❣️(English below)我的新書《#法式甜點學》、#最值得擁有的法式甜點行家養成指南 已上市!!!
新書在世界一片煙硝之中上架了❣️ 希望這些小小的幸福能夠在此時穩定大家的心神,打起勇氣重新面對不可知的未來。
雖然法國暫時不能去了,但我們仍然能用照片與文字在書頁裡遨遊。暫時先讓想像力帶我們一起漫遊法式甜點世界吧!
📌 實體書79折購買連結——
博客來:https://bit.ly/39VUt6u
金石堂:https://bit.ly/2UcV6Sm
誠品:https://bit.ly/2WuK0ev (*香港誠品也已上架!)
📌 電子版購買連結——
博客來:https://tinyurl.com/vl5zkhe
Readmoo 讀墨:https://tinyurl.com/u98mx4l
Google Play:https://tinyurl.com/ut7pgpq
Kobo:https://tinyurl.com/vlqo2f7
📌 再次感謝豪華推薦陣容: 美食家的自學之路 Self-taught Gourmet Liz、 葉怡蘭 Yilan 老師 、 Yu Chocolatier 畬室 法式巧克力甜點創作 鄭畬軒主廚、 187巷的法式 烘焙/料理/烹飪教室 女主人 Linda、 Quelques Pâtisseries 某某。甜點 兩位創辦人 Lynn & Lai、 MillyQ / 米粒Q 與 #accro 總監 MillyQ、 SEASON Cuisine Pâtissiartism 主廚 Season、 獻給地獄廚房的情書 & G.D 主廚 Yen、 在欉紅 red on tree 暨 九日風 主廚楊豐旭。至於他們究竟都說了什麼,可以在書籍介紹頁面看到,接下來一陣子也會慢慢和大家分享❤️
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預購期間資訊:(目前預購期已結束)
📌 預購小禮: #巴黎甜點店電子導覽
出版社的正式出貨時間是3/25,網路書店出貨時間會看各通路,但大約是隔天。凡在下週(3/25)正式出版前預購的讀者朋友們,請 私訊或在下方留言,截圖你們的預購發票或訂購確認明細(記得隱藏個人重要資訊如電話地址或甚至姓名),並留下email信箱,我會統整資訊,在書正式上市後將導覽寄送給各位當作禮物。
Paris for the Sweet Tooth 介紹:https://tinyurl.com/yynbslop
價值€7.99(約新台幣$270)。共46頁,含20家最有特色與最具代表性的巴黎甜點店,製作精美,照片與文字都是我親自拍攝與撰寫。內建Google地圖連結,方便直接查詢店家位置。
📌 小提醒:
1. 電子版將在實體書上市後過幾天才上線(大約三月底),因為需要確認檔案。想要買電子版的朋友可以再稍候一下。
2. 香港與海外的朋友們,可以利用博客來、金石堂與誠品網路書店的海外寄送服務。香港誠品書店也將在台灣實體書上市後兩週左右上市(大約是4/8左右),所以也可以選擇再稍候一下。
雖然都開始預購了,但我和 大雁出版基地編輯與行銷團隊的工作還沒結束,還在做最後的校對與索引,另外還會再討論接下來的行銷活動,應該會有機會和大家碰面的,到時候也很期待聽到你們的迴響!
*****
L’Art de la pâtisserie française, my new book dedicating to the art of French pastries is published. It’s a book that gives you a thorough and in-depth overview on the history, culture, industry, training system, and latest trends of French pastries. Interviews with the most influential pastry chefs, such as Cédric Grolet, Yann Couvreur, Maxime Frédéric and Jessica Préalpato, are also included. If you’re a French pastry lover and would like to know more about the stories behind and learn how to appreciate the art of it, this is a book that you can’t miss.
