本书是2010年11月6－8日在复旦大学召开的“中古时代的礼仪、宗教与制度”学术研讨会的论文结集。
“中古文史之学”，是亦古亦今、亦新亦旧、亦中亦西的学问。近百年来，在新材料和新理论的推动下，海内外学界运用文献、考古、艺术相结合的方法，融烁古今，会通中西，取得了丰硕的成 果。然而在学术全球化的今天，如何重建解释性框架？如何开拓新疆域？如何寻求和实践新工具？国际共同研究和代际学术对话是否可能？活跃在中古史前锋线上的学者各自有着什么样的思考？为了能更加深入地讨论这些国际学界共同关切的基本问题，复旦大学历史系主办了这一学术会议。
会议旨在推动两个对话：中外对话，即促进大陆、港台、日本、欧美活跃在学术前沿学者之间的学术交流；代际对话，即推动1960年代以后出生的中坚学术力量与1940－50年代出生的著名学者之间的对话。会议有来自海内外中国中古史领域的30余位专家学者参加，提交了25篇报告，涉及出土文献辑考、仪式与制度析、宗教社会史、学术思想史和政治文化史研究诸多领域，并邀请了8位国际知名学者担任评议人，以一种新的学术“生成模式”实现了中古史研究者的国际交流，促进了学术取向有所异同的两代学者间的代际对话，这些新求索和新风雷，将生成新的“大地之肖像”，汇入新世代历史学的学术脉络之中。
此次结集，将所提交的论文修订本辑为“中国中古文史之学研究的方法与前景”、“出土文献所见学术与信仰”、“国家祭祀、礼仪空间与礼制呈现”、“历史书写、祥瑞灾异与政治架构”四编出版。

本书从佛教“修行”观念影响小说创作这一角度，对有明一代近二十部宗教小说的思想内涵、人物类型与情节结构模式进行了较为全面系统、深入细致的研究。全书既将佛教“修行”观念的文学演变过程作了动态的考察；又对明代宗教小说中的佛教“修行”因素进行仔细分析，意图揭示论证宗教小说与“宣教”之间联系的原貌。对现当代中外有关学者的观点及其论述，本书亦提出自己的看法并加以论证。
全书分为四章，基本内容和要点如下：
作为佛教思想的核心因素，以“断尽烦恼，觉悟成佛”为主要内容的佛教“修行”观念，在佛经中有其文学化的表述形式，这就是宗教小说“修行”模式的最初原型——佛传故事。佛传故事以“神妙靡丽”、“好大不经”的文笔，描述了释迦牟尼出生、出家、苦修、悟道、度生、涅槃等“八相成道”的故事，塑造了一个灵异的佛陀形象。这种以传记体式记录人物修行经历的方法，被中国的僧人所继承，依此编写了大量的高僧传记和禅宗灯录。经历了使佛教“修行”观念进一步世俗化、市民化和文学化的敦煌文学与宋元说经的演变，演绎“修行”观念的宗教小说逐渐成熟。到了明代，随着佛教“修行”观念的社会化，以《西游记》的创作和大量刊刻为契机，出现了宗教小说的繁荣期。宗教小说的创作和流传对传统的文学观念与小说的创作都产生了深刻的影响。

明代佛教的世俗化、社會化，是關心明代佛教議題者所共同注視的一大特質。佛教從自身追求聖道的職志，往外向社會大眾從事聖道的宣化，過程中，與世俗社會接觸往來所建立的溝通渠道、所面臨的挫折，是觀察明代佛教何以「變」、如何「變」以及其世俗化性格如何形成的重要面向。如是課題的逐一解明，是認識「明代佛教世俗化」此一現象與實體內涵如何被構築的必要路程。
為此，本書藉助促使佛門內外僧俗二界交通往來的管道，也就是提供雙方接觸的活動場域，舉如嘉興藏刊刻事業、經濟寺產的經營、佛門經懺、醫療的社會服務，觀察如何經由這些媒介，讓僧尼踏出佛門、步入世俗，從事濟世化俗的工作。而當中，僧人所該保有佛門本色的這份自覺，是如何被提醒、維護或被轉化，甚至不得不與世俗合流而漸至遠離佛教出世特質，轉而趨入經世佛教性格。凡此關係明代佛教社會化、世俗化建構路徑的摸索及其衍生的問題，均是本書關懷的焦點。

