Eve's Ransom is the story of a mechanical draughtsman named Maurice Hilliard, who comes into some money, which enables him to live without working. As part of his resulting travels, he meets and falls in love with Eve Madeley, a book keeper.

《新教伦理与资本主义精神》是马克斯•韦伯的代表作之一。 近代以来在世界范围具有支配性力量的资本主义，何以独独从西方文明中孕生出来？韦伯从文化宗教对社会经济发展的制约这一角度提出，近代资本主义以其理性化的持续经营和组织劳动为特征，而资本主义精神中的核心要素，即“天职”思想、为职业劳动献身的工作伦理，与基督新教的禁欲性格具有天然的内在亲和性。新教，尤其是加尔文教派将工作奉为天职，有系统且理性地追求合法利得的人生观，正是资本主义发展*适合的精神动力。新教的人生观促了基于职业理念上的理性化的生活倾向，如今，这已成为现代市民普遍的生活样式。虽然禁欲精神助长了近代经济秩序的诞生，但资本主义在建立起决定一切的秩序后，将自己的根基盘踞在机械文明之上，新教的世禁欲精神，则解体为纯粹的功利主义。褪除了宗教伦理意涵的资本主义，*终走向“无灵魂的专家，无心的享乐人，这空无者竟自负已登上人类前所未达的境界”。

本书没有枯燥无味的说教，作者将自己多年的经历和学员的遭遇作为事例编写其中，这些事例在当今社会具有一定代表性，让大家从故事中有所悟、有所思、有所想，*终有所感。在本书里，作者会直痛，用幸福的理念切实可行地帮助到读者，让读者明白幸福真正的模样。本书没有枯燥无味的说教，作者将自己多年的经历和学员的遭遇作为事例编写其中，这些事例在当今社会具有一定代表性，让大家从故事中有所悟、有所思、有所想，*终有所感。在本书里，作者会直痛，用幸福的理念切实可行地帮助到读者，让读者明白幸福真正的模样。

《三十六计》或称三十六策，是指中国古代三十六个兵法策略，语源于南北朝，它是根据中国古代军事思想和丰富的斗争经验总结而成的兵书，是中华民族悠久非物质文化遗产之一。《三十六计》在众多的兵书中独树一帜、雄踞一流，它是中华民族智慧宝库中的经典，与《孙子兵法》一起，并称为世界军事史上的“双璧”。故古书中称：“用兵如孙子，策谋三十六。”

《墨子》为战国百家中墨家的经典。墨子提倡兼爱、非攻、尚贤、尚同、天志、明鬼、非命、非乐、节葬、节用，对哲学、逻辑学都有研究和贡献。此外，他在军事学、工程学、力 学、几何学、光学上都有相当的研究和贡献，先秦的科学技术成就大都依赖《墨子》以传。

《礼记》初时据说有一百多篇，后为汉朝学者戴德简化为85篇，世人称之为《大戴礼记》。在编撰过程中，我们从权威版本中筛选出极为经典、实用，且具有文学价值的28个篇章，将其编辑成册。将每篇分为诸多小节，每个小节分为三部分：原文、注释与译文。整本书结构严谨，言简意赅，意蕴深远。

It is remarkable how closely the history of the Apple-tree is connected with that of man. The geologist tells us that the order of the Rosaceae, which includes the Apple, also the true Grasses, and the Labiatae, or Mints, were introduced only a short time previous to the appearance of man on the globe.

At the time Thoreau made this wilderness canoe trip he was forty years old. The record of the journey is the latter half of his The Maine Woods, which is perhaps the finest idyl of the forest ever written. It is particularly charming in its blending of meditative and poetic fancies with the minute description of the voyager’s experiences.

In several of the dialogues of Plato, doubts have arisen among his interpreters as to which of the various subjects discussed in them is the main thesis. The speakers have the freedom of conversation; no severe rules of art restrict them, and sometimes we are inclined to think, with one of the dramatis personae in the Theaetetus, that the digressions have the greater interest. Yet in the most irregular of the dialogues there is also a certain natural growth or unity; the beginning is not forgotten at the end, and numerous allusions and references are interspersed, which form the loose connecting links of the whole.

