Where's the money?" "Boss, that man is too evil. Our client didn't get the money back. Our brothers are still in the hospital. " Enough! This time, I will personally take action! The medical expenses, the fare, all went to him! With Yu Si's departure, his small world was immediately swept up into a sea of raging waves and bloody winds ...
Crafted from a research project that lasted for three years, this book examines the impacts of China’s universal two-child policy under the lens of education and focuses specifically on early childhood. This book not only provides number projection, but also the prediction and judgment of the supply and demand of service resources in early childhood education. It attempts to reveal the attitudes and views of families and stakeholders on the universal two-child policy and present the public's policy requirements for the quality of early childhood education. In addition, it analyses possible problems and challenges in current kindergarten layouts and resources allocation. Lastly, it aims to provide references and bases for formulating the plan that adapts to changes of Chinese preschoolers, supply guarantee of future early childhood education and the construction of public service system. Offering rich insights into the current and future status of education in China, this text will be of interest to students, scholars, and researchers of sociology, early childhood education, contemporary China studies, East Asian educational practices and policy.
This book investigates sisterhood as a converging thread that wove female subjectivities and intersubjectivities into a larger narrative of Chinese modernity embedded in a newly conceived global context. It focuses on the period between the late Qing reform era around the turn of the twentieth century and the outbreak of the Second Sino-Japanese War in 1937, which saw the emergence of new ways of depicting Chinese womanhood in various kinds of media. In a critical hermeneutic approach, Zhu combines an examination of an outside perspective (how narratives and images about sisterhood were mobilized to shape new identities and imaginations) with that of an inside perspective (how subjects saw themselves as embedded in or affected by the discourse and how they negotiated such experiences within texts or through writing). With its working definition of sisterhood covering biological as well as all kinds of symbolic and metaphysical connotations, this book exams the literary and cultural representations of this elastic notion with attention to, on the one hand, a supposedly collective identity shared by all modern Chinese female subjects and, on the other hand, the contesting modes of womanhood that were introduced through the juxtaposition of divergent “sisters.” Through an interdisciplinary approach that brings together historical materials, literary and cultural analysis, and theoretical questions, Zhu conducts a careful examination of how new identities, subjectivities and sentiments were negotiated and mediated through the hermeneutic circuits around “sisterhood.”
Motion pictures were introduced to China in 1896, and today China is a major player in the global film industry. However, the story of how Chinese cinema became what it is today is exceptionally turbulent, encompassing incursions by foreign powers, warfare among contending rulers, the collapse of the Chinese empire, and the massive setback of the Cultural Revolution. This book coversthe cinematic history of mainland China spanning across over one hundred and twenty years since its inception. Historical Dictionary of Chinese Cinema, Second Edition contains a chronology, an introduction, and an extensive bibliography. The dictionary section has more than 200 cross-referenced entries on the major filmmakers, actors, and historical figures, representative cinematic productions, genre evolution, significant events and institutions, and market changes. This book is an excellent resource for students, researchers, and anyone wanting to know more about Chinese Cinema.
Where's the money?" "Boss, that man is too evil. Our client didn't get the money back. Our brothers are still in the hospital. " Enough! This time, I will personally take action! The medical expenses, the fare, all went to him! With Yu Si's departure, his small world was immediately swept up into a sea of raging waves and bloody winds ...
Where's the money?" "Boss, that man is too evil. Our client didn't get the money back. Our brothers are still in the hospital. " Enough! This time, I will personally take action! The medical expenses, the fare, all went to him! With Yu Si's departure, his small world was immediately swept up into a sea of raging waves and bloody winds ...
This book investigates sisterhood as a converging thread that wove female subjectivities and intersubjectivities into a larger narrative of Chinese modernity embedded in a newly conceived global context. It focuses on the period between the late Qing reform era around the turn of the twentieth century and the outbreak of the Second Sino-Japanese War in 1937, which saw the emergence of new ways of depicting Chinese womanhood in various kinds of media. In a critical hermeneutic approach, Zhu combines an examination of an outside perspective (how narratives and images about sisterhood were mobilized to shape new identities and imaginations) with that of an inside perspective (how subjects saw themselves as embedded in or affected by the discourse and how they negotiated such experiences within texts or through writing). With its working definition of sisterhood covering biological as well as all kinds of symbolic and metaphysical connotations, this book exams the literary and cultural representations of this elastic notion with attention to, on the one hand, a supposedly collective identity shared by all modern Chinese female subjects and, on the other hand, the contesting modes of womanhood that were introduced through the juxtaposition of divergent “sisters.” Through an interdisciplinary approach that brings together historical materials, literary and cultural analysis, and theoretical questions, Zhu conducts a careful examination of how new identities, subjectivities and sentiments were negotiated and mediated through the hermeneutic circuits around “sisterhood.”
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