熊十力自述其哲学思想的演变轨迹，自佛教唯识学（有宗），而探究空宗，后悟《大易》体用不二之义。其1932年出版的《新唯识论》从唯识学脱胎而来；1958年出版《体用论》，乃从自我体系立论，不复借助唯识学的理论框架；1961年写成影印《乾坤衍》，是对于《易经》乾坤二卦大义的推演，一方面揭示自家思想的来源，重申其归本《大易》之意，一方面对于现存《周易》文本的不同思想来源作出分析评判。

      本书收录了熊十力的两部著作。 《破破新唯识论》是一部反批评的著作。《新唯识论》（文言文本）1932年出版后，南京支那内学院刘定权（衡如）于同年12月在内院年刊《内学》第六辑发表《破新唯识论》予以驳难，欧阳竟无（渐）特为作序。熊先生随后于1933年2月出版本书反驳刘著；是书由北平斌兴印书局代印，北京大学出版部等处代售。此次出版即以该版本为底本，并参考中华书局1985年本校。 《摧惑显宗记》是熊先生又一部反批评著作，针对印顺法师1948年发表的《评熊十力的<新唯识论>》一文。原稿以黄艮庸（庆）名义发表于1949年《学原》杂志二卷第十一、十二期合刊上，又收《十力语要初续》。1950年，熊先生改写此稿，并于前增写约万言，概述《新唯识论》要旨，又于后附录两长文，由大众书店印行单行本，题曰《摧惑显宗记》，署为“黄庆述”。此次出版以大众书店印本为底本，并参考湖北教育出版社《熊十力全集》本校。为体现辩论的来龙去脉，将刘定权、印顺原文并附于后。

      本书收录的两部著作，其前身均为熊十力在北京大学任教时的自撰讲义。        《唯识学概论》系熊先生讲授唯识学的*部讲义，1923年由北大印制。本书忠实于此前在南京支那内学院所学，以玄奘、窥基之学为旨归，简明扼要地概述唯识学的思想体系，适合现代人的阅读习惯，为唯识学的门书，亦可作为研究《新唯识论》的参考。           《因明大疏删注》亦为熊先生在北京大学讲授因明学的讲义。其渊源有自：古印度著名论师陈那改造旧因明学，号称新因明之祖，所著《因明正理门论》（简称《门论》）乃因明学奠基之作，其弟子天主（音译商羯罗主）为便后学，删述简括该书而成《因明正理论》（简称《论》）；玄奘东还，相继译出二论，其弟子窥基又为《论》作疏，成为后世研治因明的权威读本，故尊称为《大疏》。熊先生此书，乃是为适应现代学者的需要，删注窥基《因明正理论疏》而成，删削疏文，疏通大义，增设新注，阐发奥蕴，允为治因明之津梁，研唯识之预科。

《论语》《孟子》《大学》《中庸》合称“四书”，是儒家的经典古籍，在中国思想史上占有重要的地位。钱穆先生所著《四书释义》分为《论语要略》《孟子要略》《大学中庸释义》三个部分，对“四书”作出阐释与发挥。其中《论》《孟》两书裁为要略，分门别类，提纲挈领，有助于读者把握两书要领；《学》《庸》则为其释义，备列全文，使学者体悟篇中宏旨。本书已经是经典著作，深受读者喜爱。

本书从哲学角度出发，阐述了古今中外哲学史上的名家对当代哲学和古典哲学的分析研究，有对古典作品的研究，对思想史的研究，还有旧文新刊上的重要论题。真实作为历史的基础我们应该了解;篇幸布局与行文明晰作为手法应该通俗易懂。一个是肌体,另一个是肌体的健康。当我专注于哲学与城邦之间的张力,也就是专注于政治哲学的至高主题时,就进一步确定了这种想法。至高形式的、或海德格尔式的当代哲学与古典哲学的区别,是由当代哲学的历史特性塑造出来的,以所谓的历史意识为先决条件,因此必须了解这种意识多少有些隐私、的根源。

