Giger's most wonderful book of his artwork. Dark, erotic and disturbing, Giger's work is among the most brilliant fantasy art of the century. This Necronomicon is an oversized and stunning collection of photographs, paintings, and sculptures, as well as interviews, essays, and autobiographical text.

W. G. Sebald called Robert Walser “a clairvoyant of the small,” and nowhere is the phrase more apt than in his “microscripts.” Robert Walser wrote many of his manuscripts in a highly enigmatic, shrunken-down form. These narrow strips of paper (many of them written during his hospitalization in the Waldau sanatorium) covered with tiny ant-like markings only a millimeter or two high, came to light only after the author’s death in 1956. At first considered a secret code, the microscripts were eventually discovered to be a radically miniaturized form of a German script: a whole story could fit on the back of a business card.
Selected from the six-volume German transcriptions from the original microscripts, these 25 short pieces are gathered in this gorgeously illustrated co-publication with the Christine Burgin Gallery. Each microscript is reproduced in full color in its original form: the detached cover of a trashy crime novel, a disappointing letter, a receipt of payment. Sometimes Walser used the pages of small tear-off calendars (but only after cutting them lengthwise and filling up each half with text). Schnapps, rotten husbands, small town life, the radio, pigs (and how none of us can deny being one), jealousy, Van Gogh and marriage proposals are some of Walser’s subjects. These texts take strength from Walser’s motto: “To be small and to stay small.” 65 full-color illustrations
Afterword by Walter Benjamin

《三坟记碑》无题。两面刻字，阳面十三行，阴面十一行，满行二十字，李季卿撰，李阳冰篆书，栗光刻。螭首龟趺，首已残断，趺亦残缺。碑身残高一百六十三厘米，宽八十厘米，厚二十四厘米。《拪先茔记碑》碑题为"拪先茔记"，碑文十四行，满行二十六字，李阳冰篆书。二碑均刻立于唐大历二年（767），本立于唐长安凤栖原，现藏西安碑林博物馆。
二碑碑文主要记叙了李季卿三位兄长的生平事迹及由霸陵迁葬凤栖原之原委。李季卿之父李适于开元二十三年去世，在霸陵起坟安葬。此后不到二十年间，李季卿之母和三位兄长相继去世，他因此认为祖茔风水不利，占卜后将祖坟由霸陵迁至凤栖原，并将三位兄长之坟一同迁入。二碑记述的内容各有侧重，《三坟记》着重记述三位兄长的生平，《迁先茔记》侧重记述迁坟始末。

《元灵曜墓志》志题"魏故征虏将军平州刺史元使君墓志序铭"，北魏正光四年（523）。志呈正方形，高宽均七十七厘米。志文二十七行，满行二十七字，楷书。
《于仙姬墓志》志题"魏帝先朝故于夫人墓志"，北魏孝昌二年（526）。志盖四方形，高四六厘米，宽三八厘米。志文十三行，满行十五字，有方界格，楷书。
《杨干墓志》志题"魏故清水太守恒农男杨公之墓志"，北魏孝昌二年，（公元526）。志盖皆方形，高五九厘米，宽六〇厘米。志文二十三行，满行二十三字，楷书。

An eye-opening account of life inside North Korea—a closed world of increasing global importance—hailed as a “tour de force of meticulous reporting” (The New York Review of Books)
 
NATIONAL BOOK AWARD FINALIST • NATIONAL BOOK CRITICS CIRCLE AWARD FINALIST
 
In this landmark addition to the literature of totalitarianism, award-winning journalist Barbara Demick follows the lives of six North Korean citizens over fifteen years—a chaotic period that saw the death of Kim Il-sung, the rise to power of his son Kim Jong-il (the father of Kim Jong-un), and a devastating famine that killed one-fifth of the population.
 
Demick brings to life what it means to be living under the most repressive regime today—an Orwellian world that is by choice not connected to the Internet, where displays of affection are punished, informants are rewarded, and an offhand remark can send a person to the gulag for life. She takes us deep inside the country, beyond the reach of government censors, and through meticulous and sensitive reporting we see her subjects fall in love, raise families, nurture ambitions, and struggle for survival. One by one, we witness their profound, life-altering disillusionment with the government and their realization that, rather than providing them with lives of abundance, their country has betrayed them.