The Phaedrus is closely connected with the Symposium, and may be regarded either as introducing or following it. The two Dialogues together contain the whole philosophy of Plato on the nature of love, which in the Republic and in the later writings of Plato is only introduced playfully or as a figure of speech. But in the Phaedrus and Symposium love and philosophy join hands, and one is an aspect of the other. The spiritual and emotional part is elevated into the ideal, to which in the Symposium mankind are described as looking forward, and which in the Phaedrus, as well as in the Phaedo, they are seeking to recover from a former state of existence.

The Protagoras, like several of the Dialogues of Plato, is put into the mouth of Socrates, who describes a conversation which had taken place between himself and the great Sophist at the house of Callias—'the man who had spent more upon the Sophists than all the rest of the world'—and in which the learned Hippias and the grammarian Prodicus had also shared, as well as Alcibiades and Critias, both of whom said a few words—in the presence of a distinguished company consisting of disciples of Protagoras and of leading Athenians belonging to the Socratic circle.

成年人的词典里，没有容易二字。 无论你现在是20岁还是70岁，你都可能觉得已经过去的人生里出了一些岔子，其中有的部分无法修补，有的令人懊悔。 你觉得自己选错了专业，跳槽过于频繁，也有可能你正为要不要生孩子而纠结，或正在出轨边缘徘徊。 当你选择了一个方向、一份职业、一种生活方式甚至一个人，也意味着你放弃了其他的可能性。 那些可能性让人着迷，甚至勾引你放弃现有的生活重新来过。 重启毕竟是一个高成本的选择，人生不是一场随时存档读档的游戏，在这之前你需要充分模拟、推演、检查，做好准备再上路。 这本书就是为这样的顾虑而准备的，它写给所有与不可逆的时间搏斗的人。 你能在这里快速学习哲学家如何给不同的事物赋分，表彰它们给予人生的不同价值，看到哲学家如何从自己的中年危机里突围，他们甚至写过多篇论文探讨是不是应该放弃上面提到的其他可能性。 即使你不算改写人生，或者觉得人生过于乏味，这本书也能帮你换种思路，继续生活。

规范性是当代规范伦理学的一个核心观念。本书深探究了人类理性层面的规范性与某种植根于自然化的深层规范性之间的关系，考察了作为元概念/范畴的规范性对一系列相关理论概念、题旨的某种奠基性作用，以展示其解释力及整合力。

本书是一部探讨中国文明起源的著作，作者潜心研究中国历史、哲学和文化多年，力求洞悉中国文明的内在脉络。作者聚焦于中国文明起源过程中的理性要素，通过追溯这个时期理性要素的形态，试图还原中国文明*初的萌发过程。本书沿着中国古代思想观念发展的路，回溯发端，探究这个时期决定历史走向的观念是怎样的，历史是怎样被这种观念所决定的，以及这种观念的来源和后续发展，以此来逐渐揭中国文明起源发展的印记和规律。

Imagineaz?-?i c? e?ti într-o ma?in? a timpului care te poart? înainte ?i înapoi prin propria via??. Te duce în trecut, la anii copil?riei, când înv??ai s? mergi pe biciclet?, apoi te face s? revezi primul t?u s?rut, cel dintâi serviciu sau anii mai târzii, când te confrun?i, eventual, cu divor?ul. Înso?it de Platon, afl? ce spun marii gânditori ai lumii despre toate aceste pietre de hotar de pe drumul vie?ii noastre. Aristotel î?i va vorbi despre importan?a începerii ?colii, Freud despre îndr?gostire, Heidegger despre implica?iile psihologice ale mutatului, iar Nietzsche despre criza vârstei de mijloc. La drum cu Platon te ajut? s? în?elegi ?i s? vezi cu al?i ochi evenimentele majore, momentele-cheie ?i fazele de tranzi?ie din via?a ta, f?când filosofia s? par? accesibil? ?i plin? de umor!

