From an unexpected twist on a classic Christmas tale and a soldier returning home from war to a pair of girls waiting for an unlikely Christmas wish to come true and a creepy evening in a museum, fill your briefest moments with this collection of 18 flash fiction stories. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; text-indent: 28.8px; font: 12.0px 'Times New Roman'} Commuting to work? Grabbing a quick coffee? Each story tells a complete tale in but a few short minutes with the added promise of a lifelong introduction to new indie writers. You never know, you might just find your next favorite author. Christmas in Love, the third anthology in the Flash Flood series, is a hand-picked selection of master works in romance, science fiction and fantasy themed for Christmas and guaranteed to keep you engaged.
Postcolonial Turn and Geopolitical Uncertainty: Transnational Critical Intercultural Communication Pedagogy connects and interweaves critical communication pedagogy and critical intercultural communication to create a new pedagogy, transnational critical communication pedagogy, that emphasizes the importance of postcolonial and global turns as they are molded into a new area of critical global and intercultural communication pedagogies. Contributors take a transnational approach that requires a deep commitment to acknowledging the importance of the role of geopolitics as it applies to voice, articulation, power, and oppression. This pedagogy ultimately focuses on the social change and social justice that are central to the critical and cultural communication work that aims to decolonize existing communication pedagogies and academia from a more global perspective. Scholars of communication, education, and decolonial studies will find this book particularly useful.
From an unexpected twist on a classic Christmas tale and a soldier returning home from war to a pair of girls waiting for an unlikely Christmas wish to come true and a creepy evening in a museum, fill your briefest moments with this collection of 18 flash fiction stories. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; text-indent: 28.8px; font: 12.0px 'Times New Roman'} Commuting to work? Grabbing a quick coffee? Each story tells a complete tale in but a few short minutes with the added promise of a lifelong introduction to new indie writers. You never know, you might just find your next favorite author. Christmas in Love, the third anthology in the Flash Flood series, is a hand-picked selection of master works in romance, science fiction and fantasy themed for Christmas and guaranteed to keep you engaged.
During World War II and the early Cold War period, factors such as race, gender, sexual orientation, or class made a number of American writers feel marginalized in U.S. society. Cosmopolitan Minds focuses on a core of transnational writers—Kay Boyle, Pearl S. Buck, William Gardner Smith, Richard Wright, and Paul Bowles—who found themselves prompted to seek experiences outside of their home country, experiences that profoundly changed their self-understanding and creative imagination as they encountered alternative points of views and cultural practices in Europe, Asia, and Africa. Alexa Weik von Mossner offers a new perspective on the affective underpinnings of critical and reflexive cosmopolitanism by drawing on theories of emotion and literary imagination from cognitive psychology, philosophy, and cognitive literary studies. She analyzes how physical dislocation, and the sometimes violent shifts in understanding that result from our affective encounters with others, led Boyle, Buck, Smith, Wright, and Bowles to develop new, cosmopolitan solidarities across national, ethnic, and religious boundaries. She also shows how, in their literary texts, these writers employed strategic empathy to provoke strong emotions such as love, sympathy, compassion, fear, anger, guilt, shame, and disgust in their readers in order to challenge their parochial worldviews and practices. Reading these texts as emotionally powerful indictments of institutionalized racism and national violence inside and outside of the United States, Weik von Mossner demonstrates that our emotional engagements with others—real and imagined—are crucially important for the development of transnational and cosmopolitan imaginations.
For close to two hundred years, the ideas of Shakespeare have inspired incredible work in the literature, fiction, theater, and cinema of China, Taiwan, and Hong Kong. From the novels of Lao She and Lin Shu to Lu Xun's search for a Chinese "Shakespeare," and from Feng Xiaogang's martial arts films to labor camp memoirs, Soviet-Chinese theater, Chinese opera in Europe, and silent film, Shakespeare has been put to work in unexpected places, yielding a rich trove of transnational imagery and paradoxical citations in popular and political culture. Chinese Shakespeares is the first book to concentrate on both Shakespearean performance and Shakespeare's appearance in Sinophone culture and their ambiguous relationship to the postcolonial question. Substantiated by case studies of major cultural events and texts from the first Opium War in 1839 to our times, Chinese Shakespeares theorizes competing visions of "China" and "Shakespeare" in the global cultural marketplace and challenges the logic of fidelity-based criticism and the myth of cultural exclusivity. In her critique of the locality and ideological investments of authenticity in nationalism, modernity, Marxism, and personal identities, Huang reveals the truly transformative power of Chinese Shakespeares.
Structured around modes in which one might encounter Asian-themed performances and adaptations, Shakespeare and East Asia identifies four themes that distinguish post-1950s East Asian cinemas and theatres from works in other parts of the world: Japanese formalistic innovations in sound and spectacle; reparative adaptations from China, Taiwan, and Hong Kong; the politics of gender and reception of films and touring productions in South Korea and the UK; and multilingual, diaspora works in Singapore and the UK. These adaptations break new ground in sound and spectacle; they serve as a vehicle for artistic and political remediation or, in some cases, the critique of the myth of reparative interpretations of literature; they provide a forum where diasporic artists and audiences can grapple with contemporary issues; and, through international circulation, they are reshaping debates about the relationship between East Asia and Europe. Bringing film and theatre studies together, this book sheds new light on the two major genres in a comparative context and reveals deep structural and narratological connections among Asian and Anglophone performances. These adaptations are products of metacinematic and metatheatrical operations, contestations among genres for primacy, or experimentations with features of both film and theatre.
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