Editorial Reviews
From The Washington Post’s Book World/washingtonpost.com
“Have serious sun,” advises the introduction to Look Again in Baltimore (Johns Hopkins Univ., $35), which marries James DuSel’s architectural photographs of Charm City with commentary by John Dorsey, former art critic of the Baltimore Sun. What struck Dorsey about the photos was their telling selectivity, how they “so often . . . caught the essence of a building or an aspect of architecture that a more inclusive picture would have missed.” Thus, DuSel can find details in and about the Baltimore Museum of Art or the Walters Museum that even regular visitors may overlook, such as how, in Dorsey’s words, the webbing of vines stretching across an exterior wall of the Baltimore Museum suggests “rushing movement as of white water cascading down a rock-filled riverbed.”
One photo, of a building on South Charles Street, poses a mini-mystery: What could account for the nine bars of light plastered on a side wall not reached directly by sunlight? After running through several possibilities, Dorsey makes his “best guess . . . that the sun is bouncing off of some strips of shiny, reflective metal on a neighboring wall.” And so the collaborators advance the purpose underlying their slantwise perspective on their city: to show how “the experience of art can stimulate original thought, which is at once the deepest purpose of art and the greatest joy of life.”

View of a City by the Bay
Copyright 2005, The Washington Post. All Rights Reserved.

Review

“This is a fun book to read — and look at — and full of wisdom, too.”–Carl Schoettler, Baltimore Sun

“After viewing the photos, one wishes they had stopped to see.”– Carroll County Times

Book Description

A marriage of photography and criticism, this elegant volume celebrates details of Baltimore’s fine architectural heritage and explores both familiar and unnoticed places. Photographer James DuSel and art critic John Dorsey have created a book that leads from images to thoughts, and they invite readers to follow the same path.

DuSel’s mesmerizing black-and-white photographs focus sharply on details of larger images: the bottom of a doorway, the corner of a portico, the wall of a shoe repair shop, the substructure of a bridge. Dorsey ruminates on these images, and he draws striking connections between Baltimore’s visual vocabulary and the tapestry of civilization. He carries us from a window in Roland Park to the triumphal arch of Constantine in Rome, from a stairway at the Maryland Institute to the Doge’s Palace in Venice, from a vine at the Baltimore Museum of Art to Shakespeare.

DuSel and Dorsey, through a studious appreciation of detail, encourage us to look at our built environment afresh and discover a new and more meaningful relationship with our surroundings. Shaking off what DuSel calls “the anesthesia of daily life,” Look Again in Baltimore offers arresting insights into the richness of the everyday world.

About the Author

John Dorsey, retired art critic of the Baltimore Sun, has written and lectured extensively and curated several exhibitions on art and architecture. James DuSel is a distinguished photographer and teaches Latin and Greek at Loyola-Blakefield Upper School. Both live in Baltimore.

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Editorial Reviews
Book Description
In Enduring Innocence, Keller Easterling tells the stories of outlaw “spatial products” — resorts, information technology campuses, retail chains, golf courses, ports, and other hybrid spaces that exist outside normal constituencies and jurisdictions — in difficult political situations around the world. These spaces — familiar commercial formulas of retail, business, and trade — aspire to be worlds unto themselves, self-reflexive and innocent of politics. But as Easterling shows, in reality these enclaves can become political pawns and objects of contention. Jurisdictionally ambiguous, they are imbued with myths, desires, and symbolic capital. Their hilarious and dangerous masquerades often mix quite easily with the cunning of political platforms. Easterling argues that the study of such “real estate cocktails” provides vivid evidence of the market’s weakness, resilience, or violence.

Enduring Innocence collects six stories of spatial products and their political predicaments: cruise ship tourism in North Korea; high-tech agricultural formations in Spain (which have reignited labor wars and piracy in the Mediterranean); hyperbolic forms of sovereignty in commercial and spiritual organizations shared by gurus and golf celebrities; automated global ports; microwave urbanism in South Asian IT enclaves; and a global industry of building demolition that suggests urban warfare. These regimes of nonnational sovereignty, writes Easterling, “move around the world like weather fronts”; she focuses not on their blending — their global connectivity — but on their segregation and the cultural collisions that ensue.

Enduring Innocence resists the dream of one globally legible world found in many architectural discourses on globalization. Instead, Easterling’s consideration of these segregated worlds provides new tools for practitioners sensitive to the political composition of urban landscapes.

