In the summer of 1900, bands of peasant youths from the villages of north China streamed into Beijing to besiege the foreign legations, attracting the attention of the entire world. Joseph Esherick reconstructs the early history of the Boxers, challenging the traditional view that they grew from earlier anti-dynastic sects, and stressing instead the impact of social ecology and popular culture.

In the early twentieth century, the Chinese state made strenuous efforts to broaden and deepen its authority over rural society. This book is an ambitious attempt to offer both a method and a framework for analyzing Chinese social history in the state-making era.The author constructs a prismatic view of village-level society that shows how marketing, kinship, water control, temple patronage, and other structures of human interaction overlapped to form what he calls the cultural nexus of power in local society. The author's concept of the cultural nexus and his tracing of how it was altered enables us for the first time to grapple with change at the village level in all its complexity.The author asserts that the growth of the state transformed and delegitimized the traditional cultural nexus during the Republican era, particularly in the realm of village leadership and finances. Thus, the expansion of state power was ultimately and paradoxically responsible for the revolution in China as it eroded the foundations of village life, leaving nothing in its place.The problems of state-making in China were different from those of eighteenth- and nineteenth-century Europe; the Chinese experience heralds the process that would become increasingly common in the emergent states of the developing world under the very different circumstances of the twentieth century.

Midway through the reign of Ch'ien-lung emperor, Hungli, mass hysteria broke out. It was feared that sorcerers were roaming the land clipping off the ends of men's queues (braids worn by royal decree) and chanting magical incantations over them in order to steal the souls of their owners. In this book, Kuhn chronicles this epidemic of fear and the official prosecution of soulstealers that ensued, so opening up a window on 18th-century China. The book raises questions not just about China, but also about past human behaviour in general and it demonstates how in any society, a provincial panic can become a national witch-hunt.

Chinese workers in the third century b.c. created seven thousand life-sized terracotta soldiers to guard the tomb of the First Emperor. In the eleventh century a.d., Chinese builders constructed a pagoda from as many as thirty thousand separately carved wooden pieces. In the seventeenth and eighteenth centuries, China exported more than a hundred million pieces of porcelain to the West. As these examples show, the Chinese throughout history have produced works of art in astonishing quantities - and have done so without sacrificing quality, affordability, or speed of manufacture. How have they managed this? Lothar Ledderose takes us on a remarkable tour of Chinese art and culture to explain how artists used complex systems of mass production to assemble extraordinary objects from standardized parts or modules. As he reveals, these systems have deep roots in Chinese thought - in the idea that the universe consists of ten thousand categories of things, for example - and reflect characteristically Chinese modes of social organization. Ledderose begins with the modular system par excellence: Chinese script, an ancient system of fifty thousand characters produced from a repertoire of only about two hundred components. He shows how Chinese artists used related modular systems to create ritual bronzes, to produce the First Emperor's terracotta army, and to develop the world's first printing systems. He explores the dazzling variety of lacquerware and porcelain that the West found so seductive, and examines how works as diverse as imperial palaces and paintings of hell relied on elegant variation of standardized components. Ledderose explains that Chinese artists, unlike their Western counterparts, did not seek to reproduce individual objects of nature faithfully, but sought instead to mimic nature's ability to produce limitless numbers of objects. He shows as well how modular patterns of thought run through Chinese ideas about personal freedom, China's culture of bureaucracy, Chinese religion, and even the organization of Chinese restaurants. Originally presented as a series of Mellon lectures at the National Gallery of Art, "Ten Thousand Things" combines keen aesthetic and cultural insights with a rich variety of illustrations to make a profound new statement about Chinese art and society.

Placing meanings of health and disease at the center of modern Chinese consciousness, Ruth Rogaski reveals how hygiene became a crucial element in the formulation of Chinese modernity in the nineteenth and twentieth centuries. Rogaski focuses on multiple manifestations across time of a single Chinese concept, weisheng—which has been rendered into English as "hygiene," "sanitary," "health," or "public health"—as it emerged in the complex treaty-port environment of Tianjin. Before the late nineteenth century, weisheng was associated with diverse regimens of diet, meditation, and self-medication. Hygienic Modernity reveals how meanings of weisheng, with the arrival of violent imperialism, shifted from Chinese cosmology to encompass such ideas as national sovereignty, laboratory knowledge, the cleanliness of bodies, and the fitness of races: categories in which the Chinese were often deemed lacking by foreign observers and Chinese elites alike.

