Giants, cannibals and other monsters were a regular feature of Renaissance illustrated maps, inhabiting the Americas alongside other indigenous peoples. In a new approach to views of distant peoples, Surekha Davies analyzes this archive alongside prints, costume books and geographical writing. Using sources from Iberia, France, the German lands, the Low Countries, Italy and Eng...(展开全部)

Surekha Davies is a cultural historian and historian of science at Western Connecticut State University. Her interests include exploration, observational sciences, cultural encounters, monstrosity and the history of mentalities c.1400–1800. Formerly a British Library Curator and a Leverhulme Early Career Fellow, she is a Founding Editor of the series 'Maps, Spaces, Cultures' (B...(展开全部)

The sea monsters on medieval and Renaissance maps, whether swimming vigorously, gambolling amid the waves, attacking ships, or simply displaying themselves for our appreciation, are one of the most visually engaging elements on these maps, and yet they have never been carefully studied. The subject is important not only in the history of cartography, art, and zoological illustr...(展开全部)

We live in a world increasingly governed by technology―but to what end? Technology rules us as much as laws do. It shapes the legal, social, and ethical environments in which we act. Every time we cross a street, drive a car, or go to the doctor, we submit to the silent power of technology. Yet, much of the time, the influence of technology on our lives goes unchallenged by cit...(展开全部)

We live in a world increasingly governed by technology―but to what end? Technology rules us as much as laws do. It shapes the legal, social, and ethical environments in which we act. Every time we cross a street, drive a car, or go to the doctor, we submit to the silent power of technology. Yet, much of the time, the influence of technology on our lives goes unchallenged by cit...(展开全部)

促使布鲁姆出面澄清文学经典的统一和美学价值的，是他对目前横行西方的文化多元主义以及克隆自法德的理论的不满，他将这些称之为“愤怒学派”（School of Resentment）对文学侮辱，还特别对所谓“文化资本”在文学研究中的滥用冷嘲热讽。布鲁姆便勇敢列举了自己反对的名单：艾略特的新批评、保罗·德·曼的解构主义、所谓的新左派和老右派，还有“愤怒学派”的六个分支：女性主义者，马克思主义者，拉康派，新历史主义者，解构主义者，符号学派等。它们都纷纷对文学经典指手划脚，要求拓展新经典的呼声越来越高。布鲁姆嘲笑这类文学研究者是“业余的社会政治家、半吊子社会学家、不胜任的人类学家、平庸的哲学家以及武断的文化史家”，无疑布鲁姆因此而树敌众多，但无论是他的敌人还是暗中的支持者都会钦佩他坚持己见的勇气。他不在乎别人的嘲笑，因为他认定“对经典性的预言需要作家死后两代人左...(展开全部)

促使布鲁姆出面澄清文学经典的统一和美学价值的，是他对目前横行西方的文化多元主义以及克隆自法德的理论的不满，他将这些称之为“愤怒学派”（School of Resentment）对文学侮辱，还特别对所谓“文化资本”在文学研究中的滥用冷嘲热讽。布鲁姆便勇敢列举了自己反对的名单：艾略特的新批评、保罗·德·曼的解构主义、所谓的新左派和老右派，还有“愤怒学派”的六个分支：女性主义者，马克思主义者，拉康派，新历史主义者，解构主义者，符号学派等。它们都纷纷对文学经典指手划脚，要求拓展新经典的呼声越来越高。布鲁姆嘲笑这类文学研究者是“业余的社会政治家、半吊子社会学家、不胜任的人类学家、平庸的哲学家以及武断的文化史家”，无疑布鲁姆因此而树敌众多，但无论是他的敌人还是暗中的支持者都会钦佩他坚持己见的勇气。他不在乎别人的嘲笑，因为他认定“对经典性的预言需要作家死后两代人左...(展开全部)

哈罗德·布鲁姆是一位传奇性的学者。他对语言和文学有天生敏感，阅读速度惊人，记忆力超常，自称过目不忘，童年时代便已饱读诗书。这位布鲁姆向以不与学术传统妥协著称。作为终生任教于耶鲁的教授，他从不写自己的学术简历，却和惠特曼一样，不避讳评价自己的作品。他的很多著述完全依靠记忆引用并避免学术化的标准引注，原因在于他著名的“影响理论”反对出处的常规说明，强调文学和批评中的影响与反抗、占用和压制功能。

Harold Bloom, the doyen of American literary critics and author of The Western Canon, has spent a professional lifetime reading, writing about and teaching Shakespeare. In this magisterial interpretation, Bloom explains Shakespeare's genius in a radical and provocative re-reading of the plays. How to understand Shakespeare, whose ability so far exceeds his predecessors and suc...(展开全部)

哈罗德·布鲁姆是一位传奇性的学者。他对语言和文学有天生敏感，阅读速度惊人，记忆力超常，自称过目不忘，童年时代便已饱读诗书。这位布鲁姆向以不与学术传统妥协著称。作为终生任教于耶鲁的教授，他从不写自己的学术简历，却和惠特曼一样，不避讳评价自己的作品。他的很多著述完全依靠记忆引用并避免学术化的标准引注，原因在于他著名的“影响理论”反对出处的常规说明，强调文学和批评中的影响与反抗、占用和压制功能。