本书把北宋儒学复兴的实质内涵归结为多元政治哲学的批判与重建，在理论创新与方法创新方面都取得了突破性进展……不仅摆脱了意识形态的狭窄视野，建立了“大儒学”的概念，而且凸现了儒学的丰富内涵，促使学界对儒学的认识由内容单薄的心性之学或道德形上学转而关注其所固有的文化历史功能。 展读全书，给人最大的感受是新人耳目，有新的思路，新的问题，新的看法，也有新的话语系统。与同类的著作相比较，作者的这种努力，可以说是为儒学研究开拓了一个新的研究方向。

Statues, paintings, and masks—like the bodies of shamans and spirit mediums—give material form and presence to otherwise invisible entities, and sometimes these objects are understood to be enlivened, agentive on their own terms. This book explores how magical images are expected to work with the shamans and spirit mediums who tend and use them in contemporary South Korea, Vietnam, Myanmar, Bali, and elsewhere in Asia. It considers how such things are fabricated, marketed, cared for, disposed of, and sometimes transformed into art-market commodities and museum artifacts.

This is a radical rethinking of the nature of consciousness. "The Ego Tunnel", a major work from one of the brightest of the new generation of philosophers of mind, proposes a simple yet radical rethinking of the nature of consciousness and a fascinating and controversial exploration of what it implies. We're used to thinking of the self's relation to the world as a dyad-the inner me as opposed to the outer world. This model assumes that what we're perceiving when we experience the world is actually the world. It's almost impossible to escape a sort of naive realism when you employ this model, since the alternative is that the world outside yourself is a dream. Thomas Metzinger's model, however, based on the increasingly sophisticated and bizarre findings of neuroscience, is different. There is an outside world and an inner, unconscious mind, but we directly perceive neither. Instead, both our outward perceptions and our inward consciousness are a kind of interface, a membrane, between the mind and the world. Everything that we experience is 'a virtual self in a virtual reality'. This idea leads to a number of implications, scientific, ethical and pharmacological. If the interface is not 'real' then why and how did it evolve? How does the mind construct it? What does it mean to manipulate it? Do we still have souls, free will, personal autonomy and moral accountability, and if not, how can we retain institutions that assume all of these things? "The Ego Tunnel" is an indispensable guide to a new era when the science of the mind may displace evolution as the most controversial of the sciences.

Garland of Visions explores the generative relationships between artistic intelligence and tantric vision practices in the construction and circulation of visual knowledge in medieval South Asia. Shifting away from the traditional connoisseur approach, Jinah Kim instead focuses on the materiality of painting: its mediums, its visions, and especially its colors. She argues that the adoption of a special type of manuscript called pothi enabled the material translation of a private and internal experience of "seeing" into a portable device. These mobile and intimate objects then became important conveyors of many forms of knowledge—ritual, artistic, social, scientific, and religious—and spurred the spread of visual knowledge of Indic Buddhism to distant lands. By taking color as the material link between a vision and its artistic output, Garland of Visions presents a fresh approach to the history of Indian painting.

日本近代诗之父萩原朔太郎 一生杰作精编结集 简体中文版首次出版
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【编辑推荐】
※萩原朔太郎，被誉为“日本近代诗之父”。在大正时代，他以前所未有的口语自由诗，打破旧制开创了日本近代诗歌的新局面，受到文豪森鸥外盛赞。这位日本诗坛的标杆性人物，也是明星诗人，他的诗歌在日本重版近百次。近年来他是手游与动漫《文豪与炼金术师》的重要角色，在中国人气飙升。
※他的诗歌充溢着寂寥感、阴郁和时而怪异的情绪，能穿越时空让当下的我们产生共鸣。他歌咏的主题，孤独者的寂寞、人情的怜悯、碌碌无为的噩梦、与闭塞故乡的矛盾和对都市的向往等等，这些生命体验与当下的我们相通。他用丰富的想象力和感受力歌咏的情绪，照进我们的内心，包容抚慰我们。
※本书从《吠月》《青猫》《纯情小曲集》《冰岛》等其代表诗集中，精选百余首结集成册，让读者品味其不同时期的诗情与歌咏主题。一个青涩忧郁、散发天才锐气的青年诗人，到中期情调颓废，再到晚期经历人生种种的诗人形象跃然纸上，为读者全面呈现这位天才诗人的诗歌与人生。
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【内容简介】
萩原朔太郎被誉为“日本近代诗之父”，以前所未有的口语自由诗，打破旧制开创了日本近代诗歌的新局面。他的第一部诗集《吠月》，受到文豪森鸥外盛赞，一跃成为诗坛宠儿。他诗歌中充溢的寂寥感、阴郁和时而怪异的情绪，对后世产生了深远影响。
本书从《吠月》《青猫》《纯情小曲集》《冰岛》等萩原朔太郎的代表诗集中，精选百余首结集成册，为读者全面呈现这位天才诗人的诗歌与人生。

