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Arthur Frommer’’s Europe

為了解決English fiction Book的問題，作者Frommer, Arthur,Ames, Paul,Barron, Peter 這樣論述：

Arthur Frommer The son of a Polish-born mother and an Austrian-born father, Frommer was drafted into the U.S. Army during the Korean War, but was stationed in Europe because of his fluency in German and Russian. During his service, he wrote and self-published a guidebook called The GI’s Guide to Tra

veling in Europe in 1955 that was an immediate hit among his fellow soldiers. In 1957, Frommer created a civilian version called Europe on 5 Dollars a Day, which became an overnight best seller. He subsequently published guidebooks covering all parts of the globe. Frommer licensed his travel guide b

ook business to Simon & Schuster in 1977. Eventually, the Frommer’s series was purchased by John Wiley & Sons, and in August 2012, Google purchased the travel guides. Through all the exchanges, Arthur Frommer was always deeply involved with the guide books. In 2013, Frommer reacquired control of the

guidebooks bearing his name and has come full circle, now self-publishing his iconic travel books again. Additionally, Arthur Frommer writes a travel column syndicated through King Features, and co-hosts a weekly syndicated radio show with his daughter Pauline, ＂The Travel Show with Arthur & Paulin

e Frommer.＂ Arthur resides in New York City. Paul Ames (author Portugal): A native of England’s East Anglia region, Ames has been fascinated by Portugal since a childhood visit in the 1970s when the country was gripped by revolutionary fervor. After 20 years based in Brussels covering Europe for Th

e Associated Press and other international media, he returned to Lisbon in 2013. Paul works as a freelance journalist and never tires of exploring the delights of his adopted homeland, from the green hills of the Minho to sub-tropical Madeira island and all the beaches in between. Peter Barron (auth

or Spain): After careers at the BBC and Google, Peter Barron turned his attention to restoring a barn with his wife Julia at their finca on the border between Andalucía and Extremadura. He has been visiting Spain for over thirty years and loves flamenco guitar, ibérico ham, and manzanilla sherry. He

is one of the authors of Frommer’s Spain and blogs about Extremaduran life at adventuresinextremadura.com. He divides his time between Spain and London. Anna E. Brooke (author France) relocated from her native Britain to Paris in 2000 and hasn’t looked back since. She is now a full-fledged bohemian

, juggling life between freelance travel writing (Frommer’s, Sunday New York Times Travel, Time Out Paris and the Financial Times), children’s fiction, acting and songwriting for film. Jennifer Ceaser (author Belgium and The Netherlands) is a freelance writer and editor who has specialized in travel

journalism for two decades. A former New Yorker and staff editor at the New York Post, Jennifer has lived in Europe since 2016, including Amsterdam, Berlin and Barcelona. She contributes to a variety of publications including Condé Nast Traveler, AFAR, New York magazine, BBC, Time Out, Delta Sky, a

nd Wine Enthusiast. Jason Cochran (author, England & Scotland) was twice awarded Guide Book of the Year by the Lowell Thomas Awards (Society of American Travel Writers) and once by the North American Travel Journalists Association for his book Frommer’s EasyGuide to London. His writing has appeared

in the New York Post, Entertainment Weekly, Travel + Leisure, USA Today, and Budget Travel , among many others. Jason has appeared as a host and commentator on CBS, Fox and AOL, to name a few. He currently is the Editor in Chief of Frommers.com. Donald Strachan (author Italy) is a writer and journal

ist who has written about Italy for publications worldwide, including National Geographic, the Guardian, Sunday Telegraph, and the Independent. Rachel Glassberg (author Austria, Germany, Switzerland) is a Berlin-based journalist last seen traversing the Alps for Frommer’s Switzerland and ruining he

r friends’ favorite bars for Frommer’s Germany. Formerly deputy editor of the English-language city magazine Exberliner, she now divides her time between writing, music, and travel -- sometimes two or even all three of those simultaneously.

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媒介化視域下的互動影像研究

為了解決English fiction Book的問題，作者羅婧婷 這樣論述：

互動影像作為一種媒介並不是在數位媒體時代才誕生，其在活動影像誕生伊始就已經存在。但在以往的研究中互動影像被作為一種媒體(media)進行探討，但媒體擠壓了中介物、技術和組織機構三種意義。若繼續將其作為媒體進行研究則無法觸及互動影像的本質，只會停留在其表徵層面。有鑒於此，本研究提出將互動影像作為一種媒介(medium)，並在媒介化視域下對互動影像媒介進行研究，通過揭示機械化波動階段、電氣化波動階段、數位化波動階段和數據化波動階段中互動影像媒介邏輯，探勘其如何在各個波動階段被實踐、被理解、被傳播、被運用。本研究試圖打造適用於互動影像的媒介化研究模型，並在歷時性維度上探索不同波動階段中互動影像的共

