How can cultural forms motivate people to care about their environment? While important scientific data about ecosystems is mushrooming, E. N. Anderson argues in this powerful new book that putting effective conservation into practice depends primarily on social solidarity and emotional factors. Marshaling decades of research on cultures across several continents, he shows how societies have been more or less successful in sustainably managing their environments based on collective engagements such as religion, art, song, myth, and story. This provocative and deeply felt book by a leading writer and scholar in human ecology and anthropology will be read and debated widely for years to come.

本书辑录了两宋时期来自全国的1000多篇寺院碑文文献。是首次对宋代寺院碑文的系统梳理，也是该领域重要的学术成果。这些文献的作者大多为当时著名的文人、学者，如范仲淹、晏殊、欧阳修、苏洵等。内容涉及两宋的政治、经济、文化、思想、社会生活等方方面面，一定程度上展现了当时的社会风貌。本书所收录的名家篇章有范仲淹《天竺山日观大师塔记》、欧阳修《河南府重修净垢院记》、曾巩《金山寺水陆堂记》等。

中国宋代を中心に、明初にいたるまでの学校を対象に、宗教施設と公的空間という二つの側面が学校の特徴として明確になってくる課程を描き、明清社会へとつながる新たな学校像を提示する。

The Bright Young Things of 1920s Mayfair, with their paradoxical mix of innocence and sophistication, exercise their inventive minds and vile bodies in every kind of capricious escapade, whether it is promiscuity, dancing, cocktail parties or sports cars. A vivid assortment of characters, among them the struggling writer Adam Fenwick-Symes and the glamorous, aristocratic Nina Blount, hunt fast and furiously for ever greater sensations and the hedonistic fulfilment of their desires. Evelyn Waugh's acidly funny and experimental satire shows a new generation emerging in the years after the First World War, revealing the darkness and vulnerability beneath the glittering surface of the high life.

In late seventeenth-century London, the most provocative images were produced not by artists, but by scientists. Magnified fly-eyes drawn with the aid of microscopes, apparitions cast on laboratory walls by projection machines, cut-paper figures revealing the “exact proportions” of sea monsters—all were created by members of the Royal Society of London, the leading institutional platform of the early Scientific Revolution. Wicked Intelligence reveals that these natural philosophers shaped Restoration London’s emergent artistic cultures by forging collaborations with court painters, penning art theory, and designing triumphs of baroque architecture such as St Paul’s Cathedral.
Matthew C. Hunter brings to life this archive of experimental-philosophical visualization and the deft cunning that was required to manage such difficult research. Offering an innovative approach to the scientific image-making of the time, he demonstrates how the Restoration project of synthesizing experimental images into scientific knowledge, as practiced by Royal Society leaders Robert Hooke and Christopher Wren, might be called “wicked intelligence.” Hunter uses episodes involving specific visual practices—for instance, concocting a lethal amalgam of wax, steel, and sulfuric acid to produce an active model of a comet—to explore how Hooke, Wren, and their colleagues devised representational modes that aided their experiments. Ultimately, Hunter argues, the craft and craftiness of experimental visual practice both promoted and menaced the artistic traditions on which they drew, turning the Royal Society projects into objects of suspicion in Enlightenment England.
The first book to use the physical evidence of Royal Society experiments to produce forensic evaluations of how scientific knowledge was generated, Wicked Intelligence rethinks the parameters of visual art, experimental philosophy, and architecture at the cusp of Britain’s imperial power and artistic efflorescence.

A dazzling scientific detective story from the ecologist who first discovered the hidden language of trees
No one has done more to transform our understanding of trees than the world-renowned scientist Suzanne Simard. Now she shares the secrets of a lifetime spent uncovering startling truths about trees: their cooperation, healing capacity, memory, wisdom and sentience.
Raised in the forests of British Columbia, where her family has lived for generations, Professor Simard did not set out to be a scientist. She was working in the forest service when she first discovered how trees communicate underground through an immense web of fungi, at the centre of which lie the Mother Trees: the mysterious, powerful entities that nurture their kin and sustain the forest.
Though her ground-breaking findings were initially dismissed and even ridiculed, they are now firmly supported by the data. As her remarkable journey shows us, science is not a realm apart from ordinary life, but deeply connected with our humanity.
In Finding the Mother Tree, she reveals how the complex cycle of forest life - on which we rely for our existence - offers profound lessons about resilience and kinship, and must be preserved before it's too late.

