Emotion theories from social and functionalist perspectives have greatly emphasized the importance of relationship contexts for emotions (Carolyn, 2004; Lazarus, 1991), yet relatively few empirical efforts have been spent on exploring whether and how individuals differentially deal with anger under different relationship contexts. Study 1 investigated how individuals' anger responses might vary with relationship contexts across cultural contexts. Two hundred and sixty-six participants from America, Hong Kong and Mainland China reported their responses toward anger-eliciting scenarios that were elicited by a kin, a close or a casual friend. Results indicated that, after controlling for demographic variables, personality, and relationship qualities, individuals displayed a higher level of direct and replaced aggression but a lower level of cognitive reappraisal and indirect aggression in kinship than in the two types of friendships across the three samples. While Hong Kong Chinese displayed a higher level of fractious motives in kinship than in two types of friendships, Mainland Chinese displayed a lower level of malevolent motives in kinship than in two types of friendships. / To resolve the controversy between two interpretations for the above relationship effect on anger response, we conducted an experiment to examine the roles of approach and avoidance motives in determining relationship effects on anger responses in Study 2. One hundred and fifty two Hong Kong Chinese female participants' anger responses during emotion recalling tasks were assessed in terms of subjective feeling, physiological arousal and facial expression, after approach and avoidance motives were manipulated. Results revealed that, even after controlling for relevant personality traits, demographic variables, and relationship qualities, individuals displayed a higher level of anger-related subjective feeling and facial expression in kinship than in friendship. Such relationship effects were reversed and disappeared when approach and avoidance motives. In addition, we found that approach motives reduced individuals' sympathetic activation to anger-eliciting events in kinship, and avoidance motives lowered individuals' parasympathetic activation to happy events in friendship. The above findings have great implications for anger regulation and health promotion under relationship contexts. / You, Jin. / Adviser: Helene H. L. Fung. / Source: Dissertation Abstracts International, Volume: 73-01, Section: B, page: . / Thesis (Ph.D.)--Chinese University of Hong Kong, 2010. / Includes bibliographical references (leaves 73-92). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [201-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract also in Chinese.

Chan Kit Sze Amy. / "June 2002." / Thesis (Ph.D.)--Chinese University of Hong Kong, 2002. / Includes bibliographical references (p. 332-354). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Mode of access: World Wide Web. / Abstracts in English and Chinese.

Thesis ( M.A. (African Languages)) --University of Limpopo, 2013 / Refer to document

This thesis aims to re-categorize Chinese independent films from a region-based perspective as a critical response to existing literature on Chinese independent films. This thesis analyzes three independent films made in three different regions of China in order to investigate regional Chinese independent cinema as a recently rising phenomenon: respectively, Jia Zhangke’s Xiaowu (1997) made in Shanxi Province, Ying Liang’s Taking Father Home (Bei yazi de nanhai, 2006) in Sichuan Province, and Robin Weng’s Fujian Blue (Jinbi huihuang, 2007) in Fujian Province. By using Bakhtin’s concept of chronotope (literally time-space) as the fundamental framework and exploring the many aspects of it, I will develop three major theoretical points to study selected regional Chinese independent films: first, chronotope enables the evaluation of texts of Chinese independent films; second, the documentary impulses prevailing Chinese independent films serve as the chronotopic linkage between the world in the film text and the world the film text represents; three, the mediation function as one aspect of chronotope is characterized by the negotiation between regional Chinese independent films and many social relations, for example, filmmakers, casting, audiences. This thesis also explores many issues related to Chinese independent films, for example: How do we value the unique film practice of Chinese independent filmmakers instead of viewing them as a unified whole? How do we relate Chinese independent films as aesthetic practices to the region-specific reality they are embedded in? How can Chinese independent cinema as a social practice play an effective role in society? The exploration of these questions does not only enlighten new research perspectives on Chinese independent films, but also provide reflections on the geographical, cultural and social diversity of Chinese regions.

