Yi Ming was lying on his side on the spacious and comfortable bed. He was covered by a dark blue blanket that covered his body. His muscular arms were exposed. One could see just how great his figure was ...
Taiwan was able to solidly build and sustain a film industry only after locally-produced Mandarin films secured markets in Hong Kong and Southeast Asia during the 1960s and 1970s. Though only a small island with a limited population, in its heyday, Taiwan was among the top-10 film producing countries/areas in the world, turning out hundreds of martial arts kung fu films and romantic melodramas annually that were screened in theaters across Southeast Asia and other areas internationally. However, except for one acclaimed film by director King Hu, Taiwan cinema was nearly invisible on the art cinema map until the 1980s, when the films of Hou Hsiao-hsien, Edward Yang, and other Taiwan New Cinema directors gained recognition at international film festivals, first in Europe, and later, throughout the world. Since then, many other Taiwan directors have also become an important part of cinema history, such as Ang Lee and Tsai Ming-liang. The Historical Dictionary of Taiwan Cinema covers the history of cinema in Taiwan during both the Japanese colonial period (1895-1945) and the Chinese Nationalist period (1945-present). This is accomplished through a chronology highlighting the main events during the long period and an introduction which carefully analyses the progression. The bulk of the information, however, appears in a dictionary section including over a hundred very extensive entries on directors, producers, performers, films, film studios and genres. Photos are also included in the dictionary section. More information can be found through the bibliography. Taiwan cinema is truly unique and this book is a good place to find out more about it, whether you are a student, or teacher, or just a fan.
In 1978, Deng Xiaoping, China's paramount leader, launched the economic reforms that turned the world's most populous nation into an economic dynamo. Yet Deng also shaped the destiny of a China that to this day is locked in the iron embrace of the Chinese Communist Party and its ancient, intractable leaders—even though early in his regime Deng had
Grounded in a detailed and compelling account of the philosophy guiding such a project, Ma's book traces a continuity of thought and practice through the very different poetic work of objectivists Louis Zukofsky, George Oppen, Carl Rakosi, and John Cage and language poets Susan Howe, Lyn Hejinian, Bruce Andrews, and Charles Bernstein. His deft individual readings provide an opening into this notoriously difficult work, even as his larger critique reveals a new and clarifying perspective on American modernist and post-modernist avant-garde poetics. Ma shows how we cannot understand these poets according to the usual way of reading but must see how they deliberately use redundancy, unpredictability, and irrationality to undermine the meaning-oriented foundations of American modernism--and to force a new and different kind of reading."--Pub. desc.
Over the past several years, Mainland China has undertaken reforms in various domestic areas, including culture and society, education, the economy, and the Communist Party. In addition, since September 1982 Peking has begun to pursue an independent course in foreign relations. In this volume, based on the Thirteenth Sino-American Conference in Tai
[New Pit "Young Master Zhou of Rebirth"] [This article does not know how to lock doors]To live a new life, to hold a grudge for a lifetime, Zuo Shaoqing had the will to take revenge and take revenge.Those who should fight for it, fight for it.Who said that a bastard couldn't be the head of a household?Who said that officials could not love money?Who said that men couldn't break their sleeves?Who said that the top scholar could not be married off?As long as I like it, I'll take it all!
Historians of modern Chinese literature have generally used the year 1907 to mark the inception of Western-style drama in China. For in that year, a small group of Chinese students in Japan, inspired by the Japanese experiments with Western drama, decided to follow suit and form the Spring Willow Society, an amateurish dramatic club for experimental purposes. Their first play, staged in Tokyo in February of the same year, is an adaptation from Dumas' La dame aux camelias. The play had an all-male cast and used a strange mixture of old and new techniques. But to the Chinese audience brought up in the native operatic tradition, what must have seemed strange would not have been so much the mixture of technique old and new as the complete unfamiliarity of the plot and the method of its presentation: for neither the story nor the acting was anything akin to what they used to think, of as drama.
