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内容简介

The Caldecott medal-winning d'Aulaires once again captivate their young audience with this beautifully illustrated introduction to Norse legends， telling stories of Odin the All-father， Thor the Thunder-god and the theft of his hammer， Loki the mischievous god of the Jotun Race， and Ragnarokk， the destiny of the gods. Children meet Bragi， the god of poetry， and the famous Valkyrie maidens， among other gods， goddesses， heroes， and giants. Illustrations throughout depict the wondrous other world of Norse folklore and its fantastical Northern landscape.

作者简介

Ingri Mortenson and Edgar Parin d’Aulaire met at art school in Munich in 1921. Edgar’s father was a noted Italian portrait painter, his mother a Parisian. Ingri, the youngest of five children, traced her lineage back to the Viking kings.

The couple married in Norway, then moved to Paris. As Bohemian artists, they often talked about emigrating to America. “The enormous continent with all its possibilities and grandeur caught our imagination,” Edgar later recalled.

A small payment from a bus accident provided the means. Edgar sailed alone to New York where he earned enough by illustrating books to buy passage for his wife. Once there, Ingri painted portraits and hosted modest dinner parties. The head librarian of the New York Public Library’s juvenile department attended one of those. Why, she asked, didn’t they create picture books for children?

The d’Aulaires published their first children’s book in 1931. Next came three books steeped in the Scandinavian folklore of Ingri’s childhood. Then the couple turned their talents to the history of their new country. The result was a series of beautifully illustrated books about American heroes, one of which, Abraham Lincoln, won the d’Aulaires the American Library Association’s Caldecott Medal. Finally they turned to the realm of myths.

The d’Aulaires worked as a team on both art and text throughout their joint career. Originally, they used stone lithography for their illustrations. A single four-color illustration required four slabs of Bavarian limestone that weighed up to two hundred pounds apiece. The technique gave their illustrations an uncanny hand-drawn vibrancy. When, in the early 1960s, this process became too expensive, the d’Aulaires switched to acetate sheets which closely approximated the texture of lithographic stone.

In their nearly five-decade career, the d’Aulaires received high critical acclaim for their distinguished contributions to children’s literature. They were working on a new book when Ingri died in 1980 at the age of seventy-five. Edgar continued working until he died in 1985 at the age of eighty-six.

Michael Chabon is the author of several books, including The Mysteries of Pittsburgh, Wonder Boys, The Amazing Adventures of Cavalier and Klay, The Yiddish Policeman’s Union, Manhood for Amateurs: The Pleasures and Regrets of a Husband, Father, and Son and, most recently, Telegraph Avenue.,,,,

精彩书评

"…a mythological tour de force."
— The New York Times

"Out of print for many years， Norse Gods and Giants has been very handsomely reissued by the The New York Review Children’s Collection and retitled D’Aulaire’s Book of Norse Myths. Featuring a sturdy sewn binding， the book arguably represents the pinnacle of the d’Aulaires’ achievement as storytellers and artists….the prose seems livelier and more robust in the Norse myths than in the Greek…Their retelling of the Greek myths for children had to pull its punches somewhat….but since sex doesn't feature as prominently in Norse mythology， this book is able to stay scrupulously faithful to the Edda and still maintain its PG rating. But not to worry： there’s still a lot of drinking， fighting and bad behavior， particularly on the part of fiery Thor， who is forever whacking frost giants on the head with his hammer， and the highly entertaining Loki， who is one of the most complicated and devious characters in anybody’s mythology， anywhere. Loki is the Bart Simpson of Norse mythology， forever pulling pranks， forever getting caught and forever talking his way out of the consequences…"
— The New York Times Book Review

"[These] works， especially the books of Norse and Greek myths， were and remain crucial to me， and now to my own children. The interest in mythology that was kindled by those two books has endured throughout my life， and has directly influenced my own writing in countless ways…The Norse book was always my favorite， though. I must have read it a dozen times at least by the time I was nine or ten."
— Michael Chabon
D'Aulaires' Book of Norse Myths [精装] [5-9岁] 电子书 下载 mobi epub pdf txt

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地带性植被类型是暖温带落叶阔叶林并间有温性针叶林的分布。大部分平原地区已成为农田和城镇，只在河岸两旁局部洼地发育着以芦苇、香蒲、慈菇等为主的洼生植被，但多数洼地已被开辟为鱼塘，在搁荒地及田埂、路旁多杂草；湖泊，水塘中发育着沉水和浮叶的水生植被。海拔800米以下的低山带表性的植被类型是栓皮栎林、栎林、油松林和侧柏林。海拔800米以上的中山，森林覆盖率增大，其下部以辽东栎林为主，海拔1000米至1800~2000米，桦树增多，在森林群落破坏严重的地段，为二色胡枝子、榛属、绣线菊属占优势的灌丛。海拔1800~1900米以上的山顶生长着山地杂类草草甸。[9]

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艾玛，这个我也看不懂啊

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小篆

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人类许多伟大的创造，大都经过漫长岁月的发展的过程，并聚合无数人的心力，时刻成长、壮大，图书也不例外。以我们中国为例，它至少已有三千五百年以上的发展历史，其间人们所投入的智慧与劳力，更无与伦比。图书在迭次的创造改进，才有今天的面貌。大体来说，史历上，除了某些为特殊目的所制作的图书之外，书籍的发展，略有脉络可寻。最早人们的交往，在彼此示意之时，可能只借手势或音量做为媒介。其后，从经验的累积，进而确定一些固定的音节，来代表某种特定的意义，于是人类跨出了有声无言的时代，迈入到有言无文的社会。

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有活动时候买的，还可以。

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中国的记言文是在记事文之先发展的。商代甲骨卜辞大部分是些问句，记事的话不多见。两周金文也还多以记言为主。直到战国时代，记事文才有了长足的进展。古代言文大概是合一的，说出的、写下的都可以叫作“辞”。卜辞我们称为“辞”，《尚书》的大部分其实也是“辞”。我们相信这些辞都是当时的“雅言”①，就是当时的官话或普通话。但传到后世，这种官话或普通话却变成了诘屈聱牙的古语了。

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达•芬奇一生勤于记录，写下了数以万计页的手稿，而现存的手稿则有5000多页。在他那卷帙浩繁但疏于整理的手稿里，达•芬奇就像一个被神秘的欲望激动得左冲右突而最终无所斩获的孩子。这些经过诸多波折分散于世界各地的草稿很少注明日期，事实上人们已经习惯于将达•芬奇手稿称作“含义模糊的纸片”。它不仅包括未寄出的信件、各式表格、不同语言的读书笔记、机械和工程草图等，而且即使同一张纸上也往往会有其不同研究领域的痕迹，一篇关于光学的文章旁边可能是一幅人脸素描、一种关于特别颜料的配制方法或者是关于某篇医药配方的论文。

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非常好

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只能说太美

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