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Journal articles on the topic 'Crouching Tiger'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 January 2023

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1

Aleksei Polukhin. "GAZPROM’S CROUCHING PAPER TIGER." Current Digest of the Post-Soviet Press, The 69, no. 021 (2017): 7. http://dx.doi.org/10.21557/dsp.48945551.

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Sanger, Terence D., and John F. Kalaska. "Crouching tiger, hidden dimensions." Nature Neuroscience 17, no. 3 (2014): 338–40. http://dx.doi.org/10.1038/nn.3663.

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3

Stewart, Jane Alexander. "Crouching Tiger, Hidden Dragon." San Francisco Jung Institute Library Journal 21, no. 1 (2002): 57–66. http://dx.doi.org/10.1525/jung.1.2002.21.1.57.

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Soans, Santosh T. "Crouching Tiger, Hidden Dragon." Indian Pediatrics 55, no. 1 (2018): 13–15. http://dx.doi.org/10.1007/s13312-018-1219-2.

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5

Sokol, D. K. "Crouching tiger, hidden surgeon." BMJ 342, jun15 3 (2011): d3591. http://dx.doi.org/10.1136/bmj.d3591.

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Hopkins, Daniel, and Murali Varma. "Crouching tiger, hidden dragon." Journal of Clinical Pathology 71, no. 1 (2017): 92–94. http://dx.doi.org/10.1136/jclinpath-2017-204691.

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7

JACQUES, MARTIN. "Crouching Tiger, Weakened Eagle." New Perspectives Quarterly 27, no. 2 (2010): 7–9. http://dx.doi.org/10.1111/j.1540-5842.2010.01147.x.

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8

Block, Peter C. "Crouching Tiger, Lipid Plaque." Catheterization and Cardiovascular Interventions 81, no. 3 (2013): 538–39. http://dx.doi.org/10.1002/ccd.24818.

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9

Morrison, Hope. "Crouching Tiger (review)." Bulletin of the Center for Children's Books 65, no. 5 (2012): 248. http://dx.doi.org/10.1353/bcc.2012.0026.

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10

Sabbath, Roberta. "Metahistory: Crouching Tiger, Hidden Dragon." South Asian Review 23, no. 2 (2002): 34–35. http://dx.doi.org/10.1080/02759527.2002.11932280.

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Gao, Yu, and Myungsook Choi. "A Study on Convergence of Color and Music in the Movie Crouching Tiger, Hidden Dragon." Korean Society of Culture and Convergence 44, no. 11 (2022): 1083–97. http://dx.doi.org/10.33645/cnc.2022.11.44.11.1083.

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The film Crouching Tiger, Hidden Dragon (2000) directed by Ang Lee, known as one of the new era of Chinese martial arts films, is the first film in Chinese film history to win the Academy Award for Best Foreign Language Film. Tan Dun, a composer and conductor, won the 73rd Academy Awards for Best Original Music in 2001 by the music of Crouching Tiger, Hidden Dragon. In 2002, he won the 44th Grammy Award for Best Original Film Music Album, and began to receive extensive attention. This paper explored Crouching Tiger, Hidden Dragon with strong oriental color and traditional music and investigated the Chinese traditional color view and aesthetic thought of director Ang Lee by his pursuit of the costume color and modeling of the main characters in the film. At the same time, through the music of Crouching Tiger, Hidden Dragon that throughout the film, to show the music creation characteristics of the integration of eastern and western music of Tan Dun.
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Glass, Robert L. "Is the crouching tiger a threat?" Communications of the ACM 49, no. 3 (2006): 19–20. http://dx.doi.org/10.1145/1118178.1118208.

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13

Klein, Christina. "Crouching Tiger, Hidden Dragon : A Diasporic Reading." Cinema Journal 43, no. 4 (2004): 18–42. http://dx.doi.org/10.1353/cj.2004.0035.

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14

Jiang, Xinyu. "An Analysis of the Uniquely Chinese Oriental Aesthetic in Crouching Tiger, Hidden Dragon." International Journal of Education and Humanities 4, no. 3 (2022): 6–8. http://dx.doi.org/10.54097/ijeh.v4i3.1642.