About the Author
Keller Easterling is Assistant Professor of Architecture at Yale University.

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★日舞影展評審團特別獎
★西班牙哥雅獎最佳編劇、最佳電影音樂、最佳服裝設計、最佳女主角等多項大獎提名
★獲邀參加多倫多影展、西雅圖電影節、捷克卡羅維瓦利影展
★台北電影節掌聲不斷

內容簡介
1913年的巴塞隆納，思想前衛的艾瑪發現她的心理醫生丈夫里昂在她臨盆前夕，居然離家出走，艾瑪於是要求姊夫薩爾瓦多陪他尋找丈夫。薩爾瓦多其實一直深愛著艾瑪,兩人從里昂留下的留言。閱讀的書和病例個案慢慢抽絲剝繭，發現里昂和女病患不為人知的秘密，且在循線追查的過程中，還經歷了一場神秘的性冒險。不僅如此，艾瑪和薩爾瓦多也發現他們的家人，包括艾瑪的爸爸。女管家，甚至是姊姊奧莉薇亞(她同時也是薩爾瓦多的妻子)，似乎都另有隱情，通通都和里昂的失蹤有關…，隨著愈接近眞相，艾瑪逐漸明白，原來里昂的怪誕想法和行為，全都因為他的性別。身世和佛洛伊德的心理學而起。到底艾瑪能不能找回失蹤已久的丈夫? 薩爾瓦多又該做出如何的選擇，才不會傷了兩個女人的心?
館藏狀態連結

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內容簡介
寫這本書的動機完全是偶然的。大概在五至十年前，某日和好友許世模醫師閒談台灣國情之際，他問我台灣人的心態是否與受虐者的病態心理有關，因為精神醫學是我的專業，便慫恿我將此寫成一篇文章。我覺得這建議很有意義，就在業餘斷斷續續地整理思路，著手寫文章，準備在美國的台灣公論報或太平洋時報發表。那知越寫越長而不能收拾，以致後來這篇難產的文章就成為我自嘲和許醫師揶揄的對象。在另一次聚會中，許醫師再次向我提及他的見解，他認為台灣人的行為和Stockholm Syndrome極其相近。當聽到他這見解的時候，我的心裡感到十分矛盾；為了寫這篇文章，我一直特別留意有關受虐者心態、 Stockholm Syndrome和後創傷症候群的相關文獻，終於獲得同樣的結論，我甚至把它當做我的「新發現」而竊喜，不料許醫師幾句話就打破了我自認為「發現者」的幻想。不過，另一方面我既欣喜又欽佩許醫師對於心理學擁有敏銳的直覺，想不到心臟科醫師的他卻具有精神科醫師的天份。不僅如此，此後我更陸續讀到具有相同觀點的著作。陳茂雄在其發表的一篇文章中，以Stockholm Syndrome來解釋台灣人的行為。李喬的「『二二八』在台灣人精神史的意義」一文，則以「後創傷症候群」的觀點來解讀台灣人的心理和行為，他認為今日台灣人的心態和行為可追溯到台灣歷史上的創傷－「二二八事件」。上述經驗確實打開了我的視野，沒想到有這麼多洞察力敏銳的台灣人，各自對台灣人的心理和行為進行獨立的觀察，卻不約而同地獲得相同的結論。因此，我捨棄原本要替台灣開「處方箋」的心態，改用「描寫」的方式進行寫作。因為，不僅台灣的心理病態與一般受虐心理、Stockholm Syndrome或後創傷症候群相近，連目前台灣正蓬勃進行中的自救運動也與這些病症治癒的過程極其相近。從開始嘗試寫一篇文章到完成了這本書，已過了許多年的時間。其間，我不斷地以最新的時事來修改內容以闡釋本書的論點，但台灣政情變動地很快，令人有追不上的感覺，幸好時事的時間性對本書的論點並無大幅度的影響。由於開業早出晚歸，少有時間寫作，再加上我自己本身又不是專業作家，因此下筆格外吃力。為了尋找寫作時間而忽略了許多本是份內的家庭雜務，幸好內人默默地一手包辦。而後父親來定居，加入了整理庭院的陣營，更減經我的負擔，在此要向他們表示萬分謝意。我特別要向李錦容女士、莊秋雄博士和林健一先生表達謝意，他們不花費許多時間細心地閱讀我的手稿，糾正當中的文句並給予建議；此外，我參考了張信重博士、劉麗珍博士、林健次先生、林邦夫先生和內人等的感想和評語對內容加以修改，終於促成此書的問世。最後希望讀者發現本書的意義，並幫助台灣人的心理重建。

