色川大吉 1925年出生于日本千叶县。1948年毕业于东京大学文学部。日本近代史学家，开创了日本“民众史”“个人史”领域研究。著作有《明治精神史》《近代国家的出发》《一个人的昭和史》《历史的方法》《自由民权》《北村透谷》《欧亚大陆纪行思索》《我的圣地浪游》《立于废墟之上》《卡秋莎的青春》等多部作品，另有《色川大吉著作集》全五卷。。 译者 郭颖，厦门大学外文学院教师。

From the 1860s through to the early 20th century the rise of Japonisme and the Art Nouveau movement meant that few could ignore or resist the obsession with all things Japanese. Superbly crafted and often highly decorated Japanese objects lacquer, metalwork, ceramics, enamels and other decorative items excited, stimulated and inspired Western artists and craftsmen to produce th...(展开全部)

From the 1860s through to the early 20th century the rise of Japonisme and the Art Nouveau movement meant that few could ignore or resist the obsession with all things Japanese. Superbly crafted and often highly decorated Japanese objects lacquer, metalwork, ceramics, enamels and other decorative items excited, stimulated and inspired Western artists and craftsmen to produce th...(展开全部)

Available for the first time in paperback, this study examines how this ideology evolved. Carol Gluck argues that the process of formulating and communicating new national values was less consistent than is usually supposed.

Available for the first time in paperback, this study examines how this ideology evolved. Carol Gluck argues that the process of formulating and communicating new national values was less consistent than is usually supposed.

威廉·杰拉德.比斯利（William Gerald Beasley，1919.12.22—2006.11.19）英国学者、作家、编辑、翻译家和日本学家，曾为伦敦大学亚非学院远东史荣休教授，是将日本史引入英国大学并向大众介绍日本知识的先驱。

Once considered a mere caretaker for collections, the curator is now widely viewed as a globally connected auteur. Over the last twenty-five years, as international group exhibitions and biennials have become the dominant mode of presenting contemporary art to the public, curatorship has begun to be perceived as a constellation of creative activities not unlike artistic praxis....(展开全部)

Once considered a mere caretaker for collections, the curator is now widely viewed as a globally connected auteur. Over the last twenty-five years, as international group exhibitions and biennials have become the dominant mode of presenting contemporary art to the public, curatorship has begun to be perceived as a constellation of creative activities not unlike artistic praxis....(展开全部)