Edited by Richard Grathoff, with an introduction by Maurice Natanson.

The Cambridge Handbook of Consciousness is the first of its kind in the field, and its appearance marks a unique time in the history of intellectual inquiry on the topic. After decades during which consciousness was considered beyond the scope of legitimate scientific investigation, consciousness re-emerged as a popular focus of research towards the end of the last century, and it has remained so for nearly 20 years. There are now so many different lines of investigation on consciousness that the time has come when the field may finally benefit from a book that pulls them together and, by juxtaposing them, provides a comprehensive survey of this exciting field. An authoritative desk reference, which will also be suitable as an advanced textbook.

本书立足于国际舍勒研究界，首次尝试在伦理思想史的大背景下，结合康德、胡塞尔和当代自身意识理论等思想，系统重构舍勒（Max Scheler, 1874—1928）的现象学伦理学。全书基于对相关思想家的原著、部分未公开发表的手稿以及大量研究文献的仔细分析，着力展示了：舍勒的质料价值伦理学在何种意义上是现象学的，以及这一现象学伦理学的系统形态。
本书的上篇在康德、胡塞尔的思想背景下研究了舍勒的静态的、抽象的本质性现象学；下篇则在当代自身意识理论的视域中研究了舍勒的动态的、具体的人格现象学。而这两个方面分别构成了舍勒现象学的质料的价值伦理学两个层次（质料先天主义和价值人格主义）的基础。根本上，舍勒现象学的质料价值伦理学既包含以探寻价值的现象学-存在论本质为主要论题的现象学“元伦理学”，也包括以回答苏格拉底问题为任务的现象学的“规范伦理学”，前者奠基于静态的本质描述现象学，后者则奠基于动态的人格现象学。“元伦理学”构成了舍勒质料价值伦理学的基础，“规范伦理学”则代表着质料价值伦理学的最终归宿。
就细节方面而言，本书首次系统梳理了休谟、康德、波尔扎诺、胡塞尔、舍勒以及石里克等在质料先天问题上的相互关系（传承与争执，等等）；在汉语学界，本书也首次在传统自身意识理论的框架下系统谈论人格问题，首次讨论了自身感受问题以及自身感受与人格的关系问题；本书还在汉语学界首次研究了胡塞尔现象学中的波尔扎诺转向问题，等等。
从总体上来看，本书以现象学的元伦理学和现象学的规范伦理学两个视角来看待舍勒整体的伦理学，同时，以静态和动态现象学的双重奠基来谈论舍勒质料价值伦理学的这两个部分，并系统概括舍勒现象学的基本理解、基本特征以及基本原则，这些都是在国际舍勒研究中首次做出的尝试。

"The Routledge Companion to Philosophy and Film" is the first comprehensive volume to explore the main themes, topics, thinkers and issues in philosophy and film. The "Companion" features sixty specially commissioned chapters from international scholars and is divided into four clear parts: issues and concepts; authors and trends; genres; and, film as philosophy.Part one is a comprehensive section examining key concepts, including chapters on acting, censorship, character, depiction, ethics, genre, interpretation, narrative, reception and spectatorship and style. Part two covers authors and scholars of film and significant theories Part three examines genres such as documentary, experimental cinema, horror, comedy and tragedy. Part four includes chapters on key directors such as Tarkovsky, Bergman and Terrence Malick and on particular films including "Memento". Each chapter includes a section of annotated further reading and is cross-referenced to related entries. "The Routledge Companion to Philosophy and Film" is essential reading for anyone interested in philosophy of film, aesthetics and film and cinema studies.

The Melody of Time examines the multiple ways in which music relates to, and may provide insight into, the problematics of human time. Each chapter explores a specific theme in the philosophy of time as expressed through music: the purported timelessness of Beethoven's late works or the nostalgic impulses of Schubert's music; the use of music by philosophers as a means to explicate the aporias of temporal existence or as a medium suggestive of the varying possible structures of time; and, a reflection of a particular culture's sense of historical progress or the expression of the intangible spirit behind the course of human history itself. Moving fluidly between cultural context and historical reception, competing philosophical theories of time and close reading of the repertoire, Benedict Taylor argues for the continued importance of engaging with music's temporality in understanding the significance of music within society and human experience. At once historical, analytical, critical, and ultimately hermeneutic, The Melody of Time provides both fresh insight into many familiar nineteenth-century pieces and a rich theoretical basis for future research.

《从绝对自我到绝对他者:胡塞尔与列维纳斯哲学中的主体际性问题》通过对胡塞尔的先验主体际性论和列维纳斯的他我关系说的阐释，以显明为主体际性问题所折射出的主体性哲学的内在困境。胡塞尔的先验主体际性论可被视为在主体性哲学的框架中展开的，关于主体之间关系问题的最为系统与卓越的表达。从严格的先验立场出发，胡塞尔主要致力于对陌生主体(他人)以及主体共同体的意义在先验自我中的构造的意向性分析，并对一切社会性本质作出先验的解释。与胡塞尔不同，列维纳斯一开始就拒绝构造性的先验自我与先验他我构造论。但由于列维纳斯将自我界说为与他人绝对分离的原子式个体，主体际性问题仍然以一种与胡塞尔遥远相关的方式出现，并在对伦理化的主体性哲学之可能性的探寻中，展示出一种对绝对自我负责的追求。正是在这种追求中，我们不仅能够见到胡塞尔与列维纳斯这两位气质、兴趣和教养都大相径庭的哲学家在方法论之外的一种精神上的联系，而且能够进一步领略到为主体际性问题所揭示出的主体性哲学之内在困境的伦理蕴含和精神深度。

This classic book by Theodor W. Adorno anticipates many of the themes that have since become common in contemporary philosophy: the critique of foundationalism, the illusions of idealism and the end of epistemology. It also foreshadows many of the key ideas that were developed by Adorno in his most important philosophical works.

