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[Pinker, Steven]のThe Sense of Style: The Thinking Person's Guide to Writing in the 21st Century
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“Charming and erudite . . . The wit and insight and clarity he brings . . . is what makes this book such a gem.” —Time.com
 
Why is so much writing so bad, and how can we make it better? Is the English language being corrupted by texting and social media? Do the kids today even care about good writing—and why should we care?

In this entertaining and eminently practical book, the cognitive scientist, dictionary consultant, and New York Times–bestselling author Steven Pinker rethinks the usage guide for the twenty-first century. Using examples of great and gruesome modern prose while avoiding the scolding tone and Spartan tastes of the classic manuals, he shows how the art of writing can be a form of pleasurable mastery and a fascinating intellectual topic in its own right. The Sense of Style is for writers of all kinds, and for readers who are interested in letters and literature and are curious about the ways in which the sciences of mind can illuminate how language works at its best.


From the Trade Paperback edition.

レビュー

Praise for The Sense of Style


“[The Sense of Style] is more contemporary and comprehensive than “The Elements of Style,” illustrated with comic strips and cartoons and lots of examples of comically bad writing. [Pinker’s] voice is calm, reasonable, benign, and you can easily see why he’s one of Harvard’s most popular lecturers.”
The New York Times
 
“Pinker's linguistical learning…is considerable. His knowledge of grammar is extensive and runs deep. He also takes a scarcely hidden delight in exploding tradition. He describes his own temperament as "both logical and rebellious." Few things give him more pleasure than popping the buttons off what he takes to be stuffed shirts.”
The Wall Street Journal
 
“[W]hile The Sense of Style is very much a practical guide to clear and compelling writing, it’s also far more…. In the end, Pinker’s formula for good writing is pretty basic: write clearly, try to follow the rules most of the time—but only the when they make sense. It’s neither rocket science nor brain surgery. But the wit and insight and clarity he brings to that simple formula is what makes this book such a gem.”
Time.com
 
“Erudite and witty… With its wealth of helpful information and its accessible approach, The Sense of Style is a worthy addition to even the most overburdened shelf of style manuals.”
Shelf Awareness
 
“Forget Strunk and White’s rules—cognitive science is a surer basis for clear and cogent writing, according to this iconoclastic guide from bestselling Harvard psycholinguist Pinker... Every writer can profit from—and every writer can enjoy—Pinker’s analysis of the ways in which skillfully chosen words engage the mind.”
Publishers Weekly (starred)
 
“Yet another how-to book on writing? Indeed, but this is one of the best to come along in many years, a model of intelligent signposting and syntactical comportment…Pinker's vade mecum is a worthy addition to any writer’s library.”
Kirkus Reviews
 
“In this witty and practical book on the art of writing, Pinker applies insights from the sciences of language and mind to the crafting of clear, elegant prose: #requiredreading.”
Publishers Weekly, PW pick Fall 2014 Announcements
 
“Who better than a best-selling linguist and cognitive scientist to craft a style guide showing us how to use language more effectively?”
Library Journal
 
“[A] dense, fascinating analysis of the many ways communication can be stymied by word choice, placement, stress, and the like. [Pinker’s] explanations run rich and deep, complemented by lists, cartoons, charts on diagramming sentences, and more.”
Booklist
 
“This book is a graceful and clear smackdown to the notion that English is going to the proverbial dogs. Pinker has written the Strunk & White for a new century while continuing to discourage baseless notions such as that the old slogan should have been ‘Winston tastes good AS a cigarette should.’”
—John McWhorter, author of Our Magnificent Bastard Tongue and The Power of Babel
 
“Great stuff! Only Steven Pinker could have written this marvelous book, and thank heaven he has. ‘Good writing can flip the way the world is perceived,’ he writes, and The Sense of Style will flip the way you think about good writing. Pinker’s curiosity and delight illuminate every page, and when he says style can make the world a better place, we believe him.”
 —Patricia T. O’Conner, author of Woe Is I and, with Stewart Kellerman, Origins of the Specious
 
 

 Praise for The Better Angels of Our Nature


"A supremely important book...a masterly achievement."
The New York Times Book Review

"Masterly."
The Wall Street Journal

"One of the most important books I've read--not just this year, but ever."
—Bill Gates

Praise for The Stuff of Thought


"Packed with information...Clear, witty, attractively written."
The New York Review of Books

