„Ohne ihn gelesen zu haben, läßt sich kaum wissen, wie dem Menschen sauwohl sein kann.“ Hegel hat mit dieser heiteren Formulierung die Komödien des Aristophanes charakterisiert. Und Niklas Holzberg lässt uns 200 Jahre nach Hegel den Spaß fühlen, den die Lektüre des sinnenfrohen und spottlustigen Komödiendichters auch heute noch bereiten kann. Er versetzt uns mitten hinein in die pulsierende Metropole Athen, die vor 2500 Jahren politisch und intellektuell das Zentrum der Welt war. Man diskutierte über Krieg und Frieden, spottete über Philosophen und Politiker und liebte die Knaben und die Frauen. Nicht zuletzt aber liebte man das Theater, in dem Tragödien und Komödien als Teil des Gottesdienstes aufgeführt wurden. Die Sprache der Stücke des Aristophanes war freilich alles andere als fromm – so wenig wie seine Verse nach heutigem Empfinden politisch korrekt waren. Niklas Holzberg lässt mit seinen unverblümten Übertragungen ins Deutsche die pralle Lebenswirklichkeit der Werke des Aristophanes lebendig werden – und seine Leserinnen und Leser dürfen sich auf eine ebenso sachkundig geschriebene wie unterhaltsame Einführung in Komödien freuen wie Lysistrate, Die Weibervolksversammlung, Die Ritter und viele andere mehr.

Helen Vendler, widely regarded as our most accomplished interpreter of poetry, here serves as an incomparable guide to some of the best-loved poems in the English language. </p>
In detailed commentaries on Shakespeare's 154 sonnets, Vendler reveals previously unperceived imaginative and stylistic features of the poems, pointing out not only new levels of import in particular lines, but also the ways in which the four parts of each sonnet work together to enact emotion and create dynamic effect. The commentaries--presented alongside the original and modernized texts--offer fresh perspectives on the individual poems, and, taken together, provide a full picture of Shakespeare's techniques as a working poet. With the help of Vendler's acute eye, we gain an appreciation of "Shakespeare's elated variety of invention, his ironic capacity, his astonishing refinement of technique, and, above all, the reach of his skeptical imaginative intent." </p>
Vendler's understanding of the sonnets informs her readings on an accompanying compact disk, which is bound with the book. This recorded presentation of a selection of the poems, in giving aural form to Shakespeare's words, heightens our awareness of voice in lyric, and adds the dimension of sound to poems too often registered merely as written words. </p>

Stanzas is a fascinating blend of philology, medieval physics and psychology, the psychoanalysis of toys, and contemporary linguistics and philosophy. In this unique work, Giorgio Agamben attempts to reconfigure the epistemological foundation of Western culture. He rereads Freud and Saussure to discover the impossibility of metalanguage and of synthesis that could be reflected in the transparency of signs. There is no “superior language” that can read the obscure scenes of the unconscious, and the “symbol” is always the return of the repressed in an improper signifier.
This impossibility leads Agamben to the problem of representation. He argues that because language is the locus of the production and storage of phantasms, all real objects are fractured by phantasmic itineraries that in turn divide poetry and philosophy, joy and knowledge.

The most comprehensive English-language collection of work ever by "the greatest poet of the twentieth century--in any language" (Gabriel Garcia Marquez) "In his work a continent awakens to consciousness." So wrote the Swedish Academy in awarding the Nobel Prize to Pablo Neruda, the author of more than thirty-five books of poetry and one of Latin America's most revered writers, lionized during his lifetime as "the people's poet." This selection of Neruda's poetry, the most comprehensive single volume available in English, presents nearly six hundred poems, scores of them in new and sometimes multiple translations, and many accompanied by the Spanish original. In his introduction, Ilan Stavans situates Neruda in his native milieu as well as in a contemporary English-language one, and a group of new translations by leading poets testifies to Neruda's enduring, vibrant legacy among English-speaking writers and readers today.

胡桑第一部诗学论文集，收录2006年至2014年代表诗学论文20余篇。一共分三编。
第一编：“界限上的旅行者”，有关当代汉语诗歌的总体思考，以及收录对小雅、徐钺、郑小琼、王东东、南歌等八十年代出生诗人的专论，另有对陆忆敏、多多、臧棣、蓝蓝、王家新、江离、顾彬的诗歌与诗学专论。
第二编：“词的异议者”，对苏野、张枣、小雅、余西、徐钺、袁永苹、孟芊、叶丹、旋覆、沙织、褚平川、臧棣、蒋浩、凌越、刘旭阳、李商雨、夏春花、张慧君、江离、罗逢春、七夜、陈让、蓝蓝、李德武、炎石、王小妮、唐不遇、清平、杨黎、衣米一、曾纪虎等诗人单篇诗作的细读。
第三编：“凡人之手的复仇”，论述特朗斯特罗姆、米沃什、辛波斯卡、沃尔科特、齐别根纽·赫伯特等欧美诗人。

This intimate portrayal of the friendship between two icons of twentieth-century poetry, Czeslaw Milosz and Joseph Brodsky, highlights the parallel lives of the poets as exiles living in America and Nobel Prize laureates in literature. To create this truly original work, Irena Grudzinska Gross draws from poems, essays, letters, interviews, speeches, lectures, and her own personal memories as a confidant of both Milosz and Brodsky. The dual portrait of these poets and the elucidation of their attitudes toward religion, history, memory, and language throw a new light on the upheavals of the twentieth-century. Gross also incorporates notes on both poets' relationships to other key literary figures, such as W. H. Auden, Susan Sontag, Seamus Heaney, Mark Strand, Robert Haas, and Derek Walcott.