As a kid growing up in Manhattan, William Helmreich played a game with his father they called "Last Stop." They would pick a subway line and ride it to its final destination, and explore the neighborhood there. Decades later, Helmreich teaches university courses about New York, and his love for exploring the city is as strong as ever. Putting his feet to the test, he decided that the only way to truly understand New York was to walk virtually every block of all five boroughs - an astonishing 6,000 miles. His epic journey lasted four years and took him to every corner of Manhattan, Brooklyn, Queens, the Bronx, and Staten Island. Helmreich spoke with hundreds of New Yorkers from every part of the globe and from every walk of life, including Mayor Michael Bloomberg and former mayors Rudolph Giuliani, David Dinkins, and Edward Koch. Their stories and his are the subject of this captivating and highly original book. We meet the Guyanese immigrant who grows beautiful flowers outside his modest Queens residence in order to always remember the homeland he left behind, the Brooklyn-raised grandchild of Italian immigrants who illuminates a window of his brownstone with the family's old neon grocery-store sign, and many, many others. Helmreich draws on firsthand insights to examine essential aspects of urban social life such as ethnicity, gentrification, and the use of space. He finds that to be a New Yorker is to struggle to understand the place and to make a life that is as highly local as it is dynamically cosmopolitan. Truly unforgettable, The New York Nobody Knows will forever change how you view the world's greatest city.

1818年，法国记者西蒙·科兰以科兰·戴·布兰西的笔名撰写的这本书籍在很大程度上勾起了当时人们对恶魔迷信的兴趣。科兰（1794～1881）并非恶魔学家，在该领域并无很深造诣，但其人相当博学并且受到中世纪恶魔学家约翰·威尔（Johann Weyer，1515～1588）影响，所以也不能说他完全是个门外汉。科兰以半吊子知识所书写的《地狱辞典》继承了威尔的理论，为地狱描述出和人间相似的行政结构，恶魔们各司其职，甚至还有搞笑般的驻各国恶魔大使。书中也穿插了些作者对当时社会的看法，比如地狱帝国派驻到英国的大使竟然是代表“贪婪”的大恶魔莫蒙。

An in-depth study of Buddhist theories of the decline and disappearance of their own religion. Nattier's work challenges previous assumptions on this topic and focuses on the critical study of the "Kausambi Story," a Buddhist prophecy of decline, in its Tibetan, Central Asian, and Chinese variants.

Indian edition. This work includes two books in one volume, Bones, Stones and Buddhist Monks and Buddhist Monks and Business Matters.
In Part One: Bones, Stones and Buddhist Monks, Schopen provides an essential foundation for a social history of Indian Buddhist monasticism, challenging the popular stereotype that represents the accumulation of merit as once the domain of the layperson while monks concerned themselves with more sophisticated realms of doctrine and meditation.
In Part Two: Buddhist Monks and Business Matters is the second in a series of collected essays by one of today's most distinguished scholars of Indian Buddhism. In these articles, Schopen once again displays the erudition and originality that have contributed to a major shift in the way that Indian Buddhism is perceived, understood, and studied.
The work includes essays on the business side of running a monastery; monastic ownership; property dealings; debts, deaths, dealings and the division of property; a monk and his money; monastic law; marking time in Buddhist monasteries; ritual rites and relics; the suppression of nuns; immigrant monks; and some monastic rules for redacting canonical texts.
"Unquestionably the freshest, most exciting scholarship to have emerged in the field in half a century. Schopen is amazingly prolific, unfailingly interesting, enrichingly edifying and, more often than not, completely convincing. He seeks to do for Buddhist studies what Marx did to Hegel: to stand it on its head." Buddhist Studies Review.
Schopen has been the most influential scholar in Buddhist studies in the last quarter century, and rightly so." Journal of the American Academy Religion.
"Witty and always provocative...Schopen has the uncanny knack for making seemingly bland rock inscriptions and short passages from understudied ancient Buddhist manuscripts speak volumes about the lived world of Indian Buddhism." History of Religions.

本书共收作者的论著十四篇，原作都是英文。<br> 十四篇的排列，大抵依照论文的性质，以类相从为序。第一篇中国的世界秩序，第二篇朝代兴衰刍论包罗较广。第三篇作息考，第四篇女主考，第五篇人质考，第六篇明代地方政府，这四篇是社会史政制史。再下六篇是经济史。末后第十三、十四篇是史学史。<br>

《营造法式》是北宋时期将作监李诫组织编撰的由官方颁行的一部建筑设计学著作，完成于北宋元符三年（1100年），首次刊行于北宋崇宁二年（1103年）。全书有“总释”二卷、“制度”十三卷、“功限”十卷、“料例”三卷、“图样”六卷、“目录”和“看详”（补遗卷）各一卷，共计三十六卷，此外前有“劄子”和“序”。这部中国古籍中最完整、最具有理论体系的建筑设计学经典，融人文与技术为一体，不仅标志着我国古代建筑技术已经发展到了一个新的水平，同时也是中国古代设计思想理论发展的重要界碑。而且，还形成了现代中国的“营造之学”，魅力无比。

