新华汉语词典 在线下载 pdf mobi 2025 epub 电子版

《新华汉语词典(彩色版)》共设条目60000余条，提供了字、词、词组、成语、熟语等丰富内容。囊括了现、当代汉语中的绝大多数常用字词和部分当今仍经常使用的文言词语和常用专业术语。字形、词形、注音等均严格遵循国家颁布的各项语言文字规范，努力体现科学、典范之原则。释义、遣词、造句等均经过反复推敲和打磨，并经语言文字专家精心校阅。配有大量精美图片，不仅赏心悦目，也为准确理解字词意义提供了帮助。

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书籍介绍

《新华汉语词典(彩色版)》共设条目60000余条，提供了字、词、词组、成语、熟语等丰富内容。囊括了现、当代汉语中的绝大多数常用字词和部分当今仍经常使用的文言词语和常用专业术语。字形、词形、注音等均严格遵循国家颁布的各项语言文字规范，努力体现科学、典范之原则。释义、遣词、造句等均经过反复推敲和打磨，并经语言文字专家精心校阅。配有大量精美图片，不仅赏心悦目，也为准确理解字词意义提供了帮助。

• 作者：韩巍 发布时间：2015-03-08 13:21:31

  运气：改变命运的时刻（不要太专注、交集思考、跟着好奇心、拒绝大众路径）——下注（多下注、小赌注、MVP、计算可负担亏损而不是报酬率、保持热情动力）——复杂动力（关注计划外后果、串联、自我强化循环：行动、意外发现、寻找七点、掌握强度和动能、加倍下注）

• 作者：西方黑芝麻糊 发布时间：2018-04-06 17:37:59

  还带有配图，好书

• 作者：琉璃氏约尔凡格 发布时间：2020-06-16 22:59:27

  读书时看重其彩色、配图才买的，词条也比当时的现代汉语辞典更丰富。

• 作者：woouou 发布时间：2020-07-25 22:11:33

  故事构建不错，但啰里啰嗦，文字拖泥带水，不厌其烦的写那些幼稚对话，悬念设置不够，感情也不动人，几次想弃书，实在是靠强迫症才坚持下来的，两本缩成一本或许能成为精品

• 作者：文武赵 发布时间：2024-02-22 12:00:04

  说得都是很浅显的道理，全书只有7万字，很多内容都是教新人如何在广告公司作业，不过在洞察部分讲的还是有料的。看下电子书就好，不用买实体

• 作者：aklina 发布时间：2012-01-14 00:59:48

  开始的时候描写主角好像非常牛，但是后面看来，无论心理，脑袋，身手上都是某个英文字母！

• Heroes and Vagrants--subjectivity in Ernest Hemingway’s the Sun Also Rises

  作者：DorothyKills 发布时间：2014-02-10 22:10:18

  Heroes and Vagrants

  --subjectivity in Ernest Hemingway’s the Sun Also Rises

    ‘You are all a lost generation.’ It’s almost unverifiable under what circumstances Gertrude Stein said these words to Hemingway. But these words ended up on the inside of the front cover of the latter’s 1926 novel, which along with F. Scott Fitzgerald’s contemporary works sculpted the perception of post first world war generation. These works, though later prestigiously recognized and had bestowed upon both art history and social studies, actually came into being through such a rebellious fashion. That Gertrude must have said the pungent comment in a less than indifferent tone, as if the decadency is self-explanatory.

  And the writer chose to depict his defense in an almost paralleled way. He vitally molded the character of Jake Barnes and framed the story within Jake’s angle of vision. And Jake’s narration was arranged in a deliberate manner, that throughout he’s attempt to camouflage the story to be an impersonal one, his indifference and decadency itself had become the element through which the disillusion was made possible for the reader, to peep beneath sea level and get a glimpse of ‘the iceberg’.

    The mannerism of writing ‘rationally’ traces back to Hemingway’s early experience in journalism. He omits meticulous writing of emotions, avoiding any attempt of luring a reader into pure empathy and the addressing of historical background were considered to be excessive. It was mentioned, but muted. In Hemingway’s own words the abyss of ignorance ‘strengthens the story’ , and that wound deep enough to become the common life tolls with silence. But in this book the rationality of the narrator should be read separately from the rationality the author subscribes to, though they do share a common faith in the strength of such a technique. Hemingway designates Jake Barnes to narrate in a tone that while objective enough for the reader to grasp characters and their stories, still leaves the story-teller’s subjectivity legible. And it is through such an arrangement that unyielding voices from ‘the lost generation’ conveys.