Andre Bazin's What Is Cinema? (volumes I and II) have been classics of film studies for as long as they've been available and are considered the gold standard in the field of film criticism. Although Bazin made no films, his name has been one of the most important in French cinema since World War II. He was co-founder of the influential Cahiers du Cinema, which under his leadership became one of the world's most distinguished publications. Championing the films of Jean Renoir (who contributed a short foreword to Volume I), Orson Welles, and Roberto Rossellini, he became the protege of Francois Truffaut, who honors him touchingly in his forword to Volume II. This new edition includes graceful forewords to each volume by Bazin scholar and biographer Dudley Andrew, who reconsiders Bazin and his place in contemporary film study. The essays themselves are erudite but always accessible, intellectual, and stimulating. As Renoir puts it, the essays of Bazin "will survive even if the cinema does not."

《生活世界现象学》作者埃德蒙德·胡塞尔在西方现代哲学中是一位非常严肃而富有责任感的哲学家。他毕生都在孜孜不倦、锲而不舍地在人类思想史上创造一门新的哲学学科——现象学。他的学说不仅影响了许多哲学流派，而且还影响到心理学、社会学、历史学和宗教等领域。《生活世界现象学》一书概括了胡塞尔现象学的所有基本问题：从感知行为类型的特殊分析到内时间意识现象学的核心内涵、从交互主体性的构造研究到生活世界问题的提出，对研究现象学的学者以及对现象学感兴趣的朋友很有启示，人们可从胡塞尔的学说中，依己所需，搜精取真。

《现象学导论》一书简洁明快，论理深入浅出，就如同索科拉夫斯基教授讲课的风格一样。追求思想的清晰性一直是哲学乃至现象学的最高境界，胡塞尔曾说过没有思维的明晰性，他就没法活下去；把哲学从黑格尔式的繁琐概念思辨返回到思维的自明呈现，原本是胡塞尔创立“直面实事本身”的现象学方法的主旨。就这一点而言，索科拉夫斯基教授恰恰是顺应了现象学的原初精义。索科拉夫斯基教授一直在天主教大学开讲胡塞尔的《逻辑研究》和《笛卡尔沉思》，对胡塞尔及现象学本文数十年的教学与研究，成为这本导论性著作的自然朴实之风的前提和基础。这本《导论》梳理和诠释了现象学的主题，诸如“意向性”、“形式结构”、“自我”、“时间性”、“生活世界”、“主体间性”和“本质直观”等等，将纷繁复杂的现象学思想系统地纳入到这些主题之中，思想深刻而又条理明晰。

这里所关涉的不可能是某些可以从定义上一劳永逸地确定下来的术语，而只是一些用来进行描述和对比的手段，它们的意义必须根据具体的人析状况而从每一个个别情况中得到原初的、新的吸取。
胡塞尔始终是一个描述性的哲学家，这已经是一个公认的事实。即使在他思想发而展的后期，当胡塞尔偏重于发生现象学的研究并因此而或多或少地进行解释性的操作时，他的总体研究风格也仍然只能用来描述来概括。而描述-尤其是现象学的描述-具体有两方面的依赖性：一方面是它对直观的依赖性：它仅仅描述在直观中呈现出来的东西，而不试图对非直观的背景因素做因果的解释或思辩的揣，另一方面，描述必须依赖于语词概念：在直观中所看到的图像越是丰富，对它们的描述所需要的词汇也就是繁多。胡塞尔因此在他一生的操学研究中使用了大量的现有哲学术语，并且自己同时还生造了众多的专用词汇供作描述用。很可能在哲学史上没有另一个哲学家会像胡塞尔那样需要诉诸于如此之多的概念表述。
概念是思维的细胞。每个想学点胡塞尔现象学的人都应首先完全理解其哲学概念。
胡塞尔现象学正以其独特的魅力在汉语学界获得越来越广泛的影响，但随着胡塞尔现象学文献的大量翻译和出版，现象学概念的中文译名问题也引起了一定程度的混乱，而胡塞尔的严格描述性理想偏偏又使他或挪用或生造了数目繁多的名词术语，这就更加剧了问题的严重性。
译名问题表现在两个方面：其一，胡塞尔的同一个概念被译成两个或两个以上的中文名称，如“先验的”和“超验的”源于同一个概念“transzendental”，“透视变形”和“射映”译自“Abschattung”，“当下拥有”、“呈现”、“现前化”和“当前化”其实都指“Gegenwaertigung”，等等不一而足；其二，看似相近却具有本质差异的概念只有一个中文译名，例如“original”和“originaer”涵义不同，却同被译为“原本”，“Aktualitaet”和“Wirklichkeit”被笼统译作“现实性”，“urspruenglich”、“primordial”和“primaer”被平均化为“原初的”等等(若单纯根据语言词典的释义，上面的译名并不算错)。
这一问题不仅让初入现象学之门的人容易误入歧途，而且给现象学在汉语言空间内的探讨和交流带来重重困难，不止如此，这一问题还影响到应用现象学的健康发展，现在已有学者尝试把传统文化和现、当代历史置于现象学视域之中进行观照，但这一视域中的“路标”却依然模棱两可！在这样的时候，倪梁康先生的著作《胡塞尔现象学概念通释》(以下简称《通释》)的出版可以说是应运而生。