SKU: 89319269621

我們的二十四節氣【秋收】:立秋、處暑、白露、秋分、寒露、霜降

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我們的二十四節氣【秋收】:立秋、處暑、白露、秋分、寒露、霜降: : QR Code QR code

作者: 七色王國  |  繪者: 七色王國  


★ 大場景立體頁x好聽有聲故事x互動操作機關 ★
掃一掃內頁QR Code,一邊聽繪本故事,一邊操作互動小機關,
了解立秋、處暑、白露、秋分、寒露、霜降6個秋天的節氣。

  立秋是秋季的第一個節氣,預告炎熱的夏季即將過去,農作物開始結果並慢慢長大,進入收穫的季節……

  動手操作各種小機關,每頁都有大驚喜!
  專為孩子設計的節氣百科繪本,結合立體、翻翻、推拉等多種互動小巧思,滿足孩子的好奇心,邊玩邊讀理解節氣對日常生活帶來的影響。
  內容包含每個節氣的農耕活動、民俗節慶、時令飲食、傳說故事與詩詞諺語,淺顯易懂的文字敘述,簡單好玩,讓節氣更靠近孩子的世界。
  大量手繪插圖,精緻的細節提供孩子自行探索,讓孩子保有好奇心、玩樂力,並用各種有趣的節氣小知識帶給孩子大大的樂趣。

  秋天的節氣小知識
  立秋:收穫在望、早上立了秋,晚上涼颼颼、七夕節、貼秋膘等。
  處暑:防秋燥、處暑十八盆、秋老虎、處暑滿地黃,家家修廩倉等。
  白露:打核桃、吃龍眼、飲白露茶、釀米酒等。
  秋分:中秋節、秋分看收穫、送秋牛、吃鴨肉等。
  寒露:寒露颱、吃芝麻、重陽節、九月九日憶山東兄弟(詩詞)等。
  霜降:濃霜猛太陽、吃柿子、寒衣節、寒露早,立冬遲,霜降收薯正適宜等。

本書特色

  ★大場景立體頁:多角度展現節氣的天文氣候、民俗活動、節日慶典、傳說故事等,讓孩子細細體會每個細節。
  ★QR code有聲故事:由專業老師唸讀內文,學齡前幼兒透過看圖聽故事也能輕鬆獲得知識。
  ▲細緻可愛插圖:手繪呈現每個節氣場景,隱藏各種好玩小細節,遊戲中養成孩子動腦習慣與鍛鍊觀察能力。
  ★趣味互動機關:充滿巧思的操作設計,了解關於節氣的小祕密,進一步發現自然與科學的樂趣。
 
 
作者

七色王國

  專門研發設計益智遊戲書的優秀品牌,擁有一群專業精英策劃團隊和製作團隊,出版上市的圖書種類已多達數百種,銷售地區遍布世界各地,目標為「打造優質的原創立體互動童書」。
 