One was a killer from the twenty-first century, she longed for love and a plain life, but she just had to fall in love with the person who brought her up, who brought her into Killer's Organization, and yet she couldn't get the favor of the person she loved. She burned her own life for the person she loved, and only wanted to give him a way out, and when she lost her life, the God seemed to pity her, and let her travel to another world to continue looking for her love. Where would she go, under the pursuit of two men? One protected her at all times, the other hurt her again and again, and who could tell her who she could choose to protect herself from harm, or who she could only protect herself in the end.
When General George C. Marshall was sent to China by President Truman in 1945 to mediate peace between the Chinese Nationalists and the Chinese Communists, Marshall chose Stuart as Ambassador to help with that mediation and to look after American interests in China. Stuart was the last to hold that post before the Chiang Kai-shek government's move to Taiwan.
He was able to get on well with the difficult stepmother, and make his sisters all admire him, but only did not expect the marriage life with the prince is so difficult! He was a doctor in the past life but died in an accident in his work. What he didn't expect was that after his death, he was reborn into a completely strange world. In this life, he became a wealthy young master and accidentally met the prince who was escaping his life. The prince's seemingly aloof but actually kind-hearted nature attracted him deeply, he thought to himself that he would help the prince to heal his legs, which had been destroyed by the war. He also looked forward to some romantic things happens between him and the prince. Soon after, he and the prince finally got married as he wished, but he could deal with the difficult stepmother and sisters, only did not expect to be the prince's wife is so difficult! ☆About the Author☆ Cang Ming, an excellent online novel writer. His novels have rich plots and twists, and the emotional descriptions are delicate and moving. It has strong readability and is deeply loved by readers.
Metaphor familiarizes things strange with things familiar to enrich old things with things newly made familiar. Thus metaphor is an effective intercultural highway without shared thinking-way, for each culture is a specific thinking-way. This volume shows such intercultural communication.
Through the history of rickshaw pullers in Hong Kong and Canton, Reluctant Heroes provides a rich portrait of the urban milieu and life in two contrasting yet interrelated cities in South China. Fung Chi Ming explains the dynamics between the rickshaw pullers' participation in collective action and the intervention of the British colonial and Chinese authorities, and traces the pullers' emergence and eclipse as a political force. Reluctant Heroes is a fascinating study of rickshaw pullers in Hong Kong and Canton. The author reconstructs the daily lives and social environments of rickshaw pullers, the majority of whom were emigrants who differed in the loyalties of dialect, place of origin and kinship. Low- skilled yet partially self-employed, rickshaw pullers relied on entrepreneurial flair, in addition to physical stamina, to tout for fares, thus bridging the culture of petty traders and physical laborers. In the volatile urban environment, they were subjected not just to patron-client problems, but also the directives and regulations of the state, and to interventions of the police, and the British colonial and Chinese authorities. Rickshaw pullers struggled with their adversities and became a political force to be reckoned with. Fung argues that they are "reluctant heroes," since their collective outbursts were authentic protests against encroachments on their livelihood. They were spurred into collective actions that were at times cheered by the public, or embroiled in city politics, thus suffering great losses in political storms, when they would have preferred to lead quiet, anonymous lives. Set against the backdrop of two contrasting yet interrelated cities in South China, Reluctant Heroes brings a richer understanding of urban living through a comparative study of the historic pattern of adaptation in the urban workplace, the powers of the state, and the repertoire of mass activism.
From the preeminent writer of Taiwanese nativist fiction and the leading translator of Chinese literature come these poignant accounts of everyday life in rural and small-town Taiwan. Huang is frequently cited as one of the most original and gifted storytellers in the Chinese language, and these selections reveal his genius. In "The Two Sign Painters," TV reporters ambush two young workers from the country taking a break atop a twenty-four-story building. "His Son's Big Doll" introduces the tortured soul inside a walking advertisement, and in "Xiaoqi's Cap" a dissatisfied pressure-cooker salesman is fascinated by a young schoolgirl. Huang's characters—generally the uneducated and disadvantaged who must cope with assaults on their traditionalism, hostility from their urban brethren and, of course, the debilitating effects of poverty—come to life in all their human uniqueness, free from idealization.
