"This book explores the interrelations between food, technology and knowledge-sharing practices in producing digital food cultures. Digital Food Cultures adopts an innovative approach to examine representations and practices related to food across a variety of digital media: blogs and vlogs (video blogs), Facebook, Instagram, YouTube, technology developers' promotional media, online discussion forums, and self-tracking apps and devices. The book emphasises the diversity of food cultures available on the internet and other digital media, from those celebrating unrestrained indulgence in food to those advocating very specialised diets requiring intense commitment and focus. While most of the digital media and devices discussed in the book are available andused by people across the world, the authors offer valuable insights into how these global technologies are incorporated into everyday lives in very specific geographical contexts. This book offers a novel contribution to the rapidly emerging area of digital food studies and provides a framework for understanding contemporary practices related to food production and consumption internationally"--

“浪漫”与“地理学”看似是一对矛盾的词。地理学脚踏实地，充满常识，亦是生存所必需。在过去，每个人都要懂得去哪里寻找食物、水源和栖息地；而如今，所有人都必须细心经营地球家园，使之更宜安居。当今的地理学著作缺乏戏剧性，地图、数据、描述和分析比 比皆是，却没有豪侠之举，没有孜孜以求的精神。然而，在不远的历史中，地理学的确曾有魔力，并被认为是浪漫的。那是一个英勇探索的时代。探险家深入海洋、山岳、森林、洞穴、沙漠和极地冰原，检验着自己身体和精神的忍耐力……作者指出，若是将精神视为人类存在的核心，或许人类需要将整个宇宙当作游乐场：超越中庸之道，信奉诸如光与暗、高与低、头脑与肌肉等两极化价值，皈依一些并不满足生存需要，却迎合热烈的浪漫渴望的地理环境。全书以灵动的笔调，从哲学、心理学、人类学的角度讲述人性与大地的互动，发掘地理学的诗性潜力。 过分注重细节的地理学需要与浪漫且先验性的洞察力为伴——无论是像威廉•华兹华斯所说的“仿若那寄寓于落日灿烂余晖之中的、渗入万物魂灵的虚无缥缈”，还是如爱因斯坦说的“宇宙的音乐”。 ——段义孚

《论摄影》不仅是一本论述摄影者的经典著作，而且是一本论述广泛意义上的现代文化的经典著作。它不是一本专业著作，书中也没有多少摄影术语，尽管有志于摄影者，应人手一册。它的对象主要是知识分子、作家和文化人。 桑塔格深入探讨摄影的本质，包括摄影是不是艺术，摄影与绘画的相互影响，摄影与真实世界的关系，摄影的捕食性和侵略性。摄影表面上是反映现实，但实际上摄影影像自成一个世界，一个影像世界，企图取代真实世界。 对读者而言，这本书的丰富性和深刻性不在于桑塔格得出什么结论，而在于她的论述过程和解剖方法。这是一种抽丝剥茧的论述，一种冷静而锋利的解剖。精彩纷呈，使人目不暇接。桑塔格一向以庄严的文体著称，但她的挖苦和讽刺在这本著作中亦得到了充分的发挥。 《论摄影》出版于一九七七年，轰动一时，引起广泛的讨论，并荣获当年的全国图书批评界奖，至今仍被誉为“摄影界的《圣经》”。 本版配以60余幅世界摄影史上的珍贵照片，推出极具艺术品位与收藏价值的“插图珍藏本”，使《论摄影》真正成为图文并茂的文化经典。

本书图文并茂，书中有大量精美的各式各样的云彩图片，对云在世界范围内的自然文化史意义进行了详细科普。书中首先对常见的和不常见的云的种类均进行了科学而又有趣味的描述与分类。其次对云在历代以来的文学、艺术、摄影、音乐中的迷人形象进行了罗列，例如在文学中，云被阿里斯托芬描述为“无所事事的守护女神”，又被苏格拉底称为“滋润整个诡辩家圈子头脑的春风雨露”，在画作以及经典影片中，云也是常常被青睐的经典描绘对象。云是一种承载了人类精神与物质的自然之物，它在人类世界中留下了丰富的文化现象。

本书旨在介绍了被用来理解艺术和设计的主要方法，如风格和形式的方法、表现主义的方法、马克思主义的方法、女性主义的方法、图像学的方法和符号学的方法。作者从欧美视觉文化中选用了丰富多彩的例证，以此介绍了这些方法的主要倡导者和支持者，并分析和解释了关于这些方法的最重要的观点、争论和的成就。

Fan Cultures is the first comprehensive overview of fans and fan theory. From victims of capitalist exploitation to more positive interpretations, Matthew Hills outlines the ways in which fans have been conceptualized in cultural theory.

