Chinese workers in the third century b.c. created seven thousand life-sized terracotta soldiers to guard the tomb of the First Emperor. In the eleventh century a.d., Chinese builders constructed a pagoda from as many as thirty thousand separately carved wooden pieces. In the seventeenth and eighteenth centuries, China exported more than a hundred million pieces of porcelain to the West. As these examples show, the Chinese throughout history have produced works of art in astonishing quantities - and have done so without sacrificing quality, affordability, or speed of manufacture. How have they managed this? Lothar Ledderose takes us on a remarkable tour of Chinese art and culture to explain how artists used complex systems of mass production to assemble extraordinary objects from standardized parts or modules. As he reveals, these systems have deep roots in Chinese thought - in the idea that the universe consists of ten thousand categories of things, for example - and reflect characteristically Chinese modes of social organization. Ledderose begins with the modular system par excellence: Chinese script, an ancient system of fifty thousand characters produced from a repertoire of only about two hundred components. He shows how Chinese artists used related modular systems to create ritual bronzes, to produce the First Emperor's terracotta army, and to develop the world's first printing systems. He explores the dazzling variety of lacquerware and porcelain that the West found so seductive, and examines how works as diverse as imperial palaces and paintings of hell relied on elegant variation of standardized components. Ledderose explains that Chinese artists, unlike their Western counterparts, did not seek to reproduce individual objects of nature faithfully, but sought instead to mimic nature's ability to produce limitless numbers of objects. He shows as well how modular patterns of thought run through Chinese ideas about personal freedom, China's culture of bureaucracy, Chinese religion, and even the organization of Chinese restaurants. Originally presented as a series of Mellon lectures at the National Gallery of Art, "Ten Thousand Things" combines keen aesthetic and cultural insights with a rich variety of illustrations to make a profound new statement about Chinese art and society.

在第一次世界大战的硝烟中，每一个迈向死亡的生命都在热烈地生长——威尔士的矿工少年、刚失恋的美国法律系大学生、穷困潦倒的俄国兄弟、富有英俊的英格兰伯爵，以及痴情的德国特工… 从充满灰尘和危险的煤矿到闪闪发光的皇室宫殿，从代表着权力的走廊到爱恨纠缠的卧室，五个家族迥然不同又纠葛不断的命运逐渐揭晓，波澜壮阔地展现了一个我们自认为了解，但从未如此真切感受过的20世纪。

This work presents G.A. Cohen's Gifford Lectures, delivered at the University of Edinburgh in 1996. Focusing on Marxism and Rawlsian liberalism, Cohen draws a connection between these thought systems and the choices that shape a person's life. In the case of Marxism, the relevant life is his own: a communist upbringing in the 1940s in Montreal, which induced a belief in a strongly socialist egalitarian doctrine. The narrative of Cohen's reckoning with that inheritance develops through a series of sophisticated engagements with the central questions of social and political philosophy. In the case of Rawlsian doctrine, Cohen looks to people's lives in general. He argues that egalitarian justice is not only, as Rawlsian liberalism teaches, a matter of rules that define the structure of society, but also a matter of personal attitude and choice. Personal attitude and choice are, moreover, the stuff of which social structure itself is made. Those truths have not informed political philosophy as much as they would, and Cohen's focus on them brings political philosophy closer to moral philosophy, and to the Judeo-Christian ethical tradition, than it has recently been.

