This book explores how beliefs and practices have shaped the interactions between different ethnic groups in western Hunan, as well as considering how religious life has adapted to the challenges of modern Chinese history.
Combining historical and ethnographic methodologies, chapters in this book are structured around changes that occurred during the interaction between Miao ritual traditions and religions such as Daoism, with particular focus on the commonalities and differences seen between Western Hunan and other areas of Southwest China. In addition, investigation is made into how gender and ethnicity have shaped such processes, and what these phenomena can teach about larger questions of modern Chinese history. As such, this study transcends existing scholarship on Western Hunan –which has stressed the impact of state policies and elite agendas – by focusing instead on the roles played by ritual specialists. Such findings call into question conventional wisdom about the ‘standardization' of Chinese culture, as well as the integration of local society into the state by means of written texts.
Religion, Ethnicity, and Gender in WesternHunan during the Modern Era will prove valuable to students and scholars of history, ethnography, anthropology, ethnic studies, and Asian studies more broadly.

“大野泽-梁山泊”作为黄河下游曾经存在的巨浸大泽，在一千多年的时间里与郡县地理沿革、河渠沟洫变迁、漕运水利建设、屯垦括地等问题都息息相关，又长期以“盗区”知名，所以引起古人格外的关注。从宋元到明清，该湖泊的由来与消亡是历代史地学者必定论及的问题。宋人“梁山泊古大野泽”之说在后世著述中被广泛征引，表明古人认识到了大野泽与梁山泊作为同一湖泊的不同阶段，彼此存在承继关系；但因缺乏自然地理学科背景，传统著述对“大野泽-梁山泊”的具体演迁解释得非常模糊。民国以来的学术界取得了一些进展，但也未超出沿革地理的视域。本文尝试以现代历史地理学方法，对“大野泽-梁山泊”在公元12世纪末之前的演迁史进行研究。

本书汇集泉州地方遗存古代宗教建筑和坟墓的石刻遗物，分别属于伊斯兰教、基督教、印度教、摩尼教，以及佛教、道教及其他民间信仰，以文物照片、拓本、文字说明、资料辑录、考证、专题论述及古阿拉伯文字的释译，为研究古代社会历史、宗教、艺术、中外交通、中外古文字和宋元以来外国人在泉州一带的活动提供了极重要的第一手资料，展示了泉州作为古代东方最大商港的特殊风采。

Agostino Arrivabene (b.1967)受历代伟大的画家的启发，创作出的图像既有古色古香的气息，又有清新的气息。他对古代绘画技巧的运用使他的作品更具真实感。例如，他用天青石等天然材料制作自己的染料。他艺术视野的一个重要部分是回归过去，以代表未来。他最常用的技法之一是著名画家阿尔布雷特·丢勒（Albrecht Durer）使用的混合技法，将蛋彩画和油画颜料混合在一起，创造出半透明的透明层，赋予画作一种神秘的效果。
Agostino Arrivabene的影响和灵感来源包括法国象征主义画家居斯塔夫·莫罗（Gustave Moreau）和挪威象征主义画家奥德·纳德卢姆（Odd Nerdrum）。他正在意大利米兰郊外的17世纪的房子里工作，他的作品通常以寓言、超现实或启示录为主题，在没有时间、没有边界、没有物理定律的领域里运作，创造出一种「 好奇心的房间 」，让观者领略到奇异而非凡的异域世界。

本書就「扶乩」這玄妙入神的信俗文化展開學術探討，是箇中課題屈指可數的專著。對扶乩信仰的歷史、扶鸞結社的粵港壇堂、具影響力的乩手等，有系統細緻的描述，由此可觀照百年來香港的歷史、文化及社會，尤其是20世紀上葉香港壇堂的道脈根源和流變。從學術角度研究外，更有兩位著者看鸞的經歷、各自與壇堂及乩手交往的情誼，以及對扶乩哲理的探索、對「道」的感悟等，從宗教與人生、學術與藝術等不同維度，建構起全面的討論視域。

