何崇謙. / Thesis (M.A.)--香港中文大學硏究院藝術系 / Includes bibliographical references (leaves 147-160). / He Chongqian. / Thesis (M.A.)--Xianggang Zhong wen da xue yan jiu yuan yi shu xi. / 序言 --- p.I / Chapter 第一章 --- 導言 --- p.1 / Chapter 第二章 --- 摺扇的沿革 --- p.8 / Chapter (一) --- 摺扇的起源 --- p.8 / Chapter (二) --- 摺扇在中國的發展 --- p.14 / Chapter 第三章 --- 摺扇繪畫概說 --- p.25 / Chapter 第四章 --- 明代摺扇山水畫的藝術 --- p.35 / Chapter (一) --- 吳派 --- p.39 / Chapter 甲 --- 沈周 --- p.39 / Chapter 乙 --- 文徵明 --- p.43 / Chapter 丙 --- 吳門子弟 --- p.49 / Chapter 1 --- 陳淳 --- p.50 / Chapter 2 --- 陸治 --- p.51 / Chapter 3 --- 文嘉 --- p.53 / Chapter 4 --- 文伯仁 --- p.57 / Chapter 5 --- 錢穀 --- p.59 / Chapter 丁 --- 小結 --- p.61 / Chapter (二) --- 院體派 --- p.61 / Chapter 甲 --- 周臣 --- p.62 / Chapter 乙 --- 唐寅 --- p.66 / Chapter 丙 --- 仇英 --- p.70 / Chapter 丁 --- 小結 --- p.74 / Chapter (三) --- 松江派 --- p.75 / Chapter 甲 --- 莫是龍 --- p.75 / Chapter 乙 --- 宋旭 --- p.77 / Chapter 丙 --- 董其昌 --- p.79 / Chapter 丁 --- 趙左 --- p.85 / Chapter 戊 --- 宋懋晉 --- p.87 / Chapter 己 --- 小結 --- p.89 / Chapter (四) --- 變形派 --- p.90 / Chapter 甲 --- 丁雲鵬 --- p.91 / Chapter 乙 --- 吳彬 --- p.94 / Chapter 丙 --- 藍瑛 --- p.97 / Chapter 丁 --- 陳洪綬 --- p.99 / Chapter 戊 --- 小結 --- p.102 / Chapter 第五章 --- 結論 --- p.104 / 註釋 --- p.115 / 參考書目 --- p.147 / 圖錄 --- p.161