这是世界历史伟大的交汇之一：接受过良好教育的欧洲传教士在近代首次直面中国文化。柏理安探索了这一“东方之旅”，他重新回溯了从葡萄牙航行到中国的耶稣会传教士走过的道路。这些传教士们相信，仅仅凭着坚定的信念和神的帮助，他们就能将中国人变成基督徒。此书以将耶稣会传教士视为文化使者的视角，展示了这些欧洲传教士当初是如何付出极大的努力学习汉语和中国思想，从而将罗马天主教翻译到中国文化的框架之中并最终俘获基督徒的。
这部关于自1579年到基督教被禁止的1724年间耶稣会传教活动的首部叙事史，也是首先使用在里斯本和罗马发现的大量相关文献的一部作品。这个故事跨越几个大陆并穿越几个世纪，揭示出真正的东西方早期碰撞中政治、文化、科学、语言学及宗教因素交织的复杂性。

《明代乡村纠纷与秩序》利用大量的徽州文书，深入探讨了以徽州为代表的明代乡村纠纷及秩序的形成过程和变迁实态，解析当时历史背景下的社会结构、宗族结合的展开及徽州特有的佃仆制等问题，复原了当时乡村社会纠纷解决机制和社会秩序形成状况，是20世纪80年代以来日本明清史学者的研究力作，日本权威学术杂志《史学杂志》、《东洋学报》、《社会经济史研究》均有书评，在我国明清史学界也有广泛影响。

本书收录了作者近年来研究明代佛教史的论文多篇，综合历史学、社会学的视角与研究方法，对明代佛教与政治权力的关系，佛教与地方经济环境的相互影响，佛教因应政治、社会的需求而发生的变化，佛教信仰所反映的明代女性的精神生活与社会地位，以及佛教医学的发展等多个论题进行了深入讨论。

The first publication to explore in depth the theme of reclusion in painting and calligraphy within the context of political and social changes in 17th-century China. Reclusion--the act of disengaging from worldly affairs for spiritual and moral cleansing--was a concept deeply associated with ancient Chinese civilization. The theme of reclusion was especially prevalent during the late Ming and early Qing dynasties, a period of unrivaled artistic achievement and historical drama. This beautifully illustrated exhibition catalog invites readers deep into the world of scholar-painters in 17th-century China. Nearly 60 hanging and hand scrolls, albums, and fans--many never seen before in print--reveal how the educated elite expressed their thoughts and ideals through depictions of the landscape, human figures, birds, flowers, fish, and insects. Accompanied by penetrating essays on the subject, these works celebrate the extraordinary skill with which the period's artists communicated their place in a century of crisis.

After serving as a missionary and then foreign advisor to Qing officials from 1887 to 1911, John Ferguson became a leading dealer of Chinese art, providing the Metropolitan Museum of Art, the Cleveland Museum of Art, and other museums with their inaugural collections of paintings and bronzes. In multiple publications dating to the 1920s and 1930s, Ferguson made the controversial claim that China’s autochthonous culture was the basis of Chinese art. His two Chinese language reference works, still in use today, were produced with essential help from Chinese scholars. Emulating these “men of culture” with whom he lived and worked in Peking, Ferguson gathered paintings, bronzes, rubbings, and other artifacts. In 1934, he donated this group of over one thousand objects to Nanjing University, the school he had helped to found as a young missionary.
This work offers a significant contribution to the history of Chinese art collection. John Ferguson learned from and worked with Qing dynasty collectors and scholars, and then Republican-era dealers and archeologists, while simultaneously supplying the objects he had come to know as Chinese art to American museums and individuals. He is an ideal subject to help us see the interconnections between increased Western interest in Chinese art and archeology in the modern era, and cultural change taking place in China.

