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viii, 116 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / As Mainland China transitions from a planned socialist economy to one more market-focused, its economic successes have garnered attention worldwide. However, this astounding economic growth brought with it a number of negative side effects, including corruption and a resurgence ofprostitution. Gender relations have also undergone major shifts from state mandated gender equality in the Mao era to a call for the refeminization ofwomen in the Reform era. How is the Chinese population navigating this transition? In this thesis, I utilize existing melodrama theory and relevant sociological studies to explore how three Chinese TV dramas-I'm Not a Hero (2004), Close to You, Make Me Warm (2006), and Give Me a Cigarette (2006), later renamed Evening Rain--expose and explore some of these existing social problems, providing a platform for their viewers to reflect on and explore these issues on their own. / Committee in Charge: Tze-Ian Sang, Chair; Alison Groppe; Eileen Otis

The thesis will be divided into the following parts: the introduction will focus on the objectives of the research, review of literature, and the blueprint of methodology. Chapter One will define some basic concepts and introduce the historical background. Chapter Two will explore the relationship between modern city and the Avant-garde drama in terms of "modern city", thus leading to four relevant parts: new ways to understand space and time, cultural transformation, global spectacle and new media. Chapter Three will turn to the definition of the Avant-garde drama, discussing the relationship between the specific areas of drama (drama practitioners, motives of the drama, stage scenery, spectatorship, and body) and the modern city. Chapter Four will analyze in details the cases in two metropolis: Beijing and Shanghai, particularly comparing their cultural background, production situation, the type and quality of the production and the spectator groups. The variation of the urban culture influences the production choices of the Avant-garde drama; while the Avant-garde drama reflects the cultural transformation of different cities. In addition, this chapter will briefly analyze the drama as a carrier of cultural interaction of cities, and I will conduct a comparative study in this interchange and interaction. The results of the above research will be concluded in the final chapter. / The thesis will discourse on the context of contemporary mainland China, and analyze the inner tensions lying in a complex matrix of contending relationships between the modern city and the Avant-garde drama. I will try to explore the characteristics, situation, evolution and future possibilities of the dramas in the context of modern urban society, while probing into the situation and symptoms of modern Chinese cities in relation to the Avant-garde drama. I will find out the construction of the power relationships concomitant with the cultural transformation in mainland China from 1990s, and will explore the possibility of the Avant-garde theatre as a public space as well as the modern city's stimulation and facilitation of this possibility. / 李婭菲. / Advisers: Thomas Luk; Natalia Chan. / Source: Dissertation Abstracts International, Volume: 70-06, Section: A, page: 1840. / Thesis (doctoral)--Chinese University of Hong Kong, 2008. / Includes bibliographical references (p. 214-230). / 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, [200-] 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. / Abstracts in Chinese and English. / School code: 1307. / Li Yafei.

胡務. / 論文(博士)--香港中文大學, 2000. / 參考文獻 (p. 258-262) / 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. / Hu Wu. / Lun wen (bo shi)--Xianggang Zhong wen da xue, 2000. / Can kao wen xian (p. 258-262) / Zhong Ying wen zhai yao.

黎明釗. / 複本為複印本. / 論文(歷史學部碩士)--香港中文大學硏究院, 1985. / 參考文獻: leaves 629-660. / Li Mingzhao. / Chapter 第一章 --- 引言 --- p.1 / Chapter 第二章 --- 大學生對晚漢政治之反響 --- p.9 / Chapter 第一節 --- 漢代太學 --- p.9 / Chapter 第二節 --- 經學傳統與東漢士風 --- p.27 / Chapter 第三節 --- 太學生對漢末政治之態度 --- p.51 / Chapter 第四節 --- 太學生思想之趨向　 --- p.84 / Chapter 第三章 --- 颍川荀氏思想之轉變 --- p.144 / Chapter 第一節 --- 荀淑 --- p.146 / Chapter 第二節 --- 荀氏八龍及其同時期人物 --- p.162 / Chapter 第三節 --- 荀爽之《易》學　 --- p.179 / Chapter 第四節 --- 荀悦之《漢記》與《申鑒》 --- p.209 / Chapter 一 --- 荀悦生平 --- p.209 / Chapter 二 --- 《漢記》與《申鑒》對重建政治及社會秩序的構想 --- p.220 / Chapter 三 --- ℗¡ 荀悦對侵蝕社會秩序的因素之討論 --- p.253 / Chapter 四 --- 《漢記》、《申鑒》總結漢末清議與下開清談 --- p.281 / Chapter 第五節 --- 荀粲與漢魏清談 --- p.356 / Chapter 第四章 --- 王粲與荊州學派之關係 --- p.512 / Chapter 第一節 --- 王粲生平與思想 --- p.512 / Chapter 第二節 --- 王粲與荊州學派 --- p.546 / Chapter 第五章 --- 結語 --- p.619 / 參考書目 --- p.629

