This thesis aims to shed new light on the Chinese character xia 侠 and the literature and history of the Republican Era (1912-1949) that revolves around it. Xia refers to either a concept (identifiable with kindness, altruism, righteousness, etc.) or to a person who practices this concept. Ever since its arrival in Chinese texts in the sixth century BC, it has created controversy for some and sympathy for others. In Modern China, xia became the central aspect of a literary genre that reached its zenith in production and consumption in the Republican Era, i.e. wuxia fiction 武侠小说, which can be translated as “using martial arts (wu 武) to obtain xia”. The concept of xia was an integral part of presumably the most widespread literary genre of the time, but why were Republican-era readers so interested in it? Why did they relate to xia and what do the themes of these novels say about the chaotic Republican Era? To answer these questions, this thesis presents a case study of a wuxia pentalogy written by Wang Dulu at the end of the Republican Era and attempts to identify the topics and aspects most reflective of that historical period, showing that, despite the heavy criticism of intellectuals of that time, these “easy” popular novels contain innovative and modern aspects and can become today of great historical importance. The thesis starts with two literature reviews. The first determines that the term xia has not received enough scholarly attention, calling for a reassessment. The second literature review focuses on Republican Era wuxia fiction, showing how there is a gap in scholarship on this period. This is followed by a discussion of the methodology used for the analysis of the case study on Wang Dulu’s Crane-Iron Series written in Qingdao (1938-1944), presented in the final three chapters of the thesis. Chapter one analyses the origins of the term xia in texts from the Warring States Period (475-221 BC) and Han Dynasty (206 BC-AD 220), presenting new interpretations for a more comprehensive understanding of the term. Chapter two gives a historical overview of xia¬-related literature and addresses the historical reasons for the changes that xia underwent throughout Chinese history. Chapter three includes a historiography of the Republican Era in combination with the life of the author Wang Dulu and identifies the aspects of the author’s life that will become important in the textual analysis in the chapters to follow. Chapter four focuses on xia in the Crane-Iron Series. After having collected the terms and identified the semantic spheres that include the Chinese character xia, the chapter demonstrates how the story of one of the series’ protagonist can be seen as an personification of Republican-era China, proving the historical dimension and value of these novels. Chapter five analyses yi 义 (righteousness) and represents the virtuous aspect of xia, concluding that, according to Wang Dulu, for the concept of xia, virtue is more important than being trained in martial arts (wu). Chapter six focuses on the literary figure of the baobiao 保镖 (protector) and is seen as the commercialisation of martial arts not necessarily linked to xia, showing how entrepreneurship and violence were characteristics of the time.

The study of Chinese economic and social problems requires that certain fundamental Chinese conditions be kept constantly in mind by the Western student, lest he attempt to analyze from the contemporary economic and social viewpoints of his own country. Accomplishments and plans must both be considered in relation to what has gone before and what is within the realm of possibility under given conditions, rather than by comparison with accomplishments and plans in other countries where the basic situation is entirely different. The object of this paper is to place cooperatives in relation to the to the reconstruction as a whole, and to estimate the extent to which cooperatives are an effective instrument of economic reconstruction. As the Kuomintang or Nationalist Party has been the governing power in China since 1928, this study of necessity a description of cooperatives as a phase of reconstruction under the Kuomintang.

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Doctorat en sciences sociales, politiques et économiques / info:eu-repo/semantics/nonPublished

This essay examines the relationship between national consciousness and the Communist Revolution in China between the years 1921 and 1928. / In tracing the trajectory of the national consciousness in our stipulated time period we can discern three distinct phases in its manifestation. Up until 1919 national consciousness was confined primarily to an intellectual elite whose primary concern was the decadence of the Imperial and Confucian state. Following the May Fourth movement (1919), these concerns came to be diffused amongst the urban population. / After the formation of the Chinese Communist Party, the Party addressed nationalist concerns by focusing on the role of imperialists and warlords. This continued following the alliance with the Nationalist Party, the Guomindang, under the United Front. / By 1925 there was the growth of populist movements with distinctly anti-imperialist overtones. The same time also saw a growing interest in the potential of the peasantry as the vanguard for the nationalist revolution. After the April 12, 1927 coup, the Party focused exclusively on the peasantry to carry on with the Nationalist Revolution.

