Wu Tek Ying's memoir illuminates the customs of China during the turbulent years of 1914-1952. Love affairs, arranged marriages, warlords, jealousy, imprudent marriages and China's changing political scene affect Tek Ying's life. The threat of Communism forced Tek Ying to flee to Hong Kong.
Wu Tek Ying's memoir illuminates the customs of China during the turbulent years of 1914-1952. Love affairs, arranged marriages, warlords, jealousy, imprudent marriages and China's changing political scene affect Tek Ying's life. The threat of Communism forced Tek Ying to flee to Hong Kong.
The romantic comedy has long been regarded as an inferior film genre by critics and scholars alike, accused of maintaining a strict narrative formula which is considered superficial and highly predictable. However, the genre has resisted the negative scholarly and critical comments and for the last three decades the steady increase in the numbers of romantic comedies position the genre among the most popular ones in the globally dominant Hollywood film industry. The enduring power of the new millennium romantic comedy, proves that therein lies something deeper and worth investigating. This new work draws together a discussion of the full range of romantic comedies in the new millennium, exploring the cycles of films that tackle areas including teen romance, the new career woman, women as action heroes, motherhood and pregnancy and the mature millennium woman. The work evaluates the structure of these different types of films and examines in detail the ways in which they choose to frame key contemporary issues which influence how we analyse global politics, including gender, class, race and society. Providing a rich understanding of the complexities and potential of the genre for understanding contemporary society, this work will be of interest to students and scholars of cultural & film studies, gender & politics and world politics in general.
. . . from the minds of therapists on the cutting edge! This informative, innovative collection brings together the work of a group of “scholar-therapists,” all women, who have met regularly for ten years to discuss family therapy, gender, and postmodern ideas. The major themes--feminism, community, and communication--are taken in new directions. Feminism, Community, and Communication rethinks therapy, research, teaching, and community work with a renewed emphasis on collaboration, intersubjectivity, and the process of communication as a world-making and identity-making activity. The issues of gender, culture, religion, race, and class figure prominently in this book. In Feminism, Community, and Communication you'll find descriptions of: communal perspectives for therapists that stress listening and understanding over interpreting and knowing the power of love and spirituality in relation to organizational consultation to an agency beset by racial division research on anorexia and what it means a mentoring project for rural girls the Bar/Bat Mitzva as therapy an ethnographic study of Lebanese women Feminism, Community, and Communication takes an exciting, fresh look at these three intertwined concepts, representing a way of thinking and doing therapy, research, community work, and training that highlights the ethical dimension of each. The book takes the position that human beings are meaning-makers in a common world, and not simply objects to be scrutinized or assessed by “experts.”
In this important new analysis, Wood begins by exploring the meanings of freedom and bondage in sixteenth-century English thought and the ideas that men and women of Tudor England had about Africans and native Americans.
If DAVID RAKOFF and DAVID SEDARIS had a baby and that baby was Betty." —Zoe Kazan If you’ve ever felt like you were more, or at least weirder, than the world expected? you're not alone... In this collection, EMMY AWARD-nominated ACTRESS/WRITER Betty Gilpin "writes like an avenging angel, weaving a tapestry of light and darkness, hilarity, and pathos." (Dani Shapiro) Oh. Hi. *takes six long gulps of water during which you’re like, may I help you?* My name is Betty. I have depression. I have passion. I have tits the size of printers. And also: I have a brain full of women. There’s Blanche VonFuckery, Ingrid St. Rash, and a host of others—some cowering in sweatpants, some howling plans for revolution, and one, oh God, and one . . . slowly vomiting up a crow? Worried for her. These women take turns at the wheel. That’s why I feel like a million selves. With a raised eyebrow and a soul-scalpel, I’d like to tell you how I got this way. Because maybe you feel this way too. Let’s hop from wild dissections of modern womanhood to boarding school musings to the glossy cringe of Hollywood. Let’s laugh at my failures and then quietly hope with me for the dream. Whether that dream is love or liberation or enough IMDB credits to taze the demon snapping at my ankles, we won’t know until the shit-fanning end. As a dear friend said after reading this book, it’s “either a masterpiece, or it’s...completely...” and then she glazed over into a haunted stare. Reader? This book is my opus and it is chaos. Welcome to All the Women in My Brain.
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