【96年8月誠品選書】作者花了一年時間閱讀相關心理學與哲學的書籍，並結合了自己科學家的訓練與佛教僧侶的領悟，試圖從整合性的角度來解讀快樂的真正意義，以及得到快樂的途逕為何。他長時間的冥想並研究佛教的核心，認為心智的訓練可以改變腦部構造，而且後來經由科學性的實驗，亦證實了禪修確實可以讓人成為真正快樂的人。作者認儘管人生的諸般痛苦無法避免，但經由沉思與安靜禪定，可以訓練自我排解煩惱的方法，而「精神是可以改變的」便是李卡得快樂的秘訣。譯者與李卡得為靈修好友，譯筆精準流暢，全無類似翻譯作品難以領略的問題。 推薦理由：放棄生物學家的頭銜與生活，李卡德在喜馬拉雅山跟著西藏大師學習佛法，至今已三十餘年。本書是他繼法國排行榜暢銷書《僧侶與哲學家》（記錄他與哲學家父親尚．方斯華的對話）後的又一力作。 內容簡介 ◎共同推薦 丹尼爾．高曼／暢銷書《EQ》作者 賴聲川、丁乃竺 快樂可以學習，精神可以改變 《僧侶與哲學家》作者最新力作！ 沈潛三十年領悟出的幸福心得，助你掌握改變人生的關鍵技巧。 每個人都想要快樂，但想像和達成之間有很大的落差。我們害怕悲慘，卻奔向它。我們想要快樂，卻遠離它。這樣的誤判是如何產生的？ 從生物學博士轉為藏傳佛教喇嘛的馬修．李卡德（Matthieu Ricard），經過在印度潛心研修三十五年之後，提出結合最新科學理論的《快樂學》。他從親身經歷出發，主張快樂不在於外在環境，而是一種能力，一種生存的態度，我們必須學習。 繼《僧侶與哲學家》、《僧侶與科學家》之後，李卡德這本最新著作，是他近年來與許多腦神經科學家和認知科學家，以及佛教僧侶如達賴喇嘛等，一起對「心的轉化」進行大量研究的結果。他們以科學的方法研究禪修者多年修心後的效果，發現長年禪修者，會在腦部造成永久的變化，左前額葉外皮區的活動會明顯增加，帶來正面情緒，例如喜悅和熱情。 李卡德主張，每一個生命都具有完美圓滿的潛能，就像每一粒芝麻都含滿了油一樣。當我們走向心靈道路，開始精進地修行，過了數月或數年之後，會達到關鍵性的轉折點，我們可以成為更好的人，也會對別人的快樂有所貢獻。 「在《快樂學》中，李卡德巧妙地結合他所熟悉的科學、哲學和佛學智慧，以既實用又富有啟發性的洞見，提出一個完善的路徑圖，引導我們切實修練真正的幸福。」 ──丹尼爾．高曼，暢銷書《EQ》作者 「在我們自身之外找尋快樂，就像在面北的洞口等待陽光一樣。」 ──西藏諺語

"This is a book about making art. Ordinary art. Ordinary art means something like: all art "not" made by Mozart. After all, art is rarely made by Mozart-like people; essentially-statistically speaking-there "aren't" any people like that. Geniuses get made once-a-century or so, yet good art gets made all the time, so to equate the making of art with the workings of genius removes this intimately human activity to a strangely unreachable and unknowable place. For all practical purposes making art can be examined in great detail without ever getting entangled in the very remote problems of genius."--from the Introduction "Art and Fear" explores the way art gets made, the reasons it often "doesn't" get made, and the nature of the difficulties that cause so many artists to give up along the way. The book's co-authors, David Bayles and Ted Orland, are themselves both working artists, grappling daily with the problems of making art in the real world. Their insights and observations, drawn from personal experience, provide an incisive view into the world of art as it is expeienced by artmakers themselves. This is not your typical self-help book. This is a book written by artists, for artists -- it's about what it feels like when artists sit down at their easel or keyboard, in their studio or performance space, trying to do the work they need to do. First published in 1994, "Art and Fear" quickly became an underground classic. Word-of-mouth response alone-now enhanced by internet posting-has placed it among the best-selling books on artmaking and creativity nationally. "Art and Fear" has attracted a remarkably diverse audience, ranging from beginning to accomplished artists in every medium, and including an exceptional concentration among students and teachers. The original Capra Press edition of "Art and Fear" sold 80,000 copies. An excerpt: Today, more than it was however many years ago, art is hard because you have to keep after it so consistently. On so many different fronts. For so little external reward. Artists become veteran artists only by making peace not just with themselves, but with a huge range of issues. You have to find your work...

