"Seeing comes before words. The child looks and recognizes before it can speak.""But there is also another sense in which seeing comes before words. It is seeing which establishes our place in the surrounding world; we explain that world with words, but word can never undo the fact that we are surrounded by it. The relation between what we see and what we know is never settled."John Berger's "Ways of Seeing" is one of the most stimulating and the most influential books on art in any language. First published in 1972, it was based on the BBC television series about which the "London Sunday Times" critic commented: "This is an eye-opener in more ways than one: by concentrating on how we look at paintings ...he will almost certainly change the way you look at pictures." By now he has.

Product Description
Art across Time speaks to students in a voice they will remember, combining sound scholarship with lively prose enhanced with a lavishly presented program of images. Most of the illustrations are presented in a larger format than in other art history texts to allow students to view details and elements of composition with greater ease and interest. The new third edition offers a variety of improvements, including new visual Connections between works, increased color and architectural diagrams, an enhanced map program to reinforce geographical context, new boxed readings, and a revised art program and text design.
Art across Time offers readers more than a chronology of art; it introduces political, economic, social, and personal concerns that influence the artists and inform their work, uniquely conveying the ideas, beliefs, and circumstances that inspire creativity.
In addition, the illustration program is available to adopting instructors in digital format in The Image Vault, McGraw-Hill's new web-based presentation manager. Instructors can incorporate images from The Image Vault in digital presentations that can be used in class offline, burned to CD-ROM, or embedded in course Web pages. See www.mhhe.com/theimagevault for more details.

This magisterial volume follows the death of ancient traditions, the triumph of new classes, and the emergence of new technologies, sciences, and ideologies, with vast intellectual daring and aphoristic elegance. Part of Eric Hobsbawm's epic four-volume history of the modern world, along with The Age of Capitalism, The Age of Empire, and The Age of Extremes.

序 言
梁白泉
马克思在讲到一般意识形态和德国哲学时说：“我们仅仅知道一门唯一的科学，即历史科学。历史可以从两方面来考察，可以把它划分为自然史和人类史。”说到历史，我们首先想到的是人类自身的历史。
什么是我们自身的历史？一般将其理解为以文字记录的历史文献。可是，无论中外，自古以来就有人对此持怀疑的态度。
“疑”字多义。《诗·大雅·桑柔》：“靡所止疑”，毛传“疑，定也”；《仪礼·士相见礼》：“凡燕见于君，必辨君之南面，若不得，则正方不疑君”，注“疑，度也”；《逸周书·王佩解》：“时至而疑”，注“疑，犹豫不果也”；《说文解字》：“疑，惑也”，“惑，乱也”；宋《广韵》：“疑，恐也”、“不定也”。
《后汉书·桓谭传》：“数从刘歆，扬雄辨析疑异”；《曹褒传》：“互生疑异，笔不得下”；《郑玄传》：“闻玄善算，乃召见于楼上，玄因从质诸疑义”；陶渊明《移居》中的名句：“奇文共欣赏，疑义相与析”。
南宋朱熹在《近思录·致知》中指出：“学者先要会疑”；近代胡适也提到，“做学问要在不疑处有疑”。
在西方，17世纪的笛卡尔（René Descartes,1596—1650）认为以怀疑方法可以找到不容置疑的真理，对“怀疑论”（skepticism）的影响很大。
历史是什么？从认识论出发，当今的史学家如詹京斯（Keith Jenkins, 1943— ）等，大力鼓吹“后现代”（postmodern）史学。后现代史学家的观点有：历史是“一门科学或一门艺术”，“历史可说是一种语言的虚构物”，“其内容为杜撰的与发现的参半”。人们因而要问：历史在多大的程度上是可信的呢？
今天，我们历史学的工作者习惯于把历史学的组成分为三个基本部分：一是历史文献，如我们的《二十四史》、《二十五史》等等；二是民族学（ethnology）、民族志（ethnography），特别是15世纪以来葡萄牙、西班牙、荷兰、法国、英国等西方殖民国家在世界各地调查、记录下来的那些原始土著居民的现状和知识，如摩尔根（L.H.Morgan, 1818—1881）的《古代社会》等等；三是18世纪中叶以来因发掘意大利庞贝古城、埃及陵墓、美索不达米亚和小亚细亚遗址而建立起来的考古学，其中著作很多，举不胜举，例如柴尔德（V.G.Childe, 1892—1957）的《青铜时代》、《工具发展小史》等等。
关于历史文献，人们大多深信不疑。因为列强侵略，西方思潮涌入，学者反躬自省，对古文献的价值产生怀疑。近代梁启超指出：《二十四史》不过是一部“帝王家谱”，是帝王家族的“相斫书”。上世纪30年代，以胡适、顾颉刚、钱玄同等学者为首的“古史辨派”曾对我们的古史全面质疑。冯友兰又提出“信古、疑古、释古”三阶段的历史划分。
西方16世纪启蒙思想家、怀疑论研究者蒙田（Michel de Montaigne, 1533—1592）告诫人们，不要“知之最少，信之弥笃”。
克罗齐（B. Croce, 1866—1952）指出“一切历史都是当代史”，意思是说一切历史都必须从当代出发，历史总是后人或别人的论述，只反映了后人或别人的历史观。
英国古典学者、历史学家伯里（J. B. Bury, 1861—1927）提出了严厉而苛刻的要求：“历史是一种科学——一点不多也一点不少。”
于是詹京斯在他的《历史的再思考》一书中感叹“我们永远无法真正知道过去。”
民族学记录的原始民族或处于母系或父系社会，或处于奴隶制或农奴制社会。民族学家说：他们或多或少地证明了今天先进民族曾经经历过的历史阶段。但这只是推测，只是可能，只是“例子”，而不是“证据”。列宁（V. Lenin, 1870—1924）说过：“例子不是证据”，例子只是类似的可资比较的东西，证据是事物的全体或局部。
看来，只有考古学，由于遗址、遗迹、遗物的直观性，具体性，原生性和生态性，才能比较好地帮助我们认识“历史”。考古学并非万能。第一，由于自然、人为的原因，先人的遗存已经大量消失，仅存者难以展示他们生存的全貌；第二，它需要多学科的专家参与进来，共同认识和解读；第三，正如我们认识、解读古代文献一样，存在着类似“六经注我”还是“我注六经”的问题，做到完全的客观和准确仍是非常困难的。
我国的考古学从西方输入，百年来成果辉煌，证明了我们的古史基本可信，我们仍然需要继续引进西方的成果。
本书作者保罗·巴恩（Paul Bahn）是英国著名考古学家、翻译家和考古节目主持人，1979年获剑桥大学考古学博士学位，发表论著四百多篇，出版专著八部，其中部分被列入大学考古专业的参考书目。他善于把高深、艰涩的学术概念用通俗、活泼、有趣的文字表达出来。他说：“如果考古学不能给人们带来快乐，那它就一钱不值。”在今天这个繁忙喧嚣的社会中，这非常符合读者的需要。不少诺贝尔奖的获得者都强调学习要尽量与兴趣相结合，且要持之以恒。本书为你打开了一扇古老的门，请你不要轻易将此门关上。
希望本书的阅读过程能够给你带来快乐！