作者簡介
　　林毅夫，1942年生於台灣新竹，，1967畢業於高雄醫學院醫科，1970赴美於西北大學和密西西比大學精神科受「住院醫師」訓練，1974結業後任職芝加哥近郊一州立精神醫院近八年，後四年為部門主管，1982就職印第安那州一社區精神健康中心的醫學主任，1984搬到俄亥俄州開業至今。

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內容簡介
本書為已逝清代戲曲與崑劇演出史學者陸萼庭先生的遺著。書中收錄了陸先生曾發表及未發表的崑劇相關論文十六篇，涵蓋並析論了崑劇演出的多個面向與問題：或由演出觀點切入總論何謂「崑味」，或爬梳文獻列述「吊場」與下場式；細觀則針對單齣折子述其演出流變，綜論則詳析清代之全本戲演出情形；既有在文獻搜羅整理中觸發之輕鬆隨筆，也有推介罕見曲譜並還其本來面貌地位的嚴謹考證。而在析理過去史料，「承繼」過去遺產之餘，作者更亟思如何「啟後」，深刻檢討了當前崑劇所處的困境與遭遇的危機，更進一步思索跳脫困境進而展望未來的可能性與實踐之道，字裡行間在在透露出對崑劇的憂心與熱情。

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Book Description
Although Alfred Hitchcock, Orson Welles, and Jean Renoir do not pontificate about “eternal verities or analytical niceties,” as Irving Singer remarks in Three Philosophical Filmmakers, each expresses, through his work, his particular vision of reality. In this study of these great directors, Singer examines the ways in which meaning and technique interact within their different visions.

Singer’s account reveals Hitchcock, Welles, and Renoir to be not only consummate artists and inspired craftsmen but also sophisticated theorists of film and its place in human experience. They left behind numerous essays, articles, and interviews in which they discuss the nature of their own work as well as more extensive issues. Singer draws on their writings, as well as their movies, to show the pervasive importance of what they did as dedicated filmmakers.

Hitchcock used his mastery of contrived devices not as mere formalism divorced from content, Singer notes, but in order to evoke emotional responses that are meaningful in themselves and that matter greatly to millions of people. Singer’s discussion of Hitchcock’s work analyzes, among other things, his ideas about suspense, romance, and the comic. Singer also makes a detailed comparison of the original Psycho with Gus Van Sant’s recent remake. Considering the work of Welles, Singer shows how and why the theme of vanished origins — “the myth of the past” — recurs in many of his films, starting with the Rosebud motif in Citizen Kane and continuing much later in his little-known masterpiece The Immortal Story. Expanding upon Renoir’s comment that his own films were “always the same film,” Singer studies his entire work as a coherent though evolving search for contact and “conversation” with the audience. While recognizing the primacy of technique, Renoir used cinematic artifice in the service of that humanistic aspiration.

From the Inside Flap
“Singer’s book provides supremely literate commentary: this is a film criticism of ideas, images, and detail. His writing makes the book as pleasurable to read as the films are to watch.”
–James Engell, Gurney Professor of English and Professor of Comparative Literature, Harvard University
“It is a lively pleasure to read Irving Singer’s concrete and minutely attentive discussions of certain great films, and it is a privilege to follow him as he converses with the written or recorded words of three great directors, deriving from each a distinctive vision of reality.”
–Richard Wilbur, United States poet laureate, 1987-1988

“Written clearly and engagingly, Irving Singer’s book is rich in examples, skillfully deployed and analyzed, that exhibit his wonderful knowledge of the three filmmakers under discussion. Singer argues convincingly that their works reconcile formalism and realism and present distinct insights into human nature. His book should greatly interest students and faculty across the humanities, as well as more general readers.”
–Saam Trivedi, Assistant Professor of Philosophy, Simmons College