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Dr. Kwan Hsu was neither a superstar nor a celebrity. Her name does not come up in conversations about important contributors to her field of biophysics nor is she instantly recognizable for her contributions to Portland State University's international program or the state of Oregon's business ties with China. Yet she was a contributor, a cog-in-the-wheel, at the very least, in all of these areas and more. She was a peripheral member of a well-known Chinese family, but few in the United States know of or perhaps have interest in, but otherwise, she had no great connections or family ties to generate interest in her story. How does one process a collection for a woman who does not meet the traditional criteria for excellence or success or public interest for an archive? Where is the value to the larger historical narrative of our time in preserving the memories of someone who was non-remarkable, or, conversely, someone who may be even too unique to contribute to that greater narrative? These are the questions I wrestled with when I first came to this collection. As my research progressed, I realized that I faced more questions, and that to come to any understanding that might answer them, I was going to have to research the history of archives and archival processes. Science, the Cold War, Communist China, women, the immigrant experience, all of these issues became part of my thesis, however shallowly I was able to investigate them. Questions of identity and historiography, of power and discourse were explored. In the end, what I found was that a collection that on the outside looked unimpressive and unenlightening, could indeed be very valuable, and provide insight into any number of areas of current interest in historical research. This is that story.

Les causes de la révolution agraire chinoise ont longtemps été un sujet de discussion pour les chercheurs chinois et étrangers. Les problèmes principaux économiques dans les régions rurales chinoises à l'origine de la révolution des agriculteurs pendant la période 1920-1930 étaient la question centrale de ce débat. Cette thèse reprend une enquête sur la Chine rurale qui est accompagné d'une base de données rédigée par John Lossing Buck dans les années 1929-1933. Cette base permet aujourd'hui encore de révéler des liens entre la révolution et les niveaux de vie dans les régions rurales Chinoises, grâce à un nouveau traitement statistiques à partir des logiciels modernes. L'objectif est une analyse nouvelle de la problématique des problèmes principaux des niveaux de vie dans les régions rurales chinoises à l'origine de la révolution. / This thesis will use modem database software to reanalyse the database created by agricultural economist John Lossing Buck and the Cornell-Nanjing project in 1929-1933 in order to understand whether or not a statistical correlation exists between the exact location of the outbreak of the Chinese revolution with low and unevenly distributed standards of living. First, descriptive statistics and comparison of means are used to compare living standards among the eight regions studied; then statistical dispersion measures such as quintile, deciles ratios and the Gini coefficient are used to compare the distributions of living standards among the rural Chinese population. Finally, multiple regression are used to find the influences of factors on the living standards of China at that time, and to unearth the economic seeds of the Chinese agrarian revolution - notably, the most likely reasons for why it started in the region of Double Cropping Area in China.

L'une des plus grandes rencontres interculturelles Chine-Occident de l'histoire s'est opérée entre les missionnaires occidentaux et le peuple chinois. La Première Guerre mondiale a ralenti le travail missionnaire des pays européens, c'est pourquoi ceux-ci ont fait appel à leurs homologues Nord-Américains pour assurer l'apostolat dans la nouvelle République de Chine. Les jésuites du Québec se sont portés volontaires pour relever le défi. Les premiers missionnaires ont foulé le sol chinois en 1918. À partir de ce moment, et ce jusqu'en 1955, leur implication ne cessa de prendre de l'importance, tant au niveau du nombre de missionnaires impliqués, des responsabilités que des sommes d'argent investies. Les missionnaires jésuites du Québec ont écrit beaucoup d'articles à propos des traditions socioculturelles chinoises. À partir de 1930, ces articles sont rendus disponibles à la population québécoise par l'entremise du périodique le Brigand, fondé spécifiquement pour la mission des jésuites du Québec en Chine. / Québec Université Laval, Bibliothèque 2014