郁德芬. / Thesis (M.A.)--香港中文大學. / Manuscript. / Includes bibliographical references (leaves 308-339). / Yu Defen. / Thesis (M.A.)--Xianggang Zhong wen da xue. / Chapter 第一章 --- 序言 --- p.1-25 / Chapter 第二章 --- 中國的需要：一八六○ ´ؤ一九二○ --- p.26-99 / Chapter （一） --- 中國的急遽變遷 / Chapter （二） --- 一八六○ ´ؤ一九二○ 年間的救國運動 / Chapter （甲） --- 「洋務運動」至辛亥革命前的救國運動 / Chapter （乙） --- 辛亥革命及其後的建國運動 / Chapter （1） --- 辛亥革命 / Chapter （2） --- 「心理建設｣救國方法 / Chapter （3） --- 「新教育｣作為實現「心理建設｣ 的途徑 / Chapter （丙） --- 總結 / Chapter 第三章 --- 基督教教育與「心理建設｣ --- p.100-243 / Chapter （一） --- 序言：基督教的教育事工 / Chapter （二） --- 基督教教育的目的 / Chapter （甲） --- 基督教辦學的宗旨 / Chapter （乙） --- 基督教學校對「收回教育權運動」及「黨化教育」的回應 / Chapter （丙） --- 基督教學校的課程 / Chapter （丁） --- 中國人如何接納基督教的教育？ / Chapter （三） --- 基督教的教育有否實現「心理建設」的果效？ / Chapter （甲） --- 「新教育」所實現的「心理建設」的 果效 / Chapter （乙） --- 基督教的教育所實現的果效 / Chapter （四） --- 總結 / Chapter 第四章 --- 基督教教育對中國重建的貢獻 --- p.244-273 / Chapter （一） --- 序言 / Chapter （二） --- 「心理建設」的限制 / Chapter （甲） --- 「心理建設」救國方法理論的不足 / Chapter （乙） --- 以「教育」為實現途徑的不足 / Chapter （三） --- 基督教教育與中國重建的關係 / Chapter 第五章 --- 討論：基督教在中國的教育經驗對今日差傳之啟示 --- p.274-306 / Chapter （一） --- 探討「建立教會」與「拓展上帝國」差傳觀念 / Chapter （二） --- 從基督教在中國的教育經驗，看「拓展上帝國」差傳的限制 / Chapter （三） --- 甚麼是今日所需要的差傳？ / 參考書目 --- p.307-339 / 附錄一至八 --- p.340-355

張曉宇. / "2006年8月" / 論文(哲學碩士)--香港中文大學, 2006. / 參考文獻(leaves 139-161). / "2006 nian 8 yue" / Abstracts in Chinese and English. / Zhang Xiaoyu. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2006. / Can kao wen xian (leaves 139-161). / Chapter 第一章： --- 緒論 --- p.2-8 / Chapter 第二章： --- 前人硏究槪述 --- p.9-22 / Chapter 第三章： --- 宋代在室女的婚姻與嫁妝 / Chapter 第一節： --- 婚姻論財 --- p.23-31 / Chapter 第二節： --- 嫁妝與聘財之意義與分別 --- p.31-40 / Chapter 第四章： --- 宋代「在室女」法律場域中的財產承分形態 / Chapter 第一節： --- 反思法律場域中在室女財產承受的一些前提 --- p.41-51 / Chapter 第二節： --- 在室女財產承分考之一：非戶絶情況下的遺囑分產 --- p.51-64 / Chapter 第三節： --- 在室女財產承分考之二 ：戶絶情況下的分產 --- p.64-78 / Chapter 第四節： --- 在室女財產承分考之三：在室女與命繼子 --- p.78-86 / Chapter 第五節： --- 在室女財產承分考之四：試釋「女合得男之半」 --- p.86-93 / Chapter 第六節： --- 法律場域中的兩點結論 --- p.93-94 / Chapter 第五章： --- 宋代「在室女」其他社會領域中的財產形態 / Chapter 第一節： --- 嫁妝財產的其他形態 --- p.95-110 / Chapter 第二節： --- 工作與家庭中的在室女財產形態 --- p.110-128 / Chapter 第三節： --- 關於在室女財產問題的兩點延伸思考 --- p.128-131 / Chapter 第六章： --- 結語 --- p.132-135 / 附錄一：南宋文集所見婚啓定書 --- p.135-138 / 參考書目： --- p.139-161

