《非此即彼》（上下卷）是克尔凯郭尔作为自由思想家的真正的起步之作，它具有典型的复调结构，拥有多种解读的可能性。作者一反欧洲哲学从概念到概念、重注逻辑和推理的传统，摒弃了思辨哲学对于客观真理体系的追求，全书甚至没有真正的“作者”、没有最终结论，他创造性地通过提供“审美的”（上卷）和“伦理的”（下卷）两种不同生活样态的代言人的方式，让他们各自出场对其各自的生活样态进行描绘和展现。

Encompassing a wide range of subjects, the ten masterful essays gathered here may at first appear unrelated to one another. In truth, Giorgio Agamben's latest book is a mosaic of his most pressing concerns. Take a step backward after reading it from cover to cover, and a world of secret affinities between the chapters slowly comes into focus. Take another step back, and it becomes another indispensable piece of the finely nuanced philosophy that Agamben has been patiently constructing over four decades of sustained research.
If nudity is unconcealment, or the absence of all veils, then Nudities is a series of apertures onto truth. A guiding thread of this collection—weaving together the prophet's work of redemption, the glorious bodies of the resurrected, the celebration of the Sabbath, and the specters that stroll the streets of Venice—is inoperativity, or the cessation of work. The term should not be understood as laziness or inertia, but rather as the paradigm of human action in the politics to come. Itself the result of inoperativity, Nudities shuttles between philosophy and poetry, philological erudition and unexpected digression, metaphysical treatise and critique of modern life. And whether the subject at hand is personal identity or the biometric apparatus, the slanderer or the land surveyor, Kafka or Kleist, every page bears the singular imprint of one of the most astute philosophers of our time.

The three essays collected in this book offer a succinct introduction to Agamben's recent work through an investigation of Foucault's notion of the apparatus, a meditation on the intimate link of philosophy to friendship, and a reflection on contemporariness, or the singular relation one may have to one's own time.
"Apparatus" (dispositif in French) is at once a most ubiquitous and nebulous concept in Foucault's later thought. In a text bearing the same name ("What is a dispositif?") Deleuze managed to contribute its mystification, but Agamben's leading essay illuminates the notion: "I will call an apparatus," he writes, "literally anything that has in some way the capacity to capture, orient, determine, intercept, model, control, or secure the gestures, behaviors, opinions, or discourses of living beings." Seen from this perspective, Agamben's work, like Foucault's, may be described as the identification and investigation of apparatuses, together with incessant attempts to find new ways to dismantle them.
Though philosophy contains the notion of philos, or friend, in its very name, philosophers tend to be very skeptical about friendship. In his second essay, Agamben tries to dispel this skepticism by showing that at the heart of friendship and philosophy, but also at the core of politics, lies the same experience: the shared sensation of being.
Guided by the question, "What does it mean to be contemporary?" Agamben begins the third essay with a reading of Nietzsche's philosophy and Mandelstam's poetry, proceeding from these to an exploration of such diverse fields as fashion, neurophysiology, messianism and astrophysics.

《爱灵魂自我教程 心理学与梦 》 （Philopsychy Trilogy: Dreams of Wholeness）
本书从“我是谁”这个难题出发，以梦为切入点，引导读者通过记录“梦日记”并实践各种释梦理论，来探索自己的无意识，深入自己的心灵；在引导这一自我探索的过程中，作者融合哲学和宗教的视角，以其丰富的心理学知识和真切的个人生命体验，呈现出一个独特深邃的心理学入门教程。

本书是作者科学哲学方面的代表作，集中体现了巴什拉犀利、明确的思想性格和凝练、晓畅文风、深入探讨了前科学精神的各种根本谬误，揭示了前科学时期的精神风貌，并澄清了科学精神的实质。但这不是一本学究写给学究的书，巴什拉展现了一道中世纪以来的精神奇观，我们将从中了解炼金术士的爱欲、化学中的两性斗争以及欧洲皇宫中的电实验闹剧。但是，巴什拉谈论的仍然是科学精神的问题，只不过是用了他自己的方式。读了这本书，您也许会发现您以前真的误解了科学，而只是科学闹剧的参与者或它的忠实观众，或者，是一个搞错了对象的抨击者。