Let’s learn fun facts about our friend, the moon, together in two languages! Our Moon is a bilingual English and Cantonese book that teaches young readers about the moon – what it is and its relationship with Earth. Did you know that the moon is actually a rock, or how long it takes the moon to orbit Earth, or what causes our oceans’ high tides and low tides? Discover all the answers – in two languages – in this scientific book. This book also includes step-by-step instructions for a fun, hands-on, educational activity to create the different moon phases, and of course, it is also packed with important vocabulary! Children will love the vibrant colors and the expressive faces in the artwork which help to make learning so much fun for everyone!
In the 1960s Shaw Brothers Studios revolutionised martial arts filmmaking. Movie mogul Sir Run Run Shaw developed a way to churn out lavish blockbusters quickly and cheaply. An assembly line approach kept his filmmakers busy but access to an extraordinary pool of resources meant they could "ask for the moon". This book is a case study exploring how a brilliant, driven entrepreneur and his audaciously creative filmmakers conducted a bold experiment in business and movie-making innovation.
This simple, young, and satisfying story follows a Chinese American family as they celebrate the Mid-Autumn Moon Festival. Each member of the family lends a hand as they prepare a moonlit picnic with mooncakes, pomelos, cups of tea, and colorful lanterns. And everyone sends thanks and a secret wish up to the moon. Grace Lin’s luminous and gloriously patterned artwork is perfect for this holiday tale. Her story is simple—tailor-made for reading aloud to young children. And she includes an informative author’s note with further details on the customs and traditions of the Moon Festival for parents and teachers. The Moon Festival is one of the most important holidays of the year along with the Lunar New Year, so this book makes an excellent companion to Grace Lin’s Bringing In the New Year, which features the same family.
Contemporary poetry is either the "Emperor's New Clothes" or a stiff artifact made from tailored sounds and words. Like that famous, awfully candid child, I'm here to shout what the reader ought to see in this nifty and unique new book. The Moon and The Dragon brings to light the sureness of the Oriental soul! Serene and fiery at the same time, every word is bound together with silken ties of love and thoughts that add to a fuller, more rewarding appreciation of Ashanti's "cherry blossoms"; "morning dance of Mother Earth's prayers" and humanity's struggle for peace and freedom. What an artistic, courageous triumph-whew! JULIE O'YANG Novelist & Visual Artist Amsterdam, Netherlands As I read, I find that Mr. Ashanti is a master poet and a prolific writer. Mr. Ashanti carefully has crafted the long standing struggles and repression on the mainland of China, as well as the trials and tribulations of Chinese-Americans. With extensive and accurate research on Chinese culture and mythology infused together he conjures a substantial and impressive collaboration of immense passionate writing. The Moon and The Dragon depicts a very expressive descriptive poetical outlet of hardships endured yet enriches a full immersion of Asian culture specifically Chinese. TINA CHAN Poet--New York, NY
In this book, Shelby Chan examines the relationship between theatre translation and identity construction against the sociocultural background that has led to the popularity of translated theatre in Hong Kong. A statistical analysis of the development of translated theatre is presented, establishing a correlation between its popularity and major socio-political trends. When the idea of home, often assumed to be the basis for identity, becomes blurred for historical, political and sociocultural reasons, people may come to feel "homeless" and compelled to look for alternative means to develop the Self. In theatre translation, Hongkongers have found a source of inspiration to nurture their identity and expand their "home" territory. By exploring the translation strategies of various theatre practitioners in Hong Kong, the book also analyses a number of foreign plays and their stage renditions. The focus is not only on the textual and discursive transfers but also on the different ways in which the people of Hong Kong perceive their identity in the performances.
For centuries the sub-national languages of China have been a fundamental feature in daily life and popular culture, while a standardized form of Mandarin has been adopted as the language of the state (including education). Suppressed during powerful movements to establish a modern, national culture, these local languages or dialects have nevertheless survived, and their resurgence in the media and literature has caused tensions to surface. Concerns for education, law, and commerce have all promoted a standard national language, yet, at the same time, as local societies have undergone massive transformations, the need to re-imagine communities has repeatedly challenged the adequacy of a single language to represent them. Moreover, local languages have been presented in dramatically different and conflicted roles--as symbols of the failure to assimilate to a cultural mainstream (which in turn may be parodied as contingent and inadequate) or asserting the identity of a community as a site of its own cultural production and not merely as a venue for transmitting a national culture. Acknowledging local language as authentic may also reveal cultural hegemonies within regions and contested versions of communities. This ground-breaking study surveys in detail the sweep of local languages in television, radio, film, and print culture of late twentieth-century mainland China, especially Beijing, Shanghai, Chongqing and Chengdu, Hong Kong, and Taiwan. Focusing on these regions, the analysis contrasts and compares these distinct communities to each other and to the ways in which they mediate culture as a national institution. It draws on a wide range of critical, cultural, and media studies and explores how varied genres
When Trisha Low moves west, her journey is motivated by the need to arrive “somewhere better”—someplace utopian, like revolution; or safe, like home; or even clarifying, like identity. Instead, she faces the end of her relationships, a family whose values she has difficulty sharing, and America’s casual racism, sexism, and homophobia. In this book-length essay, the problem of how to account for one's life comes to the fore—sliding unpredictably between memory, speculation, self-criticism, and art criticism, Low seeks answers that she knows she won't find. Attempting to reconcile her desires with her radical politics, she asks: do our quests to fulfill our deepest wishes propel us forward, or keep us trapped in the rubble of our deteriorating world?
