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Royally Hung
"Indulge your romantic royal wedding fantasies with this read."--EW.com Fairy tales always have a Prince Charming and a bad guy. In real life, Prince Charming is the bad guy and his favorite happy ending is the big O. I'm Prince Dare but you can call me Prince Charming. Cinderella never wanted the prince--she wanted a night out, a banging dress, and some midnight fun. I deliver that. I make being bad look way more fun than being good, and no one leaves my royal bed without a happy ending. When my uncle, the reigning king of Vale, orders me to marry and offers to make me the heir to the throne, I'm thrown for a loop. I'm the spare, the extra, the free gift with purchase. I can't be the hero and I won't be the villain who knocks his brother off the throne, so I've come up with an evil plan of my own... I'll marry someone completely unsuitable to take myself out of the running. The only problem? My suitably unroyal bride is far too tempting to resist--Edee is funny, sweet, and sexy. And best of all, she's American. It's a great plan. Everything's working out just fine until reality starts to intrude on my fantasy and for the first time ever, I wish fairy tales did come true.
A Law Enforcement Sourcebook of Asian Crime and CulturesTactics and Mindsets
Even in multicultural North America, few whites, blacks, or Hispanics have extensive experience or understanding of Asian culture. For experienced police officers, intelligence analysts, correctional officers, and prosecutors, the problems of cultural differences in behavior remain complex and problematic. This book addresses these specific law enforcement problems, and supplies law enforcement professionals with information and strategies for easier arrests, more accurate intelligence, more successful prosecutions, and fewer problems during incarceration.
The China Boom
A systematic investigation into the origins and unraveling of China's economic miracle.
Zooming In
From the first sets of photographic records made by Western travelers to doctored portraits of Chairman Mao and the avant-garde photographic performances of the post–Cultural Revolution era, photography in China has followed divergent paths. In this book, Wu Hung explores the multiple histories of photographic production in China, using them to tell a larger story about China’s shifting sociopolitical contexts and the different agendas, technologies, and aesthetics that have helped define its arts. At the center of the book is a large question: how has photography represented China and its people, its collective history and memory as well as the diversity of Chinese artists who have striven for creative expression? To address this question, the author offers an in-depth study of selected photographers, themes, and movements in Chinese photography from 1860 to the present, covering a wide range of genres, including portraiture, photojournalism, architectural and landscape photography, and conceptual photography. Beautifully illustrated, this book offers a multifaceted and in-depth analysis of an important photographic history.
Art of the Yellow Springs
We might think the Egyptians were the masters of building tombs, but no other civilization has devoted more time and resources to underground burial structures than the Chinese. For at least five thousand years, from the fourth millennium B.C.E. to the early twentieth century, the Chinese have been building some of the world’s most elaborate tombs and furnishing them with exquisite objects. It is these objects and the concept of the tomb as a “treasure-trove” that The Art of the Yellow Springs seeks to critique, drawing on recent scholarship to examine memorial sites the way they were meant to be experienced: not as a mere store of individual works, but as a work of art itself. Wu Hung...
The Double Screen
In the first exploration of Chinese paintings as both material products and pictorial representations, The Double Screen shows how the collaboration and tension between material form and image gives life to a painting. A Chinese painting is often reduced to the image it bears; its material form is dismissed; its intimate connection with social activities and cultural conventions neglected. A screen occupies a space and divides it, supplies an ideal surface for painting, and has been a favorite pictorial image in Chinese art since antiquity. Wu Hung undertakes a comprehensive analysis of the screen, which can be an object, an art medium, a pictorial motif, or all three at once. With its diverse roles, the screen has provided Chinese painters with endless opportunities to reinvent their art. The Double Screen provides a powerful non-Western perspective on issues from portraiture and pictorial narrative to voyeurism, masquerade, and political rhetoric. It will be invaluable to anyone interested in the history of art and Asian studies.
