It was one of the less glorious incidents of a long-ago war. It led to the destruction of two suns and the billions of lives they supported. Now, eight hundred years later, the light from the first of those ancient mistakes has reached the Culture Orbital, Masaq'. The light from the second may not. 'Confirms Banks as the standard by which the rest of SF is judged' GUARDIAN 'In ...(展开全部)

伊恩·M.班克斯Iain M.Banks （1954—2013） 英国著名作家，威士忌爱好者，生于苏格兰，曾就读于斯特林大学，主修英语文学、哲学和心理学。他以伊恩·班克斯为笔名创作纯文学作品，以伊恩·M.班克斯为笔名创作科幻小说。 一九八四年，班克斯以处女作《捕蜂器》一举成名。一九八七年起，他涉足科幻小说领域，创作了一系列以“文明”为背景的太空乌托邦作品，好评如潮，一度揽获两届英国科幻小说协会奖，获得包括轨迹奖在内的近二十项科幻大奖提名。《卫报》称其作品为“科幻小说评判的标杆”；赛博朋克大师威廉·吉布森盛赞他为科幻小说界的“不可多得的奇才”；《时代》周刊更是称其为“英国同时代作家中最有想像力的小说家”。 二〇〇八年，《泰晤士报》将班克斯评为一九四五年后英国最优秀的五十位作家之一。 二〇一三年六月，班克斯罹患癌症不幸去世，享年五十九岁。

The Twin Novae battle had been one of the last of the Idiran war, and one of the most horrific: desperate to avert their inevitable defeat, the Idirans had induced not one but two suns to explode, snuffing out worlds and biospheres teeming with sentient life. They were attacks of incredible proportion -- gigadeathcrimes. But the war ended, and life went on. Now, eight hundred...(展开全部)

伊恩·M.班克斯Iain M.Banks （1954—2013） 英国著名作家，威士忌爱好者，生于苏格兰，曾就读于斯特林大学，主修英语文学、哲学和心理学。他以伊恩·班克斯为笔名创作纯文学作品，以伊恩·M.班克斯为笔名创作科幻小说。 一九八四年，班克斯以处女作《捕蜂器》一举成名。一九八七年起，他涉足科幻小说领域，创作了一系列以“文明”为背景的太空乌托邦作品，好评如潮，一度揽获两届英国科幻小说协会奖，获得包括轨迹奖在内的近二十项科幻大奖提名。《卫报》称其作品为“科幻小说评判的标杆”；赛博朋克大师威廉·吉布森盛赞他为科幻小说界的“不可多得的奇才”；《时代》周刊更是称其为“英国同时代作家中最有想像力的小说家”。 二〇〇八年，《泰晤士报》将班克斯评为一九四五年后英国最优秀的五十位作家之一。 二〇一三年六月，班克斯罹患癌症不幸去世，享年五十九岁。

Which of us, when finding ourselves in the presence of a painting, has not sensed that we lack the keys to decipher it? We feel an emotional response, but the work still seems to evade our understanding. Francoise Barbe-Gall combines a nuanced understanding of the way viewers respond to paintings with a rich knowledge of their context and circumstances of their creation. The re...(展开全部)

This is a wide-ranging and stimulating introduction to the history and theory of visual culture from painting to the computer and television screen. It will prove indispensable to students of art and art history as well as students of cultural studies. Mirzoeff begins by defining what visual culture is, and explores how and why visual media - fine art, cinema, the Internet, adv...(展开全部)

苏珊•菲斯克(Susan T. Fiske) 1978年获哈佛大学社会心理学博士学位，现为美国普林斯顿大学“尤金•希金斯”心理学教授、心理学与公共事务教授，美国国家科学院、美国艺术与科学院院士。曾当选心理科学协会（APS）主席、人格与社会心理学会（SPSP）主席、行为与脑科学联合会主席。现为《心理学年鉴》（Annual Review of Psychology）的主编以及国际顶级期刊《美国国家科学院院刊》（PNAS）的编委。 荣获美国心理学协会（APA）的心理学杰出科学贡献奖、美国心理科学协会的威廉•詹姆士奖、社会与人格心理学会的唐纳德•坎贝尔奖以及古根海姆学者奖等众多重量级奖项。 谢利•泰勒(Shelley E. Taylor) 1972年获耶鲁大学社会心理学博士学位，曾先后在耶鲁大学和哈佛大学任教，现为美国加州大学洛杉矶分校心理学杰出教授，美国国...(展开全部)

In The Right to Look, Nicholas Mirzoeff develops a comparative de-colonial framework for visual culture studies, a field that he has helped to create and shape. Casting modernity as an ongoing contest between visuality and counter-visuality, or "the right to look," he explains how visuality sutures authority to power and renders the association natural. An early-nineteenth-cent...(展开全部)

In this witty, often terrifying work of cultural criticism, the author of Amusing Ourselves to Death chronicles our transformation into a Technopoly: a society that no longer merely uses technology as a support system but instead is shaped by it--with radical consequences for the meanings of politics, art, education, intelligence, and truth.

Why does fashion hold so much power over us? Most of us care about how we dress and how we present ourselves. Style offers clues about everything from class to which in-group we belong to. Bad Feminist for fashion, Dress Code takes aim at the institutions within the fashion industry while reminding us of the importance of dress and what it means for self-presentation. Everythin...(展开全部)