Thesis--Marburg. / Includes bibliographical references (p. 145-171).
Thesis--Marburg. / Bibliography: p. 145-171.
The accidental, or maybe not so accidental, equation of the Long $ rm lbrack TE rbrack$ with the dragon is a minor, yet in many ways symbolic, incident in Western European reinvention of China. This reinvention can be found in a wide variety of discourses, the authors of which range from Enlightenment philosophes to nineteenth-century political economists, to the recent Derrida, and from the even earlier Sir John Mandeville, Oliver Goldsmith, to Coleridge, to W. S. Landor and De Quincey. It covers all aspects of Chinese culture, including philosophy, religion, government, language, poetry, and folklore. This dissertation argues that the divergent, even contradictory, accounts of China as a culture Other, on the one hand reflect divergent or conflicting domestic agenda and, on the other, converge as products of an inherent epistemological ethnocentrism. As such, they can offer no substantial alternatives to "Orientalism," which is an ideology that functions in a cross-cultural context. However, Edward Said's delineation of Orientalism has the weakness of vacillating between the incompatible notions of "truth" and of discourse. And Dennis Porter's corrective, based on the "generic heterogeneity" within the West's cultural tradition, has a theoretical problem of traversing contextual boundaries. To contribute to the on-going debate, this dissertation proposes a distinction between internal and external perspectives, on the criteria of material, objective, and standard, in the representation of a cultural identity. With each perspective conscious of its own specific values, a cross-cultural textual dialogue may be pursued.
28 August 2008
Not available / text
Die Realien in den Chansons de geste "Amis et Amiles" und "Jourdains de Blaivies" ein Beitrag zur Kultur- und eine Ergänzung der Litteratur-Geschichte des französischen Mittelalters /Modersohn, Hermann. January 3786 (has links)
Issued also as Thesis--Münster. / Cover title. Includes bibliographical references (p. 4-9).
Isolation and contact as factors in the cultural evolution of China, Korea, and Japan prior to 1842,Liu, Chiang, January 1900 (has links)
Abstract of thesis (Ph. D.)--University of Iowa, 1923. / Cover-title. Bibliography: p. 20-22.
Sommerfeldt, John R. Seiler, Thomas H.
Includes bibliographical references. / Papers presented at the 8th and 9th Conference on Medieval Studies sponsored by the Medieval Institute of Western Michigan University ... held May 2-5, 1976 respectively.
(has links) (PDF)
Thesis (Ph. D.)--University of Texas at Austin, 2006. / Vita. Includes bibliographical references.
Includes bibliographical references. / This dissertation sets out to investigate the history of Yiddish theatre in South Africa. Yiddish theatre first emerged in Jassy in Rumania in 1876. However with Czarist persecution and the great Jewish migration from Eastern Europe, the 1880s it had spread to Western Europe, the Americas, and South Africa. This dissertation attempts to answer the question as to why of all Eastern Europe's diasporas, Yiddish theatre at no stage put down permanent roots in South Africa. It aims to prove that the survival of Yiddish theatre was entirely dependent on the survival of the Yiddish language. Thus the fate of Yiddish theatre in South Africa was influenced by the early timing of the formative immigration, between 1890 and 1914, the common origins of the immigrants in Lithuania and White Russia, and their educational and cultural poverty. These factors were reinforced by the exclusive adherence of the Anglo-German Jewish establishment and the vast majority of the immigrants, to Zionism and the Hebrew revival. Yiddish was unequivocally rejected, so that it never featured in the construction of South African Jewish identity. Finally the Quota Act of 1930, reinforced by the Alien's Act of 1937, put a total halt to Eastern European Jewish immigration, the lifeblood of Yiddish theatre.