This grand, ambitious book is about a way of building that for centuries dominated the making of monumental architecture - yet now not only is it lost as practice, but knowledge of its very existence is also lost. In the pre-modern age in Europe, the architect built not merely with imagination, brick and mortar, but with time, using vast quantities of duration as the means to erect monumental buildings that otherwise would have been impossible to achieve. This was not mere medieval muddling-through but entailed a highly developed set of norms and effective practices. Virtually all the great cathedrals of France and the rest of Europe were built under and by this regime, here given the name 'Building-in-Time'. To understand it puts in an entirely new light the major works of pre-modern Italy, from the Pisa cathedral group to the cathedrals of Milan, Venice and Siena, and from the monuments of fourteenth-century Florence to the new St Peter's, the apotheosis of the practice. In telling this story, Marvin Trachtenberg rewrites the history of medieval and Renaissance architecture in Italy and recasts the turn to modernity in new terms, those of temporality and its role in architectural theory and practice. Recovering this lost element of the deep architectural past allows us also to see the present in a new way: that temporality is not any neutral or secondary factor in modern architectural culture, but an epistemic condition that silently affects all production and experience of the built environment.

David Abulafia begins with the earliest of seafaring societies - the Polynesians of the Pacific, the possessors of intuitive navigational skills, long before the invention of the compass, who by the first century were trading between their far-flung islands. By the seventh century, trading routes stretched from the coasts of Arabia and Africa to southern China and Japan, bringing together the Indian Ocean and the western Pacific, linking together half the world through the international spice trade. In the Atlantic, centuries before the little kingdom of Portugal carved out its powerful, seaborne colonial empire, many peoples sought new lands across the sea - the Bretons, the Frisians and, most notably, the Vikings, now known to be the first Europeans to reach North America. As Portuguese supremacy dwindled in the late sixteenth century, the Spanish, the Dutch and then the British each successively ruled the waves.
Following merchants, explorers, pirates, cartographers and travellers in their quests for spices, gold, ivory, slaves, lands for settlement and knowledge of what lay beyond, David Abulafia has created an extraordinary narrative of humanity and the oceans. Besides its grand narratives, The Boundless Sea explores the lesser known maritime enterprises of Denmark, Sweden, Oman, Sri Vijaya and many others. And today, as plastic refuse covers thousands of square miles of the waters, and once exotic trading cities and outposts are replaced by vast, mechanized container ports, he asks - what next for our oceans and our world?

Speaking about Chinese writing entails thinking about how writing speaks through various media. In the guises of the written character and its imprints, traces, or ruins, writing is more than textuality. The goal of this volume is to consider the relationship of writing to materiality in China's literary history and to ponder the physical aspects of the production and circulation of writing. To speak of the thing-ness of writing is to understand it as a thing in constant motion, transported from one place or time to another, one genre or medium to another, one person or public to another.
Thinking about writing as the material product of a culture shifts the emphasis from the author as the creator and ultimate arbiter of a text's meaning to the editors, publishers, collectors, and readers through whose hands a text is reshaped, disseminated, and given new meanings. By yoking writing and materiality, the contributors to this volume aim to bypass the tendency to oppose form and content, words and things, documents and artifacts, to rethink key issues in the interpretation of Chinese literary and visual culture.

文坛清新之风，阿勒泰的精灵
李娟首部长篇纪实散文力作
四个月、零距离、全程记述哈萨克民族冬牧场的点点滴滴！
春天接羔，夏天催膘，秋天配种，冬天孕育。羊的一生是牧人的一年，牧人的一生呢？这绵延千里的家园，这些大地最隐秘微小的褶皱，这每一处最狭小脆弱的栖身之地……青春啊，财富啊，爱情啊，希望啊，全都默默无声。 ——李娟
2010年冬天，李娟跟随一家熟识的哈萨克牧民深入阿勒泰南部的冬季牧场、沙漠，度过了一段艰辛迥异的荒野生活。李娟是第一位描写哈萨克民族冬牧生活的汉族作家，她以饱含深情又不失节制的文字，呈现出阿尔泰最后一批“荒野主人”冬季转场时的独特生存景观。

