In The Brain's Body Victoria Pitts-Taylor brings feminist and critical theory to bear on new development in neuroscience to demonstrate how power and inequality are materially and symbolically entangled with neurobiological bodies. Pitts-Taylor is interested in how the brain interacts with and is impacted by social structures, especially in regard to race, class, gender, sexuality, and disability, as well as how those social structures shape neuroscientific knowledge. Pointing out that some brain scientists have not fully abandoned reductionist or determinist explanations of neurobiology, Pitts-Taylor moves beyond debates over nature and nurture to address the politics of plastic, biosocial brains. She highlights the potential of research into poverty's effects on the brain to reinforce certain notions of poor subjects and to justify particular forms of governance, while her queer critique of kinship research demonstrates the limitations of hypotheses based on heteronormative assumptions. In her exploration of the embodied mind and the "embrained" body, Pitts-Taylor highlights the inextricability of nature and culture and shows why using feminist and queer thought is essential to understanding the biosociality of the brain.

《敦煌道教文献研究(综述目录索引)》对于敦煌道教的道经、敦煌遗书等进行文献综合研究，并从目录学角度，针对800件各类敦煌道典，按照三洞四辅七部分类，进行研究。

《唐六典》是一部关于唐代官制的行政法典，规定了唐代中央和地方国家机关的机构、编制、职责、人员、品位、待遇等，注中又叙述了官制的历史沿革。依照唐玄宗的意图，此书本应按《周官》分为理典、教典、礼典、政典、刑典、事典六个部分，故书名《唐六典》。因唐代官制与周官大不相同，《唐六典》实际上还是按照唐代国家机关体系进行编纂。此书分三十卷，其篇目为：三师、三公、尚书省；吏部；户部；礼部；兵部；刑部；工部；门下省；中书省；秘书省；殿中省；内官侍中省；御史台；太常寺；光禄寺；卫尉寺、宗正寺；太仆寺；大理寺、鸿胪寺；司农寺；太府寺；国子监；少府监、军器监、铸钱监等；将作监、都水监等；左右卫、左右骁卫、左右武卫、左右领军卫；左右金吾卫、左右监门、左右千牛卫、左右羽林军；太子三师、三少、太子詹事府、左右春坊内房内官；太子家令、率更寺等；太子左右卫诸率府；诸王府公主邑司；府、督护州。
《唐六典》曾否颁布施行，历来学者间颇有争论。参与修书的韦述说，此书于开元“二十六年奏草上，迄今在直院，亦不行用”（《直斋书录解题》）。唐宪宗元和(806-820)初，吕温代郑相公（□）请删定施行六典开元礼状也说，六典“星纪六周未有明诏施行”(《吕温集》)。宋范祖禹也认为“唐六典虽修成书，然未尝行之一日”（《范太史集》）。但唐德宗建中二年(781)卢杞奏事引用六典，唐宪宗元和中刘肃撰《大唐新语》称六典“迄今行之”。清《四库全书总目提要》采取一种折衷的观点，一方面说“唐人所说，当无讹误”，承认韦述、吕温书未颁行的说法是正确的，一方面又说“疑当时讨论典章，亦相引据，而公私科律则未尝事事遵用”，认为六典并非全未实行。近人岑仲勉认为，六典未经朝廷颁布施行无可怀疑，但六典是排比现行令式编成的，现行令式本来具有法律效力，为人遵用，不过其中有一部分，编书时就已改变，或后来改变，因此未能事事遵用。
书名，原题唐玄宗御撰，李林甫奉□注。《直斋书录解题》引韦述《集贤记》注：“开元十年，起居舍人陆坚被旨修是书，帝手写白麻纸六条曰理、教、礼、政、刑、事，令以类相从，撰录以进。张说以其事委徐坚，思之经岁莫能定。又委毋□、徐钦、韦述，始以令式入六司，其沿革并入注中。后张九龄又委苑咸，二十六年奏草上。”唐刘肃《大唐新语》和《唐会要》也有类似的记载。根据这些史籍，可知此书是臣下奉玄宗之命所撰，自奉旨至成书历时十余年，中间曾多次换人，最后经李林甫进奏皇帝。