📌 The book is available in all major bookstores in Taiwan and Eslite bookstore in Hong Kong. Get a closer look inside of it, know what others say about it, or get your copy:
Book.com.tw: https://bit.ly/39VUt6u
Kingstone bookstore: https://bit.ly/2UcV6Sm
Eslite bookstore: https://bit.ly/2WuK0ev
❣️Find the digital version here:
Book.com.tw: https://tinyurl.com/vl5zkhe
Readmoo: https://tinyurl.com/u98mx4l
Google Play: https://tinyurl.com/ut7pgpq
Kobo: https://tinyurl.com/vlqo2f7
#yingspastryguide #yingc #lartdelapâtisseriefrançaise
同時也有1部Youtube影片,追蹤數超過18萬的網紅KemushiChan ロレッタ,也在其Youtube影片中提到,Speaking Japanese with elders and strangers in another country town! This was shot back in 2020 with my friend Karen-chan. Let's see what the neighbor...
「how to say art in french」的推薦目錄:
- 關於how to say art in french 在 Ying C. 一匙甜點舀巴黎 Facebook
- 關於how to say art in french 在 Ying C. 一匙甜點舀巴黎 Facebook
- 關於how to say art in french 在 Fan-Chiang Yi 范姜毅 Facebook
- 關於how to say art in french 在 KemushiChan ロレッタ Youtube
- 關於how to say art in french 在 How to say 'art' in French? - YouTube 的評價
- 關於how to say art in french 在 How to pronounce ART (Art) in French - YouTube 的評價
- 關於how to say art in french 在 How to say 'Art' in French? - YouTube 的評價
- 關於how to say art in french 在 How to say "Art" in French | art - YouTube 的評價
- 關於how to say art in french 在 Pin on Everything Balthus - Pinterest 的評價
how to say art in french 在 Ying C. 一匙甜點舀巴黎 Facebook 八卦
[Keywords / #法式甜點關鍵詞] 為什麼法式甜點需要鑑賞? / Why "tasting" is needed when we enjoy french pastries? (for English, please click "see more")
「吃東西就好好吃、幹嘛搞那麼複雜?」、「法式甜點難道比其他甜點高級?幹嘛要知道那麼多?」、「好吃就好了,知道更多難道它會變得更好吃嗎?」你是不是也有相同的疑問呢?今天就讓我們用 #詳細案例解析與書籍介紹 來回答這些問題吧!
📌 #吃與品嚐的差別:
「動物求飽足而人類吃東西,但唯有智者才懂得怎麼吃。」
👉👉 來看看創立世界第一個美食評鑒(可不是米其林喔!)、為品嚐美食寫了一整本探討「味覺」對生理產生的影響、甚至連「美食家」都有至少四個不同單字代表的法國人怎麼說!
📌 #飲食是瞭解人和瞭解異文化的途徑:
「告訴我你吃什麼,我就知道你是怎麼樣的人。」
👉👉 你知道在法國,「開心果與覆盆子」、「鳳梨與茉莉花茶」、「熱帶水果與芫荽」是非常常見的甜點口味組合嗎?如果不了解經典甜點的結構組成,又怎麼能看懂創作者在哪裡做了變化、哪裡是原創、哪裡是傳統、哪裡又是從別人那裡得到的靈感與借鏡?
📌 #品味甜點就是藝術鑑賞:
「餐桌是唯一一個在開頭一小時內絕對不會讓人感到無聊的地方。」
👉👉 如果在一小時之後你還感到無聊,那一定是甜點還沒上桌的緣故!
點開連結,讓我們一起進入法式甜點迷人多彩的世界!
(本文提到的幾本重要書籍皆有中譯本,有興趣的讀者不用懂法文、在台灣也能欣賞!)
*****
"Let's just eat, why making it so complicated?",
"Are French pastries 'more premium' than pastries from other countries or cultures? Why do we need to know that much?",
"It's alright as long as it tastes good! Would it taste better if we know more about it?"
Have you ever posed questions like the above? Let's have a look and try to answer them today!
📌 The difference between "eating" and "tasting":
"Animals feed themselves; men eat; but only wise men know the art of eating."
👉👉 The French have created the world's first food and restaurant guide, wrote a whole book meditating on the influences of taste on human physiology, such as sleep, dreams, sex, and even death; they have at least four different words referring to a foodie. Let's have a look on what they say about "tasting".
