The learning goals that center on the thematic units are set in accordance with the language proficiency levels, established by the ACTFL˙To Comply with the pedagogical principle of backward design to establish the teaching/learning goals for the intermediate learner of Chinese˙Integrates into its thematic contents the ACTFL-defined, three mores of language uses as well the 5C concepts˙Assist the learner to achieve holistic progress and to cultivate specific linguistic abilities of Chinese˙The selecting of keywords/phrases in thetextbooks is greatly in line with vocabulary levels defined by the HSK and by the TOCFL. The regional difference in language uses between the two sides of theTaiwan Strait are also meticulously annotated in the textbooks In recent years, the background of learners has become diversified, and the number of self-study students of elementary Chinese is also increasing. On the pedagogical front, however, learning materials, found to be biased towards school l
Six Features of the Textbooks1. This textbook series is based on results from action research done by experienced Mandarin Chinese instructors affiliated with U.S. universities and colleges. 2. Eight thematic units run through two volumes of textbooks, covering personal, communitial, societal issues and learning tasks.3. The design of learning tasks and assessment activities aligns with ACTFL’s proficiency benchmarks, three modes of communication, and 5C principles.4. The selection of grammar and vocabulary aligns with the guidelines by HSK and Chinese Language Proficiency Test, with cross-strait differences clearly marked and listed. 5. This textbook series is designed for people from all walks of life and college students to meet the various needs and interests of adult learners. 6. Learners will develop intermediate level oral proficiency, while establishing listening and reading strategies, and eventually become independent learners of Mandarin Chinese. 本教材六大特點1. 本教材為北美一線中文教師行動研究成果
The 2010s have seen an explosion in popularity of Chinese television featuring same-sex intimacies, LGBTQ-identified celebrities, and explicitly homoerotic storylines even as state regulations on “vulgar” and “immoral” content grow more prominent. This emerging “queer TV China” culture has generated diverse, cyber, and transcultural queer fan communities. Yet these seemingly progressive televisual productions and practices are caught between multilayered sociocultural and political-economic forces and interests.Taking “queer” as a verb, an adjective, and a noun, this volume counters the Western-centric conception of homosexuality as the only way to understand nonnormative identities and same-sex desire in the Chinese and Sinophone worlds. It proposes an analytical framework of “queer/ing TV China” to explore the power of various TV genres and narratives, censorial practices, and fandoms in queer desire-voicing and subject formation within a largely heteropatriarchal society. Through ex
Chen Shui-bian is one of the most consequential -- and controversial -- politicians in Taiwan’s modern history. He broke the political grip of the ruling Kuomintang (Nationalist Party), winning the presidency in 2000 and paving the way for the first peaceful transfer of power to the opposition – the Democratic Progressive Party.But he was also convicted in four corruption-related criminal cases, and his actions inflicted great political harm on a young democracy. Ultimately, Chen will be remembered as the first president of Taiwan to be sentenced to jail.Chen’s intriguing story deserves retelling, and veteran journalist Osman Tseng is uniquely suited to the task. Tseng’s journalistic career spanned more than four decades with the Chinese language China Times as well as English media outlets, the China Post, and the China Economic News Service (CENS). This gave him a choice vantage point for observing Chen’s political ascent and the dramatic legal battles of his eventual downfall.◎代理經銷：
This book examines the development of Chinese translation practice in relation to the rise of ideas of modern selfhood in China from the 1890s to the 1920s. The key translations produced by late Qing