福開森于晚清從美國來華傳基督教，反而受中華文化洗禮。他在中國居留數十年的事跡，無不與其時的政界、學界、藝術鑑賞和收藏界有關。他又是最早向西方介紹中國藝術的學人之一。這部福開森傳是作者長期在中美各地搜集大量資料而寫成的。關心中國近代史者，可以一讀。對中西文化交流的歷史、及其引起的問題、有興趣者，不可不讀。

An inkstone, a piece of polished stone no bigger than an outstretched hand, is an instrument for grinding ink, a collectible object of art, a token of exchange between friends or sovereign states, and an inscriptional surface on which texts and images are carved and reproduced. As such the inkstone is entangled with the production of elite masculinity and the culture of wen (culture, literature, civility) in China, Korea, and Japan for over a millennium. Curiously, this ubiquitous object in East Asia is virtually unknown in Europe and America.
The Social Life of Inkstones introduces its hidden history and cultural significance to scholars and collectors and in so doing, writes the stonecutters and artisans into history. Each of the five chapters is set in a specific place in disparate parts of the empire: the imperial workshops in the Forbidden City, the Duan quarries in Guangdong, inkstonecarving workshops in Suzhou and elsewhere in the south, and collectors’ homes in Fujian. Taken together, they trace the trajectories of the inkstone between court and society, and through the course of its entire social life. In bringing to life the people involved in making, using, collecting, and writing about the inkstone, this study shows the powerful emotional and technical investments that such a small object engendered.
This first book-length study of inkstones focuses on a group of inkstone carvers and collectors, highlighting the work of Gu Erniang, a woman transitioned the artistry of inkstone-making to modernity between the 1680s and 1730s. The sophistication of these artisans and the craft practice of the scholars associated with them announced a new social order in which the age-old hierarchy of head over hand no longer predominated.

A sophisticated and entertaining debut novel about an irresistible young woman with an uncommon sense of purpose.
Set in New York City in 1938, "Rules of Civility" tells the story of a watershed year in the life of an uncompromising twenty-five-year- old named Katey Kontent. Armed with little more than a formidable intellect, a bracing wit, and her own brand of cool nerve, Katey embarks on a journey from a Wall Street secretarial pool through the upper echelons of New York society in search of a brighter future.
The story opens on New Year's Eve in a Greenwich Village jazz bar, where Katey and her boardinghouse roommate Eve happen to meet Tinker Grey, a handsome banker with royal blue eyes and a ready smile. This chance encounter and its startling consequences cast Katey off her current course, but end up providing her unexpected access to the rarified offices of Conde Nast and a glittering new social circle. Befriended in turn by a shy, principled multimillionaire, an Upper East Side ne'er-do-well, and a single-minded widow who is ahead of her times, Katey has the chance to experience first hand the poise secured by wealth and station, but also the aspirations, envy, disloyalty, and desires that reside just below the surface. Even as she waits for circumstances to bring Tinker back into her orbit, she will learn how individual choices become the means by which life crystallizes loss.
Elegant and captivating, "Rules of Civility" turns a Jamesian eye on how spur of the moment decisions define life for decades to come. A love letter to a great American city at the end of the Depression, readers will quickly fall under its spell of crisp writing, sparkling atmosphere and breathtaking revelations, as Towles evokes the ghosts of Fitzgerald, Capote, and McCarthy.

Weak thought (il pensiero debole) is a slogan associated with the work of a group of contemporary Italian philosophers, notably Gianni Vattimo and Aldo Gargani. Reacting against the long Italian tradition of creating all-encompassing, "strong" systems of thought, the exponents of weak thought mount a critique of metaphysics that owes much to Heidegger but refuses his attempt to create a new ONTOLOGY. Rather, like many French poststructuralists, weak thinkers recognize the impossibility of dispensing with metaphysical discourse (see METAPHYSICS), instead preferring to underline the metaphorical status of ontological language and the limits of universal reason. Like much POSTSTRUCTURALISM, therefore, weak thought insists on a self-consciousness about the metaphorical status of language and a recognition of the heterogeneity of experience.

