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NEW YORK TIMES BEST SELLER! The blockbuster danmei/Boys’ Love novels from China that inspired the animated Scumbag System series streaming in English! This hilarious story of a man reborn as a villain in a fantasy novel series who ends up romancing the male protagonist is now in English, for the very first time. Half-demon Luo Binghe rose from humble beginnings and a tortured past to become unrivaled in strength and beauty. With his dominion over both the Human and Demon Realms and his hundreds-strong harem, he is truly the most powerful protagonist...in a trashy webnovel series! At least, that's what Shen Yuan believes as he finishes reading the final chapter in Proud Immortal Demon Way. ...
When youth and maturity are combined, it is difficult to tell an intuitive feeling. It may be that her tender face is born with a little cuteness, or a little charm caused by a casual glance at her smart eyes. But now, it seems to be the touch of her lips, a little arrogance
Fang Qianran used the last yuan force, suddenly hit behind him, pinched his fist and printed it, completely crushing the surrounding rocks.
According to legend, "Dark Sink" is an ancient book, which is divided into two volumes: Qingxiang and Suxiang. It is dry, profound and abstruse. However, the author claims that the fairy myth recorded in it is true. The person who wrote this book can no longer be tested, but the word "fish" remains on the title page of the book. According to "Dark Sink", at the beginning of heaven and earth, at the beginning of everything, yin and yang are unpredictable. The unforeseen events of yin and yang are called gods, and the gods stand and China decides. Differentiation of the three realms, adhering to heaven, reincarnation of life and death.
For hundreds of years, the soul wandered in dreamland, wandering in nothingness, and she finally reincarnated-the charming sister of that time, the cold plum of that time, the Ding Ning of that time, the snow princess of that time
How the valorization of artistic and political dissidence has contributed to the rise of Chinese contemporary art in the West. Interest in Chinese contemporary art increased dramatically in the West shortly after the 1989 Tiananmen Square protests. Sparked by political sympathy and the mediatized response to the event, Western curators, critics, and art historians were quick to view the new art as an expression of dissident resistance to the Chinese regime. In this book, Marie Leduc proposes that this attribution of political dissidence is not only the result of latent Cold War perceptions about China, but also indicative of the art world's demand for artistically and politically provocative...
Beyond hegemonic thoughts, the Post-Western sociology enables a new dialogue between East Asia (China, Japan, Korea) and Europe on common and local knowledge to consider theoretical continuities and discontinuities, to develop transnational methodological spaces, and co-produce creolized concepts. With this new paradigm in social sciences we introduce the multiplication of epistemic autonomies vis-à-vis Western hegemony and new theoretical assemblages between East-Asia and European sociologies. From this ecology of knowledge this groundbreaking contribution is to coproduce a post-Western space in a cross-pollination process where “Western” and “non-Western” knowledge do interact, articulated through cosmovisions, as well as to coproduce transnational fieldwork practices.