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Writing academic prose in English is especially difficult for nonnative speakers, largely because the standard vocabulary used in this genre can be quite different from colloquial English. Expand Your English: A Guide to Improving Your Academic Vocabulary is a unique and invaluable guide that will enable the reader to overcome this hurdle. It will become the favorite go-to reference book for both beginners and intermediate learners struggling with the complexities of English-language academic writing. Steve Hart covers 1,000 vocabulary items that are essential for good academic writing. The first section describes 200 key terms in detail, grouping them into logical sets of 10. Through careful repetition, the reader will find it easy to retain, retrieve, and reuse these essential phrases. The second section explains a further 800 terms, grouping them according to function, meaning, and the areas of an essay where they are likely to be used. The expansive scope of Expand Your English gives non-native speakers all the vocabulary tools they need to master this difficult style of writing.
Staging Revolution refutes the deep-rooted notion that art overtly in the service of politics is by definition devoid of artistic merit. As a prominent component shaping the culture of the Cultural Revolution, model Beijing Opera (jingju) is the epitome of art used for political ends. Arguing against commonly accepted interpretations, Xing Fan demonstrates that in a performance of model jingju, political messages could only be realized through the most rigorously formulated artistic choices and conveyed by performers possessing exceptional techniques.Fan contextualizes model jingju at the intersection of history, artistry, and aesthetics. Integral to jingju’s interactions with politics are the practitioners’ constant artistic experimentation to accommodate the modern stories and characters within the jingju framework and the eventual formation of a new sense of beauty. Therefore, a thorough understanding of model jingju demands close attention to how the artists resolved actual production problems, which is a critical perspective missing in earlier studies. This book provides exactly this much-needed dimension of analysis by scrutinizing the decisions made in the real, practical context of bringing dramatic characters to life on stage and by examining how major artistic elements interacted with one other, sometimes harmoniously, sometimes antagonistically. Such an approach necessarily places jingju artists center stage. Making use of first-person accounts of the creative process, including numerous interviews conducted by the author, Fan presents a new appreciation of a lived experience that, on a harrowing journey of coping with political interference, was also filled with inspiration and excitement.
Although official propaganda emphasizes the Chinese Dream as the dream of all Chinese, the opportunities of achieving prosperity by legal means are distributed unequally. Crime and the Chinese Dream reveals how people on the margins of Chinese society find their way to the Chinese Dream through illegal or deviant behaviors. The case studies in this book include corrupt doctors in public hospitals in Beijing, fraudsters in a village called “cake uncles,” illegal motorcycle taxi drivers in Guangzhou, drug users being “reeducated” in detention centers, and internet addicts who are treated as criminals by the system. Despite the patriotic and collectivistic tint of the official dream metaphor, the contributors to this volume show that the Chinese Dream is essentially a state capitalist dream, which is embedded within the problems and opportunities of capitalism, as well as a dream of control.