Universiẗat, Diss., 2006--Mainz. / Includes bibliographical references (p. 391-423).

Thesis (Ph.D.)--Victoria University of Wellington, 2009. / Includes bibliographical references.

Thesis (Ed. D.)--University of Houston, 1989. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 93-95).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1960. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (M.M.)--Baylor University, 2006. / Includes bibliographical references (p. 95-101).

AN ABSTRACT OF THE DISSERTATION OF Yuhui Tai, for the Doctor of Philosophy degree in Mass Communication and Media Arts, presented on October 31, 2013, at Southern Illinois University Carbondale. TITLE: DEVELOPMENT OR DEPENDENCY? THE EMERGING CHINESE CULTURAL-LINGUISTIC TV MARKET AND IDOL TV DRAMA IN TAIWAN AND CHINA MAJOR PROFESSOR: John Downing and Jyotsna Kapur The global expansion of neo-liberalism and the new development of media technology have opened up national TV markets worldwide and the changing structure--a weakened local TV industry, multiple TV channels, and the increasing need for importation--has prepared the historical contingency for the emergence of regional cultural centers. The Chinese regional market based on China, Hong Kong and Taiwan is the most prosperous regional market due to the China hub effect, and it is playing an increasingly important role in world economy. In this research, I examine the formation and the driving forces behind the Chinese cultural-linguistic TV market, the dynamic dialectical global/regional/local relationships, the directions in which these forces push, and the major contradictions between these forces in the context of a global capitalist system. This research indicates that the dominant "cultural proximity" argument tends to naturalize the dominance of the regional cultural center and conceals multiple factors interwoven in the formation process. This research argues that it is important to examine the dialectical relationship between the position of a domestic country in the global capitalist system and its development in the regional cultural market. Second, the confluence of the popular cultural/creative policy and the soft power discourse strengthens the ambition and the competition between different states to pursue the crown of the regional cultural center. Third, the domestic state policy plays a determinant role in the dynamic formation of a regional cultural market. Fourth, the political motivation and manipulation might not be easy to recognize but are influential powers forging the regional cultural market. For example, the Chinese Communist Party (CCP) proposed the China-Taiwan TV drama co-production policy near the end of 2007 in order to improve the prospects of Taiwan's pro-China party in the 2008 presidential election in Taiwan. In addition, it is not self-evident to assume that a regional cultural center definitely challenges the existing cultural dominance and that a regional cultural-linguistic market is emancipating. It requires careful examination to scrutinize the power relationships among those societies involved in the regional market to determine whether it increases the cultural diversity in this area. This research examines the power relationship in the Chinese cultural-linguistic TV market and argues the possible existence of dual suppression, in that a member of the regional cultural-linguistic market might simultaneously suffer from the dominance of the global center and the regional center. This research examined the historical development of idol drama in Taiwan and found that the Chinese censorship system has great impact on the production and distribution of cultural products in the Chinese cultural-linguistic TV market. Producers either tend to lower the potential risks by taking a conservative, non-historical approach to making TV drama, or, selling cultural products containing specific cultural odor, such as President Ma Ying-jeou's slogan, "Chinese culture with Taiwan characteristics (Ma, 2011.01.01)." Third, this research analyzes the production mode of idol drama in Taiwan and China from 2000 to 2012 and points out that the Taiwan TV industry has been moving on a dependency road through three phases, with four aspects of dependency. After 2005, some Taiwanese TV producers turned to the secondary export market due to the deepening neo-liberalism and the deteriorating Taiwan TV industry, which impedes its advancement in the regional market. In this stage, the emergence of the first wave of Taiwanese-made Chinese TV drama proved that the combination of the CCP's protectionist policy and a lucrative Chinese domestic market creates magnetic effects and attracts TV workers from the deteriorating region. In the second stage from 2008 to 2010, the CCP's cooptation policy, which encourages Taiwan-China co-produced TV drama, and the Kuomintang's China-centered CCI Policy emphasized the importance of the China market and strengthened the orientation to focus on the secondary export market rather than improve the quality of Taiwanese TV drama and aim at Asia and the global market. In 2010, the CCP denounced the phenomenon of "pseudo China-Taiwan co-produced TV drama," which was the byproduct of the strict Chinese censorship system, and issued a warning against it. It pushed some Taiwanese producers to abandon the Taiwan market and spurred the second wave of Taiwanese-made Chinese TV drama which appeals to Chinese audiences, and lowers or even closes the production business in Taiwan. This research demonstrates the four aspects of the dependency relationship in the Chinese cultural-linguistics TV market, which includes capital, export market, production chain, and cultural products flow. First, sufficient Chinese capital provides the CCP leverage to mold the Chinese cultural-linguistic TV market, purchase resources, and expand its influence into Taiwan society. Second, being the largest TV market in the world makes China an attractive export market, even with strict Chinese censorship. Third, the CCP's cooptation policy and the deteriorating Taiwan TV market gradually make Taiwan TV workers a supplement rather than a force in Chinese TV drama production. Fourth, the exportation of Chinese TV programs, including conventionally weak genres, into Taiwan is increasing. In short, the Taiwan TV industry has suffered from the dual crises of neo-liberalism and the dependency relationship with China, which is making Taiwan a dumping site for regional cultural product exporters, mainly from Korea, China, and Japan.

