环球奢侈品丛书 pdf mobi txt 2024 电子版 下载
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《皮具》中认为每一件皮具都是有生命的,如同伯鲁提奉行的那句“鞋是有生命的”一样,它们有各自的表情、各自的情感、各自的呼吸。按照价钱或者排行榜去选择,抑或简单追随名人的选择,都是对奢侈品的亵渎,只有真正了解它们的“人格特色”,选择与自己气质相得益彰的皮具,它们跳脱俗流的独特光芒才能得以释放。
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书籍介绍
《皮具》中认为每一件皮具都是有生命的,如同伯鲁提奉行的那句“鞋是有生命的”一样,它们有各自的表情、各自的情感、各自的呼吸。按照价钱或者排行榜去选择,抑或简单追随名人的选择,都是对奢侈品的亵渎,只有真正了解它们的“人格特色”,选择与自己气质相得益彰的皮具,它们跳脱俗流的独特光芒才能得以释放。
精彩短评:
作者:何度 发布时间:2024-02-16 01:48:05
垃圾书目,眼里有光,配得上老中苦难
作者:Gatling Pea 发布时间:2020-04-21 01:45:13
可以
作者:四撇 发布时间:2020-09-02 09:31:40
不努力地谈方法都是扯淡。成功固然可喜,然而不必因为成功去追溯原因,毕竟成功与否只是统计上的点位而已。重要的是开心地努力过,心平气和地接受结果。
作者:大椿树下的小象 发布时间:2012-05-11 11:53:20
讲品牌故事,可是有点乏味,让人读不下去。不过牌子不少,你可以自己去看。包包、皮箱、鞋子etc
作者:do you? 发布时间:2019-10-19 23:34:17
集合而已
作者:书香魅影 发布时间:2011-01-01 13:42:14
文笔比之前的几本要好,读下来也甚有趣味。
深度书评:
That Slant of light
作者:noontide 发布时间:2011-02-16 12:28:58
I thought after courting trouble for a good week I was finally coming down with a fever. All day yesterday I sat in my office shivering, had to steady my voice every time before I spoke on a conference call. Then after a night of whisky and cigarette (the best medicine, you just gotta do it with blind faith), I woke up to a brisk early Saturday morning after only 3 hours of sleep. With a cup of instant coffee in hands and the whole day ahead of me, I feel wounded but invincible.
I stood in front of the bookshelf and hesitated a little. Will it be too obvious to read Emily Dickinson on a January morning, especially when I’m sitting in the crisp wind that’s coming through the window (I opened it to let out the smoke that has been trapped in the living room for a whole night)? But I remembered that certain slant of light and decided to re-read it for a before-lunch quick fix.
Usually when i read a poem, I took it for its face value and am largely oblivious to the circumstance under which it was created. It’s sort of like, if you will, trying to make a bona fide assessment of an abstract painting, by stripping away any worldly context that might impose itself on the canvas and add a cacophony to the conversation between pure shapes and colors. But when it comes to Dickinson I found it hard to do. Her words, or the omission of them which Harold Bloom admires so much, often project a strong image on me, and it’s an image of an old lady sitting in a dark room in the bleak winter that is New England in December, alone, rotting. She had the mental power to hold the whole world captivated but was ultimately not able to relate to anyone or anything in it. The pains, desperation, and eventual resignation that she propelled from her curt lines are no doubt of an altogether different magnitude compared with the mere whimper and lamentations of a strange old lady, but to me they are still only spikes on her personal emotional spectrum, events of her own agenda. Of course that should not matter to a sophisticated reader, and maybe I’m reading her all wrong, it’s highly likely that I simply lack the mental capacity that she demanded of her real audience. But I find her frequent self references a distraction more than anything else. The strange thing is similar references by other poets wouldn’t affect me nearly as much. For example
I cannot live with You –
It would be Life –
And Life is over there –
Behind the Shelf
The Sexton keeps the Key to –
Putting up
Our Life – His porcelain -
Like a Cup –
reads like a straight-up love poem to me. powerful, but I feel like a stand-by dutifully watching a frustrated woman venting her desperation. But a somewhat similar stanza:
For I have known them all already, known them all;
Have known the evenings, mornings, afternoons,
I have measured out my life with coffee spoons;
I know the voices dying with a dying fall
Beneath the music from a farther room.
