Venetian Colour: The Spirits of Carnival

Venetian Colour: The Spirits of Carnival pdf epub mobi txt 电子书 下载 2026

出版者:White Star
作者:Antonio Attini
出品人:
页数:128
译者:
出版时间:2001
价格:$67.30
装帧:
isbn号码:9788880953111
丛书系列:
图书标签:
  • 威尼斯
  • 狂欢节
  • 色彩
  • 艺术
  • 文化
  • 历史
  • 意大利
  • 摄影
  • 节日
  • 绘画
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具体描述

Part historical reality, part dreamland, Venice is both an enormous open-air museum and an immense film set where works of art and magnificent heirlooms come to life, taking on colour and substance. This is a miracle which the city performs each year, but especially at Carnival time when the dream-like atmosphere turns into reality and reveals itself to those able to appreciate it. The figures behind the masks lead us by the hand through the streets and along the canals on a discovery of the real soul of "Serenissima".

威尼斯之镜:光影、面具与幻象的交织 作者: [此处留空,模拟独立出版或学术著作的匿名性] 出版社: [此处留空,模拟小型专业出版社或大学出版社的格式] 定价: [此处留空] 页数: 480 页 (精装) ISBN: [此处留空] --- 内容简介: 本书并非对威尼斯狂欢节色彩的直接描摹,而是深入探究了这座“亚得里亚海女王”的城市精神内核——一个由光影、幻觉、历史的幽灵和精心构建的“扮演”所构成的复杂系统。我们拒绝将威尼斯简化为一串关于嘉年华服饰和玻璃制品的研究,而是将其置于一个更宏大的文化、哲学与建筑学的交叉点进行审视。 《威尼斯之镜》是一部关于“表象之物”的深度剖析。它关注的焦点是如何在一种物理上濒临衰落(沉降)的城市环境中,诞生出一种对“永恒剧场”的极度迷恋。全书围绕三个核心母题展开:水域的形而上学、光线的政治学,以及面具背后的主体消解。 第一部分:浮动的基础与无形的边界 本书的第一部分将“水”从一个地理要素提升至本体论的高度。威尼斯的根基并非坚实的土地,而是不断流动的、反射性的介质。我们探讨了在持续的沉降和潮汐压力下,威尼斯人如何发展出一种独特的空间感知——一种“不确定性美学”。 1. 拜占庭的回响与斯拉夫的阴影: 威尼斯作为东西方贸易与冲突的交汇点,其早期的建筑语言和市民心理结构,远比后来的文艺复兴风格更具张力。我们详细考察了圣马可大教堂的内部光线处理——那种深沉的、宝石般的金色调如何创造出一种与世隔绝的神圣空间,而非单纯的装饰效果。这种室内光线的封闭性,与外部大运河的开放性形成了强烈的对话,为后续“隐匿”的主题奠定了基调。 2. 潮汐的钟表: 威尼斯的日常节奏不以时钟为准,而是以水位的涨落为依据。我们分析了“阿夸阿尔塔”(高水位)现象的社会心理影响。它不仅是市政难题,更是一种周期性的“世界重置”仪式。当街道被水淹没时,既有的社会等级和商业秩序暂时失效,行人必须依赖木板搭建的临时路径,这种被迫的合作与对流动的顺从,塑造了威尼斯人对秩序的理解——秩序是暂时的,而变化是永恒的。 3. 迷宫的逻辑: 威尼斯的街道布局并非随机,而是防御性的、反直觉的。它刻意模糊了方向感,使得外来者(征服者或游客)在心理上处于劣势。本书通过早期城市规划文献的解读,展示了这种“不可导航性”如何成为城市自我保护的象征性防御工事。 第二部分:光线的政治学与建筑的幻象 本书的第二部分将视角转向威尼斯光线的独特表现力,特别关注其如何被用于构建权力和感知的错觉。 1. 灰烬与大理石: 威尼斯的光线是过滤和折射的产物。它很少是直接的、残酷的日光,更多是穿过狭窄巷弄后被磨平的、乳白色的辉光,或是由水面反射上来的、摇曳不定的影像。我们分析了文艺复兴晚期和巴洛克时期,当地建筑师如何运用复杂的窗户布局、深凹的门廊以及抛光的石头表面,来“捕获”和“延迟”光线,从而达到一种永恒的、静止的美感,与城市固有的动态性形成对立。 2. 黄金时代的壁龛: 我们深入研究了威尼斯共和国“黄金时代”的室内装饰,重点不在于其财富的炫耀,而在于其对“真实”的规避。墙壁上的湿壁画和天花板上的油画,往往描绘的是神话场景或宏大的历史叙事,这些叙事将现实世界(政治斗争、贸易风险)完全置换到另一个维度。这种对“超验景观”的依赖,是城市面对脆弱现实的一种心理防御机制。 3. 镜子的谬误: 镜子在威尼斯艺术和设计中扮演了关键角色。本书探讨了镜子如何被用于扩张空间感,但同时也揭示了这种扩张的虚假性。在狭窄的空间内,镜子制造的“无限延伸”只是一种对局限性的夸张讽刺。这与狂欢节上的人们通过面具来“无限重塑”自我身份形成了结构上的平行关系。 第三部分:缺席的主体与透明的身份 本书的最后一部分探讨了身份的流动性,不着眼于狂欢节当下的欢庆,而是关注面具背后“缺席的主体”及其对现代性的挑战。 1. 身份的悬置: 为什么威尼斯需要如此强烈的伪装和匿名性?我们认为,在商业共和国的严格社会结构下,匿名性成为了一种稀有的自由形式。面具(如巴乌塔或科隆比娜)并非为了隐藏罪恶,而是为了暂时“悬置”社会角色——贵族、商人、工匠的身份在面具下被置于平等地位。这种悬置揭示了身份本身就是一种表演性的、可更换的结构。 2. 幽灵的剧院: 威尼斯的历史与现在是紧密缠绕的。本书考察了“鬼魂叙事”在城市口述历史中的普遍性。这些幽灵并非恐怖的象征,而是历史责任和未完成的承诺的具象化。它们是城市记忆的载体,它们在特定时间的特定地点出现,提醒着居住者,他们只是一个漫长历史链条中的暂时演员。 3. 观看的伦理: 在一个充斥着建筑幻象和身份伪装的城市中,“观看”成为一种复杂的伦理行为。谁在看?看的是“真实”还是“被设计好的景观”?本书结尾提出了对现代“景观消费主义”的批判性反思——当每一块砖石、每一道光影都被精心编排以供人消费时,城市自身的“意义”便开始消解,只留下纯粹的、令人目眩的表象。 --- 目标读者: 本书面向对建筑历史、视觉文化研究、城市哲学及表演理论感兴趣的学者、研究生以及对欧洲历史和城市心理学有深度兴趣的非专业读者。它要求读者具备对复杂空间概念和批判性理论的理解能力。 本书的价值在于: 它剥离了对威尼斯流行的、感官化的描绘,转而提供一个哲学化的框架,用以理解一个在水与光之间不断自我建构和解构的城市精神世界。