Praise for Nothing to Envy

“Provocative . . . offers extensive evidence of the author’s deep knowledge of this country while keeping its sights firmly on individual stories and human details.”—The New York Times

“Deeply moving . . . The personal stories are related with novelistic detail.”—The Wall Street Journal

“A tour de force of meticulous reporting.”—The New York Review of Books

“Excellent . . . humanizes a downtrodden, long-suffering people whose individual lives, hopes and dreams are so little known abroad.”—San Francisco Chronicle

“The narrow boundaries of our knowledge have expanded radically with the publication of Nothing to Envy. . . . Elegantly structured and written, [it] is a groundbreaking work of literary nonfiction.”—John Delury, Slate

“At times a page-turner, at others an intimate study in totalitarian psychology.”—The Philadelphia Inquirer

In this generously illustrated book, Anne Hollander examines the representation of the body and clothing in Western art, from Greek sculpture and vase painting through medieval and renaissance portraits, to contemporary films and fashion photography. First published ahead of its time, this book has become a classic.

Richard Avedon redefined portrait and fashion photography in the 20th century. In the 1940s Avedon burst onto the fashion scene, infusing his photographs with touches of realism and the fantastic. His images were among the first to replace the stiff poses of the past with energetic action scenes that commanded the pages of Harper's Bazaar and Vogue magazines from the mid-'40s through the 1980s. He took his models out of the studios and brought them to cafes and casinos, posing them with well-dressed escorts. His models nuzzled elephants, stood amongst circus performers, and leapt like gymnasts. As his career progressed, Avedon developped a deceptively simple studio portrait style, which he would continue throughout his life. With uncompromising directness, he portrayed his subjects against a white background, with no extraneous details to distract from the essential specificity of face, gaze, dress, and gesture. This challenging innovation, coupled with the artist's intense interest in his subjects and mastery of his craft, resulted in mesmerizing portraits, among them Marilyn Monroe, Anna Magnani, Suzy Parker, Tina Turner, Stephanie Seymour, and many more.

没有个性的人和等特戈多一样荒诞。 故事发生在维也纳，在奥匈帝国。人们成立了一个委员会，筹备1918年庆祝奥皇弗兰茨·约瑟夫在位70周年的活动。在这同一年，德国将庆祝德皇威廉二世在位30周年。所以，人们称奥地利的这个行动为“平行行动”。然而。1918年正好是这两个王国覆灭的年份。主人公乌尔里希是这个委员会的秘书。 乌尔里希是这部长篇小说的中心人物。1913年8月，故事情节开始的时候，他32岁。在这之前他已经进行过三次尝试，企图成为一个出人头地的人。但是当军官、工程师和数学家的三次尝试都未曾取得令他满意的结果。最后他认识到，对他来说，可能性比中庸的、死板的现实性更重要。由于他在一个极其技术化的时代再也找不到“整体的秩序”，他便决定“休一年生活假”，以便弄明白这个已经分解为各个部分的现实的“因由和秘密运行体制”。这样，乌尔里希便退而采取一种消极被动的只对外界事物起反射作用的态度。他觉得自己是个没有个性的人，因为他不再把人，而是把物质看作现代现实的中心：“今天……已经产生了一个无人的个性的世界，一个无经历者的经历的世界。”乌尔里希看到自己被迫面对自己的时代的种种问题，面对逻辑和情感、因果性和同属性。 他认识到对他来说可能性比中庸的死板的现实性更重要。他觉得自己是个没有个性的人，因为他不再把人，而是把物质看作现代现实的中心……穆齐尔不是描绘了一个过去年代的肖像，而是试图把握住第一次世界大战前奥地利社会精神状态中的典型特征并将其表现出来。这就是穆齐尔在这部长卷中所开辟的道路。

《江南理景艺术》除对江南6种理景艺术作文字分析介绍外，还以众多照片及300余幅测绘图翔实而准确地表现出现存优秀实例的风貌。相比同类书籍，《江南理景艺术》对庭院、村落、邑郊、沿江、名山诸理景艺术做了重点介绍。

