Margaret Mee must rank as one of the most remarkable women of the twentieth century. She was an intrepid explorer of the Brazilian rainforest and an outstanding botanical artist, acclaimed by botanists and art critics worldwide. At the age of 47, Mee started exploring the Amazon in the footsteps of great British explorers such as Richard Spruce and Henry Walter Bates travelling throughout the wildest parts of Amazonia for the next thirty years. Mee learned to live with the forest and its plants, animals and people and learnt much from the Indians about the trees and plants she so meticulously painted. Mee initially sketched the plants in the forest and then worked on the large illustrations of the entire plant in her studio in Rio de Janeiro. Nine of these plants recorded by Mee, previously unknown to science, are now named after her. "Flowers of the Amazon Forests: The Botanical Art of Margaret Mee" illustrates more than sixty of Mee's major works with additional sketches painted whilst in the forest. The text is taken directly from the diaries she kept whilst travelling giving a wonderful insight into the Amazon - something very few people have actually seen. Mee was an ardent conservationist and was well known for her outspoken views on the destructive exploitation of the Amazon forests. This book is a small tribute to her great work.

By comparison of late nineteenth-century ghost stories between China and Britain, this monograph traces the entangled dynamics between ghost story writing, history-making, and the moulding of a gendered self.
Associated with times of anxiety, groups under marginalisation, and tensions with orthodox narratives, ghost stories from two distinguished literary traditions are explored through the writings and lives of four innovative writers of this period, namely Xuan Ding (宣鼎) and Wang Tao (王韬) in China and Vernon Lee and E. Nesbit in Britain. Through this cross-cultural investigation, the book illuminates how a gendered self is constructed in each culture and what cultural baggage and assets are brought into this construction. It also ventures to sketch a common poetics underlying a "literature of the anomaly" that can be both destabilising and constructive, subversive, and coercive.
This book will be welcomed by the Gothic studies community, as well as scholars working in the fields of women’s writing, nineteenth-century British literature, and Chinese literature.

🌌这颗星球，知道你内心深处的秘密。
🌌波兰科幻大师莱姆代表作，塔可夫斯基《飞向太空》原著小说。
🌌刘慈欣、梁文道、戴锦华、吴岩、江晓原诚意推荐
【编辑推荐】
🌟波兰科幻大师斯坦尼斯瓦夫•莱姆代表作，以诗意笔触和深邃哲思触探人类认知边界。人类追寻着地外文明的蛛丝马迹，遇见了索拉里斯星的蓝色大洋。它像一面镜子，反映出人类的忧伤与迷惘，恐惧与执念。而它本身是什么，人类却永远也无法知道。
🌟安德烈•塔可夫斯基据此改编《 飞向太空》，铸就电影史上的经典。
🌟被无数人誉为无法超越的科幻神作，设立太空想象天花板，刘慈欣、梁文道、戴锦华、吴岩、江晓原诚意推荐。
🌟莱姆是波兰科幻作家、哲学家，被译成52种语言，全球畅销4000余万册，以一己之力将波兰科幻提升到世界水平。早在70年前就预言了互联网、搜索引擎、虚拟现实和3D打印的出现，直言人类将遭遇人工智能和信息爆炸的挑战。
🌟莱姆100周年诞辰纪念版，波兰驻华大使亲自撰写序言。
【内容简介】
索拉里斯星是一颗围绕双星运转的星球，表面被胶质海洋覆盖。根据人类既有的认知，这样的星球的运转轨道应该是不稳定的。但仅仅过了十几年，人们就发现，索拉里斯星的轨道并没有显示出预期的变化。这激发了人类对这颗星球无限的兴趣。
心理学家凯尔文降落到索拉里斯星，迎接他的不是同伴们的热烈欢迎，而是杂乱的太空站、疯癫的科研人员和凝重的暗黑气氛，他试图弄清楚到底发生了什么，直到在一片扑朔迷离中撞见自己已经过世十年的妻子……
【媒体推荐】
莱姆有非常了不起的想象力，是真正独一无二的。莱姆的作品对人和宇宙的关系有着更深刻的描述，与美国的科幻小说相比，在文学上也更为精致，有着更为深远的意境，也给人带来更多的回味和思考。
——刘慈欣
如果我们找不到外星人，可能是因为我们对外星生命的理解，都以为他们是人。
——梁文道
《索拉里斯星》不仅是一部重要的科幻作品，也是一部伟大的文学作品，甚至是一部现代哲学读本。
——戴锦华
莱姆总是能从核心处嘲弄我们的生活，他能把科技论文、民间故事、寓言、神话传说等都烹调在一起，并用幽默而力透纸背的荒诞语言和荒诞情节，返照我们的世界。
——吴岩
他是当今活跃的作家中最智慧、最博学、最幽默的一位。
——安东尼•伯吉斯
无论是语言的驾驭、想象力还是塑造悲剧角色的手法，都非常优秀，无人能出其右。
——库尔特•冯内古特
相比之下，我们疲惫的宇宙显得苍白无力。
——《华盛顿邮报》
与阿瑟•克拉克、艾萨克•阿西莫夫和菲利普•迪克比肩的科幻小说巨人。
——《纽约时报》