本论文针对 1990 年代以来中国社会在经济文化方面的巨大改变，归纳并指出一种新的“消费意识形态”在中国业已历史地形成并取代日渐式微的传统 意识形态，成为宰制当代中国社会的主导力量。论文批判地回顾了1949 年以后中国大陆语境中意识形态涵义的历史嬗变，以四个具有典型意义的时尚报刊和广告案例、广告事件为例，从不同侧面解析了广告形象以及广告产业如何作为 中介与以时尚报刊为代表的文化工业一起，参与当代中国“消费意识形态”建 构的社会过程。 论文通过对“消费意识形态”所遮蔽的当代中国社会问题的揭示，对“消费意识形态”在当代中国社会发生影响的深度和广度的阐释，回应了九十年代以来在中国思想界有较大影响的“后六·四”文化论争中的一些重要问题，展现了文化研究在中国大陆介入现实社会思考和批判的可能空间。

For many years industrial buildings in Hong Kong have formed some of the city’s most vibrant cultural clusters by providing local artists with low-cost space to pursue their creative work. However, recent efforts by the government also targeted these areas for commercial revitalization. By 2020 the industrial part of Kwun Tong, a densely populated district in Kowloon East, will not only have been transformed into the city’s second Central Business District, but also seen the majority of the current cultural workers leaving due to the rapid valorisation of land. Nevertheless, these ongoing struggles over spatial power have also opened up a new space for a critical debate on Hong Kong’s urban planning and cultural policy strategies. This research uses the non-compliant Kwun Tong livehouse Hidden Agenda as a case study to shed light on the prospects for Hong Kong’s cultural diversity in its material, social and symbolic form of cultural clusters. By critically investigating research across different disciplines, I argue that—although the mere exposure of the contradictions between cultural planning and urban creativity discourses is significant—the governmental conditions that have been enabling the emergence of such spaces in the first place are often neglected by scholars and planners alike. Therefore, in order to understand both the destructive and productive impact of spatial power on Hong Kong’s cultural production, this thesis aims to examine the room for maneuvers within planning and policy discourses by expanding the Foucauldian approach of cultural policy studies to the domain of space.

Syftet med uppsatsen är att undersöka hur projektet Kulturkompis konstrueras inom ramarna för integrationstänkande och kulturupplevelser. Både utifrån de deltagandes perspektiv och upplevelser men också utifrån verksamhetens interna syn och arbete. Bland annat fokuserar studien på hur maktpositioner, föreställningar och normer produceras och reproduceras. Uppsatsen bygger på fem stycken kvalitativa intervjuer. Frågeställningarna jag sökt svar på är vilka normer om integration, kultur och gemenskap som kommer till uttryck i projektet. Analysen har utgått från konstruktivistiska perspektiv och begrepp som kultur, makt och klass.

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Products are designed to satisfy user needs. Thus, industrial designers are expected to have a thorough understanding of user needs and to incorporate those understandings into the design of products; however, it is not a straightforward task for designers to translate their conditional understanding into a product. The gap between product and user can be even wider when latent user needs, such as cultural ones, are calculated into the problem. Therefore the meanings and functions imbued in products by the designer may not be recognized and acknowledged by users, due to the differences in cultural preferences of designers and users from separate cultures. In spite of the fact that user satisfaction has been extensively supported in the design literature, it seems that such an approach allows only a passive role for designers, who actually act as cultural intermediaries; that is, the designers' role is merely presumed to catalyze the process and match user requirements to the end product. Thus, the impact of designers' cultural preferences is considered as incidental, or at least overlooked. A content analysis method was triangulated to collect and analyze diverse visual and textual data relating to the concept generation stage of the product development process. To collect data, professional industrial designers in the two culturally diverse countries of Australia and Iran were recruited to participate in half-hour design exercise sessions to sketch to a design brief, followed by responding to an interview questionnaire. The analysis of data revealed that: (1) designers' cultural preferences do influence their approaches toward tackling the design problem; (2) there are nexuses between the design aspects of the concepts generated and the cultural dimensions of the values of the societies in which the designers were born and has lived, and; (3)potential users can unconsciously comprehend the meaning invested in the product by the designer. This thesis breaks new ground for further advancing the study of the Designer-Precedent Approach (DPA) in other cultural and social contexts, while it challenges the conventional approaches of user-centered design (UCD) broadlyperceived as the ultimate method of incorporating users' wants into products.

Thesis (M.A.)--Reformed Theological Seminary, 1985. / Includes bibliographical references (leaves 99-105).