本书以介绍来自美国的纸盘推理游戏为引子，叙述两名居住于违章建筑中的年轻「神探」，因社区内发生了一件不明原因的死亡事件，而展开一段锲而不舍的推理侦查，是一个有趣的推理故事。

《彼得·科恩木工基础》是一本木工入门书，2003年至今稳居木工书畅销榜首，近10万人验证成功的木工学习之路。1993年，美国“家具手工艺中心”校长彼得·科恩，亲笔写出这本基础、诚意的木工学习书。2003年，作者对书中的内容进行了全面修订，专业摄影师吉姆·杜根为新版本提供了大量精彩的照片。
20年来，《彼得·科恩木工基础》一直是美国最畅销的木工书，陪伴着成千上万的爱好者踏上了可靠的学习和实践之路——而木工在美国的流行度也与日俱增。
20年后，经过两名爱好者兼译者的两轮细心翻译，和一名台湾木工——何美莹老师（何老师曾于2000年在美国从师于作者）的审阅，《彼得·科恩木工基础》终于能与中国读者相见。

Plutarch (Plutarchus), ca. 45-120 CE, was born at Chaeronea in Boeotia in central Greece, studied philosophy at Athens, and, after coming to Rome as a teacher in philosophy, was given consular rank by the emperor Trajan and a procuratorship in Greece by Hadrian. He was married and the father of one daughter and four sons. He appears as a man of kindly character and independent thought, studious and learned. Plutarch wrote on many subjects. Most popular have always been the 46 "Parallel Lives," biographies planned to be ethical examples in pairs (in each pair, one Greek figure and one similar Roman), though the last four lives are single. All are invaluable sources of our knowledge of the lives and characters of Greek and Roman statesmen, soldiers and orators. Plutarch's many other varied extant works, about 60 in number, are known as "Moralia" or Moral Essays. They are of high literary value, besides being of great use to people interested in philosophy, ethics and religion. The Loeb Classical Library edition of the "Lives" is in eleven volumes.

Flann O’Brien, along with Joyce and Beckett, is part of the holy trinity of modern Irish literature. His five novels–collected here in one volume–are a monument to his inspired lunacy and gleefully demented genius.
O’Brien’s masterpiece, At Swim-Two-Birds, is an exuberant literary send-up and one of the funniest novels of the twentieth century. The novel’s narrator is writing a novel about another man writing a novel, in a Celtic knot of interlocking stories. The riotous cast of characters includes figures “stolen” from Gaelic legends, along with assorted students, fairies, ordinary Dubliners, and cowboys, some of whom try to break free of their author’s control and destroy him.
The narrator of The Third Policeman, who has forgotten his name, is a student of philosophy who has committed murder and wanders into a surreal hell where he encounters such oddities as the ghost of his victim, three policeman who experiment with space and time, and his own soul (who is named “Joe”).
The Poor Mouth, a bleakly hilarious portrait of peasants in a village dominated by pigs, potatoes, and endless rain, is a giddy parody aimed at those who would romanticize Gaelic culture. A naïve young orphan narrates the deadpan farce The Hard Life, and The Dalkey Archive is an outrageous satiric fantasy featuring a mad scientist who uses relativity to age his whiskey, a policeman who believes men can turn into bicycles, and an elderly, bar-tending James Joyce. With a new Introduction by Keith Donohue.
............................................
“A real writer, with the true comic spirit.”
—James Joyce
“Unquestionably a major author . . . Flann O’Brien assault[s] your brain with words, style, magic, madness, and unlimited invention.”
—Anthony Burgess
“O’Brien was one of the comic geniuses of the 20th century.”
—BOSTON GLOBE
“At Swim-Two-Birds has remained in my mind ever since it first appeared as one of the best books of our century. A book in a thousand . . . in the line of Ulysses and Tristram Shandy.”
—Graham Greene
“At Swim-Two-Birds is both a comedy and fantasy of such staggering originality that it baffles description and very nearly beggars our sense of delight.”
—CHICAGO TRIBUNE
“[The Third Policeman is] the funniest book ever written . . . and scariest.”
—Charles Baxter, NATIONAL PUBLIC RADIO
“The Poor Mouth shows a comic genius working close to his best capability. Humor of this quality, this intensity, is very rare; as witty in its language as in its invention, it cries to be read aloud.”
—NEWSWEEK

