Nikola? was abandoned at birth and has been in foster care ever since. Although a family would like to give the sixteen-year-old boy a home, he decides to make one himself. He meets Camille, an intriguing fifteen-year-old wiseacre, and tries to convince her to make a child together. Nikola? is convinced that he can handle any problem and wants to avoid at all costs that an adult thwarts his plans. Camille and Nikola? flee together from the home and isolate themselves in the woods. In the heart of this gloomy, mysterious forest, Nikola? will have to face his first feelings and learn to become a man. Soon, he feels that there are many things he cannot control.
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一部《{#標(biāo)題55}》,多少刷新了自己過(guò)往對(duì)宋代的認(rèn)知。都說(shuō)文人偏愛(ài)宋,不如說(shuō)是宋代繁榮的商品經(jīng)濟(jì)和市井生活為藝術(shù)創(chuàng)作提供了豐富的土壤;都說(shuō)兩宋三百年羸弱,不如說(shuō)是宋代的統(tǒng)治者奉行了與漢唐窮兵黷武、重農(nóng)抑商截然不同的國(guó)策,讓商業(yè)貿(mào)易真正成為社會(huì)生活的精神內(nèi)涵。盛唐的喧囂繁華在宋代歸于平靜,卻也在這平靜之中涌動(dòng)著吐故納新的歷史風(fēng)潮:一日三餐制、最早的紙幣、商業(yè)區(qū)與居住區(qū)的有效劃分,乃至夜市的盛行、外賣的流行,這些發(fā)源并興盛于宋代的現(xiàn)象無(wú)一不蘊(yùn)含著現(xiàn)代社會(huì)的雛形。如果說(shuō)明代出現(xiàn)了早期資本主義萌芽,那我想宋代就可看做一場(chǎng)東方文藝復(fù)興吧~