“Irving Singer’s *Three Philosophical Filmmakers* is the kind of book which rarely gets written any more. Singer pushes aside the encrusted secondary literature which surrounds Hitchcock, Welles, and Renoir to engage with their works from a loving and knowing perspective. In the course of the book, he gives us a deeper appreciation of how these three men thought about and through the cinema. Some of what he has to say is certainly debatable — and that is part of this book’s pleasure — because it comes from a lifetime of filmgoing rather than speaking through the borrowed authority of some theoretical grand master. Singer writes with an analytic eye and a conversational tone, showing how we must bring our minds and our hearts to bear on art that matters.”
–Henry Jenkins, Director of the Comparative Media Studies, MIT

“Writing from the perspective of his earlier work on love and sexuality, Singer puts his indelible stamp on this study of classical cinema by connecting some of our best loved films to his contributions in philosophy. This is an American philosopher’s book — written well and wisely — about topics we all share.”
–Marian Keane, film critic, Denver

About the Author
Irving Singer is Professor of Philosophy at MIT and the author of many books.

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Review
Foreign Affairs
An impressive collection of essays by Chinese intellectuals.

London Review of Books
A welcome reminder—the only work of its kind in English—`;of the growing diversity of Chinese intellectual thought.

Book Description
As China opens its doors to the world both culturally and commercially, understanding its future and its place in the world will become increasingly important. This anthology, with contributions from leading economists, historians, philosophers, sociologists, writers, and literary critics, offers a unique view of contemporary Chinese culture, both political and social, that has been previously available only to speakers of Chinese.

Book Info
Text offers a vibrant panorama of the contemporary intellectual scene in the People’s Republic of China. Contributors include economists, historians, philosophers and sociologists, and writers and literary critics. Translated into English. –This text refers to the Hardcover edition.

About the Author
Chaohua Wang is an essayist and student of Chinese literature and civilization at University of California, Los Angeles.

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Review

“This is not a conventional study of small colleges… In the tradition of a true liberal arts scholar, he invites thoughtful dialogue, challenges academic tradition, and persuades readers to explore alternatives.”– Hancock Record

Review

“Once the envy of the world, American undergraduate education at the beginning of the twenty-first century is in a state of crisis. Anyone seeking solutions to its problems will want to read Old Main. Schuman offers convincing evidence that small colleges really are different — and the difference is good for students.”–Richard Trollinger, Centre College

“A wonderful integration of rich knowledge with thoughtful and perceptive analysis. I also appreciated the interweaving of vignettes and portraits, which seemed to me to add a nice layer of humanity.”–Carol Schneider, President of the American Association of Colleges and Universities

“A significant piece of work, extremely well-written and solidly based on data and evidence.”–James M. Clark, President Emeritus, SUNY Cortland

“Many people — well beyond those that are affiliated with small colleges — will find [ Old Main] of great interest.”–Richard Ekman, President of the Council of Independent Colleges

“Schuman’s method is impeccable and true to the small college experience that eludes description by statistics and generalities alone… Old Main should become the text of choice for orienting new administrative staff and faculty in small colleges.”–Ann Raia, College of New Rochelle

Book Description

This perceptive and cogent account draws on key data and firsthand observations to tell the story of the small college in America. Defined as institutions that enroll between 500 and 3,000 full-time students, small colleges number about six hundred in the United States. Many are thriving, while some — whether through low enrollment, ballooning debt, or simple misfortune — face uncertain futures.

Informed by his own experiences as a teacher and administrator, Samuel Schuman sketches the history and development of these institutions; then focuses on their current conditions and future possibilities. Administrators, faculty, and researchers will appreciate Schuman’s insight into institutional choices and their consequences. Old Main is an essential book for anyone who shares Schuman’s conviction that small colleges occupy a central place in American higher education.

About the Author

Samuel Schuman is the Chancellor of the University of Minnesota’s Morris campus. He is the author of Cyril Tourneur: A Reference Guide, The Theatre of Fine Devices: Emblems and the Emblematic in the Plays of John Webster, and Vladimir Nabokov: A Reference Guide.

