Alison M. Groppe, Sinophone Malaysian literature: Not Made in China. Amherst, New York : Cambria Press, Cambria

Archipel ◽  
2018 ◽  
pp. 213-216
Author(s):  
Pierre-Mong Lim
Keyword(s):  
New York ◽  
Made In China ◽  
Made In

Sensory Ethnography, Part 2

2019 ◽  
pp. 451-494
Author(s):  
Scott MacDonald
Keyword(s):  
New York ◽  
Recent Work ◽  
Single Shot ◽  
Public Park ◽  
Sensory Ethnography ◽  
Made In China ◽  
Made In

This follow-up to “Sensory Ethnography, Part 1” (published by Oxford in Avant-Doc, 2015) is a set of interviews with veterans of Harvard’s Sensory Ethnography Lab. J. P. Sniadecki, Stephanie Spray, and Véréna Paravel discuss their experiences with the SEL and director Lucien Castaing-Taylor. Sniadecki and Spray discuss their early films, made in China and Nepal respectively; and Sniadecki discusses his more recent work. “Sensory Ethnography, Part 2” concludes with discussions with Sniadecki and Paravel on their Foreign Parts (2010), about an automobile junkyard in Queens, New York; with Sniadecki and Libbie Dina Cohn on People’s Park (2012), a single-shot excursion through a popular public park in Chengdu, China; and with Sniadecki and Joshua Bonnetta on El Mar La Mar (2017), a visual evocation of the border territory between Sonora and Arizona.

Wang Chong and the Theatre of Immediacy: Technology, Performance, and Intimacy in Crisis

2021 ◽  
pp. 1-27
Author(s):  
Tarryn Li-Min Chun
Keyword(s):  
New York ◽  
Personal Safety ◽  
The Public ◽  
Work In Progress ◽  
Chinese Theatre ◽  
Solo Show ◽  
Online Platforms ◽  
Waiting For Godot ◽  
Made In China ◽  
Made In

In early January 2020, when Chinese theatre director Wang Chong (b. 1982) arrived in New York to remount his production of Nick Payne's Constellations for the Public Theater's Under the Radar Festival, he couldn't have predicted that this would be the last time for months that he would watch his actors from the middle of a full house. By the time his work-in-progress solo show, Made in China 2.0, opened at the Asia TOPA Festival in Melbourne, Australia, at the end of that February, it was clear that there would be no live theatre in Wang's hometown of Beijing for some time. All of China was on lockdown as the disease now tragically familiar as COVID-19 swept the country. Then, as Wang returned to Beijing in early March, businesses around the globe were shuttering, theatres were going dark, and theatre artists were confronting an unprecedented challenge to their personal safety, livelihoods, and ability to make meaningful art. In short order, some well-resourced theatre institutions began to stream performance recordings and reconfigure their seasons for online platforms. Only a month after returning home, Wang Chong joined this mass online movement with his production of Samuel Beckett's Waiting for Godot, streamed live on 5–6 April 2020 as Dengdai Geduo.

Doctors ’Made in China’ – Locally Trained, Globally Excellent

Praxis ◽  
2020 ◽  
Vol 109 (6) ◽  
pp. 1-2
Author(s):  
Ewelina Biskup ◽  
Feng Li ◽  
Shixian Dong ◽  
Yan Wo
Keyword(s):  
Made In China ◽  
Made In

Made in China: How Chinese Innovation Is Changing the Patent Landscape

2014 ◽  
Author(s):  
Jay P. Kesan ◽  
Alan C. Marco ◽  
Richard Miller
Keyword(s):  
Patent Landscape ◽  
Made In China ◽  
Made In

Made in China, fashioned in Africa: ethnic dress in Ethiopia and Mozambique

Africa ◽  
2021 ◽  
Vol 91 (2) ◽  
pp. 317-336
Author(s):  
Johanna von Pezold ◽  
Miriam Driessen
Keyword(s):  
Design Elements ◽  
Grass Roots ◽  
Made In China ◽  
Made In ◽  
Naming Practices