The early twenty-first century has seen an explosion of animation. Cartoon characters are everywhere—in cinema, television, and video games and as brand logos. There are new technological objects that seem to have lives of their own—from Facebook algorithms that suggest products for us to buy to robots that respond to human facial expressions. The ubiquity of animation is not a trivial side-effect of the development of digital technologies and the globalization of media markets. Rather, it points to a paradigm shift. In the last century, performance became a key term in academic and popular discourse: The idea that we construct identities through our gestures and speech proved extremely useful for thinking about many aspects of social life. The present volume proposes an anthropological concept of animation as a contrast and complement to performance: The idea that we construct social others by projecting parts of ourselves out into the world might prove useful for thinking about such topics as climate crisis, corporate branding, and social media. Like performance, animation can serve as a platform for comparisons of different cultures and historical eras. Teri Silvio presents an anthropology of animation through a detailed ethnographic account of how characters, objects, and abstract concepts are invested with lives, personalities, and powers—and how people interact with them—in contemporary Taiwan. The practices analyzed include the worship of wooden statues of Buddhist and Daoist deities and the recent craze for cute vinyl versions of these deities, as well as a wildly popular video fantasy series performed by puppets. She reveals that animation is, like performance, a concept that works differently in different contexts, and that animation practices are deeply informed by local traditions of thinking about the relationships between body and soul, spiritual power and the material world. The case of Taiwan, where Chinese traditions merge with Japanese and American popular culture, uncovers alternatives to seeing animation as either an expression of animism or as “playing God.” Looking at the contemporary world through the lens of animation will help us rethink relationships between global and local, identity and otherness, human and non-human.

色气是—— 和服后露出的雪白颈项 美妙的手，微微弯曲 危险的美，生命的热力 * 意气是—— 灰色调、冷色调 潇洒身姿，白茶裤裙 意气拥有过去，而生于未来 * “意气”“色气”与“粹”，日本文化中独有的审美理论和身体话语，其初见于江户时代，诞生于町人阶层，脱胎于女性身体美学，可以 说，这种独特的审美理论源自于社会底层在对抗礼教束缚和贵族审美之过程中燃起的一股生命力，是挣脱社会伦理之桎梏，从正统文化之罅隙中破壳而出的一种青春之美、叛逆之美、自由之美。 本书收录九鬼周造《“意气”的构造》与阿部次郎《德川时代的文艺与色道》，两位日本哲学家以横跨美学、语言学、心理学、社会学和文学的跨界研究角度，从江户时代的风俗、衣装、文学，到身体话语与情爱关系，解读日本文化中极具独创性与先锋性的美学观、身体观与情爱论，追溯其在历史文化中的萌芽与发展，从而发掘出“意气”“色气”“粹”等从日本本土文化中滋生而出的独特美学话语，探寻东方文化的生命活力与内在激情，堪称经典的东方美学理论研究。 **************** 编辑推荐 ★美之书、爱之书、身体之书，角度另类的经典文化论，从美学关键词看懂日本。 * ★日本思想史上两大叛逆哲学家先锋代表作，日本文学知名学者潜心精译，专文导读 * ★“大奥”的悲剧，竟源自于 “色道”？《银魂》《恶女花魁》中的吉原究竟是什么地方？全方位解读江户风俗，探寻东方文化的生命活力 * ★日本独有的美之理念：先锋性身体美学，颠覆性婚恋观，创新性的哲学注解 * ★一部感官体验的哲学书，一次身体美学的历史漫游，写给浪子、恶女、恋人们、魅惑者的美学书 **************** 相关评论 ★九鬼所持有的“意气说”，正是超越既存的男女关系，以自由为根本的概念。 ——松冈正刚（日本文化研究第一人） * ★书中九鬼不仅以西方哲学为底，江户时代的风俗、衣装、文学更是信手拈来。正是这些丰富的意象，构成了“意气”“色气”的鲜活形象。对重视美的九鬼周造这个人的魅力，和他艺术力的广博而感到佩服。 ——日亚读者评论

