Binu And The Great Wall

Myths Are Universal And Timeless Stories That Reflect And Shape Our Lives They Explore Our Desires, Our Fears, Our Longings, And Provide Narratives That Remind Us What It Means To Be Human. The Myths Series Brings Together Some Of The World S Finest Writers, Each Of Whom Has Retold A Myth In A Contemporary And Memorable Way. Authors In The Series Include: Chinua Achebe, Margaret Atwood, Karen Armstrong, A.S. Byatt, David Grossman, Milton Hatoum, Victor Pelevin, Donna Tartt, Su Tong And Jeanette Winterson. In Peach Village, Crying Is Forbidden. But As A Child, Binu Never Learnt To Hide Her Tears. Shunned By The Villagers She Faced A Bleak Future Until She Met Qiliang, An Orphan Who Offered Her His Hand In Marriage. Then, One Day Qiliang Disappears. Binu Learns That He Has Been Transported Hundreds Of Miles And Forced To Labour On A Project Of Terrifying Ambition And Scale The Building Of The Great Wall. Binu Is Determined To Find And Save Her Husband. Inspired By Her Love, She Sets Out On An Extraordinary Journey Across Great Swallow Mountain, With Only A Blind Frog For Company. What Follows Is An Unforgettable Story Of Passion, Hardship And Magical Adventure.

In Peach Village, crying is forbidden. But as a child, Binu never learnt to hide her tears. Shunned by the villagers, she faced a bleak future, until she met Qiliang, an orphan who offered her his hand in marriage. Then one day Qiliang disappears. Binu learns that he has been transported hundreds of miles and forced to labour on a project of terrifying ambition and scale - the building of the Great Wall. Binu is determined to find and save her husband. Inspired by her love, she sets out on an extraordinary journey towards Great Swallow Mountain, with only a blind frog for company. What follows is an unforgettable story of passion, hardship and magical adventure.

The focus of this study is coming of age in troubled Cultural Revolutionary times as portrayed in contemporary Chinese Bildungsroman fiction by Su Tong and Yu Hua, along with a comprehensive overview of the Bildungsroman in China and the west.

It is 1938 and Sigmund Freud, suffering from the debilitating effects of cancer, has been permitted by the Nazis to leave Vienna. He seeks refuge in England, taking up residence in the house in Hampstead in which he will die only fifteen months later. But his last months are made vivid by the arrival of a stranger, who comes and goes according to Freud's state of health. Who is the mysterious visitor and why has he come to tell the famed proponent of the Oedipus complex his strange story? Set partly in pre-war London and partly in ancient Greece, Where Three Roads Meet is as brilliantly compelling as it is moving. Former psychoanalyst and acclaimed novelist Salley Vickers revisits a crime committed long ago which still has disturbing reverberations for us all.

In the years since the death of Mao Zedong, interest in Chinese writers and Chinese literature has risen significantly in the West. In 2000, Gao Xingjian became the first Chinese writer to receive the Nobel Prize for Literature followed by Mo Yan in 2012, and writers such as Ha Jin and Da Sijie have also become well known in the West. Despite this progress, the vast majority of Chinese writers remain largely unknown outside of China. This book introduces the lives and works of eighty contemporary Chinese writers, and focuses on writers from the "Rightist" generation (Bai Hua, Gao Xiaosheng, Liu Shaotang), writers of the Red Guard generation (Li Rui, Wang Anyi), Post-Cultural Revolution Writers, as well as others. Unlike earlier works, it provides detailed, often first-hand, biographical information on this wide range of writers, including their career trajectories, major themes and artistic characteristics. In addition to this, each entry includes a critical presentation and evaluation of the writer’s major works, a selected bibliography of publications that includes works in Chinese, works translated into English, and critical articles and books available in English. Offering a valuable contribution to the field of contemporary Chinese literature by making detailed information about Chinese writers more accessible, this book will be of interest to students and scholars Chinese Literature, Contemporary Literature and Chinese Studies.