https://chinesedeathscape.supdigital.org/
In the past decade alone, ten million corpses have been exhumed and reburied across the Chinese landscape. The campaign has transformed China's graveyards into sites of acute personal, social, political, and economic contestation.
In this digital volume, three historians of China, Jeffrey Snyder-Reinke, Christian Henriot, and Thomas S. Mullaney, chart out the history of China's rapidly shifting deathscape. Each essay grapples with a different dimension of grave relocation and burial reform in China over the past three centuries: from the phenomenon of "baby towers" in the Lower Yangzi region of late imperial China, to the histories of death in the city of Shanghai, and finally into the history of grave relocation during the contemporary period, examined by Mullaney, when both its scale and tempo increased dramatically. Rounding off these historical analyses, a colophon by platform developers David McClure and Glen Worthey speak to new reading methodologies emerging from a format in which text and map move in concert to advance historical argumentation

冥祥記研究-文史哲學集成，ISBN：9789575492410，作者：王國良

Shen Gua (1031-1095) is a household name in China, known as a distinguished renaissance man and the author of Brush Talks from Dream Brook, an old text whose remarkable “scientific” discoveries make it appear curiously ahead of its time. In this first book-length study of Shen in English, Ya Zuo reveals the connection between Shen’s life as an active statesman and his ideas, specifically the empirical stance manifested through his wide-ranging inquiries. She places Shen on the broad horizon of premodern Chinese thought, and presents his empiricism within an extensive narrative of Chinese epistemology.
Relying on Shen as a searchlight, Zuo focuses in on how an individual thinker summoned conditions and concepts from the vast Chinese intellectual tradition to build a singular way of knowing. Moreover, her study of Shen provides insights into the complex dynamics in play at the dawn of the age of Neo-Confucianism and compels readers to achieve a deeper appreciation of the diversity in Chinese thinking.

This book traces the intimate connections between Britain and China throughout the nineteenth century and argues for China's central impact on the British visual imagination. Chang brings together an unusual group of primary sources to investigate how nineteenth-century Britons looked at and represented Chinese people, places, and things, and how, in the process, ethnographic, geographic, and aesthetic representations of China shaped British writers' and artists' vision of their own lives and experiences. For many Britons, China was much more than a geographical location; it was also a way of seeing and being seen that could be either embraced as creative inspiration or rejected as contagious influence. In both cases, the idea of China's visual difference stood in negative contrast to Britain's evolving sense of the visual and literary real. To better grasp what Romantic and Victorian writers, artists, and architects were doing at home, we must also understand the foreign "objects" found in their midst and what they were looking at abroad.

Anarchy in the Pure Land investigates the twentieth-century reinvention of the cult of Maitreya, the future Buddha, conceived by the reformer Taixu and promoted by the Chinese Buddhist reform movement. The cult presents an apparent anomaly: It shows precisely the kind of concern for ritual, supernatural beings, and the afterlife that the reformers supposedly rejected in the name of "modernity." This book shows that, rather than a concession to tradition, the reimagining of ideas and practices associated with Maitreya was an important site for formulating a Buddhist vision of modernity.
Justin Ritzinger argues that the cult of Maitreya represents an attempt to articulate a new constellation of values, integrating novel understandings of the good, clustered around modern visions of utopia, with the central Buddhist goal of Buddhahood. In Part One he traces the roots of this constellation to Taixu's youthful career as an anarchist. Part Two examines its articulation in the Maitreya School's theology and its social development from its inception to World War II. Part Three looks at its subsequent decline and contemporary legacy within and beyond orthodox Buddhism. Through these investigations, Anarchy in the Pure Land develops a new framework for alternative understandings of modernity in Buddhism.

