Covering the flowering plants, this is a companion volume to the first book which covered the gymnosperms and dicotyledons, thus completing the seed plant flora of Singapore (the seed plants being composed of gymnosperms and angiosperms). Included are 34 families and approximately 750 species of plants and some 350 illustrations. List of family names, keys to the families of monocotyledons and a name index are included.
In this book Shirley See Yan Ma provides a Jungian perspective on the Chinese tradition of footbinding and considers how it can be used as a metaphor for the suffering of women and the repression of the feminine, as well as a symbol for hope, creativity and spiritual transformation. Drawing on personal history, popular myths, literature, and work with clients, Footbinding discusses how modern women still symbolically find their feet bound through this ancient practice. Detailed case studies from Western and Asian women demonstrate how Jungian analysis can loosen these psychological bindings allowing the client to reconnect with the feminine archetype, discover their own identity and take control of their own destiny. This original book will be of great interest to Jungian analysts looking for a new perspective. It will also be of interest to anyone studying Chinese culture and psychology.
Most existing scholarship on Japan’s cultural policy toward modern China reflects the paradigm of cultural imperialism. In contrast, this study demonstrates that Japan—while motivated by pragmatic interests, international cultural rivalries, ethnocentrism, moralism, and idealism—was mindful of Chinese opinion and sought the cooperation of the Chinese government. Japanese policy stressed cultural communication and inclusiveness rather than cultural domination and exclusiveness and was part of Japan’s search for an East Asian cultural order led by Japan. China, however, was not a passive recipient and actively sought to redirect this policy to serve its national interests and aspirations. The author argues that it is time to move away from the framework of cultural imperialism toward one that recognizes the importance of cultural autonomy, internationalism, and transculturation.
The first part of the book contains documentation of a groundbreaking exhibition held in 2007 on student activities and societal engagements during post-war Singapore 1945OCo1965 and transcripts of forums held in conjunction with it. The second half centres on oral history accounts of mostly former Chinese school students who shared about their social, cultural and political activities in complex but exciting times.Education-at-large broadens our understanding of Singapore''s educational history in the transitional period between the end of the Second World War and the country''s independence; examines the ways in which student activities and activism resonated with, and contributed to, the country''s wider social, political and cultural life, as well as the decolonisation process; and stimulates debates about Chinese education and student activism in Singapore.
Part historical drama, part thriller, and part comedy, Tsui Hark's Peking Opera Blues (1986) invites--if not demands--examinations from multiple perspectives. Tan See Kam rises to the challenge in this study by first situating Tsui in a Sinophone context. The diasporic director explores different dimensions of "Chineseness" in the film by depicting competing versions of Chinese nationalism and presenting characters speaking two Chinese languages, Cantonese and Mandarin. In the process he compels viewers to recognize the multiplicities of the Chinese identity and rethink what constitutes cultural Chineseness. The challenge to a single definition of "Chinese" is also embodied by the playful pastiches of diverse materials. In a series of intertextual readings, Tan reveals the full complexity of Peking Opera Blues by placing it at the center of a web of texts consisting of Tsui's earlier film Shanghai Blues (1984), Hong Kong's Mandarin Canto-pop songs, the "three-women" films in Chinese-language cinemas, and of course, traditional Peking opera, whose role-types, makeup, and dress code enrich the meaning of the film. In Tan's portrayal, Tsui Hark is a filmmaker who makes masterly use of postmodernist techniques to address postcolonial concerns. More than a quarter of a century after its release, Tan shows, Peking Opera Blues still reverberates in the present time.
Global connections and screen innovations converge in Hong Kong cinema. Energized by transnational images and human flows from China and Asia, Hong Kong's commercial filmmakers and independent pioneers have actively challenged established genres and narrative conventions to create a cultural space independent of Hollywood. The circulation of Hong Kong films through art house and film festival circuits, as well as independent DVDs and galleries and internet sites, reveals many differences within global cultural distributions, as well as distinctive tensions between experimental media artists and traditional screen architects. Coving the contributions of Hong Kong New Wave directors such as Wong Karwai, Stanley Kwan, Ann Hui, Patrick Tam, and Tsui Hark, the volume links their spirit of innovation to work by independent, experimental, and documentary filmmakers, including Fruit Chan, Tammy Cheung, Evans Chan, Yau Ching and digital artist Isaac Leung. Within an interdisciplinary frame that highlights issues of political marginalization, censorship, sexual orientation, gender hierarchies, "flexible citizenship" and local/global identities, this book speaks to scholars and students within as well as beyond the field of Hong Kong cinema. Esther M.K. Cheung is chair of the Department of Comparative Literature and director of the Center for the Study of Globalization and Cultures (CSGC) at the University of Hong Kong. Gina Marchetti teaches in the Department of Comparative Literature at the University of Hong Kong. Tan See-Kam presently works and researches at the University of Macau.
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