作为一本在国际范围内享有盛誉的经典著作，作者以语源说、语义学等学科为工具，考察了古代印度、伊朗、希腊、罗马、凯尔特、日耳曼等民族的文学与历史文本、语汇、神话、仪式、社会组织结构、法律程序及物质遗存。同时，阐发了印欧民族关于战争与献祭的行为及其所蕴涵的生死观；探讨了印欧神话中死亡与葬礼的布局，辩说了与之相左的观点；指出了不是共同的语言或共同的血统，而是共同的社会结构和共同的历史境遇才产生的印欧民族共同的神话和宗教信仰，并决定了他们活着的方式和死去的方式。

《美国大城市的死与生》作者简•雅各布斯眼中的“杰作”，城市规划领域的《寂静的春天》，影响整整一代美国城市规划设计师的规划经典。 现代城市不断地向郊区蔓延，在四周建造起一座座卫星新城，但是主城区充塞着未经开发的土地、荒废的铁轨和拥挤的住宅区域，使得城市的体验无法从横向扩展中得到喘息。威廉•H. 怀特认为，城市肆意蔓延的时代已经结束，城市规划改良的核心不在于外向型的扩张，而在于解决城市内部缺乏妥善安排的区块。 本书在1968年出版时被《纽约时报》誉为“关于开放空间问题的上佳作品”。它所引入的土地保护措施已经成为城市规划的基础概念，引领着我们在城市向郊区的扩张中更好地利用宝贵的土地。

本书勾勒出一个名为“纯声学”的新学科的轮廓。声音因此不再是知觉失谐或“黑暗大陆”的象征，而是应倾听技术及其命名之需而成为建构中的文化客体。作者旁征博引，用各国历代诗人的诗句带来了美妙绝伦的例证。 本书通过梳理有关声音领域不同学科如音乐、声学等的研究现状，邀请我们探索日常 生活领域以及文学、音乐与电影领域的声音现象。此外，还总结了伴随电话与留声机的出现，声音内涵所经历的历史性嬗变，最后批判性地反思了理论之于狂飙突进的实践领域的滞后。 米歇尔•希翁以貌似平凡的“声音”一词命名本书，实际上本书荟萃了各种富有启发性的观点。在这个简洁而又富于迷惑性的书名下，所有文字都是为了强调与呈示声音物体的复杂性。 ——吉尔•格尼（Gilles Gony），载《远望镜》（Téléscope）杂志 声音，是外部世界贯穿我们生命时间的唯一元素。其他诸种都在沉睡时刻中断。声音，永不休止，无所不在。“万籁俱寂”，不过是声音所勾勒的图画。绝对的无声，不仅人为，而且暴力，足以令人疯狂。然而，关于声音，我们知之不多，或一无所知，而且鲜有别致而深入的研究。法国学者米歇尔•希翁著作之中文版的出版将成为一次开启。不是美国学术的“规范”，而是法国思想的诗情和哲理。艾弓晓畅的译文为我们拉开了遮挡声音之谜的帷幕。 ——戴锦华

This book presents the first analysis of how the grassroots movement of Guangchang Wu or ‘square dance’ in China has become a national phenomenon. Through oral narratives offering rich descriptions of lived encounters, the experiences of those involved in leading, organizing, teaching and learning Guangchang Wu are revealed. Through these narratives, this book serves to understand the leadership practices occurring and how this dance practice is deeply rooted in the complexities of China’s rapid economic development, acceleration of urbanisation, and the desire for a healthier and more communal lifestyle.

In Kinesthetic City, author SanSan Kwan explores the contentious nature of Chineseness in diaspora through the lens of moving bodies as they relate to place, time, and identity. She locates her study in five Chinese urban sites--Shanghai, Taipei, Hong Kong, New York's Chinatown, and the San Gabriel Valley in Los Angeles--at momentous historical turning points to parse out key similarities and differences in the construction of Chineseness. The moving bodies she considers are not only those in performances by some of the most well-known Chinese dance companies in these cities, but also her own as she navigates urban Chinese spaces. By focusing primarily on kinesthesia--the body's awareness of motion--to gather information rather than more traditional modes of sight, sound, smell, touch, and taste, she highlights the importance of motion in the determination of space. In examining in these specific places at these precise historical moments, Kwan illuminates how moving bodies contribute to the production of those places and those moments. For Kwan, Chinese communities in diaspora provide particularly salient examples of how when and where our bodies are help to determine who we are. Whether engaged in otherwise unremarkable walking or in highly choreographed acts of political protest, human movement exists in dialogue with the kinesthetic of these city spaces, helping Chinese communities make meaning of themselves away from mainland China. As a whole, Kinesthetic City offers dance studies ways to extend movement analysis to study not only concert, folk or social dance, but also quotidian movement and urban flow.

