在《社会权力与法律文化——中华帝国晚期的讼师》中，梅利莎·麦柯丽教授选择了中华帝国晚期（1500～1911）背景下一个极富争议而又被忽视的法律与社会形象——讼师，作为核心主题，展开对中国法律的社会史与文化史的研究。在整理和分析大量官方与民间史料的基础上，作者试图诠释：讼师究竟是什么样的人，他们实际上在做什么，有哪些人依赖于他们的服务，他们为什么会成为政府官员和“良善”士绅极度鄙夷的对象，讼师现象在明清时期及近代中国的历史背景下有何意义，以及”法律实践与民间文化如何共同融入中华帝国晚期的法律文化之中“，《社会权力与法律文化——中华帝国晚期的讼师》中，特别探究了”关于讼师的文学作品和戏剧表演并不仅仅是对中国法律文化的反映，它们还积极地型塑了这一法律文化”的问题。

This volume illuminates the relationship of China's radical past to its reformist present as China makes a way forward through very differently conceived and contested visions of the future. In the context of early twenty-first century problems and the failures of global capitalism, is China's history of revolutionary socialism an aberration that is soon to be forgotten, or can it serve as a resource for creating a more fully human and radically democratic China with implications for all of us? Ranging from the early years of China's revolutionary twentieth-century to the present, the essays collected here look at the past and present of China with a view toward better understanding the ideas, ideals, and people who have dared to imagine radical transformation of their worlds and to assess the conceptual, political, and social limitations of these visions and their implementations.

根据瑞典斯德哥尔摩大学出版社1983年英文原版译出。这是一部分析抗日战争时期中国共产党领导下的抗日根据地的经济、政治政策的专著。

Julia Andrews's extraordinary study of art, artists, and artistic policy during the first three decades of the People's Republic of China makes a major contribution to our understanding of modern China. From 1949 to 1979 the Chinese government controlled the lives and work of the country's artists—these were also years of extreme isolation from international artistic dialogue. During this period the Chinese Communist Party succeeded in eradicating most of the artistic styles and techniques it found politically repugnant. By 1979, traditional landscape painting had been replaced by a new style and subject that was strikingly different from both contemporary Western art and that of other Chinese areas such as Taiwan, Hong Kong, and Singapore. Through vivid firsthand accounts, Andrews recreates the careers of many individual artists who were forced to submit to a vacillating policy regarding style, technique, medium, and genre. She discusses the cultural controls that the government used, the ways in which artists responded, and the works of art that emerged as a result. She particularly emphasizes the influence of the Soviet Union on Chinese art and the problems it created for the practice of traditional painting. This book opens the way to new, stimulating comparisons of Western and Eastern cultures and will be welcomed by art historians, political scientists, and scholars of Asia.

《目标中国:华盛顿的"屠龙"战略》作者威廉•恩道尔先生以地缘政治的独特视角，真实、严谨、生动地勾勒出世界地缘政治斗争场景，揭示了美国统治集团在国际政治和经济上孤立中国，制造危机，重创直至扼杀中国发展的“慢火煮蛙”式“屠龙”谋略，并点击美国霸权致命软肋，支招中国制胜策略。