《世界·大师·原典·文库：人性论（中文导读插图版）（套装上下册）》作者认为一切科学都与人性有关，对人性的研究应是一切科学的基础。《人性论（中文导读插图版）（套装上下册）》试图通过对人性的研究来揭示制约人的理智、情感和道德行为的准则。全书分三卷，卷讨论知性；第二卷讨论情感；第三卷讨论道德。

《世界·大师·原典·文库：人性论（中文导读插图版）（套装上下册）》作者认为一切科学都与人性有关，对人性的研究应是一切科学的基础。《人性论（中文导读插图版）（套装上下册）》试图通过对人性的研究来揭示制约人的理智、情感和道德行为的准则。全书分三卷，卷讨论知性；第二卷讨论情感；第三卷讨论道德。

《世界·大师·原典·文库：人性论（中文导读插图版）（套装上下册）》作者认为一切科学都与人性有关，对人性的研究应是一切科学的基础。《人性论（中文导读插图版）（套装上下册）》试图通过对人性的研究来揭示制约人的理智、情感和道德行为的准则。全书分三卷，卷讨论知性；第二卷讨论情感；第三卷讨论道德。

　　儒家思想是我国传统文化中的主要代表思想，她哺育了我中华民族的民族心理和民族品格，她的伦理价值观念已经深深地扎根于每一个中国人的心里，溶化在炎黄子孙的血液中。儒家的核心思想是仁学，仁学就是人学，教我们如何做人，如何做一个真正的中国人，所以儒家思想与我中华民族有着不可分割的联系。许抗生编*的《儒家思想的过去现在和未来》收录有关儒家思想研究的文章二十九篇，涉及孔子、玄学、程朱理学、阳明心学，以及冯友兰、张岱年对儒家思想的讨论。

自由教育是从庸俗中解放出来。古希腊人关于“庸俗”有一个绝妙的词：他们称之为apeirokalia，形容缺乏对美好事物的经历。自由教育将赠予我们之于美好的事物的经历。根据事物本身的状况，我们可以期望从正确理解的人性人不得不在二者之间选择，要么选择令人愉悦的谬见带来的心灵平静，要么选择令人烦恼的真理带来的心灵平静。哲学总在盼着世界的围墙倒塌，它突破了世界的围墙，放弃了对世界的眷恋（attachmenttheworld），这种放弃*令人痛苦。另一方面，诗歌如同宗教，深深扎根于对世界的眷恋....中比从科学中获得更为直接的帮助，从敏感和精致中比从几何学的精神中获得更为直接的帮助。如果我没弄错，这就是为何现在的身由教育几乎等同于阅读古希腊经典。就像别人被一匹良马、一条好狗或一只灵鸟取悦那样，我自己则因好朋友们而获得更高的快乐……古代的贤人们通过将它们写进书中而遗留下来的财富，我与我的朋友们一起开启它并穿行其中，而且如果我们发现了什么好东西，我们就把它挑出来，并当作一次丰盛的收获，倘若我们因此而能相互促益的话。

《了凡四训》又名《命自我立》，为明代袁了凡先生所作的家训，以其亲身经历教戒他的儿子袁天，认识命运的真相，明辨善恶的标准，改过迁善的故事。 本书将了凡四训四篇分为若干章节编写，每一章另外提炼标题，如*篇立命之学，其章节为：*章解题，第二章孔先生算命……除了解题这一章外，其他每一章都分为原文、注释、译文、解读、名言哲语五个部分。 本书的通俗性表现在注释、译文，一般读者读完这两部分就弄懂了原文的含义，注释则具有知识性，将古汉语基本知识告诉读者。 本书的趣味性在于例证这些故事，用事例更好地说明本段文字的含义，形象生动，引人胜。 本书的权威性体现在解读和名言哲语。本书解读注重用简明通俗的语言解读原文内容，同时引用古今圣贤对原文道理的说明。其中的名言哲语则引用古今中外名人的话或者人们长期以来经验总结的警句哲言，以这些*权威性的话来*后说明本文的道理。