📌 Through food and eating, we get to know people and foreign cultures:
"Tell me what kind of food you eat, and I will tell you what kind of man you are."
👉👉 Do you know in France, the match between pistachio and raspberries, pineapples and jasmine tea, and tropical fruits and coriander are very common? If you have no idea on the composition and essentials of classics, how would you know the original ideas, modifications, as well as the inspirations the chef has drawn from elsewhere?
📌 Pastry and dessert tasting is an art and aesthetic experience:
"The table is the only place where one does not suffer, from ennui during the first hour."
👉👉 If you feel bored after the first hour, this must be the fact that desserts are not served yet.
Click on the following link and let's dive into the wonderful world of French pastries!
#yingspastryguide #frenchpastrykeywords #dégustation #tasting 三采文化Suncolor 時報出版 馬可孛羅文化 Ritz Paris François Perret Four Seasons Hotel George V Paris Maxime Frederic
how to say art in french 在 Fan-Chiang Yi 范姜毅 Facebook 八卦
🎹鋼琴的大千世界/名家名言:「為何稱我為大師?主人在這裡(指著鋼琴),我只是他的奴才。」
— 李斯特著名的弟子,德國鋼琴家、作曲家、教育家 萊森奧爾(Alfred Reisenauer)
Why, there is the master (pointing to the piano), I am only the slave.”
— Alfred Reisenauer (1 November 1863 – 3 October 1907) German pianist, composer, and music educator.
📹 跟隨在李斯特學習長達十二年至李斯特過世(1874-1886)的萊森奧爾,演奏李斯特的第十號匈牙利狂想曲:
https://youtu.be/e12YwuHiQtY
📰 延伸閱讀 - 【李斯特學派 / the school of Liszt】♩.♪
https://www.facebook.com/notes/fan-chiang-yi-%E8%8C%83%E5%A7%9C%E6%AF%85/%E6%9D%8E%E6%96%AF%E7%89%B9%E5%AD%B8%E6%B4%BE-the-school-of-liszt/289155141104454/
———————————————————————1905-1906 鋼琴名家萊森奧爾(Alfred Reisenauer)在美國進行數月的巡迴演出,並接受美國著名音樂雜誌”Etude”的專訪。文章於1906年七月出版,隔年他在德國巡迴演出期間於下榻的飯店房間內過世。
📰 藝術家的養成 - 萊森奧爾的見解
The Making of an Artist - The Views of Alfred Reisenauer.
▪️With Liszt
“When I had reached a certain grade of advancement it was my great fortune to become associated with the immortal Franz Liszt. I consider Liszt the greatest man I have ever met. By this I mean that I have never met, in any other walk of life, a man with the mental grasp, splendid disposition and glorious genius. This may seem a somewhat extravagant statement. I have met many, many great men, rulers, jurists, authors, scientists, teachers, merchants and warriors, but never have I met a man in any position whom I have not thought would have proved the inferior of Franz Liszt, had Liszt chosen to follow the career of the man in question. Liszt’s personality can only be expressed by one word, ‘colossal.’ He had the most generous nature of any man I have ever met. He had aspirations to become a great composer, greater than his own measure of his work as a composer had revealed to him. The dire position of Wagner presented itself. He abandoned his own ambitions— ambitions higher than those he ever held toward piano virtuosity—abandoned them completely to champion the difficult cause of the great Wagner. What Liszt suffered to make this sacrifice, the world does not know. But no finer example of moral heroism can be imagined. His conversations with me upon the subject were so intimate that I do not care to reveal one word.
▪️Liszt’s Pedagogical Methods
“His generosity and personal force in his work with the young artists he assisted, are hard to describe. You ask me whether he had a certain method. I reply, he abhorred methods in the modern sense of the term. His work was eclectic in the highest sense. In one way he could not be considered a teacher at all. He charged no fees and had irregular and somewhat unsystematic classes. In another sense he was the greatest of teachers. Sit at the piano and I will indicate the general plan pursued by Liszt at a lesson.”