  1 Lady Brett Ashley, ‘everybody’s sick’

    The protagonists in the Sun Also Rises are vagrants and therefore heroes and heroine. Despite the differences of their gender, race or personality a shared trauma shapes their lives as the predominant factor. ‘That bloody war’. Those who endeavored to pinpoint the character’s complex, diagnosing Brett Ashley with ‘a personality disorder’ , may have forgotten the unrealistic nature of the text. Readers are staring through the goggle that is Jake Barnes and therefore literal interpretations should be considered unreliable. ‘Brett was damned good-looking.’ Lady Ashley seems to never fail in capturing the heart of her male companions. But the key to such success is solely based on her choice of only reacting to those who is falling for her, while distancing herself from her true love, Jake Barnes. ‘What’s the matter? You sick? Everybody’s sick. I’m sick, too.’ ‘It makes one feel rather good deciding not to be a bitch.’

  Brett and Jake are extreme contraries in a sense while Jake’s disability prisons him from any possibility of romance, Brett the social beauty seems to be receiving all the chivalry the world has to offer. However, their love equates them. Brett lives under the destiny that she shall never be together with the one she truly loves, that there is no happy ending in this life for her, and the pain of such cruel truth may only be mitigated by alcohol and hedonism. Such desperation replicates Jake’s. On the other hand Jake has to tell the story of his loved one’s betrayal in a tone that grief and self-pity was hard to be traced, and such a coolness comes form an understanding that War the Witch curses and no matter disabled (Jake) or very able (Brett), generation are doomed to the same decadent fate, though in various forms.

  2 Robert Cohn, ‘don’t be silly’

    Incapability appears in both the inadequate man, and also the very adequate. Jake started his story with a recollection of Robert Cohn’s early life. The Jewish man is blessed with a fortunate family, the talent of writing and physical ability competent to be a boxing champion, or to beat up rivals in love within one swing of fist. Yet his vulnerability lies within his shyness, the racial discrimination against him, an inferiority complex that was manipulated by Frances, and very much like Jake, a desperate passion for Brett. Jake relate very much to the passiveness that the two of them shares, while disdaining Robert’s impulses of emotions that lead to traveling, fighting for Brett, or overall, taking a control over his own life. ‘Don’t be silly’, repeats Jake when turning down Robert’s many spontaneous invitations. He (Jake) speaks with contempt when speaks of him (Robert), yet he cannot help but speak of him. Jake has surrendered to act silent and numb toward his own feelings and hurts, while the telling of Robert Cohn’s story alludes to and rekindles them. They are rivals in romance, however, since the inevitable failure shadows both of them, hostility was replaced by sarcasm. Jake does not have to speak ill of Robert. He shows absolute unconcern when he fails and exits the story. The intrusion of the ‘silly’ and rigid was over and Jake maintained his apathetic manner of endurance.

  3 Jake Barnes, ‘all a lost generation’

    The Sun Also Rises is the story of Robert Cohn, Brett Ashley or even Romero but after all it is the story of Jake Barnes. He is the damaged, the disenchanted youth, the cynic amongst all self-chosen exiles and has given up to feel belong. Yet his heroism lies in this very vagrant act of life. As the victim he comprehends the poison of war years, and his tolerance evolves to become such an indifference that is his wisdom of bearing with life. War keeps haunting him. It haunts him on the verge of physical attachment, as he observes Brett’s playfulness leading her nowhere and neither he nor she is able to ‘do any thing about it’. The fiesta can be read as an allegory about the war. Jake tells about the meaningless violence, how riots are thrilled and promising at first and how it ended up being long and deathful. And during the chaos he observes. He looks at his love once again draws away from him, himself who does not intend to strike out is defeated, and the ones who challenge fate, Robert Cohn, the matadors, rises and fails to prove the era’s tragedy. A tragedy that is concentrated into his eyes and sight of seeing. He ends up being alone as this does not surprise him. He ends up missing Paris but does not determine to go back, and he has been through such nostalgia like this. What happens is that he does not fight. Over or not the war is he does not fight any more. And as the pages turn over this will always be his story.

    One’s subjectivity is one’s heroism. Jake is the one writing the story down and the implication screams to the audience louder than any fictitious character can. Jake Barnes, a veteran deprived of dreams chooses to tell us his love story. He looks at his vagrant life without any evasion, and asks for no empathy. He starts and ends the storytelling with another episode of ‘Jake and Brett in the taxi’, and such episodes repeat and he knows the routine and the ending. They would feel close and they would talk. They would imagine impossible happiness drunk and in the dark, being taken somewhere, and only to be alienated. They would know how momentary yet still tries to enjoy. And the sun also rises. Days continue with the dark night that tolerate them to share each other’s companion for just a minute, and the dark memories that linger and haunt them in their sleep. And the sun also rises.

