Welcome to the world of Bonny, Peter, and Mr M. Micky Muffin Malicious Mouth Marshmallow. Known as Mr Marshmallow. When finding out their friend Micky the Mosquito is gone, they must find him, in order to save the king from the Willy woo woo witch’s grasp. Even if it is to risk stepping out of the underground. They face many dangers, they face plot lines, they face friends that turn out to be the most cuddly, gigantic, small and heartwarming monsters ever. I will not tell you the names, but they are both completely opposite. The adventure was becoming more complicated, and much more hilarious. Follow these ‘animals’ to their most exciting adventure, out of the underground.
This exciting collaboration with the New York Times will reveal the untold stories of the diverse heroines who fought for the 19th amendment. On the 100th anniversary of the historic win for women's rights, it's time to celebrate the names and stories of the women whose courage helped change the fabric of America.
China has an age-old zoomorphic tradition. The First Emperor was famously said to have had the heart of a tiger and a wolf. The names of foreign tribes were traditionally written with characters that included animal radicals. In modern times, the communist government frequently referred to Nationalists as “running dogs,” and President Xi Jinping, vowing to quell corruption at all levels, pledged to capture both “the tigers” and “the flies.” Splendidly illustrated with works ranging from Bronze Age vessels to twentieth-century conceptual pieces, this volume is a wide-ranging look at zoomorphic and anthropomorphic imagery in Chinese art. The contributors, leading scholars in Chinese art history and related fields, consider depictions of animals not as simple, one-for-one symbolic equivalents: they pursue in depth, in complexity, and in multiple dimensions the ways that Chinese have used animals from earliest times to the present day to represent and rhetorically stage complex ideas about the world around them, examining what this means about China, past and present. In each chapter, a specific example or theme based on real or mythic creatures is derived from religious, political, or other sources, providing the detailed and learned examination needed to understand the means by which such imagery was embedded in Chinese cultural life. Bronze Age taotie motifs, calendrical animals, zoomorphic modes in Tantric Buddhist art, Song dragons and their painters, animal rebuses, Heaven-sent auspicious horses and foreign-sent tribute giraffes, the fantastic specimens depicted in the Qing Manual of Sea Oddities, the weirdly indeterminate creatures found in the contemporary art of Huang Yong Ping—these and other notable examples reveal Chinese attitudes over time toward the animal realm, explore Chinese psychology and patterns of imagination, and explain some of the critical means and motives of Chinese visual culture. The Zoomorphic Imagination in Chinese Art and Culture will find a ready audience among East Asian art and visual culture specialists and those with an interest in literary or visual rhetoric. Contributors: Sarah Allan, Qianshen Bai, Susan Bush, Daniel Greenberg, Carmelita (Carma) Hinton, Judy Chungwa Ho, Kristina Kleutghen, Kathlyn Liscomb, Jennifer Purtle, Jerome Silbergeld, Henrik Sørensen, and Eugene Y. Wang.
The emergence of modernity has typically focused on Western male actors and privileged politics and economy over culture. The contributors to this volume successfully unsettle such perspectives by emphasizing the social history, artistic practices, and symbolic meanings of female performers in popular music of Asia. Women surfaced as popular icons in different guises in different Asian countries through different routes of circulation. Often, these women established prominent careers within colonial conditions, which saw Asian societies in rapid transition and the vernacular and familiar articulated with the novel and the foreign. These female performers were not merely symbols of times that were rapidly changing. Nor were they simply the personification of global historical changes. Female entertainers, positioned at the margins of intersecting fields of activities, created something hitherto unknown: they were artistic pioneers of new music, new cinema, new forms of dance and theater, and new behavior, lifestyles, and morals. They were active agents in the creation of local performance cultures, of a newly emerging mass culture, and the rise of a region-wide and globally oriented entertainment industry. Vamping the Stage is the first book-length study of women, modernity, and popular music in Asia, showcasing cutting-edge research conducted by scholars whose methods and perspectives draw from such diverse fields as anthropology, Asian studies, cultural studies, ethnomusicology, and film studies. Led by an impressive introduction written by Weintraub and Barendregt, fourteen contributors analyze the many ways that women performers supported, challenged, and transgressed representations of existing gendered norms in the entertainment industries of China, Japan, India, Indonesia, Iran, Korea, Malaysia, and the Philippines. Placing women’s voices in social and historical contexts, the essays explore salient discourses, representations, meanings, and politics of “voice” in Asian popular music. Historicizing the artistic sounds, lyrical texts, and visual images of female performers, the essays reveal how women used popular music to shape the ideas, practices, and meanings of modernity in various Asian contexts and time frames. The ascendency of women as performers paralleled, and in some cases generated, developments in wider society such as suffrage, social and sexual liberation, women as business entrepreneurs and independent income earners, and particularly as models for new life styles. Women’s voices, mediated through new technologies of film and the phonograph, changed the soundscape of global popular music and resonate today in all spheres of modern life.
On 23 May 2000, the Chinese government sentenced Jennifer Zeng to reeducation through forced labour. Her fellow inmates were drug addicts, prostitutes and traffickers in pornography. Jennifer's only crime was her belief in the three tenets of Falun Gong Truthfulness, Compassion and Forbearance. Struggling with a life-threatening illness and a need to understand her place in the world, Jennifer had immersed herself in many Western and Eastern philosophies before finally finding the answers she was seeking in Falun Gong. A few short years later her newfound faith saw her blacklisted and imprisoned in a purpose-built labour camp. Jennifer was forced to squat for hours in the blistering sun, endure hours of physical and verbal abuse, and knit garments until her hands bled to feed the booming Chinese economy. During this time Jennifer saw many fellow Falun Gong practitioners tortured. Some died, many more remain in the camps today. This is the powerful and moving story of how a bright, successful young scientist and happily married mother survived detention and torture, only to be forced to flee her family and homeland to seek asylum in Australia. A raw and compelling memoir, one which provides a fascinating glimpse into everyday life in China, Witnessing History also exposes a bureaucracy still struggling to disentangle itself from the constraints of Mao's Cultural Revolution.
This set "is designed to offer intermediate learners of Chinese a complete set of learning tools to improve their language skills and enhance their understanding of Chinese culture and society. Lesson topics revolve around everyday themes and real-world communciation among four central characters - a mainland Chinese, a Taiwanese, a Chinese American and a non-Chinese American - familiar to students using 'Interactions'. Each ten-chapter volume is accompanied by a workbook. Chapters include sections on vocabulary, text, mini-dialogue, characters, grammar, and culture notes, accompanied by engaging graphics. 'Connections' also includes stories and songs, and makes use of a wide variety of texts such as narrative, dialogue, journal entries, riddles, jokes, news, headlines and lyrics." - back cover.
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