A photo-collage of past and present street visuals in Asia, Aestheticizing Public Space explores the domestic, regional, and global nexus of East Asian cities through their graffiti, street art, and other visual forms in public space. Attempting to unfold the complex positions of these images in the urban spatial politics of their respective regions, Lu Pan explores how graffiti in East Asia reflects the relationship between aesthetics and politics. The book situates itself in a contested dynamic relationship among human bodies, visual modernity, social or moral norms, styles, and historical experiences and narratives. On a broader level, this book aims to shed light on how aesthetics and politics are mobilized in different contested spaces and media forms, in which the producer and the spectator change and exchange their identities.

"The Handbook of Japanese Culture and Society" is an interdisciplinary resource that focuses on contemporary Japan and the social and cultural trends that are important at the beginning of the twenty-first century. This handbook provides a cutting-edge and comprehensive survey of significant phenomena, institutions, and directions in Japan today, on issues ranging from gender and family, the environment, race and ethnicity, and urban life, to popular culture and electronic media. As such, it is an invaluable reference tool for anyone interested in Japan's culture and society.

Since the 1990s there has been a dramatic increase in cultural flows and connections between the countries in the East Asian region. Nowhere is this more apparent than when looking at popular culture where uneven but multilateral exchanges of Japanese, Korean, Taiwanese, Hong Kong and Chinese products have led to the construction of an 'East Asian Popular Culture'. This is both influenced by, and in turn influences, the national cultures, and generates transnational co-production and reinvention. As East Asian popular culture becomes a global force, it is increasingly important for us to understand the characteristics of contemporary East Asian popular culture, and in particular its transnational nature. In this handbook, the contributors theorize East Asian experiences and reconsider Western theories on cultural globalization to provide a cutting-edge overview of this global phenomenon. The Routledge Handbook of East Asian Popular Culture will be of great interest to students and scholars of a wide range of disciplines, including: Cultural Studies, Media Studies, Communication Studies, Anthropology, Sociology and Asian Studies in general.

Powers of Horror is an excellent introduction to an aspect of contemporary French literature which has been allowed to become somewhat neglected in the current emphasis on para-philosophical modes of discourse."

For its millions of readers, the National Geographic has long been a window to the world of exotic peoples and places. In this fascinating account of an American institution, Catherine A. Lutz and Jane L. Collins explore the possibility that the magazine, in purporting to teach us about distant cultures, actually tells us much more about our own. Lutz and Collins take us inside the National Geographic Society to investigate how its photographers, editors, and designers select images and text to produce representations of Third World cultures. Through interviews with the editors, they describe the process as one of negotiating standards of "balance" and "objectivity," informational content and visual beauty. Then, in a close reading of some six hundred photographs, they examine issues of race, gender, privilege, progress, and modernity through an analysis of the way such things as color, pose, framing, and vantage point are used in representations of non-Western peoples. Finally, through extensive interviews with readers, the authors assess how the cultural narratives of the magazine are received and interpreted, and identify a tension between the desire to know about other peoples and their ways and the wish to validate middle-class American values. The result is a complex portrait of an institution and its role in promoting a kind of conservative humanism that acknowledges universal values and celebrates diversity while it allows readers to relegate non-Western peoples to an earlier stage of progress. We see the magazine and the Society as a key middlebrow arbiter of taste, wealth, and power in America, and we get a telling glimpse into middle-class American culture and all the wishes, assumptions, and fears it brings to bear on our armchair explorations of the world.

《文化研究指南》以其百科全书式的题旨，对这一领域进行了一次生动的介入，同时也是该领域内一本可靠的指南。你可以放心地将其加入到你‘真正有用’的藏书当中。该指南的每一位作者均为该领域的著名学者，具有权威性。该指南分为四个部分：学科、地域、问题和文献，除了最后部分按大致类别列出该领域最重要的文献外，前三个部分由相关论文组成，既独立成篇，又构成同一论域。因此这三个部分中的每一章实际由单篇论文构成，译文亦保持原文的分章安排。