• 阿加莎克里斯蒂完成了柯南道尔的未竟大业

  作者：坐看云起 发布时间：2016-11-16 17:24:50

  首先我说明一下，福尔摩斯是我看的最早的一部侦探小说，也是我早期最喜欢的一部。我很尊敬柯南道尔及他的书迷们，有些言论仅为调侃，请不要太当真。

  柯南道尔作为维多利亚女王的效忠者，创作过大量政治诗，他的文笔还是不错的，大量的环境描写烘托了气氛，福尔摩斯的形象也是难以磨灭。但他有几个致命的弱点：结构拖沓，节奏忽慢忽快，次要人物塑造不够，哲理性不够强。

  首先说结构。血字的研究和恐怖之谷真的看到我吐血。小说完全分裂成两块：前半部分写破案，后半部分写动机。关键是有的时候动机写的比破案过程还长。于是血字的研究作者花了大量的时间跟我们讲了一个可歌可泣的爱情故事，恐怖之谷讲了一个黑帮故事。我晕，我要想看这些我来看侦探小说干嘛？我去看简奥斯汀和教父不就好了么？我来看侦探小说干嘛？相比之下阿婆的小说在这方面就好多了。首先波罗在破案过程中是很少说废话的，可以说他的每一句玩笑都是为了破案服务，风景描写的恰到好处，起调剂作用，有的时候借景抒情画龙点睛。但不会让人打瞌睡，不超过五十字但是在烘托气氛方面也取到了相当不错的效果，而且文笔更加简洁有力，也很优美，没有渲染暴力和恶行，主要都是毒杀和枪杀，没什么血，也没有色情描写。其次阿婆的小说虽然都是长篇。但可以讲都是一气呵成，并且有大量的伏笔和悬念，整体性强，看的时候绝不会打瞌睡，语言简明扼要。

  然后说节奏。福尔摩斯有的时候会跟涉案人员说上一大堆对话，还有一大堆冗长的环境描写，看的读者昏昏欲睡，有时候又要和罪犯搏斗，突然很紧张，读者还没反应过来就已经打完了······相对而言，阿婆是不会这样的。波罗是个慢性子，因此从不和歹徒格斗，但是节奏把握的非常好，层层递进，扣人心弦。在调查的过程中波罗会透露一些细节和推测，带动所用人一起思考，设下悬念，而不是像福尔摩斯那样看脚印却不告诉我们他看到了些啥，干着急。

  第三就是人物问题。柯南道尔塑造的最闪耀的角色就是福尔摩斯，然后还有啥?有人说还有花生啊？好，你跟我讲讲华生的性格特点是什么?好吧，所有人都懵了。华生很忠诚的陪伴着福尔摩斯，然后呢？没有私心，没有个人的观点。但阿婆塑造的黑斯廷斯，在帷幕中就可以看到他有自己的想法，为了女儿他不惜去杀人，他被仇恨冲昏头脑，他会怀念自己美丽可爱的亡妻，想起她就流眼泪······他有自己的猜测和判断，和波罗互相嘲讽，开着玩笑，当他看到波洛的老态时，又是如此悲伤，往事浮上心头······他带动读者们一起快乐，悲伤，忧愁，愤怒，他是一个有血有肉的人，而不是一个平面化的人物。对柯南道尔来说，他笔下的女性都是圣母白莲花，个个都像花生的妻子一样美丽贤淑，女性几乎不担当反面角色。但阿婆不是这样的。她是结果两次婚的女人，看惯了大场面大变故，看透了形形色色的世人。她塑造的富兰克林太太，美丽娇弱，为了吸引丈夫的注意整夜整夜不睡，把自己弄得虚弱不堪，有为自己的粗心愚笨感到自豪，这些复杂而矛盾的角色才是真实有力的。还有肮脏悲惨的杂货店女老板，过分美丽而遭受猜忌的的秘书，大胆叛逆的朱迪斯·····阿婆向我们展示了世间百态，人情冷暖。

  最后说哲理性。也许是柯南道尔受骑士精神影响太大，他的作品充满着浓浓的惩恶扬善的意味，除此之外就缺乏别的主题了。但阿婆不是这样。她的每本书都是风格各异，在人物对白和心理描写中穿插着绝妙的对人性的讽刺。比如说富兰克林太太生病时受到大家的万千宠爱，后来又有一个女人受伤了，大家都去关注她了，于是弗兰克李太太十分失落，因为她的“”“首席病人”的位置被霸占了····可以说把女人的微妙心理描写的惟妙惟肖。还有尼罗河上的惨案，结尾时菠萝意味深长的说了一句：“”“女人最想要的只是男人爱她”，可谓本书画龙点睛之笔。阿婆同时还研究犯罪心理学，她的书中大量对人们心理的分析，对人性的窥探，对善与恶真正标准的质疑可以说让作品的思想水平已经远远超过那些以情节为濠头的侦探小说。

  柯南道尔是伟大的，他为侦探小说奠定了基础，创造了最经典的模式，阿婆这个天才深受他的影响，将侦探小说发展成熟，推向了无法超越的顶峰。两个人不存在谁高谁低，只是谁先谁后的问题。没有前者的摸索也就没有后者的辉煌。