在帝国主义国家以坚船利炮轰开中国大门之前，我们几乎还不知道有这样一种与我们迥异的人存在。他们与我们外貌不同，这让我们产生了种种仇恨的联想。我们视其为妖魔，用故老相传抵御妖魔的手段与之对抗。今日，我们难免会想，在当日的侵略者眼中，我们所采用的是否是一种巫术？以巫术对抗现代文明，难怪我们会一败涂地，只是当年，有多少志士空耗了血泪？ 痛定思痛，有识之士开始思考，使东西方的发展差距如此之大，其根本原因何在？答案就是理性精神。 西方的理性精神源自古希腊，古希腊哲学中所谓的“爱智慧”，即体现了对理性的推崇。理性精神在西方持续发展，虽有中世纪的低迷，但在文艺复兴和启蒙时代后冲破了种种精神钳制，使西方爆发了真正意义上的思想革命。自此，人类对自身的理性产生了极大的信赖，人类理性代替上帝的意志成为“万物的尺度”。理性意识的高涨使人们重视现世人生价值，造就了自由进行创造的进取精神，使得西方无论在理论还是在实践上，都踏上了健康蓬勃的发展道路。 与西方重视个人价值与实践的理性精神相比，中国的传统思想太过于“内求于心”。我们所强调的个人体验与涵养缺乏思辨、超越、分析、实证，除了提升个人修养，为社会定制道德规范外，对社会实践并不具有指导意义。 这种东方式的精神，使得17、18世纪，当西方世界在理性精神指导下蒸蒸日上时，中国却陷入了柏杨先生所谓的“文化酱缸”之中，思想界是“一塌糊涂的污泥”，看不到些微的光芒。而相应的，科学与文化也只有承袭，难得创新。毋庸讳言，若无外力介入，强迫国人“睁眼看世界”，或许今日的中国，仍然以为自己处于不与外界通人烟的“桃花源”中呢！

《幸福简史》内容简介：我们真的知道什么是幸福吗？幸福对指导我们的生活有决定性作用吗？我们怎样处理促使我们幸福的各种因素之间的冲突？在这本幸福简史中，哲学家尼古拉斯•怀特回顾了2500年来人们想要解答这些问题的尝试。怀特评述了从古代到现代西方主要思想家对幸福的看法：从柏拉图的灵魂和谐学说，亚里士多德对于把富裕和兴旺做为有道德的生活的目的的描述，到阿奎那神的本质的观点，边沁的快乐主义计算。我们还可以看到尼采和弗洛伊德作品中对完全和持久的幸福的概念的怀疑。怀特揭示了幸福问题与伦理学和实践哲学中核心问题的关系。

感谢过去那位伟大的导师，他的作品点燃了我内心的火焰。我永远在他那广博而慈爱的羽翼之下，我要对他表达崇高的敬意。他就是查尔斯•哈尼尔先生。 ——郎达•拜恩（全球畅销书《秘密》的作者） 因道破成功的终极谜底而被封禁70年的奇书 为比尔•盖茨赢得580亿身家的致富之源 1912年，《最伟大的24堂课》（The master key system）悄然面世，几年内销出20万册。 1929年，经济大萧条使整个世界商机全面崩盘，读懂了此书的商业家奇迹般地屹立不摇。 1933年，由于纽约商业协会的部分极端分子处于私人目的，而向天主教会举报，此书被禁，但是几十年来一直以地下手抄本的形式在美国精英人士之间流传。 1972年，美国硅谷开始成型，本书的手抄本在众多创业者之间被炒到了3000美元的天价。 1973年，18岁的比尔•盖茨偶然读到此书，认为自己在25岁时将成为亿万富翁，随即毅然从哈佛大学退出，着手创立微软帝国。 2003年，本书解禁，立刻成为全美各大图书销售榜冠军。众多当代成功学大师坦承，所得成就都是源自查尔斯•哈尼尔的“24堂课”。 2008年，蝉联13年全球首富的比尔•盖茨以580亿美元的身家宣布退休。

本书是齐泽克最重要的理论作品，齐泽克把它视为自己的代表作（magnum opus），在这部著作中，他把自己原本分散的哲学见解整合起来，使之融为一体，提出了一套独特的存有论。何谓视差？视差本是天文学概念，指从保持一定距离的两个点观察同一个目标时所产生的方向差异。在齐泽克看来，审视同一个客体时，视差是由两个互不兼容的视角构成的，这两个视角之间存在着不可化约的非对称性。以视差为起点，齐泽克透过黑格尔和拉康解读哲学、科学和政治理论，借助辩证思维和精神分析范畴分析当代文化，重新激活马克思主义对全球资本主义的批判。

