《论语今读》完成于1989—1994年期间，为李泽厚先生的重要著作之一。先后对二十篇《论语》逐一读解。其书的体例分为译、注、记。译章尽可能最大程度地保持原貌，采用直译，对于专有词汇如“君子”、“小人”则一律不译，而重要的词汇如“仁”“礼”“义”则有专章说明；注则参考朱熹的《论语集注》、刘宝楠的《论语正义》、陈树德的《论语集释》等多家注，力求精简全面；记是作者的评论、札记和解说。或讲本文，或谈哲学、或发议论，无一定之规，明白透彻，文体活泼。 李泽厚认为，《论语》这本书所宣讲、所传布、所论证的那些“道理” 、“规则”、主张、思想，已代代相传，长久地渗透在中国两千年来的政教体制、社会习俗、心理习惯和人们的行为、思想、言语、活动中了。它已成为规范整个社会活动和人们行为的准则和指南，并且“百姓日用而不知”，由文化而心理，不仅极大地支配和影响了人们的思想、理解和认识，而且他作用于人们的感情、想象和信仰，是有关中国文化的某种“心魂”所在。孔子和《论语》所代表的儒学，在塑建，构造汉民族之化心理结构的历史过程中起到了无可替代、首屈一指的严重作用。 因为重要，李泽厚重新译注了《论语》，并围绕今日如何读《论语》这个中心，写下了自己的评论、札记和解说，统称为“记”。它们长短不一，品类不齐；或讲本文，或谈哲学；或发议论，或表牢骚；或就事论理，或借题发挥；并无定规，不一而足。

套装共6卷：《镜·双城》《镜·破军》《镜·龙战》《镜·辟天》《镜·神寂》《镜·织梦者》 “地之所载，六合之间，四海之内，有仙洲曰云荒。照之以日月，经之以星辰，纪之以四时，要之以太岁，神灵所生，其物异形。或夭或寿，唯圣人能通其道。” 《六合书•大荒西经》中这段对“云荒”的记载，引得无数人跋涉前往这一世外仙境。 来自中州的少女那笙，为了躲避战乱，历经千辛万苦来 到了云荒，却意外地发现这里也是战云压顶，时局复杂。在一步步深入云荒的途中，她遇到了傀儡师苏摩，皇太子真岚，剑圣西京，以及复国军战士炎汐…… 在新大陆里的每一步都惊心动魄，奇诡百变，令人应接不暇。而随着海皇末裔的归来，一场空前的乱世风云正在异族少女面前缓缓揭开序幕……

☆作者观点 任何科学都不是突然产生的，都有它发生发展的历史。我们研究一门科学，既要了解它的现状，也要了解它的历史，才能掌握这门科学的完备知识。心理学是一门科学，当然也不例外。 ☆经典品质 老教授六十余年执教心血结晶，三十年来口碑相传，滋养了几代心理学人。心理学史典范之作：扎实、素朴、通透！ ☆匠心制作 圆脊精装，封面印黑烫金，ESKA荷兰板，进口衬纸，三面切口滚金，精选飘带；内文80g纯质纸印制，每页单独设计。精雕细琢，更新你的阅读与珍藏体验。 ☆心理学名家推荐 中国心理学会前理事长林崇德作序推荐。 —————————————————— 《心理学的故事》，1988年出版至今，近30年口碑相传，专家学者奉为圭臬，心理学爱好者视如珍宝，一版再版，本书即是该作的最新升级第四版。 本书作者从古希腊直至当下两千多年来的丰厚思想土壤中，萃取西方心理学史上的大家名家，以精炼平实的笔触如其所是地勾勒其时代背景、思想面貌和主要观点。更为重要的是，作者以深厚的理论修养、中和理性的唯物态度，倚靠西方思想的本来脉络和中国心理学学科的发展实践，对各家各派观点应其所是地做出评判、论断和扬弃。 《心理学的故事》既是西方心理学源流和心理学史演进的精彩梳理，也是几代心理学人建设“中国的心理学”的成果积淀，更是当下学子进入心理学学科的亲切导引。