This study focuses on the Chronicler's special interest in Levite singers. It takes into consideration the socio-ideological milieu of the Jerusalem temple community in the Persian period and the Mesopotamian elite professional norms and practices that nourished the singers and their music. It also explores the conception of the earthly temple as representative of its heavenly counterpart, and looks at the way in which this shaped the Chronicler's theological frame of reference. The work is divided into two parts. Part I examines the Mesopotamian scribal-musical background, to which Ko attributes the rise of music in Chronicles. Part II considers the Chronicler's ideological perspective, the language of the temple and the educational, scribal, and liturgical services of Levite singers. By focusing on the characterisation of the Levite singers in the light of their Mesopotamian counterparts, Ko shows how they sought to foster cosmic stability according to the terms of the Davidic covenant.
Did the civil rights movement impact the development of the American state? Despite extensive accounts of civil rights mobilization and narratives of state building, there has been surprisingly little research that explicitly examines the importance and consequence that civil rights activism has had for the process of state building in American political and constitutional development. Through a sweeping archival analysis of the NAACP's battle against lynching and mob violence from 1909 to 1923, this book examines how the NAACP raised public awareness, won over American presidents, and secured the support of Congress. In the NAACP's most far-reaching victory, the Supreme Court ruled that the constitutional rights of black defendants were violated by a white mob in the landmark criminal procedure decision Moore v. Dempsey. This book demonstrates the importance of citizen agency in the making of new constitutional law in a period unexplored by previous scholarship.
In this book, the author offers a proposed contextual biblical hermeneutic that takes into account the epistemic terrain of a particular geopolitically defined context and applies it through a multicentric dialogue to reading the stories in Daniel in Singapore.
Since Christianity was re-introduced to China in the early nineteenth century, Chinese Christianity has undergone a holistic “transfiguration” which both truthfully restores ante-Nicene Christianity and successfully adapts to the cultural contexts of Chinese and other societies. The theoretical and theological diversity of this book is consistent with that of traditional Chinese religious writings as well as that of the ante-Nicene fathers but may be deemed un-theoretical, un-academic, or un-theological by those theologians who received Western theological training, as that tends to be too hegemonic, emotionless, and archaic in the eyes of lay believers.
This book raises interesting questions about the process of democratization in Hong Kong. It asks why democracy has been so long delayed when Hong Kong's level of socio-economic development has become so high. It relates democratization in Hong Kong to wider studies of the democratization process elsewhere, and it supplements the received wisdom - that democracy was delayed because of colonial rule and by the opposition of China - with new thinking, for example, that its quasi-bureaucratic authoritarian political structure vested power in bureaucrats who refused to have top-down democratization; a politically weak civil society and a non-participant political culture that crippled bottom-up democratization; plus the division between pro-democratic civil society and political society.
Yin Xu was the most talented demonic cultivator in history. Once he failed his tribulation and became a mortal, he was still a reputed good-for-nothing. But so what if he was born useless? I'm cultivating a demonic art! So what if he couldn't ascend? I am still above everyone else. Under this man ... Yin Xu said, "Next time, I want to be up there!" Teng Yong replied, "Sure, if you don't want to pick the sun to replenish your yin energy." Yin Xu said, "Then forget it, my demonic arts are more important.
This book offers a fresh look at Taiwan's state workers in from the postwar period to the present day and examines the rise and fall of labor insurgency in the past two decades. Challenging the conventional image of docile working class, it unearths a series of workers resistance, hidden and public, in a high authoritarian era.
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.