Throughout history, some books have changed the world. They have transformed the way we see ourselves and each other. They have inspired debate, dissent, war and revolution. They have enlightened, outraged, provoked and comforted. They have enriched lives and destroyed them. Now Penguin brings you the works of the great thinkers, pioneers, radicals and visionaries whose ideas shook civilization, and helped make us who we are.

The renowned psychoanalyst Erich Fromm has helped millions of men and women achieve rich, productive lives by developing their hidden capacities for love. In this astonishly frank and candid book, he explores the ways in which this extraordinary emotion can alter the whole course of your life. Most of us are unable to develop our capacities for love on the only level that really counts––a love that is compounded of maturity, self–knowledge, and courage. Learning to love, like other arts, demands practice and concentration. Even more than any other art it demands genuine insight and understanding. In this startling book, Fromm discusses love in all its aspects; not only romantic love, so surrounded by conceptions, but also love of parents for children, brotherly love, erotic love, self–love, and love of God.

父亲去世和破产的消息让萨拉顷刻之间从令人羡慕的“小公主”沦为寄宿学校的女佣。她饱尝人情冷暖，但始终保持着善良、高贵的心，因为她相信：“就算穿着破衣服，我也可以在心里像一个公主。”
本书是英国作家弗朗西丝·伯内特的经典儿童文学作品，是一部灰姑娘式的儿童小说。小主人公，英国女孩萨拉·克鲁，在寄宿学校里过着公主般的生活。但是，随着父亲的离世，她在学校里的地位受到了毁灭性的打击。流离失所，穷困潦倒的萨拉在女校长伪善、恶毒的怜悯中艰难度日，受尽苦难，然而萨拉依旧保持着一颗乐观向上的心……本书为英文版。