Critica ra?iunii pure, tradus? de Nicolae Bagdasar ?i Elena Moisuc ?n 1969, a ajuns la cea de-a treia edi?ie. Cu acest prilej, profesorul dr. Ilie P?rvu, de la Facultatea de Filosofie a Universit??ii din Bucure?ti a ?ngrijit noua opera?ie de editare, fiind astfel corectate unele erori de tipar ?i unele inconsecven?e terminologice. Totodat?, exist? un motiv ?n plus pentru ca studen?ii care posed? edi?ia a II-a a traducerii, ap?rut? ?n 1995, s? apeleze ?i la cea de-a treia edi?ie: ?n aceasta din urm? au fost indicate diferen?ele dintre edi?ia I german? (din 1781) ?i edi?ia a II-a (din 1787).

Diderot, tanr?sal, dinsel inanc?n yerine akl? ge?iren adamd?r, onun sava??m? buydu ve bütün k?r inan?lar? silip süpüren bu ak?l, g?rünen dünyay?, do?ay?, felsefenin, sanat?n, sa? t?renin temel ilkesi durumuna getirdi. Diderot’un yayg?n ?al??ma alan?n? olu?turan ilkedir bu. Maddeci ve gerekirci bir filozoftu. tanr?ya inanan ki?inin filozof olmayaca??n? s?yledi. 'K?rler üstüne mektup'taki k?r, kendini tanr?ya inand?rmaya ?al??an misyonere "bunun i?in tanr?ya parma??mla dokunmam gerekir" der. Diderot, bu yüzden hapse girdi. 'D'alembert'in dü?ü'nde, madde tanr?n?n yerini alm??t?r art?k. Madde devinim ve duyarl?l?kla donat?lm??t?r. Bilim gerekircili?in kan?t?d?r. Bütün varl?klar ?z?e birdir ve bir ge?i?, de?i?im, olu?um süreci i?inde bulunurlar. ?yle ise sa? t?renin temeli do?a olacakt?r. Do?as? gere?i insan iyidir, hristiyan sagtoresinin sand??? gibi do?u?tan günahkar de?il ve iyilikler de, k?tülükler de, düzenin, ko?ullar?n, e?itimin ürünüdür. ?nsan, bu gerekircilik anlay??? i?inde, ?zgür olamayaca?? i?in, su?lu da bulunamaz. bu üslama sonucu olarak sanat, do?ay? ?rnek almal?d?r. roman, resim, oyun ger?ek?i olmal?d?r. Diderot, bunlar? s?ylemekle kalmam??, romanlar? ve oyunlar? ile ?rneklendirmi?tir de ve ?a??n?n sanat??lar?n? bu a??dan de?erlendirmi?tir. Diderot, büyük sava??m? ve e?siz ?abas? ile insanl???n ba?tac?d?r bugün de ve onu b?ylesine unutulmaz k?lan i?lerinin ba??nda ise elbet 'ansiklopedi' gelir. 'Ansiklopedi', yunanca enkyklios paidela'dan yap?lm??t?r ve bütün bilimleri i?ine alan ??retim anlam?na gelir. s?zcü?ü bulan rabelais'dir (1532). Diderot ile d'alembert'in ansiklopedisine temel olan yap?t, ?ng?l?z chambers’?n cyelopaedia’s? idi; fakat diderot'nun etkisi ile ansiklopedi, bir ?eviri yap?t olmaktan ??k?p, gizemcili?e kar?? bilimin sava? alan? durumunu ald?. Bu yüzden de gerici ?evrelerin kar?? koymas?n? sonu?lad?. diderot, ya?am? boyunca ?al??t? 'ansiklopedi' i?in, bir?ok maddeyi kendisi yazd?. bu u?urda yepyeni ara?t?rmalara giri?ti, teknik de?i?mekte oldu?u i?in ortaya yeni ara?-gere?ler ??kmakta idi, bunlar? tan?d?, adland?rd?, tan?tt? ve fransa'y? ayd?nlanma ?a??'n?n avrupa'da g?zbebe?i durumuna getirdi. Ancak unutmamal? ki, bir ansiklopedi ortaya ??karan her ülkeyi ayd?nlanma ?a??'n? alg?lam?? sayamay?z. ?o?u ülkede bu tür yap?tlar, geni?letilmi? s?zlükler olmaktan ileri gidememi?tir. diderot’nun ansiklopedisi, toplu bilgi vermekten ?ok, dinsel inan?lara kar?? bilimlerin ??retimini üstlenmi?ti, demek yans?z de?ildi, metafizikle ve skolastikle ?arp???yordu..