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Crouching Tiger, Hidden Dragon, as a martial arts film, is filled with a variety of summaries and expressions of Eastern aesthetics, the origins of which are closely linked to Taoist thought. This emphasis on the spirit of cessation, seclusion and compassion forms the backbone of the film, while the writing of rebellion, resistance and domestication fills the flesh and blood of the film. In this film, Ang Lee attempts to deconstruct traditional oriental aesthetics and then reorganise them, resulting in Crouching Tiger, Hidden Dragon, a film with a twisted story and vivid, subtle images that carries a classical artistic aesthetic while incorporating modern thinking, which is worthy of a glimpse with an oriental perspective.
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Houck, Davis W. "Chapter 28 - Crouching Tiger, Hidden Blackness: Tiger Woods and the Disappearance of Race." Routledge Online Studies on the Olympic and Paralympic Games 1, no. 46 (2012): 506–23. http://dx.doi.org/10.4324/9780203873670_chapter_28.

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16

Syrjänen, Kaj, Luke Maurits, Unni Leino, Terhi Honkola, Jadranka Rota, and Outi Vesakoski. "Crouching TIGER, hidden structure: Exploring the nature of linguistic data using TIGER values." Journal of Language Evolution 6, no. 2 (2021): 99–118. http://dx.doi.org/10.1093/jole/lzab004.

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Abstract In recent years, techniques such as Bayesian inference of phylogeny have become a standard part of the quantitative linguistic toolkit. While these tools successfully model the tree-like component of a linguistic dataset, real-world datasets generally include a combination of tree-like and nontree-like signals. Alongside developing techniques for modeling nontree-like data, an important requirement for future quantitative work is to build a principled understanding of this structural complexity of linguistic datasets. Some techniques exist for exploring the general structure of a linguistic dataset, such as NeighborNets, δ scores, and Q-residuals; however, these methods are not without limitations or drawbacks. In general, the question of what kinds of historical structure a linguistic dataset can contain and how these might be detected or measured remains critically underexplored from an objective, quantitative perspective. In this article, we propose TIGER values, a metric that estimates the internal consistency of a genetic dataset, as an additional metric for assessing how tree-like a linguistic dataset is. We use TIGER values to explore simulated language data ranging from very tree-like to completely unstructured, and also use them to analyze a cognate-coded basic vocabulary dataset of Uralic languages. As a point of comparison for the TIGER values, we also explore the same data using δ scores, Q-residuals, and NeighborNets. Our results suggest that TIGER values are capable of both ranking tree-like datasets according to their degree of treelikeness, as well as distinguishing datasets with tree-like structure from datasets with a nontree-like structure. Consequently, we argue that TIGER values serve as a useful metric for measuring the historical heterogeneity of datasets. Our results also highlight the complexities in measuring treelikeness from linguistic data, and how the metrics approach this question from different perspectives.
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17

Eva, Fabrizio. "The geopolitical role of China: Crouching tiger, hidden dragon." Ekistics and The New Habitat 70, no. 422/423 (2003): 341–50. http://dx.doi.org/10.53910/26531313-e200370422/423262.

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The author is an annual contract professor at the University of Venice - Ca' Foscari, Treviso campus, Italy, with a course on Political and Economic Geography. Previously he had annual contracts at the Institute of Human Geography, State University of Milan with courses on Geopolitical Dynamics and Analyzing Methods. He is corresponding member of the IGU World Political Map Commission. He is a member of the editorial board of the international reviews Geography Research Forum, Geopolitics, and The Arab World Geographer. His academic interests include current geopolitical dynamics, international relations, borders and nation-state issues, ethnonationalisms, political and economic dynamics in Eastern Asia (particularly China and Japan), the geopolitical legacy of Elisée Reclus, Piotr Kropotkin and anarchic thought. Recent publications are: Cina e Giappone. Due modelli per il futuro dell' Asia (Turin, UTET Libreria, 2000); "La geografia politica," in M. Casari, G. Corna Pellegrini and F. Eva, Elementi di geografia economica e politica (Rome, Carocci, 2003). Personal Webpage: http://www.fabrizio-eva.info
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18

Slamet, Yosep Bambang Margono. "A BOOK REVIEW: CROUCHING TIGER AND ISSUES OF CULTURE." Celt: A Journal of Culture, English Language Teaching & Literature 13, no. 2 (2015): 255. http://dx.doi.org/10.24167/celt.v13i2.28.

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19

O'Brien, Timothy G., Margaret F. Kinnaird, and Hariyo T. Wibisono. "Crouching tigers, hidden prey: Sumatran tiger and prey populations in a tropical forest landscape." Animal Conservation 6, no. 2 (2003): 131–39. http://dx.doi.org/10.1017/s1367943003003172.

