The year 2009 marks the 30th anniversary of normalization of Sino-U.S. relations. Over the past 30 years, the bilateral relations have developed by twists and turns. It is not until recent years that some stability and forward-looking exchanges have returned to the central stage, albeit tension, grievances, and mistrust continue to persist. Washington has encouraged China to become a "responsible stakeholder" in the world affairs, while China has urged the U.S. to work with China to build a "harmonious world." Both sides want to work together to solve their differences through dialogs and negotiations. In the wake of the worldwide financial crisis of 2008-2009, China has contributed greatly in financing the crumbling U.S. financial market and lent a helping hand in stabilizing the world economy. Nevertheless, the foundation of the relationship remains very fragile and the long-term prospect for a constructive cooperative relationship is still full of uncertainties. For many Americans, China's increasing global reach and growing political and economic influence constitute the greatest challenge to world dominance by the United States. As a result, some perceive China's rise as a threat to Americans' core national interests. The recent changes in the global geostrategic landscape and economic interdependence have suggested that some new ideas, factors, conditions, and elements are shaping the relations between the two countries. The task of Thirty Years of China-U.S. Relations: Analytical Approaches and Contemporary Issues is to explore these factors, issues, and challenges and their impact for the bilateral relations in the 21st century.

This book constitutes the proceedings of the 20th China National Conference on Computational Linguistics, CCL 2021, held in Hohhot, China, in August 2021.The 31 full presented in this volume were carefully reviewed and selected from 90 submissions. The conference papers covers the following topics such as Machine Translation and Multilingual Information Processing, Minority Language Information Processing, Social Computing and Sentiment Analysis, Text Generation and Summarization, Information Retrieval, Dialogue and Question Answering, Linguistics and Cognitive Science, Language Resource and Evaluation, Knowledge Graph and Information Extraction, and NLP Applications.

In this timely and provocative work, Liu Kang argues that globalization is not simply a new conceptual framework through which cultural change in China can be understood; it is a historical condition in which the country's gaige kaifang (reform and opening up) has unfolded and a set of values or ideologies by which it and the rest of the globe are judged. In five clear and concise chapters, Liu examines China's current ideological struggles in political discourse, intellectual debate, popular culture, avant-garde literature, the news media, and the internet. He constructs an original understanding of post-revolutionary Chinese culture, making the case that revolutionary culture is still important despite the fact that Mao's ideology has been gutted and arguing for its value in providing China with its own cultural identity, curbing the excesses of capitalism, and putting forward an alternative model of modernization.

Liu Kang (1911-2004) and Ho Ho Ying (1936-) are important painters in Singapore's art history. But along with their creative practices, they also played key roles as art writers and critics. Their opposing positions on modernism and abstraction, and the debate and discussion generated between them, both shaped and reflected Singapore's art scene through the 1950s, 60s and 70s and well into the 1980s. These selected writings, mostly drawn from the Chinese-language press, and now translated into English, vividly document important phases in Singapore's art history. The editorial team of T. K. Sabapathy, and Cheo Chai-Hiang has an unparalleled understanding of the critical landscape in which Singapore's art has developed over the years. Cheo's introduction of Liu Kang and Ho Ho Ying as writers establishes certain key themes in the relationship between art and criticism in Singapore and Southeast Asia, with its many artist-writers and artist-critics. Those in Singapore's art world often assume that they work, write and read in a critical vacuum, but as this book shows, this conclusion is far from the truth.