"A display of fiercely intricate intelligence."
The Times (London)

"Engaging and provocative . . . It's good to have a mind as lively and limpid as his bringing the ideas of cognitive science to the public."
—Douglas Hofstadter, Los Angeles Times

"Curious, inventive, fearless, naughty."
The New York Times

 

Praise for The Blank Slate
 

"Sweeping, erudite, sharply argued, and fun to read . . . also highly persuasive."
Time

"Ought to be read by anybody who . . . thinks they already know where they stand on the science wars. . . . It could change their minds."
The Economist

"Pinker is a star, and the world of science is lucky to have him." —Richard Dawkins


quotes

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  • フォーマット: Kindle版
  • ファイルサイズ: 16620 KB
  • 紙の本の長さ: 368 ページ
  • 出版社: Penguin Books (2014/9/30)
  • 販売: Amazon Services International, Inc.
  • 言語: 英語
  • ASIN: B00INIYG74
  • Text-to-Speech(テキスト読み上げ機能): 有効
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  • Word Wise: 有効
  • おすすめ度: 5つ星のうち 3.0 2件のカスタマーレビュー
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投稿者 書斎 トップ1000レビュアー 投稿日 2016/1/2
形式: ペーパーバック Amazonで購入
The Language Instinct とかHow the Mind Worksなどの著者で言語学者、心理言語学者として著名なピンカーの語法エッセイである。規範文法・記述文法・分割語法(divided usage)を言語学者、心理言語学者の立場から縦横に論じている。英語の文章は難解でなくむしろ平易であるが、結論が分かりにくい箇所が少なくない(もっとも分割語法に明確な結論下すのは困難であるが)。一つ面白そうな箇所をおおまかに紹介しょう。たとえば、The bridge to the roads is [are] crowdedでは、The bridge to the roadsは内心構造(名詞句)をなし、その名詞句の主要語はbridgeである。「英語の動詞は主語である名詞句の主要語の数に一致する」という標準的に確立したルールがあるので、このルールに照らしてis が正しい(areは誤り)と言える。しかし、Either Ellisa or the twins are [is] to be thereのような等位接続詞構文ではこのようなルールはなく、「動詞に最も近い名詞(句)の数に一致するべき」という(恣意的な)主張があるだけである。このような場合、is, areのいずれを選ぶかは「文法」の問題というより「判断」の問題であるという。
ここから私見であるが、最近ではコンピュータ・
...続きを読む ›
コメント 7人のお客様がこれが役に立ったと考えています. このレビューは参考になりましたか? はい いいえ 評価を送る...
フィードバックありがとうございました。
申し訳ありませんが、お客様の投票の記録に失敗しました。もう一度試してください。
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形式: ペーパーバック Amazonで購入
91ページから138ページまでが、219ページから266ページと入れ替わっている乱丁です。
交換してほしいけど、どこにクレーム言えばよいのかな
他の方が入手したものはまともなんでしょうか。気になります。
コメント このレビューは参考になりましたか? はい いいえ 評価を送る...
フィードバックありがとうございました。
申し訳ありませんが、お客様の投票の記録に失敗しました。もう一度試してください。
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Amazon.com: 5つ星のうち 4.3 304 件のカスタマーレビュー
155 人中、147人の方が、「このレビューが参考になった」と投票しています。
5つ星のうち 4.0 English Majors and Writers Will Enjoy 2014/10/7
投稿者 Book Shark - (Amazon.com)
形式: Kindle版 Amazonで購入
The Sense of Style: The Thinking Person's Guide to Writing in the 21st Century by Steven Pinker

The Sense of Style is a scholarly and witty book on the art of writing well. Bestselling author, linguist and cognitive scientist Steven Pinker provides readers with a new writing-guide for the twenty-first century. He breaks down grammar rules and challenges purists on the best use of language. This challenging 368-page book includes the following six chapters: 1. Good Writing, 2. A Window onto the World, 3. The Curse of Knowledge, 4. The Web, the Tree, and the String, 5. Arcs of Coherence, and 6. Telling Right from Wrong.