The world is looking East. Whilst in the West psychoanalysis is fighting to maintain its position among the other therapies in a society which has less time for introspection and self-reflective thought, in Asia a new frontier is opening up: we are witnessing a surge of interest for psychoanalysis among the mental health professionals and among the younger generations, interest which is articulated and nuanced differently in the different Asian countries. In Asia and particularly in India, Japan, South Korea, Taiwan and China, the development of psychoanalysis reflects separate socio-political historical contexts, each with a rich cultural texture and fuelled by the interest of a new generation of mental health professionals for psychoanalysis as a therapeutic method.

Women whose mothers were not called upon to achieve in a man's world have a difficult time seeing themselves as powerful enough to do that. Identifying with mighty women of the past and of the present culture can help them to permit themselves to achieve more than their mothers did. This book provides several such myths from ancient and modern cultures, from both Western and Eastern traditions, each of which is a standard for a particular aspect of female power and all of which can provide that power for women now. Among the aspects of women's power are Super Girl, Warrior Woman, Evil Temptress, Protective Mother and Provider. This book is useful for therapists to read themselves and/or to give to their patients when they suffer from fantasies of the bad mother who does not want to be surpassed or the weak mother who cannot protect, or the therapist who wants to keep the woman patient in a weak and needy position.

Wolf Totem and the Post-Mao Utopian by Li Xiaojiang explores the controversial best-selling novel by the political economist Jiang Rong as an allegory of utopia through discussion of an encyclopaedic range of scholarship in the humanities and social sciences that offer thinking on topics introduced in the novel. In promoting the significance of utopian thought, Li stresses that the term for her study, “post-utopian criticism,” is not the same as anti-utopian criticism, but an analytical approach to criticism in order to addresses the shortcomings of postmodern and postcolonial theories applied to contemporary China, and to open up interpretive space for the specific historical experience of its people and its utopian ideals.

This wide-ranging Companion provides a vital overview of modern Chinese literature in different geopolitical areas, from the 1840s to now. It reviews major accomplishments of Chinese literary scholarship published in Chinese and English and brings attention to previously neglected, important areas. Offers the most thorough and concise coverage of modern Chinese literature to date, drawing attention to previously neglected areas such as late Qing, Sinophone, and ethnic minority literature Several chapters explore literature in relation to Sinophone geopolitics, regional culture, urban culture, visual culture, print media, and new media The introduction and two chapters furnish overviews of the institutional development of modern Chinese literature in Chinese and English scholarship since the mid-twentieth century Contributions from leading literary scholars in mainland China and Hong Kong add their voices to international scholarship

The Age of Irreverence tells the story of why ChinaÕs entry into the modern age was not just traumatic, but uproarious. As the Qing dynasty slumped toward extinction, prominent writers compiled jokes into collections they called Òhistories of laughter.Ó In the first years of the Republic, novelists, essayists and illustrators alike used humorous allegories to make veiled critiques of the new government. But, again and again, political and cultural discussion erupted into invective, as critics gleefully jeered and derided rivals in public. Farceurs drew followings in the popular press, promoting a culture of practical joking and buffoonery. Eventually, these various expressions of hilarity proved so offensive to high-brow writers that they launched a concerted campaign to transform the tone of public discourse, hoping to displace the old forms of mirth with a new one they called youmo (humor). Christopher Rea argues that this periodÑfrom the 1890s to the 1930sÑtransformed how Chinese people thought and talked about what is funny. Focusing on five cultural expressions of laughterÑjokes, play, mockery, farce, and humorÑhe reveals the textures of comedy that were a part of everyday life during modern ChinaÕs first Òage of irreverence.Ó This new history of laughter not only offers an unprecedented and up-close look at a neglected facet of Chinese cultural modernity, but also reveals its lasting legacy in the Chinese language of the comic today and its implications for our understanding of humor as a part of human culture.