In this passage from “No Name Woman,” Maxine Hong Kingston imagines what old world China was like, and paints a picture of a repressive, strictly ordered society in which people were essentially unable to have private lives. Everything had to be done for the sake of the family’s or village’s well-being. In such a world, Kingston’s aunt represents the worst kind of transgressor, one whose private lusts disrupted the social order and threatened the very existence of the village. Kingston uses interesting and imaginative stylistic techniques to represent the “circle” or “roundness” of Chinese life and the struggle this creates for both the village and No Name Woman.…
Red Sorghum, which is Zhang Yimou’s first movies, tells a tragic story take place in rural China during 1900s. Red Sorghum, as the awards winner movies for the 38th Berlin international film festival, indeed have several significances. In example, the great portion of color red that is used in the movie has successfully created a visual impact to the audience. Apparently, the color red carries significant information throughout the whole movie. Red, as the color of blood and fire, has commonly been understood to be associated with meanings of love, passion, desire, et cetera. Despite other significance carries along with the film, in this paper it is argued how Red Sorghum expresses an aim for feminism and sexual liberation.…
The Death of Woman Wang, by Jonathan Spence is a historical novel pertaining to average people living in northeastern China. Spence’s book is unlike the “typical” social Confucian society China was thought to resemble during the seventeenth century. In this book, ideas of a Confucian family are challenged and can be seen as alternative but non-the-less, Confucian throughout human interaction and specifically in individual behavior. The Confucian ideas of filial piety, suicide, and being subservient are present, yet not as prominent as historians might think in a small town known as T’an-ch’eng.…
The Death of Woman Wang, by Jonathan D. Spence, paints a vivid picture of provincial China in the seventeenth century. Manly the life in the northeastern country of T’an-ch’eng. T’an-ch’eng has been through a lot including: an endless cycle of floods, plagues, crop failures, banditry, and heavy taxation. Chinese society in Confucian terms was a patriarchal society with strict rules of conduct. The role at this time of women, however, has historically been one of repression. The traditional ideal woman was a dependent being whose behavior was governed by the "three obedience’s and four virtues". The three obedience’s were obedience to father before marriage, the husband after marriage, and the son in case of widows. The four virtues were propriety in behavior, speech, demeanor and employment. The laws of the land and fear of shame in society dictated that men were allowed to rule over their household leaving women in a powerless state as almost a slave of the home. In P’u’s stories women are portrayed as complex characters who hold important roles in the family, but are treated with little to no respect by authority figures, and other men of higher class. In The Death of Woman Wang, Spence portrays…
This story focuses on the experience of a man, Chen Xin (pronounced "Chen Zin") who is returning to the city of Shanghai after an absence of ten years. He has spent that time in a rural area and has looked forward to being reunited with his family, which consists of his mother, his elder brother and the brother's wife and child, and his younger brother. The family lives together in cramped quarters and the introduction of the middle brother into this space creates something of a crisis.…
Fortunate to be born into a family that supported education, Wu Zhou, in her travels with her father, gained a loving parent-child bond that drove her to exceed boundaries and achieve great things. Since her father did not have the chance to become a man of status, she wanted to make him proud and prove society’s standards wrong by outcompeting her opponents—males. Being well versed in education, politics, and discovering her own beauty, she gained position of Talent Wu, or fifth- ranked concubine to Emperor Taizong.…
Zhang Yimou’s House of Flying Daggers is a Wuxia film that unarguable stays true to the general conventions of Wuxia yet, at times, deviate from them to give way to Yimou’s own signature style. Much emphasis is given to pay tribute to Wuxia and Yimou’s auteristic reliance on mise-en-scene and cinematography. The use of certain elements of mise-en-scene and cinematography contribute to characterization and story development. However, it should be mentioned that though there are indicators of characterization and storyline progress, they fall short of expectation, as Yimou relies heavily on sensory stimulation above all else.…
“The Trip Back” is the first chapter that will be explained. Now this chapter really showed you a strong meaning of friendship between a husband and wife. It basically shows how friendship can overcome anything and everything. A good quote was, “not the eyes of my wife or country either but the heart,” in this Chapter the meaning for this, from the wife from the husband is stronger then any obstacle. The husband has to do so much just to make her happy, and he does a good job. The wife’s father had passed away and the only thing close to a father figure for her was Mr. Chinh. The problem was that he had a form of amnesia caused by old age most of the time so he didn’t remember he had a niece, when the husband told him. So he was worried when he brought the man home, and his wife broke down crying as soon as she saw him, and out of love the husband grab his kids and left them alone for awhile. He knew the wife would need some time to recover from seeing her father figure or bestfriend, and he gave her that time. When she realized he didn’t even remember who she was, she became heartbroken but still smiled because of the fact that she got to see him. Anyone would be sad, but the ultimate display of a strong love/friendship was the husband coming up to his wife getting on his knees and giving his wife Mai a piggyback ride. The fact that after so many years of marriage they could still act childish shows how strong their love/friendship really was. The fact that they were lovers and best…
