The relationship between monsters and the cultures that produce them is always complicated. On the one hand, monsters are destructive enemies of society; on the other hand, literary and artistic works involving monsters can be some of the most important produced by a culture. That is, while within the narrative or artistic plane monsters threaten society, in real world monsters are a part of culture and thus benefit society. The nature of this relationship is different in the case of sea monsters on maps: monsters on maps are less of a threat to society in general than to the enterprises of exploration and mapmaking, for the presence of sea monsters on maps would at least to some extent discourage the exploration that would be needed to improve maps, particularly as monsters are often loca... (查看原文)
0 有用 三尺水 2018-12-30 19:57:32
基于地图发掘的海怪踪迹，文字内容比较枯燥，可以的话，更想了解一些有趣的海怪故事。
0 有用 希米格 2018-07-01 21:29:13
这书实在奢侈，但想象力也发达，海怪是存在于科技不发达时期的地图和装饰画当中，随着技术的进步也就慢慢没有“怪物”了。
15 有用 yyychang 2018-07-23 00:22:11
这本海怪的书侧重点是海图，并非海怪。如果想看海怪的详细信息可以去看另一本关于海怪的《海怪 欧洲古〈海图〉异兽图考》，作为一个延伸阅读
0 有用 Shanique 2023-09-25 21:04:22 四川
中世纪的海图上海怪有着装饰和警示作用，16世纪末，船只数量胜过海怪，展示人类日益高涨的对海洋的控制力，18世纪，人类航海技术足够自信，不再需要通过绘制船只证明人类的技术进步，同理而今的地图册里汪洋大海上，既没有船也没有海怪。
0 有用 Paradox（蒽） 2024-10-02 15:17:24 浙江
感觉作者想给读者一种历史地角度看海怪，但是作者只是罗列了一些图，并没有说为什么选这些，所以会让人困惑