植物没有一个我们执念的“大脑”，但若把智能定义为“解决问题的能力”，那么植物就是智能的。书中通过各种实验来证明植物拥有独特的嗅觉、味觉、听觉、触觉等感觉，而且大多比人类的更灵敏，以满足它们的生长需要和躲避敌人的需求。它们具有三类交流系统，尤其在无法言语的情况下，它们与周围的植物、昆虫和高等动物交流时，使用各类方式、手段，更是让人大吃一惊。
书中梳理了几千年来人们对植物的偏见史，为读者落后的植物观寻找分析原因，以诸多来自Science和Nature杂志的最新研究做论据，论证层层推演，逻辑链条极为缜密，推导出诸多与植物有关的科学论断，形成了一套别具一格的植物观。
读完此书，你看待周围植物的眼光会大不相同。
书的开本为32开，内文采用绿色和黑色双色印刷。装帧为少见的布面平装，是柔和的触感与轻巧体量的完美结合，同时呼应重要却不笨重的内容文字。

植物在宇宙间扮演的角色，其实远远超过人类的想象。它们出现于几亿年前，却早已指明了我们人类的未来。植物作为经过长期演化，且建构方式与动物全然不同的生物体，具有模块化的结构和散布全身的智能，可以为许多技术难题提供解决方案。在开创未来的路上，人类一定得向植物学习才行。这本书将带你探知植物世界，同时展望我们的未来。
01 调转主观视角
发现植物角色的革命性转变
植物集坚韧性和灵活性两种优势于一身，有着卓越的适应能力，能够用“记忆”对环境做出判断，更能在极端环境中靠空气中的湿气生存，并通过拟态从食草动物眼皮底下逃过一劫，甚至可以在不消耗能量的情况下移动。它们所熟练的“绿色民主”和“操控艺术”，更显示出极其现代化的生存智慧。本书将带你重新认识植物在整个生态环境中的能力和地位，它们和我们之间的关系正发生革命性的改变。
02 探索植物仿生学的超级运用
同时展望人类的未来
植物对于人类的作用绝不止于表面的应用。一直以来，植物模块化的身体结构都是建筑师的灵感来源；植物还能够操控动物（包括人类在内）的行为，为神经生物学打开新的研究切口；其不断生长的根须能形成精密的根系网络，从而探知周围环境的情况，这些都能应用到机器人的设计制造中；要想不断对太空进行探索，就必须在太空中种植蔬菜；植物还可以启发我们将部分农业生产能力转移到海洋，解决土地盐渍化的问题；植物独特的组织模式，更为人类的社会组织结构提供了良好的示范。
03 近百张科普图片+五色印刷
更直观地展现植物奥秘
书中附有大量图片配合文字说明，内文采用五色印刷，让阅读过程更加直观，带你生动地了解植物的奇妙能力和惊人应用。
书的开本为32开，装帧与《它们没大脑，但它们有智能》保持一致，为少见的布面平装，是柔和的触感与轻巧体量的完美结合，同时呼应重要却不笨重的内容文字。

In his classic exposition of the theology of the Church, Lossky states that the Eastern Tradition..."has never made a sharp distinction between mysticism and theology; between personal experience of the divine mysteries and the dogma affirmed bu the Church." The term "mystical theology" denotes that which is accessible yet inaccesible' those things inderstood yet surpassing all knowledge.

当代物理学中一些非常重要而又艰深的思想，往往因为难以形象浅显地解说而不易为公众了解。本书作者不畏艰辛，用很生动的方式向读者展示了现代物理前沿之一——超空间理论。全书15章分为4篇，分别描述了超空间的研究历史，超空间理论通往爱因斯坦梦寐以求的“物理学圣杯”统一场论的可能性，通过超空间穿越时空的可能性的理论探讨，以及何时方能实际利用超空间理论所具有的潜在威力。详尽而又如此通俗地讲述这种理论，在本书之前尚未见先例。