Arlie Hochschild is best known for her contributions to the domestic division of labor (The Second Shift), emotional labor (The Managed Heart), the rationalization of the home (Time Bind), the commodification of private life (The Commercialization of Intimate Life, The Outsourced Self). In her latest book, Strangers in Their Own Land, Hochschild takes her notion of “feeling rules” to Louisiana, exploring the emotional foundations of right wing politics (The Tea Party and support for Donald Trump) by studying divergent responses to one of the most pressing issues facing the region – environmental pollution. On the basis of her fieldwork, conducted between 2011 and 2016, Hochschild advances the “deep story” of supporters of the American right: “…the shifting moral qualifications for the American Dream had turned them into strangers in their own land, afraid, resentful, displaced, and dismissed by the very people who were, they felt, cutting in line.”

Ŭich’ŏn (1055–1101) is recognized as a Buddhist master of great stature in the East Asian tradition. Born a prince in the medieval Korean state of Koryŏ (960–1279), he traveled to Song China (960–1279) to study Buddhism and later compiled and published the first collection of East Asian exegetical texts. According to the received scholarly tradition, after returning to Korea, Ŭich’ŏn left the Hwaŏm (Huayan) school to found a new Ch’ŏnt’ae (Tiantai) school when he realized that the synthesis between doctrinal learning and meditative practice in the latter would help bring together the discordant sects of Koryŏ Buddhism. In the late twentieth century, however, scholars began to question the assertion that Ŭich’ŏn forsook one school for another, arguing that his writings assembled in The Collected Works of State Preceptor Taegak (Taegak kuksa munjip) do not portray a committed sectarian but a monk dedicated to developing a sophisticated and rigorous system of monastic education that encompassed all Buddhist intellectual traditions.
In this first comprehensive study of Ŭich’ŏn’s life and work in English, Richard McBride presents translations of select lectures, letters, essays, and poetry from The Collected Works to provide a more balanced view of Ŭich’ŏn’s philosophy of life and understanding of key Buddhist teachings. The translations center on the monk’s activities in the pan-East Asian Buddhist world and his compilation of scholarly texts, writings related to his interactions with royalty, and correspondence with his Chinese mentor, Jinshui Jingyuan (1011–1088). By incorporating Ŭich’ŏn’s work associated with doctrinal Buddhism and his poetry, McBride clearly shows that even in his most personal work Ŭich’ŏn did not abandon Hwaŏm teachings for those of the Ch’ŏnt’ae but rather he encouraged monks to blend the best learning from all doctrinal traditions with meditative practice.

莱布尼茨奖（2010）、格尔达•汉高奖（2012）、汤因比奖（2017）获得者于尔根•奥斯特哈默作品。许倬云、杨照撰文推荐。
启蒙时期的世界观与求知欲促使欧洲人接触陌生的亚洲，欧洲不断和同时代的亚洲互相比较，借以寻得自己的定位，从而逐渐从亚洲的优势中解放出来。
《亚洲的去魔化》呈现的正是在18世纪这段知识系统大变动的历史时期，欧洲人与亚洲知识、亚洲印象纠缠的过程。
欧洲在这个世纪深入认识亚洲，原本神秘奇幻的国度现在成了清晰的客体，这种知识上的去魔化令欧洲获得了一种至今依然挥之不去的优越与自大感。奥斯特哈默的研究呈现出不同文化之间的沟通难题，对今日的世界来说，这段历史为不同文化的互相理解及冲突沟通提供了丰富的材料。
《亚洲的去魔化》给我们提供了丰富的资料，帮助我们深入到18世纪欧洲知识世界里。……可以回头借此对亚洲自我历史认知与欧洲的想象建构，对这段西方逐步凌驾东方的过程，有更深入更细腻的把握。
——杨照
《亚洲的去魔化》一书概念清晰、风格典雅。……这部作品让我们更进一步了解了亚洲文化与一个已经变得陌生的18世纪欧洲。
——斯特凡•布拉肯西克（Stefan Brakensiek）

