Shanghai Gone Book Review

After being selected as the Last Emperor of China by the ill Empress Dowager Tzu Hsi, Henry Pu yi at his childhood lived a lavish life not knowing of what obligations will face him in growing up. At the age of 6 in the year of 1912, China converts to republic and the Ching Dynasty was forced to abdicate.

Prisons hide prisoners from society. “If an inmate population is shut in, the free community is shut out, and the vision of men held in custody is, in part, prevented from arising to prick the conscience of those who abide by the social rules” (Sykes, 1958, 8). The prison is an instrument of the state. However, the prison reacts and acts based on other groups in the free community. Some believe imprisonment

I chose William Zinsser’s “Shanghai”. In this essay Zinsser gives a firsthand account of two of his favorite jazz musicians. Zinsser starts his essay off setting the scene by letting us, the reader know the story take place in China. He tells the story of Willie Ruff and Dwike Mitchell a Duet that traveled the country playing their brand of jazz. In his story he gives the reader the impression he has a great passion for what the two men has accomplished with their musical talents. Zinsser himself a musician speaks highly of the two. Most noticeable was Zinsser’s admiration for Ruff’s ease to learn the language of other cultures. Further analyzing of the essay leads the reader to know Zinsser praises the two for their ability to bridge the gap

Originally, Liang’s “parents were deeply involved in all the excitement of working to transform China into a great Socialist country” (4). Over a serious of unfortunate events, though, he became the child of a “Rightist’s cap” mother and a “Reactionary Capitalist stinking intellectuals” father (9, 51). Impacted by the shattering of his family and horrific bloodshed created by fighting, Liang Heng began to question the Cultural Revolution. He claimed that his “family had scarified so much… but it had given [them] nothing in return” (148). Liang Heng presents his shift in ideology to demonstrate that most Chinese were no longer in support of a Communist nation. His “troubles were common enough and anyone could see there was a discrepancy between the glorious words of the newspapers and [their] painful reality (232). Even Liang Heng’s father, after many years of devotion, found that he could no longer defend the Party’s policies after he experienced the ill-treatment of the peasants in the country

Each part of the book works well to answer Chang’s research question. Part 1 he discusses the struggle to maintain the land, slavery, privatization of land, the transforming practices of the people, and the lack of compromise of land and power. In part two he emphasizes the forced allotment, politics, racial issues, and the undeniable connection between property and identity. In part three, he writes about the outcome and effect of the allotment and the discrimination, the political movements, and the divide between the

The economy of China boomed once Deng opened its market to foreign investment. It was this shift that caused Wong to start to feel “schizophrenic” (186), and made her reflect on exactly who she was and what she truly believed in. It was also here that a small sentiment of democracy begin to upheave.

The Sun of the Revolution by Liang Heng, is intriguing and vivid, and gives us a complex and compelling perspective on Chines culture during a confusing time period. We get the opportunity to learn the story of a young man with a promising future, but an unpleasant childhood. Liang Heng was exposed to every aspect of the Cultural Revolution in China, and shares his experiences with us, since the book is written from Liang perspective, we do not have a biased opinion from an elite member in the Chinese society nor the poor we get an honest opinion from the People’s Republic of China. Liang only had the fortunate opportunity of expressing these events due his relationship with his wife, An American woman whom helps him write the book. When

“It was not easy to live in Shanghai” (Anyi 137). This line, echoed throughout Wang Anyi 's short piece “The Destination” is the glowing heartbeat of the story. A refrain filled with both longing and sadness, it hints at the many struggles faced by thousands upon thousands trying to get by in the city of Shanghai. One of these lost souls, the protagonist, Chen Xin, was one of the many youths taken from his family and sent to live the in the countryside during the Cultural Revolution. Ten years after the fact, Chen Xin views the repercussions of the Cultural Revolution internally and externally as he processes the changes that both he, and his hometown have over-gone in the past ten years. Devastatingly, he comes to the conclusion that there is no going back to the time of his childhood, and his fond memories of Shanghai exist solely in memory. This is in large part is due to the changes brought on by the Cultural Revolution. These effects of the Cultural Revolution are a central theme to the story; with repercussions seen on a cultural level, as well as a personal one.

When conducting a jailing system, you have to maintain two important things which are control and safety. Jails demonstrate safety not only for the inmates but for the deputies and citizens as well. The Jail, makes a point that jail is clearly exclusive to the rabble by noting a few basic truths regarding these institutions: big buildings, complex locking systems, and elaborate surveillance systems ensure high security because the rabble cannot be trusted and they need to protect those around them (Irwin, Ch.3). The rabble once held into

“Why Prisons Don’t Work,” is an article written by Wilbert Rideau and was published sometime prior to 1983 in the Angolite Newsletter. In this paper analysis will examine the credibility of the example used by the author to stage his claims.

Rural women struggled under the double burden of both work and child rearing (Roberts, 1999). And, infamously, the one-child family policy, which required most Chinese families to have only a single child, robbed women of any control over their own bodies. This paper will recount the history of the Chinese government’s struggle with its growing population, culminating in the one-child policy, describe the goals and enforcement methods of the policy itself, examine the effectiveness of the policy, outline the government’s shift to its new, current two-child policy, and argue that the one-child policy shows the continuation of female repression in China, despite the Communists’ promises.

Legitimacy of prison riots have one fundamental issue. The riots are not normally caused by one or two inmates with minor complaints, but are in large part due to the conditions and or treatment of the mass population of those inmates. The inmates just want to be treated fairly, consistently and with a little human decency (Kupchik, 2005, p.10). To fully understand the scope of prison riots we must first understand how these riots have evolved over the last 20 plus years.

At first these plans along with an extremely ingenious propaganda campaign stirred great optimism and productivity within the Chinese people, but as years went by the initial flare and excitement went out and few of these promises, reforms and goals had been reached. In some cases the promises were lies. The real actions of the Communist party showed quite a different picture than the lie of democracy that it was feeding the people. The new government never was a democratic one. As a matter of fact it was a dictatorship controlled by the China’s Communist Party (CCP). Throughout the years the communist government consistently and cruelly suppressed any attempts for the country’s democratization.

“Dagong” means “working for the boss” or “selling labor,” and illustrates the commodification of labor and the subordinate status of the worker, in contrast to socialist imaginations of work as liberating. “Mei” means little sister, often associated with young, unmarried women in contrast to “jie”, the older, mature sister . Thus, the term dagongmei symbolizes the subordination of female migrants, both as migrant workers under urban factory owners, and as women expected to work long hours, some sacrificing their education, in order to support their families. Pun articulates the very real struggles many dagongmei face, from the 1993 Shenzhen factory fire that killed over 80 migrant workers, all but two female, only then alerting China and the rest of the world of the human costs of China’s rapid development to one woman, Yan, who screams in her sleep after years of work despite being in deep physical and emotional pain. Such pain is unbearable, and to scream out is the only way to survive. Yet as Pun argues, their very survival is of itself a form of resistance. These migrant workers may not be organizing, staging mass strikes or protests against the state or factory owners, but they are resisting. By screaming out, Yan is forcing the world to hear her pain. By telling

China is world’s most populous and fastest emerging economy that is seen as a continent in it instead of being part of Asia. In recent years, developed nations have been surprised by the acceleration of development in country that they give examples of success stories based on China’s market. Apart from China’s sophisticated with complex economic and political system, China also demonstrate interesting trends in several different prospects of society that are often neglected by intellectuals. There main focus is always on economic and political reform, But in this essay main focus is on the china’s population and the cultural rituals of family, gender and marriage. To add more, further elaboration will be addressed on the changing trends