作为一个离乡亡国多年之人，面对随时可能的死亡，萨义德恳切回顾自己的人生，寻根溯源，追忆他要求严格、给他“维多利亚式”教育的父亲，和令他终生仰慕、给他鼓励但又暖昧矛盾的母亲，以及成长的环境和所受的教育。他以今日之我探索、书写昔日之我，与内在自我重建关系，与已逝的父母修好，并试图以个人的方式为民族争回历史：他把自己分作两半的阿拉伯经历和美国经历统合为一，以不协和的身份为被压迫的、沉默的巴勒斯坦代言呐喊。
本书也是一个关于背井去乡和流离飘泊的故事。但萨义德发现，由此导致的身份的割裂、多重与流动实乃幸事一桩。他曾言：在哪里都不要有太多“家”的感觉。“格格不入”最终成了他的主动选择。

《思考法国大革命》是傅勒1978年出版的，此书是法国大研究史上具有开创性的著作。严格说来，《思考法国大革命》由四篇论文组成，分做上下篇。上篇相当于总论性质的导言，勾画了一种概念史的方法，其中心观念是在大革命史中引入批判理论。下篇是对两份历史文献（托克维尔和古参）的解读。傅勒提出结束对历史记忆中大革命所包含的虚幻性东西的崇拜：法国大革命结束了，应当给法国大革命打上日期并收进档案。此论一出即引发史学界地震一般的连锁反应。
《思考法国大革命》重评二百年来史学界对法国大革命的研究阐释，有力论证了时代变迁与对法国革命的评价的微妙关系，推动法国史学界转向对法国大革命的实证研究，摈弃从意识形态角度对法国大革命所采取的全盘否定或肯定态度。自1800年以来，法国及欧洲留下了汗牛充栋的关于法国大革命的思考和评说。各时代的史家对法国革命的研究固然做出了自己的贡献。但也同时带有强烈的时代政治的印记。《思考法国大革命》细致梳理法国革命史论线索，是此领域中正本清源之作。

上册收《三角钱歌剧》、《第三帝国的恐惧和苦难》、《卡拉尔大娘的枪》和《大胆妈妈和她的孩子们》四部作品。
下册收《伽利略传》、《潘第拉先生和他的男仆马狄》、《高加索灰阑记》和《巴黎公社的日子》四部作品。

本书是俄国优秀的批判现实主义作家亚·库普林的中短篇小说集，为《库普林文集》的第三部，收入各具特色的佳作15篇。
《画家的毁灭》叙述的是一个才气横溢的画家暗中恋上一个公爵夫人而不能自拔，不惜丧失自已的尊严，最后却遭到女主人的唾弃。《阿列霞》描写叙事主人公偶遇从小在树林中长大的纯正、善良的少女阿列霞，通过几次交往，两人萌发了爱情。但是姑娘被乡邻误认为是女妖，去教堂遭到凌辱和围攻，不得已离开故居，令主人公悲痛不已。
这些小说笔触细腻，结构巧妙，人物形象鲜活，具有强烈的艺术感染力。

在原《大学俄语》（东方）基础上重新编写而成的本科精读课和语法课教材。该教材由学生用书、教学参考书和练习手册组成。
融合了我国俄语教学数十年经验与国内外先进的教学法理念。
将语音、词汇、语法等语言知识和听、说、读、写、译五项基本技能训练有机结合。
充分考虑俄罗斯语言、文化等国情特点，着重培养学生的语言运用和跨文化交际能力。
取材新颖，题材丰富，图文并茂；语言地道纯正，富有时代气息。

1971年，那个政治和经济都起着翻天覆地变化的时候，诺阿姆•乔姆斯基和米歇尔•福柯，两位在世界知识分子界处于顶尖地位的人，完成了一次堪称“世纪辩论”的交锋。这场辩论从“人的天性”出发，很快就拓展到了更宽泛的领域，涉及了历史、创造力、自由以及为政治正义所作的斗争。这本小书已经行销九个国家，也早已超出了学术图书的范畴，而这两位作者的知名度也超出了学术领域。

余英时先生于2006年获美国国会图书馆颁发的“克鲁格”奖。此奖项被称为人文学科的“诺贝尔奖”。余先生是前后三届五位获奖者中唯一的华人。香港浸会大学陈致教授先后三次访问余先生，请余先生畅谈学术与人生，内容颇丰。前面两篇曾先后在《明报》发表，第三篇是应中华书局要求，为本书做的专访。附录两篇，之一是刘梦溪先生访问余先生的《为了文化与社会的重建》，之二是余先生自撰《我走过的路》。这两篇对深入了解余先生生平与学术都非常有益。

