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The ambiguous development trend of cultural globalization brings both opportunities and challenges to China’s cultural development. English major in colleges and universities, a discipline of cross-cultural education, should look at the cultural communication of the target country dialectically based on the national consciousness of the home country. Since the end of the 20th century, administrators and scholars have paid attention to critical thinking, critical cultural awareness, and critical skills in cross-cultural communication, which are important components of the cross-cultural meaning system. Therefore, all these are collectively referred to as critical cross-cultural literacy (CCCL). On the basis of the research paradigm of systemic functional linguistics (SFL), a language is a semiotic system that creates meaning. Thus, to help students construct and improve their individual CCCL repertoire, teachers need to guide them to critically study and analyze the discourse purpose of the textbook author as well as their language methods and strategies to enrich their meaning potential. [ABSTRACT FROM AUTHOR]

This paper reconstructs the ways in which the Hungarian People's Army Performing Arts Ensemble arranged its repertoire to perform socialist Hungary in the autumn of 1956, during the Ensemble's tour in the People's Republic of China. The paper performs a close reading of a single archival document, the program of the Ensemble's début performance before non-European socialist audiences that took place in Shenyang on September 21, 1956. The repertoire featured a simple chronological, quasi-historical overview of musical and dance traditions from Hungary. It offered a vague, highly stylized set of references to Hungary's military traditions. It attempted to realize the triple formula of a new, 'modern, Magyar, European,' art form, and foregrounded a plebian ('peasant-') progressive-patriotic theme with hints of ethnic nationalism. The program provided the absolute minimum of the standard Stalinist fare, resolutely avoided any reference to the USSR or Russia, and, most fascinating, closed with a self-ironical dance piece featuring a powerful allegorical story of socialism with a 'Hungarian face,' something that represented a resolute break with the Stalinist aesthetic canon and reinforced the group's political commitment to a socialism that is 'modern, Magyar and European.' [ABSTRACT FROM AUTHOR]

Based on detailed ethnographic fieldwork, this paper compares two cases of peasant protest against heavy taxes and fees in a northern Hunan county in the 1990s. It argues that peasant protest did not arise spontaneously. Rather, it erupted when leaders emerged who used central policy documents on lowering peasant taxes and fees to mobilise peasants. Protest leaders were articulate and public-spirited peasants who had received political training from the local party-state. Furthermore, the number of leaders, their education level, and their relationship with the local party-state explain why the repertoire and the scope of the two protests varied. Protests led by less educated veteran Communist Party cadres tended to be milder and smaller than those led by better-educated peasants more distant from the local party-state. This paper helps us to understand the process of peasant mobilisation in contemporary China and explains why peasant protest varies across cases. [ABSTRACT FROM AUTHOR]

The strikes that shook the factories of the Pearl River Delta in 2010 revealed the emergence of a new generation of workers of peasant origin. Better educated and more demanding than their parents, they used new communication techniques to launch a movement that borrowed from the protest repertoire developed over the last decade. Despite this, it cannot really be said that a social movement has emerged. [ABSTRACT FROM AUTHOR]