      熊十力一生心无旁骛，潜心著作，成果累累，如果只能选一本书作为其代表作，那只能是《新唯识论》。熊十力曾从学欧阳竟无大师研习佛学。1922年，受梁漱溟等人的举荐，应蔡元培之邀，熊十力聘为北京大学主讲佛家法相唯识的特约讲师。在主讲《唯识学概论》和撰写讲义的过程中，对于佛教唯识学发生怀疑，不断改写旧稿，乃至另起炉灶写成了一部自成体系的新著，改称《新唯识论》。1932年，《新唯识论》(文言本)由浙江省立图书馆出版发行，立刻在学界和佛教界掀起轩然大波。蔡元培、马一浮等人对此书推崇备至，评价甚高，马一浮作序并题签。另一方面，佛学界人士尤其是南京内学院师友群起而攻之。其师欧阳阅后痛言:"灭弃圣言量者，唯子真为尤"，措辞严厉。欧阳弟子刘衡如更著《破新唯识论》对熊十力其书行系统破斥。熊十力随即应战，并著成《破〈破新唯识论〉》一书，对刘氏之斥逐一破解。        《新唯识论》先后有三个版本，*早是用文言文写成。1938年起熊十力与学生一道将《新唯识论》改写成白话文，至1944年《新唯识论》语体文本由重庆商务印书馆出版发行，这是第二个版本。因第二版本原先是为英译本做准备，加之正值抗战颠沛流离，熊十力对此本的文字不甚满意，于是又从1951年底始对语体文本行删改，1953年印出，称为“壬辰删定本”。本书将文言文本、壬辰删定本一同出版，以便读者互相对照理解。

究竟什么才是知识？ 知识从何而来？ 为什么有些信念的来源就是可靠的知识? 哲学家对知识的思考有哪些不同的答案呢？ …… 关于知识的问题，几千年来一直是哲学家思考的重，他们彼此争论，寻求问题的答案。对知识的哲学研究就是认识论。在书中，你可以读到柏拉图、康德、笛卡儿等不同哲学家对知识的思考，重塑你对知识的认识，也能在外在主义、内在主义、怀疑主义、经验主义的理解中启你对哲学的思考。 但你不要期待能在书中找到关于知识的*终答案，因为哲学中没有公认的答案。阅读本书时，*好的做法是试着自己评估每一种哲学立场，判断它是否正确。这不仅仅是一种本能反应，因为每一种立场都会伴随着赞成或反对的观，这些观都值得你自己去仔细考量，从而判断它们是否令人信服。你甚至可以添加一些自己的思考，享受一次令人兴奋的体验。 《人人都该懂的认识论》属于湛庐文化重磅推出的“新核心素养”系列图书之一。本系列图书致力于推广通识阅读，扩展读者的阅读面，培养批判性思考的能力。其中涵盖了哲学、心理学、法律、艺术、物理学、生物科技等诸多人文科学和自然科学的知识，其中《人人都该懂的认识论》从哲学的角度出发，对知识行了一场哲学思考，可以帮助你更好地理解知识，探讨知识到底从何而来，启一场对哲学的重新思考。

本书把康德的伦理学放在德国近代启蒙运动的语境中,把康德后期伦理学看作康德在批判哲学时期所确立起来的自由概念的系统展,试图回应“定言命令是空洞的,没有内容的”等质疑，并通过考察康德的历史哲学和教育学,试图呈现出康德伦理学的多重维度。

本书全面而系统地展现了新中国成立70年来中国伦理学发展中富有创新性的思想观、*争议性的理论论题和*代表性的学术文献，简要而深地评述了新中国伦理学研究的历程与概况、学术路径与理论成就，并力图做到“镜像式”展示，以帮助广大读者获得对我国70年来伦理学发展的整体把握和系统理解。  本书既对伦理学的学科体系、研究方法和道德的本质、功能行了系统的述论，又对伦理学的诸多分支学科的研究成果行了全面的梳理和分析，包括应用伦理、经济伦理、企业伦理、管理伦理、劳动伦理、金融伦理、乡村伦理、环境伦理、体育伦理、政治伦理、行政伦理、科技伦理、教育伦理、法律伦理、生命伦理、宗教伦理、性和婚姻家庭伦理、传媒伦理、网络伦理、军事伦理、艺术伦理、文学伦理、中国传统伦理思想、西方伦理思想、马克思主义伦理思想等，呈现了一幅中国伦理学70年发展 “全息图”。