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20

Wang, Ban. "Kung Fu Cult Masters: From Bruce Lee to Crouching Tiger." Film Quarterly 60, no. 2 (2006): 74–75. http://dx.doi.org/10.1525/fq.2006.60.2.74.

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21

Tong, Zhaosheng. "Traditional Culture in Chinese Movies: The Case of Movies Shot in Huizhou." African and Asian Studies 20, no. 4 (2021): 401–19. http://dx.doi.org/10.1163/15692108-12341511.

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Abstract Movies are often viewed as important tools to promote cultural communication. Many international moviegoers and researchers endorse Chinese movies as authentic representation of traditional Chinese history and culture. However, in this era of commercialism, movies are often produced as commercial products to win the maximum profits at global market; thus, the history and culture in Chinese movies are often reshaped and reconfigured to meet the taste of foreign moviegoers. This paper uses Judou (1990), Inkstone Bed (1995) and Crouching Tiger, Hidden Dragon (2000), three movies shot in Huizhou, a land known for its profound traditional culture, as a case study to explore how and why traditional culture is reshaped and reconfigured. The results show that those three movies diverge from traditional culture in one way or another. The distortion or stigmatization of Huizhou culture in Judou and Inkstone Bed caters to global audience’s preconceived notion of a corrupted and chaotic “ancient China.” Crouching Tiger, Hidden Dragon transcends local settings to address cross-cultural and multinational themes. With a diversity of cultural elements hybridized and well-attuned, it sets a good example for Chinese movies to win global recognition and commercial success worldwide.
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22

Woei Lien Chong. "Ang Lee's "Crouching Tiger, Hidden Dragon" and Fruit Chan's "Little Cheung"." China Information 15, no. 1 (2001): 166–93. http://dx.doi.org/10.1177/0920203x0101500105.

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23

Kapila, Aaysha, Dhara Chaudhari, Atul Khanna, Puneet Goenka, and Mark Young. "Crouching Tiger, Hidden Dragon: Lung Adenocarcinoma Presenting as an Obstructive Jaundice." American Journal of Gastroenterology 109 (October 2014): S301. http://dx.doi.org/10.14309/00000434-201410002-01012.

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24

Cai, R. "Gender Imaginations in Crouching Tiger, Hidden Dragon and the Wuxia World." positions: east asia cultures critique 13, no. 2 (2005): 441–71. http://dx.doi.org/10.1215/10679847-13-2-441.

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25

Han, Yu, and Maria A. Rychkova. "THE PEDAGOGICAL ANALYSIS OF TAN DUN’S SONATA “CROUCHING TIGER, HIDDEN DRAGON”." Научное мнение, no. 11 (2022): 48–52. http://dx.doi.org/10.25807/22224378_2022_11_48.

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26

Polovina, Marija, Gordana Krljanac, Milika Ašanin, and Petar M. Seferović. "Crouching tiger, hidden dragon: insulin resistance and the risk of atrial fibrillation." European Journal of Preventive Cardiology 27, no. 18 (2020): 1931–33. http://dx.doi.org/10.1177/2047487320912626.

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27

Helms, Ronald, S. E. Costanza, and Nicholas Johnson. "Crouching tiger or phantom dragon? Examining the discourse on global cyber-terror." Security Journal 25, no. 1 (2011): 57–75. http://dx.doi.org/10.1057/sj.2011.6.

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28

Degaut, Marcos. "Leaping Jaguar, Crouching Tiger: Comparing the Strategic Culture of Brazil and India." International Organisations Research Journal 15, no. 3 (2020): 223–47. http://dx.doi.org/10.17323/1996-7845-2020-03-09.

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Based on the premise that each country has a particular way of interpreting and reacting to international events, the study of strategic culture provides an important analytical tool for understanding and explaining how countries see the world and what drives their foreign policy practices and preferences. Considering that the rise of emerging powers has the potential to affect the balance of power in the international system, this article examines and compares the strategic culture of two of the most important emerging countries in the world, Brazil and India. While apparently exhibiting completely different patterns of strategic thinking, which have led them to pursue different approaches to reach their objectives, these two states share a belief that they are predestined to “greatness,” to play a more significant role in their regional contexts, and to become major stakeholders in global affairs. As the largest countries in their respective regions, Brazil and India can help to shape the future of Latin America and South Asia. Their international behaviour can not only condition the foreign, security and domestic policies and strategies of their neighbours but also impact the ambitions of extra-regional powers with a stake in those regions. Analyzing the strategic culture of these two countries can therefore help policymakers and scholars to understand the rationale for their perceptions and ambitions, what influences and drives their foreign and security policies, how they see the world and why they behave the way they do.
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Zhang, Junchen. "A Cultural Discourse Analysis to Chinese Martial Arts Movie in the Context of Glocalization: Taking Crouching Tiger, Hidden Dragon and Hero as Cases." Advances in Language and Literary Studies 10, no. 3 (2019): 32. http://dx.doi.org/10.7575/aiac.alls.v.10n.3p.32.