Positives:
1. Dr. Pinker consistently produces quality work.
2. A "very" unique topic, the art of writing well from a scientific perspective. You don't have to read the book to get my joke.
3. Good use of wit that adds panache to a book about writing style.
4. Good advice throughout the book. "By replacing dogma about usage with reason and evidence, I hope not just to avoid giving ham-fisted advice but to make the advice that I do give easier to remember than a list of dos and don'ts."
5. Explains the three main reasons why style matters.
6. Provides insights on how to become a good writer. "Writers acquire their technique by spotting, savoring, and reverse-engineering examples of good prose."
7. Supports good style over writing dogma. "The key to good style, far more than obeying any list of commandments, is to have a clear conception of the make-believe world in which you're pretending to communicate." "The purpose of writing is presentation, and its motive is disinterested truth. It succeeds when it aligns language with the truth, the proof of success being clarity and simplicity."
8. The characteristics of classic style. "A writer of classic prose must simulate two experiences: showing the reader something in the world, and engaging her in conversation."
9. Provides many examples of what constitutes poor prose: "Metadiscourse, signposting, hedging, apologizing, professional narcissism, clichés, mixed metaphors, metaconcepts, zombie nouns, and unnecessary passives."
10. Hanlon's Razor, "Never attribute to malice that which is adequately explained by stupidity." Excellent explanation on how the curse of knowledge may lead to poor prose. "The curse of knowledge is the single best explanation I know of why good people write bad prose."
11. Ways on how to improve your prose. "Good prose is never written by a committee." Think about that.
12. The importance of understanding syntax. "Finally, an awareness of syntax can help you avoid ambiguous, confusing, and convoluted sentences. All of this awareness depends on a basic grasp of what grammatical categories are, how they differ from functions and meanings, and how they fit into trees."
13. Interesting insights on how our minds work and how that knowledge benefits good writing. "English syntax demands subject before object. Human memory demands light before heavy. Human comprehension demands topic before comment and given before new."
14. How to construct coherent passages longer than a sentence. "In fact, it's the hunger for coherence that drives the entire process of understanding language."
15. Discusses principles of composition. "An important principle in composition is that the amount of verbiage one devotes to a point should not be too far out of line with how central it is to the argument. "
16. Discusses good use of grammar, word choice, and punctuation. Starts off by debunking the myth that all traditional rules must be followed for dogma's sake. "That's right: when it comes to correct English, there's no one in charge; the lunatics are running the asylum. The editors of a dictionary read a lot, keeping their eyes open for new words and senses that are used by many writers in many contexts, and the editors add or change the definitions accordingly. Purists are often offended when they learn that this is how dictionaries are written."
17. Presents a list of common usage issues. "These are the ones that repeatedly turn up in style guides, pet-peeve lists, newspaper language columns, irate letters to the editor, and inventories of common errors in student papers." Great stuff.
18. Includes notes, glossary and a formal bibliography.

Negatives:
1. This book is intended for writers, not for laypersons. You must possess good command of the English language and grammar in order for this book to make sense. The grammar jargon will overwhelm the average reader.
2. The book's formatting leads to confusion. For a book predicated on clarity, many times I was lost.
3. The writing may come across as pretentious.
4. I wanted more neuroscience.

In summary, there is a direct correlation between the number of stars this book deserves and your expertise on the subject. English majors and writers will give this book either four or five stars. On the other hand, laypersons will struggle with it to say the least. I'm giving this book four stars because even though my engineering brethren balks at reading such a book the avid reader in me recognizes its value. Writers will enjoy this book while the rest will struggle with it.

Further recommendations: "The Elements of Style, Fourth Edition" by William Strunk Junior, "On Writing Well, 30th Anniversary Edition: The Classic Guide to Writing Nonfiction" by William Zinsser, "A Manual for Writers of Research Papers, Theses, and Dissertations, Seventh Edition: Chicago Style for Students and Researchers (Chicago Guides to Writing, Editing, and Publishing)" by Kate L. Turabian, "The Only Grammar Book You'll Ever Need: A One-Stop Source for Every Writing Assignment" by Susan Thurman and Larry Shea, "Book Writing Mistakes (How To Avoid The Top 12 Mistakes New Business Book Authors Make)" by Jim Edwards, "How to Write Great Blog Posts that Engage Readers (Better Blog Booklets Book 1)" by Steve Scott, "English Grammar For Dummies" by Geraldine Woods, and "Grammar Girl's Punctuation 911: Your Guide to Writing it Right (Quick & Dirty Tips)" by Mignon Fogarty.
6 人中、6人の方が、「このレビューが参考になった」と投票しています。
5つ星のうち 5.0 A Very Useful Meditation On Style & Grammar -- Not A Reference Book! 2015/2/15
投稿者 David S. Wellhauser - (Amazon.com)
形式: Kindle版 Amazonで購入
Firstly, The Sense of Style is not a reference guide but a meditation on the nature of style.

