作品再现日军在侵华战争中，对中国进行的大规模领土侵略、文化侵略、烧杀抢掠和资源掠夺……本书图文并茂，力争退却偏激的感情色彩，理性挖掘从1931年到1945年14年间，日本轻而易举对中国900多座城市功城掠地的内因与外因。书中使用的图片均为作者个人藏品照片，有些购于境外。选材角度新鲜，独特，说服力强，是日本侵华史的有力物证和对“公共记忆”的丰富和补充。

中国是早发明养蚕、缫丝、织绸的国家。而用彩色丝线在丝织物上绣成图案的刺绣工艺．大约在公元前15世纪的商代就已出现。最早的刺绣工艺主要用于服饰，大约在公元10世纪的宋代，刺绣工艺逐渐向具有观赏性的艺术品方向发展，到明、清(1368—1911年)刺绣艺术成就显著，刺绣工艺形成了不同的艺术流派．苏绣、粤绣、蜀绣、湘绣名绣争奇斗艳。苏州地处太湖之滨，盛产蚕桑．中国经济文化重心从五代（907—960年）朝江南转移，“上有天堂，下有苏杭”的说法亦就是五代时期开始流传的。江南文化经济的繁荣促使苏绣技艺有了长足的进步，苏绣艺术独领风骚，影响深远。 今天的苏绣艺术又开创了一个大有作为的新天地。苏绣艺人对传统技艺进行挖掘，加以总结．提高，发展，使苏绣艺术既有传统的文化内涵，又有新时期的时代风貌．苏绣艺术已成为中国工艺

加标理论是理论语言学的前沿理论，是生成语法学派发展到 简方案理论阶段的奠基性理论，其对句法的新哲思吸引了学者们广泛的关注和探讨。 本书拟从加标理论的视角重新审视汉语中包括重动句、把字句、容量翻转句、存现句、上古汉语中的“者”“所”关系从句等语法现象，对“老问题”提出新思考，解决理论汉语学界中一些悬而未决的难题，从而推动汉语语法研究的发展，为对外汉语教学提供新视角，也为语言学与人工智能、神经科学之间的跨学科发展提供理论支撑。

毛泽东诗词的广泛传播，与其诗词本身所具有的博大的思想内容、豪迈的气势和永恒的艺术魅力分不开。毛泽东诗词反映了中国革命和建设的历程，用艺术的手法反映了时代的最强音，具有史诗性，是毛泽东思想的组成部分；毛泽东诗词反映毛泽东豪迈、雄奇的精神世界，具有强烈的个性色彩，是毛泽东研究的一个重要组成部分，最有体现毛泽东的个性特点；毛泽东诗词是人生的教科书和座右铭。每一个中国人，除了唐诗宋词以外，恐怕都会背出几句毛泽东的诗词名句；毛泽东诗词不仅有丰富的哲理内涵，更有饱满的美学内涵，以其内容的博大精深和艺术的蕴藉，赢得了人们的广泛赞誉；毛泽东诗词用旧体诗歌的形式反映现代生活，改变了新旧体诗词对立的局面，在当代诗歌发展史上具有重要的地位。

本书在逻辑上分为三个板块，即众包实验方法研究、语义透明度研究和词感研究。三个板块既有相对独立性，又存在密切关联，有些地方还存在不同程度的交叉。众包实验方法研究侧重于方法论研究，语义透明度研究和词感研究则侧重于语言理论研究。众包实验是对语义透明度、词感进行计量研究时采用的数据收集方法。本书也通过语义透明度实验和分词实验评估众包实验的可靠性。本书先讨论了众包实验的方法，然后运用众包方法构建了语义透明度数据集，运用语义透明度数据集探讨了语义透明度评估中的词法结构效应，然后从中抽取词例用于研究语义透明度对词感的影响。之后运用众包实验方法构建了分词数据集，运用分词数据集测量了汉语母语者的词感一致度，探讨了语段词感强度的测量方法，并分析了语义透明度对词感的影响。书末附上了三个附录，附录1