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This study is oriented to do Chinese cultural discourse analysis via examining two Chinese Wu-Xia (martial arts) movies. Specifically, the study explores the construction of glocalization, cultural hybridization and cultural discourse embedded in the two transnational Chinese martial arts movies, i.e. Ang Lee’s Crouching Tiger, Hidden Dragon (2000) and Zhang Yimou’s Hero (2002). The film product is an audiovisual representation of a certain of national culture, ideology and society. Chinese martial arts film is this kind of cultural product that embodies Chinese sociocultural and philosophical values. The research aims to explore the connections between filmic discourse, culture and society. A combined analytical framework that integrates glocalization concept, cultural hybridization and cultural discourse approach is constructed. By comparative analysis, the main finding of the study reveals that Ang Lee’s Crouching Tiger, Hidden Dragon (2000) presents a high degree of cultural globalization and hybridization, while Zhang Yimou’s Hero (2002) has relatively a low degree of cultural globalization and hybridization but embodies a high degree of Chinese locally authoritarian culture. This implies that a successful filmic production with strong national features need to organically hybridize global-local culture in proper when it enters globally cultural competition. On the one hand, it should have locally cultural identity; on the other, it should also show a kind of universally cultural values accepted by other cultures.
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Wait, Laura C., Andrew A. Walker, and Glenn F. King. "Crouching Tiger, Hidden Protein: Searching for Insecticidal Toxins in Venom of the Red Tiger Assassin Bug (Havinthus rufovarius)." Toxins 13, no. 1 (2020): 3. http://dx.doi.org/10.3390/toxins13010003.

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Assassin bugs are venomous insects that prey on other arthropods. Their venom has lethal, paralytic, and liquifying effects when injected into prey, but the toxins responsible for these effects are unknown. To identify bioactive assassin bug toxins, venom was harvested from the red tiger assassin bug (Havinthus rufovarius), an Australian species whose venom has not previously been characterised. The venom was fractionated using reversed-phase high-performance liquid chromatography, and four fractions were found to cause paralysis and death when injected into sheep blowflies (Lucilia cuprina). The amino acid sequences of the major proteins in two of these fractions were elucidated by comparing liquid chromatography/tandem mass spectrometry data with a translated venom-gland transcriptome. The most abundant components were identified as a solitary 12.8 kDa CUB (complement C1r/C1s, Uegf, Bmp1) domain protein and a 9.5 kDa cystatin. CUB domains are present in multidomain proteins with diverse functions, including insect proteases. Although solitary CUB domain proteins have been reported to exist in other heteropteran venoms, such as that of the bee killer assassin bug Pristhesancus plagipennis, their function is unknown, and they have not previously been reported as lethal or paralysis-inducing. Cystatins occur in the venoms of spiders and snakes, but again with an unknown function. Reduction and alkylation experiments revealed that the H. rufovarius venom cystatin featured five cysteine residues, one of which featured a free sulfhydryl group. These data suggest that solitary CUB domain proteins and/or cystatins may contribute to the insecticidal activity of assassin bug venom.
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Eperjesi, John R. "Crouching tiger, hidden dragon: Kung fu diplomacy and the dream of cultural China." Asian Studies Review 28, no. 1 (2004): 25–39. http://dx.doi.org/10.1080/1035782042000194509.

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Coe, Jason G. "Modernizing primordialism: Deterritorializing Chineseness and reterritorializing the sinophone in Crouching Tiger, Hidden Dragon." Asian Cinema 29, no. 1 (2018): 99–116. http://dx.doi.org/10.1386/ac.29.1.99_1.

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LEE, Ken-fang. "Far away, so close: cultural translation in Ang Lee's Crouching Tiger, Hidden Dragon." Inter-Asia Cultural Studies 4, no. 2 (2003): 281–95. http://dx.doi.org/10.1080/1464937032000113006.

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Shen, Simon. "Kweku Ampiah and Sanusha Naidu, eds. Crouching Tiger, Hidden Dragon? Africa and China." Journal of Chinese Political Science 17, no. 2 (2012): 219–20. http://dx.doi.org/10.1007/s11366-012-9197-z.

