Xu Bing's The New York

Gene Luen Yang’s writing style in his graphic novel, American Born Chinese, demonstrate great technique of suspense and foreshadowing. Yang grew up with two parents who were an electrical engineer from Taiwan and a programmer who grew up in Hong Kong and Taiwan, both of whom emigrated to the United States. His experiences follow this book’s plot and his writing style follows exactly how he may have felt during that part of his life. His parents helped give him a strong work ethic and reinforced their Asian culture to make sure he was never ashamed of where he came from.

In the short story “The Flying Machine,” author Ray Bradbury conveys how a dutiful ruler will sacrifice an individual all in the means of staying safe and away from evil. Imagery displays Emperor Yuan’s persona perfectly. The narrator explained of Yuan, “Instead he looked at the Great Wall of China now taking shape out of the farthest mist in the green hills, that splendid snake of stones which writhed with majesty across the entire land. That wonderful wall which had protected them for a timeless time from enemy hordes and preserved peace for years without number.” Moreover, Bradbury allowed us to visualize the Great Wall of China in the fog rising from the grassy terrains with his figurative language. The audience would imagine the

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

By following his dream, Feng Ru became an even harder worker. His work has impacted his country by helping improve the chinese space program today even though he is dead. In paragraph 3 the text states, ”China even considers its space program to be based upon the foundations of Feng’s work”. This shows that China was influenced so much by Feng that they consider the foundation of their space program to be based on his

Feng Ru never gave up on his work and he worked extremely hard for his success. In paragraph 7, the text states, “ San Francisco’s massive earthquake and resulting fire forced him to relocate to Oakland instead, where, funded by local Chinese businessmen, Feng erected his workshop—a 10- by eight-foot shack. Jammed into this small space were tools, books, journals, mechanical projects, aircraft parts—and Feng himself, who rarely finished work before 3 a.m.” This quote shows how hard Feng Ru worked, with limited resources, and how he sacrificed his time and sleep to work. He had to work in a very small space and he stayed up till the early a.m. to work. He also had to keep his work secret so that nobody would steal his idea and make it before him. In paragraph 9, the text states, “So anxious was Feng to keep his invention secret that he had the engine casting made by different East Coast machine shops, then assembled the parts himself.” This quote supports the idea that Feng Ru didn't even want to take the risk of someone stealing his invention. Feng Ru did a lot just for his invention to be kept secret. In addition, Feng Ru worked very hard for his creation and he was determined to be the first Chinese

Feng Ru was very interested in industrialization. In paragraph 4, the text states, “He understood that industrialization made the country great, and felt that industrialization could do the same for China.” Industrialization inspired Feng to start learning about aviation. Feng Ru also faced many obstacles and challenges. Feng had to translate all of the information on aviation into Chinese but Feng never complained. In paragraph seven, the text states, “Feng turned his attention to aviation, laboriously translating into Chinese everything he could find.” He also had to relocate and work in a very small workshop. Even though Feng had to relocate because of San Francisco's earthquake, and having to relocate again after setting his workshop ablaze, Feng Ru never gave up. He was so determined to become the first aviator in China. In paragraph six, the text states, “And Feng himself, who rarely finished work before 3 a.m.” In the end, Feng ended up being the first aviator in China. Feng Ru was a hero in his country and even though he died in his last flight, he impacted China in a positive

Eric Liu has written two books with Nick Hanauer on politics and civic life, The Garden of Democracy (2011) and the True Patriot (2007) and has written a memoir, The Accidental Asian. His commentary on “branding” appears to be the main issue in the op-ed of the public space in the USA. Eric Liu displays his disagreement on their Bronx homestead’s being named into some brand called “Yankees”. The Yankees showing off their name into the homestead has angered the writes in many ways. The writer thinks it has insulted the great legends born in the stadium. He isn’t happy about this change as he thinks it as a national treasure. Now Yankees will also be a part of a deeper, acceleration trend in our society, the relentless branding of public spacing.

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

“The Chinese… seem to have developed a complex intellectual position that assumed that if an image was convincing… then these features gave the image the powers of the thing or person depicted.” She goes on to assert that these figures were not simply mere lifeless substitutes but important religious images; “Indeed the urge to make powerful images to complete afterlife dwellings was closely connected with the search for good outcomes, that is, auspiciousness.”

This book is a harsh criticism China's housing reform system for destroying its own people, written by the author who observes China from liberal's point of view. The author, Qin Shao wrote for those people who want to learn about the large-scale housing revolution in China throughout crucial experiences that citizens have gone through. It criticize the demolition and relocation system, questioning the level of morals. In introduction, he gives concretely negative words of China's abusing housing system and as he explains the historical process in order. For instance, Shao describes the government's policies and its corruption as “crucial,” “distrustful,” and he even calls them as “ugly twins.” There

Xian often hand paints onto his casts, using traditional Chinese and Buddhist motifs. In the 2000s he began to experiment

Enter through a white panel door and into the dark cube of a room. With one single object presented in the only stream of light, the allotted five minutes spent within passes slowly. Once this is over, the viewer is released to explore the exhibit freely, wandering throughout the next nine rooms at their own pace. Objects from the last Chinese dynasty greet the viewer’s eyes, drawing them further into each room. Pottery, clothing, furniture, and paintings are spread throughout each themed room depicting different parts of life in the Qing Dynasty. In this exhibit, Power and Beauty in China’s Last Dynasty, Robert Wilson transforms his love and talent for theater into an exhibit about objects from China’s past. Creative lighting, sound effects,

On the eve before the day reserved to memorialize Dr. Martin Luther, King Jr. it was fitting to explore the intersections of race, culture, history, art, media and technology in the 25th anniversary production of Ping Chong + Company’s community-specific series. No fanfare, glitz or dazzle needed, just the raw stories of 7 young people (Edwin Aguila, Monica Victoria Tatacoya Castaneda, Syl (Andrea) Egerton, Mohammed Murtaza, De-Andra Pryce, Porscha Polkahantis Rippy and Rafael Rosario) ages 18-22, as they discover their inner strength and maneuver through the difficulties of growing up as immigrants, individuals and New Yorkers.

Datong used to be the capital of China sixteen hundred years ago, but it is now the most polluted city in China for the rapid growth of coal-mining industry. Mayor Geng, a lover of ancient Chinese poetry, wants to transform Datong into a cultural city to restore its greatness. To fulfill his plan, mayor Geng arranges to build a new city wall in the ancient style to attract tourists. However, he has to relocate 500,000 people, nearly 30% of the city’s population, and to destroy all buildings in the planned areas. Few years later, Geng was abruptly transferred to another municipality by the central government (the Communist Party

Whole rooms of palaces were decorated with porcelain, small Chinese-style furniture and wall murals which presented the ideal world that was supposedly China. This essay will explore the