La présence des artistes chinois en France durant la première moitié du XXe siècle s’est fixée de manière exceptionnelle et durable à l’École des beaux-arts de Paris, au point qu’on puisse, à partir du dépouillement des archives nationales (cote AJ52), parler d’un « phénomène chinois à l’École des beaux-arts de Paris ». Ce phénomène a engagé plus de 130 élèves chinois inscrits dans les galeries et dans les ateliers de peinture et de sculpture entre 1914 et 1955. Aussi, cette présence à l’École des beaux-arts constitua une caractéristique essentielle du mouvement des artistes chinois en France et plus largement en Occident. À ce titre, ce phénomène a joué un rôle important dans l’évolution du champ artistique chinois moderne, sur le plan social,technique et artistique à travers un processus de « transfert culturel ». Ce phénomène fut possible grâce à une relation privilégiée qui exista entre la France et la Chine au début du XXe siècle (le « dialogue entre deux républiques »). Mais l’École des beaux-arts fut aussi un espace de concurrence entre les différentes tendances artistiques modernes chinoises dont beaucoup des chefs de file passèrent par les ateliers de l’École. Parmi eux,Xu Beihong (1895-1953) occupa une place particulière car il développa une stratégie sociale et artistique cohérente qui posait comme fondamentales la formation artistique académique et l’expérience à l’École des beaux-arts de Paris. Cette expérience enrichie par la maîtrise du dessin académique, de l’anatomie artistique et de la peinture d’histoire, fut orientée vers une production inédite à bien des égards en Chine, à l’huile et à l’encre. Aussi, après une période consensuelle des années 1910 aux années 1920, il semble qu’à partir des années 1930, le phénomène chinois à l’École des beaux-arts de Paris alimenta essentiellement le pôle éducatif et artistique de Xu Beihong en France et en Chine. Ce phénomène chinois à l’École des beaux-arts de Paris,attaché à la formation académique et à l’art académique français, fut un élément dynamique dans l’élaboration de la modernité artistique en Chine au XXe siècle. / The presence of Chinese artists in France during the first half of the Twentieth Century was an exceptional and enduring phenomenon at the National School of Fine Arts of Paris (École nationale des Beaux-Arts de Paris). Based on the analysis of the documents from the French National Archives, the number of Chinese students was so substantial that it deserves to be called as the 'Chinese phenomenon at the École des Beaux-Arts'. Between 1914 and 1955, more than 130 Chinese students enrolled at the 'Galeries' (preparatory training in drawing) and at the painting and sculpture studios called 'Ateliers'. This situation at the École des Beaux-Arts essentially reflected the movement of Chinese artists in France and more widely in the West. It played an important role in the changing field of the modern Chinese art, socially, technically and artistically ,through a process of "Cultural Transfer" and was made possible by the privileged relationship between France and China at the beginning of the Twentieth Century (the "Dialogue between two Republics"). Nevertheless, the École des Beaux-Arts also became an area of competition between the various modern Chinese artistic tendencies, as many leaders of different groups studied at the workshops of the École des Beaux-Arts. Amongthem, Xu Beihong (1895-1953), who developed a coherent social and artistic strategies, was especially significant. Xu received fundamental academic artistic training at the École des Beaux-Arts in Paris. Xu’s experience, enriched by his mastery of academic drawing, artistic anatomy and history painting, made his artistic production unprecedented in many respects of Chinese art, in oil and in ink. In addition, after a consensual period from the 1910s to the 1920s, it seems that from the 1930s, the Chinese phenomenon at the École des Beaux-Arts in Paris mainly fostered Xu’s central position in educational and artistic camps inFrance and China. This Chinese phenomenon at the École des Beaux-Arts in Paris, which is attached to academic training and to French academic art, was a dynamic element in the elaboration of artistic modernityin Twentieth Century China.