De numele lui Sigmund Freud (1856-1929) se leag? poate cea mai controversat? teorie din filosofia culturii ultimelor secole: psihanaliza. ?nceput? ca ?ntreprindere psihoterapeutic?, prima cur? – din punct de vedere istoric – ?n care rolul terapeutic revenea exclusiv cuv?ntului, psihanaliza a fost condus? de Freud ?n mod firesc ?i ?n direc?ia descoperirii resorturilor abisale ale culturii.Disconfort ?n cultur? (1930) este o lucrare de maturitate ?n care p?rintele psihanalizei investigheaz? mecanismele care men?in coeziunea social?, respectiv contraponderea lor, manifestat? prin senza?ia de disconfort care ?nso?e?te mai mult sau mai pu?in evident fiin?a social?.?Supraeul unui epoci culturale are o origine asem?n?toare cu a celui individual; se sprijin? pe impresia pe care au l?sat-o mari personalit??i conduc?toare, oameni de o for?? spiritual? cople?itoare sau cei la care una dintre tendin?ele umane a g?sit configura?ia cea mai puternic? ?i mai pur?, de aceea adesea ?i cea mai unilateral?.“ - Sigmund Freud

Cartea de fa??, pe care cititorul o ?ine acum ?n m?n?, reprezint? o form? – literar vorbind, foarte complex?, fiindc? ea evolueaz? pe mai multe voci narative, dintre care doar unele ?i apar?in ?n mod direct autoarei – de exorcism. Geniul inimii e r?spunsul unui poet la o experien?? personal? plenitudinar?, ?n care bucuria ?i suferin?a se ?ntrep?trund reciproc pentru a exprima, ?mpreun? ?i tensionat, starea de gra?ie. Exist? o voce a experien?ei biografice ?n aceast? carte scris? febril, o alta de martor sau de participant la istorie, tot a?a cum exist? o voce a puterii ?i una a victimei. Deasupra tuturor st?, ?ns?, nu neap?rat triumf?toare, dar lucid-cerebral?, chemarea celor dou? credin?e pentru care merit? s? tr?ie?ti ?i s?-?i rememorezi via?a atunci c?nd ai ajuns cu ea la r?sp?ntie: credin?a ?n cultura modelelor care te-au precedat ?i credin?a deloc ingenu?, ci ivit? din cunoa?tere, ?n sacralitatea profund? a celor tr?ite ?i ?n transcenden??. (?tefan Borbély) A considera un text drept ?carte a ilumin?rilor mele“ ?i a a?eza ca titlu al primei p?r?i a volumului sintagma Povestea subteranei ne plaseaz? sub semnul aproape imposibil al drumului c?tre Sine, al cuprinderii, al denud?rii ?i al efortului de a ?n?elege un obiect al c?rui adev?r se va afla ?ntotdeauna ?n proximitatea pe?terii lui Platon. E un demers perpetuat, dar niciodat? epuizat ?i aproape exclus din plasma comunic?rii, care – ?n situa?ia ?romanului“ Aurei Christi – nu are coresponden?e, nu se apropie de experien?a budhist?, nici de prerogativele ocultismului de New Age, ci ne aduce ?n vecin?tatea ?ndemnului de pe frontispiciul templului lui Apollo din Delphi, preluat apoi, ca solu?ie ?ntre a fi ?i a p?rea, de c?tre Socrate: ?Cunoa?te-te pe tine ?nsu?i!“. Po?i ?nt?lni, pe acest drum, ?i acel daimonion care a str?juit g?ndirea aceluia?i ?n?elept atenian ca alt? fa?? a ?subteranelor“ fiin?ei, acolo unde lumina se ?ngem?neaz? cu ?ntunericul, stare ?poetizat?“ de Goethe, dar pr?bu?it? ?n tragic de Dostoievski. E o cobor?re spre ?n?elegere prin cuprindere ?i, implicit, prin atingerea nelimitatului. (Mircea Braga) Cartea Aurei Christi Geniul inimii pare o st?nc? masiv?, singuratic?, ?ntr-un peisaj ?mioritic“. Geniul inimii are originalitate ?i for??. Prima parte e liric?, a doua (?ntr-un fel) – o comedie negru-satiric?, a treia – predominant epic-narativ?. Prima parte este excelent?; mi-am ?nsemnat un num?r de poezii memorabile. A doua, ?n centrul ei mai ales, are sec?iuni, pasaje extrem de interesant-pl?cute-amuzante, ?n pofida tonului, uneori, foiletonistic. A treia e impresionant? ?n ansamblu, armonios-coerent?, de o sinceritate sf??ietoare. ?n tot volumul, istoricul, religiosul, subiectivul se leag? foarte frumos ?ntre ele. Nu-mi plac laudele la adresa lui Nietzsche! De fapt, cum se leag? acest autor de Biblie, de Evanghelii?! Aura Christi poate fi m?ndr? de o realizare major?, cu totul original?. Probabil, nu l-a citit pe romanticul britanic Wordsworth; dar el e cel care a scris (sau a ?nceput s? scrie) o memorabil? autobiografie ?n versuri. Pu?ini l-au continuat. Am putea spune c? Aura se num?r? printre cei pu?ini. (Virgil Nemoianu)