《图像学研究--文艺复兴时期艺术的人文主题》(主编冯俊)是《上海三联人文经典书库》之一，书中包括了皮耶罗两组绘画中的人类早期历史、盲目的丘比特、时间老人、佛罗伦萨与意大利北部的新柏拉图主义运动、新柏拉图主义运动与米开朗琪罗等内容。
本书适合从事相关研究工作的人员参考阅读。

《亚洲周刊》2020年十大小说 华语文学的惊喜收获
王德威×王安忆 倾力推荐 “黎紫书为当代马华文学注入几分少见的温情”
《流俗地》以马来西亚锡都，被居民喊作“楼上楼”的小社会拉开序幕。讲述其中市井小民的俗务俗事，迂回曲折的情节，仿佛召唤生命中至关重要的小事。
在“楼上楼”的他们如风中之烛，看似脆弱实则强韧，一旦离开，便流落于人海各自漂流；仿佛走的那一日也意味着困境已渡，人生到了宽敞地，再不需要人相濡以沫。作者融合热带国度的风土民情、政治时局，人们追忆往事，每翻开一页象是自己被时光推到了局外，旁观着当年的自己。
这里的雨下得频繁，人生不少重要的事好像都是在雨中发生。那些记忆如今被掀开来感觉依然湿淋淋，即便干了，也像泡了水的书本，纸张全荡起波纹，难以平复。
马来锡都世俗小城里的平淡生活，数十年历史深处的一众卑微生命。
个人命运的创伤与徙家流落，不同族群关于各自民族的身份认同与情感交融。每一种悲凉的生存底色中，都高昂着人性的倔强。每一个个体的浮沉，都渗透着作者对历史饱含关怀的回望，对现实政治有距离的观望，对海外华人民族身份的复杂情结。

Scholarship on early China has traditionally focused on a core group of canonical texts. However, understudied sources have the potential to shift perspectives on fundamental aspects of Chinese intellectual, religious, and political history. Yegor Grebnev examines crucial noncanonical texts preserved in the Yi Zhou shu (Neglected Zhou Scriptures) and the Grand Duke traditions, which represent scriptural traditions influential during the Warring States period but sidelined in later history. He develops an innovative framework for the study and interpretation of these texts, focusing on their role in the mediation of royal legitimacy and their formative impact on early Daoism.
Grebnev demonstrates the centrality of the Yi Zhou shu in Chinese intellectual history by highlighting its simultaneous connections to canonical traditions and esoteric Daoism. He demonstrates that the Daoist rituals of textual transmission embedded in the Grand Duke traditions bear an imprint of the courtly environment of the Warring States period, where early Daoists strove for prestige and power, offering legitimacy through texts ascribed to the mythical sage rulers. These rituals appear to have emerged at the same period as the core Daoist philosophical texts and not several centuries later as conventionally believed, which calls for a reassessment of the history of Daoism’s interrelated religious and philosophical strands. Offering a far-reaching reconsideration of early Chinese intellectual and religious history, Mediation of Legitimacy in Early China sheds new light on the foundations of the Chinese textual tradition.
Mediation of Legitimacy in Early China brings together two too often-overlooked sources to make fresh observations concerning the structure of early Chinese texts and what this structure shows about the process of their composition. It has far-reaching implications for understanding all aspects of the early Chinese literary tradition.
Edward L. Shaughnessy, author of Unearthing the Changes: Recently Discovered Manuscripts of the Yi Jing (I Ching) and Related Texts
Hidden in plain sight in the Yi Zhou shu, Yegor Grebnev has discovered the missing link between “religious” and “philosophical” Taoism. His elegant and philologically rigorous demonstration that the two are fundamentally of one piece will necessitate the rewriting of current textbook accounts of Chinese intellectual history.
Lothar von Falkenhausen, author of Chinese Society in the Age of Confucius (1000-250 BC): The Archaeological Evidence
Grebnev’s masterful study begins with a formalistic analysis of Yi Zhou shu and ends with a new history of religious Daoism and a new model for thinking about early Chinese philosophy. The very definition of groundbreaking, it is certain to reverberate in the work of early China scholars for decades.
Stephen Durrant, professor emeritus, University of Oregon