Reisenauer is a remarkable and witty mimic of people he desires to describe. The present writer sat at the piano and played at some length through several short compositions, eventually coming to the inevitable “Chopin Valse, Op. 69, No. 1, in A flat major.” In the meanwhile, Reisenauer had gone to another room and, after listening patiently, returned, imitating the walk, facial expression and the peculiar guttural snort characteristic of Liszt in his later years. Then followed a long “kindly sermon” upon the emotional possibilities of the composition. This was interrupted with snorts and went with kaleidoscopic rapidity from French to German and back again many, many times. Imitating Liszt he said, “First of all we must arrive at the very essence of the thing; the germ that Chopin chose to have grow and blossom in his soul. It is, roughly considered, this:(見譜例圖四)
Chopin’s next thought was, no doubt:(見譜例圖五)
But with his unerring good taste and sense of symmetry he writes it so:(見譜例圖六)
Now consider the thing in studying it and while playing it from the composer’s attitude. By this I mean that during the mental process of conception before the actual transference of the thought to paper, the thought itself is in a nebulous condition. The composer sees it in a thousand lights before he actually determines upon the exact form he desires to perpetuate. For instance, this theme might have gone through Chopin’s mind much after this fashion:(見譜例圖七)
The main idea being to reach the embryo of Chopin’s thought and by artistic insight divine the connotation of that thought, as nearly as possible in the light of the treatment Chopin has given it.
“It is not so much the performer’s duty to play mere notes and dynamic marks, as it is for him to make an artistic estimate of the composer’s intention and to feel that during the period of reproduction, he simulates the natural psychological conditions which affected the composer during the actual process of composition. In this way the composition becomes a living entity—a tangible resurrection of the soul of the great Chopin. Without such penetrative genius a pianist is no more than a mere machine and with it he may develop into an artist of the highest type.”
▪️A Unique Attitude.
Reisenauer’s attitude toward the piano is unique and interesting. Musicians are generally understood to have an affectionate regard for their instruments, almost paternal. Not so with Reisenauer. He even goes so far as to make this statement: “I have always been drawn to the piano by a peculiar charm I have never been able to explain to myself. I feel that I must play, play, play, play, play. It has become a second nature to me. I have played so much and so long that the piano has become a part of me. Yet I am never free from the feeling that it is a constant battle with the instrument, and even with my technical resources I am not able to express all the beauties I hear in the music. While music is my very life, I nevertheless hate the piano. I play because I can’t help playing and because there is no other instrument which can come as near imitating the melodies and the harmonies of the music I feel. People say wherever I go, ‘Ah, he is a master.’ What absurdity! I the master? Why, there is the master (pointing to the piano), I am only the slave.”
▪️The Future of Pianoforte Music.
An interesting question that frequently arises in musical circles relates to the future possibilities of the art of composition in its connection with the pianoforte. Not a few have some considerable apprehension regarding the possible dearth of new melodic material and the technical and artistic treatment of such material. “I do not think that there need be any fear of a lack of original melodic material or original methods of treating such material. The possibilities of the art of musical composition have by no means been exhausted. While I feel that in a certain sense, very difficult to illustrate with words, one great ‘school’ of composition for the pianoforte ended with Liszt and the other in Brahms, nevertheless I can but prophesy the arising of many new and wonderful schools in the future. I base my prophecy upon the premises of frequent similiar (sic) conditions during the history of musical art.” These are Reisenauer’s views upon this matter.
Continuing, he said: “It is my ambition to give a lengthy series of recitals, with programs arranged to give a chronological aspect of all the great masterpieces in music. I hope to be enabled to do this before I retire. It is part of a plan to circle the world in a manner that has not yet been done.” When asked whether these programs were to resemble Rubinstein’s famous historical recitals in London, years ago, he replied: “They will be more extensive than the Rubinstein recitals. The times make such a series posssible (sic) now, which Rubinstein would have hesitated to give.”
