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Dear Traveler, Welcome to the WanderStories™ guide to Chinese cuisine and table manners, traditions and customs, holidays and festivals, behavior and etiquette, Peking opera, Chinese humor and jokes. We, at WanderStories™, are storytellers. We don’t tell you where to eat or sleep, we don’t intend to replace a typical travel reference guide. Our mission is to be the best local guide that you would wish to have by your side when visiting the sights. So, we meet you at the sight and take you on a tour. WanderStories™ travel guides are unique because our storytelling style puts you alongside the best local guide who tells you fascinating stories and unusual facts recreating the passion and sacrifice that forged the beauty of these places right here in front of you, while a wealth of high quality photos, historic pictures, and illustrations brings your tour vividly to life. Our promise: • when you visit China with this travel guide you will have the best local guide at your fingertips • when you read this travel guide in the comfort of your armchair you will feel as if you are actually visiting China with the best local guide Let’s go! Your guide, WanderStories
Named a Best Cookbook of 2023 by The New York Times and Serious Eats James Beard Award winner Kevin Pang and his dad Jeffrey, hosts of the hit America’s Test Kitchen series Hunger Pangs, show you the way to delicious Chinese cooking in this accessible, funny, heartfelt cookbook. From American Chinese classics (General Tso’s Chicken) to Sichuan street foods (Dan Dan Mian) and Hong Kong dim sum favorites (Shu Mai), A Very Chinese Cookbook is ideal for both the Chinese food-curious and experienced cooks seeking a weekend soup dumpling project. Chock full of tips, techniques, stories, and friendly ingredient guides, with over 100 of ATK’s trademark rigorous recipes—and even a magic trick with fortune cookies—the cookbook in your hands is very practical, very personal, and very Chinese indeed. Two Generations of Storytelling: Jeffrey recounts a lifelong love of cooking that began in childhood, growing up in Hong Kong, cooking at his mother’s side, and exploring the street vendors and markets. Kevin dispenses practical wisdom that brings the recipes to life—why Beef Ho Fun is the mark of a great Cantonese chef; why Shu Mai is the world heavyweight champion of dumplings. Test Kitchen Techniques: From the basics of successful stir-frying to folding methods for Shanghai Soup Dumplings, careful instructions and abundant photos teach key steps. Chinatown Shopping Guide: From choosing the right soy sauce or vinegar to buying fresh noodles and seeking out superlative Buddhist-style chickens, let the Pangs be your trusted guides.

Human Rights in China

United States. Congress. House. Committee on International Relations. Subcommittee on Africa, Global Human Rights, and International Operations

Published: 2006

Total Pages: 100


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The Unwritten Truth About Chinese Women Chinese Girl Confessions details Chinese women's dating and sex lives and romantic and sexual turn-ons and turn-offs, including direct advice for foreign men dating or bedding Chinese girls. Angelina Zhang describes Chinese dating standards and desires, typical dating and sex rituals, attitudes toward foreigners, and ways foreign men can use China's dating peculiarities for their own benefit. Chinese girls aren't all Suzie Wong sexpots, but we're not as innocent as we seem.
What does it mean for a cinematic work to be "Chinese"? Does it refer specifically to a work's subject, or does it also reflect considerations of language, ethnicity, nationality, ideology, or political orientation? Such questions make any single approach to a vast field like "Chinese cinema" difficult at best. Accordingly, The Oxford Handbook of Chinese Cinemas situates the term more broadly among various different phases, genres, and distinct national configurations, while taking care to address the consequences of grouping together so many disparate histories under a single banner. Offering both a platform for cross-disciplinary dialogue and a mapping of Chinese cinema as an expanded field, this Handbook presents thirty-three essays by leading researchers and scholars intent on yielding new insights and new analyses using three different methodologies. Chapters in Part I investigate the historical periodizations of the field through changing notions of national and political identity -- all the way from the industry's beginnings in the 1920s up to its current forms in contemporary Hong Kong, Taiwan, and the global diaspora. Chapters in Part II feature studies centered on the field's taxonomical formalities, including such topics as the role of the Chinese opera in technological innovation, the political logic of the "Maoist film," and the psychoanalytic formula of the kung fu action film. Finally, in Part III, focus is given to the structural elements that comprise a work's production, distribution, and reception to reveal the broader cinematic apparatuses within which these works are positioned. Taken together, the multipronged approach supports a wider platform beyond the geopolitical and linguistic limitations in existing scholarship. Expertly edited to illustrate a representative set of up to date topics and approaches, The Oxford Handbook of Chinese Cinemas provides a vital addition to a burgeoning field still in its formative stages.
Examining Chinese domestic as well as international circumstances surrounding the emergence of an independent women's movement in Beijing in the 1990s, this book seeks to explain how such a movement could have arisen after the repression of student activists in Tiananmen Square in 1989. It also places this emergence in the context of theories of social movements, civil society and globalization.
This book offers a distinct exploration of Chinese English – which has the largest rising population of speakers in the World Englishes (WE) family. Xu focuses on the fundamental issues of "names" and "norms" that are closely related to Chinese English and the "narratives" of the speakers of Chinese English. In addition to current approaches to WE research, this book proposes a novel theoretical and analytical framework based on classical Chinese and Western philosophies. The volume has an empirical basis, drawing upon interview and questionnaire survey data from proficient speakers of Chinese English. It is also based on an extensive review of the relevant literature on both WE and Chinese English, and it draws upon the author’s research experience of over two decades on the subject. This is the third research book on Chinese English that the author has contributed to WE literature and it will be a valuable read for students and scholars alike.