讲述了由“魔汁”引起的冲突及冲突被解决、有情人终成眷属的故事。有两个男青年拉山德（Lysander）、狄米特律斯（Demetrius）同时爱上了女青年郝米娅（Hermia），而郝米娅恋着拉山德，她的好友海丽娜（Helena）又恋着狄米特律斯。郝米娅为了反对包办婚姻和情人私奔，来到约定好的森林里。海丽娜将这一消息告诉了狄米特律斯，二人也跟着赶到了森林里。这个森林里本来住着仙王、仙后和侍奉他们的小仙、精灵，此时仙王、仙后正因为一个“换儿”（传说中仙人常于夜间将人家美丽的小儿窃去充做侍童）而不和。仙王为了让仙后做出让步，便派小精灵迫克（Puck）去取来魔汁（西方一朵纯洁的白色小花因为误中了丘比特的爱情之箭，受创伤后而流出的汁液）以戏弄仙后。这种魔汁有这样的魔力：如果它滴在睡者的人的眼皮上，无论男女，醒来一眼看见的生物，就都会发疯似的爱上它。

《世界历史有一套之老大的英帝国》内容简介:世界历史有且仅有一套 你听过杨白劳讲世界史吗？没听过你就太OUT了！杨白劳从2008年开始动笔写作世界史，今年开始全面启动这个煌煌16大本的出版流程。杨白劳写世界史务必让读者笑趴下，根据读者反应，杨白劳完完全全取得了预期效果。 以明矾、藤枝（袁腾飞粉丝）、地主为主的读者公推当年明月、袁腾飞、杨白劳为历史写作的三大里程碑，杨白劳的愿望是填补好看的世界史在汉语写作世界的空白，让没读过历史、没好好读历史、不愿意读枯燥教科书的读者都能爱读世界历史，让中国读者在面对外国人、外国事务、外国知识时因为熟知世界史的逗趣正史和八卦野史而自信爆棚，从而谈资阔绰，应对裕如。读者从《世界历史有一套》中可以看到，读者熟悉的眼下正流行的事件、语言、语法融入书中，读者分明能感觉到外国古人在身边“复活”了。还有读者去意大利、英国等国旅游时带着《世界历史有一套》，因为他们总能欣喜地发现，该书好比是跨国游旅游指南，各国留传下来的历史文化地标性胜迹，都能在书中找到逗趣的描写、“正史”不曾记载的故事。这样处处为读者着想的书，不红都难。杨白劳谈到《世界历史有一套》时表示自己的愿望是，十年后，希望还有“地主”记得；百年后，希望这些“地主”的儿孙们卖废纸时会留下《世界历史有一套》。“最大的希望是，即使村口厕所没有纸了，也不要打《世界历史有一套》的主意。”看来幽默化到杨白劳骨子里了，处处都埋有“笑点”，句句都是包袱，真是十足的“麻辣鲜师”。 杨白劳是个好长工，说史勤奋，引证有据，论述生猛，语言麻辣，给广大“地主”大众带来了一套难得一见的生鲜滚烫的世界史知识读本。杨白劳希望能让那些完全不读历史书的“地主”也乐意读、读了就乐、乐了就没法撒手。杨白劳讲史，没有繁难的学术解释，也没有复杂的事件体系，就是轻松讲故事，寓教于乐，让“地主”们笑不成声地快乐接受世界历史知识。 “地主”们笑场：没这么折腾人的！死人也笑醒了！

《理想藏书-悲惨世界》内容简介：19世纪的巴黎，冉阿让为了挨饿的孩子偷了一块面包，结果被判处19年的苦役。获释后，走投无路的冉阿让被好心的米里哀主教感化，他化名马德兰，决心重新做人，10年后他成功地成为商人并当上市长。他收养了苦命女工芳汀的孤女珂赛特，视她为掌上明珠。平静的生活再起波澜—一珂赛特与共和派贵族青年马吕斯相恋，尽管冉阿让几次搬家，但深情的马吕斯最终仍找到了珂赛特。多年来从未放弃追捕冉阿让的警长沙威也再次出现……最终冉阿让成全了两个年轻人，但当他表明身份后，马吕斯却将他拒之门外，最后得知冉阿让曾救过自己的命，马吕斯终于放下偏见，与珂赛特一起回到冉阿让身边，但冉阿让已不久于人世。

《诗经现场》是流沙河先生阅读《诗经》的心得体会。作者从《诗经》中精挑细选八十一篇诗章，以还原现场的方式，为读者讲述了每一篇诗背后的故事。文字幽默诙谐，数千年以前的故事娓娓道来，使人身临其境。