How did humanity originate and why does a species like ours exist on this planet? Do we have a special place, even a destiny in the universe? Where are we going, and perhaps, the most difficult question of all, "Why?" In The Meaning of Human Existence, his most philosophical work to date, Pulitzer Prize–winning biologist Edward O. Wilson grapples with these and other existential questions, examining what makes human beings supremely different from all other species. Searching for meaning in what Nietzsche once called "the rainbow colors" around the outer edges of knowledge and imagination, Wilson takes his readers on a journey, in the process bridging science and philosophy to create a twenty-first-century treatise on human existence—from our earliest inception to a provocative look at what the future of mankind portends. Continuing his groundbreaking examination of our "Anthropocene Epoch," which he began with The Social Conquest of Earth, described by the New York Times as "a sweeping account of the human rise to domination of the biosphere," here Wilson posits that we, as a species, now know enough about the universe and ourselves that we can begin to approach questions about our place in the cosmos and the meaning of intelligent life in a systematic, indeed, in a testable way. Once criticized for a purely mechanistic view of human life and an overreliance on genetic predetermination, Wilson presents in The Meaning of Human Existence his most expansive and advanced theories on the sovereignty of human life, recognizing that, even though the human and the spider evolved similarly, the poet's sonnet is wholly different from the spider's web. Whether attempting to explicate "The Riddle of the Human Species," "Free Will," or "Religion"; warning of "The Collapse of Biodiversity"; or even creating a plausible "Portrait of E.T.," Wilson does indeed believe that humanity holds a special position in the known universe. The human epoch that began in biological evolution and passed into pre-, then recorded, history is now more than ever before in our hands. Yet alarmed that we are about to abandon natural selection by redesigning biology and human nature as we wish them, Wilson soberly concludes that advances in science and technology bring us our greatest moral dilemma since God stayed the hand of Abraham.

作为我们独立性和创造力的保证的反抗依然可能吗？谁还能反抗？应反抗什么？采用何种新方式？针对“娱乐”文化，是否可以建立并热爱一种反抗文化？朱丽娅·克里斯特瓦构想的反抗不再是一种新的社会介入方式或乌托邦幻想。从词源学和普鲁斯特的意义上讲，反抗是对过去、回忆和意义的揭示、颠覆、移动和重建的过程。《反抗的意义和非意义》一书汇集了朱丽娅·克里斯特瓦于1994到1995年在巴黎七大关于精神分析学的课程讲义，作者在其中剖析了精神分析学的作用和局限，并通过20世纪三个作家的经历中来反抗文化的进展和死路：阿拉贡，文字魔法师和政治骗子；不屈的萨特，“人应该反抗”的提倡者；最后还有巴特，用写作来揭穿谎言的雅士。

當代歐陸哲學家關於生死的對話，由瑞典電視節目改編成書。由起題至書封設計，作者都在玩轉歐美大流行的心靈雞湯暢銷書類。「如何生活得更快樂而有意義」？這古而有之的哲學命題來到今天被一眾new age 大師演繹為一系列層出不窮的「how to」健康常識類工具書讀物，作者當然大感不是味道。此書總結作者過去廿年的思緒，探討生、死、愛、幽默之必要、生命之獨特性等等哲學思辯。不是要給你一籃子的答案，而是要你也來反思自己的人生。

《心灵导师:身心灵整合之道》是傅佩荣教授近几年研究探讨人生问题的主要心得，呈现了作者对人生哲学的基本观点。我们谈论完整的人生，不能忽略身、心、灵三个部分。年轻的时候，也许侧重身（衍申至有形可见的外貌、体力、财富、地位等）。身的活动当然不能脱离心，而心的运作主要在于“知、情、意”这三项潜能的实现过程，因而具体展示于获取特定知识、发展人际情感，以及培养个人志趣上。然后，在一个看来抽象，其实扮演主导作用的层次，还有灵的存在。灵的运作可以表现于宗教信仰的灵修活动中，但是宗教并非灵的运作的唯一领域。一套完整的价值观，必须针对上述身、心、灵三个部分，提出各自的定位，以及彼此之间的适当关系。

