In this volume, Mu-chou Poo offers a new overview of daily life in ancient China. Synthesizing a range of textual and archaeological materials, he brings a thematic approach to the topic that enables a multi-faceted understanding of the ideological, economical, legal, social, and emotional aspects of life in ancient China. The volume focuses on the Han period and examines key t...(展开全部)

纳西姆·尼古拉斯·塔勒布（Nassim Nicholas Taleb） 我们这个时代伟大的思想者之一。当今令人敬畏的风险管理理论学者，被誉为拥有“罕见的勇气与博学”。塔勒布倾其一生研究不确定性、概率和知识的问题。他撰写了50篇学术论文来探讨“不确定性”，内容涉及国际关系、风险管理、统计物理学。主要研究课题是“在不透明环境下的决策”，为引导我们如何生活在一个我们并不理解的世界中提供指南或原则。 在成为一个全职作家和学术研究者之前，塔勒布做了20年的商人和交易员。现在受聘于纽约大学理工学院，任风险工程学特聘教授。

From the New York Times bestselling author of The Black Swan, a bold new work that challenges many of our long-held beliefs about risk and reward, politics and religion, finance and personal responsibility In his most provocative and practical book yet, one of the foremost thinkers of our time redefines what it means to understand the world, succeed in a profession, contribute...(展开全部)

纳西姆·尼古拉斯·塔勒布（Nassim Nicholas Taleb） 我们这个时代伟大的思想者之一。当今令人敬畏的风险管理理论学者，被誉为拥有“罕见的勇气与博学”。塔勒布倾其一生研究不确定性、概率和知识的问题。他撰写了50篇学术论文来探讨“不确定性”，内容涉及国际关系、风险管理、统计物理学。主要研究课题是“在不透明环境下的决策”，为引导我们如何生活在一个我们并不理解的世界中提供指南或原则。 在成为一个全职作家和学术研究者之前，塔勒布做了20年的商人和交易员。现在受聘于纽约大学理工学院，任风险工程学特聘教授。

From the New York Times bestselling author of The Black Swan, a bold new work that challenges many of our long-held beliefs about risk and reward, politics and religion, finance and personal responsibility In his most provocative and practical book yet, one of the foremost thinkers of our time redefines what it means to understand the world, succeed in a profession, contribute...(展开全部)

The great 17th-century Dutch artist Rembrandt van Rijn left us so many arresting self-portraits, painted at every stage in his eventful life, that his distinctive face and bearing are a familiar part of the 20th-century cultural landscape, a recognizable presence in galleries across Europe and North America. Nonetheless, the artist himself remains an enigma. Rembrandt was a not...(展开全部)

For Rembrandt as for Shakespeare, all the world was indeed a stage, and he knew in exhaustive detail the tactics of its performance: the strutting and mincing; the wardrobe and the face paint; the full repertoire of gesture and grimace; the flutter of hands and the roll of the eyes; the belly laugh and the half-stifled sob. He knew what it looked like to seduce, to intimidate, ...(展开全部)

【作者简介】 西蒙·沙玛（Simon Schama，1945—） 英国历史学家、艺术史学家，先后任教于剑桥大学、牛津大学、哈佛大学和哥伦比亚大学，也是BBC纪录片撰稿人和主持人、《纽约客》文艺评论员。编写并主持过获奖纪录片《英国史》《艺术的力量》和《犹太人的故事》。代表著作有《风雨横渡：英国、奴隶和美国革命》《风景与记忆》《富庶的窘境：黄金时代荷兰文化解析》《死亡的确定性：无端猜测》等。曾获沃尔夫森历史奖、美国国家书评人协会奖、W. H. 史密斯文学奖等诸多嘉誉。 【译者简介】 黄格勉 北京大学艺术史论文学学士及经济学学士，伦敦大学学院博物馆学文学硕士，现为艺术从业者和译者。 林晓筱 浙江传媒学院教师，浙江大学比较文学与世界文学专业博士，文学译者。曾翻译出版大卫·福斯特·华莱士、艾拉·莱文、雷蒙·格诺等作家的作品

The great 17th-century Dutch artist Rembrandt van Rijn left us so many arresting self-portraits, painted at every stage in his eventful life, that his distinctive face and bearing are a familiar part of the 20th-century cultural landscape, a recognizable presence in galleries across Europe and North America. Nonetheless, the artist himself remains an enigma. Rembrandt was a not...(展开全部)