AbstractThe influx of Chinese-made African ethnic dress has been central to debates about the consequences of the growing Chinese presence in Africa. Exploring the reception of the Chinese-produced capulana in Mozambique and net'ela in Ethiopia, we demonstrate that Mozambican and Ethiopian manufacturers and traders, from the grass roots up to cultural elites, engage with Chinese imports with creativity and verve. While welcoming Chinese materials for their affordability, bold and bright colours and suitability for dressmaking, they fashion them in ways that fit their own tastes and the local fashion trends. We distinguish three practices by which people do this: first, by incorporating Chinese materials or design elements into their own products; second, by co-creating new designs and dress with their Chinese counterparts; and third, by altering the imported fabrics. Apart from fashioning imports, some manufacturers use strategies to distinguish their own products from Chinese counterparts. These strategies include naming practices linked to the stories of their origin and alterations to the material.

On white marble half-lotus meditation statues carved in Wuding Era of the Eastern Wei Dynasty

2019 ◽  
Vol 19 (1) ◽  
pp. 182-194
Author(s):  
Hyun-Sook So
Keyword(s):  
New York ◽  
Comparative Study ◽  
Metropolitan Museum ◽  
White Marble ◽  
City Area ◽  
Metropolitan Museum Of Art ◽  
Right Hand ◽  
Second Year ◽  
Made In ◽  
Wei Dynasty

Abstract In 2012, large amounts of white marble Buddhist statues of the Eastern Wei and Northern Qi Dynasties were unearthed from the Buddhist sculpture hoard at Bei Wuzhuang in Ye City Site. This paper makes a comparative study on a bodhisattva statue in meditation seated in half-lotus posture (resting right ankle on the knee of pendent left leg and holding right hand upward) among them and another sculpture of the same type and made in the same period unearthed at the Xiude Monastery site in Dingzhou; from the double-tree, stupa and coiling dragon designs shown by them, this paper explores the commonalities and differences of the Buddhist arts in these two areas. Moreover, this paper reveals that this motif emerged earlier in the Ye City area than in the Dingzhou area, and diffused to the latter after it became popular in the Ye City area. By these conclusions, this paper infers that the white marble meditating statue seated in half-lotus position with the date of the second year of Wuding Era (544 CE) in the collection of the Metropolitan Museum of Art in New York, USA was produced in Ye City area.

Platform Capitalism ‘Made in China’? Intelligent Manufacturing, Taobao Villages and the Restructuring of Work

2019 ◽  
Vol 24 (2) ◽  
pp. 199-217 ◽  
Author(s):  
Boy Lüthje
Keyword(s):  
Intelligent Manufacturing ◽  
Value Chains ◽  
Policy Recommendations ◽  
Employment Policy ◽  
Social Shaping Of Technology ◽  
Social Shaping ◽  
Made In China ◽  
The Impact ◽  
Conditions Of Employment ◽  
Made In

The article examines the development of advanced digital manufacturing (as outlined in the ‘Made-in-China 2025’ government plan) from the perspective of the changing socio-technical paradigms of production. The analysis focuses on the transformations of value chains and work, based on theories of social shaping of technology, regulation theory and regimes of production. Analytically, the author proposes to distinguish between ‘production-driven’ and ‘distribution-driven’ pathways of manufacturing digitalisation. The transformation of semi-rural industrial areas (‘Taobao villages’, named after China’s largest e-commerce platform Taobao) into mass production clusters for e-commerce is depicted as a paradigmatic model of distribution-driven transformation and as a characteristic Chinese strategy in this field. The article examines the impact on industry supply chains and work, leading to ever-more precarious conditions of employment. Policy recommendations focus on local strategies to stabilise supply chain structures and working conditions, as an alternative to the present top-down approaches to manufacturing modernisation in China.

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