《傲慢与偏见》主讲了奥斯丁的讽刺艺术，不仅表现在某些人物的喜剧性格上，也不仅表现在众多情节的喜剧性处理上，而且还融汇在整个故事的反讽构思中，让现实对人们的主观臆想进行嘲讽。男主角达西最初断定，贝内特家有那么多不利因素，几个女儿很难找到有地位的男人，可后来恰恰是他娶了伊丽莎白。而伊丽莎白呢，她曾发誓决不嫁给达西，可最后还是由她做了达西夫人。再看看那个不可一世的凯瑟琳·德布尔夫人，为了阻止伊丽莎白与她外甥达西攀亲，她不辞辛劳，亲自出马，先是跑来威吓伊丽莎白，继而跑去训诫达西，殊不知正是她这次奔走为两位默默相恋的青年通了信息，促成了他们的美满结合。更令人啼笑皆非的是，就在这几位“智者”受到现实嘲弄的同时，书中那位最可笑的“愚人”贝内特太太，最后却被证明是最正确的。她认为：“有钱的单身汉总要娶位太太，这是一条举世公认的真理。”这种荒谬与“真理”的滑稽转化，尽管超越了一般意义上的是非观念，但却体现了作者对生活的深刻思索。
It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife."Next to the exhortation at the beginning of Moby-Dick, "Call me Ishmael," the first sentence of Jane Austen's Pride and Prejudice must be among the most quoted in literature. And certainly what Melville did for whaling Austen does for marriage——tracing the intricacies (not to mention the economics) of 19th-century British mating rituals with a sure hand and an unblinking eye. As usual, Austen trains her sights on a country village and a few families——in this case, the Bennets, the Philips, and the Lucases. Into their midst comes Mr. Bingley, a single man of good fortune, and his friend, Mr. Darcy, who is even richer. Mrs. Bennet, who married above her station, sees their arrival as an opportunity to marry off at least one of her five daughters. Bingley is complaisant and easily charmed by the eldest Bennet girl, Jane; Darcy, however, is harder to please. Put off by Mrs. Bennet's vulgarity and the untoward behavior of the three younger daughters, he is unable to see the true worth of the older girls, Jane and Elizabeth. His excessive pride offends Lizzy, who is more than willing to believe the worst that other people have to say of him; when George Wickham, a soldier stationed in the village, does indeed have a discreditable tale to tell, his words fall on fertile ground.
Having set up the central misunderstanding of the novel, Austen then brings in her cast of fascinating secondary characters: Mr. Collins, the sycophantic clergyman who aspires to Lizzy's hand but settles for her best friend, Charlotte, instead; Lady Catherine de Bourgh, Mr. Darcy's insufferably snobbish aunt; and the Gardiners, Jane and Elizabeth's low-born but noble-hearted aunt and uncle. Some of Austen's best comedy comes from mixing and matching these representatives of different classes and economic strata, demonstrating the hypocrisy at the heart of so many social interactions. And though the novel is rife with romantic misunderstandings, rejected proposals, disastrous elopements, and a requisite happy ending for those who deserve one, Austen never gets so carried away with the romance that she loses sight of the hard economic realities of 19th-century matrimonial maneuvering. Good marriages for penniless girls such as the Bennets are hard to come by, and even Lizzy, who comes to sincerely value Mr. Darcy, remarks when asked when she first began to love him: "It has been coming on so gradually, that I hardly know when it began. But I believe I must date it from my first seeing his beautiful grounds at Pemberley." She may be joking, but there's more than a little truth to her sentiment, as well. Jane Austen considered Elizabeth Bennet "as delightful a creature as ever appeared in print". Readers of Pride and Prejudice would be hard-pressed to disagree. ——Alix Wilber
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傲慢与偏见

This volume includes the complete essay in five chapters: Introductory; Of the Liberty of Thought and Discussion; Of Individuality, as One of the Elements of Well-being; Of the Limits to the Authority of Society over the Individual; and Applications. With a fine introduction by editor Alburey Castell, this edition also includes line numbers for easy reference, a list of principal dates in the life of John Stuart Mill, and a bibliography.

Said is best known for describing and critiquing "Orientalism"; what he perceived as a constellation of false assumptions underlying Western attitudes toward the East.

In Orientalism (1978), Said decried the "subtle and persistent Eurocentric prejudice against Arabo-Islamic peoples and their culture". [1] He argued that a long tradition of false and romanticized images of Asia and the Middle East in Western culture had served as an implicit justification for Europe's and America's colonial and imperial ambitions.

Critiquing Said, Christopher Hitchens, who writes for Vanity Fair, wrote that he denied any possibility "that direct Western engagement in the region is legitimate" and that Said's analysis cast "every instance of European curiosity about the East [as] part of a grand design to exploit and remake what Westerners saw as a passive, rich, but ultimately contemptible 'Oriental' sphere". [2]

The British historian Bernard Lewis is another important critic who took issue with Said's work. The two authors exchanged a famous polemic in the pages of the New York Review of Books following the publication of Orientalism. Lewis' article, "The question of orientalism" was followed in the next issue by "Orientalism: an exchange".

Key A Short Guide to Writing About Art, Eighth Edition, the best-selling book of its kind, equips students to analyze pictures (drawings, paintings, photographs), sculptures and architecture, and prepares them with the tools they need to present their ideas in effective writing. Key This concise yet thorough guide to “seeing and saying” addresses a wealth of fundamental matters, such as distinguishing between description and analysis, writing a comparison, using peer review, documenting sources, and editing the final essay. This book is a perfect complement to any art course where writing is involved