In a series of one hundred maps, Franco Moretti explores the fictionalization of geography in the nineteenth-century novel. Balzac's Paris, Dickens's London and Scott's Scottish Lowlands are mapped, alongside the territories of Spanish picaresque novels, African colonial romances and Russian novels of ideas, in a path-breaking study which suggests that space may well be the secret protagonist of cultural history.

Biologists, historians, lawyers, art historians, and literary critics all voice arguments in the critical dialogue about what constitutes evidence in research and scholarship. They examine not only the constitution and "blurring" of disciplinary boundaries, but also the configuration of the fact-evidence distinctions made in different disciplines and historical moments; the relative function of such concepts as "self-evidence," "experience," "test," "testimony," and "textuality" in varied academic discourses; and the way "rules of evidence" are themselves products of historical developments.
The essays and rejoinders are by Terry Castle, Lorraine Daston, Carlo Ginzburg, Ian Hacking, Mark Kelman, R. C. Lewontin, Pierre Vidal-Naquet, Mary Poovey, Donald Preziosi, Simon Schaffer, Joan W. Scott, Eve Kosofsky Sedgwick, and Barbara Herrnstein Smith.
The critical responses are by Lauren Berlant, James Chandler, Jean Comaroff, Arnold I. Davidson, Harry D. harootunian, Elizabeth Helsinger, Thomas C. Holt, Francoise Meltzer, Robert J. Richards, Lawrence Rothfield, Joel Snyder, Cass R. Sunstein, and William Wimsatt.

Statistics-driven thinking is ubiquitous in modern society. In this study of the history of statistics, which begins with probability theory in the 17th century, Alain Desrosieres shows how the evolution of modern statistics has been inextricably bound up with the knowledge and power of governments. He traces the complex reciprocity between modern governments and the mathematical artifacts that both dictate the duties of the state and measure its successes.

法国来华耶稣会士马若瑟的汉语研究代表作《汉语札记》，是西方汉语研究史上第一部同时介绍白话和文言的语法著作，首次尝试突破拉丁文法的范式来描写汉语语法，对欧洲汉学史和世界汉语教育史都产生了深刻影响。
本书从“文本史”和“文本内容”两方面对《汉语札记》进行个案研究。通过对原始手稿的辨读、转写和翻译，以及对手稿、出版本和译本的互校和对勘，首次进入到原始文本内部进行分析和梳理，不仅发掘出以前从未面世的文本内容，并且建立了手稿、抄本、刊本、译本之间的谱系关系，初步厘清了该书版本的传承流变过程，并考证出《汉语札记》所参考的中文资料来源，这对研究来华传教士汉语语法作品的参考理论和语料来源是一个重大贡献。

From antiquity to the nineteenth century, the royal hunt was a vital component of the political cultures of the Middle East, India, Central Asia, and China. Besides marking elite status, royal hunts functioned as inspection tours and imperial progresses, a means of asserting kingly authority over the countryside. The hunt was, in fact, the "court out-of-doors," an open-air theater for displays of majesty, the entertainment of guests, and the bestowal of favor on subjects.
In the conduct of interstate relations, great hunts were used to train armies, show the flag, and send diplomatic signals. Wars sometimes began as hunts and ended as celebratory chases. Often understood as a kind of covert military training, the royal hunt was subject to the same strict discipline as that applied in war and was also a source of innovation in military organization and tactics.
Just as human subjects were to recognize royal power, so was the natural kingdom brought within the power structure by means of the royal hunt. Hunting parks were centers of botanical exchange, military depots, early conservation reserves, and important links in local ecologies. The mastery of the king over nature served an important purpose in official renderings: as a manifestation of his possession of heavenly good fortune he could tame the natural world and keep his kingdom safe from marauding threats, human or animal. The exchanges of hunting partners—cheetahs, elephants, and even birds—became diplomatic tools as well as serving to create an elite hunting culture that transcended political allegiances and ecological frontiers.
This sweeping comparative work ranges from ancient Egypt to India under the Raj. With a magisterial command of contemporary sources, literature, material culture, and archaeology, Thomas T. Allsen chronicles the vast range of traditions surrounding this fabled royal occupation.

本书关注以19世纪为中心时段的西方艺术，广泛涉及绘画、雕塑、建筑、摄影、装饰艺术，涵盖新古典主义、浪漫主义、现实主义、自然主义、唯美主义、现代主义等流派，详尽介绍名家名作及重要艺术观念的演进，立体呈现构成艺术场域的艺术家、美术学院、批评家、画商、各类购买者等要素的变化，更将艺术的演变置于19世纪西方政治、经济巨变的背景中，助读者全面把握这段艺术史错综复杂的线索，了解艺术从传统走向现代，从学院规则走向艺术自由的精彩历程。
含574幅插图，特设39个专栏介绍特殊的艺术作品、艺术技法或历史背景，另附大事年表、术语表，以及详尽的参考文献列表（含影视资料推荐）。
基于我近四十年的教学经验，我认为，这是迄今最好的一本关于19世纪西方艺术的教材。作者以高超的手法将历史、观念、艺术作品熔铸成一个整体，并清晰阐述了主要的艺术史议题。
——加布里埃尔•韦斯伯格（Gabriel Weisberg），明尼苏达大学教授
曲培醇的《十九世纪欧洲艺术史》堪称力作。她将自己广闻的博识、细腻的感悟和谨严的思考熔于一炉，从而使一段特定时期的欧洲美术史变得如此清晰、生动而又引人深思。
——丁宁，北京大学艺术学院教授、副院长。