原版
纽伯瑞、凯迪克大奖得主作品
畅销五十年，销量过千万，迄今仍在亚马逊榜单前列
入选纽约公共图书馆“百年百佳书”
超越时间的大师经典
大人小孩都喜爱的书之瑰宝，家庭藏书的理想之选
中文版
2016年度微博童书奖十大好书
2016年度豆瓣最受欢迎童书榜榜首图书
出版数年收获网店十几万条读者五星好评和众多名家一致推荐
双语版=中文版+原版
16开精装布封全彩印大开本
朴雅黄与深邃紫装裹三千年文明符码
精绝技艺与童心稚趣绘就古希腊神话绮想
2020年辞旧迎新适宜礼物之书
希腊神话是文学和众多艺术门类的基础，没有小孩会小到，也没有大人会大到不适合看希腊神话。没有希腊神话的教育是不完整的。
《多莱尔的希腊神话书》初版于1962年，世界著名的童书绘本艺术家多莱尔夫妇去希腊小岛考察后，将希腊神话繁杂的谱系加以梳理，用简炼而优美的语言讲述，配以真实、稚趣又幽默的插图。此书多年来畅销不衰，至今仍位于亚马逊图书排行榜前列，成为影响了一代代人的最受欢迎的希腊神话之书。

Zheng Qiao (1104-1162) was a Chinese historian who lived during the Song dynasty (960-1279), and the author of the comprehensive history of China Tong zhi (General history), which includes a special treatise on images called Tu pu lüe (Treatise on images and tables). Image-related comments and practices can also be found in several other parts of Tong zhi, as well as in other remaining texts of Zheng Qiao. This study focuses on Zheng Qiao s thought on images. His image-related texts are translated, commented, and analysed; his life and works are outlined; the influence of his thought on images in Chinese history is exemplified; and his concerns on images and the study of images are connected to traditional Chinese thought, as well as to some of our contemporary discussions concerning images. In his texts on images, Zheng Qiao expounded the equal importance of images (tu), by comparing them with writings/words (shu); characterized what an image (tu) is and the function of different types of images; explained why images are indispensable in various solid learning , such as astronomy, geography, architecture, historiography and linguistics; analyzed the reason for the loss of images and the tradition of using images during the dynasties; blamed the traditional bibliographers whose methods suited only preserving books with pure texts but not images and who caused the loss of images; criticized the current scholarly trend that emphasized words but despised images; advocated tu xue (image studies) as a fundamental scholarship of all learning; and contributed to the domain of images not only in theory but also in practice. In this study, a brief account of Zheng Qiao s life and works as a general background is provided. Zheng Qiao s major text on images Tu pu lüe is translated, interpreted and analyzed, and his other comments on images shown elsewhere in Tong zhi are collected and summarized thematically. His influence on later Chinese scholars and their image theories and practices in using images is exemplified, which relates Zheng Qiao to a wider context and historical background. Since this study is written in English and classical Chinese texts are interpreted and translated, conceptual premises need to be established. Hence, problematic English terms such as image and its cognates are discussed by examining some current Western image theories. Chinese terms, such as tu and xiang, are also discussed, with the focus on how they were generally used before and after Zheng Qiao. Zheng Qiao is the first scholar we know about who, at length, expounded the importance of images and propagated the image studies, to its essence very close to our view today. His words on images deserve to be looked at as a milestone in the ongoing process of establishing a genealogy of the history of images and image studies.KEY WORDS: Zheng Qiao, Tu pu lüe, Tong zhi, Tu, Xiang, Chinese image history, Picture theory, Tuxue, Tu pu zhi xue, Image studies, Image science, Bild, Bildvetenskap, Chinese art history, Zheng Xuecheng, Iconology, Domain of images, Phenomenology, Imagery, Appearance, Table, Diagram, Chinese writings and characters, Word and image.

