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What if you could learn powerful insights into a person just by seeing his or her face? For 2,500 years, the science of Mien Shiang (pronounced myen-shung), or Chinese face reading, has given anyone who studies its form this incredible ability. Whether working with executives from Fortune 500 firms or readying the nation’s top attorneys to choose the ideal juries for their clients, Patrician McCarthy has built a reputation for her ability to help others determine a person’s personality, potential, and inherent talents by analyzing his or her facial structure and features. Now McCarthy shares her understanding of this ancient knowledge with readers everywhere. Literally meaning face (mien) reading (shiang), mien shiang is a powerful means of both self-discovery and a way to understand others. Taoist ancients said, “the face is a mirror that records your past, reflects your present, and forecasts your future.” McCarthy introduces five essential influences in our lives revealed by the face and enables you to interpret and understand these influences. With the practice of Mien Shiang, you will live in a harmony of mind, body, and spirit.
Critical Plant Studies in Taiwan presents a historical overview of vegetal ecocriticism in Taiwan. Divided into 12 chapters, it examines the human-plant entanglements on the island. Covering a wide spectrum of topics, such as the imperial plant explorations, the military casuarina afforestation, the mangrove conservation movement, the ecofeminist rooftop garden, the Indigenous millet restoration, the underground mycorrhizal network in urban Taipei, etc., it discloses the phyto-politics in the historical context of the vegetal materialist condition of the island. Intersecting the poetics and politics of plant narratives, it presents the multispecies plantscapes of the island. The first of its kind, the collection launches the historical and localized critical plant studies in Taiwan.
In recent years there has been a marked resurgence of interest in the effects of electoral laws on important aspects of politics such as party competition. In this volume, a distinguished group of scholars looks at the impact of one set of electoral rules--the single non-transferable vote--on electoral competition in Japan, Korea and Taiwan. Under this plan citizens are allowed one vote even though there is more than one seat to be filled. In comparative studies of the adoption and rejection of the single nontransferable vote and the consequences of its use across different settings, the contributors explore the differences in the operation and effects of the application of the same rule in different countries. Arguing that any single feature of a political system is embedded in a political structure and cannot be understood in isolation, the authors demonstrate how the same rule can have different consequences depending on the context in which it operates. The contributors offer fresh insights into the comparative study of political institutions as well as into the operation of particular electoral rules. In addition to the editors, the contributors include Kathleen Bawn, John Boland, Jean-Marie Bouissou, Gary Cox, John Fu-Sheng Hsieh, Arend Lijphart, Emerson Niou, Steven R. Reed, and Frances Rosenbluth, among others. Bernard Grofman is Professor of Political Science, University of California at Irvine. Edwin A. Winckler is at the East Asian Institute, Columbia University. Brian Woodall is Assistant Professor in the School of International Affairs, Georgia Institute of Technology. Sung-Chull Lee is Assistant Professor of Political Science, University of California at Irvine.
This book investigates the aesthetics and politics of Post/Taiwan-New-Cinema by examining fifteen movies by six directors and frequent award winners in international film festivals. The book considers the works of such prominent directors as Edward Yang, Tsai Ming-liang and Chang Tsuo-chi and their influence on Asian films, as well as emergent phenomenal directors such as Wei Te-sheng, Zero Chou, and Chung Mong-hong. It also explores the possibility of transnational and trans-local social sphere in the interstices of layered colonial legacies, nation-state domination, and global capitalism. Considering Taiwan cinema in the wake of globalization, it analyses how these films represent the socio-political transition among multiple colonial legacies, global capitalism, and the changing cross-strait relation between Taiwan and the Mainland China. The book discusses how these films represent nomadic urban middle class, displaced transnational migrant workers, roaming children and young gangsters, and explores how the continuity/disjuncture of globalization has not only carved into historical and personal memories and individual bodies, but also influenced the transnational production modes and marketing strategies of cinema.
Includes list of Graham's publications (p. [11]-26), trip diaries, correspondence, travel accounts and route maps.
In 1953 Margaret Mead and Rhoda Metraux produced The Study of Culture at a Distance, a compilation of research from this period. This work, long unavailable, presents a rich and complex methodology for the study of cultures through literature, film, informant interviews, focus groups, and projective techniques.
Based on an understanding of "home-sickness" as the alienation caused by being too close to home, rather than too far away. Views this "sickness" as a precondition for health, as portrayed by writers in China, Greater China, and the diaspora from late Imperial to contemporary times.
Louise Lee Hsiu, an award-winning Taiwanese writer who had published ten books in Taiwan before moving to Canada in 2002. Because she wants more English-speaking people to understand her home country Taiwan, she has translated Penghu Moon in the Well from Chinese to English. In fact, it was this book's financial success that enabled her to immigrate to Canada. The novel begins in Waian Penghu, Taiwan, the place of her parent's birth, and then shifts to the Taiwanese port, Kaohsiung, when her parents move there. In 1895, Ch'ing Dynasty was forced to sign the Treaty of Shimonoseki, ceding Taiwan and Penghu to Japan, and so this historic event forms the background of Penghu Moon in the Well. The character, Lee Lian-Zi, who embodies the author herself, narrates the lives of four generations of two Penghu families. There are novels that present tragic epic histories and others that portray the loving bonds that sustain families, and this one is both. Below are four comments about this book: 1. This novel is outstanding. It fully reflects the historical time, social movement of each stage of Taiwan from the end of the Ch'ing Dynasty (1895) to the 1980's. It presents the details of daily public life and the distress of the people in Penghu under the rule of a foreign nation---Japan. The local history of Penghu Islands is the epitome of the whole historical situation of Taiwan - Dr.Ye, renowned Taiwanese historian and novelist. 2. It is very easy to learn about the history of Taiwanese people in Chinese textbooks, but you won't learn Taiwan's authentic history, including that of Taiwan's Penghu Islands. Louise's family history originates in Penghu, so she can write authentically about the history of Taiwan and Penghu. Penghu Moon in the Well is not only a successful novel, but it also reveals actual historical events. - Wang Jiaxiang, Editor, Taiwan Times 3. "Louise's novel affirms that we are all connected, for better or for worse, forever and ever. We travel in a never-ending circle because we want to return home, to the source, to the light at the end of the tunnel." - Barbara Ladouceur, Canadian Writer 4. "I learned a great deal about Taiwan and Penghu, the people, culture and history. The characterizations and descriptions bring us right into the place. I can see why this book has sold very well there. It has made me very curious to visit Penghu and Taiwan." - Jo Blackmore, Publisher, Vancouver Granville Island Publishing
In the Taiwanese film industry, the dichotomy between 'art-house' and commercially viable films is heavily emphasized. However, since the democratization of the political landscape in Taiwan, Taiwanese cinema has become internationally fluid. As the case studies in this book demonstrate, filmmakers such as Hou Hsiao-hsien, Edward Yang, Tsai Ming-liang, and Ang Lee each engage with international audience expectations. New Taiwanese Cinema in Focus therefore presents the Taiwanese New Wave and Second Wave movements with an emphasis on intertextuality, citation and trans-cultural dialogue. Wilson argues that the cinema of Taiwan since the 1980s should be read emblematically; that is, as a representation of the greater paradox that exists in national and transnational cinema studies. She argues that these unlikely relationships create the need for a new way of thinking about 'transnationalism' altogether, making this an essential read for advanced students and scholars in both Film Studies and Asian Studies.