作者简介

Antonio attini, was born in Turin in 1960 and since 1986.

He has been a professional photographer. He is specialized in photoreportages, archeological photos, landscapes and aerial photos; he has realized several works in Europe, Africa, Asia and America:. They have been published by the main travel magazines in the world and he has won many photographic prizes. In 1989 his first book “Colori a Venezia” (Colours in Venice) was published by Capitello of Turin, the same publishing house editing two other works of his “Torino le case raccontano” (Turin, houses relates) and “Torino, le altre case raccontano” (Turin, other houses relates).

Since 1994 he has been a member of the “Gold Circle Kodak European Award” having an excellence standard.

In the same year he began cooperating with the white star edition of Vercelli, which has branches in the U.S.A, Germany, France and Switzerland. For this publishing house he has realized the photoreportages of several books and different series, also being involved in the realization of some high valued works such as “Roma antica” (Ancient Rome), “Antico Perù” (Ancient Perù), “Antico Messico” (Ancient Mexico), “Antica Grecia” (Ancient Greece), “Antico egitto” (Ancient Egypt), “Antica India” (Ancient India), “Le città perdute” (The lost cities), “L’Italia meravigliosa” (The Marvellous Italy), “Italia antica” (Ancient Italy), “Cuba”, “Ramsesses II”, “Egitto ieri e oggi” (Yesterday and today Egypt) and “Terra Santa ieri e oggi” (Yesterday and today Terra Santa), whose American editions have been inserted in the catalogue of the library of the New York Metropolitan Museum of Art.

