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The accidental, or maybe not so accidental, equation of the Long $ rm lbrack TE rbrack$ with the dragon is a minor, yet in many ways symbolic, incident in Western European reinvention of China. This reinvention can be found in a wide variety of discourses, the authors of which range from Enlightenment philosophes to nineteenth-century political economists, to the recent Derrida, and from the even earlier Sir John Mandeville, Oliver Goldsmith, to Coleridge, to W. S. Landor and De Quincey. It covers all aspects of Chinese culture, including philosophy, religion, government, language, poetry, and folklore. This dissertation argues that the divergent, even contradictory, accounts of China as a culture Other, on the one hand reflect divergent or conflicting domestic agenda and, on the other, converge as products of an inherent epistemological ethnocentrism. As such, they can offer no substantial alternatives to "Orientalism," which is an ideology that functions in a cross-cultural context. However, Edward Said's delineation of Orientalism has the weakness of vacillating between the incompatible notions of "truth" and of discourse. And Dennis Porter's corrective, based on the "generic heterogeneity" within the West's cultural tradition, has a theoretical problem of traversing contextual boundaries. To contribute to the on-going debate, this dissertation proposes a distinction between internal and external perspectives, on the criteria of material, objective, and standard, in the representation of a cultural identity. With each perspective conscious of its own specific values, a cross-cultural textual dialogue may be pursued.

This manuscript examines the cultural history of rural North China, as seen through the production, circulation, content and interpretation of graphic wood-block prints, known as nianhua. The spatial focus is on a fixed set of print producing villages on the North China plain. The temporal focus encompasses the late 1800s through the early 1960s. In examining how nianhua were produced and distributed in late 19th and early 20th century North China, I show that the village print industry was prescriptive in organization. This organization was a basic factor in delimiting form and iconography in print, since it imposed limits on the free appropriation of texts, and directed the way in which they were read. Having accounted for these factors, I consider how perceptions of the social, physical and ethical world were put into print, and how print in turn configured perceptions of the world. Since print is thus socially derived, print and its interpretation are considered in terms of responses to social change, and the capacity of print to effect change. The environment in which village print is structured is variously considered to be formed by the following: the physical space of the home; late-imperial narrative structures (and their residual perpetuation beyond the decline of the political regime); narrative structures produced through technological change and expanded translocal experience; and state-centred reform beginning in the Republican era, and reaching its conclusion under communism. I conclude that narratives which began as superscriptive and authoritative structures, were appropriated and re-structured by the specific conditions of the production, distribution, and display of print in the village.

This manuscript examines the cultural history of rural North China, as seen through the production, circulation, content and interpretation of graphic wood-block prints, known as nianhua. The spatial focus is on a fixed set of print producing villages on the North China plain. The temporal focus encompasses the late 1800s through the early 1960s. In examining how nianhua were produced and distributed in late 19th and early 20th century North China, I show that the village print industry was prescriptive in organization. This organization was a basic factor in delimiting form and iconography in print, since it imposed limits on the free appropriation of texts, and directed the way in which they were read. Having accounted for these factors, I consider how perceptions of the social, physical and ethical world were put into print, and how print in turn configured perceptions of the world. Since print is thus socially derived, print and its interpretation are considered in terms of responses to social change, and the capacity of print to effect change. The environment in which village print is structured is variously considered to be formed by the following: the physical space of the home; late-imperial narrative structures (and their residual perpetuation beyond the decline of the political regime); narrative structures produced through technological change and expanded translocal experience; and state-centred reform beginning in the Republican era, and reaching its conclusion under communism. I conclude that narratives which began as superscriptive and authoritative structures, were appropriated and re-structured by the specific conditions of the production, distribution, and display of print in the village. / Arts, Faculty of / History, Department of / Graduate

published_or_final_version / English / Master / Master of Philosophy

University of Macau / Faculty of Social Sciences. / Department of Communication

There is no abstract available for this thesis.

吳太平. / Thesis (M.A.)--香港中文大學硏究院歷史學部. / Includes bibliographical references (p. 505-546). / Wu Taiping. / Thesis (M.A.)--Xianggang Zhong wen da xue yan jiu yuan li shi xue bu. / 緒論 --- p.1 / Chapter 第一章 --- 初期社會主義思潮之東傳（一八七○至一八九四年） --- p.9 / Chapter 第二章 --- 中國留日知識界的社會主義思潮（一八九五至一九一○年） --- p.25 / Chapter 第三章 --- 民國初年的社會主義思潮與日本之關係（一九一一至一九一七年） --- p.79 / Chapter 第四章 --- 俄國十月革命後中國社會主義思法之勃興與日本的關係（一九一八至一九二七年） --- p.110 / Chapter 第五章 --- 社會主義，民族主義與日本（一九二八至一九三七年） --- p.277 / 結論 --- p.369 / 註釋 --- p.374 / 書目 --- p.505

published_or_final_version / Comparative Literature / Master / Master of Philosophy

This paper reviews the process of video production that was used to create the creative portion of the thesis project. During this process, I experienced creative art theory, creative methods, and new technology applications. For the production of the thesis, I used a high definition digital video camera to illustrate the conflict and fusion between the East and West on the level of cultural mythology. The thesis is comprised of five parts and seven subdivisions:PrefaceStatement of the problemReview of influenceDescription of the artworks, including seven subdivisions:Theme of the projectSelection of creative styleElements of art and cinematographyProject OverviewTransposing the concrete into the abstractExhibit understanding of the language of cinemaCreative application of emerging HDV technologyConclusion and exhibition statement. / Department of Art