他是废墟中的孤儿，精神上的无国籍者，
他以渺远的宇宙为乡，
是命定的诗人，哭泣的萨满，
是带有鬼气的诗歌菩萨。
诺贝尔文学奖多年热门人选、韩国国宝级诗人高银亲自遴选，完整呈现半世纪创作历程。
诗人是懂爱的人，所以常常会吟诵出爱的诗篇；诗人也是悲哀的人，所以常常会痛苦… …诗是人类表达感情不灭的形式，经过一个休眠期后，也许一个新的诗的时代还会来临。——高银
《春天得以安葬》是高银的一部诗歌自选集，由诗人亲自从1960年至今的浩瀚作品中精选百余首诗作，包含不同阶段的优秀作品，是对高银创作风格和创作历程的完整呈现。作品既有对朝鲜战争造成的心灵废墟的哀歌，也有笔墨疏朗清淡，充满东方禅韵的絮语。阅读高银，我们读到的不仅是一行行深入灵魂内部的词句，更是一段段韩国现当代的精神史诗。

《朱子大传（性的救赎之路增订版 ）》全面系统地挖掘搜集到了关于朱熹的上千 种史料，考明众多历史事件的真相，对朱熹的一生及 其思想发展历程作了全面深入的新研究，破除历来的 误说、错案、悬案、谜案，把朱熹由“神”还原为“ 人”，写出了一个活生生的、有血有肉的朱熹，从中 揭示出了朱熹人本的“性学”思想体系的本质及其价 值所在，也活画出了一幅南、北宋交替时代风云突变 的历史画卷。
此次增订一是补充了朱熹的新资料，对原来一些写得比较含混或写错的地方作了补充或改写；二是写 进了三十年来作者对朱熹的新思考、新认识，如认为 朱熹的理学体系应称为“性学”的思想体系，朱熹是 从体用关系来构建自己的“理一分殊”的哲学体系， 朱熹的“性即理”的性学是一个人性救赎（复性）的 思想体系等；三是全面校改了错字错句、漏字漏句、 错误标点、错误引文等。

This book presents for the first time in English a complete translation of the Expository Commentary to the Daode jing, written by the Daoist monk Cheng Xuanying in the 7th century CE. This commentary is a quintessential text of Tang dynasty Daoist philosophy and of Chongxuanxue or Twofold Mystery teachings. Cheng Xuanying proposes a reading of the ancient Daode jing that aligns the text with Daoist practices and beliefs and integrates Buddhist concepts and techniques into the exegesis of the Daode jing.
Building on the philosophical tradition of Xuanxue authors like Wang Bi, Cheng read the Daode jing in light of Daoist religion. Cheng presents Laozi, the presumed author of the Daode jing, as a bodhisattva-like sage and savior, who wrote the Daode jing to compassionately guide human beings to salvation. Salvation is interpreted as a metaphysical form of immortality, reached by overcoming the dichotomy of being and non-being, and thus also life and death. Cheng's philosophical outlook ties together the ancient text of the Daode jing and contemporary developments in Daoist thought which occurred under the influence of an intense interaction with Buddhist ideas. The commentary is a vivid testimony of the integration of Buddhist thought into an exegesis of the ancient classic of the Daode jing, and thereby also into Chinese philosophy.
Friederike Assandri frames this new translation with an extensive introduction, providing crucial context for a new reading of the Daode jing. It includes a biography of Cheng Xuanying, a discussion of the historical and political context of Daoism in early medieval China in the capital Chang'an, and a discussion of Cheng's philosophy in relation to the interaction of Daoism and Buddhism. This commentary is essential reading for students and scholars interested in the history of Chinese philosophy, Daoist thought, and the reception of Buddhism in China.

The Hermetic Museum takes readers on a magical mystery tour spanning an arc from the medieval cosmogram and images of Christian mysticism, through the fascinating world of alchemy to the art of the Romantic era. The enigmatic hieroglyphs of cabalists, Rosicrucians, and freemasons are shown to be closely linked with the early scientific illustrations in the fields of medicine, chemistry, optics, and color theory. Even for those with no knowledge of the fascinating history of alchemy, this book is a delight to explore. Each richly illustrated chapter begins with an introduction and quotes from alchemists by specialist Alexander Roob. The roots of surrealism and many other more recent artistic movements can be found in this treasure trove.