当代推理作家拟南芥长篇新锐之作《杭州搁浅》
废土设定 科幻悬疑
崩坏的废墟之城 末日的倾城之恋
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★内容介绍
杭州城遭遇“丧尸”的围攻，幸存者零星的抵抗无法阻止世界末日般的景象到来。在 一次求生行动中，界晓楠奋不顾身营救庄晓蝶，却与队友卷入神秘组织，随后意外事件接连发生，不仅危及小队存亡，其中更有不可思议的谜团，似乎有一股力量决定着众人的生死……
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★作家推荐
一部极限环境与推理相结合的长篇佳作，其奇特的设定总能带给读者无穷的乐趣。——燕返
拟南芥再次开拓了新的题材，场景落到了作者的家乡，丧尸充盈西湖十景，在别具美感的背景下，开启的推理故事，是不可错过的阅读体验。——呼延云
融合各种元素精心制作的都市传奇，故事、文笔、推理别具特色，相信能满足读者挑剔的口味。——青稞

There is currently a great deal of discussion in the humanities and social sciences about collective memory, but there is very little agreement on what it is. The first goal of this volume is to review various understandings of this term to bring some coherence to the discussion. Drawing on this review, James V. Wertsch goes on to outline a particular version of collective remembering grounded in the use of 'textual resources', especially narratives. This takes him into the special properties of narrative that shape this process and into the issues of how these textual resources are produced and consumed. Wertsch brings these general ideas to life by examining the rapid, massive transformation of collective memory during the transition from Soviet to post-Soviet Russia.

The Global White Snake examines the Chinese White Snake legends and their extensive, multidirectional travels within Asia and across the globe. Such travels across linguistic and cultural boundaries have generated distinctive traditions as the White Snake has been reinvented in the Chinese, Japanese, Korean, and English-speaking worlds, among others. Moreover, the inter-Asian voyages and global circulations of the White Snake legends have enabled them to become repositories of diverse and complex meanings for a great number of people, serving as reservoirs for polyphonic expressions ranging from the attempts to consolidate authoritarian power to the celebrations of minority rights and activism.
The Global White Snake uncovers how the White Snake legend often acts as an unsettling narrative of radical tolerance for hybrid sexualities, loving across traditional boundaries, subverting authority, and valuing the strange and the uncanny. A timely mediation and reflection on our contemporary moment of continued struggle for minority rights and social justice, The Global White Snake revives the radical anti-authoritarian spirit slithering under the tales of monsters and demons, love and lust, and reminds us of the power of the fantastic and the fabulous in inspiring and empowering personal and social transformations.
"This splendid book is the most thorough and enthusiastic study of the White Snake legend in its diverse forms across a global media landscape: from Chinese operas, Japanese anime, Asian films, to stage adaptations in the U.S. The more widely the legend about this seductive deity travels and is transformed in different cultural transformations, the more subversive and transgressive its message becomes. Reading this well researched account is as spellbinding.”
—Leo Ou-fan Lee, author of Shanghai Modern: The Flowering of a New Urban Culture in China, 1930–1945
“In the Chinese legend of the White Snake, woman is not seduced by the snake but is herself the snake. Originating as a very local legend on the deadly dangers of seduction and infatuation, the story grew into one of China’s most popular love stories that allowed its adapters past and present to explore all possibilities of the relations between the sexes. The story also spread widely throughout East Asia and beyond. In this richly illustrated monograph Liang Luo studies the continuous developments of the legend in print, on stage, in cinema, and in digital media in China, Taiwan, Hong Kong, Korea, and Japan as well as Southeast Asia and Northern America from the late nineteenth century to the 2010s, offering an engrossing and highly original window onto the imagination of the Other in East and West.”
—Wilt L. Idema, author of The White Snake and Her Son: A Translation of the Precious Scroll of Thunder Peak with Related Texts
“This rigorous and exciting study presents a folk narrative and its transmutations that will provoke new theoretical directions for examining the relations between traditional and tradition-inspired narrative. The Global White Snake brings together the relevant sources, versions, and theory that will show readers a clear idea of the White Snake narrative tradition and its meanings in various literary, performative, and social contexts. The compelling, stimulating, fascinating scholarship will deepen and expand readers’ understanding of the Chinese vernacular literary/live-performance traditions, as well as the emerging means of transmission and creativity in virtual, online, digital formats.”
—Mark Bender, author of The Nuosu Book of Origins: A Creation Epic from Southwest China
“In Liang Luo, the beloved White Snake has found her bard for her numerous retellings and variants across the centuries from folk legend to the Shanghai screen, television, internet animation, feminist novel, and riotous musicals and opera; from forbidden love, struggle against Buddhist norms, and spiritual awakening to women's rights and homosexual love; and from Eastern China's cultural cities (Zhenjiang, Hangzhou, and Suzhou) to transformations in Korea, Japan, Taiwan, Singapore, and the U.S. Lucidly and engagingly written, Liang Luo has not only made accessible a wealth of cultural riches to the Anglophone world, but charted their deployments across Republican, Cold War, and global cultural politics.”
—Michael M.J. Fischer, author of Anthropology in the Meantime: Experimental Ethnography, Theory, and Method for the Twenty-First Century
“The Global White Snake is an astonishing achievement, filled with dynamic examinations of the ancient legend and its many recent global adaptations. Blending insights from media theory, transnational literature, queer studies, folklore, and animal studies, this learned and accessible book shows how cultural objects move around the world and, just as important, how the world makes new meaning out of borrowed cultural objects. The capaciousness and fluidity of the white snake legend itself are matched only by the brilliance and generosity of the account Liang Luo offers in this book.”
—Peter J. Kalliney, author of Modernism in a Global Context