He cooperated to the editions of books in the following series:

- “Città d’autore” (City of author): “Lisbona” (Lisboa), “Monaco”, “Il Cairo” (The Cairo), “Copenaghen”

- “Grandangolo” (Wide angle): “Cuba”, “Tunisia”, “Turchia” (Turkey), “Israele” (Israel) and “Perù”.

- “Destinazione U.S.A.” (U.S.A destination): “Atlanta”, “Canyon” country” and “New York”

- “I luoghi e la storia” (The places and the history): “Vitenam”, “Israele” (Israel), “NewYork”, “Andalusia”, “Provenza” (Provence), “India del Nord” (North of India) and “Washington”.

- “Regioni d’Italia” (Region of Italy) “Emilia Romagna”, “Lombardia” (Lombardy), “Piemonte” (Piedmont), “Veneto”, “Lazio” (Latium) and “Laghi d’Italia” (Lakes of Italy).

- “The World from the sky”: “Washington”, “Hawaii”, “Chicaco”, “San Francisco” and “New York”, “Svizzera dal cielo” (Switzerland from he sky)

- “Flyng high”: “Irlanda” (Irleand), “Toscana” (Tuscany), “Messico” (Mexico), “Marocco” (Morocco), “Norvegia” (Norway).

He exhibited his works in the main Italian cities: Turin (1989, 1992, 1996, 1997 and 1999), Milan (1994 and 1996), Genoa, Rome (1990) and at the Fenice Art Gallery of Venice. His photos have been collected in several European, American and asian collections.

In 2005 his book “Italia emozioni dal cielo” was published in several languages and it was selected by the Metropolitan Museum of Art for its catalogue.

In 2007 he published his book “Sardegna- emozioni dal cielo” (Sardinia emotions from the sky) in 4 languages. It was realized thanks to a great aerial work- unique in its gender- characterized by a dozen of flight hours on small planes and Helicopters, flying far and wide over the island, from the Stretto di Bonifacio to the Capo Spartivento, from the mountains of the inland to the coastlines and to the archipelago, from the cities to archeological places.

His works were present at some important international exhibitions: among them the two installation of “Italia emozioni dal cielo” (year 2006, in Milan, for 5 months in Via Dante and Year 2007 in New York at the Cipriani in Wall Street) and the travelling exhibition that in June- July 2007 followed the Overland expedition along the route Paris- Beijing on the occasion of the Centenary of the historical raid made by Itala in 1907.

Between 1996 and 2008 Antonio Attini as an Author published 222 high valued photographic monographs. He worked with several publishing houses, in different parts of the world and in many languages.

目录信息

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评分

(书是大开本,分为两个部分,有关威尼斯狂欢节的以及摄影部分。第一部分如以下网址http://www.iremebru.com/Venezia.html) 意大利语有道云"A Carnevale Ogni Scherzo Vale",说是everything goes in carnivale,不难想象威尼斯狂欢疯潮般的盛况。每个人被风吹得满落落的斗...

评分

(书是大开本,分为两个部分,有关威尼斯狂欢节的以及摄影部分。第一部分如以下网址http://www.iremebru.com/Venezia.html) 意大利语有道云"A Carnevale Ogni Scherzo Vale",说是everything goes in carnivale,不难想象威尼斯狂欢疯潮般的盛况。每个人被风吹得满落落的斗...

评分

(书是大开本,分为两个部分,有关威尼斯狂欢节的以及摄影部分。第一部分如以下网址http://www.iremebru.com/Venezia.html) 意大利语有道云"A Carnevale Ogni Scherzo Vale",说是everything goes in carnivale,不难想象威尼斯狂欢疯潮般的盛况。每个人被风吹得满落落的斗...

评分

(书是大开本,分为两个部分,有关威尼斯狂欢节的以及摄影部分。第一部分如以下网址http://www.iremebru.com/Venezia.html) 意大利语有道云"A Carnevale Ogni Scherzo Vale",说是everything goes in carnivale,不难想象威尼斯狂欢疯潮般的盛况。每个人被风吹得满落落的斗...

评分

(书是大开本,分为两个部分,有关威尼斯狂欢节的以及摄影部分。第一部分如以下网址http://www.iremebru.com/Venezia.html) 意大利语有道云"A Carnevale Ogni Scherzo Vale",说是everything goes in carnivale,不难想象威尼斯狂欢疯潮般的盛况。每个人被风吹得满落落的斗...

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