「再塑」晚清中國: 當代中國民族/國家視覺下的舊照片與歷史敍述 = Reshaping the Late Qing China Photos and History narrating under the perspective of Nation State in modern China. / 再塑晚清中國: 當代中國民族/國家視覺下的舊照片與歷史敍述 / Reshaping the Late Qing China Photos and History narrating under the perspective of Nation State in modern China / 當代中國民族/國家視覺下的舊照片與歷史敍述 / "Zai su" wan qing Zhongguo: dang dai Zhongguo min zu / guo jia shi jue xia de jiu zhao pian yu li shi xu shu = Reshaping the Late Qing China Photos and History narrating under the perspective of Nation State in modern China. / Zai su wan qing zhong guo: dang dai Zhongguo min zu / guo jia shi jue xia de jiu zhao pian yu li shi xu shu / Dang dai Zhongguo min zu / guo jia shi jue xia de jiu zhao pian yu li shi xu shuJanuary 2014 (has links)
本文以1860至1911年間外國旅華攝影師在中國的攝影作品為研究對象，致力於討論中國「舊照活化」文化現象中同一批照片在19世紀末20世紀初的西方與20世紀90年代以降的當代中國這兩個不同的社會語境和時段中的具體運用方式，以考察照片、歷史敘述、民族國家政治意識形態之間的關係，試圖在「雙時軌」的對比結構中為晚清攝影研究打開新的探討空間。 / 論文主體部分圍繞著「國家」、「民族」和「革命」這三個當代晚清攝影運用中的關鍵概念展開，分析攝影作品內部的話語變化，以及與這種變化息息相關的「主體性」與文化政治問題。第二章以晚清旅華攝影師代表約翰·湯姆遜的中國成像為討論對象，在比較1874年在英國出版、湯姆遜自主編纂的附圖遊記《中國與中國人影像》與2009年由中國官方出版界重新選編的《晚清碎影》的基礎上，具體呈現不同的主體在「想像晚清中國」和「呈現晚清中國」上的差別。第三章繞著當代晚清相冊中的「民族」選題而展開，探討「少數民族」與「中華民族」的表現方式及其缺陷。第四章著重討論「辛亥革命」在當代晚清相冊中的表現方法，以《壹玖壹壹：從鴉片戰爭到軍閥混戰的百年影像史》為例，分析照片集如何在一個通俗歷史的框架下處理「辛亥革命」這一歷史節點。在此基礎上，結論部分總結了舊照活化文化現象下「國家」與「歷史敘述」的同構關係，並以「視覺」為中心，分析了以攝影為材料的歷史敘述如何建構「民族-國家」視野下的身份認同。 / The China’s early photographs have enjoyed a drastic revival of attentions in the recent decades. An important category of these photos are those taken by Westerners during the late Qing China. This thesis aims to investigate these subjects from a cultural historical perspective, the photos are thus considered as a form of representation instead of visual history materials, and a comparative approach was employed to discuss the complex relationship among photo image, imperialism, history narrating under the political structure of nation-state and China’s contemporary social reality. / Photographs which were taken by the Westerners during the late Qing China emerged in the age of European capitalism and imperialist expansion. After the year 1860, China was defeated by the British-French Alliance in the Second Opium War and the Qing government was forced to open up to the treat and culture of the west. This change attracted Westerners of different occupations, including commercial photographers, explorers and journalists, to photograph various geographical and social aspects that are of their interests. The kinds of photographed subjects they chose and the kinds of commentaries they made vividly reflected how they understand China from the imperialism point of view. / A hundred years later, these late Qing photos become an important part of the "old photo revival" wave raised in the 1990s China. Much different from the time when they were created, these photos were used as raw materials to construct the popular historiography of imperial China that fulfils the meta-historical definition of a Nation-State. This was achieved by the means of re-organizing photos in albums and exhibitions, and rewriting the original meanings and the contexts of specific photos based on the concept of "Nation", "State" and "Revolution". / In this thesis, I will focus on comparing the usages of these photos at the time they were produced and now in contemporary China, demonstrate the relationship between the visual representation and ideology by analyzing representative photographers’ works and representative albums. In Chapter Two, I discuss the photographs taken by John Thomson, who is representative of the traveler-photographer of his time, by comparing the album compiled by himself (Illustrations of China and Its People) in 1874 and the album reconstructed by China’s official publisher (Through The Lens of John Thomson, 1868-1872) in 2009. The differences between "imagining the late-Qing China" and "representing the late-Qing China" will be shown. Chapter Three is developed based on the subject of "Nation-Ethnic" as seen in the contemporary Late-Qing related albums. The ways of representing "Ethnic Minority" and "Chinese National" (Zhonghua minzu) as well as their drawbacks are discussed. Chapter Four probes into the representation of "Xinha Revolution" in the contemporary late-Qing album. Using Liu Heung Shing’s From The Opium War to The Warlord Eraas an example, the chapter analyses how such historical event is represented though album under the logic of historiography. Final chapter emphasize the connection between history narrating and the power structure, and concludes the relationship among photography-based historical narrative, visual powerand the "Nation-State" identity. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 李瀟雨. / Thesis (Ph.D.) Chinese University of Hong Kong, 2014. / Includes bibliographical references (leaves 229-236). / Abstracts also in English. / Li Xiaoyu.
Page generated in 0.0853 seconds