時性發展，提取每個波動階段中互動影像媒介的關鍵詞，在用經驗檢視研究模型的同時，建構出不同時期互動影像媒介的譜係，揭示其在不同的媒介化波動階段的樣貌，回答互動影像是什麼這一問題。由於研究內容跨越了媒介化的不同波動階段，故本研究將多種研究方法相結合，針對不同時期的互動影像特征採取對應的研究方法進行探討。首先，在研究進行之前，用焦點團體訪談法對互動影像相關主題進行初探研究，更寬泛的對研究主題進行了解。其次，針對研究中的歷時性觀點，在機械化波動階段和電氣化波動階段，主要採用實物分析法對互動影像相關資料進行收集和分析。此外，數位化波動階段和邁向數據化的波動階段中，則採用深度訪談和大數據分析法進行探討。本

研究通過探索互動影像媒介化過程發現，互動影像的發展既沒有遵循Kunn的範式模型，也没有遵循尖锐的認知斷裂的 Foucault式模型。而是遵循Hayles在關於控制論与后人类的研究中，提出的序列化（seriation）觀點，即是一种重複與創新相互交疊的模式。且在不同的媒介化波動階段中，互動影像媒介呈現的媒體表現形式是多元的，同時各階段的人工製品也表達出該時期互動影像的主要觀念。本研究首次用一種建構主義的方法詮釋互動影像，為該領域的後續研究奠定學術基礎。

Double Takes: Animal Look-A-Likes

為了解決English fiction Book的問題，作者Jameson, Karen 這樣論述：

A former teacher, Karen Jameson holds a master’s degree in education. She’s the author of MOON BABIES (Putnam, 2019), WOODLAND DREAMS, FARM LULLABY, and WHERE THE WEE ONES GO (Chronicle, 2020, 2021 & 2022) and SHINE (Groundwood, TBD), among other titles. Karen has published a number of nonfiction sc

ience articles in AppleSeeds and Ask magazines. She has won a special mention picture book poetry award at the SCBWI CenCal Writer’s Day and is the recipient of the Sue Alexander Grant. Lorna Scobie grew up in the depths of the English countryside, climbing trees and taking her rabbit for walks in t

he fields. She is an illustrator and designer, now based in south-east London. Growing up surrounded by nature has heavily influenced her illustrations and her work often revolves around the natural world and animal kingdom. She enjoys illustrating non-fiction 0-6 and 6+, black and white, children’s

books, and pre-school books. Lorna draws every day, and always has a sketchbook close to hand when she’s out and about. She illustrates her work by hand rather than digitally, as she enjoys the spontaneity and also the ’happy mistakes’ that can happen along the way. Lorna uses a range of materials,

including paint, pencils and pens.

米蘭昆德拉《生命中不能承受之輕》中價值觀的衝突所帶來的挫敗感

為了解決English fiction Book的問題，作者許芷綾 這樣論述：

在《生命中不能承受之輕》中，「輕」(lightness) 與「重」(weight) 此兩個覺受性的觀念是值得被思考的重要主題。昆德拉(Kundera) 通過輕和重此兩個覺受性的觀念探索了人類的各種可能性。儘管我們努力去理解它，我們仍然會問：什麼是輕？重是什麼？此外，「不能承受之輕」(Unbearable Lightness) 對讀者來說是一個矛盾的、難以理解的詞。這篇論文的目的是通過觀察每個主角的輕與重之覺受性的觀念，以試圖為出現在每個主要角色生活價值的矛盾短語找到一個合理的解釋。在第一章中，我揭示了每個主要人物的生命價值之輕：輕類似於一個人的生命信仰——神聖且不可侵犯。第二章強調了一個角色

的輕與其他角色的輕之間的一系列衝突與矛盾(愛人和親友違背自己心念而馳或自己信念不容於社會被稱為生命之重)，並進一步在人物的故事語境中進一步闡釋了「不能承受之輕」。總的來說，每個人都發展了自己的人生價值，且他們的人生價值決定了各自的輕與重。由於每個人的生活價值觀不同，所以當一個角色與另一個生活價值觀不同的角色相互影響時，自我信念可能會引起衝突或自我矛盾。然後，這就會產生負擔和壓力，因為他們自己的信念與價值使得其他人無法承受。因此，正是人物生活價值觀的差異產生了矛盾、複雜性、壓力和折磨，而這就是「不能承受之輕」的原因。