As to American composers, Reisenauer is so thoroughly and enthusiastically won over by MacDowell that he has not given the other composers sufficient attention to warrant a critical opinion. I found upon questioning, that he had made a genuinely sincere effort to find new material in America, but he said that outside of MacDowell, he found nothing but indifferently good salon-music. With the works of several American composers he was, however, unfamiliar. He has done little or nothing himself as a composer and declared that it was not his forte.
▪️American Musical Taste.
Reisenauer says: “American musical taste is in many ways astonishing. Many musicians who came to America prior to the time of Thomas and Damrosch returned to Europe with what were, no doubt, true stories of the musical conditions in America at that time. These stories were given wide circulation in Europe, and it is difficult for Europeans to understand the cultured condition of the American people at the present time. America can never thank Dr. Leopold Damrosch and Theodore Thomas enough for their unceasing labors. Thanks to the impetus that they gave the movement, it is now possible to play programs in almost any American city that are in no sense different from those one is expected to give in great European capitals. The status of musical education in the leading American cities is surprisingly high. Of course the commercial element necessarily affects it to a certain extent; but in many cases this is not as injurious as might be imagined. The future of music in America seems very roseate to me and I can look back to my American concert tours with great pleasure.
▪️Concert Conditions in America.
“One of the great difficulties, however, in concert touring in America is the matter of enormous distances. I often think that American audiences rarely hear great pianists at their best. Considering the large amounts of money involved in a successful American tour and the business enterprise which must be extremely forceful to make such a tour possible, it is not to be wondered that enormous journeys must be made in ridiculously short time. No one can imagine what this means to even a man of my build.” (Reisenauer is a wonderfully strong and powerful man.) “I have been obliged to play in one Western city one night and in an Eastern city the following night. Hundreds of miles lay between them. In the latter city I was obliged to go directly from the railroad depot to the stage of the concert hall, hungry, tired, travel worn and without practice opportunities. How can a man be at his best under such conditions—yet certain conditions make these things unavoidable in America, and the pianist must suffer occasional criticism for not playing uniformly well. In Europe such conditions do not exist owing to the closely populated districts. I am glad to have the opportunity to make this statement, as no doubt a very great many Americans fail to realize under what distressing conditions an artist is often obliged to play in America.”
how to say art in french 在 KemushiChan ロレッタ Youtube 的評價
Speaking Japanese with elders and strangers in another country town! This was shot back in 2020 with my friend Karen-chan. Let's see what the neighbors have to say!
Community Subtitles by:
Manuel Lamprecht (German)
Nina Mononen (Finnish)
そら (French)
Karen Lam (Chinese Simplified and Traditional)
Turkish Subtitles by: Esin (Instagram: @thought_sofa )
Giulia Galli (Italian)
@JoaoEMMelo (Brazilian Portuguese)
Shout out to GROOVY KAIJU for providing some of the chill tunes used in this episode!
Soundcloud; https://tinyurl.com/sgjdhyw
Spotify: https://tinyurl.com/svn3x72
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Business Inquiries:
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Hi! My name is Loretta, a girl from the U.S. who moved to Japan! I'm here on the MEXT scholarship program as a graduate student, studying to get a Masters in Business Administration. Here are some answers to common questions:
1. Do I Speak Japanese? Yep! I was taught formally in High School and have been speaking now for over 15 years.
2. What are you studying? I'm a recent grad of Yokohama National University's "Masters of Business Administration" Program
3. How old are you?: Year of the dragon. :D The math is up to you.
4. How did you get into Japanese school?: http://tinyurl.com/yb8yylch
5. What camera equipment do you use?: I film my videos with a Canon 60D using a 30mm Sigma Art Lens and I edit with Sony Vegas Pro (with some help from photoshop). Additional cameras include GoPro Hero 7 Black and DJI Majic Air
☆★☆★☆★☆★☆★*~MUSIC~*★☆★☆★☆★☆★☆★
#travelvlog #speakjapanese #polyglot
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how to say art in french 在 How to say 'art' in French? - YouTube 的八卦
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