Jesse Prinz argues that recent work in philosophy, neuroscience, and anthropology supports two radical hypotheses about the nature of morality: moral values are based on emotional responses, and these emotional responses are inculcated by culture, not hard-wired through natural selection. In the first half of the book, Jesse Prinz defends the hypothesis that morality has an emotional foundation. Evidence from brain imaging, social psychology, and psychopathology suggest that, when we judge something to be right or wrong, we are merely expressing our emotions. Prinz argues that these emotions do not track objective features of reality; rather, the rightness and wrongness of an act consists in the fact that people are disposed to have certain emotions towards it. In the second half of the book, he turns to a defence of moral relativism. Moral facts depend on emotional responses, and emotional responses vary from culture to culture. Prinz surveys the anthropological record to establish moral variation, and he draws on cultural history to show how attitudes toward practices such as cannibalism and marriage change over time. He also criticizes evidence from animal behaviour and child development that has been taken to support the claim that moral attitudes are hard-wired by natural selection. Prinz concludes that there is no single true morality, but he also argues that some moral values are better than others; moral progress is possible. Throughout the book, Prinz relates his views to contemporary and historical work in philosophical ethics. His views echo themes in the writings of David Hume and Friedrich Nietzsche, but Prinz supports, extends, and revises these classic theories using the resources of cutting-edge cognitive science. The Emotional Construction of Morals will stimulate and challenge anyone who is curious about the nature and origin of moral values.

在这本书中，净香·贝克传达了“平常心禅”的修行主旨：不求特殊的开悟境界，不企图达成有别于当下的超常意识状态，不参公案或话头，不借数息、观息或随息来规避当下的情绪活动，更不主张透过专注禅定引发虚假的三眛境界。换句话说，净香要帮助修行者达到的存在状态，只是如实过自己的生活，维持感官的开放度，留意身心在每个当下的反应及变化，逐渐增强对身体的觉知，进而领会苦的真谛，发现我们与生俱来的慈爱与悲心。应该说，净香·贝克的“平常心禅”并不是什么新东西，而是古老禅宗的现代版本；而善于运用形象化的比喻揭露我们习惯的思维、行为模式及存在的问题，将禅修放在现代都市生活环境下加以考量，则使“平常禅”成为有别于古老禅宗的浅显易懂的“现代禅宗”。