《民间日用品雕版印刷图志》以民俗文物为对象，研究与著述的全部是民间日用印刷品，在印刷史研究上具有填补历史空白的意义和价值，有开创之功。
《民间日用品雕版印刷图志》以图文互证、互动的“图志”形式，不仅使印刷史的阐释意义深化、别有趣味，而且融印刷史、艺术史、文明史于一身，丰富了印刷史研究的内容，使印刷史更加系统和完善。
《民间日用品雕版印刷图志》融传统印刷史观与大印刷史观于一体，明确提出印刷史研究应当兼顾印刷品成型前的印刷科技史和成型后的印刷文化史两个层面，对印刷史学界在印刷发明问题上融会贯通、达成共识大有裨益。对此，容笔者日后作专题论述。

医生开的处方，怎么会跟海洛因和死人扯上关系呢？
接受了最好的戒毒治疗怎么还戒不掉呢？
止痛药依赖怎么会让海洛因趁机进入主流社会？
橄榄球运动怎么成了通往阿片类药物成瘾的大门？
这一次，瘾君子几乎都是白人！
死于药物过量的人多过死于车祸的人！
服用止痛药在现代社会是家常便饭。对于非致瘾性止痛药的研究，美国药物依赖问题委员会1928年一成立便视为己任。然而，有医生认为“患者很少成瘾”，此言1980年代初经权威的《新英格兰医学杂志》发表，令医药界兴奋不已。
1996年，普渡制药推出新型止痛药奥施康定。公司开展大规模营销，不仅大做广告，还招募大量销售人员对医生采取盯人战术，送礼、支付度假费用，还出资赞助医学研讨会。而1999年疼痛被医疗认证机构定为第五大生命体征，以及官方报告称疼痛没有得到充分治疗，更是推波助澜。于是，处方开具无度，造成患者的药物依赖。
奥施康定效果神奇且有不同剂型，价格却过高，一些成瘾者便利用医保以及各州的法律差异获取药物，以贩养服，或者干脆改用毒品。
同期，怀着发财梦的墨西哥年轻人带着廉价且后劲大的黑焦油海洛因源源不断地涌入，他们以加州等地的拉美人社区为基地，以白人富人为目标，建立起隐蔽而强大的零售网，使得买毒品可以像点外卖一样方便。
就这样，毒品经由止痛药开辟的途径进入美国主流社会，这一次，瘾君子几乎都是白人。2000年、2006年，美国缉毒署两次开展行动打击黑焦油海洛因，但死于药物过量的人数仍然居高不下，甚至超过了车祸的死亡人数。
本书作者山姆•昆诺斯曾是《洛杉矶时报》墨西哥缉毒战报道组的记者，他从“蓝领之城”朴茨茅斯追踪到墨西哥小镇，采访了年轻毒贩、制药业人士、缉毒署特工、痛失子女的父母以及沉迷药物的中产阶级年轻人，以令人心碎的故事揭示了止痛药及毒品对于当代美国社会及其核心价值观的腐蚀。

这真是一部让人期待已久的南方叙事，一座早该由广东人吐露成型的海市蜃楼。我需要再三重读，好看清林棹如何放荡她那肆无忌惮的想象力，从珠江江底泥层疍艇的尸身，打捞出十九世纪海洋帝国那水彩般的残影。
——梁文道
幻象中蕴含着自然饱满的躯体，方言里埋藏着民族丰盈的神识，以缜密的虚构技艺，林棹描画出一个特殊时空的异样风姿。
——黄德海
一八二〇年代，身世成谜的苏格兰博物学者H游历世界，登陆广州，在当地芦竹林中遭遇一只雌性巨蛙，成功将其诱捕，豢养在澳门好景花园。由此，奇异的笼禽困兽、寰宇新知并四海众生相，悲喜相侵地进入蛙的生命。鸦片战争前夕，H破产自杀，好景花园如大梦般消失，而蛙也将经历生与死的考验。
这个根植于岭南风土的魔幻故事，从珠江水上人家，到广州十三行，在澳门奇珍园略作停留，又探向万物有灵的江河重洋。中西在此相逢，大大小小的乌托邦相互碰撞，是一次穿越近代世界的迷人宴游。

《宋代制诰文书研究》是一部以宋代制诰文书为主要研究对象的专著。通过对宋代制诰文书相关概念的辨析以及文本特征的分析，进而探讨制诰文书的政治功用，并进一步论及宋廷日常政治生活及其特殊政治过程。对宋代制诰文书的探讨，丰富了文书研究的相关面相。