本书记录著名学者赵敦华教授最近十几年的研究心得，是一部关于中西哲学与马克思哲学对话的原创论文集。作者创造性地试图用达尔文的发生学观，重新解释中国文明的起源；用中西比较哲学的方法，重新理解先秦经典；并且对马克思主义，做了正本清源的工作。全书分三篇，上篇：马克思哲学：正本清源；中篇：西方哲学：推本溯源；下篇：中国哲学:返本新。

Inigo (Ignatius de Loyola) begins as a hot-headed, street-fighting sensualist, in this action-packed play but due to serious injury in a sword-fight, he has to spend time recovering and reassessing his dissolute life. This stage version of his life follows his transformation to become the co-founder of the Jesuits in the sixteenth century, battling the powers of the day and the Inquisition. In Moore's bold, funny play, he asserts Inigo's position as a radical figure bent on changing the Catholic Church.?? This play is not only for those interested in Inigo and the Jesuits. It is also about individuals who fight for change against an implacable Establishment and it is ideal for performing in schools, colleges and theatres. Of special interest to schools and colleges, many of which are named after Inigo (Ignatius de Loyola).?Inigo's spiritual tools for change have informed other self-development programs such as the 12 step program for recovering drug and alcohol addicts. As Pope Francis is a Jesuit, this is a timely exploration of one of history's major spiritual leaders and reformers. "This is the most interesting play text to have reached me for a while... Ignatius of Loyala, founder of the Jesuits is not the most obvious choice for a play subject until you remember that he was effectively a counter-cultural radical fighting an implacable establishment suddenly it s both topical and relevant. I hope this thoughtful, engaging and very funny in places eight-hander will get more outings very soon. If not read the text anyway." --Susan Elkin, The Stage"Brilliantly written... a great evening of thoughtful and dynamic theatre." --Mark Lawson, arts correspondent"The structure and dynamism of the play, the art with which Jonathan Moore makes Ignatius accessible to us, capturing much of the drama of the Spiritual Exercises themselves, would also make I?igo an excellent discovery for schools and colleges." --James Hanvey SJ, Master of Campion Hall, University of Oxford, Thinking Faith Jonathan Moore is an award-winning actor, writer and director. As an actor he has played leading roles at the Royal Shakespeare Co, Royal Court, Donmar, the Royal Exchange and on BBC TV. He has directed theatre and opera world premieres at the Almeida, Donmar, West End, Royal Exchange, Gate, English National Opera, Covent Garden, La Fenice in Venice and on TV among many others. He has directed world premieres by composers such as Turnage, MacMillan, Henze, Schnittke, Nyman, Copeland and more, and his early work was sponsored by Joe Strummer of The Clash. He has collaborated with members of punk band Killing Joke and on several projects with Industrial group Test Dept. A published playwright and librettist, his work has been performed at leading theatres including the Donmar, Royal Exchange, Gate, BBC TV, radio and internationally. Jonathan was asked by Mark Rylance to direct the large-scale immersive project for over fifty performers What You Will, a co-production for Shakespeare s Globe, The Cultural Olympiad and Mayor s Office and several subsequent Shakespeare projects. He is due to direct a large-scale site-specific immersive project for Ludovico Einaudi in Italy and a new opera project with Stewart Copeland. He is on the Artistic Advisory Committee of the Royal Academy of Dramatic Art. He has had a Who s Who entry since 2007. A collection of Moore's plays has been previously published by Aurora Metro Books. www.jonathanmooreuk.com