本书精选湖南两宋摩崖石刻拓片一百品，以编年排序，时间上起宋太宗雍熙，下迄宋度宗咸淳，将两宋近三个世纪摩崖石刻精品囊括在内。
全书按内容分为诗刻、题记、题刻、榜书、图刻五类，基本涵盖了湖南摩崖石刻的品类，具有很高的历史文献价值，思想史价值，文学价值，书法艺术价值。
图片均为拓片全图，约半数有局部放大图。正文详细著录年代、发现地点、尺幅等信息，并系以释文、考证，以满足广大爱好者与专业研究者的需求。

本書以「性與天道」的思想觀念作為線索，追溯北宋理學思想形成的歷史淵源。內容除了回顧中唐至宋初儒家在相關問題上的思想概況，也比較中古早期佛教和道教世界觀的差異，並疏理出唐代道教（包括道家）思想的演變脈絡，旨在說明道教宇宙思維和心性修養之間密切聯繫的思想特性，為後來的北宋理學家所繼承，構成其「性與天道」思想的基礎。本書也透過這項研究，澄清關於中國傳統思想具有「內向超越」之基本性質的問題。

《骑兵军 敖德萨故事》是俄罗斯小说家伊萨克·巴别尔的代表作。
《骑兵军》是1920年巴别尔以战地记者的身份跟随苏维埃红军进攻波兰时，根据征战经历创作的一系列短篇小说，有战场速写，有军旅故事，是关于人类社会文明与暴力、征服与抵抗、杀戮与死亡的鲜活记录。
《敖德萨故事》是一 部描写巴别尔故乡，黑海海滨港口城市敖德萨的短篇小说集，他用绚烂的语言、激越的曲调书写了市井百态的残酷与美好，种种奇人异事在笔下呼之欲出，每个短篇独自成立又相互勾连，是一部享誉世界的文学经典。
20世纪俄罗斯小说天才 险招迭出的文体家
《欧洲人》杂志“百位世界最佳小说家”评选首奖作品
一部流传近百年 被译成二十多种语言的奇书
著名翻译家戴骢先生经典译本
我从不觉得能用字数判断文章……但看完巴别尔的，我觉得我还能更凝练些。
——海明威
它具有音乐性的风格，与几乎难以形容的残忍的场面描写形成了鲜明的对照。
——博尔赫斯

In 1968-69, Columbia University became the site for a collision of American social movements. Black Power, student power, antiwar, New Left, and Civil Rights movements all clashed with local and state politics when an alliance of black students and residents of Harlem and Morningside Heights openly protested the school's ill-conceived plan to build a large, private gymnasium in the small green park that separates the elite university from Harlem. Railing against the university's expansion policy, protesters occupied administration buildings and met violent opposition from both fellow students and the police.

Transporting Visions follows pictures as they traveled through and over the swamps, forests, towns, oceans, and rivers of British America and the United States between 1760 and 1860. Taking seriously the complications involved in moving pictures through the physical world—the sheer bulk and weight of canvases, the delays inherent in long-distance reception, the perpetual threat to the stability and mnemonic capacity of images, the uneasy mingling of artworks with other kinds of things in transit—Jennifer L. Roberts forges a model for a material history of visual communication in early America. Focusing on paintings and prints by John Singleton Copley, John James Audubon, and Asher B. Durand—which were designed with mobility in mind—Roberts shows how an analysis of such imagery opens new perspectives on the most fundamental problems of early American commodity circulation, geographic expansion, and social cohesion.