韓国でこよなく愛されてきた妖怪ドッケビのイメージが韓国社会を映し出す。それは目に見えないドッケビが、植民地支配下で日本的な鬼のイメージを獲得したことから始まった。国を代表するキャラクターになるまでの韓国人自らのドッケビ探しの旅を描く。

以文化权力为核心概念和主线，围绕士绅文化权力的兴衰，探讨明清时代士绅与江南社会变迁之间的关系
士绅是科举时代形成的一个特殊知识群体，他们不仅拥有朝廷赋予的政治与经济特权，同时还因为文化资本的独占而具有对社会进行规范整合的文化权力。江南士绅文化权力的运作网络包括家族组织、慈善机构、乡约社学、文会书院、宗教信仰、社会舆论等，对上维护道统，对下化民成俗，是传统社会稳定运行的重要机制。明清两朝之初，在专制皇权的摧抑之下，士绅的活动与影响均受到严格限制，而到了中后期，由于内外各种因素之影响，士绅之数量与力量都获得极大的发展，尤其是晚清以来，面对“数千年未有之大变局”，士绅不仅活跃倍增，同时其内部结构也潜移默化，至清末“新政”废除科举之后，附丽于科举制的士绅阶层开始蜕变，成分更为复杂的地方权势阶层取而代之。

2012年舉行「丹道實踐：人文、科技相遇」的國際會議，吸引許多人文學者與科學中人參與，相互對話交流，證實丹道實踐符合現代生活的需求，縱使歷經西方文化、科技文明的衝擊，仍能延續其固有的文化傳統。諸如印度的瑜伽、日本的禪坐以及中國丹道，理解其功法確實亟需現代化，通過科技實證才能為現代人所接受，而後成為「全球樂活」運動中的養生方式。丹道文化的人文與科技相遇，是當前必然的學術趨勢，在開拓上必須進行跨領域的整合，才能持續突破丹道學的研究視野。此書中的學者分別鑽研龍門宗、天帝教乃至仙學、西派，其學術成果集結出版，乃丹道學的大事因緣，必能激盪深化丹道學術、補足當代的身心論述。

In this beautiful and richly illustrated book, the acclaimed author of Blue and Black presents a fascinating and revealing history of the color green in European societies from prehistoric times to today. Examining the evolving place of green in art, clothes, literature, religion, science, and everyday life, Michel Pastoureau traces how culture has profoundly changed the perception and meaning of the color over millennia--and how we misread cultural, social, and art history when we assume that colors have always signified what they do today. Filled with entertaining and enlightening anecdotes, Green shows that the color has been ambivalent: a symbol of life, luck, and hope, but also disorder, greed, poison, and the devil. Chemically unstable, green pigments were long difficult to produce and even harder to fix. Not surprisingly, the color has been associated with all that is changeable and fleeting: childhood, love, and money. Only in the Romantic period did green definitively become the color of nature. Pastoureau also explains why the color was connected with the Roman emperor Nero, how it became the color of Islam, why Goethe believed it was the color of the middle class, why some nineteenth-century scholars speculated that the ancient Greeks couldn't see green, and how the color was denigrated by Kandinsky and the Bauhaus. More broadly, Green demonstrates that the history of the color is, to a large degree, one of dramatic reversal: long absent, ignored, or rejected, green today has become a ubiquitous and soothing presence as the symbol of environmental causes and the mission to save the planet. With its striking design and compelling text, Green will delight anyone who is interested in history, culture, art, fashion, or media.

