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This thesis explores the changing identity of Asian North American women in the past thirty years through the analysis of the work of three Asian North American female artists, Liu Hung (b.1948), Jin-me Yoon (b.1960), and Nikki S. Lee (b.1970). It argues that Asian North American female identity has evolved in three stages: firstly, it shows a close connection with a diasporic imagined community bound by ones cultural origin; secondly, it is rooted in a settled diasporic community, meanwhile remains tied to the original homeland as an imaginary political space for unification; lastly, the new transnational Asian female identity rejects classification based on race and gender and embraces an identity rooted in globalization. / History of Art, Design and Visual Culture

Comment l'art contemporain du sud de la Méditerranée est-il perçu et reconnu par les experts du monde de l'art occidental ? Telle la question à laquelle nous nous sommes intéressée. Pour y répondre, il nous a fallu comprendre les liens qu'entretiennent l'art et la mondialisation et discuter les apports des études culturelles et postcoloniales à ce sujet. A partir de ce questionnement initial nous avons rassemblé et étudié les discours hégémoniques intervenant dans le champ de la culture, des processus de négociations, des politiques de différences et des modes d'identification des artistes du Sud selon une vision ethnocentriste et identitaire. Pour mener à bien notre recherche, nous avons conduit deux études. La première porte sur une étude thématique des intitulés d'expositions internationales concernant l'art contemporain du sud de la Méditerranée (Europe et États-Unis de 1999 à 2014). Nous soutenons l'idée que les sujets d'expositions véhiculent un discours qui traduit des idées culturelles d'hégémonie occidentale et des orientations concernant le genre, l' ethnicité, la classe, confinant le statut de l'artiste sud-méditerranéen à un rôle «périphérique ». La seconde enquête qui est de nature compréhensive, traite des croyances des artistes du sud de la Méditerranée et de leurs positionnements par rapport aux marqueurs identitaires dans la construction de catégories ethniques. Quel regard portent-ils sur ces marqueurs, leur accordent-ils une certaine reconnaissance ? Cette étude a été conduite avant et après les mouvements révolutionnaires du printemps arabe. / How is contemporary art of the southern Mediterranean perceived and cognized by experts in the world of Western art ? It is this very question which actually interested us. To answer this, we had to understand the links between art and globalization and discuss the contributions of cultural and postcolonial studies related to this subject. From that initial question, we have gathered and studied hegemonic discourses involved in the field of culture, negotiation processes, differences policies and modes of identification of the artists from the South in an ethnocentric vision. To carry out our research, we conducted two studies. The first concerns a thematic study of the headings of international exhibitions on contemporary art from the south of the Mediterranean (Europe and the United States from 1999 to 2014). We support the idea that the subjects of exhibitions convey a discourse that reflects the cultural ideas of Western hegemony and trends concerning genre, ethnicity, class, confining the status of the southern Mediterranean artist to a "peripheral" role. The second survey which is comprehensive in nature, deals with the beliefs of the southern Mediterranean artists and their positioning in comparison with identity markers in the construction of ethnic categories. How do they perceive these markers, do they give them some recognition ? This study was conducted before and after the revolutionary movements of the Arab Spring.

Chan, Pui Lun. / "December 2010." / Thesis (M.Phil.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 133-147). / Abstracts in English and Chinese. / Abstract of thesis entitled: --- p.i / Abstract (Chinese) --- p.iii / Acknowledgements --- p.iv / Table of Contents --- p.v / List of Figures and Tables --- p.viii / Romanization and Translation --- p.ix / Chapter Chapter One - --- Introduction --- p.1 / Chapter 1.1 --- "Motivations, Arguements and Methodology" --- p.2 / Chapter 1.2 --- Ethnomusicological Studies on Chinese Operas --- p.3 / Chapter 1.3 --- Studying Peking opera in Hong Kong --- p.5 / Biographies of Mainland Peking Opera Performers --- p.5 / Newspapers Reports and Columns --- p.6 / Interview Transcripts of Peking Opera Artists in Hong Kong --- p.7 / Government Documents and Archival Data --- p.8 / Fieldwork --- p.8 / Challenges and Limitations --- p.9 / Chapter 1.4 --- Thesis Outline --- p.10 / Chapter Chapter Two - --- The History of Peking Opera in Hong Kong --- p.14 / Chapter 2.1 --- The Dual Forces of Cultural Policies --- p.15 / Tour Performances as Diplomacy --- p.15 / The First Encounter: Mei Lan-fang's Tour in 1922 --- p.17 / Cultural Competition between the Two Chinese Regimes --- p.21 / Cultural Policy of the Colonial Government before 1980 --- p.24 / Chapter 2.2 --- Early Peking Opera Activities in Hong Kong --- p.26 / Peking Opera in Recordings and Radio Broadcasting --- p.26 / Peking Opera Films in the 1940s and 50s --- p.33 / Integrating Peking Opera with Local Martial Arts Films in the 1960s and 70s --- p.35 / Local Peking Opera Academies --- p.38 / Amateur Peking Opera Groups --- p.42 / Hybridization Between Peking Opera and Cantonese Opera --- p.43 / Chapter 2.3 --- An Entertainment for Mainland Emigrants --- p.48 / Chapter 2.4 --- Summary --- p.51 / Chapter Chapter Three - --- Contemporary Peking Opera Activities --- p.54 / Chapter 3.1 --- The Continuing Political Influence --- p.55 / The Shifting Dynamics of Political Influences in the Pre-HKSAR Period (From 1980 to 1997) --- p.55 / Increasing Support in the HKSAR Period (1997- present) --- p.58 / Chapter 3.2 --- Readapting Western Literature into Peking opera --- p.62 / Chapter 3.3 --- Other Contemporary Activities --- p.65 / General Observations --- p.65 / Musical Background of Participants and Audiences --- p.69 / Audiences'and Participants' Responses --- p.70 / Presentations Styles --- p.71 / Chapter 3.4 --- Summary --- p.78 / Chapter Chapter Four - --- Globalization Impacts on Peking opera in Hong Kong --- p.80 / Chapter 4.1 --- Peking Opera Activities and Globalization in Hong Kong --- p.83 / "Realizing the ""Imaginations""" --- p.83 / The Hybrid Form of Globalization r. --- p.88 / Chapter 4.2 --- A Traditional Interpretation of Globalization --- p.93 / "The ""Dilemma of Identity""" --- p.93 / The Dominance/Resistance Dichotomy in Ethnomusicological Studies --- p.94 / The Co-existence of Dichotomy --- p.96 / Chapter 4.3 --- Summary --- p.99 / Chapter Chapter Five - --- Conclusion --- p.101 / Chapter 5.1 --- Historical Activities --- p.101 / Chapter 5.2 --- Contemporary Activities --- p.104 / Chapter 5.3 --- Political Influences --- p.106 / Chapter 5.4 --- Globalization Impacts --- p.108 / Chapter Appendix I: --- Peking opera events presented by major cultural supporting sectors from 1976 to 2009 --- p.110 / Chapter Appendix II: --- Arts Development Council Grants to Local Peking Opera Troupes from the Financial Year of 1994/95 to 2007/08 --- p.120 / Chapter Appendix III: --- Other Peking Opera Activities Conducted by Local Peking Opera Troupes from 1976 to 2009 --- p.122 / Glossary --- p.126 / Bibliography --- p.133

