She was immortal and did not die of old age. She used a knife in her hand to unravel all the mysteries around her. He, the current prince, calmly played chess with every move he made. A broken piece of jade pushed the two unrelated people together. She gave up love and wanted nothing more than to find a way to live. Facing each other day and night, a deep love, hand in hand and retreat, cutting through thorns and thorns. Power conspiracy, mystery, who was the most important person!

The emblem book was invented by the humanist lawyer Andrea Alciato in 1531. The preponderance of juridical and normative themes, of images of rule and infraction, of obedience and error in the emblem books is critical to their purpose and interest. This book outlines the history of the emblem tradition as a juridical genre, along with the concept of, and training in, obiter depicta, in things seen along the way to judgment. It argues that these books depict norms and abuses in classically derived forms that become the visual standards of governance. Despite the plethora of vivid figures and virtual symbols that define and transmit law, contemporary lawyers are not trained in the critical apprehension of the visible. This book is the first to reconstruct the history of the emblem tradition, evidencing the extent to which a gallery of images of law already exists and structuring how the public realm is displayed, made present and viewed.

This book offers a guided introduction to Chinese nonfictional prose and its literary and cultural significance. It features more than one hundred major texts from antiquity through the Qing dynasty that exemplify major genres, styles, and forms of traditional Chinese prose. For each work, the book presents an English translation, the Chinese original, and accessible critical commentary by leading scholars. How to Read Chinese Prose teaches readers to appreciate the literary merits, stylistic devices, rhetorical choices, and argumentative techniques of a wide range of nonfictional writing. It emphasizes the interconnections among individual texts and across eras, helping readers understand the development of the literary tradition and what makes particular texts formative or distinctive within it. Organized by dynastic period and genre, the book identifies and examines four broad categories of prose—narrative, expository, descriptive, and communicative. How to Read Chinese Prose is suitable for a range of courses in Chinese literature, history, religion, and philosophy, as well as for scholars and interested readers seeking to deepen their knowledge of the Chinese prose tradition. A companion book, How to Read Chinese Prose in Chinese, is designed for Chinese-language learners and features many of the same texts.