The city of Serenstad has never been stronger, and superstitions are waning in the light of reason and civilization. For the Guild of Dream Finders this has proved disastrous, until Duke Ibris, troubled by mystifying and unsettling dreams, orders Antyr, leader of the Guild, to become the Dream Nexus. Dream Finder is an independent novel set in the world of The Chronicles of Hawklan". --------------- "This is good grown-up stuff; more please." -- Interzone "Big meaty fantasy." -- Darlington Northern Echo "This is wonderful stuff." -- Brum Group News "

Urm?nd acela?i tipar de p?n? acum (Logica elefan?ilor, Editura All, 2012), Ciprian V?lcan ?i Dana Percec au selectat c?te dou?zeci de eseuri care formuleaz?, ?ntr-o manier? doar aparent lejer?, un r?spuns la tot at?tea pretexte, culese cu ochiul colec?ionarului de caricaturi din presa rom?neasc? ?i interna?ional? sau din tomuri mai mult sau mai pu?in colbuite. Autorii inspecteaz? cu lupa ?i curiozitatea entomologului numeroase ?nt?mpl?ri, mesaje ?i personaje contemporane, ?ndemn?ndu-i pe cititori, prin stilul degajat ?i tonul convivial, s? se amuze pe seama absurdului din via?a de zi cu zi. Fie c? este vorba de politic?, sport, mod?, mass-media sau tribunale, de gastronomie sau vr?jitorie, eseurile demonteaz? adev?ruri mici, truisme, precum ?i pl?smuiri de tot felul. Fiec?rei p??anii evocate ?n pretext – unele ilare, cu miros de b?lci, altele aproape detestabile – autorii Metafizicii bicicli?tilor ?i r?spund ?n manier? diferit?, dar convergent?, contur?nd o nevoie de a r?scoli excesele lumii pentru a o ?ndemna s? se rea?eze.

Alchimia fericirii, publicat? ?n persan? (Kimiya?yi sa’adat), spre sf?r?itul vie?ii autorului, urm?re?te atenuarea tensiunilor dintre filosofii ?i misticii Islamului ?i scoate ?n eviden?? importan?a autodisciplinei ?i a ascetismului. Traducerea de fa?? are la baz? traducerea publicat? ?n 1910, ?n englez? de Claud Field (The Alchemy of Happiness) ?i este structurat? ?n opt capitole, aproximativ egale ca ?ntindere. Cartea de fa?? reune?te o serie de interpret?ri ale unor pilde cu con?inut religios evocate ?n Coran ?i ale unor idei exprimate de Mahomed, de al?i profe?i sau ?nv??ati musulmani. Chestiunile abordate de Al-Ghazali aduc ?n prim-plan ideea unei vie?i religioase exemplare. Astfel, el prezint? mai multe sfaturi pentru musulmanii pio?i. Raportul omului cu divinitatea, cu semenii s?i, cu rudele apropiate, dar ?i implica?iile religioase ale institu?iei c?s?toriei sau ale muzicii ?i dansului sunt printre cele mai importante subiecte din lucrarea lui Al-Ghazali. S? ?tii, o, preaiubite, c? omul nu a fost creat ?n glum? sau la ?nt?mplare, ci a fost f?cut ?ntr?un fel minunat ?i pentru un ?el ?nalt. Chiar dac? nu a existat dintotdeauna, el tr?ie?te ve?nic; ?i chiar dac? trupul s?u este slab ?i p?m?ntesc, spiritul ?i este m?re? ?i dumnezeiesc. ?i cu c?t este mai ales subiectul cunoa?terii noastre,cu at?t mai mare va fi ?nc?ntarea sim?it? ?n studierea acestuia; de exemplu, ne?ar face mai mult? placer s? ?tim secretele unui rege dec?t dac? am afla secretele unui ministru. V?z?nd c? Dumnezeu este cel mai ?nalt obiect posibil pentru cunoa?terea noastr?, cunoa?terea Sa trebuie s? ne d?ruiasc? mai mult? desf?tare dec?t oricare alta.

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)