特兰斯特罗默诗选，ISBN：9787543448476，作者：（瑞典）托马斯·特兰斯特罗默（Tomas Transtromer）著；董继平译

《图像的生与死》是一部讲述图像在西方的起源、演进和死亡的历史，同时也是一部通过分析图像及其传播手段而建立的西方思想史。
《图像的生与死》是一部跨学科研究之作，在书中，雷吉斯•德布雷第一次解释了他所创设的一门新学科：媒介学。该学科处于艺术史、技术史、宗教史等多学科的交汇之处。全书论述了西方人视角下图像从魔幻的到艺术的再到经济的演变过程，对技术革命与集体信仰对于图像所产生的影响进行了深刻分析。作者从西方哲学、宗教、艺术、科技、媒体等方面，对图像起到的作用和反作用进行了详尽又深入的解读，许多观点都闪烁着思想的光芒。

Synopsis
In the story of modern Australian art, Jeffrey Smart stands alone. The vocabulary of his visual language - modern city life, a kind of deadpan realism tinged with a hint of surrealism - is unmistakably of our time, but his sense of composition is devoted to the most rigorous and eloquent standards of the High Renaissance and the works of such artists as Piero della Francesca. This catalogue is a retrospective of Smart's work over more than four decades, focusing on his most fundamental concerns and interests. Images have been selected for the volume in terms of their composition, in the belief that in this aspect of his work lies the secret to an understanding and appreciation of his importance as an artist.

让・艾什诺兹写的是一些人称“边角废料”的离奇事件：《切罗基》中的鹦鹉，《出征马来亚》中的假公爵的命运抗争，《高大的金发女郎》中屡屡推倒男人的神秘失踪女。在这些故事里，爱情、侦探、冒险总是一种过度切分的语句以及滥成灾的各种比喻恶作般地纠缠在一起，然而每一个细节又都是精心雕琢煞费苦心。这种由太多废话堆砌出来的杂货铺、语词工场，并没有吓坏早已领略过新小说的艰深晦涩的读者，

Yves Netzhammer’s works for the 52nd Venice Biennial and the exhibition accompanying the documenta 12 in 2007 drew international attention. The artist (*1970 in Schaffhausen) creates complex, disturbing visual worlds that incorporate many references to art history and are permeated with drawing, architecture, computer-generated video images, and sound. People, animals, plants, and objects constantly flow into each other, transforming into new, mysterious creatures. The pleasant dovetails with the unpleasant; the dead melts into the living. According to the artist, he uses his works to look for the images everyone has in his own head, without knowing it. “It’s about the chance an image has in a world ruled by comprehension,” and “searching for the patterns of our perception, for this hidden, parallel system where our desires, fears, prejudices, and ambivalences are concealed.”
Richly illustrated, the book documents Netzhammer’s latest works—the installations for Venice and Kassel, as well as projects for the Museum Rietberg in Zurich and the San Francisco Museum of Modern Art—supplemented by earlier works.

A retrospective of Rauch's delirious painting
Limited to 1,000 numbered copies, each signed by Neo Rauch. Rife with anachronisms, peopled with seemingly random figures busy doing rather surreal things, and painted in a wide range of muted hues, Neo Rauch's paintings look like Soviet-era illustrations that have shifted into a Lynchian parallel dimension. Set in a variety of industrial locations such as power plants, factories, military buildings, 1950s apartment blocks, and construction sites, the paintings evoke societal ideals somehow gone wrong; the hard-working subjects never seem to be doing anything practical or useful and the disjointed narratives are mind-boggling in their dramatic incoherence. Looking at a Neo Rauch painting, one has the intense urge to psychoanalyze it as if it were one's own bewildering dream.
Born and raised behind the Iron Curtain in Leipzig, Germany, Neo Rauch became fascinated with the late-1970s "Neue Wilde" anti-establishment movement in painting and used it as a departure point for his own work, which soon evolved into his unmistakably unique style. His first solo shows came at about the time of the fall of the Berlin Wall 1989; though it wasn't until 2000 that he began to show outside Germany, international success came quickly and many major solo exhibitions followed. Now that Rauch's work is highly sought after and commands great sums, it is only natural that it should be the subject of a serious and large-scale volume. This massive tome features Rauch's best work so far, with approximately 200 large-scale reproductions, analytical texts by Harald Kunde, a personal portrait by Wolfgang Buscher, and a look at the painter from an international perspective by Gary Tinterow.

