帝》，而后在<向天再借五百年>的震撼中,又拾读了小说。刚开始不觉沉浸在大事件的震荡中，但是当心中的激荡过后。顿觉有些失落。感觉书中，多是有歌功颂德的味道。二月河先生，写的不够恢宏，不够立体。后人看康熙所处的那个时代（特别是现代人）。不仅是欣赏几件大事拼凑而成的流水席，更希望看到一个时代转折处，那起风口浪尖上，古人的思考与取舍。还有夹在在其中的满汉文化的交流和碰撞。文人武将江湖市民各俱魅力的展示，而不仅仅是大事前那简单的效忠表现（敌对的双方），和宫廷里的倾轧。对于人物思想浅薄的叙述，使小说给人一种好像是写，明君和他的女人们，和他的对手们，和他的手下们的故事。给读者的是中国宫廷斗学，谁是真正的历史正义。中国必将开创盛事的阿谀。但是那样一个时代真的如此的“单纯”吗？那些精英的思考在那里，境界在那里，无奈在那里，悲哀又在那里。大时代的洪流在昭示着什么。时代的潜流暗示着那些，清朝最终衰败的隐因在那里？中国走向失败的启示在那里？

  不知道是读者没有去深思，还是……。