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Facey, Brian A., and Roger Ware. "Predatory Pricing in Canada, the United States and Europe: Crouching Tiger or Hidden Dragon." World Competition 26, Issue 4 (2003): 625–50. http://dx.doi.org/10.54648/woco2003032.

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In the area of competition law, comparative legal scholarship can provide insights into differences in the laws of nations and can identify gaps that affect the multinational businesses subject to such laws. It also provides opportunities for convergence initiatives, such as those envisioned by the International Competition Network, to work towards filling those gaps. In this article we attempt to contribute to the literature relating to the comparative study of antitrust law through our review and analysis of the predatory pricing laws in Canada, the United States and Europe. We begin with an explanation of the economic theories behind predatory pricing. While the laws of nations are generally limited by borders: the norms of economics are not. Thus, the discipline provides a normative barometer for the analysis of such laws. The topic is timely because Canada has proposed changes to its enforcement policies in the area. Our observation is that predatory pricing has historically been an area of divergence between Canada, the United States and Europe. Our conclusion is that in a time of increased convergence in the area of antitrust, predatory pricing remains an area of divergence, and one that may see further divergence if Canada does in fact change its enforcement policy as it has suggested.
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Poon, L. L. M., K. H. Chan, and J. S. M. Peiris. "Editorial Commentary: Crouching Tiger, Hidden Dragon: The Laboratory Diagnosis of Severe Acute Respiratory Syndrome." Clinical Infectious Diseases 38, no. 2 (2004): 297–99. http://dx.doi.org/10.1086/380848.

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37

Chang, Chia-Ju. "The Missing View in Global Postsecular Cinema: Crouching Tiger, Hidden Dragon as a Visual Kōan/Gong'an." Paragraph 42, no. 3 (2019): 370–86. http://dx.doi.org/10.3366/para.2019.0312.

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This article explores intersections between critical theory, Buddhism (Chan/Zen in particular), and film studies in what Jürgen Habermas characterizes as the current ‘post-secular society’. I use Ang Lee's Crouching Tiger, Hidden Dragon (2000) as a case in point to unveil a hidden kōan/gong'an structure or subtext. I view the medium of film as a technology of Chan eudaimon that is capable of deconstructing a reified self and helping the viewer develop compassion for cultivating an awakened mind. Cinema, in this light, can be recruited to foster a collective, self-less mind and culture that is urgently needed in China and beyond.
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Unlu, Isik, Ary Farajollahi, Daniel Strickman, and Dina M. Fonseca. "Crouching Tiger, Hidden Trouble: Urban Sources of Aedes albopictus (Diptera: Culicidae) Refractory to Source-Reduction." PLoS ONE 8, no. 10 (2013): e77999. http://dx.doi.org/10.1371/journal.pone.0077999.

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International Monetary Fund. "Crouching Tiger, Hidden Dragon: What Are the Consequences of China's WTO Entry for India'S Trade." IMF Working Papers 05, no. 101 (2005): 1. http://dx.doi.org/10.5089/9781451861204.001.

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40

Magcamit, M. I., and A. C. Tan. "Crouching tiger, lurking dragon: understanding Taiwan's sovereignty and trade linkages in the twenty-first century." International Relations of the Asia-Pacific 15, no. 1 (2014): 81–112. http://dx.doi.org/10.1093/irap/lcu013.

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Rothermel, Dennis. "Heroic Endurance inThe Piano(1993),Crouching Tiger, Hidden Dragon(2000),The Pianist(2002) andHero(2002)." Quarterly Review of Film and Video 24, no. 3 (2007): 267–75. http://dx.doi.org/10.1080/10509200500486361.

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Nordin, Kenneth. "Shadow Archetypes in Ang Lee’s Crouching Tiger, Hidden Dragon and The Hulk: A Jungian Perspective." Asian Cinema 15, no. 2 (2004): 120–32. http://dx.doi.org/10.1386/ac.15.2.120_1.

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43

Nornes, Markus. "Filmless Festivals and Dragon Seals: Independent Cinema in China." Film Quarterly 72, no. 3 (2019): 78–86. http://dx.doi.org/10.1525/fq.2019.72.3.78.