《穿裘皮大衣的维纳斯》是一部文学小说，主人公塞弗林是一个欧洲贵族，独爱穿裘皮大衣的女人，并甘愿成为她们的奴隶。他爱上了年轻美貌的旺达，认为她就是自己理想的对象。塞弗林乞求旺达做他的主人，并且甘心被她鞭笞侮辱。旺达在挣扎后接受了这个“奴隶”，并且与他签订了主奴合同。最终旺达忍受不了与塞弗林的畸形关系从而选择了背叛，而塞弗林也走出了自己的妄想，重新认识爱情。 《穿裘皮大衣的维纳斯》中讲述了一段深情的爱恋，两个青年男女明明深爱，却相互羁绊，相互折磨。在这段爱情中，热情和冷漠并存，快乐与痛苦共生，最后在爱恨纠葛中寻觅最终的情感归宿。

《与《宋史》比较研究》主要采取比较的方法，对《东都事略》和《宋史》的编纂体例、记载的内容、编纂者的思想进行比较，对其内容辨别异同，进行简要的考订，以期对宋史的研究尽一点绵薄之力。因为《东都事略》成书于南宋，只有纪传，而《宋史》成书于元末，包纳两宋，纪表志传俱全，所以对二书的比较只能大致以《东都事略》所记载到的内容作为基本范围。考虑到《东都事略》的附录涉及辽、金历史，故也将相应部分与《辽史》、《金史》作一简单比较。因为《宋史》以中华书局标点和《东都事略》的台湾文海出版社影印本、影印文渊阁四库全书本较为通行，故以标本《宋史》和文海本《东都事略》参校，同时参考了文渊阁本《东都事略》。

宋代器物学的成就世所共知，现代中国考古学就是以宋、清两代的传统古器物学为基础，引入西方考古学建立起来的。大量的宋代古器物学以及古器材料散存于浩如烟海的宋代笔记中。作者以此为研究基础，对大量宋人笔记中有关古器物记述的只言片语，进行爬梳整理、分析甄选、集中归纳，以一、铜篇，二、陶篇，三、泉币篇，四、玺印篇，五、玉篇，六、竹木篇，七、石刻篇，八、墓葬遗址篇，九、仿制篇，十、杂篇等篇、章、目，把分散于宋代笔记中的金石古器物学发现和研究成果汇为一书。为避免成为无价值的断烂朝报，本书还尽量吸取当代考古学理论和成就，在需要的地方加一些简短按语。

1979年西里尔·爱德华·布莱克教授主编的《比较现代化》的问世使现代化理论发生了重大的方向性变化，一个完全崭新的领域在中外学者的面前展现了。

本书系统说明了近代西方比较宗教学形成和发展的历史过程,上及古代希腊时代、下及二十世纪七十年代,论述了各派宗教学的代表人物及其基本理论和主要著作。

In this brilliant essay, Jacques Derrida explores issues of vision, blindness, self-representation, and their relation to drawing, while offering detailed readings of an extraordinary collection of images. Selected by Derrida from the prints and drawings department of the Louvre, the works depict blindness--fictional, historical, and biblical. From Old and New Testament scenes to the myth of Perseus and the Gorgon and the blinding of Polyphemus, Derrida uncovers in these images rich, provocative layers of interpretation. For Derrida drawing is itself blind; as an act rooted in memory and anticipation, drawing necessarily replaces one kind of seeing (direct) with another (mediated). Ultimately, he explains, the very lines which compose any drawing are themselves never fully visible to the viewer since they exist only in a tenuous state of multiple identities: as marks on a page, as indicators of a contour. Lacking a "pure" identity, the lines of a drawing summon the supplement of the word, of verbal discourse, and, in doing so, obscure the visual experience. Consequently, Derrida demonstrates, the very act of depicting a blind person undertakes multiple enactments and statements of blindness and sight. "Memoirs of the Blind" is both a sophisticated philosophical argument and a series of detailed readings. Derrida provides compelling insights into famous and lesser known works, interweaving analyses of texts--including Diderot's "Lettres sur les aveugles," the notion of mnemonic art in Baudelaire's "The Painter of Modern Life," and Merleau-Ponty's "The Visible and the Invisible." Along with engaging meditations on the history and philosophy of art, Derrida reveals the waysviewers approach philosophical ideas through art, and the ways art enriches philosophical reflection. An exploration of sight, representation, and art, "Memoirs of the Blind" extends and deepens the meditation on vision and painting presented in "Truth and Painting." Readers of Derrida, both new and familiar, will profit from this powerful contribution to the study of the visual arts.