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SKU: 89319269621

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4.0 ★★★★★
Based on 15 reviews
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Doug S.
Bozeman, US
★★★★★ 5
One Of My Top Ten Movies
It's a Terry Gilliam masterpiece that blends a touch of Monty Python, Twilight Zone, and Broadway! Worth the watch!
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Reviewed in the United States on May 3, 2026
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Tripp Moore
Lowell, US
★★★★★ 5
Visually Brilliant, Darkly Funny, and Still Uncomfortably Relevant
I rented Brazil through Amazon primarily because I’d heard it described as a dystopian sci-fi classic, but I wasn’t fully prepared for just how strange, creative, and visually dense this movie actually is. It feels like George Orwell had a stress dream after getting trapped inside a malfunctioning government office building designed by someone obsessed with ducts and paperwork. The film does an incredible job blending dark comedy, bureaucracy, paranoia, retro-futurism, and outright absurdity into something that somehow still feels coherent. The world-building is fantastic in a very grimy, claustrophobic way where technology exists everywhere but almost none of it works properly. Everything feels intentionally inefficient and overcomplicated, which makes the setting weirdly believable. Jonathan Pryce does a great job playing a character slowly unraveling under the weight of an increasingly surreal system, and Robert De Niro’s appearance is memorable despite limited screen time. The production design is honestly one of the standout elements of the entire film. Nearly every scene has some strange visual detail happening in the background that adds to the oppressive but oddly humorous atmosphere. This definitely is not a fast-paced mainstream sci-fi movie, though. The pacing can feel slow at times, and the tone swings between satire, anxiety, fantasy, and bleakness in ways that probably won’t work for everyone. It’s the kind of movie where you occasionally stop and think, “What exactly am I watching?” while still wanting to keep watching. The Amazon streaming quality itself was good with no playback issues during my rental, and the film benefits from a decent screen because there’s so much visual detail packed into the sets and cinematography. Overall, Brazil is one of those movies that feels increasingly relevant the older it gets. Strange, unsettling, funny, visually inventive, and much more layered than I expected.
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Reviewed in the United States on May 23, 2026
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Joel Bradford
Lexington, US
★★★★★ 4
Beautiful, glorious, and depressing but not without levity
Probably Gilliams most serious film, a story of a dreamer in a dystopian bureaucratic future, plagued by monotony and endless paperwork, our protagonist (played by Jonathan Pryce) isn't sure what he wants in his life, but he knows he wants something different. When the Department of Information Retrieval disappears the wrong person (played by Robert De Niro), our hero goes to reimburse the widow and discovers a woman living in the same building who looks like the woman out of his dreams (played by Kim Greist). Really stellar performances by Pryce, and a gaggle of supporting actors such as Ian Holm, Michael Palin, Kathrine Helmond, and Bob Hoskins. Greists performance is probably the weakest, but she does enough for the role that the critique of it amounts to a nit pick really. While this film is considered a cult classic, I would qualify it even less and say its just a classic, full of symbolism with a increasingly repressive tone throughout balanced by Gilliams puncturing, dark humor.
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Reviewed in the United States on September 29, 2024
M
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Mr. Watkins
Los Angeles, US
★★★★★ 5
Classic Terry Gilliam- Watch It!
One of the best Terry Gilliam movies out there. Made in the 1980's, the cast is superb, and it holds up well 40 years on. WAtch it- it's a trip!
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Reviewed in the United States on April 27, 2026
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***moviemaker***
San Leandro, US
★★★★★ 5
BLU RAY is the 132 minute Original U.S. Theatrical Cut FINALLY!!!!
] On this Blu-ray for the first time ever we get the ORIGINAL 132 minute version of the film as was shown in U.S. theaters. (Note: This is NOT the "Love Conquers All" Sheinberg/TV Edit.) All the DVD releases before this have been the European Version/Director's Cut of the film. Even the original Universal DVD release that said Theatrical Cut on the box actually had the European Version/Director's Cut. Unfortunately, Universal didn't really spend any time cleaning up the negative for Hi-Definition (there is very noticeable instances of dirt and debris on the negative) but it still beats the image quality found on the Universal SD DVD, and they do include an amazing DTS-HD Master 5.1. We'll just have to wait for the Criterion Blu-ray of Brazil for image perfection but serious fans of Brazil will want to get this Blu-ray edition just to have this version of the film as it was originally seen in theaters in 1985. I actually find this 132-minute version is in many ways a superior cut of the film. Here are the differences in detail: *In the 132-minute version you cut from Sam in bed with Jill, police sack goes over head, then CUT TO Pull off police sack to reveal Sam in Torture Chamber/Interrogation chair. This one cut is simply brilliant and very powerful. In the Criterion Version you have the added scene of Mr. Helpman as Father Christmas (completely out of charcater from the rest of the film) and the whole interrogation scene of Sam hanging from the rack inside the police/mail pouch which becomes narratively redundant and dilutes the impact of the final scene. *To end it with cooling tower/interrogation room fade to clouds was a great Gilliam wink of subversion and irreverence to the cliche Hollywood Ending. As opposed to the European cut of just credits over cooling tower/interrogation room. *The Samurai Scene is divided into 3 separate scenes in the 132-minute version versus 1 LONG scene in the European cut. And you know what? Like most things, it works better in 3's. *The 132-minute version cuts straight to the Dinner Scene with Ida (his mother) ordering numero deux, trois, etc. while the European version has the entrance to the restaurant of going through the metal detector which really doesn't add anything and is again a bit redundant when the bomb does eventually go off in the restaurant. With the scene, you're signaling to the audience we are looking for a bomb, so we expect a bomb. Without the added scene, the bombing is unexpected and it actually shocks you so you're both horrified and laughing. The unexpectedness also works as it builds upon the bomb motif from the first explosion at the beginning of Brazil during the Ducts advert. *And finally I just love that the 132-minute version opens on those clouds (outtakes from The Never-Ending Story) then goes to the Central Services advert about Ducts: "Are your ducts old-fashioned, out-of-date... " Now the Criterion version also has the clouds opening (The Original European Cut didn't) but it's funny because the Studio asked Gilliam to start off with the clouds for the US Cut and he actually prefers it as quoted in his Director's commentary. Hilarious. Little changes that add up to a tighter and overall, better film.
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Reviewed in the United States on July 12, 2011

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