手稿覆寫本. / Thesis (M.A.)--香港中文大學. / Shou gao fu xie ben. / Includes bibliographical references (leaves 388-431). / Thesis (M.A.)--Xianggang Zhong wen da xue. / 導論 --- p.1-8 / Chapter (一) --- 什么是諷刺小說 --- p.1-4 / Chapter (二) --- 諷刺小說的作用及在文學中的地位 --- p.5-8 / Chapter 第一章 --- 散論中國的諷刺文學 --- p.9-51 / Chapter (一) --- 最早的諷刺文學 --- p.9-14 / Chapter (二) --- 諷刺小說出現前的中國諷刺文學 --- p.15-30 / Chapter (三) --- 諷刺小說的蘊釀 --- p.31-47 / Chapter (四) --- 中國諷刺小說的正式形成 --- p.48-51 / Chapter 第二章 --- 諷刺小說形成于清代的原因 --- p.52-79 / Chapter (一) --- 產生儒林外史的時代背景 --- p.54-61 / Chapter (二) --- 清代小說的技巧日趨成熟 --- p.62-71 / Chapter (三) --- 吳敬梓的天才和條件 --- p.72-78 / Chapter 第三章 --- 儒林外史的主題思想 --- p.80-120 / Chapter (一) --- 儒林外史所諷刺的內容 --- p.80-97 / Chapter (二) --- 諷刺的目的 --- p.98-103 / Chapter (三) --- 吳敬梓的理想道路 --- p.104-111 / Chapter (四) --- 從儒林外史主題思想看吳敬梓的思想實質 --- p.112-120 / Chapter 第四章 --- 儒林外史的諷刺藝術 --- p.121-184 / Chapter (一) --- 意在言外的筆法 --- p.121-132 / Chapter (二) --- 點破的功夫 --- p.133-139 / Chapter (三) --- 对比的手法 --- p.140-149 / Chapter (四) --- 正筆與反意 --- p.150-159 / Chapter (五) --- 借此諷彼 --- p.160-168 / Chapter (六) --- 明刺 --- p.169-175 / Chapter (七) --- 寓諷刺於戲劇性情節中 --- p.176-184 / Chapter 第五章 --- 儒林外史西歐著名諷刺小說的比較 --- p.185-245 / Chapter (一) --- 共同的基礎 --- p.189-209 / Chapter (二) --- 西歐幾部著名諷刺小說的藝術特點 --- p.210-225 / Chapter (三) --- 從比較中看儒林外史的民族特色 --- p.226-239 / Chapter (四) --- 汲長補短 --- p.240-243 / Chapter (五) --- 儒林外史的世界性評價 --- p.244-245 / Chapter 第六章 --- 諷刺小說在晚清的發展 --- p.246-294 / Chapter (一) --- 譴責小說的出現 --- p.246-249 / Chapter (二) --- 從諷刺發展為譴責的原因 --- p.250-255 / Chapter (三) --- 譴責小說的典型筆法 --- p.256-276 / Chapter (四) --- 譴責小說在藝術表現方法的缺點 --- p.277-291 / Chapter (五) --- 清代諷刺小說後勁不繼 --- p.292-294 / Chapter 第七章 --- 魯迅把諷刺小說推向一個新高峰 --- p.295-346 / Chapter (一) --- 魯迅小說諷刺技巧的特徽 --- p.295-332 / Chapter (二) --- 繼承與發展 --- p.333-344 / Chapter (三) --- 中國諷刺小說呈現了一個新局面 --- p.345-346 / Chapter 第八章 --- 諷刺小說創作的幾點原則 --- p.347-386 / Chapter (一) --- 冷嘲還是熱諷 --- p.349-357 / Chapter (二) --- 真實與誇張 --- p.357-368 / Chapter (三) --- 婉而多諷 --- p.369-372 / Chapter (四) --- 典型性與特性 --- p.373-377 / Chapter (五) --- 正與反 --- p.378-380 / Chapter (六) --- 感而能諧 --- p.381-386

李秀華. / 論文(博士)--香港中文大學藝術學部, 1998. / 附參考文獻. / 中英文摘要. / Available also through the Internet via Dissertations & theses @ Chinese University of Hong Kong. / 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. / Li Xiuhua. / Lun wen (Bo shi)--Xianggang Zhong wen da xue yi shu xue bu, 1998. / Fu can kao wen xian. / Zhong Ying wen zhai yao.

A study of the teaching career of British film director Alexander Mackendrick, who in 1969 became founding dean of the film school at the California Institute of the Arts.

This dissertation is intended primarily as a contribution to postcolonial criticism and theory and the rhetorical analysis of epidemic writing as they undergo various crises and sublimations in the geopolitical landscape that has come into focus since the multilateral undertaking of the War on Terror in 2001. I begin with a set of questions about representation: when, how, and why are extra-legal, insurgent, anti-colonial, and terrorist forms of violence figured as epidemics in literature and connected discursive forms? What events in colonial history and scientific practice make such representations possible? And how do these representational patterns and their corollary modes of interpretation both reflect and transform discourse and policy? Although the figure is ubiquitous, it is far from simple. I argue that the discourse of the late colonial era is crucial to an understanding of how epidemiological science arises and converges with colonial management technologies, binding the British response to the 1857 mutiny and a growing Indian nationalism to the development of surveillance and quarantine programs to eradicate the threat of the great nineteenth century epidemic, the so-called Indian or Asiatic cholera. Through a constellation of readings of key texts in the British and French colonial and postcolonial traditions, including selected works of Bram Stoker (Dracula, "The Invisible Giant"), Albert Camus (La Peste, Chronique Algérienne) and Salman Rushdie (The Satanic Verses, Shalimar the Clown, Joseph Anton), I demonstrate how epidemics have played a complex representational role in relationship to violence, enabling us to imagine specific kinds of actors as absolute, powerful enemies of biological and social life, while also recoding violent political action as an organic affliction in order to efface or suppress the possibility of agency. There are two crucial aspects of this story that run throughout the histories and texts I engage with in this project. The first is that the figure of insurgent violence as epidemic has two opposing, yet interrelated faces. One looks to the promise of scientism, data collection and rational study as a means of eradicating the threat of irregular warfare. This is the function of the figure embedded in the practices and progress of epidemiology. On the other hand, the mythopoetics of infectious disease also point toward the occult and the unknowable, and code natural forces of destruction as sublime and inevitable. This is the function of the figure embedded the literary and political history of the term terror, which encompasses both natural and political events and the structures of feeling to which they give rise. The result of this duality is the persistent epistemic collapse of data-driven rational scientism and irrational sublimity in texts where epidemic and terror are at issue. The second crucial aspect of this story is that the dissolution of a colonial world system changes the shape of thinking about both epidemics and violence by displacing a binary architecture of antinomy in both public health and politics. The broadened view of epidemic since the end of the nineteenth century, in other words, has moved us away from metaphors of bellicosity to a more multi-factorial view of bacteriology and virology in temporal, geographic, and demographic space. One of the main goals of this project is to examine the relationship between these shifting epistemologies, narrative form, and imperial strategy. A connected through-line in the dissertation attempts to map what becomes of the biologistic and organicist conception of the state--which are already a matter of representation and imagination--as the very notions of biotoic life and the purview of the organism undergo no less radical redefinitions than the concept of the nation itself, providing the conceptual underpinnings for a subsequent biomorphic conception of the globe.