本书是根据作者多年的研究所撰写的，在书中，作者用翔实的史料介绍了次世界大战期间14万华工赴法工作的情况，介绍了他们在法国的生活以及华工对法国的贡献，并且从东西方文明交流的角度，探讨华工赴法造成的影响。徐先生的这项工作是值得赞许的，也是很有意义的，因为这是一段不仅不应被忘却，而且很值得进一步发掘的历史。该书可供各大专院校作为教材使用，也可供从事相关工作的人员作为参考用书使用。

Traditional Chinese painting was fundamentally an abstract art form.Although there were no absolute abstract Chinese paintings in its original meaning, objects in a painting were not a direct copy of the nature world following the principle of perspective. It was rather a combination or harmony between the nature world and human emotion, a product of "heaven (nature) and human". The effect Chinese painters would like to illustrate in their paintings was not a visual effect of colors and patterns as their Western counterparts would like to achieve. The description of objects in their paintings was no means accurate and few concerned about such factors as colors, principle of perspective, anatomy, surface feel, and relative size. What they would like to achieve was a world in their mind of non materials. The nature world was not an object for them to make a true copy and it was rather elements for them to build their own world.

本书选编的教学案例，来自在非洲 中文教育一线的各个孔学院、孔课堂任教的教师。它们从某种意义上来说是“实例”，来自非洲一线课堂，从不同的角度展示了当前非洲各个 汉语教学课堂的面貌，展示了当时教师思考、解决问题的过程。这为学习者提供了非洲实际教学情境的观察角度，同时也提供了必要的学习、反思、决策的空间。这些案例 的特点也是真实，不仅仅是事件的真实，同时教师自发的对教学事件的分析亦未经雕琢， 是他们当时的想法。也许读者会看到这些案例中面临的教学问题并未 解决，但这无疑是另外一种意义上的客观。

Our book is such a tool, presenting the major points of Chinese history along a complete timeline, with comparisons between the concurrent histories of China and the rest of the world. Covering a time span from 1,700,000 years ago up to AD 1911, the book includes influential historical events and figures in Chinese history, arranged in chronological order with pictures, illustrations, maps and charts. Distinguishing this book from other general introductory books on Chinese history, its contents have been arranged along a timeline, with the function of quick access highlighted by its innovative layout and a detailed index.

中国具有悠久而辉煌的历史：三千年没有间断的、有文献记录的历史，五千年有确切、清晰的口头传说的历史，七千年有考古发掘证实的历史，五十万年有实物证实的人类发展过程重要阶段的历史。中国的历史文化和壮丽的中华河山结合在一起，构成泱泱中华无穷魅力亦即软实力的重要组成部分。本书要带领对中国历史文化有兴趣的读者们去进行一次历史之旅，亲临那些中国历史发生地或相关地，观看甚至触摸那些历史的遗存，倾听风貌留下的遗响，去感知某个历史人物气息，去感受和认识中国历史的辉煌。China has a long and brilliant history. Its documented history is coherent for 3,000 years and its undocumented history is clearly inherited orally for 5,000 years. Archeological discoveries can date back its history to 7,000 years and trace all stages of human development to 50,000 years. China's history and culture, together with her rivers a

Peking Opera, known as Jing Ju (Capital Opera), has a history of more than 200 years. Because of its patronage by the ruling Qing,or Manchu, dynasty, Peking Opera grew from a local folk art .to the standard bearer of theatrical art. It attained the prominent status of Guo Ju or National Opera of China. After the Qing Dynasty was overthrown in 1911, Peking Opera continued to gain popularity not only with the upper classes but also with students and intellectuals. By the 1920s, it had developed into a splendid art form and a popular means-of entertainment as well. In the capital alone, numerous theaters were established solely for op- era performances,and there were at least, three academies for training young performers and several pr0fess!onal opera troupes that performed every week.