本书是传播学领域的奠基之作，它第一次对公众舆论做了全景式的描述，自1922年问世以来，已被翻译成几十种文字，至今仍然保持着这个领域中的权威地位。其影响力经久不衰的奥秘在于，它卓有成效地梳理了舆论研究中一系列难以回避的问题．比如舆论从哪里来，它是怎样形成的?它能造成什么样的结果?谁是公众?公众舆论是什么意思?它是仅仅在公众中传播还是由公众自己形成的?它什么时候才能成为独立的力量?它对成见、兴趣、公意的形成和民主形象等问题做了精辟而深刻的探讨，完成了新闻史上对舆论传播现象的首次全面论述，为后人的研究奠定了基础。

在《道德经》解读中，作者用极其简洁晓畅的语言，解析了《道德经》的大智慧。老子的人生观是极其崇高而适用的，希望这个大智慧能照亮中华民族的前程。所以我原意把它推荐给每一位有使命感的炎黄子孙。

《三毛流浪记》是漫画大师张乐平的惊世之作。《三毛流浪记》问世以后，张乐平有感于当时上海到处可见的流浪儿，悲愤中始创《三毛流浪记》从此三毛形象产生了质的变化。1947年读作问世后产生了巨大的影响，宋庆龄为此策划举办过“三毛原作展览会”并创设了“三毛生活乐园”，以此动员全社会救护苦难中的“三毛”……《三毛流浪记》曾改编成动画片，本偶剧，电视连续剧，五次被搬上银幕和荧屏……

《武林外传》完全颠覆了人们固有的印象。虽然电视剧外表活像一个俗套的武侠剧，男女主角身着古装，刀剑齐全，但既没有吊威亚满天飞的镜头，也没有刀光剑影的场面。细看内容，完全颠覆了武侠剧给人的传统印象。一个个小人物粉墨登场，满口方言和现代词汇…… 本书为10万字原始剧本首度公开，经典爆笑台词的大盘点，独家专访武林全家福，亲密接触台前幕后你不知道的“武林外外传”，并有80回全版剧情完整回放！

异域的故事，跟一些魔幻现实主义的事实。

既然知识和饭一样是一种必不可少的东西,学习就应该是一种乐趣.本书将课堂上必学的数理化知识,用章回小说的形式写出来,情节奇巧,人物生动.作者在讲述故事的同时于不知不觉中,提示了治学方法,使你既长知识,又增智慧.绣出鸳鸯凭君看,又将金针度于你.每一个想得到最起码的科学知识的人,都不放买一本来试着一读.

