Although the importance of the advent of printing for the Western world has long been recognized, it was Elizabeth Eisenstein, in her monumental, two-volume work, The Printing Revolution in Early Modern Europe, who provided the first full-scale treatment of the subject. This illustrated and abridged edition gives a stimulating survey of the communications revolution of the fifteenth century. After summarizing the initial changes introduced by the establishment of printing shops, it goes on to discuss how printing affected three major cultural movements: the Renaissance, the Reformation, and the rise of modern science. This new edition includes a new essay discussing recent controversies provoked by the first edition and reaffirms the thesis that the advent of printing entailed a communications revolution. Fully-illustrated and annotated, the book argues that the cumulative processes set in motion with the advent of printing are likely to persist despite the recent development of new communications technologies.

What is Chinese painting? When did it begin? And what are the different associations of this term in China and the West? In Chinese Painting and Its Audiences, which is based on the A. W. Mellon Lectures in the Fine Arts given at the National Gallery of Art, leading art historian Craig Clunas draws from a wealth of artistic masterpieces and lesser-known pictures, some of them discussed here in English for the first time, to show how Chinese painting has been understood by a range of audiences over five centuries, from the Ming Dynasty to today. Richly illustrated, Chinese Painting and Its Audiences demonstrates that viewers in China and beyond have irrevocably shaped this great artistic tradition.
Arguing that audiences within China were crucially important to the evolution of Chinese painting, Clunas considers how Chinese artists have imagined the reception of their own work. By examining paintings that depict people looking at paintings, he introduces readers to ideal types of viewers: the scholar, the gentleman, the merchant, the nation, and the people. In discussing the changing audiences for Chinese art, Clunas emphasizes that the diversity and quantity of images in Chinese culture make it impossible to generalize definitively about what constitutes Chinese painting.
Exploring the complex relationships between works of art and those who look at them, Chinese Painting and Its Audiences sheds new light on how the concept of Chinese painting has been formed and reformed over hundreds of years.

'Natural Symbols is clearly a major work in the greatest of sociological traditions, the Durkheimian. It has an originality unmatched for a generation among the writings of anthropologists. It raises questions that are important and soluble not in the field but by the harder, less inviting, work of reflection and analysis.' - Times Literary Supplement
'Natural Symbols remains the book most important to understanding Mary Douglas's thought, and this fact places it amongst the most significant books of theory written by anthropologists during the twentieth century.' - Richard Fardon, SOAS
'As timeless as the subtitle. Essential reading for all those enthralled by her brilliant insights into the meaning of the Bible thirty years on.' - John Sawyer, Department of Religious Studies, Lancaster University
'Mary Douglas's writing remains as fresh and vivid as ever. The ideas put forward in Natural Symbols have been taken up well beyond the discipline of anthropology, and should remain compulsory reading for all students of religion and society.' - Fiona Bowie, University of Bristol
It has an originality unmatched for a generation among the writings of anthropologists. - Times Literary Supplement

In this companion volume to "Iconology", the author extends his investigation to pictures - the concrete, representational objects in which images appear. Although we have many words about pictures, Mitchell notes that we do not yet have a satisfactory theory of them. What we have is a variety of disciplines - semiotics, philosophical inquiries into representation, new departures in art history, studies in mass media - that attempt to converge on the problem of pictorial representation and visual culture. Identifying the problems inherent in the attempt to master visual representation with verbal discourse, Mitchell proposes instead to "picture theory." He looks at the way pictures function in theories about culture, consciousness, and representation, and at theory itself as a form of picturing. What precisely, he asks, are pictures (and theories about pictures) doing now , in the late 20th century, when the power of the visual is said to be greater than ever before, and the "pictorial turn" supplants the "linguistic turn" in the study of culture? Focusing on Spike Lee's "Do the Right Thing", Oliver Stone's "JFK", and television coverage of the Gulf War, he examines the capacity of visual images to awaken or stifle public debate, collective emotion, and political violence. An "applied iconology," this volume by one of America's leading theorists of visual representation offers an account of the interplay between the visible and the readable across the culture, from literature to visual art to the mass media.

美术的地缘性，ISBN：9787229024581，作者：倪志云 编

《托马斯微积分》（第10版）是从PEARSON Education购买翻译版权引进的，其特色可用“呈传统特色，富革新精神”来概括，50年以来，该书平均每四五年就有一个新版面世，每版较之先前版本都有不少改进之处，体现了这是一部锐意革新的教材；与此同时，该书始终注意保持其基本特色且有所增强，说明它又是一部重视继承传统的教材。