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Li Jie went home to observe her body, but the male landlord...
Curating Revolution examines how Mao-era exhibitions shaped popular understandings of, and participation in, the political campaigns of China's Communist revolution.
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"This well-documented study discusses the social and economic changes in Shandong province before the influence of the West was felt at the end of the nineteenth century. The authors show that by the sixteenth century, commercial and handicraft towns linked to national and local markets had already begun to emerge. Urban growth was made possible by increased agricultural production, which in turn stimulated specialization and increased commercialization in the agricultural sector. Another important change in rural society at this time was the emergence of a new stratum of wealthy landlords who managed their estates with wage labor. Case studies of managerial landlords, who form the main focus of this study, are included as well as generalizations drawn from questionnaire materials. Luo Lun and Jing Su wrote this book while they were young researchers at Shandong University in the late 1950s, using data they had gathered in the culturally relaxed period of the Hundred Flowers. In his introduction, Endymion Wilkinson analyzes the authors’ thesis and concludes that their Leninist model is inapplicable to premodern Chinese history. The value of this study lies not so much in its conclusion that even without the impact of Western imperialism China would of itself have developed a capitalist society, but rather in the wealth of data the authors present, in this first in-depth study of a relatively advanced region in north China."
What has contemporary China inherited from its revolutionary past? How do the realities and memories, aesthetics and practices of the Mao era still reverberate in the post-Mao cultural landscape? The essays in this volume propose “red legacies” as a new critical framework from which to examine the profusion of cultural productions and afterlives of the communist revolution in order to understand China’s continuities and transformations from socialism to postsocialism. Organized into five parts—red foundations, red icons, red classics, red bodies, and red shadows—the book’s interdisciplinary contributions focus on visual and performing arts, literature and film, language and thought, architecture, museums, and memorials. Mediating at once unfulfilled ideals and unmourned ghosts across generations, red cultural legacies suggest both inheritance and debt, and can be mobilized to support as well as to critique the status quo.
Most historians rely principally on written sources. Yet there are other traces of the past available to historians: the material things that people have chosen, made, and used. This book examines how material culture can enhance historians' understanding of the past, both worldwide and across time. The successful use of material culture in history depends on treating material things of many kinds not as illustrations, but as primary evidence. Each kind of material thing-and there are many-requires the application of interpretive skills appropriate to it. These skills overlap with those acquired by scholars in disciplines that may abut history but are often relatively unfamiliar to historians, including anthropology, archaeology, and art history. Creative historians can adapt and apply the same skills they honed while studying more traditional text-based documents even as they borrow methods from these fields. They can think through familiar historical problems in new ways. They can also deploy material culture to discover the pasts of constituencies who have left few or no traces in written records. The authors of this volume contribute case studies arranged thematically in six sections that respectively address the relationship of history and material culture to cognition, technology, the symbolic, social distinction, and memory. They range across time and space, from Paleolithic to Punk.
Winner, 2024 Moving Image Book Award, Kraszna-Krausz Foundation How might cinema make revolution and mobilize the masses? In socialist China, the film exhibition network expanded from fewer than six hundred movie theaters to more than a hundred thousand mobile film projectionist teams. Holding screenings in improvised open-air spaces in rural areas lacking electricity, these roving projectionists brought not only films but also power generators, loudspeakers, slideshows, posters, live performances, and mass ritual participation, amplifying the era’s utopian dreams and violent upheavals. Cinematic Guerrillas is a media history of Chinese film exhibition and reception that offers fresh insights into the powers and limits of propaganda. Drawing on a wealth of archives, memoirs, interviews, and ethnographic fieldwork, Jie Li examines the media networks and environments, discourses and practices, experiences and memories of film projectionists and their grassroots audiences from the 1940s to the 1980s. She considers the ideology and practice of “cinematic guerrillas”—at once denoting onscreen militants, off-the-grid movie teams, and unruly moviegoers—bridging Maoist iconography, the experiences of projectionists, and popular participation and resistance. Li reconceptualizes socialist media practices as “revolutionary spirit mediumship” that aimed to turn audiences into congregations, contribute to the Mao cult, convert skeptics of revolutionary miracles, and exorcize class enemies. Cinematic Guerrillas considers cinema’s meanings for revolution and nation building; successive generations of projectionists; workers, peasants, and soldiers; women and ethnic minorities; and national leaders, local cadres, and cultural censors. By reading diverse, vivid, and often surprising accounts of moviegoing, Li excavates Chinese media theories that provide a critical new perspective on world cinema.
This book explores the intellectual history of contract law in ancient China by employing archaeological and empirical methodologies. Divided into five chapters, it begins by reviewing the origin of the contract in ancient China, and analyzing its name, primary form, historical premise and functions. The second chapter discusses free will and lawfulness in the establishment of a contract, offering insights into the impact of contracts on social justice. In turn, the third chapter addresses the inner core of the contract: validity and liability. This allows readers at all levels to identify the similarities and differences between contracts from different eras and different parts of the world, which will also benefit those pursuing comparative research in related fields. Chapters four and five offer a philosophical exploration of contract history in ancient China, and analyze key aspects including human nature and ethical justice.