In the first book designed to introduce students to the broad outlines and significant legacies of the affair, the author deftly interweaves text with documents, tracing the course of events. He highlights the many issues connected with the case, including anti-Semitism, militant nationalism, socialism, the birth of modern Zionism, and the separation of church and state. Sixty-six documents are embedded in the narrative, offering students a broad range of sources to examine, including newspaper editorials, letters, trial testimony, and diary entries. A list of the principal characters is included in the appendices.

    In 1978 six refugees—a girl, her father, and four “uncles”—are pulled from the sea to begin a new life in San Diego. In the child’s imagination, the world is transmuted into an unearthly realm: she sees everything intensely, hears the distress calls of inanimate objects, and waits for her mother to join her. But life loses none of its strangeness when the family is reunited. As the girl grows, her matter-of-fact innocence eddies increasingly around opaque and ghostly traumas: the cataclysm that engulfed her homeland, the memory of a brother who drowned and, most inescapable, her father’s hopeless rage.

    With stunning honesty and a lively, sly humor, Rae Yang records her life from her early years as the daughter of Chinese diplomats in Switzerland, to her girlhood at an elite middle school in Beijing, to her adolescent experience as a Red Guard and later as a laborer on a pig farm in the remote northern wilderness. She tells of her eventual disillusionment with the Maoist revolution, how remorse and despair drove her almost to suicide, and how she struggled to make sense of conflicting events that often blurred the line between victim and victimizer, aristocrat and peasant, communist and counterrevolutionary. Moving gracefully between past and present, dream and reality, the author artfully conveys the vast complexity of life in China as well as the richness, confusion, and magic of her own inner life and struggle.Much of the power of the narrative derives from Yang's multi-generational, cross-class perspective. She invokes the myths, legends, folklore, and local customs that surrounded her and brings to life the many people who were instrumental in her life: her nanny, a poor woman who raised her from a baby and whose character is conveyed through the bedtime tales she spins; her father; her beloved grandmother, who died as a result of the political persecution she suffered.Spanning the years from 1950 to 1980, Rae Yang's story is evocative, complex, and told with striking candor. It is one of the most immediate and engaging narratives of life in post-1949 China.

    debut of internationally acclaimed poet and performance artist Shailja Patel, Migritude is a tour-de-force hybrid text that confounds categories and conventions. Part poetic memoir, part political history, Migritude weaves together family history, reportage and monologues to create an achingly beautiful portrait of women's lives and migrant journeys undertaken under the boot print of Empire. Patel, who was born in Kenya and educated in England and the U.S., honed her poetic skills in performances of this work that have received standing ovations throughout Europe, Africa and North America. She has been described by the Gulf Times as -the poetic equivalent of Arundhati Roy- and by CNN as -the face of globalization as a people-centered phenomenon of migration and exchange.- Migritude includes interviews with the author, as well as performance notes and essays.

    Mao Zedong was one of the most important figures of the twentieth century, the most important in the history of modern China. A complex figure, he was champion of the poor and brutal tyrant, poet and despot. Pantsov and Levine show Mao’s relentless drive to succeed, vividly describing his growing role in the nascent Communist Party of China. They disclose startling facts about his personal life, particularly regarding his health and his lifelong serial affairs with young women. They portray him as the loyal Stalinist that he was, who never broke with the Soviet Union until after Stalin’s death. Mao brought his country from poverty and economic backwardness into the modern age and onto the world stage. But he was also responsible for an unprecedented loss of life. The disastrous Great Leap Forward with its accompanying famine and the bloody Cultural Revolution were Mao’s creations. Internationally Mao began to distance China from the USSR under Khrushchev and shrewdly renewed relations with the U.S. as a counter to the Soviets. He lived and behaved as China’s last emperor.

    This is volume one of the Understanding China Through Comics series.Jing Liu is a Beijing native now living in Davis, California. A successful designer and entrepreneur who helped brands tell their stories, Jing currently uses his artistry to tell the story of China.

    A classic work of autobiography that transcends the self, Dictée is the story of several women: the Korean revolutionary Yu Guan Soon, Joan of Arc, Demeter and Persephone, Cha's mother Hyung Soon Huo (a Korean born in Manchuria to first-generation Korean exiles), and Cha herself. The elements that unite these women are suffering and the transcendence of suffering. The book is divided into nine parts structured around the Greek Muses. Cha deploys a variety of texts, documents, images, and forms of address and inquiry to explore issues of dislocation and the fragmentation of memory. The result is a work of power, complexity, and enduring beauty.

