When The Red Gates Opened

A Riveting Memoir of Cross-Cultural Romance at a Pivotal Moment in History When China opened its doors in the 1980s, it shocked the world by allowing private enterprise and free markets. As a foreign correspondent for BusinessWeek, Dori Jones Yang was among the first American journalists to cover China under Deng Xiaoping, who dared to defy Maoist doctrine as he rushed to catch up with richer nations. Fluent in Mandarin, she got to know ordinary Chinese people—who were embracing opportunities that had once been unimaginable in China. This deeply personal story follows her rise from rookie reporter to experienced journalist. Her cross-cultural romance gave her deeper insights into how Deng’s reforms led to hopes for better lives. This euphoria—shared by American businesses and Chinese citizens alike—reached its peak in 1989, when peaceful protestors filled Tiananmen Square, demanding democracy. On the ground in Beijing, Dori lived that hope, as well as the despair that followed. You’ll be inspired by this book of empowerment about a young woman from Ohio who pushed aside barriers to become a foreign correspondent and then persevered despite setbacks. Written in a time when China’s rapid rise is setting off fears in Washington, this book offers insight into the daring policies that started it all.

Since its first volume in 1960, Advances in Computers has presented detailed coverage of innovations in computer hardware, software, theory, design, and applications. It has also provided contributors with a medium in which they can explore their subjects in greater depth and breadth than journal articles usually allow. As a result, many articles have become standard references that continue to be of sugnificant, lasting value in this rapidly expanding field. In-depth surveys and tutorials on new computer technology Well-known authors and researchers in the field Extensive bibliographies with most chapters Many of the volumes are devoted to single themes or subfields of computer science

A Chinese boy struggles to adapt to American life—and discovers baseball. Despite his impulsive and curious nature, twelve-year-old Leon is determined to follow the Emperor’s rules—to live with an American family, study hard, and return home to modernize China. But he also must keep the braid that shows his loyalty—and resist such forbidden American temptations as baseball. As Leon overcomes teasing and makes friends, his elder brother becomes increasingly alienated. Eventually, Leon faces a tough decision, torn between his loyalty to his birth country—and his growing love for his new home. The Forbidden Temptation of Baseball is a lively, poignant, and nuanced novel based on a little-known episode from history, when 120 boys were sent to New England by the Emperor of China in the 1870s. This story dramatizes both the rigid expectations and the wrenching alienation felt by many foreign children in America today—and richly captures that tension between love and hate that is culture shock. It gives American readers a glimpse into what it feels like to be a foreigner in the United States and will spark thoughtful discussions.

"How did modern Chinese painters see landscape? Did they depict nature in the same way as premodern Chinese painters? What does the artistic perception of modern Chinese painters reveal about the relationship between artists and the nation-state? Could an understanding of modern Chinese landscape painting tell us something previously unknown about art, political change, and the epistemological and sensory regime of twentieth-century China? Yi Gu tackles these questions by focusing on the rise of open-air painting in modern China. Chinese artists almost never painted outdoors until the late 1910s, when the New Culture Movement prompted them to embrace direct observation, linear perspective, and a conception of vision based on Cartesian optics. The new landscape practice brought with it unprecedented emphasis on perception and redefined artistic expertise. Central to the pursuit of open-air painting from the late 1910s right through to the early 1960s was a reinvigorated and ever-growing urgency to see suitably as a Chinese and to see the Chinese homeland correctly. Examining this long-overlooked ocular turn, Gu not only provides an innovative perspective from which to reflect on complicated interactions of the global and local in China, but also calls for rethinking the nature of visual modernity there."