The invention of an easily learned Korean alphabet in the mid-fifteenth century sparked an “epistolary revolution” in the following century as letter writing became an indispensable daily practice for elite men and women alike. The amount of correspondence increased exponentially as new epistolary networks were built among scholars and within families, and written culture created room for appropriation and subversion by those who joined epistolary practices.
Focusing on the ways that written culture interacts with philosophical, social, and political changes, The Power of the Brush examines the social effects of these changes and adds a Korean perspective to the evolving international discourse on the materiality of texts. It demonstrates how innovative uses of letters and the appropriation of letter-writing practices empowered elite cultural, social, and political minority groups: Confucians who did not have access to the advanced scholarship of China; women who were excluded from the male-dominated literary culture, which used Chinese script; and provincial literati, who were marginalized from court politics. New modes of reading and writing that were developed in letter writing precipitated changes in scholarly methodology, social interactions, and political mobilization. Even today, remnants of these traditional epistolary practices endure in media and political culture, reverberating in new communications technologies.

★内容介绍
“如果你看见过我曾见到的。”母亲总是一再重复这句话。
“亲爱的上帝，请让我感觉她感觉到的，只要一瞬间就好。”多年之后，女儿这么说道。
娜塔莎·沃丁十岁的某天，母亲出门，再也没有回来，后来才得知母亲自沉雷格尼茨河，没能留下只言片语；父亲则酗酒，终日埋首俄语书籍。——在那之后，作者才意识到自己对她一无所知，唯一知道的是她来自马里乌波尔，1943年作为强制劳工被驱离乌克兰，前往德国。凭借少得可怜的线索，娜塔莎·沃丁一点一点地把碎裂的瓷片拼接在一起，她发现，这个家族的过往是一个巨大的谜，是一则关于东欧苦难的历史寓言……作者用迷人的方式完整还原了一部母亲的个人史、家族史、二十世纪动荡史。虽然这是一部非虚构作品，却比虚构作品更魔幻，更戏剧化，也更惊心动魄。
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★编辑推荐
◎一部家族史，百年世界灾难缩影
◎20世纪东欧灾难实录，填补二战东方劳工史出版空白
◎堪与温弗雷德·塞巴尔德媲美的作家，用文字抢救逝去的生命与记忆之书
◎重写东欧史，拼接历史的碎片，完整还原悲恸个人史。12000000名东方劳工，绝非二战犹太人大屠杀之外的历史注脚，展示欧洲文明悲剧的全景，揭示乌克兰人不为人知的命运
◎斩获德语第二大文学奖“莱比锡图书奖”（非虚构类）、德布林奖，德语文学在线、《明镜周刊》、《德国时代周报》、《法兰克福汇报》、《南德意志报》等高度赞誉
◎一出版即译为法国、黎巴嫩、意大利、立陶宛、荷兰、西班牙、乌克兰、阿拉伯等文字，长期踞于德国图书榜首
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★媒体评论
以家族史展现了世纪全景……一部了不起的作品。
——《明镜周刊》
……只有通过个人性的叙述，我们才能知道历史事件是怎样影响了一个人的经历，当下的事件是怎样从根本上形塑了一个人的生命。这部作品让人看到了德国伟大的记忆艺术家塞巴尔德从遗忘中抢救逝去生命的影子，这绝非偶然。
——勒夫勒（Sigrid Löffler），2015年德布林奖颁奖词
关于遗忘的重要文本。……这部扣人心弦的杰作，已经远远超出了寻找个人家族之根的范畴。
——德语文学在线
人类的生命是如此渺小又如此丰富，在历史的粉碎机里消逝得又是如此悄无声息。这就是《她来自马里乌波尔》所讲述的，作者在虚构和研究、重构和记忆中游走，寻找。……作者的语言朴实无华，但这再合适不过。……非常伟大、极富影响力的艺术。
——犹克‧玛根瑙（Jörg Magenau），德国广播电台文化台
不可预知和令人大跌眼镜的线索盘根错节，活像一部犯罪悬疑片，每个细节都增添了张力，偶然又衍生出了一连串不可思议……《她来自马里乌波尔》是二十世纪灾难史的缩影，其影响至今绵延不绝。
——赫尔穆特·伯蒂格（Helmut Böttiger），《德国时代周报》
近年来有好几部关于二十世纪梦魇的作品，它们与暴力相关，如档案中记录般遥远。虽然娜塔莎·沃丁仅展示了正在发生的故事的一小部分，但她的讲述是如此拉近了读者，我们在当中看到了我们自己。
——《法兰克福汇报》
娜塔莎·沃丁确立了一种既古典又非凡的写作范式。
——汉斯-彼得·库尼施（Hans-Peter Kunisch），《南德意志报》
革命，饥饿，世界大战，内战，古拉格，这是一个更富戏剧性的家族故事。……娜塔莎·沃丁继承了历史学家似乎无法接续的使命：将强制劳工和战俘的历史曝光在公众的视野中。
——德意志广播电台
这本书引人入胜，读开头第一句话就把心提溜到了嗓子眼，悲壮，震撼，很难停下翻动纸页的手指。……属于赫塔·米勒和凯尔泰斯·伊姆雷一脉。
——《科隆城市报》
……一部伟大的书，对抗沉默。那是一段鲜活的，生动的，发出叩问的，绝望而又动人的历史。当然，也充满了痛苦。这是一部催人泪下的书，是多重线索和寻找下的个人史书写。
——巴伐利亚州第二电台文化频道
凭借有限的信息，沃丁小心翼翼地把谜一般的家族史碎片拼接起来，于是便有了这部饱受赞誉的深情杰作，堪与W. G. 塞巴尔德媲美。……《她来自马里乌波尔》填补了文学领域的空白，通过对母亲家族的深情追溯，为成千上万东欧人民树立了纪念碑。
——New Books in German
这本书呼吁人们关注那些鲜为人知且往往不是焦点的历史议题，纳粹德国的东方劳工史即其中之一。有时候它像一本推理小说，在这本书面前你根本停不下来，因为你不知道娜塔莎·沃丁还要往窟窿里填充什么。许多东西浮出历史地表，但还有许多没有说出来。这就是书写家族史的意义。
——Beyond History
此书再次揭开了德国历史上的一块伤疤。许多档案材料被刻意销毁，记忆随着当事人的去世而荡然无存，即便尚有知情人在世也大多缄口不言。……相信随着该书的传播，这段被遮蔽和遗忘的历史会重新进入公共记忆之中。
——中国《文艺报》