This dissertation explores the important but long forgotten career of the American artist Francis Davis Millet (1848-1912) and in the process calls into question several common understandings of turn-of-the-century American civic art. Through an examination of Millet’s civic art, including mural painting, illustration, and parades, I argue that Millet attempted to use the works he created for large audiences to help viewers navigate a common modern experience: the cultural diversity they encountered all around them. While many American artists making civic art during this period focused on allegorical scenes and emphasized whiteness, Millet’s images taught audiences about cultural diversity and even reflected a certain cultural sensitivity in their careful rendering of nonwhite subjects. In doing so, Millet employed the rhetoric of empiricism and engaged with his subject matter in a manner understood by his audience to be under the purview of science. This, I argue, aligned his project to the hierarchical understanding of “culture” and “evolution” presented by the anthropological community at the time, which argued for the superiority of white over nonwhite groups. In this way, though Millet attempted to move away from all-white subject matter and used global themes relevant to a modern moment, the underlying message he promoted served to reinforce notions of Anglo American hegemony.

吳通福. / 論文(哲學博士)--香港中文大學, 2002. / 參考文獻 (p. 148-154). / 中英文摘要. / 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. / Wu Tongfu. / Zhong Ying wen zhai yao. / Lun wen (zhe xue bo shi)--Xianggang Zhong wen da xue, 2002. / Can kao wen xian (p. 148-154).

Due to limited sources available, Chinese scholars so far are slightly behind the Western scholars in the study of Chinese export porcelain. It is sincerely hope that the current in-depth analysis of Kraak porcelain will contribute to portray a more comprehensive picture of Chinese export porcelain. / Kraak porcelain is a type of Chinese export porcelain with unique features which was produced in the second half of the sixteenth century for European market. It was the earliest type of export porcelain of some scale and had distinct characteristics. In this attempt to understand the rich cultural significance of Kraak porcelain, interdisciplinary research methodologies have been integrated. They include documentary and textual studies (history), calculations and statistics (economics), archaeological typology and stylistic analysis (art history and archaeology). / The aim of the thesis is to carry out a detailed study of Kraak porcelain, in particular specimen from datable contexts and archaeological material, so as to better understand the provenance of Kraak porcelain, its period of production and changes at different stages. Based on the results of the above examinations, a preliminary study of the sale and distribution of Kraak porcelain has been carried out---an area which has been neglected. Related issues such as order placing, different requirements of patrons and export routes are also discussed. / 范夢園. / Adviser: Harold Kar-Leung Mok. / Source: Dissertation Abstracts International, Volume: 73-03, Section: A, page: . / Thesis (Ph.D.)--Chinese University of Hong Kong, 2010. / Includes bibliographical references (p. 248-267). / 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. / Abstracts in Chinese and English. / Fan Mengyuan.

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