甜滑綿密的冰淇淋是緩解低落情緒的幸福滋味?
奶香濃醇的漢堡起司片是營養豐富的真正乳酪?
酥脆鹹香的洋芋片為何會誘人不禁吃完一整包?
其實，這些美味的加工食品早已經過食品大廠的精密算計，
操控成分組成，目的就是要誘人上癮。
紐約時報年度排行暢銷書，全球18國語言譯本，
普立茲新聞獎得主揭露國際食品大廠如何操控消費者的驚人報導。
糖、脂肪、鹽——這是加工食品產業的三大支柱，也是業者用以誘引消費者上癮的三大詭計。本書報導中詳列數家在加工食品興起的近半世紀以來，大眾耳熟能詳、而且獲利甚豐的企業——卡夫食品、可口可樂、家樂氏、雀巢、奧利歐、嘉吉等大廠的經營實例，以極具爆炸性的真實報導，揭露跨國廠商如何藉由控制產品成分，進而吸引消費者對其產品上癮。這些大廠的產品——從麥片、餅乾、飲料、起司、冰淇淋，都是你我日常生活中隨處可見的「陷阱」。而業者添加在產品中、但化為無形的糖、鹽、脂肪，更是全球嚴重的心血管疾病、高血壓、肥胖問題的潛藏肇因。
普立茲新聞獎得主邁可∙摩斯為求報導真確，大規模實地採訪眾多加工食品產業從業者，進入各大廠實驗室，看大企業如何運用最尖端的科技，計算出甜味飲料的「極樂點」，或是重組脂肪的化學結構，以強化產品「口感」，混淆消費者感官。摩斯發現，這些加工食品業者甚至會刻意避食自家產品。他糾舉出食品大廠如何利用行銷手段，瞄準兒童進行洗腦，誘其上癮；採行學自菸草公司的行銷方式，混淆大眾對加工食品健康風險的顧慮；宣稱產品「低鹽、無脂」，但卻暗中調升其它添加物含量，以及企業如何狡猾操弄營養成分標示單位，降低消費者戒心——這些事實都是你我在超市貨架購物時，從精美包裝上無法得知的真相。
讀過本報導，您對放進購物籃的食品將會有截然不同的理解和警覺；但更重要的，是身為消費者的你我會知道，面對加工食品企業的煙幕和花招時，又該如何注意、如何反擊。
•「所有敏銳消費者的重要必讀之作。」——《華爾街日報》 (The Wall Street Journal)
•「一部極具威力的震撼之作，書中充滿食品工業的駭人真相、從業者令人詫異的肺腑坦言，以及更重要的、你我該如何擁有更健康、良好的飲食生活。」—— 1995年普立茲新聞獎得主，朗．徐四金(Ron Suskind)
•「本報導實為對抗操控食品成分，以求牟利自肥的企業的震撼宣言。堪稱年度最重要的著作之一。」——《柯克斯書評》 (Kirkus Reviews)
•「摩斯生動的報導在具體描繪垃圾食物何以吸引人的同時，也靈活分析食品大廠為求獲利所進行的操弄手法。」——《出版人週刊》 (Publishers Weekly)
•「當我們屈從於糖、脂肪、鹽的誘惑，吃下任何食品時，我們不只是「吃」而已，更是在根本上改變了自己的生命以及週遭的世界。邁可．摩斯對此至關重要的事實了解甚深。」——美國名廚、名餐廳Chez Panisse負責人，愛麗絲．華特斯(Alice Walters)

New York Times Bestseller
A visionary new master class in cooking that distills decades of professional experience into just four simple elements, from the woman declared “America’s next great cooking teacher” by Alice Waters.
In the tradition of The Joy of Cooking and How to Cook Everything comes Salt, Fat, Acid, Heat, an ambitious new approach to cooking by a major new culinary voice. Chef and writer Samin Nosrat has taught everyone from professional chefs to middle school kids to author Michael Pollan to cook using her revolutionary, yet simple, philosophy. Master the use of just four elements—Salt, which enhances flavor; Fat, which delivers flavor and generates texture; Acid, which balances flavor; and Heat, which ultimately determines the texture of food—and anything you cook will be delicious. By explaining the hows and whys of good cooking, Salt, Fat, Acid, Heat will teach and inspire a new generation of cooks how to confidently make better decisions in the kitchen and cook delicious meals with any ingredients, anywhere, at any time.
Echoing Samin’s own journey from culinary novice to award-winning chef, Salt, Fat Acid, Heat immediately bridges the gap between home and professional kitchens. With charming narrative, illustrated walkthroughs, and a lighthearted approach to kitchen science, Samin demystifies the four elements of good cooking for everyone. Refer to the canon of 100 essential recipes—and dozens of variations—to put the lessons into practice and make bright, balanced vinaigrettes, perfectly caramelized roast vegetables, tender braised meats, and light, flaky pastry doughs.
Featuring 150 illustrations and infographics that reveal an atlas to the world of flavor by renowned illustrator Wendy MacNaughton, Salt, Fat, Acid, Heat will be your compass in the kitchen. Destined to be a classic, it just might be the last cookbook you’ll ever need.
With a foreword by Michael Pollan