viii, 89 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / This thesis examines how social and economic factors shape the behavior of Russian journalists. Although the state does not practice legal censorship today, Western experts compare Russian media with the Soviet period, and Russia is commonly ranked in the bottom 10% of all countries in terms of press freedom. While scholars identify free press as a necessary condition for a democratic society, Russian media are influenced by flak directed at editors and reporters, which results in self-censorship. The central question is: What is the relationship between the ownership structure ofthe media, a reporter's experience, and the occurrence of self-censorship? A random sample of40 journalists was drawn from ten prominent national newspapers. Interviews focused on instances when reporters had been asked to remove facts critical of the government. The data show that self-censorship is significant in Russian journalism; it comes both from the editors and from the journalists themselves. / Committee in Charge: Dr. Caleb Southworth, Chair; Dr. Julie Hessler; Dr. Carol Silverman

295 pages / My dissertation addresses two major issues in Chinese contemporary film and TV studies: the first is the proliferations of new forms of subjectivities and the state’s attempt to regulate them via the construction of an ideal citizenship on the film and TV screen; the second is to develop an approach to understand the political economy of screen culture (yingshi wenhua), as well as freedom and control in post-1989 China. My project investigates key contemporary state-sponsored (zhuxuanlü) and state-criticized/banned screen products as a way to explore socialist values advanced by the Chinese Communist Party, as well as the ways in which and the extent to which individuals are able to challenge them. The ways in which my project contributes to the fields of film and TV studies in China are fourfold. First, close readings of selected films and TV dramas inform us of three emergent forms of subjectivity that were previously theorized as a synthesized sublime subject. Second, I conceptualize qualities of the on-screen socialist spirit that the state uses to counteract the three new forms of subjectivity and maintain its superiority. Third, by discussing the state’s intervention and control on production and consumption of screen products, I reveal the state’s vested interests and individuals’ execution of agency in popular culture. This emphasis on state-individual interactions challenges the current focus on TV and film as merely a profit-oriented industry; it also unravels conflicted ideologies in screen products and questions the understanding of popular culture as mainstream culture. Fourth, by achieving the above tasks, my research exposes that the state’s tolerance of its citizens’ partial freedom is for the purpose of political stability.

This thesis explores Englishness and its representation in translated children’s literature in Russia during the Soviet period (from 1917 until 1991) and the post-Soviet period (from 1992 until 2015). It focuses on Russian translations of English children’s classics published between the late-Victorian period and the Second World War. It studies how Russian translations of English children’s literature construct literary portrayals of Englishness in varied socio-cultural and historical contexts. It investigates the complex processes involved in re-creating national specificities of English literary texts in Russian culture. The Anglo-centric essence of Englishness – or ‘dobraia staraia Angliia’ [good old England] – is expressed to a greater degree in the classics of English children’s literature. It is this particular idealised Englishness that is represented in the Russian translations. This thesis demonstrates that various manifestations of Englishness are modified in Russian translations and that the degree of modification varies according to changes in the political climate in Russia. A significant role is played by ideology – of a prevailing political nature during in the Soviet Union and a commercial ideology in post-Soviet Russia. The first chapter lays the theoretical foundation for the whole thesis and outlines the methodology adopted. Chapters 2 and 3 set out the contextual background for understanding Englishness by focusing on the question of Englishness perceived from English and Russian perspectives, and discussing the main tendencies of representing Englishness in both cultures. Chapter 4 presents the historical background by highlighting the political and cultural circumstances in which Russian translations were made. The second half of the thesis (chapters five, six and seven) focuses on the analysis of the representation of Englishness in Russian translations. Chapter 5 discusses which English children’s books, published between the late-Victorian period and the Second World War, were selected for translation and at what point between 1918 and 2015. Chapters 6 and 7 present the case studies in this thesis. These provide an analysis of how different manifestations of Englishness were translated and, taking into account the Soviet and post-Soviet historical contexts, examine why they were translated in certain ways.