So how should I presume?
has a much more immanent effect on me. Maybe it’s because Dickinson always leaves much unsaid, no more than a few unconnected words hinting the very essence of a scenario, as if unwilling to describe a situation all-too-obvious to her. Here, Life is depicted as an image that’s qualified by pretty much just three words: shelf, key, cup. You think, cup, locked away in a sexton behind the shelf, collecting dust, probably in a dark corner that never sees sunshine. So the image gradually emerged. But it’s a whole lot more mental exertion that the T. S. Eliot piece, which is beautiful, straightforward, and an instant grantification. But you have to earn your satisfaction with Dickinson, and I guess I just haven't learned to read a poem with the brain instead of the heart.
When on rare occasions I am able to pull away from my general detachment toward her, I can appreciate the universality of her words:
There’s a certain Slant of light
Winter Afternoons –
That oppresses, like the Heft
Of Cathedral Tunes –
Heavenly Hurt, it gives us –
We can find no scar,
But internal difference,
Where the Meanings, are –
None may teach it – Any –
‘Tis the Seal Despair –
An imperial affliction
Sent us of the air –
When it comes, the Landscape listens –
Shadows – hold their breath –
When it goes, ’tis like the Distance
On the look of Death –
I tried to think whether I’ll appreciate it as much if all the references to “we” and “us” are replaced with “I” and ”me”. I would think it will fundamentally change the motif of the second paragraph. As it stands now, at least to me, the Meanings with a capital M speaks of a universal truth, an accumulated cognition and a collective identity. A Heavenly Hurt would naturally inflict on every moving thing on earth indiscriminately. But what really elevate this poem is the first two lines in the third paragraph. When I first read it, I had this epiphany of being lifted off the ground and raised into mid-air, among the overcasting clouds and overlooking a bleak winter land, vast, silent. Dead. But when I actually read the word “Death”, I felt short-changed, it’s almost as if it’s too easy, too obvious. Her choice of certain words often have this shocking effect on me. Shocking in the sense that it’s so abrupt, and unfitting, it’s as if you are dragging your feet along an awfully long and barren road in the desert, and suddenly, out of nowhere there is this a gigantic, oddly shaped tree blocking your expected progression, and staring right at you as if it’s a living and breathing thing. You need to make an honest effort to reconcile with it, to swallow it. For instance, I guess Heavenly Hurt would follow naturally to the oppression of Cathedral Tunes, but when I first saw the phrase, it was as if it suddenly popped up from underground and tripped me, I stared at it and I drew a blank. It just wouldn’t conjure up any meaning like words are supposed to do. Of course, with enough mental exertion I more or less came resting on an interpretation that’s probably all wrong but tangible enough to placate my intellectual ego. But Emily Dickinson is never someone you can have a figurative secret handshake with.
以城看国,真的可以了解中国人吗?
作者:田南瓜 发布时间:2020-11-20 14:49:01
打南边来了个喇嘛,手里提拉着五斤鳎目,打北边来了个哑巴,腰里别着个喇叭。南边提拉鳎目的喇嘛,要拿鳎目换北边儿别喇叭的哑巴的喇叭,哑巴不乐意拿喇叭换提拉鳎目的喇嘛的鳎目,喇嘛非要拿鳎目换别喇叭的哑巴的喇叭。
这段绕口令熟悉不?能顺畅念完吗?
念书时南瓜差点没被这段把自己绕晕过去,也失去了学校宣传部的机会。为啥子两个人非要将交换来交换去呢?自己吃自己的,自己玩自己的不成吗?
不成,如果没有贸易往来,人类的文明不会进展,科技的进步将会止步。正因贸易的往来和人群的迁移,推动了地球文化和内涵,科技与地域的发展交融。
美国政治学者、著名汉学家白鲁恂曾说:“中国其实不是 一个国家,而是一种伪装成国家的文明。”算算看,四大文明古国,古巴比伦、古埃及、古印度和中国,似乎纯粹保留下来也只有中国了。
土地和人总是难以分割的。前段时间看秦岭的讲解视频,感叹山河伟岸之外也觉得人的伟大。还意外的还想到的一个词“水土不服”,好友总是在国内四处出差,有些地方会过敏起反应。后来当地的对接人同好友出了一个偏方,让他别喝当地的水,一方水土养一方人,你不喝或许就没事。好友试了一下,也不知道是心理作用还是后来她去那地次数也少了,真的没有过敏了。她自己养成了一个习惯,喝瓶装水,全国统一出售。
于是关掉视频的时候,视觉不由的落在手边的瓶装水。以现在的科技水平,怕是已无山海所隔了。所以对于地域、城市、历史、人他们之间的关系又会发生怎样的变化呢?