Recent events—from strife in Tibet and the rapid growth of Christianity in China to the spectacular expansion of Chinese Buddhist organizations around the globe—vividly demonstrate that one cannot understand the modern Chinese world without attending closely to the question of religion. The Religious Question in Modern China highlights parallels and contrasts between historical events, political regimes, and cultural movements to explore how religion has challenged and responded to secular Chinese modernity, from 1898 to the present.
 
Vincent Goossaert and David A. Palmer piece together the puzzle of religion in China not by looking separately at different religions in different contexts, but by writing a unified story of how religion has shaped, and in turn been shaped by, modern Chinese society. From Chinese medicine and the martial arts to communal temple cults and revivalist redemptive societies, the authors demonstrate that from the nineteenth century onward, as the Chinese state shifted, the religious landscape consistently resurfaced in a bewildering variety of old and new forms. The Religious Question in Modern China integrates historical, anthropological, and sociological perspectives in a comprehensive overview of China’s religious history that is certain to become an indispensible reference for specialists and students alike.

开明语文第一书
与《澄衷蒙学堂字课图说》比肩之书
《澄衷蒙学堂字课图说》之后，一部更现代、更科学、更开明的近现代中华文化百科全书
20世纪初新式语文教育引领者
立于传统与现代交替之际，兼收并蓄东西方文明精髓
因其现代性、科学性、开明性，被晚清政府全面禁毁
一个多世纪之后，震撼再现
唯一存世的全套善本，原版线装精致修复抢救还原
正本清源、图文并茂、典雅大气
一部发蒙启智的识字字典
一部兼收并蓄的百科全书
收录2733个汉字，868幅插图，追本溯源续接中国文化
随书附赠新式检字手册，识字百科兼备字典功能，方便阅读检索
装帧大气典雅，独有左右抽拉式书匣，精巧收纳设计
《环地福分类字课图说》是由晚清名士赵金寿组织编纂、储丙鹑校对的一套汉字教科书，成书于清光绪二十八年，全书共八卷，分为宝物、器皿、花鸟、动物、建筑、纺织、衣饰、姓氏、人事、兵器、算学、地理等类，共收录两千七百三十三个汉字，以及八百六十八幅绘画配图，大者半框，小者半框六幅，采用“六宫格”，使图文合参、学养并重，注重中国传统小学教育方式，同时引入了西方的科学知识。
分卷简介
第一卷
收录天地日月、时辰历法、疆域舆图等方面共计213个汉字。
仰望星空，俯察大地，胸怀凌云壮志。
第二卷
收录山川河岳、古建房舍、君臣名姓等方面共计380个汉字。
走近自然，知晓社稷，感悟千里河山。
第三卷
收录礼制人伦、珍宝器具、武备刑罚等方面共计410个汉字。
熟悉典制，修身齐家，兼济文武张弛。
第四卷
收录血脉筋骨、服饰纺织、装饰器具等方面共计317个汉字。
细究人体，装饰美化，传承人文记忆。
第五卷
收录格致数算、农事劳作、飞禽走兽等方面共计309个汉字。
师夷长技，范示群伦，掌握领先科技。
第六卷
收录花卉树木、瓜果蔬菜、鱼虾昆虫等方面共计309个汉字。
辨识花草，品尝果蔬，了解自然万物。
第七卷
收录疾病丧葬、言辞话语、人事物性等方面共计382个汉字。
嬉笑怒骂，自得其乐，勘破生老病死。
第八卷
收录日常生活、喜怒忧思、语气助词等方面共计413个汉字。
诚意正心，嘘寒问暖，通晓处世哲学。