本书收入了书法史学者白谦慎发表于不同时期的论文20篇，其中包括他在30年前撰写的那篇至今仍为书学界经常援引的处女作《也论中国书法艺术的性质》，和倍受书画鉴定界前辈赞赏的《八大山人花押“十有三月”考释》，以及最近才译成中文的《17世纪中国艺术中的疾病、残疾与畸形》等。内容涉及书法美学、书法史、书家研究、20世纪书法、海外书法研究，全面地展示了他的学术关怀和理论视野。

《胡则传：历史、传说与叙述者》以宋代兵部侍郎胡则的一生及其死后由人而神的事象作为着眼点，陆敏珍通过正史、墓志铭、笔记、民间传说、演义等各类文献的记载来讲述一位普通官员的人生经历，以及在不同叙述者的文字下所呈现出的人物面相。
一个人死后成为地方神祗，从此福佑一地，这样的故事在中国并不鲜见。几千年来，人死后成为神，神又慢慢消逝，新的神祗再度出现，或者旧的神祗拥有更多时代所需要的神力。这些具有典型地域性的神祗分布在中国的各个角落与各个时间点上，他们能御大灾，能捍大患，是地方精神上的统管者，世俗是非的判决者。
陆敏珍著作的《胡则传(历史传说与叙述者)》讲述的胡则就是这样一位由人至神的例子。他曾是宋代一名普通的官员，做过县尉、录事参军、知州、转运使，最后以兵部侍郎致仕，为正四品下(元丰改制后为从三品)。

本论文集共有31篇传统色彩理论专业论文，出自国内和国外高等院校、文博单位的专家学者之手，不仅具备学术性和专业性，体现传统色彩理论领域的研究前沿，而且具有跨地区、跨文化的比较性研究视野和跨学科的方法论意义。

一部中国古代色彩史即是一部浓缩的中国古代文化史。
色彩塑造了中国人的生活世界，也成为中国文化的外在表征。在中国古代社会中，大到与神明的沟通、王朝的更替、社会的管理，小到个人命运、审美偏好，无一不受制于色彩。
本书从十个专题出发，以历史为序，将色彩作为一个系统的文化整体，在文献史料和美术图像的互证中，展开古代色彩背后丰富 的历史文化内容。
从巫时代色彩的功用到春秋时期史上第一次流行色的出现；从战国出现正色与间色的概念到秦汉确立五色系统；从唐朝黄色为帝王专用到宋朝五色寄托国运的重任；从元明文人对五色系统的摒弃而崇尚色彩的简淡至无到清朝民间年画在五色框架下的实用性和自由发挥，一路梳理论说，条理清晰，兼顾了学术性和可读性。
五色系统与文化系统相生相伴，五色成为礼制的外表与手段，构建了中国传统的礼制文明。五色系统的发展史也即是一部浓缩的文化史。