Steven Pinker’s cap fits, tightly, down over a number of fields – experimental psychologist, cognitive scientist, linguist, and popular science writer. He has referred to himself as a psycholinguist as well. Professor Pinker teachers at Harvard University.

What the reader is getting here is a lifetime [at the time of writing the author is 60 years of age] of experience and research distilled into a single book. The book is written for non-fiction writers but could well be used for fiction writers as well.

There are too many issues tucked into this 368 page book to treat comprehensively in this review, but a shortlist are show-stoppers:

1. Passive Voice not only isn’t a poor choice but can, on occasion, be the best choice. Caveat – the passive should be used with circumspection.
2. It definitely is not incorrect, or even bad, to begin a sentence with a coordinating conjunction, such And, But, or So.
3. ‘They’ as a singular, gender-neutral pronoun not only is correct but it has a long tradition – Shakespeare and Jane Austen both used it…as well as George Bernard Shaw. Only in the 19th Century did it become a problem. It may even be used where the gender of the referent has been plainly stated beforehand – Shaw does this.
4. Though dated Strunk and White’s style guide is still useful. A kind way of saying it is time to kick Strunk and White to the curb. As Prof. Pinker writes: “for all their intuitive feel for style, [Strunk and White] had a tenuous grasp of grammar.” Pinker goes on to list their weaknesses.

The author offers many other useful tools for the thoughtful writer as well…be they university students, academics, or professional writers.

Occasionally, however, the reader may find themselves flipping back and forth in the book to follow the argument, but for the most part Pinker’s The Sense of Style is very accessible and useful.

Highly recommended for all those wishing to improve their style and get some historical background on grammar uses and why they may be so odd and, in some cases, plain wrong.

Rating: 5 out of 5 stars
192 人中、178人の方が、「このレビューが参考になった」と投票しています。
5つ星のうち 4.0 A style manual for the 21st century 2014/10/1
投稿者 Genevieve D. - (Amazon.com)
形式: Kindle版
Heads-up, editors. In The Sense of Style, author Steven Pinker challenges every authoritarian grammarian and language purist who has held sway over the rules of the English language with their dogmatic style books.

A psycholinguist by profession, Pinker is a scholar of the science of language. So it's no surprise that The Sense of Style feels like a modern alternative to the classic but tired guides of Strunk and White and others. In my days as an English undergrad, Strunk and White's The Elements of Style was the biblical tome of writing. But Pinker arrives with this iconoclastic book to show us that sometimes rules can be tone-deaf to what really makes for transparent and compelling prose.

Purists often forget that the English language is rife with idiosyncrasies that can't be fit so neatly into rule boxes. You'll see the best kind of rule-breaking among poets and novelists, who often have the better "ear" and feel for language than your clumsy grammarian. Language is chiefly a medium for expression, not just an embodiment of rules. Literature's most gifted writers have often 'broken' the rules using constructions that might have been edited into sterility by heavy-handed editors. The expressive possibilities of language often rely on the rules being bent.

As you can see, this book isn't your typical manual on grammar and usage. You won't find a list of dos and don'ts in an effort to indoctrinate. Pinker shows us instead that unthinking adherence to manuals actually makes for bad, clunky writing. For example, one of the signature rules in writing is to avoid using the passive voice at all costs. But Pinker argues that if you change every passive sentence into an active one, you're not necessarily improving the prose. The main problem is that the passive construction exists for a purpose--but most people don't know when to use it effectively. Sure, both active and passive constructions convey the same information but they have cognitive differences because of the order of information given. Pinker's rule of thumb: Passive is the preferred construction when the affected entity (the item that receives the action) is the topic of the preceding discussion or when the agent of action is irrelevant to the discussion. In other words, good writing is about having a "sense," about letting your communication goals dictate the writing.

This book isn't for beginners. Pinker is clear in the Introduction about this and writes that this book is for experienced writers. You will benefit the most from this book if you are a relatively experienced writer and reader, and are familiar with the basic rules of language and grammar. You have to know the rules in order to bend them with style and with compelling reason, to know when to take advantage of loopholes and irregularities.