Volumul red? circuitului public, pentru prima oar? ?n limba rom?n?, trei din operele g?nditorului atenian. Este vorba de Scrisori (?n num?r de treisprezece, deosebit de importante pentru cunoa?terea g?ndirii platoniciene, dar ?i pentru ?n?elegerea epocii ?i a personalit??ilor cu care a venit ?n contact filosoful), Dialoguri suspecte (Minos, Rivalii, Theages, Hipparhos, Clitofon) ?i Dialoguri apocrife (Axiohos, Despre drept, Despre virtute, Demodocus, Sisyfos, Eryxias).Traducerea apara?ine lui ?tefan Bezdechi, care a realizat ?i aparatul critic al Scrisorilor (introducere ?i note).

Iako je napisao veoma zna?ajne radove iz drugih podru?ja filozofije?(npr. Sistem logike, gde izla?e na?ela induktivnog zaklju?ivanja, ili Utilitarizam, gde izla?e shvatanje da svako treba da dela tako da proizvede najve?u sre?u za najve?i broj ljudi), Mil je najtrajniji utjecaj ostavio svojim radovima iz politi?ke filozofije i etike. Njegovo delo O slobodi smatra se jednim od temeljnih tekstova savremenog liberalizma. U njemu Mil zagovara na?elo da je ljudsku slobodu dozvoljeno ograni?avati samo ukoliko ?teti drugima. Na?elo ?tete, kako se to na?elo ?esto naziva, u svojoj primeni na ure?enje dru?tvenih odnosa isklju?uje sve despotske i autoritarne oblike vlasti koji gu?e slobodu pojedinaca i njihovu individualnost. Od posebne va?nosti za sre?u pojedinca i dru?tva u celini jeste sloboda govora, koja ni?im ne sme biti ograni?ena. Na Milovoj raspravi O slobodi njen prevodilac, kralj Petar I Kara?or?evi?, tvorac dr?ave Srba, Hrvata i Slovenaca, zasnovao je svoj politi?ki program.