以圭璧钟鼎为国之重器的礼制艺术时代如何兴起，又如何逐渐衰亡，演变成以宗庙、宫殿与墓葬为主体的建筑性纪念碑时代？长安，这个从土木方兴时起就不断被重塑的城市，如何彪炳不同时期统治者的荣耀？一座座零散而无言的坟茔和祠堂，如何诉说历史长河中一个个普通家族的懿德？而这些具有明显公共意义的礼仪美术传统，又如何在汉代以后转化为艺术家打造个人历史的艺术行为？
本书尝试打破美术史研究中的门类之别，以“纪念碑”这一西方古代艺术的核心概念为线索，将装饰艺术、图像艺术和建筑艺术纳入更大范围内艺术的发展变化，重构中国古代美术的宏观叙述。

陈宏谋是清代中期上层官僚的代表，作者通过对他的解读让我们全面了解那个时期官员对自己、对事业和社会的认识。作者从为官到做人，从经世到治家诸多方面剖析了陈宏谋的思想与政治生涯。本书通过人物史写社会史，是了解18世纪官僚政治思想的重要著作。

《〈韩非子〉的成书及其文学研究》是在作者马世年的博士论文基础上改编而成的，书中包括了：韩非生平事迹考辨、《韩非子》的编集与版本研究、《韩非子》文学思想新论、《韩非子》寓言研究、《韩非子》文体分类研究等七章内容。《〈韩非子〉的成书及其文学研究》适合从事相关研究工作的人员参考阅读。

《上海史研究译丛》精选当今海外一流学者有关近现代上海史研究的经典之作，可读性和学术性兼具，并由国内专家翻译。海外学者以独特视角、独有材料和独到见解，对上海历史作出有别于以往的解读，内容涉及上海道台、警察、妓女、工业家、侨民、同乡会、救火会、苏北人等众生相。
在老上海的记忆中，“歹土”是指沪西一带歹徒出没之地。1937年至1941年，日本侵略军、汪伪傀儡政权、外国租界当局、国民党政府等各种势力在上海纠缠在一起，形成复杂而又紧张的关系。沪西歹土便经常发生暗杀等恐怖活动，又整日 充斥着赌博等城市犯罪。作为美国的中国学研究大家――魏斐德的一部力作，作为海外上海史研究领域的一部名著，本书以独特的视角、翔实的材料、深入浅出的语言，生动再现了上海这一段特殊而又艰难的岁月，使上海的战时恐怖活动和城市暴力犯罪，如银幕展示般映现在读者眼前。

仪式理论与实践一直是人类学研究中的一个重要领域，几乎所有的人类学流派都表现出对仪式的独特认知、理解和解释，人类学发展的整体脉络也在仪式研究中得到反映。一些著名的人类学家都在仪式研究方面独树一帜，并与他们的学术主张相辅相成，泰勒、弗雷泽、范．根纳普、涂尔干、马林诺夫斯基、拉德克利夫一布朗、克罗伯、列维一斯特劳斯、利奇、埃文斯一普里查德、弗斯、古迪、特纳、罗萨尔多、道格拉斯、洛伊、拉帕波特、贝尔……。早期英国人类学中甚至还有一个学派叫“神话仪式学派”（剑桥学派）。仪式理论已经形成了一个完整的知识谱系，国际学术界还有专治仪式研究的刊物——《仪式研究》。
本书是从人类学学科的角度对仪式领域进行研究的第一部专著，集谱系梳理、学理依据、理论介绍、流派分析、观点评述、田野案例及作者独立见解为一体。

1894年清日的战争，清朝用干支纪年的甲午年命名“甲午战争”；日本命名“明治二十七八年战役”；欧美命名“First Sino-Japanese War”。 依据国际上对战争命名的惯例，明确作战当事国的主宾关系，本书题为“清日战争”。清日战争已过百年，在中国人内心深处留下了伤痛和耻辱。从那个时代开始， 外来侵略接踵而至，在中国近代史上，当西方文明和明治维新与古旧的清朝体制发生猛烈碰撞时，战争的失败也催生了中国新的历史纪元。
作者将从日本国立国会图书馆、国立公文书馆、外务省外交史料馆、防卫省防卫研究所等处馆藏历史文献中收集了大量华语史学界难得一见的史料和大量弥足珍贵的图片，爬梳整理，按战争经过、战争背景、战争、战时、战地各种局部、战争影响、大事记、图记、表记等编纂出一部崭新巨著。书中对甲午战争历史的深层挖掘和剖析，力图站在中间立场分析战争的胜败得失，有助于读者更多地认识战争的背景，客观思考战争胜负的原因，及对中国社会的深远影响。
本书各部分均采用清日两国对比手法写作，全面对比双方的军、政、经、民等各方面因素，清晰直观，一目了然。较之以往单纯纪事或编年手法的突破，有利于对清日两国之间战斗力等军事能力现状的了解。