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內容簡介
我們華夏民族的每個人都曾隱隱約約地關注過自己的姓氏, 我這個姓氏是什麼時候起源的? 我的父親祖父以至更早的祖先是從哪里遷徙過來的? 自己這個姓氏在歷史上產生過哪些有作為的名人? 遇到與自己姓氏相同的人士, 總會情不自禁地給予多幾分的熱情. 這其實就是所謂祖國情感, 民族情結的血緣底蘊. 遺憾的是, 除了少數專家和有心人之外, 許多人在這方面知之甚少, 或是缺乏系統的了解. 因為, 我們中華民族的歷史淵遠流長, 孕育了豐富而厚重的族姓文化, 可以說, 數以千計的姓氏家族歷史就是一部中華民族文明發展史的縮影, 但可供了解和研究的第一手族姓資料多蘊藏在卷帙浩繁的文化典籍當中, 收藏分散, 尋檢頗為不易.
為此, 編者從大量的家譜, 傳記及姓氏書等古籍文獻中選編了這套[族姓史料叢編], 本書以每個姓氏獨立起名成冊, 系列剪輯影印出版, 便於廣大讀者和族姓文化專業工作者查考, 研究某一定姓氏家族的起源, 沿革和發展.

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還有張氏館藏目錄
還有李氏館藏目錄
還有陳氏館藏目錄
還有劉氏館藏目錄

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內容簡介
全書共八卷, 大體說來, 可分為三部分:
其一, 前三卷构成本書的第一部分, 主要探討歐洲經濟從中世紀向現代的轉變, 即是什麼因素決定了是歐洲經濟而不是其他地區的經濟率先完成了從農業社會向工業社會的轉變, 以及在這個轉變過程中不同經濟活動領域所發生的變化.
其二, 第四卷和第五卷构成了該書的第二部分, 其重點是探討歐洲作為一個整體在16世紀和17世紀的對外擴張以及歐洲的工業革命.
其三, 本書的第三部分由第六七八卷組成, 主要研究和分析工業革命以來包括美國與日本在內的西方國家經濟發展的歷史.

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Review
Book Description

This book uncovers the basic contradictions between contemporary China’s complex ideological marketplace and Western liberalism. It describes and puts into critical context three versions of Western liberalism (those of F. A. Hayek, John Rawls, and John Dunn), three versions of Chinese liberalism (those of Yang Kuo-shu, Li Qiang, and Ambrose Y.C. King), two versions of modern Confucian humanism (those of T’ang Ch¸n-i, and Henry K.H. Woo), and various versions of Chinese Marxism, including Kao Li-k’o’s in the early 1990s and some of the recent New Left writings. It shows that all these Chinese political theories, not only Chinese Marxism, depend on a number of premises at odds with Western liberalism, especially epistemological optimism and an extravagantly optimistic concept of political practicability. It also argues that not only these Chinese theories but also Western liberalism have failed to offer adequate normative guidelines for the improvement of political life. This study combines a deep understanding of the history of Chinese thought with a strong grasp of modern philosophical trends and an innovative methodology for the description and criticism of political theories. It will be useful to students of modern Chinese intellectual history, of political philosophy, of political culture, of the comparative study of cultures, and of U.S.-Chinese relations.

About the Author

Thomas A. Metzger is a senior fellow of the Hoover Institution at Stanford University and professor emeritus of the University of California, San Diego and has held visiting professorships at National Taiwan Normal University, The Chinese University of Hong Kong, East China Normal University, Wuhan University, Peking University, and the Chinese Academy of Social Science. In 2001 he was appointed advisor to the Department of History, Tsinghua University.

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Book Description
Telefantasy is the first book-length study to consider the place of fantasy, science fiction, and horror dramas in the history of British and U.S. television. Looking at two periods–the 1950s and 1960s, and the 1990s and 2000s–when telefantasy was particularly prevalent on television, this book provides detailed historical accounts of the production of key telefantasy programs: the Quatermass serials, The Prisoner, Star Trek, The X-Files, Buffy the Vampire Slayer, and Randall and Hopkirk.
Telefantasy engages with current debates about television history, genre, narrative, and spectator theory while providing case studies that will be of interest to students of television and fans of telefantasy. Each case study is situated in relation to the development of the British and U.S. television industries and the regulatory and critical discourses surrounding them, offering a new understanding of the individual programs and the historical development of television as a medium. Telefantasy argues that these tales of alien invasion, futuristic space travel, and vampire slaying challenge the dominant notion that television is an intimate medium unsuited to the display of visual style.

About the Author
Catherine Johnson is Lecturer in Television History and Theory, Department of Media Arts, Royal Holloway, University of London.

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