In a groundbreaking approach to avant-garde Chinese art, the 1999 exhibition “Transience: Chinese Experimental Art at the End of the Twentieth Century” established a historical framework for current artistic production in China. Organized by the David and Alfred Smart Museum of Art at the University of Chicago, the show and its catalog highlighted the diverse responses of twent...(展开全部)

瑞贝卡·卡尔教授 (Rebecca Karl)自2003年起担任美国纽约大学历史系和东亚系教授，中国问题专家，清华大学特聘教授，此前她曾在佛罗里达大学历史系(1995-1997)、纽约大学东亚系和历史系(1997-2003)担任副教授。她先后就读于纽约BarnardCollege(现为哥伦比亚大学巴纳德学院)、纽约大学、杜克大学(DukeUniversity)，并于1995年在杜克大学获得历史学博士学位。卡尔曾于1990年在南京大学进修中文。她对于中国近代政治，深厚的研究。瑞贝卡·卡尔教授曾撰写了多本有关中国的著作，包括《概念的魔术：二十世纪中国的经济哲学》、《毛泽东在中国和二十世纪的世界：一本简史》(杜克大学2010年出版)、《世界大舞台——十九二十世纪之交中国的民族主义》(杜克大学2002年出版)(本书中译本于2008年由北京三联书店出版)。

瑞贝卡·卡尔教授 (Rebecca Karl)自2003年起担任美国纽约大学历史系和东亚系教授，中国问题专家，清华大学特聘教授，此前她曾在佛罗里达大学历史系(1995-1997)、纽约大学东亚系和历史系(1997-2003)担任副教授。她先后就读于纽约BarnardCollege(现为哥伦比亚大学巴纳德学院)、纽约大学、杜克大学(DukeUniversity)，并于1995年在杜克大学获得历史学博士学位。卡尔曾于1990年在南京大学进修中文。她对于中国近代政治，深厚的研究。瑞贝卡·卡尔教授曾撰写了多本有关中国的著作，包括《概念的魔术：二十世纪中国的经济哲学》、《毛泽东在中国和二十世纪的世界：一本简史》(杜克大学2010年出版)、《世界大舞台——十九二十世纪之交中国的民族主义》(杜克大学2002年出版)(本书中译本于2008年由北京三联书店出版)。

In The End of Art, Donald Kuspit argues that art is over because it has lost its aesthetic import. Art has been replaced by 'postart', a term invented by Alan Kaprow, as a new visual category that elevates the banal over the enigmatic, the scatological over the sacred, cleverness over creativity. Tracing the demise of aesthetic experience to the works and theory of Marcel Ducha...(展开全部)

Over a decade ago, Arthur Danto announced that art ended in the sixties. Ever since this declaration, he has been at the forefront of a radical critique of the nature of art in our time. "After the End of Art" presents Danto's first full-scale reformulation of his original insight, showing how, with the eclipse of abstract expressionism, art has deviated irrevocably from the na...(展开全部)

This book contains several contributions on the most outstanding events in the development of twentieth century mathematics, representing a wide variety of specialities in which Russian and Soviet mathematicians played a considerable role. The articles are written in an informal style, from mathematical philosophy to the description of the development of ideas, personal memorie...(展开全部)

Winner of the prestigious 2013 Royal Society Winton Prize for Science Books “A modern voyage of discovery.” —Frank Wilczek, Nobel Laureate, author of The Lightness of Being The Higgs boson is one of our era’s most fascinating scientific frontiers and the key to understanding why mass exists. The most recent book on the subject, The God Particle, was a bestseller. Now, Caltech p...(展开全部)

When all questions of space, time, matter and the nature of being have been resolved, only one question remains - "Where shall we have dinner?" "The Restaurant at the End of the Universe" provides the ultimate gastronomic experience, and for once there is no morning after to worry about. This is volume two in the Trilogy of five.

"DOUGLAS ADAMS IS A TERRIFIC SATIRIST." --The Washington Post Book World Facing annihilation at the hands of the warlike Vogons is a curious time to have a craving for tea. It could only happen to the cosmically displaced Arthur Dent and his curious comrades in arms as they hurtle across space powered by pure improbability--and desperately in search of a place to eat. Among Art...(展开全部)

尼尔•盖曼（Neil Gaiman） 当代大师级幻想小说家，1960年生于英国。尼尔·盖曼是当代欧美文坛耀眼的新星，被《文学传记辞典》誉为十大后现代作家之一。 1989年，盖曼以漫画《睡魔》开始了创作之路。其后，他的创作逐渐涵盖了小说、漫画、诗歌、剧本等多个领域，代表作有《美国众神》《北欧众神》《坟场之书》《星尘》等。因其作品的独特风格和想象力，《迈阿密新时报》认为他已经成为“文学界的摇滚明星”；惊悚小说大师斯蒂芬·金则认为他“创作力之丰沃与作品水准之高，既神奇又吓人”。 《遗忘之海》是一本关于童年和失去的书，是盖曼带有自传性质的成人童话。正如盖曼所说：“书里的家庭不是我的家庭，发生的事不是我的亲身经历，但故事发生的场景有我幼时的影子。” 《遗忘之海》的灵感来源于盖曼买的一辆迷你车。迷你车背后的故事，勾起了盖曼三十多年来遗忘已久的童年往事。2019年...(展开全部)