Thesis (Ph. D.)--Ohio State University, 2006. / Title from first page of PDF file. Includes bibliographical references (p. 213-220).

The thesis has investigated the place of Zimbabwean indigenous intangible heritage in a globalising environment. It used the Shona language and intangible heritage situation as a case study. It argued that Zimbabwean intangible heritage is continually being eroded by the agents of globalisation and that the only way of safeguarding it from extinction is through the preservation of Zimbabwean indigenous languages. The thesis has come to this conclusion after having established that there is an intimate and inseparable bond between language and its intangible values so much that it is not possible to talk of one devoid of the other. The relationship has been seen to be symbiotic. The Shona language has been established to embody, express and to be a carrier of all the intangible heritage of its speakers into the future by re-living them in the people’s daily life while these intangible values have been seen to conserve the language through their continued practice by the people. The research has also established that Zimbabwean intangible heritage marginalisation has roots in colonialism, dating as far back as the early Christian missionary days. The Shona intangible heritage has also been seen to be still of value despite the global threats as evidenced by the people’s continued re-living of it through language. The thesis has also noted that the Zimbabwean Ministry of Education, Sport and Culture is still using out-dated colonial language policies that still further the ascendancy of English and the intangible values it stands for while indigenous languages and values are marginalised in the education system, in government and in industry thereby worsening their predicament in the global environment. The current socio-economic and political developments in the country and some Shona novelists in Shona and in English are also culprits in this whole process as they continue to demonise and infantilise Zimbabwean intangible heritage. The thesis has therefore asserted that Zimbabwean intangible heritage is most likely to be eroded from the face of the earth if no measures are taken to safeguard it from extinction. It has therefore wound up by arguing that the survival of Zimbabwean intangible heritage lies in the survival of Zimbabwean indigenous languages through which it continues to be practised and felt by its people. The thesis has therefore recommended that the Zimbabwean government adopt sound language policies that safeguard the survival of Zimbabwean indigenous languages to enable the indigenous intangible heritage of the people to survive as well as the two are intricately related. / African Languages / (D.Litt.et.Phil.(African Languages))

The thesis has investigated the place of Zimbabwean indigenous intangible heritage in a globalising environment. It used the Shona language and intangible heritage situation as a case study. It argued that Zimbabwean intangible heritage is continually being eroded by the agents of globalisation and that the only way of safeguarding it from extinction is through the preservation of Zimbabwean indigenous languages. The thesis has come to this conclusion after having established that there is an intimate and inseparable bond between language and its intangible values so much that it is not possible to talk of one devoid of the other. The relationship has been seen to be symbiotic. The Shona language has been established to embody, express and to be a carrier of all the intangible heritage of its speakers into the future by re-living them in the people’s daily life while these intangible values have been seen to conserve the language through their continued practice by the people. The research has also established that Zimbabwean intangible heritage marginalisation has roots in colonialism, dating as far back as the early Christian missionary days. The Shona intangible heritage has also been seen to be still of value despite the global threats as evidenced by the people’s continued re-living of it through language. The thesis has also noted that the Zimbabwean Ministry of Education, Sport and Culture is still using out-dated colonial language policies that still further the ascendancy of English and the intangible values it stands for while indigenous languages and values are marginalised in the education system, in government and in industry thereby worsening their predicament in the global environment. The current socio-economic and political developments in the country and some Shona novelists in Shona and in English are also culprits in this whole process as they continue to demonise and infantilise Zimbabwean intangible heritage. The thesis has therefore asserted that Zimbabwean intangible heritage is most likely to be eroded from the face of the earth if no measures are taken to safeguard it from extinction. It has therefore wound up by arguing that the survival of Zimbabwean intangible heritage lies in the survival of Zimbabwean indigenous languages through which it continues to be practised and felt by its people. The thesis has therefore recommended that the Zimbabwean government adopt sound language policies that safeguard the survival of Zimbabwean indigenous languages to enable the indigenous intangible heritage of the people to survive as well as the two are intricately related. / African Languages / D. Litt. et. Phil.(African Languages)