    Written around 1748 as a puppet play, it is now better know in Kabuki performances. In the twentieth century, cinema and television versions have been equally successful. Donald Keene here presents a complete translation of the original text, with notes and an introduction that increase the reader's comprehension and enjoyment of the play. The introduction also elucidates the idea of loyalty. This traditional virtue, as exemplified in Chushingura, has never completely lost its hold on audiences, in spite of twentieth-century changes in Japanese society and moral ideas. Moreover, as Professor Keene points out, the excitement, color and violence expressed in the play may be considered the counterpoint to the austere restraint and understatement which are more commonly thought to be "traditionally" Japanese.

    Bruno Latour's contention is that the word "social" as used by Social Scientists has become laden with assumptions to the point where it has become a misnomer. When the adjective is applied to a phenomenon, it is used to indicate a stabilized state of affairs, a bundle of ties that in due course may be used to account for another phenomenon. Latour also finds the word used as if it described a type of material, in a comparable way to an adjective such as "wooden" or "steely".Rather than simply indicating what is already assembled together, it is now used in a way that makes assumptions about the nature of what is assembled. It has become a word that designates two distinct things: a process of assembling: and a type of material, distinct from others. Latour shows why "the social" cannot be thought of as a kind of material or domain, and disputes attempts to provide a "social explanation" of other states of affairs. While these attempts have been productive (and probably necessary) in the past, the very success of the social sciences mean that they are largely no longer so. At the present stage it is no longer possible to inspect the precise constituents entering the social domain. Latour returns to the original meaning of "the social" to redefine the notion and allow it to trace connections again. It will then be possible to resume the traditional goal of the social sciences, but using more refined tools. Drawing on his extensive work examining the "assemblages" of nature, Latour finds it necessary to scrutinize thoroughly the exact content of what is assembled under the umbrella of Society. This approach, a "sociology of associations" has become known as Actor-Network-Theory, and this book is an essential introduction both for those seeking to understand Actor-Network-Theory, or the ideas of one of its most influential proponents.

    In The Myth of Chinese Capitalism, Roberts explores the reality behind today’s financially-ascendant China and pulls the curtain back on how the Chinese manufacturing machine is actually powered.He focuses on two places: the village of Binghuacun in the province of Guizhou, one of China’s poorest regions that sends the highest proportion of its youth away to become migrants; and Dongguan, China’s most infamous factory town located in Guangdong, home to both the largest number of migrant workers and the country’s biggest manufacturing base. Within these two towns and the people that move between them, Roberts focuses on the story of the Mo family, former farmers-turned-migrant-workers who are struggling to make a living in a fast-changing country that relegates one-half of its people to second-class status via household registration, land tenure policies and inequality in education and health care systems. In The Myth of Chinese Capitalism, Dexter Roberts brings to life the problems that China and its people face today as they attempt to overcome a divisive system that poses a serious challenge to the country’s future development. In so doing, Roberts paints a boot-on-the-ground cautionary picture of China for a world now held in its financial thrall.Dexter Roberts is an award-winning journalist and a regular commentator on the U.S.-China trade and political relationship. His prior speaking engagements include traditional news media outlets (NPR, Fox News, CNN International) as well as universities and institutes (George Washington University, Council on Foreign Relations, and the Overseas Press Club). He is available for virtual classroom visits to courses that adopt The Myth of Chinese Capitalism. Please contact academic@macmillan.com for more information.

    Her clan believes she has been cursed by bad luck, and she is confined to her family's tent to cook and sew. But Oyuna dreams of bringing honor and good luck to her family. Disguised as a boy and with only her beloved old mare and heroic cat for company, she sets off on a journey--a journey that will change her luck forever.

    An autobiography of a young Chinese man whose childhood and adolescence were spent in Mao's China during the Cultural Revolution.

    First published by Yale University Press in 1981,[1] it examines how a number of seemingly insignificant events in 1587 might have caused the downfall of the Ming empire. The views expressed in the book follow the macro history perspective.

    In this new edition Joseph S. M. Lau and Howard Goldblatt have selected fresh works from familiar authors and have augmented the collection with poetry, stories from the colonial period in Taiwan, literature by Tibetan authors, samplings from the People's Republic of China during the Cultural Revolution, stories by post-Mao authors Wang Anyi and Gao Xingjian, literature with a homosexual theme, and examples from the modern "cruel youth" movement. Lau and Goldblatt have also updated their notes and their biographies of featured writers and poets. Now fully up to date, this critical resource more than ever provides readers with a thorough introduction to Chinese society and culture.

    Would the Chinese suffer the fate of much of the rest of the world, carved into pieces by Europeans? Or could they adapt rapidly enough to maintain their independence? This important and compelling book explains the roots of China's complex relationship with the West by illuminating a dramatic, colourful and sometimes shocking period of the country's history.