《调性和声及20世纪音乐概述(第6版)》自1989年起稳居美国音乐理论教学教材的领跑和主导地位；二十年来，应用于全美八百多所高校的音乐理论一线教学实践中；历时六次修订，2009年，第六版来到中国；以系统化的知识结构、科学化的叙述方式、人性化的教学理念、媒体化的教辅手段，与中国音乐专业师生分享优秀教育资源。

《魏晋玄学论稿》是汤用彤在1938-1947年十年中所写的八篇论文和一篇讲演记录稿合成的文集，包括《读〈人物志〉》、《言意之辨》、《王弼大衍义略释》等。
书中对于玄学与佛学之关系、言意之辨、本末有无之争等问题的论述阐释，均有所创见，基本能够涵盖魏晋玄学的主要方面。作者善于从纷繁复杂的玄学思想中考镜源流，并掘发其中所蕴的义理。

1948年，维纳的《控制论》问世。这是一本技术性很强的书，不易读懂。为了使控制论的观念能为一般人所接受，维纳在1950年出版了《人有人的用处：控制论与社会》一书，目的就是希望通过他的努力使得人类在技术世界的环绕中更加有尊严、更有人性；而不是相反。
这本书从技术谈起，逐渐将视角扩大到文化、社会等各个领域：包括人类与动物不同的学习机制、语言的机制和历史、信息的组织方式、法律和传播过程的关系、传播和社会政治的关系、知识分子的角色问题、第一次和第二次工业革命、语言中的曲解问题等等话题。在书的后记中，WalterA.Rosenblith评价自1950年以来，这本书深刻地影响了众多科学家、工程师、社会学家、政治家、社会政策制订者看待技术进步中社会变革的方式。

《后山诗注补笺》为套装上下册。内容简介：一九三一年，冒广生鹤亭（一八七三一九五九）先生在广州，见到雍正时云间赵骏烈刻的《后山集》。赵刻《后山集》中诗的部分是根据诗体编排的，按五古、七古、五律、七律、五绝、七绝的顺序，共八卷，六百七十九首。冒先生在封面上题了以下的话：“行箧无任渊注本，粗读一过，尚拟检宋人诸集及地志说部，为渊补注。炳烛余年，或恐徒成结想，然书成自是不朽之业也。疚齐壬申八月朔题。”
那时冒先生不但没有任注本，还不知道陈后山诗的其他版本。隨后他即已查到陈唐刊本和马暾刊本，并发现蒋光煦别下齐《斠补隅录》中有《陈后山集校记》一种。於是在赵刻本第二册和第三册封面上，分别作了以下的题记：
雍正间有嘉善陈唐刻本，即魏衍本，无注。衍所未收，分体为逸诗，马暾本已全载。别下齐《斠补隅录》有《陈后山集》一种，乃以舊钞本、任注本、毛钞本校明本。並传录何义门校语。兹一一迻写书眉。三月廿四日慕园。
上面所记的三月当是一九三二年。前一则题记中所说的马暾本，也就是后一则题记中所称的明刻本。

《雀语》选入中国现代著名侦探小说作家孙了红的13篇作品。这些作品颠覆了传统的侦探小说的叙事模式，创造了极具个性的“侠盗+侦探”的艺术形象鲁平，其身上有着深厚的劫富济贫的中国传统文化思想。

富家子弟维克托将自己与家庭和社会隔绝、在独居的小屋中尝试寻求绝对自由的艰难历程。全剧共分三幕，剧情为冬日里连续三天下午围绕维克托发生的故事，一方面家人、朋友及他人劝说他回归正常生活，甚至他的父亲也因此过世，另一方面维克托虽然身处困境，也曾彷徨、犹豫，但最终还是选择了在孤独中继续对自由的追求。在《等待戈多》出版并在舞台表演后，贝克特决定不再发表该剧。