Clueless Aussie Summer Frock is mistaken for a celebrity and must face-off with Chinese culture when hired to teach underdog college students how to win over a ruthless top-dog college led by Texan Dingo Dog Dave Smythe in a national reality T.V contest. Note to filmmakers: WELCOME TO CHINA!is a feature length screenplay created in Movie Magic Screenwriting software and formats to: Genre: Comedy Kaz Drysdale [email protected] [email protected] Twitter: @SilverScriptz Stage 32.com CanDoDreamz | Kaz Drysdale LinkedIn.com : Kaz Drysdale

Issue your students a passport to travel the globe with this incredible packet on China! Units feature in-depth studies of its history, culture, language, foods, and so much more. Reproducible pages provide cross-curricular reinforcement and bonus content, including activities, recipes, and games. Numerous ideas for extension activities are also provided. Beautiful illustrations and photographs make students feel as if they’re halfway around the world. Perfect for any teacher looking to show off the world, this must-have packet will turn every student into an accomplished globetrotter!

See the view from the Great Wall of China, play Chinese chess, and celebrate Lunar New Year with your friends from Sesame Street. On this fun-filled tour, you'll learn about China's landscape, culture, people, and more.

Adventurous young readers will get a whirlwind tour of the world's biggest country with this book about China, taking a look at its people, its landscape, its culture, and what the future holds. Read about the Great Wall, the Yangtze River, and more! Stunning photographs combine with lively illustrations and engaging, age-appropriate stories in DK Readers, a multilevel reading program guaranteed to capture children's interest while developing their reading skills and general knowledge. With DK Readers, children will learn to read—then read to learn!

A brief introduction to the history, culture, geography, and people of China.

Huge. Colorful. Ancient. Welcome to China! In this bright, exciting book, young readers will travel to this amazing country without ever leaving their homes or classrooms. During their journey, they will learn all about China’s cities, food, holidays, music, and wildlife. They even learn how to speak a few words in Mandarin! This 32-page book features controlled text with age-appropriate vocabulary and simple sentence construction. The engaging text, bold design, and stunning photos are sure to capture children’s interest.

A map of the mutual influence of Bloomsbury, the Crescent Moon Society, and modernism in English and Chinese culture Lily Briscoe's Chinese Eyes traces the romance of Julian Bell, nephew of Virginia Woolf, and Ling Shuhua, a writer and painter Bell met while teaching at Wuhan University in China in 1935. Relying on a wide selection of previously unpublished writings, Patricia Laurence places Ling, often referred to as the Chinese Katherine Mansfield, squarely in the Bloomsbury constellation. In doing so, she counters East-West polarities and suggests forms of understanding to inaugurate a new kind of cultural criticism and literary description. Laurence expands her examination of Bell and Ling's relationship into a study of parallel literary communities—Bloomsbury in England and the Crescent Moon group in China. Underscoring their reciprocal influences in the early part of the twentieth century, Laurence presents conversations among well-known British and Chinese writers, artists, and historians, including Virginia Woolf, Vanessa Bell, G. L. Dickinson, Xu Zhimo, E. M. Forster, and Xiao Qian. In addition, Laurence's study includes rarely seen photographs of Julian Bell, Ling, and their associates as well as a reproduction of Ling's scroll commemorating moments in the exchange between Bloomsbury and the Crescent Moon group. While many critics agree that modernism is a movement that crosses national boundaries, literary studies rarely reflect such a view. In this volume Laurence links unpublished letters and documents, cultural artifacts, art, literature, and people in ways that provide illumination from a comparative cultural and aesthetic perspective. In so doing she addresses the geographical and critical imbalances—and thus the architecture of modernist, postcolonial, Bloomsbury, and Asian studies—by placing China in an aesthetic matrix of a developing international modernism.

We all ?know? that Marco Polo went to China, served Ghengis Khan for many years, and returned to Italy with the recipes for pasta and ice cream. But Frances Wood, head of the Chinese Department at the British Library, argues that Marco Polo not only never went to China, he probably never even made it past the Black Sea, where his family conducted business as merchants.Marco Polo's travels from Venice to the exotic and distant East, and his epic book describing his extraordinary adventures, A Description of the World, ranks among the most famous and influential books ever published. In this fascinating piece of historical detection, marking the 700th anniversary of Polo's journey, Frances Wood questions whether Marco Polo ever reached the country he so vividly described. Why, in his romantic and seemingly detailed account, is there no mention of such fundamentals of Chinese life as tea, foot-binding, or even the Great Wall? Did he really bring back pasta and ice cream to Italy? And why, given China's extensive and even obsessive record-keeping, is there no mention of Marco Polo anywhere in the archives?Sure to spark controversy, Did Marco Polo Go to China? tries to solve these and other inconsistencies by carefully examining the Polo family history, Marco Polo's activities as a merchant, the preparation of his book, and the imperial Chinese records. The result is a lucid and readable look at medieval European and Chinese history, and the characters and events that shaped this extraordinary and enduring myth.

China is intensely conscious of its status, both at home and abroad. This concern is often interpreted as an undivided desire for higher standing as a global leader. Yet, Chinese political elites heatedly debate the nation's role as it becomes an increasingly important player in international affairs. At times, China positions itself not as a nascent global power but as a fragile developing country. Contradictory posturing makes decoding China's foreign policy a challenge, generating anxiety and uncertainty in many parts of the world. Using the metaphor of rebranding to understand China's varying displays of status, Xiaoyu Pu analyzes a rising China's challenges and dilemmas on the global stage. As competing pressures mount across domestic, regional, and international audiences, China must pivot between different representational tactics. Rebranding China demystifies how the state represents its global position by analyzing recent military transformations, regional diplomacy, and international financial negotiations. Drawing on a sweeping body of research, including original Chinese sources and interdisciplinary ideas from sociology, psychology, and international relations, this book puts forward an innovative framework for interpreting China's foreign policy.

In early twentieth-century China, Chen Diexian (1879–1940) was a maverick entrepreneur—at once a prolific man of letters and captain of industry, a magazine editor and cosmetics magnate. He tinkered with chemistry in his private studio, used local cuttlefish to source magnesium carbonate, and published manufacturing tips in how-to columns. In a rapidly changing society, Chen copied foreign technologies and translated manufacturing processes from abroad to produce adaptations of global commodities that bested foreign brands. Engaging in the worlds of journalism, industry, and commerce, he drew on literati practices associated with late-imperial elites but deployed them in novel ways within a culture of educated tinkering that generated industrial innovation. Through the lens of Chen’s career, Eugenia Lean explores how unlikely individuals devised unconventional, homegrown approaches to industry and science in early twentieth-century China. She contends that Chen’s activities exemplify “vernacular industrialism,” the pursuit of industry and science outside of conventional venues, often involving ad hoc forms of knowledge and material work. Lean shows how vernacular industrialists accessed worldwide circuits of law and science and experimented with local and global processes of manufacturing to navigate, innovate, and compete in global capitalism. In doing so, they presaged the approach that has helped fuel China’s economic ascent in the twenty-first century. Rather than conventional narratives that depict China as belatedly borrowing from Western technology, Vernacular Industrialism in China offers a new understanding of industrialization, going beyond material factors to show the central role of culture and knowledge production in technological and industrial change.