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Retired teachers Bob and Peggy Bickford travel to China to teach English.
The people of Xingtai were fortunate to have had Peggy Bickford teach them about the English language and American life, just as we are fortunate to have her fine book The Cuckoo Comes at Harvest to educate us about life in the rural town of Xingtai, China. This evenhanded description of a small Chinese town offers an interesting contrast to life in the metropolitan Chinese cities most commonly pictured. Xingtai is typical of places where the masses of Chinese people live and this is how they live. In addition to the lucid text, the 42 illustrations give an intimate view of living and working conditions in contemporary inland China and a sympathetic look at the people. This valuable and worthwhile book is a must for anyone interested in modern China.
Beginning in 1924, Proceedings are incorporated into the Apr. no.
Faces of the Home Front presents a fascinating insight into the people, wartime organisations, events, life and work on the British Home Front during the Second World War. This is the story of ordinary people in extraordinary times told through an array of previously unpublished rare photographs, illustrations and ephemera. If you have wondered how Air Raid Wardens, Ambulance crews, Home Guard, Firemen, Special Constables, Women's Voluntary Service and the Women's Land Army were recruited and trained, how they were uniformed and what their duties entailed in wartime were, this is the book for you. Drawing on the authors’ own extensive archives of original photographs, training manuals, doc...
This book re-assesses director Jean Renoir’s work between his departure from France in 1940 and his death in 1979, and contributes to the debate over how the medium of film registers the impact of trauma. The 1930s ended in catastrophe for both for Renoir and for France: La Règle du jeu was a critical and commercial disaster on its release in July 1939 and in 1940 France was occupied by Germany. Even so, Renoir continued to innovate and experiment with his post-war work, yet the thirteen films he made between 1941 and 1969, constituting nearly half of his work in sound cinema, have been sorely neglected in the study of his work. With detailed readings of the these films and four novels produced by Renoir in his last four decades, Davis explores the direct and indirect ways in which film, and Renoir’s films in particular, depict the aftermath of violence.
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