49 Myths about China by Marte Kjær Galtung

By Marte Kjær Galtung

Communism is lifeless in China. "China Inc." is deciding to buy up the realm. China has the us over a barrel. The chinese language are only copycats. China is an environmental baddie, China is colonizing Africa. Mao used to be a monster. the tip of the Communist regime is close to. The twenty first century belongs to China. Or does it? Marte Kjær Galtung and Stig Stenslie spotlight forty nine everyday myths approximately China's previous, current, and destiny and weigh their fact or fiction. major an enlightening and exciting travel, the authors debunk frequent "knowledge" approximately chinese language tradition, society, politics, and economic climate. sometimes, chinese language themselves motivate unsuitable impressions. yet lots of those myths are rather approximately how we Westerners see ourselves, inasmuch as China or the chinese language everyone is depicted as what we're not. Western perceptions of the empire within the East have for hundreds of years oscillated among sinophilia and sinophobia, encouraged by way of ancient alterations within the West up to through occasions in...

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Can one remain open, and especially to the portals through which one passes? Embracing The Way requires us to recapture the moment in our being when we were at one with our mother. In Twenty Lao Tzu writes: ‘I live inside my mother, suckling her milk’. He is making the link between The Way and Union with the mother. This theory is entirely consistent with the foundation of Winnicott’s thinking. 12 The male element is object-relating, backed by instinct and characterized by ‘doing’.

Singing the letters gives them phonetic identity. The sounds of the letters are linked sonically to one another, and this helps connect the appearance of the unfamiliar written script with a familiar sound. Children know how to speak and now they are learning how to write: the dead characters on the blackboard are enlivened by singing. The Chinese child has to learn 3,000 ideograms. Each ideogram was originally (and to some extent is still) a picture of a thing, but over time it has acquired many other associations and has become open to multiple meanings.

Yip’s point is that the Wang Wei lines are never intended to be linked into a single syntactical structure. The free-standing nature of each image, the surprising juxtaposition of objects, is a thing unto itself that has an evocative integrity. The poetic line above could mean many things. And each reader will have his or her own deeply personal experience of it. Each word enacts its meaning. Empty is empty, but then it is next to ‘mountain’ which seems so full. ‘Not’ enacts any ‘no’ at this moment that might link ‘empty’ with ‘mountain’ and ‘see’ ‘man’ is an enigmatic presentation, with no link to the other images.

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