The "sense" in The Sense of Style is knowing how a masterful writer moves fluidly between logical rules and combinations, and knows those idiomatic usages and irregularities. The book is packed with examples and is wonderfully readable, which surprised me. Pinker is great at reverse engineering passages and illuminating what writers have done well (or not done well) to convey their ideas. Take lots of notes!

For those who still crave the utility of a reference manual, the later chapters in the book include lists of words and rules that can be bent and those that can't (in Pinker's opinion). Or, for a bite-size taste of the grammar rules Pinker explores in this book, check out this article (http://www.theguardian.com/books/2014/aug/15/steven-pinker-10-grammar-rules-break) by Pinker in The Guardian.

Overall, a great, informative read. I'll be keeping this on my reference shelf.

[Disclaimer: I received an ARC copy of this book from the publisher through the Goodreads First Reads Program in exchange for an honest review.]
5つ星のうち 5.0 Combines deep linguistic authority with practical necessities 2017/4/21
投稿者 Spatially Mapped - (Amazon.com)
形式: ペーパーバック Amazonで購入
Brilliant. From the author of books on popular Linguistics on the one hand and vast sweeps of intellectual argument on the other, this combines deep linguistic authority with practical necessities. There are five major sections, which get progressively longer. (i) Windows on the World argues for a basic descriptive style as the foundation for all writing, at least non-fiction. If this seems obvious, contrast with so much academic and technical writing. (ii) The Curse of Knowledge is timely in the sense that I’ve seen this described from multiple sources recently. Why do people give such bad directions? Because they assume that the listener has the same worldview infrastructure. (iii) The Web, The Tree, and The String is the most technical. It has the greatest insight (to me) of the whole book. Ideas in our heads take the form of webs of connected ideas (semantic nets or webs). To communicate them we need to convert to a linear sequence of words (the string). The transformations are through trees (parsing). We can see whether our strings are coherent and properly match the webs by reverse engineering the transformation. No one but a linguist would actually go through this process, but it still is both insightful and helpful. (iv) Arcs of Coherence has perhaps the most useful info: While writing starts with outlines and ends with paragraphs, real writing requires a more complex structure. Themes appear and reappear. Conflicts as well. How should they best be structured? (v) Telling Right From Wrong has 120 pages of practical advice.
5つ星のうち 5.0 Lovely 2015/12/13
投稿者 Mr. Richard K. Weems - (Amazon.com)
形式: ペーパーバック Amazonで購入
How refreshing to read a style book that operates on actual style rather than a preconceived list of must-haves. Pinker uses the logic of expression, an historical view of changes in language, and an ACTUAL definition of style to offer up a thoughtful book that presents and exemplifies clear, simple and accurate expression. Also marvelous for its humor, using cartoons as well as references to The Princess Bride, Spinal Tap and Monty Python as suitable examples. While not quite a sit-down-and-read primer, going back over passages I'd underlined was just as worthwhile.

Just check out this explanation of classic style, the idea he orients his presentation around:

"The guiding metaphor of classic style is seeing the world. The writer can see something that the reader has not yet noticed, and he orients the reader's gaze so that she can see it for herself. The purpose of writing is presentation, and its motive is disinterested truth. It succeeds when it aligns language with the truth, the proof of success being clarity and simplicity. The truth can be known, and is not the same as the language that reveals it: prose is a window onto the world. The writer knows the truth before putting it into words; he is not using the occasion of writing to sort out what he thinks. Nor does the writer of classic prose have to argue for the truth; he just needs to present it. That is because the reader is competent and can recognize the truth when she sees it, as long as she is given an unobstructed view. The writer and the reader are equals, and the process of directing the reader's gaze takes the form of a conversation."

He later defines disinterested properly as unbiased and without a vested interest. He also nicely qualifies that such presentation does require drafting and revision, likening this to a celebrity chef pulling a soufflé from the oven--we are presented with the final product and not the whole process of him learning how to make it.

I have always been troubled at the idea of expecting students to write 'with style,' for I'd always the phrase ambiguous and thus unquantifiable and unattainable. But Pinker, as he does throughout the book, takes ambiguities and presents them in clear, attainable terms.

And so reassuring. For example, hearing him describe paragraph breaks as eye rests for the reader, grammar and punctuation as guides to reading rather than persnickety rules, and even his own moments of persnicketiness for accuracy, that makes this a book to keep on-hand in defense against the lazy and hyper-arrogant.
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