《技术时代的人类心灵问题:工业社会的社会心理问题》中，德国著名哲学家阿诺德·盖伦以社会学和生物学为基础，独创性地提出了一套社会心理学理论，并把他的理论有效地应用于当前社会，透彻分析了人类当前所处的立场。他认为，以往几千年的传统社会是一种稳态的农业社会，具有各种各样的稳定制度，但技术的日新月异使人类告别了那种宁静的常规社会，打破了那种稳定的制度，步入了一个节奏快、变化大的现代社会，而人类的精神、思想、伦理等都将在这种未定型的社会中被迫迎接这一巨大挑战。人类在挑战这一巨变的过程中产生了各种矛盾、冲突，因此也产生了各种心灵危机。现代文明的内在矛盾及其所造成的人类心理失调，并不是人类文明这一方面或那一方面的危机，而是整个人类文明坐标系的危机。对于这样一个根本性的问题，我们不可能期待任何一部著作能够给出最后的回答，但盖伦在围绕这一中心论点展开的同时，提出了不少自己的独特见解，相信他的这些见解定会给我们以启发。

《人生拼图版》描绘了一幢公寓楼里三十来个单元中各家房客的物质生活景观。他们来自不同的阶层，从事不同的职业。有各自形形色色的生活方式和历史经历，构成了社会族类几乎无所不有的标本展览。作品的结构完全不同以往巨型化文学创作中的综合与集成的情节网络化特质，而是像拼图版一样，具有拆零、重组、离散、孤立化倾向，给人以非常独特的艺术感觉，是二十世纪现代生活方式的一种最真实、最活生生的写照。
《人生拼图版》是佩雷克最著名的作品，被称为“辉煌的巨著“、新的“人间喜剧”，并获１９７８年“梅迪西奖”。

这是世界级电影大师安东尼奥尼的一本笔记小说，其中充满真知灼见和睿智的光芒。这些“速写”并非毫无关联的杂记和随笔，而是富有启示性和经过精挑细选的一群“叙事核心”。荒凉的海滩、空旷的郊野、平静的海面、废弃的空城和无人的街巷，通过这些视觉的“蒸馏”精粹，人们可以感受到作者象征和隐喻上的刻意求工以及极富暗示力的摄影手法，从中欣赏到一种有力度的、细节丰富的画面语言。

本书汇集了对这位曾被弗朗索瓦·特吕弗赞誉为当世最重要的电影导演所展开的一系列访谈。我们自以为对赫尔佐格所拥有的认识，其实绝大部分并非真实：在他身上集聚着各式各样的传说、谣言乃至弥天大谎，数目相当惊人。本书则为此提供了一次辨别是非的好机会，既有关于其影片摄制过程的阐幽明微，又有针对那些不实之词的拨乱反正，涉及其电影生涯的各段历程，方方面面。其珍贵价值难以衡量。
传奇德国电影人维尔纳·赫尔佐格生于1942年，他因与喜怒无常的克劳斯·金斯基的频繁合作——包括《天谴》、《陆上行舟》这样的史诗作品，以及令人毛骨悚然的《吸血鬼诺斯费拉图》——而为世人熟知。从整个战后欧洲电影版图来看，赫尔佐格的作品堪称最重要的电影之一。 赫尔佐格在电影史上的地位是不容置疑的。本书汇集了对这位电影导演所展开的一系列访谈，同时也是为他提供了一个平台，让他就生平所触及的人、事、环境和观念，彻底地表述他那些热情、奇妙而且幽默讽刺的观点。