王老师这本《大国大民:王志纲话说中国人》算是集合稿精修出稿,其中的内容有些曾经发表过,但并没有集结出版。此次出版书,一方面系统已域为点讨论人、历史、过去到未来,另一方面也是对标林语堂《吾国与吾民》。两者的区别在于时间不同,立意不同。《吾国与吾民》于1934著,立意让外国人了解中国人;《大国大民》出版于今年,立意让中国人了解中国人。共同在于两书均有深挖性格、政治、社会等元素。共有的问题为即使两位大家行千里路,懂万千理,任存在个人主观意识,客观性仍需思考。
相对而言,《大国与大民》更适合做《吾国与吾民》的预读书籍,更方便理解林先生笔下的中国。
书中讲解地域
这本《大国与大民》囊括14地域,围绕过去历史,自我参与部分和未来思考组成。
通过地图的简单标记,可以看出王志刚老师主要讨论的围绕中国经济发展地。并这些地方王志刚老师无论作为之前的记者身份也好,后期下海以咨询的身份参与也好。让过程的可靠度提高,也增添了不少趣味性。
书籍亮点如下:
1、作为战略咨询专家的高度,其自身的修养和学识让人钦佩,里面关于历史和人文之间的融合,历史与地域之间的矛盾。其俯视角度让其透明、扁平化、理解和思考难度降低。
2、王老师的语言质朴,讲诉过程中,动静两相宜,严肃的时候背脊不由挺直,发散到生活中又让人止不住笑。将每个地方无论是拟人化还是特点展现的较好,但贴合是那个时间内需要思考,以及本地人认可吧。
3、时代责任。作为战略咨询专家,对于地域发展的关心和国家发展走势的那份真诚和入微忧心让人感慨。
4、作为一本旅行指南,书籍囊括了大半个中国,如果想去哪儿,要去哪儿前想了解点背景路上聊天用,本书可助你双臂之力。
像是成都的宽窄巷子,南瓜几年前来成都旅行的时候落脚的首站就是这儿,后面也了解一些宽窄巷子商业化的管理和幕后人员吧,但不曾想到这也是王老师的参与之一。
此外还有描述东北人的那段,也是让我乐的赶紧起身离开水杯。真是太逗了,文字间有种被东北人的幽默感带走又必须强行拉回来的无奈感。不由得感叹一句,东北人的基因就是强大,真是太爱他们张口说话了。瞧瞧好好的一本书,唯有到东北破功了一小段。
如果说这本书的缺憾有什么呢?南瓜认为有二点
1、书籍如果能概括全国那该有多好。虽说中间也有折射到剩余几地,可只字片语到底不如章节来的爽朗。
2、书中提出现在是“吃饱了”到“吃饱了撑的”的阶段。南瓜个人对这点表示存在一些不同观点。
南瓜个人更倾向目前处于不均状态下的多维度阶段。这同地域广,各地发展不均衡,以及战略发展顺序有关。也是近年国策会推出新一线城市、分散城市试点规划、特色城市的出现原因点之一。
西安、郑州等等的新网红城市为其他城市将来发展树立了典范和发展空间。智慧城市的建造目前任重道路且长,不单单是城市发展布局,更是当下国策、社会、科技、经济、人口等等多维度的共同实力结果。
南瓜很赞同王老师以历史打底,当下为主的背景下去思考未来的机遇。有钱了不能忘本,更不能捡了芝麻丢西瓜。可惜未来部分其落脚点略微偏小,可以站的更高一些来讲诉。读者看书,不是看名号,更多还是内容是否够。
在全球村和物联网的持续发展,格式规范统一化的持续推动,历史的加分项如何持续发力,新产品的跨域性在将来又会给当下的土地带来哪些记忆调整呢?
这是南瓜在看书前到看书后始终带的问题,在书中得到部分解答但没有得解决,希望后续能通过眼睛见证吧
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