《近思录》是南宋朱熹、吕祖谦二人精选北宋理学大家周敦颐、程颢、程颐、张载的语录而成的一部理学门书，又是学习《四书》的阶梯。在儒学思想传播和宋明理学研究中具有独特的经典地位。本书原为大学经典丛书中的一种，现收国学典藏丛书，按照丛书统一格式，删去页边批注，形成较为简明易读的传习录普及版本。根据“国学典藏”的体例，删去集评；附录中选取一二种保留，其余删去；改写导读；改正错误，请整理者重新校订。

作为“西方马克思主义”思潮的创始人，卢卡奇深刻参与到中国马克思主义理论形态和学术形态的当代重塑过程。《卢卡奇研究指南》（三卷本）精选近半个世纪以来英语、德语、俄语、法语等学界有关卢卡奇的经典研究论述，系统展现卢卡奇各个思想发展阶段、各个思想发展维度的国际学术共识，努力为国内卢卡奇研究提供坚实的学术支撑。《卢卡奇研究指南》三卷本分别对应卢卡奇早、中、晚期的思想，卷聚焦卢卡奇的早期思想，第二卷主要讨论卢卡奇影响的著作《历史与阶级意识》，第三卷主要探究卢卡奇中、晚期理论著作。

作为“西方马克思主义”思潮的创始人，卢卡奇深刻参与到中国马克思主义理论形态和学术形态的当代重塑过程。《卢卡奇研究指南》（三卷本）精选近半个世纪以来英语、德语、俄语、法语等学界有关卢卡奇的经典研究论述，系统展现卢卡奇各个思想发展阶段、各个思想发展维度的国际学术共识，努力为国内卢卡奇研究提供坚实的学术支撑。《卢卡奇研究指南》三卷本分别对应卢卡奇早、中、晚期的思想，卷聚焦卢卡奇的早期思想，第二卷主要讨论卢卡奇影响的著作《历史与阶级意识》，第三卷主要探究卢卡奇中、晚期理论著作。

在21世纪的第二个十年,后资产阶级的衰败最终以经济黑洞的方式成为现实。一台排水泵始吞噬并毁灭两百年来勤劳与集体智慧的产物,将社会文明的具体现实转化为抽象的事物——数字、算法、精确的暴行和虚无的积累。历史已经被无尽的、流动的碎片化影像的重新组合取代。然而,一种新的研究形式正在出现,艺术家正在寻找理解这些变化的共同出发。     黑特·史德耶尔无疑是这一潮流中最具代表性的艺术家和写作者之一。本书是史德耶尔的一部代表性研究文集，围绕作者在艺术创作和写作里稳步推的一种强力影像政治，收录了其近年来发表的多篇里程碑式的文章，包括名作《自由落体:关于垂直视角的思想实验》《为弱影像辩护》《博物馆是工厂吗？》等。这些独树一帜、洞察力犀利的文字反映了作者对数字影像、博物馆、电影院甚至垃圾邮件等现象的思考，以及对社会问题和人类困境的探索和拷问，不断突破传统艺术批评的界限。

《作为一只蝙蝠是什么样？》是当代著名哲学家托马斯·内格尔于1974年发表的经典哲学文章，在意识研究方面引用极广，影响力无出其右。本书是其50周年纪念版单行本的中文译本。 这篇文章启了如今广泛关注意识问题的潮流，使意识成为哲学、心理学和神经科学的核心议题；它也促使人们始认识到非人类生物的意识是一个重要的研究课题。内格尔认为，意识体验的本质主观性——即对经历该体验的生物来说，这种体验是什么样——意味着任何试图用物理术语分析意识的还原主义理论都注定无法成功。因此，物理科学无法提供对现实的完整描述，如果科学要真正理解心灵，就必须超越那种将现实仅仅看作客观物理的观念。 在发表五十周年之际，这篇经典文章以单行本重新出版，并附上了一篇新的序言，讨论了这篇文章的起源和影响。书中还收一篇新文章《一步的思考：心理物理关联》。对于《作为一只蝙蝠是什么样？》一文引发的问题应当如何回应，内格尔在新文章中阐述了自己的思考。他提出：如果我们受意识的主观性是不可还原的，那么解决心身问题最有希望的路径，是寻找心理状态与神经生理状态之间的一种必然联系，而这种联系应当通过一种更基本的状态来实现，这种状态既非纯粹心理，也非纯粹物理，而是将两者都视为其不可分割的组成部分。换句话说，这种状态从外部看是物理的，从内部看是心理的，就像我们人类自身一样。这将是一种一元论形式，要求我们构建新的概念，因为我们目前对“心理”与“物理”的理解，并不涵盖这种必然联系。文章解释了为什么心理与物理之间的关系可能是必然的，尽管在我们现有的概念体系中，它们看起来只是偶然关联。

《心理学哲学笔记》是从维特根斯坦有关心理学哲学的*后几个笔记选编而成。其主要内容是根据其后期的新的哲学理解对哲学家们有关心灵、身体、世界之间的关系的理解行分析和批评，并对心理学家们有关心理概念的诸多理论行哲学分析，指出其问题所在。