Submitted by RENATO AURELIO MAINENTE null (renatomainente@hotmail.com) on 2017-04-07T18:42:13Z No. of bitstreams: 1 1 - MAINENTE, Renato Aurélio Tese.pdf: 1629680 bytes, checksum: daafc41f7a4e5e1c1afa695c9554e343 (MD5) / Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-04-17T14:22:38Z (GMT) No. of bitstreams: 1 mainente_ra_dr_fran.pdf: 1629680 bytes, checksum: daafc41f7a4e5e1c1afa695c9554e343 (MD5) / Made available in DSpace on 2017-04-17T14:22:38Z (GMT). No. of bitstreams: 1 mainente_ra_dr_fran.pdf: 1629680 bytes, checksum: daafc41f7a4e5e1c1afa695c9554e343 (MD5) Previous issue date: 2016-08-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Nas últimas décadas do século XIX, o Rio de Janeiro assistiu a um incremento no número de casas teatrais e uma diversificação de espetáculos oferecidos ao público. Os melodramas, dramas realistas e as óperas italianas, até então dominante nos palcos, passaram a sofrer concorrência cada vez maior de operetas e demais gêneros teatrais musicados, culminando com o sucesso do teatro de revista na última década do oitocentos. Essa diversificação, porém, foi alvo de intenso debate: nas páginas de jornais e revistas do período, literatos como Machado de Assis, Jose de Alencar, Aluísio Azevedo e Raul Pompéia, teciam juízos acerca das obras, dos autores e também sobre a própria estrutura das casas teatrais. No entanto, para além de julgamentos propriamente estéticos, estavam em questão, sobretudo, diferentes concepções da atividade teatral e da função dos teatros na sociedade oitocentista. Tratava-se, assim, da defesa de uma atividade teatral pautada por dois princípios distintos, reformar os costumes da sociedade e servir ao público obras voltadas para seu entretenimento. O objetivo deste estudo é, portanto, mapear os diferentes discursos acerca do teatro nacional, a partir da análise de dois conjuntos de fontes: textos publicados em periódicos no Rio de Janeiro oitocentista, e que abordavam o cenário teatral do período; e os pareceres emitidos pelo Conservatório Dramático Brasileiro, instituição encarregada da censura às obras dramáticas e líricas a serem encenadas nas casas teatrais da corte. Partindo dessa análise, será possível identificar as diferentes expectativas nutridas pelos homens de cultura do período quando o assunto era a arte teatral, e principalmente o desenvolvimento do teatro nacional. / In the last decades of the nineteenth century, Rio de Janeiro witnessed an increase in the number of theatrical houses, and diversification of shows offered to the public. The melodramas, realistic dramas and Italian operas, hitherto dominant on stage, have come under increasing competition from operettas to other theatrical musical genres, culminating in the success of the revue in the last decade of the nineteenth century.However, this diversification has been the subject of intense discussion: in the pages of newspapers and magazines of the period literati, writers like Machado de Assis, Jose Alencar, Aluísio Azevedo and Raul Pompeia, wrote reviews about the works of authors and also on the structure of theatrical houses. However, in addition to properly aesthetic judgments were concerned, above mainly different conceptions of theatrical activity and function of the theaters in the nineteenth century society. It was thus the defense of a theatrical activity guided by two distinct principles, reform the customs of the society and serve the public works aimed for your entertainment. The aim of this study is therefore to map the different discourses about national theater, from the analysis of two sets of sources: texts published in journals in Rio de Janeiro in the nineteenth century, and approached the theatrical setting for the period; and the reports emitted by Brazilian Dramatic Conservatory, institution in charge of censorship of dramatic works and lyrical to be staged in the theater houses of the court. Based on this analysis, it will be possible to identify the different expectations nourished by the period of the men's cultures when it came to the theatrical art, and especially the development of the national theater.