In a groundbreaking new book that does for art what Stephen Pinker's "The Language Instinct" did for linguistics, Denis Dutton overturns a century of art theory and criticism and revolutionizes our understanding of the arts."""The Art Instinct" combines two fascinating and contentious disciplines--art and evolutionary science--in a provocative new work that will change forever the way we think about the arts, from painting to literature to movies to pottery. Human tastes in the arts, Dutton argues, are evolutionary traits, shaped by Darwinian selection. They are not, as the past century of art criticism and academic theory would have it, just "socially constructed."Our love of beauty is inborn, and many aesthetic tastes are shared across remote cultures--just one example is the widespread preference for landscapes with water and distant trees, like the savannas where we evolved. Using forceful logic and hard evidence, Dutton shows that we must premise art criticism on an understanding of evolution, not on abstract "theory." He restores the place of beauty, pleasure, and skill as artistic values.Sure to provoke discussion in scientific circles and uproar in the art world, "The Art Instinct "offers radical new insights into both the nature of art and the workings of the human mind. Denis Dutton is the founder and editor of the hugely popular Web site "Arts and Letters Daily," named by the "Guardian" as the best Web site in the world. He also founded and edits the journal "Philosophy and Literature," and is a professor of the philosophy of art at the University of Canterbury, New Zealand. Denis Dutton's "The Art Instinct" combines two fascinating and contentious disciplines--art and evolutionary science--in a provocative new work that will change forever the way we think about the arts, from painting to literature to movies to pottery. Human tastes in the arts, Dutton argues, are evolutionary traits, shaped by Darwinian selection. They are not, as the past century of art criticism and academic theory would have it, just "socially constructed." Our love of beauty is inborn, and many aesthetic tastes are shared across remote cultures--just one example is the widespread preference for landscapes with water and distant trees, like the savannas where we evolved. Using forceful logic and hard evidence, Dutton shows that we must premise art criticism on an understanding of evolution, not on abstract "theory." He restores the place of beauty, pleasure, and skill as artistic values. Sure to provoke discussion in scientific circles and uproar in the art world, "The Art Instinct "offers radical new insights into both the nature of art and the workings of the human mind. " Dutton's] discussion of the arts and of our responses to them is uniformly insightful and penetrating . . . he touches on all the major issues of aesthetics in this fairly short book and invariably illuminates them . . . Dutton's eloquent account sheds light on the role art plays in our lives, whatever its ultimate origins"--Anthony Gottlieb, "New York"" Times Book Review" " Dutton's] discussion of the arts and of our responses to them is uniformly insightful and penetrating . . . he touches on all the major issues of aesthetics in this fairly short book and invariably illuminates them . . . Dutton's eloquent account sheds light on the role art plays in our lives, whatever its ultimate origins"--Anthony Gottlieb, "New York"" Times Book Review ""As he observes in his provocative new book, "The Art Instinct," people the world over are weirdly driven to create beautiful things . . . Dutton is an elegant writer, and his book should be admired for its attempt to close the gap between art and science."--Jonah Lerner, "Washington Post Book World"" ""Mr. Dutton's book is anything but strident. He argues his thesis--that art-making evolved among humans as a means of demonstrating physical and cognitive fitness to potential mates, and that this fundamental reality provides the best answer we can give to the question "What is art?"--with almost old-fashioned politeness toward his adversaries. And that, perhaps, is the best way to read ""The Art Instinct"": as a guided tour of the great landmarks of the philosophy of art--aesthetic theory explained, modified and refuted with patience and fluency by a writer whose mind was apparently formed well in advance of the meme-ocracy it helped to create."--"New York Observer ""A substantial contribution to the debate we ought to be having."--Martin Kemp, "The New Scientist """The Art Instinct" gives a comprehensive survey of the field, written with fluency, wit, and wide erudition."--John Derbyshire, "New Criterion """The Art Instinct" offers fresh and liberating ideas while demonstrating Dutton's profound sense of curiosity and his willingness to take risks while dealing with puzzling and largely fragmentary pre-history."--Robert Fulford, "National Post" (Canada) "Why do we human beings make art?...That is the question raised and answered, more or less, in this intriguing book. Author Dennis Dutton teaches philosophy, has done archaeological work in New Guinea and is founder of the popular Arts and Letters Daily Web site. Art's appeal, he argues, is lodged in our genes and in the genes of our Ice-Age ancestors, those shaggy forebears who first painted cave walls and told stories around the campfire."--"Dallas Morning News" "If you care about art writ large as a miraculous bounty for the world, or only for your own selfish sake, "The Art Instinct" should impress you as the most shrewd, precisely written and provocative study you'll find on its topic's place in human nature."--"Philadelphia Inquirer ""Full of observations that again demonstrate Dutton's] uncanny ability to collect complex arguments and present them as thought-provoking statements"--James Panero, "City Journal ""Vigorous and wonderfully provocative"--"Raleigh News and Observer ""Pugnaci

序言  一  前言  一  例言  一  捭闔第一    反應第二    内揵第三    抵巇第四    飛箝第五    忤合第六    揣篇第七    摩篇第八    權篇第九    謀篇第十    決篇第十一    符言第十二    轉丸第十三、胠亂第十四（二篇 皆亡）    本經陰符七術    持樞    中經    附録一 鬼谷子佚文    附録二 歷代官私書志著録    附録三 歷代序跋    附録四 鬼谷子書目    附録五 歷代辨僞    附録六 生平資料與有關傳説    附録七 鬼谷子韻讀    附録八 鬼谷子校記 

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这本书是梁漱溟先生晚年的代表作。也是这位“现代新儒学的开启者”在1949年以后公开出版的惟一的一部学术专著。其由构思到付梓，曾几度曲折，数番断续，前后竟经历了漫长的五十个春秋。

《新人性》主要论述了有关人性的问题，同时论述了怎样发泄和安神、怎样拥有成功的人生，以及家庭问题、企业问题、文化问题，并穿插介绍了一些白手起家，3、5年成为富翁的年轻人的故事。

《周易与人格》从方法论视角对《易经》作了全新解析。全书共分三部分。第一部分。绪论。通过对当代科学理性的不完备性讨论．提出易学是质变逻辑学。第二部分，《易经》新解。这是《周易与人格》的主体。作者以“图”解“辞”，揭示了《易经》本义。第三部分．结束语。探讨了易学对人类知识的整合功能。作者从逻辑高度把深奥《周易》从古典哲学形态转化为现代科学形态．为辩证思维科学化作了创新性探索。 《周易与人格》所阐述的64种人格，是与西方心理学不同路径的人格系统。书中首次对人格的结构和属性进行了全面解说．在选拔人才、人格培训，人格自我矫治等方面都有很重要的实用价值。

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