William Sheridan Allen's research provides an intimate, comprehensive study of the mechanics of revolution and an analysis of the Nazi Party's subversion of democracy. Beginning at the end of the Weimar Republic, Allen examines the entire period of the Nazi Revolution within a single locality. Tackling one of the 20th century's greatest dilemmas, Allen demonstrates how this dic...(展开全部)

威廉•谢里登•阿伦（William Sheridan Allen） 美国人，杰出的德国史学者，纽约州立大学历史系教授。主要研究纳粹宣传手段的效果、第三帝国时期的社会民主党地下活动。著有《纳粹掌权：一个德国小镇的经历》《初期纳粹主义：前地方长官阿尔伯特•克莱勃斯的回忆录》等。

威廉•谢里登•阿伦（William Sheridan Allen） 美国人，杰出的德国史学者，纽约州立大学历史系教授。主要研究纳粹宣传手段的效果、第三帝国时期的社会民主党地下活动。著有《纳粹掌权：一个德国小镇的经历》《初期纳粹主义：前地方长官阿尔伯特•克莱勃斯的回忆录》等。

William Sheridan Allen's research provides an intimate, comprehensive study of the mechanics of revolution and an analysis of the Nazi Party's subversion of democracy. Beginning at the end of the Weimar Republic, Allen examines the entire period of the Nazi Revolution within a single locality. Tackling one of the 20th century's greatest dilemmas, Allen demonstrates how this dic...(展开全部)

Widely used since the mid-twentieth century, GDP (gross domestic product) has become the world's most powerful statistical indicator of national development and progress. Practically all governments adhere to the idea that GDP growth is a primary economic target, and while criticism of this measure has grown, neither its champions nor its detractors deny its central importance ...(展开全部)

获奖译者为我们带来了 1870 年俄罗斯伟大的讽刺作家的喜剧小说的新译本——他对俄罗斯专制的嘲讽在普京时代具有新的意义。 《愚人堡：某镇的历史》是俄罗斯的一部经典之作，尽管在西方并不那么出名，但它是一部滑稽的编年史，讲述了虚构的格鲁波夫镇（翻译为“愚蠢之城”或“愚人堡”）及其不幸的居民数百年来被动忍受统治者的暴力和疯狂的故事。该镇的残酷市长接连出现，包括一些超现实的极端人物，比如一个脑袋里装着音乐盒的人，以及一个身高过高的人在暴风雨中折断成两半。萨尔蒂科夫-谢德林将乔纳森·斯威夫特的尖锐讽刺与尼古拉·果戈理的荒诞幻想结合在一起，充满了他自己独有的俏皮文字游戏。这部小说是俄罗斯文学版的《格列佛游记》，之前的英文翻译中从未成功捕捉到其滑稽的幽默；这一次将为它带来应有的关注。 The award-winning translators bring us a...(展开全部)

威廉•谢里登•阿伦（William Sheridan Allen） 美国人，杰出的德国史学者，纽约州立大学历史系教授。主要研究纳粹宣传手段的效果、第三帝国时期的社会民主党地下活动。著有《纳粹掌权：一个德国小镇的经历》《初期纳粹主义：前地方长官阿尔伯特•克莱勃斯的回忆录》等。

Cinema is a sensuous object, but in our presence it becomes also a sensing, sensual, sense-making subject. Thus argues Vivian Sobchack as she challenges basic assumptions of current film theory that reduce film to an object of vision and the spectator to a victim of a deterministic cinematic apparatus. Maintaining that these premises ignore the material and cultural-historical ...(展开全部)

Cinema is a sensuous object, but in our presence it becomes also a sensing, sensual, sense-making subject. Thus argues Vivian Sobchack as she challenges basic assumptions of current film theory that reduce film to an object of vision and the spectator to a victim of a deterministic cinematic apparatus. Maintaining that these premises ignore the material and cultural-historical ...(展开全部)