Born in the capital city of Mexico on September 18, 1890 Jose Tomas De Cuellar was one of colonial Latin America's polarizing figures and from one Mexico's wealthy families. He attended college at the military college of Chapultepec. Later he entered the Academy of San Carlos after taking part in the defense of the castle before the United States invasion on September 13, 1847. He went on to become secretary of the Mexican legislation in Washington D.C. and was secretary of foreign affairs. He gained note ability in 1848 for his essay "Duty and Sacrifices" in both Mexico and Madrid. But, he is most notably known for his skills as an observer and being a master illustrator in writing in his genre and because of the telling of humorous stories to make fun of the society he was living in.1 The Magic Lantern is but a small part of his repertoire , but is an excellent glimpse back into a culture that is long gone but still influencing its people today.…
He feels as though she is never going to find a boyfriend and get married. It seems as though the daughter is on the track to dying as an old maid (Jin 401). At a later time in the story, the daughter comes home with a new boyfriend that is one of the most attractive men in the factory. Huang Baowen was Beina’s new boyfriend, and Beina’s father was not impressed with Huang. Even though Huang brought the father gifts of “Capons, Ginseng, Cigarettes, Five Grains’ snap, and Oolong tea,” the father was not impressed at all with Baowen (Jin 401). It could be said that Baowen had money to spend on expensive gifts, but there was no reason to spend so much money on the father just to get approval to marry Beina. The people that worked in the factory could not believe that Huang and Beina got married (Jin 401). “Huang was not exactly the manliest of men. Huang Baowen was extremely feminine in the things that he did” (Jin…
The focus on social harmony and respect are also evident in the scroll painting Admonitions of the Imperial Instructress to Court Ladies, which relates to seven Confucian stories about wifely devotion and rightness (Text 342). The story revealed in this painting exhibits Lady Feng placing herself between a vicious bear and her husband, the emperor, making it is easy to assume that she is expressing both her devotion and respect towards him. Attaining self-discipline not only encompassed the teachings of being motivated and controlled but also focused on the cultivation of one's self. In works of art, this becomes obvious simply by observing the brushstrokes of both paintings and calligraphy, both of which were believed to reveal the artist's true self and his improvement with self-discipline. This act of self-discipline required the artist to harmoniously orchestrate skill, patience, and their overall understanding of Confucian philosophy, which would be reflected in works of art.…
The setting of a story has a ponderous influence on our perception as it often justifies a character's behavior. The story takes place in Muji city, China. This place maybe is a beautiful place, because Mr. Chiu and his bride select this place for spending their honeymoon. Time seems around 1980s, "the Cultural Revolution was over already and recently the party had been propagating the idea that all citizens are equal before the law."(P635). The concrete statue of Chairman Mao is located in the middle of a square before Muji train station. Experienced the Culture Revolution, people’s opinion of morality has a great changed. Mr. Chiu eager to get justice, but he suffered unjustified treatment. Let we see how Mr. Chiu’s character changed. Finally he became a “saboteur”.…
Green Lantern Stories in Reading Order 1) Green Lantern: Emerald Dawn 2) Green Lantern: Secret Origin 3) Green Lantern: Emerald Dawn II 4) Green Lantern: The Road Back 5) Green Lantern: A New Dawn 6) Green Lantern: Emerald Knights 7) Green Lantern: Ganthet's Tale 8) Superman: The Return of Superman 9) Green Lantern: Emerald Twilight & A New Dawn 10) Green Lantern: Baptism of Fire 11) Zero Hour: Crisis in Time 12) Green Lantern: Emerald Allies 13)…
Mr. Chow (Tony Leung) and Mrs. Chang (Maggie Cheung) coincidentally, move in to their small neighboring Hong Kong flats on the same day. Mr. Chow, a newspaper editor with an unseen, but presumably traveling, wife, and Mrs. Chang, a secretary, also with an unseen business executive husband. The two often find their paths crossing as they frequent the same streets, restaurants, and noodle shop. It is when they discover that their spouses are having an affair that they begin to see each other. Unlike very fast paced, show-all, American films, the relationship that blossoms between Mr. Chow and Mrs. Chang is not one of immense passion and love, but more of a deeper unsaid understanding. It is the simple gestures such as the conversations, the gazing into one another's eyes,…
The magic lantern is an early predecessor of the modern day projector. It consisted of a translucent oil painting, a simple lens and a candle or oil lamp. In a darkened room, the image would appear projected onto an adjacent flat surface. It was often used to project demonic, frightening images in order to convince people that they were witnessing the supernatural. Some slides for the lanterns contained moving parts which makes the magic lantern the earliest known example of projected animation. The origin of the magic lantern is debated, but in the 15th century the Venetian inventor Giovanni Fontana published an illustration of a device which projected the image of a demon in his Liber Instrumentorum. The earliest known actual magic lanterns are usually credited to Christiaan Huygens or Athanasius Kircher.[7][8]90wgrihgq098hr3qghr39qg9 The magic lantern is an early predecessor of the modern day projector. It consisted of a translucent oil painting, a simple lens and a candle or oil lamp. In a darkened room, the image would appear projected onto an adjacent flat surface. It was often used to project demonic, frightening images in order to convince people that they were witnessing the supernatural. Some slides for the lanterns contained moving parts which makes the magic lantern the earliest known example of projected animation. The origin of the magic lantern is debated, but in the 15th century the Venetian inventor Giovanni Fontana published an illustration of a device which projected the image of a demon in his Liber Instrumentorum. The earliest known actual magic lanterns are usually credited to Christiaan Huygens or Athanasius Kircher.[7][8]…