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"Chinese characters Popular works"
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Chineasy : the new way to read Chinese
Learning Chinese is notoriously difficult and has long put off the most linguistically savvy Westerners ... until now. Breaking down the Great Wall of language, ShaoLan Hsueh has unpicked Chinese characters and created a simple system for quickly understanding the basic building blocks of the written language. Working with renowned illustrator Noma Bar, she has developed a unique set of illustrations that are engaging and delightful, and offer a glimpse into the wonder of the Chinese language and culture. The books main section introduces the radicals the key characters on which the language is built and reveals how they can be combined to form a wealth of more complex words and phrases. In fewer than 200 pages, readers of all ages will have made the first steps towards a genuine appreciation of Chinese, loving every new character they learn.
Book
Positions of Sinophone Representation in Jin's (??) Chivalric Topography
In his article \"Positions of Sinophone Representation in Jin's (??) Chivalric Topography\" Weijie Song examines Yong Jin's post-1949 Hong Kong chivalric imagination of imperial Beijing and beyond during the Ming-Qing Dynastic transition and the dialects of inclusive exclusion and exclusive inclusion. In Cold War Hong Kong, Jin charted a wide range of chivalric activities: intruding into the political center embodied by the Forbidden City (the \"Great Within\") and fleeing to peripheral regions such as Xinjiang's Islamic community, the overseas kingdom in Brunei in Southeast Asia, and an unknown place somewhere inside Yangzhou. Song argues that Jin's literary topography suggests a frustrated yet flexible identity and a supplementary yet self-sufficient \"republic of letters\" in his remapping of China's past for the possible positions of contemporary Sinophone representations.
Journal Article
Rewriting Canonical Love Stories from the Peripheries
In her article \"Rewriting Canonical Love Stories from the Peripheries\" Karen Ya-Chu Yang compares postcolonial and postmodern intertextuality in Taiwanese and the Caribbean texts. Hsien-Yung Pai's \"Wandering in the Garden, Waking from a Dream\" (1966) and Tien-Hsin Chu's \"Breakfast at Tiffany's\" (1997) are two short stories which depict identity crises of first generation and second generation ??? (waishen gren, mainland immigrants). In these two texts disillusionment towards the center's romantic prospects is the lived reality for those compelled to accept their currently marginalized status and adopt hybrid flexibility as a practical survival strategy. In comparison, Jean Rhys in Wide Sargasso Sea (1966) and Maryse Condé in La Migration des coeurs (1995) deconstruct the love prospects from within for purposes of disenchanting the passing down of particular romantic fallacies. Rhys and Condé highlight race and ethnic hybridity to problematize love formulas. As rewritings from the peripheries, Rhys and Condé explore problematic and creative places and spaces of hybrid reconstructions providing insight into the hidden restrictions and possibilities of border crossing.
Journal Article
MoneyWatch Report
The family that owns the company that makes OxyContin is calling a Massachusetts' lawsuit false and misleading. This is the Sackler family's first court response to allegations that individual family members helped fuel the deadly opioid epidemic. Attorneys for the Sackler family say the claims must be dismissed. Massachusetts was among the first state government to sue the family as well as the company last year.
Transcript
Shakespeare's Taming of the Shrew and the Tradition of Screwball Comedy
In her paper, \"Shakespeare's Taming of the Shrew and the Tradition of Screwball Comedy,\" Mei Zhu argues that Shakespeare's Taming of the Shrew is controversial owing to the subtlety and complexity of the text as well as its subject matter. Franco Zeffirelli's 1967 film version seems to follow the narrative structure of the original play closely while its effect is different. Through a detailed analysis and comparison of Shakespeare's play and Zeffirelli's adaptation, Mei argues that Zeffirelli's Taming is based on the Hollywood genre of screwball comedy. Rooted in mid-1930s USA during the Great Depression, such films feature a comic battle of the sexes, with the males generally loosing. Zhu also notes that Shakespeare influenced Chinese films during the early twentieth century, although his influence was indirect.
Journal Article