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Markus Nornes, who documented the Chinese independent film festival scene for Film Quarterly in 2009, returns with a report on the changes this sector has experienced in the intervening decade. Borrowing a metaphor from Beijing Film Academy professor Zhang Xianmin, he offers an “update from the ruins,” as government censorship and an absence of institutional support has taken a toll on what had been a thriving festival scene. Nornes reviews the challenges faced by the Beijing International Film Festival, and its innovative responses to them, and finds hope for the future at the Shanghai International Film Festival, the Pingyao Crouching Tiger Hidden Dragon International Film Festival, and the West Lake International Documentary Film Festival.
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Chan, Shao-yi. "Orientalism Writes Back: Discourses of ‘Chinese’ DissemiNationalism in Transnational Martial Arts Films." International Journal of Taiwan Studies 1, no. 2 (2018): 353–69. http://dx.doi.org/10.1163/24688800-00102006.

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This essay revisits Edward Said’s famous conception of Orientalism and places it against the context of transnational Chinese cinemas, in particular Hong Kong and Taiwan cinemas, to examine how the concept is unpacked and reconstructed in a way that is often described as ‘self-Orientalism’—the self-exoticising of local fabrics to satiate Western consumers. Focusing on three films, Stephen Chow’s Kung Fu Hustle (2004), Ang Lee’s Crouching Tiger, Hidden Dragon (2000), and Hou Hsiao-hsien’s The Assassin (2015), I argue that the act of self-Orientalising, rather than a passive submission to Western spectatorship, has served to rewrite and recode the idea of Chinese nationalism to present an alternative form of nationalism which I call dissemiNationalism and an alternative discourse to the mainland-centric narrative.
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Lehmann, Courtney. "Crouching Tiger, Hidden Agenda: How Shakespeare and the Renaissance Are Taking the Rage Out of Feminism." Shakespeare Quarterly 53, no. 2 (2002): 260–79. http://dx.doi.org/10.1353/shq.2002.0023.

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Patel, Mihir, Hetvi Joshi, and Jayantilal Mehta. "Crouching Tiger, Hidden Dragon - Malignant Pleural Mesothelioma as a Culprit for Recurrent Spontaneous Pneumothorax and Hydropneumothorax." Chest 142, no. 4 (2012): 588A. http://dx.doi.org/10.1378/chest.1386912.

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47

Wu, Huaiting, and Joseph Man Chan. "Globalizing Chinese martial arts cinema: the global-local alliance and the production of Crouching Tiger, Hidden Dragon." Media, Culture & Society 29, no. 2 (2007): 195–217. http://dx.doi.org/10.1177/0163443707074252.

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48

Rezvukhina, Anna I. "“Crouching Tiger, Hidden Dragon”: the Representation of the Far East Countries in the Russian Caricatures of 1890-1905." Galactica Media: Journal of Media Studies 3, no. 3 (2021): 174–98. http://dx.doi.org/10.46539/gmd.v3i3.189.

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This article is devoted to the zoomorphic images of China and Japan in the caricatures published in the Russian periodical press from 1890 to 1905. The aim of the study is to analyze the mechanisms of building images of the Other by creating a comic effect, as a strategy for overcoming cultural aphasia. The study focuses on the caricature technique of zoomorphism, or giving the Other an animalistic form. Within the framework of the article, we examined the possibilities of caricature as a means of political communication and analyzed its tools for expressing the changing political situation, including opportunities for the actual transformation of the image. In addition, the reception of zoomorphism as a shift in the natural/innate domain in the gradation from “prey”, “noble animal” to “beast” was examined. According to the results of the study, the image of China as a dragon and the images of Japan as a dog or monkey as well as the symbolism of the yellow color and exotization as a method of alienation are of most interest. Furthermore, the issues of the imperial discourse of the Russian Empire, which was formed, among others, under the influence of the colonial discourse of the leading European powers of that time, the problem of orientalism as well as the question of self-identification of Russia within the framework of the “East-West” opposition, were discussed. The article is intended for everyone who is interested in the history of the development of political caricature in Russia and those who study the theoretical and practical issues of creation of the image of the Other.
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49

Chan, Kenneth. "The Global Return of the Wu Xia Pian (Chinese Sword-Fighting Movie): Ang Lee's Crouching Tiger, Hidden Dragon." Cinema Journal 43, no. 4 (2004): 3–17. http://dx.doi.org/10.1353/cj.2004.0030.

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50

Hemmings, John. "The Trump Phenomenon and the Future of US Foreign Policy / Crouching Tiger: What China’s Militarism Means for the World." RUSI Journal 162, no. 1 (2017): 82–84. http://dx.doi.org/10.1080/03071847.2017.1301647.

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