《中国民间崇拜(第六卷):中国众神》是《中国民间崇拜》丛书第六卷，从本卷开始进入本系列第二部分，论述在中国受到膜拜的男神和女神、文化英雄、神仙、妖怪）、神秘性和神话性的人物，换句话，即“中国的万神殿”。到目前为止，很少有人科学而充分地对待这一主题，似乎是碍于其庞杂，也可能是由于其艰难，因为这需要进行极广的研究工作，需要全面具备在民间广泛流行的儒、释、道“三教”知识。

【中国古典文学遗珍——宋诗】
中国古诗不止于唐诗，宋诗取唐诗各家所长，在前人基础上精益求精，更求工整稳健，于中国文学史上占有不亚于宋词的地位。本书编选宋诗中平易的诗篇，让读者随画读解古人的心境滋味，感受汉语之美。
【现代山水画大家——傅抱石】
傅抱石擅长以诗入画，他画作 中的中国山水自然地染上了中国古诗的声韵音律，本书以他的画为线索引读者进入宋诗中淡泊放逸的境界，直观感受中国传统文化中的声色气韵。
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【中国国家地理“诗画系列”之二 】
用山水之美诠释宋诗的悠远之声
收录八十八幅傅抱石画作
精心编选七十九首宋诗
【随书配套独家音频，扫描二维码听配乐朗读 】
特别邀请音乐人A.J. Alex & Yan One为此书配乐
配乐采用古琴/古吉琴/拔弦小提琴/月吉琴/口风琴 等多种乐器
素材和灵感来自他们的最新行旅即兴唱片《柳三世》
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朗读来自青年主播张晓雅（女声）、郭鹏超（男声）

The first selected poems of a major poet who "wrote with more heart than any other North American poet of the twentieth century" (Rodney Jones, "Parnassus") More than any other poet of his generation, James Wright spoke to the great sadness and hope that are inextricable from the iconography of America: its rail yards, rivers, cities, and once vast natural beauty. Speaking in the unique lyrical voice that he called his "Ohioan," Wright created poems of immense sympathy for sociey's alienated and outcast figures and also of ardent wonder at the restorative power of nature. "Selected Poems" fills a significant gap in Wright's bibliography: that of an accessible, carefully chosen collection to satisfy both longtime readers and those just discovering his work. Edited and with an introduction by Wright's widow, Anne, and his close friend the poet Robert Bly, who also wrote an introduction, "Selected Poems" is a personal, deeply considered collection of work with pieces chosen from all of Wright's books. It is an overdue--and timely--new view of a poet whose life and work encompassed the extremes of American life.

本书因而采纳思想史视角，以通过馆舍、馆藏和展陈等表达的知识结构为切入口，梳理博物馆在中国的诞生和早期成长历程。
中国早期博物馆既有从无到有的创造过程，也有从旧到新的改造过程；既与风云诡谲的政局欲说还休，又与新生的实证科学同声共气；既有域外观念和实践的移植，也有独特本土实践和经验的总结。
从殖民主义到国家主义，从帝制孑遗到新生政体，从都会形象到民众教育，不同情境导致各类特色鲜明的博物馆次第登场。
在经历了漫长的缓慢发展后，中国博物馆在20世纪30年代早中期进入井喷期，数量激增，类型完备，博物馆干预社会生活的积极性空前高涨，社会可见度也显著提升。中国博物馆迎来了第一个黄金时代。

本書共收錄十二篇論文，作者包括台灣、中國、馬來西亞、法國、荷蘭和美國等地的學者。這些論文的共同焦點在於利用中國的聖者傳記(hagiography)和地域史材料，探討中國大陸、台灣和東南亞華人社會崇拜“遺跡”和“聖者”的宗教現象。

本书聚焦于19世纪晚期大清朝与英国之间的“帝国碰撞”，对“帝国”问题进行了跨文化的历史研究。作者以主权想象为中心，着重分析法律、外交、宗教、语言学及视觉文本中的知识传统和话语政治。通过爬疏相关的历史档案和文献资料，作者处理了大量不同种类的文本和历史事件，如国际法、符号学、帝国之间的礼物交换、传教士的翻译、语法书，甚至还有殖民摄影术，而这一切都由与欲望和主权想象有关的帝国的话语政治这条主线贯穿起来。作者的核心关怀是从近代中西冲突看现代世界秩序的形成，以及中国作为一个古老帝国是如何被帝国的话语政治“塑造”成为现代民族国家的。

跨语际实践的研究重心并不是技术意义上的翻译，而是翻译的历史条件，以及由不同语言间最初的接触而引发的话语实践。本书所要考察的是新词语、新意义和新话语兴起、代谢，并在本国语言中获得合法性的过程。 本书从跨语际实践的视角，通过复原语言实践中各种历史关系赖以呈现的场所，分别考察了翻译中生成的现代性的不同层面，以期重新思考东西方之间跨文化诠释和语言中介形式的可能性。