《好吃》讲述了：有“哲学家”把人分为两类。其一是吃东西是为了不致饿死（所谓“为存活而吃”，法国人讥讽英人之不擅烹调）；其二是生存的目的在吃东西（所谓为吃而活，法国人自夸识饮识食）。笔者两者皆是。在为生活而奋期，当属前者，在生活安定尤其是和年龄“背驰”的胃纳愈来愈小的现在，则为后者。不过，在“吃东西”之中应加上“好”字，而这个“好”字当然纯属主观。

From the extravagant use of pepper in the Middle Ages to the Protestant bourgeoisie's love of coffee to the reason why fashionable Europeans stopped sniffing tobacco and starting smoking it, Schivelbusch looks at how the appetite for pleasure transformed the social structure of the Old World. Illustrations.

名著的小说家史家孙楷第先生说“说到清代的短篇小说，除了笠翁外，真是没有第二人了。”
李渔的一生是戏曲家和小说家的一生。他放弃科举出身之途，以毕生精力专注于戏曲小说，这在那个时代的文人士大夫之中，实属罕见。
《无声戏》在题材上继承了自明代“三言”“二拍”以来话本小说的传统，写的都是欲人俗事。其用意，又大都归于道德戏戒，善恶有报。但李渔所鼓吹的道德却与道学家的信条相去甚远，甚至成心唱反调。
对待男女爱情婚姻题材，李渔抱有一种通达宽容的态度和成人之美的心情，如《谭楚玉戏里传情，刘藐姑曲终死节》一篇，写戏子生旦相恋，终得善果。这是《无声戏》中最出色的一篇。
李渔是个极富创新精神而且又天才横溢的艺术家，房间地求新尚奇，成为他写小说的自觉追求。他的小说都题材新奇，情节曲折，出人意料，在写作上，主题鲜明，结构严谨，线索清晰，情节细密，自成一体，独树一帜。
李渔说自己“若稗官野史则实有微长，不效美妇一颦，不拾名流一唾，当时耳目，为我一新”

在线阅读本书
Most Asian restaurants are really two restaurants: one where outsiders eat, and one where insiders dine. So how can you become an insider and take full advantage of Asian cuisines? In this indispensable guide, dining expert Steven A. Shaw proves that you don't have to be Asian to enjoy a VIP experience—you just have to eat like you are. Through entertaining and richly told anecdotes and essays, Asian Dining Rules takes you on a tour of Asian restaurants in North America, explaining the cultural and historical background of each cuisine—Japanese, Chinese, Southeast Asian, Korean, and Indian—and offering an in-depth survey of these often daunting foodways. Here are suggestions for getting the most out of a restaurant visit, including where to eat, how to interact with the staff, be treated like a regular, learn to eat outside the box, and order special off-menu dishes no matter your level of comfort or knowledge. Steven Shaw—intrepid reporter, impeccable tastemaker, and eater extraordinaire—is the perfect dining companion to accompany you on your journey to find the best Asian dining experience, every time.

“我们了解饥饿，熟悉饥饿感：我们每天都会有两三次感到饥饿。好像在日常生活中，再也没有其他什么东西能像饥饿这样常见了，然而，恐怕也再没有什么东西能像真正的饥饿这样，离我们如此近，却又离我们如此远。”
为了讲述饥饿的故事，作者走遍印度、孟加拉国、尼日尔、南苏丹、马达加斯加、美国、阿根廷以及西班牙等地进行调查。他发现有众多原因可能会导致饥饿：极度贫穷、战争动乱、健康问题、投机经济……《饥饿》就是就要讲述这些饥饿人们的故事，讲述他们如何在恶劣环境中忍受饥饿。
《饥饿》试图发现：为什么在当今世界，依然有9亿人每天都在忍饥挨饿？这背后的原因是什么？

