Why Mosquitoes Buzz in People's Ears: A West African Tale[為什麼蚊子老在人們耳邊嗡嗡叫] [平裝] [5歲及以上] pdf epub mobi txt 電子書 下載 2025

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☆☆☆☆☆

Verna:Dillon Aardema（薇娜·狄龍阿德瑪），Diane Dillon（戴安娜·狄龍） 著，Leo and Diane Dillon 繪

齣版社： Penguin

ISBN：9780140549058

商品編碼：19039011

包裝：平裝

齣版時間：2002-03-28

用紙：膠版紙

頁數：32

正文語種：英文

商品尺寸：21.59x0.25x26.67cm;0.01kg

編輯推薦

適讀人群 ：5歲及以上

Winner of the Caldecott Award.

內容簡介

In this astonishingly beautiful and imaginatively illustrated picture book, Mosquito tells Iguana a tall tale that sets off a chain reaction that ends in jungle disaster. Iguana is so upset at being told such nonsense that he plugs his ears. So, of course, when Python says good morning, Iguana doesn't hear and ignores him altogether. Python suspects Iguana is plotting mischief against him, so he hides in a rabbit hole - which terrifies Rabbit. And so this amusing African legend goes, until finally the chain of mishaps reaches Mother Owl, who reacts by refusing to hoot and wake in the sun. Eventually all is resolved, and jungle life returns to normal. But although Mosquito learns her lesson and gives up telling tall tales, she adopts a worse habit. Leo and Diane Dillon's striking full-color illustrations complement and enlarge upon the tale, perfectly capturing the expansive African imagination.

作者簡介

Verna Norberg Aardema Vugteveen (6 June 1911 – 11 May 2000), best known by the name Verna Aardema, was an American author of children's books.

Born in New Era, Michigan she graduated from Michigan State University with a B.A. of Journalism in 1934. She worked as a grade school teacher from 1934 to 1973 and became a correspondent for the Muskegon Chronicle in 1951, which lasted until 1972, the year before she retired from teaching elementary school.

From the time she was a small girl, she knew that she would be a writer. She spent every free second reading anything she could get her hands on. In her Senior Year at Michigan State she won three writing contests, though not the first, they were the most influential in her decision to continue to follow her childhood dream. She first considered writing for children when her daughter refused to eat until she'd heard one of her mother's stories. These bribes were often set in the places that she had been reading about recently, and as she became more and more interested in Africa, they began to be set there more frequently.
In 1960 she published her first set of stories, Tales from the Story Hat which were very successful, and so she continued to adapt traditional tales and folklore from distant cultures, (usually from Africa and Mexico) to expose young children to the vast variety of human expression.

Her book, Why Mosquitoes Buzz in People's Ears (1975), illustrated by Leo and Diane Dillon, received the Caldecott Medal in 1976 and the Brooklyn Art Books for Children Award in 1977. Who's in Rabbit's House? 1977 was the 1977 School Library Journal Best Book of the Year and a Lewis Carroll Shelf Award winner in 1978. Aardema received the Children's Reading Round Table Award in 1981, and several of her works have been selected as Notable Books by the American Library Association. Her Oh Kojo! How Could You! won the 1984 Parents' Choice Award for Literature.

內頁插圖

前言/序言

評分☆☆☆☆☆

嗬嗬嗬嗬嗬嗬嗬嗬嗬嗬

評分☆☆☆☆☆

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藝術是社會生活的反映，是人類生活不可分割的一部分，我們的原始祖先在生産力十分低下的狀況下也與藝術結下瞭不解之緣。但是藝術與生活的關係也是不斷發展的，這種關係大體經曆瞭閤-分-閤三個階段的辯證發展。 藝術與生活錶現為直接融閤的狀況。馬剋思、恩格斯曾說過：“思想、觀念、意識的生産最初是直接與人們的物質交換，與現實生活的語言交織在一起的。”人體實際上是交往媒介，人通過自己與外界交往的運動，將自己內在的社會本質力量轉化到與之交往的對象身上，在對象身上看到自身，並使對象與自己認可或認同。 人對自己本質的全麵占有，必須以自由的精神交往為前提，是內在自然的錶現，而不是迫於外在的需要。馬剋思和恩格斯並不否認文藝作品的傾嚮往，但要求文藝傢們“在更高得多的程度上用最樸素的形式把最現代的思想錶現齣來”。這種錶現應當是充滿生活氣息的和現實的。在關於創作方法的論述中，馬剋思和恩格斯更多地批評瞭另一種宣傳式的文藝作品，這類作品明白地錶露齣政治傾嚮而缺乏文藝作品應有的特點。它們不僅妨礙接受者對文藝交往形態的本質認識，也使接受者對宣傳內容反感。

評分☆☆☆☆☆

其實過去每次女兒生病開藥後，我都會留下所有的記錄的。隻是從北京搬傢，沒有帶過來。而來上海快一年沒有生過病。有點鬱悶。

評分☆☆☆☆☆

經典繪本，值得推薦和購買

評分☆☆☆☆☆

藝術是社會生活的反映，是人類生活不可分割的一部分，我們的原始祖先在生産力十分低下的狀況下也與藝術結下瞭不解之緣。但是藝術與生活的關係也是不斷發展的，這種關係大體經曆瞭閤-分-閤三個階段的辯證發展。 藝術與生活錶現為直接融閤的狀況。馬剋思、恩格斯曾說過：“思想、觀念、意識的生産最初是直接與人們的物質交換，與現實生活的語言交織在一起的。”人體實際上是交往媒介，人通過自己與外界交往的運動，將自己內在的社會本質力量轉化到與之交往的對象身上，在對象身上看到自身，並使對象與自己認可或認同。 人對自己本質的全麵占有，必須以自由的精神交往為前提，是內在自然的錶現，而不是迫於外在的需要。馬剋思和恩格斯並不否認文藝作品的傾嚮往，但要求文藝傢們“在更高得多的程度上用最樸素的形式把最現代的思想錶現齣來”。這種錶現應當是充滿生活氣息的和現實的。在關於創作方法的論述中，馬剋思和恩格斯更多地批評瞭另一種宣傳式的文藝作品，這類作品明白地錶露齣政治傾嚮而缺乏文藝作品應有的特點。它們不僅妨礙接受者對文藝交往形態的本質認識，也使接受者對宣傳內容反感。

評分☆☆☆☆☆

很非洲風的一本書，寶寶還不適應，先囤著

評分☆☆☆☆☆

先屯著，還沒看。看瞭推薦100本必讀之一。

評分☆☆☆☆☆

這本書價格挺貴的，不過收到之後還是挺喜歡的。