中國的多民族統一國家思想的根源，可以追溯到中國人（包括之後接受中國文化思想的人們）對世界的原初認識，追溯到在這種認識之上的人類與自然神靈之間建立的契約關係，以及為了遵守這種契約關係而形成的關於人與人之間、個人•共同體•社會•國家四者之間、文化與政治之間、權威與權力之間 、民族屬性與文化屬性之間關係的認識。只有在這一宏觀認識的基礎上，才能夠正確掌握中國多民族統一國家的歷史脈絡，理解中國多民族統一國家思想在各個時代的發展演變，理解各時代的民族關係和各個政權處理民族問題政策的得失，並進而思考近代民族問題發生的原因，找到解構近代民族問題的鑰匙。

中国这样一个庞大的政治实体，无论在帝国时期还是在现代，都有很大的地区文化差异，并且经过了很多繁复的兴衰周期。它是怎样维系着人民共同的想象的呢？基于这个问题，作者从中国宋至清代贵州西北部地区的制度开发出发，以制度变迁为主线，兼顾经济开发与文化及身份认同，描述了贵州西北部地区整合进传统中国大一统结构的历史过程，并试图分析这一过程在学理方面所蕴含着的启示。

清乾隆三十七年，乾隆皇帝弘历下诏，开四库全书馆，次年敕修“四库全书”。自唐宋以后，历代王朝便形成了收集编纂典籍的传统，唐代有《艺文类聚》、《北堂书抄》，宋代有《太平御觉》、《册府元龟》，特别是明代永乐年间编纂的《永乐大典》，共二万二千九百三十七卷，收入图书七八千种，堪称鸿篇巨制。清朝康熙、雍正年间，清王朝又编纂了《古今图书集成》一万卷。到了清乾隆年间，安徽学政朱筠以为《永乐大典》收录图书未为尽全，因此上书建议向民间广泛征求佚书，同时，设立专门机构，对翰林院所藏《永乐大典》进行校辑。于是，乾隆皇帝下诏开设四库全书馆，委派纪昀等著名学者一百六十余人，开始编纂《四库全书》。
编纂《四库全书》首先是在全国范围内征集图书，从乾隆三十七年开馆征书，至乾隆四十三年，历时七年，共征集图书一万二千二百三十七种；然后是整理图书，由四库馆臣对内府藏书以及从各地征集的图书进行校订，提出应抄、应刻、应存的具体意见。其中，应抄、应刻之书被认为是合格的著作，被收入《四库全书》，而应存之书则不能收入四库全书，仅仅是在《四库全书总目》中存目。《四库全书》分为经史子集四部，收入图书三千四百五十七种，凡七万九千零七十卷，装订成三万六千余册，六千七百五十二函。成为中国历史上卷帙最多的一部著作。
本书的出版发行无论是对于历史文献的研究整理，还是对于中国古代历史与思想文化的研究，其积极意义都是不言而喻的。同时，由于《四库全书荟要》本来就是书中精品，再辅之以现代的印刷技术，这套书也理所当然地应该成为大小图书馆和个人收藏的珍品。

陶宗儀治學勤勉，於書無所不窺。一生著作頗豐，計有《南村輟耕録》三十卷、《南村詩集》四卷、《書史會要》九卷《補遺》一卷、《滄浪棹歌》一卷、《四書備遺》二卷，其他還編有《説郛》一百卷、《草莽私乘》一卷、《古刻叢鈔》一卷、《遊志續編》一卷等。
本書所收《南村詩集》以汲古閣《元人十種詩》本爲底本，校以文淵閣《四庫全書》本、《台州叢書後集》本，《滄浪棹歌》部分另以《讀畫齋叢書》本參校；《南村輟耕録》以《四部叢刊三編》所收明成化刻本爲底本，以玉蘭草堂刻本及《津逮祕書》本參校；《書史會要》以國家圖書館所藏明洪武本爲底本，校以逸園本和四庫本。另在正文之後附有《陶宗儀年譜》，以便讀者參考。

Martin Heidegger once wrote that the world had, in the age of modern science, become a world picture. For Rey Chow, the world has, in the age of atomic bombs, become a world target, to be attacked once it is identified, or so global geopolitics, dominated by the United States since the end of the Second World War, seems repeatedly to confirm. How to articulate the problematics of knowledge production with this aggressive targeting of the world? Chow attempts such an articulation by probing the significance of the chronological proximity of area studies, poststructuralist theory, and comparative literature--fields of inquiry that have each exerted considerable influence but whose mutual implicatedness as post-war U.S. academic phenomena has seldom been theorized. Central to Chow's discussions is a critique of the predicament of self-referentiality--the compulsive move to interiorize that, in her view, constitutes the collective frenzy of our age--in different contemporary epistemic registers, including the self-consciously avant-garde as well as the militaristic and culturally supremacist. Urging her readers to think beyond the inward-turning focus on EuroAmerica that tends to characterize even the most radical gestures of Western self-deconstruction, Chow envisions much broader intellectual premises for future trans-cultural work, with reading practices aimed at restoring words and things to their constitutive exteriority.