颜色，究竟从何而来？
日本国宝级染织家志村福美，长年来坚持以“草木染”的天然方式为丝线染色，以求让色彩最大程度保持鲜活的自然生命力，她精美的和服作品皆为草木染丝线织就。
本书为志村福美在长销三十余年的散文《一色一生》之后推出的集中描绘色彩世界的散文合集，摄影师井上隆雄为优美的文字配以65幅精美的胶片摄影。两者相应成趣，以直观的方式描绘出自然界丰富多彩的色彩怎样降生、附着于人造之物。这一过程伴随着挫败、惊喜、痛苦与欣悦，天空、湖水、青草、红花等等世间万物经由艺术家的执着与果敢变为靛蓝、水葱、白绿、赤红这些人间之色，是谓“奏响色彩”。
【编辑推荐】：★日本政府授予她文化勋章（国家最高荣誉）和文化功劳者称号；NHK为其拍摄纪录片；各大顶级美术馆收藏竞相收藏她的作品；日本国民则将她誉为“色彩与光的诗人”
★继畅销三十余年的半自传随笔《一色一生》后，通过艺术家的色彩笔记，在远离自然的楼宇，重新相信人类作为生物与自然亲近的可能
★色彩联通着一片土地的风貌，一个民族的美之意识，透过色彩窥见东瀛岛国的丰富文化
★六十五幅胶片摄影直观还原色彩从自然降生人间的奇迹
【媒体评论】：
优雅而微妙的配色里，贯通着一颗对自然谦逊而坦诚的心。
——川端康成
虽说“花朵的生命短暂”，但倘若植物能经志村福美的手而获得永生，那便是无上的幸福。而这，便是其织物的秘密。
志村福美的织物之美，不单纯出自高超的技巧，它们深刻联结着日本古典文化，深受其影响。
——白洲正子（散文家，读卖文学赏获奖作家）
欣赏志村福美的作品，能感受到她的心与作品紧紧相连。她的织物与自然共生，是人从自然中借来生命，在生活中将这份喜悦升华的呈现。她的工作，正是对自然的理解、敬意与对话之下诞生的。
——皆川明（著名服装设计师）
染线、织作是沉默中的工作，而写作则相反。在志村福美这里，两者却自然成立，毫无冲突。
对我来说，志村福美是能“自由地向着对岸”的人，她的活法我只能憧憬，绝不是想模仿就能实现的。
——糸井重里（出版人、作家、hobo手账创始人）
现代人已与“细腻的体验”渐行渐远。我们从志村福美的作品中，不禁感受到了自身这种体验的丧失
——高桥义人（京都大学名誉教授）
志村福美是“色彩”与“织造”的诗人。——高阶秀尔（艺术史学者）

“他们像一堆行走的灰烬，消散在漫天的尘土中。而时至今日，他们的心脏还在大地之下跳动。”

据闻《山魈考》的最后一章以类似古人或巫人的口径，就鬾阴人的命运作出了如此预言。对于今人而言，这个古老的部族仍然是一个谜团。在命运的捉弄下，关于鬾阴族的历史资料几乎散轶，连带关系到整个部族的典籍——《山魈考》亦残缺失传。物换星移，一群后来学者决定重拾时代与记忆的碎片，苦奔各地、掀翻群书，从茫然大海捞觅任何一丝线索，试图重新拼揍出这段鲜为人知的部族历史……究竟他们觅寻到的是弥足珍贵的史料，抑或难以违抗的时代宿命？

既然如此，身为读者的我们，所读到的究竟是一则消失部族的故事，抑或一群穷追时代影子的后人挣扎，还是一个又一个环环相扣的古老诅咒？

书本开首，为上述问题引出迷思——你从未阅读想象中的事物，你的阅读本身即是想象。

This volume brings together essays that consider wounding and/or wound repair from a wide range of sources and disciplines including arms and armaments, military history, medical history, literature, art history, hagiography, and archaeology across medieval and early modern Europe.

“自己的书斋不可给人家看见，因为这是危险的事，怕被看去了自己的心思。”本书作者周运所做的便是打开学者书斋的一角，让我们得以探头看看内里的风景。
周运以国家图书馆所藏近现代学人藏书，和淘书所得西文藏书为依托，为我们闲闲道来书籍流传的因缘趣事，以及书中批注所透露的治学线索。这些学者包括严复、傅斯年、毛子水、威廉·詹姆斯等。
作者用力最深的当属“周作人藏书聚散考”。周运从海量的民国报刊报道中，梳理出战后周作人入狱以及藏书被充公的过程；通过调查国图藏书目录及周作人本人日记整理出一份“知堂外文藏书知见目录”，勾稽外文藏书407条，存疑藏书159条。
本书是资料性质的，但又不止于资料，是书话的深化，也可作为学术史的外编。