本书为公版书，为不受著作权法限制的作家、艺术家及其它人士发布的作品，供广大读者阅读交流。汇聚授权电子版权。

在线阅读本书 One of America’s greatest women writers, Willa Cather established her talent and her reputation with this extraordinary novel—the first of her books set on the Nebraska frontier. A tale of the prairie land encountered by America’s Swedish, Czech, Bohemian, and French immigrants, as well as a story of how the land challenged them, changed them, and, in some cases, defe...(展开全部)

Willa Cather's second novel is a timeless tale of a strong pioneer woman facing great challenges, shining a light on the immigrant experience, and revealing the emerging voice of one of our greatest authors.

The amusingly odd protagonist and narrator is an academic on sabbatical in Berlin to work on his book about Titian. With his research completed, all he has left to do is sit down and write. He can't decide how to refer to his subject, so instead he starts watching TV continuously, until one day he decides to renounce the most addictive of twentieth-century inventions. As he spe...(展开全部)

In this important new book, Jacques Derrida talks with Bernard Stiegler about the effect of teletechnologies on our philosophical and political moment. Improvising before a camera, the two philosophers are confronted by the very technologies they discuss and so are forced to address all the more directly the urgent questions that they raise. What does it mean to speak of the pr...(展开全部)

让-菲利普·图森（Jean-Philippe Toussaint，1957年出生），比利时法语小说家，法国“新小说”新一代的代表人物之一（图森自己称其作品为“新新小说”）。图森1957年出生于比利时，1972年起定居法国，他的小说均由法国著名的午夜出版社出版。 截至2005年图森已出版的小说包括有：《浴室》（1985年）、《先生》（1986年）、《照相机》（1989年）、《迟疑》（1998年）、《电视》（1998年）、《自画像（在国外）》（2000年）、《做爱》（2002年）和《逃跑》（获得2005年法国“美第奇图书奖”）、《齐达内的忧郁》（2006年）。此外他还导演电影《先生》（改编自同名小说，1990年）、《塞维利亚人》（改编自《照相机》，1993年）以及《溜冰场》（1998年）。《玛丽的真相》是让-菲利普·图森发表于2009年的新作，与《做爱》...(展开全部)

The Television Studies Reader brings together key writings in the expanding field of television studies, providing an overview of the discipline and addressing issues of industry, genre, audiences, production and ownership, and representation. The Reader charts the ways in which television and television studies are being redefined by new and 'alternative' ways of producing, b...(展开全部)

Why is the cinema 100 years old, and not 120 or 150 years old? Why do Kodak film stocks have such trouble capturing non-Caucasian skin tones? Why did professionals wait thirty years and more before widely adopting 16mm film? Technologies of Seeing is a breakthrough in analysis of the idealogical and aesthetic forces central to the historical development of film and television...(展开全部)