自1989 年以来，中国独立电影在国家电影体制的管控之下，已经发展二十余年。随着数字摄影、非线性编辑、互联网应用等技术的不断提升，今天的独立电影与以往相比，拍摄成本更低、制作方式更便捷、影像质量更高、传播手段多样化；但其创作力和艺术水准并没有大幅提升，反而呈现停滞，甚至下降趋势。究其原因，当然包括官方压制、国内电影市场冲击、海外影展关注度降低等多方面外界因素的影响，但中国独立电影内部环境和中国独立电影人自身所存在的问题则往往被人们忽略掉了。本研究正是通过对中国独立电影二十余年历史的梳理，力图描述其内部生态环境的变化，提出中国独立电影在原有国家电影体制之外建构了一个新的体制--"亚体制"，并分析"亚体制"对于当前独立电影创作和独立电影评论的影响。 / 国家电影体制对中国独立电影的管控由来已久，尤其表现在对其传播、发行、放映的控制上。在此情况下，"前DV 时代（1989-2000 年）的独立电影人经历了从体制中逃离、与体制合作、回归体制的路线。而同时，一些民间电影放映社团逐渐搭建起了自己的独立电影放映管道，并培养了一批帮助独立作者进行影片推广的"中间人"。在"后DV 时代"（2000 至今），各地放映社团发展壮大，开始举办独立电影节，"中间人"也由此获得了更多的权力和威信，变为具有较强话语权的“关键人。就这样，以民间放映社团为单位，独立电影节为支柱，"关键人"为核心，独立电影基金、学校、资料馆、公司为分支的独立电影"亚体制"框架基本形成。本研究主要通过人物采访、田野考察、影像文本分析等方法，结合布迪厄（Pierre Bourdieu）"场域"的相关理论分析这一"亚体制"的结构关系、经济链条和体制化表象。 / 经过论证，本研究认为在独立电影"亚体制"的场域中，"关键人"通过积累文化资本、经济资本和社会资本的方式来获得权力，并在此基础之上建立其评价体系，形成“非主流"中的主流标准。如果这种状况得不到改善，"阶级"、"霸权"、"垄断"等问题将会愈演愈烈，独立电影界也会重蹈原有体制的覆辙，其内部会逐渐丧失"独立性"，最终导致抑制独立电影多元化发展的结果。 / Since 1989, the independent film in China, under the control of national cinema institution, has already had a history of more than 20-year development. With the continuous improvement of technology in the fields of photography, editing and internet application, today's Chinese independent film has lower producing cost, quicker production methods, higher image quality, and more diversified transmission methods. However, instead of a substantial improvement, the creativity and theartistic criteria of the films tend to stagnate and even have a tendency to decline, for which the main reasons might be government control, the impact of the domestic film market, the reduced attention of abroad film festivals and other external factors, but we cannot ignore the internal problems in the ecosystems of the independent film and the filmmaker themselves. This study, through sorting the over-20-year development history of independent films in China, strives to describe the changes of the internal ecological environment and put forward institutionalization of the independent film outside the national institution. / The national cinema institution has a long-time control over the Chinese independent film, especially over its distribution and exhibition. Under such a circumstance, the independent filmmakers in the "former DV era" (1989-2000) have shifted from the paths of fleeing from the national institution, cooperating and returning. In the meantime, some "film viewing social organizations" (we call them "film clubs") gradually have set up their own exhibition channel of films and have cultivated a group of “intermediator" who could help promote the independent film. In the "later DV era" (2000 up to the present), film clubs in various regions developed and expanded to hold some independent film festivals. Consequently, while gained more power and prestige, the "intermediator" became the "key person" who has a greater discourse power. In this way, with the film club as the unit, independent film festival the pillar, the "key person" the centre, the independent film fund, school, archive and company the branch, the frame of institution was basically formed. This study, mainly through interview, field observation, analysis of image and text and other methods, and by combining with the related "field" theory of Pierre Bourdieu, analyzes the structural relation, economic chain and the representation of institutionalization in the independent film. / Through the demonstration, the study concludes that, in the field of independent film, if the situation ("the key person" gains power through accumulating cultural capital, economical capital and social capital, and on this base establishes a review system to form a mainstream standard among the "non mainstream") cannot be improved, the problems, like "social classes", "hegemony" and "monopoly" will become more and more serious. As a result, the Chinese independent film will follow the same road of national cinema institution, and the films will gradually lose its "independence", which eventually would restrain the diversified development of the film. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 李铁成. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 242-265). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Li Tiecheng. / 摘要 --- p.i / Abstract of thesis entitled: --- p.iii / 致谢 --- p.v / 目录 --- p.vii / 绪论 --- p.1 / 中国独立电影评论回顾 --- p.2 / 体制与独立电影 --- p.16 / 亚体制 --- p.26 / Chapter 第一章 --- “体制"vs.“独立" / 独立剧情片──被迫逃离体制 --- p.32 / 独立纪录片──与体制的合作 --- p.40 / 影视体制市场化 --- p.52 / Chapter 第二章 --- “前DV时代"独立电影的去向 --- p.60 / 香港──最早的“中间人" --- p.61 / 贾樟柯的香港经历 --- p.69 / 民间放映社团学习期（1996-2000） --- p.77 / 本土中间人的身份及成长 --- p.87 / Chapter 第三章 --- 亚体制独立影展的创办 --- p.94 / “后DV时代"初期──爆发后的困惑 --- p.94 / 影展试探期（2000-2002） --- p.101 / 影展创办期（2003-2007） --- p.115 / 云之南人类学影像展 --- p.116 / 中国独立纪录片交流周 --- p.122 / 中国独立影像年度展 --- p.127 / Chapter 第四章 --- 关键人与独立电影的生态链条 --- p.136 / “关键人"和“场域" --- p.137 / “资本生态链条" --- p.143 / “生态链条"的经济命脉 --- p.145 / 放映联盟 --- p.157 / 独立电影学校 --- p.160 / Chapter 第五章 --- “亚体制"vs.“独立" --- p.164 / “独立性"的选择 --- p.165 / 2011年CIFF“萨满·动物宣言" --- p.185 / 话语权不断失衡 --- p.187 / 独立作者受到的影响 --- p.193 / Chapter 第六章 --- 个案分析 --- p.196 / 创作路程原初与现状 --- p.199 / 亚体制的主流美学 --- p.204 / 自媚与猎奇 --- p.214 / 结论 --- p.219 / Chapter 附文一： --- 贾樟柯娄烨王小帅等联名上书电影局（全文） --- p.227 / Chapter 附文二： --- “萨满 动物"（南京宣言） --- p.229 / Chapter 附表一： --- 1990-2011年 柏林电影节展映之中国大陆影片 --- p.232 / Chapter 附图一： --- 中国独立电影生态图 --- p.235 / Chapter 附图二： --- 2010年 国际青年艺术电影高峰论坛 宣传手册封面 --- p.236 / Chapter 附图三： --- 2010年 国际青年艺术电影高峰论坛 第1页 --- p.237 / Chapter 附图四： --- 2010年 国际青年艺术电影高峰论坛 第2页 --- p.238 / 采访记录： --- p.239 / 英文文献： --- p.242 / 中文文献： --- p.246 / 网络文献： --- p.251 / 电影（本文中涉及到的）： --- p.259

