published_or_final_version / Architecture / Master / Master of Architecture

published_or_final_version / Architecture / Master / Master of Architecture

published_or_final_version / Applied Geosciences / Master / Master of Science

This thesis examines narrative articulations in the films Bend It Like Beckham, Bhaji on the Beach, and American Chai as a complicated conversation in relation to bicultural-identity construction in the Indian diaspora. Unpacking the way desi identities are managed in/as a quantum (third) space – one that is continuously shifting and deferred – the films exemplify how "desi" is a heterogeneous cultural "group" without a homeland from which to speak or to return. The narratives of these films are considered cultural translations that expose inter-generational culture-clashes in the spaces between Indian and Western cultures. Screenplay pedagogy was used as a methodology to (re)read analysis of the films, revealing the ways that different movies employ and reinscribe themes of the multicultural pastoral, the carnivalesque, and melodrama, respectively. This thesis concludes by opening up some of the places from which individuals enunciate their desi identities, including the possibilities for (self)reflection.

身處明末清初變亂紛呈的時代中，王夫之面對國土淪亡，異族入主的悲運，時時反映出愛國意識和歷史責任感在他的著作中。對於他的詩歌作品和哲學思想著作，後人巳有充份的闡述。而詞作方面，卻未被廣泛的討論。其實，在他的詞作中，深刻蘊藏著遺民之情與忠愛之思；在慷慨激昂與悲憤執著之後，往往昇華為含蓄蘊藉之美，且常與他的文學理論相結合。所以，本文欲以王夫之《薑薺詩餘》為依據，來探討他身清心明的一片故國情懷，並給予船山詞在詞史上的定位與評價。而章節的安排如下：引言：包含研究動機、研究資料、研究方法、總結前人研究成果。本文共分六章。第一章：緒論。第一節：敘述王夫之的生平大略及著述。第二節：敘述船山的愛國思想及人格特質。其中，船山的民本思想、忠貞特質和遺民情懷是最為深刻而直接的感染其詞作風格的因素，第三節：船山《薑齋詩餘》通論。第二章：王船山詞的創作背景。第一節：歷史背景，從政治環境、社會實況兩方面來考察。第二節：詞壇風貌，主要批判明代中後期浮靡中枵的詞風，並肯定明末忠義詞人的風騷遺旨。第三章：《薑齋詩餘》的題材內容與藝術特色。第一節：《薑齋詩餘》的題材。第二節：《薑齋詩餘》的內涵。第三節：《薑齋詩餘》的技巧第四節：《薑齋詩餘》的章法和篇法。第四章：《薑齋詩餘》的風格。第一節：豪宕。主要從其實際愛國行動及愛國思想中所孕蘊而成的詞作探討。第二節：醇雅。大半是晚年歸隱後的心境，除了醇雅蘊藉之外，還時時流露出老而彌堅的心性。第五章：《薑齋詩餘》與《薑齋詩話》。第一節：情景交融的美學內涵。第二節：群以制怨的含蓄本質。第三節：神理相取、意在言外的文學精神。第六章：結論。將王夫之詞對明末清初詞壇的貢獻及成就加以確定及評價。

This thesis examines narrative articulations in the films Bend It Like Beckham, Bhaji on the Beach, and American Chai as a complicated conversation in relation to bicultural-identity construction in the Indian diaspora. Unpacking the way desi identities are managed in/as a quantum (third) space – one that is continuously shifting and deferred – the films exemplify how "desi" is a heterogeneous cultural "group" without a homeland from which to speak or to return. The narratives of these films are considered cultural translations that expose inter-generational culture-clashes in the spaces between Indian and Western cultures. Screenplay pedagogy was used as a methodology to (re)read analysis of the films, revealing the ways that different movies employ and reinscribe themes of the multicultural pastoral, the carnivalesque, and melodrama, respectively. This thesis concludes by opening up some of the places from which individuals enunciate their desi identities, including the possibilities for (self)reflection.

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Thesis (M.L.A.)--University of Hong Kong, 1995. / Includes special study report entitled: Rock in Chinese gardens. Includes bibliographical references.

published_or_final_version / Housing Management / Master / Master of Housing Management

published_or_final_version / Architecture / Master / Master of Architecture