Book Description The Wordsworth Classics covers a huge list of beloved works of literature in English and translations. This growing series is rigorously updated, with scholarly introductions and notes added to new titles. This novel is the deeply disturbing story of a monstrous creation which has terrified and chilled readers ever since its first publication in 1818. The novel is the outcome of reflection on Gothic horror, galvanism, the then theories concerning the origin of life and the myth of Prometheus. Amazon.com Frankenstein, loved by many decades of readers and praised by such eminent literary critics as Harold Bloom, seems hardly to need a recommendation. If you haven't read it recently, though, you may not remember the sweeping force of the prose, the grotesque, surreal imagery, and the multilayered doppelg?nger themes of Mary Shelley's masterpiece. As fantasy writer Jane Yolen writes of this (the reviewer's favorite) edition, "The strong black and whites of the main text [illustrations] are dark and brooding, with unremitting shadows and stark contrasts. But the central conversation with the monster--who owes nothing to the overused movie image … but is rather the novel's charnel-house composite--is where [Barry] Moser's illustrations show their greatest power ... The viewer can all but smell the powerful stench of the monster's breath as its words spill out across the page. Strong book-making for one of the world's strongest and most remarkable books." Includes an illuminating afterword by Joyce Carol Oates. From 500 Great Books by Women; review by Jesse Larsen After being rescued from an iceberg, Dr. Frankenstein relates his autobiography to the ship's captain, complete with vivid descriptions of his idyllic childhood and passionate cries of regret that not even his love for Elizabeth could control his fanatic ambition. Dr. Frankenstein has been consumed by his desire to create a fully-grown living creature. When he reaches his goal, he perceives his creation as a monster, immediately regrets his work, and promptly abandons it. We also hear the poignant voice of the monster as he describes the spurning and physical attacks he has endured because of his ugliness; his desolate pain and loneliness; how he learns to love; how he finally finds and tries, unsuccessfully, to make peace with his maker; how he learns to hate. A story within a story, Frankenstein is a subtle and ironic prophecy that raises the question of who exactly is the real monster in this story. From Booklist Part of the Whole Story series, this is the full text of Mary Shelley's classic gothic story, which was first published in 1818 and has been a wild success ever since. Philippe Munch's illustrations have none of the power of Barry Moser's unforgettable woodcuts that evoke the loneliness of the grotesque outsider (in the Pennyroyal edition published by the University of California Press in 1984). The design here is crowded, and the type is small. However, the many period prints and maps in color and in black and white, with long, detailed captions, do provide the historical setting for the story, its geography, customs, and ideas. Teens enthralled by pop versions of the myth as well as science fiction fans will be interested in going back to the full version of what has been called the first science fiction novel and learning about the circumstances under which it was written by a woman, just 18 years old, 170 years ago. 　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　Hazel Rochman From School Library Journal Grade 9 Up-Full-color drawings, photographs, and reproductions with extended captions have been added to the unedited text of Shelley's novel, thus placing the work in the context of the era in which it was written. The artwork faithfully represents the text and makes this edition appealing to reluctant readers. Unfortunately, many of the captions provide tangential information that, although interesting, interrupts the flow of the story. However, readers will quickly learn that it is not necessary to read every caption and appreciate this volume for its many quality illustrations. 　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　Michele Snyder, Chappaqua Public Library, NY From AudioFile With so many poor adaptations of Mary Shelley's classic work in all forms of media, it's refreshing to come across a production that retains the quality, premise, and themes of the original book. As the title and principal character, Dr. Frankenstein has an affected voice that suits his tragically ambitious character. The supporting cast works well in a full range of emotions. The script and vocal characterizations de-emphasize Shelley's vision of an intelligent and cunning monster, but this is a quibble. This production is a boon for students new to the book, teachers looking for supplemental classroom materials, and fans of classic literature. A.F. About Author Mary Shelley was born Mary Wollstonecraft Godwin on August 30, 1797 in London, the daughter of William Godwin--a radical philosopher and novelist, and Mary Wollstonecraft--a renowned feminist and the author of Vindication of the Rights of Woman. She eloped to France with Shelley in 1814, although they were not married until 1816, after the suicide of his first wife. She began work on Frankenstein in 1816 in Switzerland, while they were staying with Lord Byron, and it was published in 1818 to immediate acclaim. She died in London in 1851. Book Dimension : length: (cm)19.8 　　　 　　　　　 　　　　　 width:(cm)12.6

《珍妮姑娘》和《嘉莉妹妹》（均为德莱塞的作品）同时跻身于美国《现代文库》所评选出的“20世纪100本最佳英文小说”之中。 　　著名评论家詹姆斯·胡尼克称《珍妮姑娘》是一部伟大的小说，令他想起俄国的最伟大的作品，并称此小说有力地表现了人性。 　　 　　德莱塞是20世纪美国最杰出的现实主义作家之一，也是美国文坛自然主义的先驱，被称为继惠特曼、马克·吐温之后的又一位现实主义大师，《先驱时报》、《内务报》等媒体将德莱塞视力美国的左拉。美国评论家将他与海明威、福克纳并称为美国现代小说的三巨头。

本书是一本优秀的、经典的心理学教科书，不仅在美国，在全世界许多国家的心理学界都有极高的知名度，是心理学基础教材中第一品牌书。本书强调了心理学的科学性，并侧重于指导学生心理学知识在日常生活中的应用。正如作者所言，“心理学是一门与人类幸福密切相关的科学”，它贴近生活，深入实践的独特风格同样也是一般大众了解心理学、更好地理解人性和提高自身全面素质的极好读物。

Aesop's celebrated collection of fables has always been popular with both adults and children. These simple tales embody truths so powerful, the titles of the individual fables - the fox and the grapes, the dog in the manger, the wolf in sheep's clothing and many others - have entered the languages and idioms of most European tongues. This edition is beautifully illustrated in black and white by the great Arthur Rackham, and has an introduction by G.K. Chesterton.