《烏托邦小說在中國：文類、印刷文化與知識建構，1902至1912年》（Utopian Fiction in China: Genre, Print Culture and Knowledge Formation, 1902-1912）運用文類研究、近代中國報紙與思想史研究，提供對烏托邦文學形式、知識認知論、虛構敘事的分析，以及傳統知識與外來知識間的互動，有助於塑造20世紀初中國的論述。 異於過往研究將晚清烏托邦想像視為非歷史要素、文學主題與翻譯現象。在本書中，梁淑雯將烏托邦小說視為幫助中國民族主義與現代性發展的一種知識體系。奠基於未被利用過的中、英、日文主要資料，她的研究揭示烏托邦幻想如何在梁啟超出版《新中國未來記》後蓬勃發展，成為知識形成與傳播的工具，轉變了中國公共領域，催生了歷史的變遷。

《烏托邦小說在中國：文類、印刷文化與知識建構，1902至1912年》（Utopian Fiction in China: Genre, Print Culture and Knowledge Formation, 1902-1912）運用文類研究、近代中國報紙與思想史研究，提供對烏托邦文學形式、知識認知論、虛構敘事的分析，以及傳統知識與外來知識間的互動，有助於塑造20世紀初中國的論述。 異於過往研究將晚清烏托邦想像視為非歷史要素、文學主題與翻譯現象。在本書中，梁淑雯將烏托邦小說視為幫助中國民族主義與現代性發展的一種知識體系。奠基於未被利用過的中、英、日文主要資料，她的研究揭示烏托邦幻想如何在梁啟超出版《新中國未來記》後蓬勃發展，成為知識形成與傳播的工具，轉變了中國公共領域，催生了歷史的變遷。

During the first thirty years under communism, China completely banned crime fiction. After Mao, however, crime genres of all kinds-old and new, Chinese and Western-sprang up in profusion. Crime narrative again became one of the most prolific and best-loved forms of Chinese popular culture, and it often embodied the Chinese people's most trenchant and open critiques of their ne...(展开全部)

During the first thirty years under communism, China completely banned crime fiction. After Mao, however, crime genres of all kinds-old and new, Chinese and Western-sprang up in profusion. Crime narrative again became one of the most prolific and best-loved forms of Chinese popular culture, and it often embodied the Chinese people's most trenchant and open critiques of their ne...(展开全部)

In this book Anthony Grafton lets us in on one of the great secrets of scholars and intellectuals: although scholars lead solitary lives in order to win independence of mind, they also enjoy the conviviality of sharing a project sustained by common ideals, practices, and institutions. It’s like Masonry, but without the secret handshakes. Grafton reveals the microdynamics of the...(展开全部)

Women entered the book trade in significant numbers in China during the late 16th Century, when it became acceptable for women from 'good families' to write poetry and seek to publish their collected poems. At about the same time, a boom in the publication of fiction began, and semi-professional novelists emerged. This study begins with three case studies, each of which probes ...(展开全部)

中国是世界大的酒类生产国和消费国之一，酒精渗透到其文化的各个方面，从传统和文学到商业和战争。然而，对外界来说，中国知名的烈酒白酒仍然是个谜。这种情况即将改变，因为白酒现在已在国外的鸡尾酒吧供应。 《醉在中国》讲述了德里克·桑德豪斯探索世界上古老的饮酒文化的旅程。他走遍全国和世界各地，与酿酒师、啤酒酿造师、江湖骗子、考古学家和普通饮酒者会面。他研究了酒精塑造中国社会及其仪式的多种方式。他参观了生产车间、卡拉 OK 厅、火锅店和地下酒吧。一路上，他发现了一个跨越九千多年的传统，并探讨了最近的经济和政治发展如何首次将中国酒精推向国外。随着中国社会日益国际化，其饮酒文化也须适应时代。西方是否也能适应并与中国举杯共饮？阅读《醉在中国》一书，你就能找到答案。 China is one of the world's leading producers and co...(展开全部)

中国是世界大的酒类生产国和消费国之一，酒精渗透到其文化的各个方面，从传统和文学到商业和战争。然而，对外界来说，中国知名的烈酒白酒仍然是个谜。这种情况即将改变，因为白酒现在已在国外的鸡尾酒吧供应。 《醉在中国》讲述了德里克·桑德豪斯探索世界上古老的饮酒文化的旅程。他走遍全国和世界各地，与酿酒师、啤酒酿造师、江湖骗子、考古学家和普通饮酒者会面。他研究了酒精塑造中国社会及其仪式的多种方式。他参观了生产车间、卡拉 OK 厅、火锅店和地下酒吧。一路上，他发现了一个跨越九千多年的传统，并探讨了最近的经济和政治发展如何首次将中国酒精推向国外。随着中国社会日益国际化，其饮酒文化也须适应时代。西方是否也能适应并与中国举杯共饮？阅读《醉在中国》一书，你就能找到答案。 China is one of the world's leading producers and co...(展开全部)

In the twenty-first century, China has emerged as the leading challenger to U.S. global dominance. China is often seen as a sleeping giant, emerging out of poverty, backwardness, and totalitarianism and moving toward modernization. However, history shows that this vast country is not newly awakening, but rather returning to its previous state of world eminence. With this compel...(展开全部)