卡佛一生作品以短篇小说和诗为主。这本自选集几乎包括了卡佛所有最重要的短篇小说，被誉为是“最卡佛”的卡佛小说集。本书总结了卡佛的写作生涯，见证了他堪比海明威、韦尔蒂、塞林格、契佛等当代美国名家的文学成就……这部自选集是来自内心最深处的声音。

《漫长的告别》是雷蒙德·钱德勒最重要的一本小说，它是钱德勒风格的集大成者。这部作品发表于1953年，是作者的第六部长篇，荣获了“爱伦·坡奖”年度最佳小说。
一个优雅有礼的酒鬼和一个贫穷高贵的私家侦探相遇，会发生怎样一种诚挚而悲伤的友谊？伦诺克斯酒醉后被马洛送回，他稍后寄來一张五千美元的巨钞做为感谢和告別，然而，一连串谋杀，却使这个告別绵绵不绝……

《我们内心的冲突》较之于《我们时代的神经人格》，不仅在理论上有重大的发展，而且达到了早期著作中鲜有的哲学的高度。
本书讨论了人内心的主要的冲突类型和它们的各种表现形式，分析并归纳了各种相互矛盾的态度和倾向，指出了被这些冲突所扰之人旨在解决冲突的努力结果怎样导致失败并陷入恶性循环，提出了解决这些冲突的切实可行的建议和设想。因此，即使读者已经从作者早期论著如《我们时代的神经症人格》中初步接触了她的理论，但要真正认识、全面了解作者及其代表的学说，则只有在进一步细读她后期的成熟之作——《我们内心的冲突》之后才能实现。

比利珍狭小的、或者说有些保守的词汇表，容易把读者的注意力导向歧途，而忽略她不断的跳转和偏离。在片段里，她表现得像一个优美而平平无奇的诗人，大学诗歌论坛上一位短暂的桂冠诗人；但在她最优秀的作品中，以语调上微妙的差异，如同晶体，将简单的明净结合成复杂，在这样的结合之处，语义出现了胸有成竹的空白。她偏爱以追忆的语气写作，而对回忆和遗忘有一致的理解——那仿佛是同一种平静的悔恨。并不如卡瓦菲斯那样，在优美而放纵的永恒、与纤弱而压抑的有限之间挑起矛盾，她只是毫不在意地将两者并置，利用音调突然的坠落或升高，沉稳地将镜头拉远：在这样的调整中，自我和他者的面目在不断互换。通过在叙述和描写中舒适地“寓居”、又不断突如其来地抽身离去，比利珍的诗歌用有限的腾挪即展现了安详又透彻的气度。（AT）

本书以边缘世界为背景，以流浪者、儿童、逃犯等漂泊不定的边缘人物为主角。这些人物的存在，以一连串的迁徙建构起来，漂泊则是他们自由的标记。他的作品也由此反映出他对原始部落、消逝的古老文化的关注。

Speaking recently about his early years as an artist Lucian Freud claimed, 'I would have thought I did 200 drawings to every painting in those early days. I very much prided myself on my drawing.' Drawing is fundamental to Freud's development as an artist and to how he sees in a way that that it was not, for example, at the foundation of the work of Francis Bacon. Drawing became an important part of Freud's life from the start and a famous sketchbook, "The Freud-Schuster Book", dating back to January 1940 when Freud was in Snowdonia with Stephen Spender, has survived.So too do sketches from Freud's life as a merchant seaman on a cargo vessel in the Atlantic in 1941. His then surreal style lent itself to illustrations and his fascination with animals, birds and fish was revealed in the famous line drawings he produced for Nicholas Moore's book of poems, "The Glass Tower" (1944). "On Paper" charts the works on paper, including the etchings, over his entire career. It includes the formative early work, the sketches in preparation for painting his masterpiece, "Large Interior W11" (after Watteau) (1983), the sketches of the completed painting in the studio and the astonishing later studies of his mother. The book ends with the etchings of recent years. The works on paper are an extraordinary achievement, providing even deeper insights into the work of the greatest figurative artist of our time. The introduction is by Sebastian Smee and essay is by Richard Calvocoressi.