In this study, we explore the reason why Ming people did not use sea transportation to solve the problem of supplying Beijing from the perspectives of political history and intellectual history. Chapter 2 and chapter 3 reconstruct the decision-making processes in sea transportation. Chapter 4 analyses state and local political factors which influenced the result of decision-making. Chapter 6 discusses the spread and evolution of sea transportation knowledge in the intellectual sphere. (Abstract shortened by UMI.) / Sea transportation in this study refers to a specific form of maritime activity---grain transportation by sea. Sea transportation in the Ming dynasty (1368-1644) was conducted in the years before the Grand Canal became the major route of grain transportation. Although retrospectively it was only a transitional means of grain transportation in the dynasty, it was often proposed to be an alternative to canal transportation when the Grand Canal was malfunctioning. Because of what was involved in the grain supply of the imperial capital, sea transportation never ceased to be an issue in the political history of the Ming. / 樊鏵. / 呈交日期: 2006年9月. / 論文(哲學博士)--香港中文大學, 2007. / 參考文獻(p. 339-359). / Cheng jiao ri qi: 2006 nian 9 yue. / Adviser: Hung-lam Chu. / Source: Dissertation Abstracts International, Volume: 68-08, Section: A, page: 3545. / 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, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / School code: 1307. / Lun wen (zhe xue bo shi)--Xianggang Zhong wen da xue, 2007. / Can kao wen xian (p. 339-359). / Fan Hua.

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.