本书为贡布里希谈话录和回忆录的合集。这部新译本分为两部分，第一部分包括了英文版A Lifeng Inrerest的全书，第二部分则由几篇对话录和回忆录组成。全书对话居多，其余辅之。作者娓娓道来，闲闲落墨，令人读之忘倦，快然有得，从某种程度上讲，贡布里希的主要思想大约有一半在这里得到了平易而简约的说明。在本书中，贡布里希不仅回顾了他作为“艺术史家的双重生活”的一生，书中也涉及到他的许多代表著作，如《艺术的故事》、《艺术与错觉》、《秩序感》等的思想核心问题。尽管本书不是一部全面的回忆录，但却包括了大量的回忆片段，因此，要了解贡布里希的生平和学术观点，本书是一部难得的佳作。

本书对电脑科学、数学、物理学、宇宙学、神经和精神科学以及哲学进行了广泛、深入浅出的讨论，体现了作者向哲学上最大问题——“精神-身体关系”挑战的大无畏精神。书中充满了天才般的猜测，贯穿着探索真理的灵感和激情。这是一本这者的精心杰作，它阐释科学论题的新方式令人眼前为之一亮。这本巨著重新衡量相对论和量子理论。作者提出他对现代物理及人工智能的新看法，建议人们必须彻底改变时间与空间的观念。本书曾在《纽约时报》的畅销书排行榜上连续许多星期。

This is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

On New Year's Day 1973, Joyce Carol Oates began keeping a journal, which she maintains to this day. Already a well-established literary force by the age of thirty-four, Oates had written three books that had been named finalists for the National Book Award (in 1968, 1969, and 1972), and her novel them won the award in 1970; she had also received a number of O. Henry Awards, in addition to many other honors. Despite the warm critical reception from the literary world, however, the young author was naturally reticent about her personal life and would remain so throughout her career. </p>
The Journal of Joyce Carol Oates, edited by Greg Johnson, offers a rare first glimpse into the private thoughts of this extraordinary writer. This volume focuses on excerpts from the journal written during the crucial first decade, 1973-1982, one of the most productive of Oates's long career. Housed in her archive at Syracuse University, the journals themselves run to more than 5,000 single-spaced typewritten pages. Far more than just a daily account of a writer's writing life, these intimate, unrevised pages candidly explore Oates's friendship with other writers, including John Updike, Donald Barthelme, Susan Sontag, Gail Godwin, and Philip Roth, among others. Oates also describes, in vivid and captivating detail, her university teaching, her love of the natural world, her rural background, her vast reading, her critics, her travels, and, predominantly, the "silent, secret" life of the imagination. </p>
What emerges is a fascinating portrait of the artist as a young woman, fully engaged with her world and her culture—a writer who paradoxically thought of herself as "invisible" while becoming one of the most respected, honored, discussed, and controversial figures in American letters. </p>

An incisive collection of interviews with one of the leading lights of American writing.
Joyce Carol Oates has written some of the most enduring fiction of our time, including the national bestsellers We Were the Mulvaneys and Blonde, which was nominated for the National Book Award.
In her acceptance speech for the National Book Award in 1970, Joyce Carol Oates remarked that "language is all we have to pit against death and silence." In this remarkable new collection of interviews spanning more than 35 years of Oates's career, she talks candidly and insightfully about literature, the writing life, her background, and many other topics. These interviews should interest not only Oates's many fans but anyone who cares about contemporary American literature.
The interviews range from Robert Phillip's in The Paris Review to Lawrence Grobel's in Playboy. Though previously published, often in literary magazines, the majority have never appeared in book form.
From the Interviews:
"If art is, as I believe it to be, a genuinely transcendental function&#151;a means by which we rise out of limited, parochial states of mind&#151;then it should not matter very much what states of mind or emotion we are in. Generally I've found this to be true: I have forced myself to begin writing when I've been utterly exhausted, when I've felt my soul as thin as a playing card, when nothing has seemed worth enduring for another five minutes…and somehow the activity of writing changes everything."
"I take my writing seriously, but I don't take myself seriously…that is, I don't feel pontifical or dogmatic. Writing is an absolutely fascinating activity, an immersion in drama, language, and vision."

