尼古拉斯•迈耶（Nicholas Meyer，1945－） 美国著名作家、编剧、导演。其导演、编剧作品有《星际迷航》系列（Star Trek II 、IV &VI）、《两世奇人》、《挽歌》、《埃及王子》等。 迈耶写过三部福尔摩斯续作皆获得巨大成功，其中《百分之七溶液》（1974）卖出200万册，成为国际畅销书，荣获英国推理作家协会金匕首奖（1975），并入选美国推理作家协会（MWA）的百佳经典书单（第65位），在历史推理榜上排名第三（第一、第二分别是《时间的女儿》和《玫瑰的名字》）。他亲自操刀改编的电影《百分之七溶液》剧本曾获奥斯卡最佳原创剧本奖提名（1976）。 《西区恐怖》是迈耶福尔摩斯续作系列的第二本，曾连续十一周位列《纽约时报》畅销书榜单。

尼古拉斯•迈耶（Nicholas Meyer，1945－） 美国著名作家、编剧、导演。其导演、编剧作品有《星际迷航》系列（Star Trek II 、IV &VI）、《两世奇人》、《挽歌》、《埃及王子》等。 迈耶写过三部福尔摩斯续作皆获得巨大成功，其中《百分之七溶液》（1974）卖出200万册，成为国际畅销书，荣获英国推理作家协会金匕首奖（1975），并入选美国推理作家协会（MWA）的百佳经典书单（第65位），在历史推理榜上排名第三（第一、第二分别是《时间的女儿》和《玫瑰的名字》）。他亲自操刀改编的电影《百分之七溶液》剧本曾获奥斯卡最佳原创剧本奖提名（1976）。 《西区恐怖》是迈耶福尔摩斯续作系列的第二本，曾连续十一周位列《纽约时报》畅销书榜单。

Labyrinth 1 is an intricate structure of intercommunicating passages, through which it is difficult to find one's way without a clue; a maze. They have never met, they have been assigned strange pseudonyms, they inhabit identical rooms, which open out onto very different landscapes, and they have entered into a dialogue, which they cannot escape - a discourse defined and destro...(展开全部)

Alain Corbin is one of the foremost social and cultural historians in Europe today. In this elegant and lucid study he argues that the 1860s were a crucial period for western civilization, characterized by radical changes in the way Europeans viewed themselves and their world. Focusing on France, Corbin shows how order was imposed on the urban space of its capital city, with th...(展开全部)

In Urban Horror Erin Y. Huang theorizes the economic, cultural, and political conditions of neoliberal post-socialist China. Drawing on Marxist phenomenology, geography, and aesthetics from Engels and Merleau-Ponty to Lefebvre and Rancière, Huang traces the emergence and mediation of what she calls urban horror—a sociopolitical public affect that exceeds comprehension and provi...(展开全部)

In Urban Horror Erin Y. Huang theorizes the economic, cultural, and political conditions of neoliberal post-socialist China. Drawing on Marxist phenomenology, geography, and aesthetics from Engels and Merleau-Ponty to Lefebvre and Rancière, Huang traces the emergence and mediation of what she calls urban horror—a sociopolitical public affect that exceeds comprehension and provi...(展开全部)

Do the pleasures of horror movies really begin and end in sadism? So the public discussion of film assumes, and so film theory claims. Carol Clover argues, however, that these films work mainly to engage the viewer in the plight of the victim-hero, who suffers fright but rises to vanquish the forces of oppression. Clover, a medievalist, had written extensively on the literature...(展开全部)

In September 1913, Mieczysław Wojnicz, a student suffering from tuberculosis, arrives at Wilhelm Opitz’s Guesthouse for Gentlemen, a health resort in what is now western Poland. Every day, its residents gather in the dining room to imbibe the hallucinogenic local liqueur, to obsess over money and status, and to discuss the great issues of the day: Will there be war? Monarchy or...(展开全部)

Amazingly, there has never been a book quite like The Art of Horror a celebration of frightful images, compiled and presented by some of the genre's most respected names. While acknowledging the beginnings of horror-related art in legends and folk tales, the focus of the book is on how the genre has presented itself to the world since the creations of Bram Stoker and Mary Shell...(展开全部)