大多数读者可能好奇：为什么专家看了一件古代绘画作品，马上就知道这是什么年代的？我为什么看不出来？
专家完成这项工作，一般来说需要两步。第一步，要建立一个真实的艺术史。第二步，在艺术史具体范围内，搜集与分析各种证据。
建立真实的艺术史，其实是事情的难点，触碰艺术之前，要去研究艺术史，犹如出门旅游要找一张地图，有了地图，再去旅游，就不会犯大错误。本书主要讨论如何建立宋代绘画史的“地图”。
本书的主要目的，就是试图讲清楚宋代绘画在不同时期的不同表现，把宋代绘画的“千层蛋糕”每一层的特点都讲清楚。依据这些不同的特点就可以鉴别所有的佚名绘画作品，激活大量沉睡的杰作，从而大大丰富宋画史。
本书是在《宋画全集》 已经基本完成的基础上撰写的一本描述宋画史全貌的书。书中所有的微观描述，都是为描述宋画史全貌服务的，希望大家阅读之后，可以形成一个关于宋画的结构性印象。如果大家掌握了这个体系，也就是上文说的“千层蛋糕”，对于判断宋画真伪，就增加了一条全新的道路。

本书首次对中国俗神信仰中的厕神信仰进行了比较系统而深入的研究。一方面，通过跨学科研究的宏阔视野，比较系统地研究了中国厕神的形态、缘起、定格、演变、流布与遗存等问题，且将中国厕神置于东亚文化视域中进行比较研究。另一方面对一些相关必要问题进行了深入研究和细致考索，如《大雅·生民》中的“血祭沃土”痕迹、“子姑”与“紫姑”的关系、苏轼紫姑书写的矛盾性、“雪隐”“东司”的语源问题及佛教厕神、怒一底大与紫姑的比较等，不胜枚举，颇多创见，皆有可观。

In the early 2000s, the central government of China encouraged all of the nation’s registered minorities to “salvage, sort, synthesize, and elevate” folk medical knowledges in an effort to create local health care systems comparable to the nationally supported institutions of traditional Chinese medicine. Gathering Medicines bears witness to this remarkable moment of knowledge development while sympathetically introducing the myriad therapeutic traditions of southern China.
Over a period of six years, Judith Farquhar and Lili Lai worked with seven minority nationality groups in China’s southern mountains, observing how medicines were gathered and local healing systems codified. Gathering Medicines shares their intimate view of how people understand ethnicity, locality, the body, and nature. This ethnography of knowledge diversities in multiethnic China is a testament to the rural wisdom of mountain healers, one that theorizes, from the ground up, the dynamic encounters between formal statist knowledge and the popular authority of the wild.

从社会文化发展的角度来看，北宋达到了一个新的历史高度。北宋文人和北宋文学，有其鲜明的特点。王水照先生《北宋三大文人集团》，通过分析钱幕僚佐集团、欧门进士集团、苏门学士集团，这三个时间上前后相继、人员上传薪接脉的文人集团的构成、群体特点、文学活动，为人们展现了北宋的社会文化和士人精神生长、演变的主要线索，以及北宋诗歌、散文、歌词创作的艺术成就和历史价值。

西湖景区不仅有“淡妆浓抹总相宜”的秀美多姿，也有“青山处处埋忠骨”的荡气回肠；有“蝉噪林逾静”的静谧安适，也有车水马龙的喧闹忙碌；有钢筋铁骨的高楼大厦，也有飞檐翘角的古寺亭塔；有收藏图书古籍的文澜阁，也有刻录人文印迹的摩崖石。西湖景区的摩崖石刻遍及湖滨诸山，数量巨大、题刻精美、内容丰富：唐卢元辅于灵隐飞来峰的诗刻，楷书大字，用笔遒劲，不失法度又别有天趣；后晋烟霞岭西关净化禅院碑，碑额篆法古雅，正文楷字典雅；吴越武肃王排衙石诗刻，楷书承唐代风韵，用笔隽秀……百幅自唐至民国的、具有较高书法艺术价值的西湖摩崖石刻，等君细品。

A classic of modern fiction. Set in the 1860s, THE LEOPARD is the spellbinding story of a decadent, dying Sicilian aristocracy threatened by the approaching forces of democracy and revolution.

In Wild Things Jack Halberstam offers an alternative history of sexuality by tracing the ways in which wildness has been associated with queerness and queer bodies throughout the twentieth century. Halberstam theorizes the wild as an unbounded and unpredictable space that offers sources of opposition to modernity's orderly impulses. Wildness illuminates the normative taxonomies of sexuality against which radical queer practice and politics operate. Throughout, Halberstam engages with a wide variety of texts, practices, and cultural imaginaries—from zombies, falconry, and M. NourbeSe Philip's Zong! to Maurice Sendak's Where the Wild Things Are and the career of Irish anticolonial revolutionary Roger Casement—to demonstrate how wildness provides the means to know and to be in ways that transgress Euro-American notions of the modern liberal subject. With Wild Things, Halberstam opens new possibilities for queer theory and for wild thinking more broadly.