Oates's chapter introductions and afterword on the writing workshop offer students encouragement, advice, and exercises for honing their skills. As a teacher, Oates emphasizes the importance of reading widely with enthusiasm, pleasure, and purpose. Telling Stories reflects this emphasis, introducing students to a variety of models for their own writing and encouraging them to concentrate on details, revise often, make material their own, experiment with genre, and ultimately find their own voice. Edited by a contemporary master of the storyteller's art "who defines herself primarily as a friend of the text and a friend of the writer," Telling Stories is the perfect anthology for creative writing workshops and fiction classes and a wellspring of inspiration for any beginning writer. "The love of storytelling-to hear stories, and to tell them-is universal in our species. Those with an apparent talent for writing. . . are not of a special breed but simply mirror the common human desire. If] you have a natural talent for writing, and a love of the imagination, you risk a lifelong deprivation if you fail to cultivate it as vigorously as you can. Write your own 'great American novel'. . . you're talented, you're intelligent, you have the driving passion, and you know as much as anyone about American life. Your story belongs uniquely to you." -Joyce Carol Oates, from the Introduction

Biblische Gleichnisse geben ihren Lesern Ratsel auf - daran hat sich bis heute nichts geandert. Noch immer besteht Uneinigkeit daruber, wie die Erzahlungen zu begreifen sind. Nach der neueren Metaphernhermeneutik setzen Gleichnisse den Horer mit fundamentalen Moglichkeiten der Existenz in Beziehung. Liest man sie als Sprachereignisse, kann uber sie nur in einer individuellen Auseinandersetzung mit dem eigenen Lesereindruck gesprochen werden. Wie kann das jedoch ein Religionsunterricht leisten, der sich dem Prinzip der Operationalisierung verpflichtet weiss? Erst die Wirkungsasthetik macht die Uberlegungen der Metaphernhermeneutik anschlussfahig fur eine Didaktik, die den Leser auf ein subjektives Erfahren der Gleichnisse vorbereitet.

A three volume set of Nicholson's translation of Rumi's famous poem on Islamic mysticism. (Gibb Memorial Trust)

多年来我重读近代史，便尝试似逻辑与历史相一致的角度，清理若干历史积疑的实相。这就是我明知将碰壁仍要期待袪疑的由来。我不敢说我重读近代史的短书小文能够恢复历史实相，但至少表明历史实相有待恢复。

这是葡萄牙作家费尔南多·佩索阿晚期随笔结集，都是“仿日记”片断体。它是作者的代表之一，是一部曾经长期散佚的作品，后来由众多佩索阿的研究专家们搜集整理而成。
作者在随笔中的立场时有变化，有时是个精神化的人，有时则成了物质化的人；有时是个个人化的人，有时则成了社会化的人；有时是个贵族化的人，有时则成了平民化的人；有时是个科学化的人，有时则成了信仰化的人……这是变中有恒，异中有同，是自相矛盾中的坚定，是不如所云中的明确。正是这种精神气质、这种独自面向全世界的突围，使佩索阿被当代评论家誉为“欧洲现代主义的核心人物”、“杰出的经典作家”、“最能深化人们心灵”的作家。
我国当代著名作家韩少功拾译家遗漏，精选出原作的五分之四，译成中文，文笔优美，读来赏心悦目。

我可以保证，这真是一本很有趣的书。跟随作者，你可以进入爱因斯坦的梦境，坐在牛顿老师的课堂，来到星光实验的现场……最近距离接触科学的真相。
本书上部（前五章）和大家一起回顾物理学走过的坎坷历史，这段历史的精彩程度不亚于任何一段战争史。在伽利略、牛顿等巨星纷纷谢幕之后，超级巨星爱因斯坦闪亮登场。他就像一位横空出世的大侠，无门无派，但出手即震惊天下，他的绝招就是“相对论”。
中间的第六章是一段小说体的跨越半个多世纪的真实历史故事，这个故事尘封已久，现在很多年轻人甚至都不敢相信这就是现实，但真相往往比小说更惊人。
最后四章是本书的下部，下部比上部更精彩，结构更宏大，故事更神奇，真相更惊人。在下部中，作者将细致地剖析时空的真相，带你领略神奇的四维时空奇景，了解整个宇宙的终极图景，再回到原子的深处见识不可思议的微观世界，最后看一看当下物理学的最新进展——万物理论。