马克思恩格斯思想比较研究是随着“马克思恩格斯问题”的提出而兴起和发展的。“马克思恩格斯问题”是指马克思与恩格斯的关系问题，包括马克思与恩格斯之间的思想关系问题、文本关系问题和生平交往关系问题。该书主要研究三个方面的重要问题：，包括马克思恩格斯思想比较研究是随着“马克思-恩格斯问题”的提出而兴起和发展的。新世纪，马克思恩格斯思想的比较研究正在成为国内马克思主义理论研究的热点。本书在详细梳理和解读国内外马克思与恩格斯思想关系研究的有关文献的基础上，依据文本，对马克思与恩格斯的思想关系、文本关系和生平交往关系进行了深入分析，特别是对马克思与恩格斯的自然观、辩证法、历史观、经济学思想、资本主义观、社会主义和共产主义观、革命观等进行了比较，从学术上进一步明确揭示了马克思与恩格斯思想之间的继承与发展、一致与差异、坚持与修正、提出与阐发等多重复合关系。

      二十世纪初，梁启超（任公）先后编纂了三种关于传统的修身方面的书。此三书既是梁启超本人用以自修的随身札记读本，也是任公用以推行公民德育的指导书。考虑到梁氏编纂这三种书思路的连贯性和紧密性，取名“梁启超修身三书”。           其中《节本明儒学案》是节录《明儒学案》中的修身言论而成，但此书绝非是原书的简略本。《明儒学案》现在学界和读者一般是把它当做学术史著作，或者是资料的汇编来使用，而黄宗羲原来的目的之一“示读者以道之门”（梁氏语）则湮没不彰，梁氏编这本书的用意正是将原书变成一部修身指导书，可以说，已经是与《明儒学案》面目不同的另一本书。另外，节本只有二十七八万字，与原书的卷帙浩繁相比，也大大增强了可读性。    

本书是坎贝尔本人写作、选编的zui后一本书，收录了他1981—1984年间在旧金山发表的4篇演讲文章，概括了坎贝尔在科技高速发展、人类已经实现航天登月、普遍不相信神话的现代社会，对神话的全新诠释和理解。是zui贴近现今读者所处时代和心理特征的一本书，也是坎贝尔的哲思精华“心学”之作：以神话连内心与外界、过去与未来，对“天人合一”理念的深刻阐释。 坎贝尔通过三章的内容，论证了神话与科技的关系、人类心理与外太空法则的关系；书写了属于我们这个时代的新的神话，为技术与科技提供新的解读视角。读者可以认识到，人的内心与外在时代、境遇密不可分，而艺术作为现代生活中的神话形式，就是一面处在内外交界处的镜子。透过这面镜子，我们可以参透过去，预测未来。

本书作者依据其独创的思想构境理论这样一种新的文本解读方式，破了以往那种用传统哲学解释框架反注列宁思想的研究方法，真正诚实地从列宁当时所处的政治与学术争论语境出发，拟现了列宁的读书思路，探讨了列宁理解和发展唯物辩证法思想程中的重要逻辑转变和飞跃性认识的深层意义，揭示出列宁的“哲学笔记”其实是一部经过编辑加工的学术“混成品”，并对其中各个部分尤其是对列宁在一战爆发之际关于黑格尔的哲学笔记行了卓越的解读。

Nietzsche despre filologia clasic? – iat? un subiect cu adev?rat pasionant, prilej de satisfac?ii unice pentru amatorul de a urm?ri fascinantul spectacol al form?rii ?i al cunoa?terii de sine. C?ci acest subiect ?nseamn?, de fapt, Nietzsche despre el ?nsu?i ?i ?n acest sens pledeaz? chiar propria sa m?rturie – ?Filologii sunt asemenea oameni care folosesc sentimentul ap?s?tor pe care ?l provoac? infirmitatea proprie omului modern pentru a c??tiga cu el bani ?i p?ine. ?i cunosc, eu ?nsumi sunt unul dintre ei“ (Noi, filologii, fr. 170). Mai precis, este vorba despre o ipostaz? a personalit??ii spirituale nietzscheene considerat? din unghiul evolu?iei sale interioare; dar, nu o ipostaz? oarecare, ci una esen?ial?. ?i aceasta nu pentru simplul motiv c? este cea dint?i, ci pentru c? este cea mai profund?, cea care i-a marcat definitiv orizontul de cultur? ?i de g?ndire ?i a l?sat o amprent? durabil? ?n desf??urarea destinului personal al omului. (Vasile Musc?)

王安石的哲学思想是一个内圣外王并重的体系：既将德性放在一个非常重要的地位，同时也注重对功利主义的追求。王安石的哲学思想是以“道”为本体的思想体系，并提出了“法其意”和“道之全”的思想。“法其意”就是要效法先王的精神实质，形式则可以不同，安石以此强调了“变”的思想。“道之全”与理学家以五常为道本体的体系有很大不同，王安石以此为指导主张公吸收佛道诸子百家的思想。安石从“惟理之求”和“合吾心者”的标准出发，挣脱了一些条条框框的束缚，因而其所确立起的道不仅包括了一些道德伦理的内容，而且还有功利主义的因素。熙宁变法是其哲学思想外王实践的形式，而作为指导思想的《三经新义》将内圣与外王有机地统一起来。

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

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)

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 "

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。

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。

      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。