In the early 400s, numerous Indian and Central Asian Buddhist “meditation masters” (chanshi) traveled to China, where they established the first enduring traditions of Buddhist meditation practice in East Asia. The forms of contemplative practice that these missionaries brought with them, and which their Chinese students further developed, remained for several centuries the basic understanding of “meditation” (chan) in China. Although modern scholars and readers have long been familiar with the approaches to meditation of the Chan (Zen) School that later became so popular throughout East Asia, these earlier and in some ways more pervasive forms of practice have long been overlooked or ignored. This volume presents a comprehensive study of the content and historical formation, as well as complete English translations, of two of the most influential manuals in which these approaches to Buddhist meditation are discussed: the Scripture on the Secret Essential Methods of Chan (Chan Essentials) and the Secret Methods for Curing Chan Sickness (Methods for Curing).
Translated here into English for the first time, these documents reveal a distinctly visionary form of Buddhist meditation whose goal is the acquisition of concrete, symbolic visions attesting to the practitioner’s purity and progress toward liberation. Both texts are “apocryphal” scriptures: Taking the form of Indian Buddhist sutras translated into Chinese, they were in fact new compositions, written or at least assembled in China in the first half of the fifth century. Though written in China, their historical significance extends beyond the East Asian context as they are among the earliest written sources anywhere to record certain kinds of information about Buddhist meditation that hitherto had been the preserve of oral tradition and personal initiation. To this extent they indeed divulge, as their titles claim, the “secrets” of Buddhist meditation. Through them, we witness a culture of Buddhist meditation that has remained largely unknown but which for many centuries was widely shared across North India, Central Asia, and China.