《阿尔巴尼亚语实用语法》从词法、句法两个方面对阿尔巴尼亚语的语法进行了简明实用的分析，并提供了大量的参考例句。可供学习阿语的读者参考。《阿尔巴尼亚语实用语法》是由外语教学与研究出版社出版。

玉壶，隠居之潭也。“潭”作“笔”。文莹收古今文章著述最多，自国初至熙宁閒，得文集二百余家，仅数千卷。“仅”一作“近”。其閒神道碑、墓誌、行状、实录及奏议、碑表、野编小说之類，倾十纪之文字，聚衆学之醇郁。君臣行事之迹，礼乐害章之范，“害”一作“文”。鸿动盛美，“鸿”一作“洪”。列圣大業，关累世之隆替截，四海之见闻。“见闻作“闻见”。惜其散在衆帙，世不能尽见，因取其未闻而有勸者，聚为一家之书。及纂江南逸事“逸”一作“遗”。并为李先主昪特立传，釐为十卷。釐”一作“离”。且夫黄帝之时，世淳事简，尚有风后、力牧为史官，藏其书群玉山中。古之所以有史者，“古之所以”作“知所以”。必欲其传，无其传，则圣贤治乱之迹，都寂寥于天地閒。当知传者，一“知”字下有“其”字。亦古今之大勸也。书成於元丰戊午岁八月十日，馀杭沙门文莹湘山草堂序。补校：“截四海之闻见”，“截”吴本作“载”。

敦煌藏经洞的开窟、敦煌文献的发现和敦煌学的诞生，已经100周年了。我国西域与敦煌历史文物和文献的外流，则有100多年了。在西方和日本的科考、探险、考古学家们劫掠敦煌西域文物的狂潮中，法国探险家、语史学家、东方学家和汉学家伯希和的西域探险，则颇为引入注目。《伯希和西域探险日记(1906-1908)》试对伯希和西域探险团在我国新疆和甘肃各站，尤其是在敦煌从事考察和劫掠文物的史事，略作钩沉。

作者选取上海1966-1976年的人口状况作为研究的切入点，是为承担上海“文革”社会生活史的整体研究搭建了一个深远地看到许多社会情状的背景。

张贤亮见证的死刑和性，叶兆言的文革记忆，朱正琳的铁窗岁月，徐友渔的大串连，许志英的“五七干校”，邵燕祥妻子的生活碎片，杨益宪的四年牢狱生涯，还有冰心老人写给家人的温馨感人的书信……在本书这些著名作家的回忆中，文化大革命不再是个宏大、抽象的字眼，不同角度的叙述将人带入了私人的、日常的细节之中，一个时代变得具体鲜活，记忆被赋予了见证的力量。

日本NHK电视台播放了专题纪录片《731部队的真相》。纪录片最后介绍了一名悔恨自杀的医生，这可能也是节目组想要传达的信息：希望所有日本人面对事实，反思历史。

國立故宮博物院的收藏，雖說承襲自清宮，然其淵源，實遠紹自千年前趙宋宮廷。宋太祖平定諸國，接收後蜀、南唐皇室收藏。宋太宗屢詔天下，搜訪前賢墨蹟。徽宗年間，內府收藏益豐，今日故宮所藏北宋名蹟，均來自當時宣和內府。本院所藏北宋書畫名蹟早已蜚聲國際，此次特展不僅國寶盡出，尤向美國大都會博物館、納爾遜-阿金斯博物館商借五件名品一併展出，實屬創舉，觀眾應慶有此眼福，本院特印製精美展覽圖錄，以供典藏，並誌盛事。