又见西方媒体的冷战思维，但是在这个文章说明的事实可能是很多中国人都不知道的。因为大多数的中国媒体都对国际社会收养中国儿童的情况报道甚少。2006，美国家庭一共收养了6,500个中国女童，其他的西方国家如加拿大，西班牙，德国等国家收养的中国女童也有这么多。
In 2006 about 6,500 Chinese girls were adopted by Americans. Roughly the same number were adopted by people in other Western countries, including Canada, Spain, Germany, France, and the U.K. But these 13,000 girls were just a fraction of China’s abandoned children, the vast majority of whom are female.
Heavily-loaded with its policitcal bias, an article in the December issue of Reason uncovers the "tyrannical roots" of China's international adoption program, namely the country's "one-child" law that has resulted in millions of unwanted girls. The situation has been rewarding for American families looking to adopt overseas, but "it will be a true victory for liberty when such heartwarming stories stop appearing on newsstands and bookshelves."
Lured by immense patient populations ailing from both chronic and infectious diseases, Big Pharma has turned to China to test its newest products. Asia has become the next frontier for pharmaceutical firms desperate to find their next blockbuster drug while keeping research costs low. In 2006, big drug companies doubled R&D investment in China and India over the previous year, to $2.2 billion. Nearly all of that went into China, thanks to generous government support and strong infrastructure. Beijing wants to attract more than 2% of the world's R&D budget, or about $10 billion, by 2010.
The New Statement: 中国文化奥运
文章关注了中国的流行艺术，同时也给我们提了建议：我们的中国文化不是张艺谋的红灯笼和光屁股拉二胡的小孩。文化的符号不能代表文化的本身。这是作者在北京大山子走了一圈给我们的结论。
The Beijing Olympic Games have been described as the superpower's "coming-out party". The authorities are also slowly realising that the arts will play a central role in improving China's international image.
A look around the galleries in Dashanzi and elsewhere in Beijing confirms some of Professor Dong's fears. Much of the work seems unremarkable and rather safe. Yue Minjun's trademark laughing figures (pictured left) are omnipresent, peering from billboards and gallery walls and peppering sculpture parks; once considered a subversive comment on the new China, they have become a kind of shorthand for "funky Beijing" (one wonders whether the artist considers the breathtaking price tags worthy compensation for this development). A survey of work at Today, a Chinese-run institution that proudly claims to be "Beijing's first independent contemporary art gallery" is full of truly horrible sculptures and paintings that look as if they belong in an exhibition of A-level artwork.