What is Buddhist meditation? What is going on—and what should be going on—behind the closed or lowered eyelids of the Buddha or Buddhist adept seated in meditation? And in what ways and to what ends have the answers to these questions mattered for Buddhists themselves? Focusing on early medieval China, this book takes up these questions through a cultural history of the earliest traditions of Buddhist meditation (chan), before the rise of the Chan (Zen) School in the eighth century. In sharp contrast to what would become typical in the later Chan School, early Chinese Buddhists approached the ancient Buddhist practice of meditation primarily as a way of gaining access to a world of enigmatic but potentially meaningful visionary experiences. In Chan Before Chan, Eric Greene brings this approach to meditation to life with a focus on how medieval Chinese Buddhists interpreted their own and others’ visionary experiences and the nature of the authority they ascribed to them.
Drawing from hagiography, ritual manuals, material culture, and the many hitherto rarely studied meditation manuals translated from Indic sources into Chinese or composed in China in the 400s, Greene argues that during this era meditation and the mastery of meditation came for the first time to occupy a real place in the Chinese Buddhist social world. Heirs to wider traditions that had been shared across India and Central Asia, early medieval Chinese Buddhists conceived of “chan” as something that would produce a special state of visionary sensitivity. The concrete visionary experiences that resulted from meditation were understood as things that could then be interpreted, by a qualified master, as indicative of the mediator’s purity or impurity. Buddhist meditation, though an elite discipline that only a small number of Chinese Buddhists themselves undertook, was thus in practice and in theory constitutively integrated into the cultic worlds of divination and “repentance” (chanhui) that were so important within the medieval Chinese religious world as a whole.

A timely exploration of how odor seeps into structural inequality
Our sense of smell is a uniquely visceral—and personal—form of experience. As Hsuan L. Hsu points out, smell has long been spurned by Western aesthetics as a lesser sense for its qualities of subjectivity, volatility, and materiality. But it is these very qualities that make olfaction a vital tool for sensing and staging environmental risk and inequality. Unlike the other senses, smell extends across space and reaches into our bodies. Hsu traces how writers, artists, and activists have deployed these embodied, biochemical qualities of smell in their efforts to critique and reshape modernity’s olfactory disparities.
The Smell of Risk outlines the many ways that our differentiated atmospheres unevenly distribute environmental risk. Reading everything from nineteenth-century detective fiction and naturalist novels to contemporary performance art and memoir, Hsu takes up modernity’s differentiated atmospheres as a subject worth sniffing out. From the industrial revolution to current-day environmental crises, Hsu uses ecocriticism, geography, and critical race studies to, for example, explore Latinx communities exposed to freeway exhaust and pesticides, Asian diasporic artists’ response to racialized discourse about Asiatic odors, and the devastation settler colonialism has reaped on Indigenous smellscapes. In each instance, Hsu demonstrates the violence that air maintenance, control, and conditioning enacts on the poor and the marginalized. From nineteenth-century miasma theory theory to the synthetic chemicals that pervade twenty-first century air, Hsu takes smell at face value to offer an evocative retelling of urbanization, public health, and environmental violence.
"Hsuan Hsu takes an exceptionally imaginative approach to the relationship between aesthetics and environmental justice. The Smell of Risk contributes significantly to the field of environmental humanities by exploring what has been a largely overlooked aspect of how we construct our environments and structure our social interactions. Hsu demonstrates the co-construction of ‘race’ and ‘environment’ as discursive technologies of state power and shows, in particular, how olfaction delineates the notion of an “environment” and its relation to the unequal distribution of risk. This deeply engaging and insightful work will change the way readers approach their olfactory senses." ~Priscilla Wald, author of Contagious: Cultures, Carriers, and the Outbreak Narrative

A useful simplification and condensation of Johannes ltten's major work. The Art of Color, this book covers subjective feeling and objective color principles in detail. It presents the key to understanding color in ltten's color circle and color contrasts.