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This article uses primary sources from China, Taiwan, and the United States to chronicle the history of the Shanghai Mint and u.s.-China monetary interactions during the 1920s and early 1930s. It focuses on the period immediately preceding the well-known Silver Purchase Act of 1934 and the Nationalist government's decision to abandon the silver standard in favor of a managed currency, the fabi, in November 1935. The article highlights the importance of u.s. advisors, particularly mint technician Clifford Hewitt and Princeton University professor Edwin Kemmerer, in debates about whether China should adopt the gold-exchange standard or stay on the silver standard, as well as their role in the elimination of the silver tael (liang) as a unit of account. The article demonstrates the long-standing interest of the United States in Chinese currency reform and shows how, in the 1920s, this interest often manifested itself in the interactions between Chinese officials and conduits like Hewitt and Kemmerer, rather than monetary missions that the u.s. Congress approved as had been the case in the early 1900s. Finally, the article traces the goals of successive Chinese governments to exercise more control over the currency of modern China and the role of u.s. advisors in that process.

The series broadcasted throughout the history of national television are analyzed by observing indicators such as the gender of the protagonists, their age, number of chapters, duration, aesthetics, narrative genre and especially the producers, co-producers and their nationality of origin. Seg?n el informe The Global Animation Business, elaborado con la participaci?n de la asociaci?n europea de animaci?n Cartoon, Neptuno Films se sit?a en el segundo lugar de los estudios europeos en lo que se refiere a la cantidad de su producci?n, y fue escogido entre los diez primeros estudios de animaci?n de fuera de los Estados Unidos por el Animation Magazine (Neptunofilms.com, 2017). Sin embargo, aunque este factor sea suficiente para que la producci?n espa?ola se distinga de la mayor?a de dibujos internacionales emitidos a lo largo del tiempo a nivel nacional, existe una minor?a de series extranjeras que abogan por lo educativo para preescolares y cuyo respaldo en la producci?n tambi?n ha sido muchas veces por parte de organismos p?blicos, como en el caso de la televisi?n francesa, canadiense, inglesa o alemana, por mencionar algunos pa?ses con series similares a los valores espa?oles, pero que poco o nada tienen que hacer con el mainstream estadounidense y japon?s. En definitiva, la implicaci?n de las instituciones p?blicas nacionales influye en el car?cter educativo y en el p?blico al que van dirigidas las series (preescolar). Pero, a pesar del gran desarrollo y expansi?n de la industria espa?ola de la animaci?n (Redacci?n Emprendedores, 2009), con una media de 13 series por a?o (Espinel, 2017), el poder de Estados Unidos y Jap?n en este ?mbito sigue siendo mucho m?s fuerte que cualquier otro, y es que, el marketing de canales como Disney Channel, Cartoon Network, o la animaci?n oriental anime, siguen siendo lo m?s visto a pesar de que la normativa europea dice que debe haber m?s producci?n de sus pa?ses que norteamericana y japonesa.

Using case studies and analytical overviews this book explores the relationship between broadcasting and the intimate domestic sphere into which it is broadcast.It focuses on the period from the 1920s, when broadcasting was established in the UK, to the present day when both domesticity and broadcasting have become areas of anxiety and.

From some series of the so-called “third golden age of television” and some considerations regarding pornography, this paper tries to locate returns of what is described by Lacan as the rejection of castration inherent to the capitalist discourse. Taking the Lacanian psychoanalytic theory as main reference, the different elaborations in this paper propose to question some edges of contemporary subjectivity —with a presence in mass culture— from the notion of love proposed by Lacan in the framework of the construction of the four discourses and in his seminar Encore. The updating of psychoanalytic categories and concepts in light of cultural forms of mass dissemination allows the authors to reflect on the changes of the analyst position imposed by the current social bond context and the possibility of the bond that motivates a cure.

This unconventional and lighthearted introduction to the ideas of the major Western philosophers examines The Simpsons -- TV's favorite animated family. The authors look beyond the jokes, the crudeness, the attacks on society -- and see a clever display of irony, social criticism, and philosophical thought. The writers begin with an examination of the characters. Does Homer actually display Aristotle's virtues of character? In what way does Bart exemplify American pragmatism? The book also examines the ethics and themes of the show, and concludes with discussions of how the series reflects the work of Aristotle, Marx, Camus, Sartre, and other thinkers.

In an abridged translation that retains the grace and passion of the original, Klots and Ufberg present the stunning memoir of a young woman who became an actress in the Gulag. Tamara Petkevich had a relatively privileged childhood in the beautiful, impoverished Petrograd of the Soviet regime's early years, but when her father—a fervent believer in the Communist ideal—was arrested, 17-year-old Tamara was branded a \"daughter of the enemy of the people.\" She kept up a search for her father while struggling to support her mother and two sisters, finish school, and enter university. Shortly before the Russian outbreak of World War II, Petkevich was forced to quit school and, against her better judgment, she married an exiled man whom she had met in the lines at the information bureau of the NKVD (People's Commissariat of Internal Affairs). Her mother and one sister perished in the Nazi siege of Leningrad, and Petkevich was herself arrested. With cinematic detail, Petkevich relates her attempts to defend herself against absurd charges of having a connection to the Leningrad terrorist center, counter-revolutionary propaganda, and anti-Semitism that resulted in a sentence of seven years' hard labor in the Gulag. While Petkevich became a professional actress in her own right years after her release from the Gulag, she learned her craft on the stages of the camps scattered across the northern Komi Republic. The existence of prisoner theaters and troupes of political prisoners such as the one Petkevich joined is a little-known fact of Gulag life. Petkevich's depiction not only provides a unique firsthand account of this world within a world but also testifies to the power of art to literally save lives. As Petkevich moves from one form of hardship to another she retains her desire to live and her ability to love. More than a firsthand record of atrocities committed in Stalinist Russia, Memoir of a Gulag Actress is an invaluable source of information on the daily life and culture of the Soviet Union at the time. Russian literature about the Gulag remains vastly underepresented in the United States, and Petkevich's unforgettable memoir will go a long way toward filling this gap. Supplemented with photographs from the author's personal archive, Petkevich's story will be of great interest to general readers, while providing an important resource for historians, political scientists, and students of Russian culture and history.

Survivors include her two granddaughters, Melissa Hargett of Columbus, Sue Beth Bunn and her husband, Ken of Midland, Ga., and great-grandchildren, Stephen and Suzanna Bunn.