本书是以认知人类学的视角来研究中国宗教文化传承的一番尝试。本书的立论基础，源于法国人类学家 Dan Sperber在新演化论（ Neoevolutionsim）和社会生物学（Sociobiology）的启发下提出、倡导的“文化传承（ Cultural Transmission）研究”，主张“传承”是解释文化的演化与现状的核心范畴，并进而提出“表征的流行病学(Epidemiology of Representation）”模型来将其操作化。这也是中文世界里第一本运用这一理论视角和方法来研究中国宗教现象的人类学著作。

《太上感应篇》是非常重要的一篇文章，被誉为“古今第壹善书”。此书源出于《抱朴子》，后经宋代李昌龄、郑清之等先贤发扬光大，流通于世，影响深远。上至朝廷，下至民间，刊印传播者众多，到明清时期达到高峰。旨在劝善，简称《感应篇》，作者不详，内容融合了较多的传统民族思想，树立了人在世上的正确形象，许多内容至今仍然具有积极意义。

于薇著的《圣物制造与中古中国佛教舍利供养/考古新视野》是对公元5到9世纪中国佛教舍利供养活动及其遗物的专题研究。这一时期是佛教舍利信仰白中国初现并发展至顶峰的重要阶段，创造了无可比拟的物质遗存、视觉文化及宗教景观。借助于神圣的盛放容器，及沟通宗教与政治空间的舍利展示与迎 送仪式，“佛陀舍利”最终于8世纪初在中国成为至高权力的象征。
以中古时期舍利供养对舍利神圣性的构建及想象为中心，本项研究综合考古学、美术史、宗教史、政治史等研究方法，从以下三个层面回应以往讨论。首先，在空间上，始终参照印度及中亚地区舍利供养所代表的异域传统，具体考察每个时代对其不同的回应方式，以此深入思考舍利供养的“中国化”过程；其次，在时间上，关注舍利供养活动从南北朝出现至唐代发展至顶峰这一完整过程，侧重分析各个时期舍利供养活动的联系及改变；最后，在观念层面，以舍利的“瘗藏”与“示现”为主题，尤为强调它与墓葬传统中身体观念的不同之处，即对舍利的展示、分配，迎送的隆重仪式，以及仪式背后的政治文化历史语境。
全书旨在对佛教舍利供养“中国化”的发展过程进行反思，力图呈现其在中古政治历史文化语境中的原貌，揭示宗教圣物制造过程中物质与视觉媒介发挥作用的具体过程，实现更为广阔的视野下艺术、宗教与历史的多维度综合研究。

本书为“道教学译丛”之一种，作者为日本著名道教学者大渊忍尔。全书分灵宝经类、上清经类、道教经类、杂道经类、道教类书、失题道经等六大部分，作者根据搜集的各大图书馆敦煌道经资料，与道藏本相关文献进行了认真的校勘，做了详细的说明和校记，并附有索引，对于读者了解、研究、利用敦煌道经大有助益。
此书1978年3月由东京福武书店出版。大渊忍尔根据二十世纪六十年代以后所发表的新资料和前往巴黎、伦敦、列宁格勒、台北等地调查的结果，对旧编《敦煌道经目录》加以修订补充，完成此书。共分六篇：(1)灵宝经类; (2)上清经类; (3)道德经类; (4)杂道经类; (5)道教类书类;(6)失题道经类。附录包括：(1)灵宝经目;(2)上清经目; (3)无上秘要目录; (4)道士名表; (5)道观表;(6)有纪年道经表; (7)引用经典表。后有补遗、补订、别字表、索引等。每条注记包括编号、外观说明、首尾题及题记、与《道藏》本的关系并做校记。将敦煌写本道教经典全部分类编目，且注记详细。另外，同书《图录编》有本书补订一页。（《敦煌学大辞典》）