What Is Weiwei's Death?

Joshua Wong is one of the most well-known teen activists to date. He is doing a lot for his home city, Hong Kong, China, by revolting against China’s government. Joshua Wong is going above and beyond for not only Hong Kong, but the whole country of China. “ It’s time to renew the foreign policy of different countries toward Hong Kong ”, says Joshua himself. In 2014 Joshua Wong was all over the news about his student-led protest During this time Joshua Wong also had some struggles. Someone attempted to assault him at an airport, police set up roadblocks for his safety, hunger strikes were led by him. All of this for one teenage activist trying to support his rights for democracy.

The apex of Wong’s book is how she displays the emotional overtones in reciting her account of the Tiananmen Square Massacre of 1989. She tells of being holed up in a hotel across the street from the square and actually being able to see the violence between the protesting students and citizens, and the soldiers of the People’s Liberation Army. When she describes bodies falling from gunshot wounds, people being squashed by tanks, and the bullets ricocheting off their hotel walls, it produces multiple senses of horror, sorrow, and absolute terror. She further hammers this point across by displaying two images taken from the scene (245). The first is of a PLA platoon leader who was beaten, set afire, disemboweled, and to add further insult, positioned so that he would serve as an example of what the proletariats were capable of. The second, was of PLA soldiers examining the destruction of Tiananmen Square after they seized the square. Smoke and debris from the protestors are widely prevalent, and the image was even used in a propaganda brochure for the government.

Zhang Yimou’s To Live is a powerful indictment of communist authoritarian rule and blind patriotism. The film places the viewer in the position of an insider as the Communist Revolution alters the political and social landscape of China. By using dramatic irony, Zhang Yimou appraises communist collectivist culture, class structure and power in revolutionary China, and the Cultural Revolution. In addition, by using shadow puppetry as a symbol of indoctrination, Zhang Yimou examines the link between political change, personal tragedy, and bureaucratic incompetence.

Ai Weiwei is a famous international artist and a most outspoken regional critic in China. Ai express his opinions though social media, visual arts and performing arts. In order to stop Ai’s criticism，Chinese authorities have shut down Ai’s blog, beat him, and take him to secret detention centers.

Ai WeiWei studied at the Beijing Film Academy. He was also part of the first generation to study abroad as part of China's Reform and Opening Up Policy. He came to New York in 1983 and photographed protests so he could be apart of democracy. In 1993, his dad was sick so he returned to China. Once there, Ai Weiwei went to antique stores so he could see and feel the past. Once back in China, he decided that he was going to protest because he knew what freedom and democracy was like and never wants to go back. This inspired him to beginning protesting and hoping he can help make China a better place.

The poem overall conveys a sense of reflection that creates the emotions of grief and regret, which is evident in the sixth stanza. There are 3 main poetic techniques that are used to emphasise the theme. Repetition of “God help me, I was only nineteen” reinforces the innocence of the soldier’s age. Furthermore, colloquialism such

A third narrative thread is created by stringing together the stories of young Chinese students, both men and women. Their optimistic visions of the future contrast poignantly with the stories of Chen Mengjia and Polat, who expose more of the dark side of China especially the Cultural Revolution. Chen Mengjia committed suicide during the Cultural Revolution. Hessler (2006) interviews an old man about the issue of personal responsibility and political activism and reveals the deeply conflicted nature

“As one of the Red Guards in the middle school, I was given power through Mao to torture and humiliate our teachers, headmaster or anyone we didn’t like. I didn’t know it was wrong. I thought I was doing the right thing to continue the revolution, to fight and win the class struggle”- Zhao, Lin Qing. As a teenager Zhao was a Red Guard in Guangzhou during the Cultural Revolution. When asked what her impression was a member of the Red Guards, Zhao answered with two words: “naïve and senseless”. She refused answering anything more about her experience. She said, “The memories are still too painful to recall.”

The piece I decided to analyze is the famous sculpture, Laocoön and his two sons. I decided on this particular piece for a few reasons, one being the emotion we see on the subjects’ faces, and the other being the importance for future art. When I began this research I could not have possibly understood the relevance this piece had on the art that was yet to come.

Images are satirical as they connote how the school, under the influence of a fundamentalist society, damaging the children by treating them strictly and condemning them to accomplish what the society think is right. Among the recurring images, a metaphorical image that stood out symbolically is displayed on page 95, in which the teacher mobilizes Marjane and her classmates to beat their hearts to mourn death of young soldiers. The full-page panel exhibits an oppressive atmosphere with its heavy shading, which employs a pessimistically impression with Marjane’s childhood

Many characters’ lives are enveloped by a mental issue and they are a representation for these issues. Art covers these multiple issues. The Holocaust affected millions of people and of these millions, Vladek, Anja, and Mala all were left with

During the Zhengfeng (1942-1944), the Chinese Communist Party strongly believed that artistic expressions lacked a unified cultural approach. As such, they used various methods to consolidate ideological unanimity among cadres around Maoism. In his “Talks at the Yan 'an Forum on Literature and Art,” Mao Zedong stresses the struggle on the cultural front as an indispensable

“Better a live coward than a dead hero”, a proverb passed down by the Chinese since ancient time, it coexisted with China’s constantly in volatile state and periodical social unrest. Coincidentally, the saying resonates with the life of Fugui in the novel “To Live” by Yu Hua, a prominent novel which touched many souls and emotions within and outside China. Meanwhile life, a key component and a main theme of the novel, is being valued and portrayed vividly through Fugui’s life, demonstrated by the use of literary devices and among them characterization evident.

Fourth, as interpreted by Ray (2006), the shape and posture of the bodies express protest while the flaming buildings and crumbled walls reflect destructive power of civil war. The newspaper background is the means by how the painted knew the massacre. Both Berger (1980) and Chipp (1988) cited by Ray (2006), believe that the broken sword in the painting mean defeats of the people.

In this essay response I shall discuss the social and historical context of A Portrait of the Artist as a Young Man and My Son the Fanatic and how they enhance our understanding of the texts and then compare the two in their respective contexts.