When Western missionaries introduced modern chemistry to China in the 1860s, they called this discipline hua-hsueh, literally, 'the study of change'. In this first full-length work on science in modern China, James Reardon-Anderson describes the introduction and development of chemistry in China in the late nineteenth and early twentieth centuries, and examines the impact of the science on language reform, education, industry, research, culture, society, and politics. Throughout the book, Professor Reardon-Anderson sets the advance of chemistry in the broader context of the development of science in China and the social and political changes of this era. His thesis is that science fared well at times when a balance was struck between political authority and free social development. Based on Chinese and English sources, the narrative moves from detailed descriptions of particular chemical processes and innovations to more general discussions of intellectual and social history, and provides a fascinating account of an important episode in the intellectual history of modern China.
The volumes in this series set out to provide a contemporary record of the spread and development of the English language in South, Southeast, and East Asia from both a linguistic and literary perspective. Each volume will reflect themes that cut across national boundaries, including the study of language policies; globalization and linguistic imperialism; English in the media; English in law, government and education; 'hybrid' Englishes; and the bilingual creativity manifested by the vibrant creative writing found in a swathe of Asian societies. This book gives an in-depth analysis of the use of the English language in modern Japan. It explores the many ramifications the Japanese-English language and culture contact situation has for not only Japanese themselves, but also others in the international community. Data for this book has been gathered using anthropological ethnographic fieldwork, augmented by archival sources, written materials, and items from popular culture and the mass media. An interdisciplinary approach, including those of anthropological linguistics, sociolinguistics, cognitive science and symbolic anthropology, is taken in the exploration of the topics here. This book's arguments focus on four major theoretical linguistic and social issues, namely the place of the Japanese-English case in the larger context of 'World Englishes'; the place of the Japanese-English case in a general theory of language and culture contact; how Japanese English informs problems of categorization, meaning construction and cognition; and what it says about the social construction of identity and sense of self, nationalism and race. This book will be of interest to linguists, anthropologists, sociologists, cognitive scientists, and all readers who are interested in language contact, sociolinguistics, English as an international language, and World Englishes. It will also appeal to those who are interested in Japan and popular culture.
A rich, vibrant portrait—the most intimate and telling yet of this complex man considered by many to be the actor’s actor. Spencer Tracy’s image on-screen was that of a self-reliant man whose sense of rectitude toward others was matched by his sense of humor toward himself. Whether he was Father Flanagan of Boys Town, Clarence Darrow of Inherit the Wind, or the crippled war veteran in Bad Day at Black Rock, Tracy was forever seen as a pillar of strength. His full name was Spencer Bonaventure Tracy. He was called “The Gray Fox” by Frank Sinatra; other actors called him the “The Pope.” “The best goddamned actor I’ve ever seen!”—George M. Cohan In his several comedy roles opposite Katharine Hepburn (Woman of the Year and Adam’s Rib among them) or in Father of the Bride with Elizabeth Taylor, Tracy was the sort of regular American guy one could depend on. Now James Curtis, acclaimed biographer of Preston Sturges (“Definitive” —Variety), James Whale, and W. C. Fields (“By far the fullest, fairest, and most touching account . . . we have yet had. Or are likely to have” —Richard Schickel, The New York Times Book Review, cover review), gives us the life of one of the most revered screen actors of his generation. Curtis writes of Tracy’s distinguished career, his deep Catholicism, his devoted relationship to his wife, his drinking that got him into so much trouble, and his twenty-six-year-long bond with his partner on-screen and off, Katharine Hepburn. Drawing on Tracy’s personal papers and writing with the full cooperation of Tracy’s daughter, Curtis tells the rich story of the brilliant but haunted man at the heart of the legend. We see him from his boyhood in Milwaukee; given over to Dominican nuns (“They drill that religion in you”); his years struggling in regional shows and stock (Tracy had a photographic memory and an instinct for inhabiting a character from within); acting opposite his future wife, Louise Treadwell; marrying and having two children, their son, John, born deaf. We see Tracy’s success on Broadway, his turning out mostly forgettable programmers with the Fox Film Corporation, and going to Metro-Goldwyn-Mayer and getting the kinds of roles that had eluded him in the past—a streetwise priest opposite Clark Gable in San Francisco; a screwball comedy, Libeled Lady; Kipling’s classic of the sea, Captains Courageous. Three years after arriving at MGM, Tracy became America’s top male star. We see how Tracy embarked on a series of affairs with his costars . . . making Northwest Passage and Dr. Jekyll and Mr. Hyde, which brought Ingrid Bergman into his life. By the time the unhappy shoot was over, Tracy, looking to do a comedy, made Woman of the Year. Its unlikely costar: Katharine Hepburn. We see Hepburn making Tracy her life’s project—protecting and sustaining him in the difficult job of being a top-tier movie star. And we see Tracy’s wife, Louise, devoting herself to studying how deaf children could be taught to communicate orally with the hearing and speaking world. Curtis writes that Tracy was ready to retire when producer-director Stanley Kramer recruited him for Inherit the Wind—a collaboration that led to Judgment at Nuremberg, It’s a Mad Mad Mad Mad World, and Tracy’s final picture, Guess Who’s Coming to Dinner . . . A rich, vibrant portrait—the most intimate and telling yet of this complex man considered by many to be the actor’s actor.
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