“食、色，性也”。性与人类生存繁衍的关系极为密切，是人类生命的源泉，亦是人生不可或缺的部分。从社会学的角度来看，性并非单纯的生理现象，而是以生理为基础的社会文化现象，性文化在人类社会发展史中具有十分独特而重要的作用。本书主要论述了性爱的64种艺术，并将其分为8个部分：即拥抱、接吻、十指爱痕、轻咬留痕、送往迎来、春情之声、角色转换和体位。并且为尘世男女提供了一些改善性关系的忠告，不仅在书中详细地描述了完整的性行为过程，揭示了如何利用性快乐来增强精神的洞察力，同时还特别强调了如何增进女性的性快乐。总之，更敦群培的《欲经》可称之为理论与实践相结合的结晶。

本书以敦煌吐鲁番文献、日本古钞本、考古文物以及相关民国档案、书札、诗词、题跋的整合性探讨，观照中国现代学术成立史之一侧面，追索其内在理路，进而构建中古写本研究及其现代镜像之“交错的文化史”，并藉此对写本文化之于中国学术研究之意义进行博观与省思，期望不仅拓展敦煌学史、写本学、知识社会史诸领域之疆界，亦有资于推进东亚世界学术思想史研究。
学术史的省思，是任何新学问生发的基点，代表的是对学术内在理路的把握和学科发展的自觉。真正的学术史研究，应该深入到学问的核心，为学术脉络中的实质性推进建立起清晰的坐标。本书尝试以丰富的个案，沟通中古写本学与现代学术史，展示“学术内史”研究的魅力。作者还提出“整体书写文化史”的概念，将“图书”视为文本记录（语言的和图像的）、物质媒材、历史原境、历史记忆和历史经验的“统一场”，考察知识建构与文本形态、书写行为、使用实践之间的关系，关注的不仅仅是书籍史层面的作为记录形式的文本及其生产与接受的过程，而且是如何从社会和精神层面看知识以书写与阅读的方式所建构的各种意义。作者进而重新审视“图像证史”或“图文互证”的观点与方法，并对写本中“图”与“文”的关系进行了细致的分析，主张不仅应当在历史研究中把图像作为另一种文本性证据使用，还应该从政治、艺术、宗教等多学科角度来研究中国古代视觉文化中的图的制作过程、功能及其蕴含的力量，理解图像在历史情境中的涵义。
本书不是传统意义上的敦煌研究，而是在更宏大的背景下思考写本作为探察中古时代知识与信仰生成过程的媒介而存在的价值，追寻写本鉴藏作为现代中国学术确立的历史进程中不可或缺之一环而呈现的意义。

一部完整的唐宋词史。本书为国学大家叶嘉莹教授应辅仁大学校友会之邀所做的唐宋词系列讲座纪录。
《唐宋词十七讲》为作者唐宋词系列讲座的讲演记录，内容是《唐宋词名家论稿》的补充和完善。书中共论析了温庭筠、韦庄、冯延巳、李煜、晏殊、欧阳修、柳永、苏轼、秦观、周邦彦、辛弃疾、姜夔、吴文英、王沂孙等词人十五家。结合他们的历史背景、生平经历、性格学养、写作艺术等方面追寻唐宋词的演变与发展轨迹，讲述中既兼顾他们纵横之间的影响及关联，又特别注意其虽相似而实不同的深微意境，清隽的言辞于含英咀华之中深探词人之用心，时时闪现的真知灼见足以启迪读者，浚发妙悟灵思。

《天城记忆:美国传教士费佩•清末民初拍摄的杭州西湖老照片》作者从三个方面来讲述费佩德在杭州的摄影工作：1．携带相机，走遍中国——记原之江大学校长费佩德在华的摄影活动。2．费佩德家族与杭州西湖。3．费佩德杭州西湖老照片。费佩德由于曾长期担任杭州新教传教使团协会的负责人，再加上作者父亲的关系，费佩德跟《教务杂志》保持了非常密切的联系。他的许多有关中国的照片和文章最初就是在《教务杂志》上发表的。而费佩德在中国的摄影作品也影响了他的后代。