《吃主儿》这个题目是什么意思？在北京，有不少人被称之为“吃主儿”。“吃主儿”不是厨师，他们有一套“信条”，您了解了这套“信条”，您就知道了“吃主儿”的独特之处。
介绍“吃主儿”，就不能不讲他们怎么采购、怎么做、怎么吃的种种讲究。本书介绍的这些菜肴大多没用什么名贵原料，有些是老北京的家常菜而今天难得一见的，有些是经“吃主儿”改良而与众不同的，更有令有缘品尝者念念不忘、报刊文字屡屡推介却是偌大京城只此一家的。可喜的是，对这些菜的制作精要，作者可谓倾囊相授。如果您跟着实践，您也可以成为“吃主儿”。

《肚大能容》是逯耀东两三年中发表于报端的饮食文章的集结，大多为探访饮食的随笔。“烟雨江南”、“钱宾四先生与苏州”等篇，虽不是饮食的文章，但为探访饮食过程中写下的，也可以对饮食的探访提供一个背景的了解。

饕餮本为人所不齿的“好吃鬼”，但苏轼却曾以之自居，并作《老饕赋》：“盖聚物之夭美，以养吾之老饕。”，从此“老饕”遂成追逐饮食而又不失其雅的文士的代称。这些文士不但善于品味饮食，甚至不乏擅长烹饪者，“东坡肉”、“潘鱼”、“谭家菜”……可谓不胜枚举。古代的暂且不说，现代的梁实秋、王世襄、汪曾祺以及这本书的作者赵珩，皆是此道高手。
《老饕漫笔》是文坛宿将的主题回忆。文笔清淡含蓄，文品平实端庄，颇有“粤菜”之风。书中记录的，或人或事或风物或名胜或花絮或掌故，一概与吃相关。它用平实的语调钩沉与饮食相关的方方面面，却并不拔高，非将口腹之欲升华为文化精粹。

Presents the essential ideas of the founder of French surrealism

The avant-garde movements of Dada and Surrealism continue to have a huge influence on cultural practice, especially in contemporary art, with its obsession with sexuality, fetishism, and shock tactics. In this new treatment of the subject, Hopkins focuses on the many debates surrounding these movements: the Marquis de Sade's Surrealist deification, issues of quality (How good is Dali?), the idea of the 'readymade', attitudes towards the city, the impact of Freud, attitudes to women, fetishism, and primitivism. The international nature of these movements is examined, covering the cities of Zurich, New York, Berlin, Cologne, Barcelona, Paris, London, and recenlty discovered examples in Eastern Europe. Hopkins explores the huge range of media employed by both Dada and Surrealism (collage, painting, found objects, performance art, photography, film) , whilst at the same time establishing the aesthetic differences between the movements. He also examines the Dadaist obsession with the body-as-mechanism in relation to the Surrealists' return to the fetishized/eroticized body.

首本香港西醫發展史的通論式著作
香港是否在殖民早期即大力推展西醫？本地華人在接受西醫的過程中有否出現衝突，最後又如何妥協？
雅麗氏紀念醫院、香港西醫書院的成立，對香港西醫的本地化進程有何重要影響？
1894年香港鼠疫的爆發原因為何？1950至1960年代香港的肺結核傳染有多嚴重？這些疫病如何改變了香港西醫體制的發展？
今日香港西醫的醫療水準，深獲世界認同，更是亞洲地區醫療服務和設施最為完善的地方之一，這當中有着怎樣的歷史發展軌跡？政府又扮演着甚麼角色？本書運用大量一手原始檔案，如香港政府憲報、立法局議程、殖民地醫官報告、醫療報告、殖民地部與港督的往來通信等，重新拼湊出西醫在香港從殖民早期到醫院管理局成立這一百五十年間的發展歷程。目前有關西醫在香港發展的研究，大都以個別醫療機構或疫病個案為主，從宏觀視野研究的並不多，此書誠為首本香港西醫發展史的通論式著作。