一九四九年中華人民共和國成立，社會結構發生巨變，知識分子群體的階層身份與話語體系首當其衝受到劇烈衝擊--階層身份的重塑與話語體系的重構，需要盡快完成，以實現與社會主義意識形態的對接，為新政權服務。在這種情境下，高校歐美派自由主義知識分子群體對高校院系調整政策的集體抵制，觸發了建國以來中國共產黨對知識分子的第一場大規模思想改造運動。在這場以「洗澡」命名的改造運動中，毛澤東建構的「新」話語通过「批評與自我批評」的運動方式灌輸给被改造者，最終實現了對高校知識分子精英「舊」話語的全面替代。本文採取政治傳播學與話語研究相結合的研究視角，將這場發生於1951-1952年的中國知識分子思想改造運動嵌入時代发展的政治文化坐標，通過對中國傳統知識分子、五四知識分子話語體系的系譜梳理、展現毛澤東建構下的「新-舊」知識話語間的話語創新、重合與對抗，並通過改造運動中這套「新」話語之於知識分子群體思想与話語的改造，展示出建國初期毛治下知識分子思想改造運動中的話語傳播手段與權力運用策略。本文認為，毛澤東通過「破舊」與「立新」兩大步驟，以「階級論」為核心、聯合「人民」與「革命」兩大強勢話語，對「知識」及「知識分子」重下定義，創造出一套「新」的「紅色」知識話語體系，成為毛治下整體性的、無所不包的意識形態解釋體系。具體到知識分子改造實踐中，該話語運用「階級」的概念將知識分子與底層民眾的權力地位反轉，並通過將「階級」與中國傳統文化中的道德相關聯，激發知識分子的「原罪感」，加之群眾運動中不斷激化的「污名化」、暴力語言和對毛「先知」話語的崇拜等話語現象，致使高校知識分子群體紛紛與過去的知識話語體系決裂。然而，毛建構的「紅色」話語體系，是建立在脫離社會實際的「表達性現實」基礎上的，儘管隨著毛澤東這一話語權威核心的消失，整套話語體系也隨之崩塌，但運動對於知識分子群體話語、思想與精神的衝擊，成為當時崇尚「獨立之思考、自由之精神」的知識分子精英群體所共同面臨的話語困境，也是當前中國知識分子依然直面的問題。Abstract When the People's Republic of China (PRC) was founded in 1949, social structure had changed dramatically and the class identity of intellectual groups was the first to be affected severely. The remodeling of class identity and reconstruction of discourse system of the intellectuals needed to be addressed as quickly as possible so as to serve the new regime. And the event that the elite liberal intellectuals in colleges and universities boycotted the adjustment on faculty policies of the Chinese Communist Party (CCP) had triggered the first large-scale ideological transforming movement after the foundation of PRC. `New' discourse mode constructed by Mao Tsetung was infused into transformers' minds being transformed in this movement, and finally the `red' revolutionary knowledge discourse had totally replaced the traditional knowledge discourse of intellectuals in colleges and universities. From the research perspectives of political communication and discourse analysis, this thesis places this Ideological Transforming Movement of Chinese Intellectuals during 1951 to 1952 into a political and cultural background of the era; manifests the innovation, overlapping and confrontation between the `new' discourse constructed by Mao Tsetung and the traditional discourse of the Chinese traditional intellectuals and the contemporary intellectuals coming into being from in the May 4th Movement; and analyses the application of `new' discourse in intellectual groups in the ideological transforming movement, reveals the discourse propagation tools and power exertion strategies in the ideological transforming movement in the new China under Mao's dominion. It is considered in this thesis that Mao took the `class' as a core discourse, populism and revolutionary narration as contents, redefined `knowledge' and `intellectual', and thus created a new set of `red' knowledge discourse and ideology system. In the intellectual ideological transforming movement, this new, systematic and coverall explanation system utilized `class' to convert the power status between elite intellectuals and people at the bottom of the society, as well as linked it with morality to stimulate the intellectuals' sense of `original sin'. Meanwhile, with the upgrading `stigmatization' and language violence as well as the idolization of `prophet language' of Mao Tsetung in the mass movement after 1949, the elite intellectuals finally discarded the previous knowledge discourse and embrace the `red' current discourse. However, the discourse system constructed by Mao based on the basis of `expressive reality' which broke away from social reality, therefore, as Mao Tsetung, the authority core of the discourse system, disappeared, the overall discourse system constructed by him also collapsed. Nevertheless, the ideological reforming movement in the 1950s exposed a discourse predicament that intellectual elites who advocated `independent thinking and spirit freedom' were jointly facing, which also persists with the Chinese intellectuals nowadays.

The concept of dissident under consideration in this study reveals that political and loyal dissent, non-conformity and well-meaning criticisms of government's wrong doings, and even the quest for democracy exist in China as they do in the West. Political struggle and the leadership's eagerness to gain the support of intellectuals provided Chinese intellectuals with the opportunity to express themselves. Similarly, power struggles within the Chinese Communist Party (CCP) have also become the spawning ground for some Chinese intellectuals to become dissidents.

The purpose of this study was to explore American and Chinese college student underlying cultural assumptions, which influence their perceptions and behaviors in various domains of life. The objectives of this study were to: (a) To generate timely knowledge of Chinese and American youth's cultural images, meanings, and frame of reference. (b) To evaluate the extent and nature of psycho-cultural difference between American and Chinese population samples. (c) To increase the cross-cultural awareness of both cultural groups and offer deeper insights of perceptions and belief system of their contemporaries. (d) To examine how the economic, social and political changes affect people's images and cultural frame of reference. (e) To provide a better tool to prepare future study abroad students. The methodology employed in this research includes Associate Group Analysis (AGA), focus groups, and participant observation. The data derived from 73 returned surveys on 25 stimulus words (42 from Chinese respondents and 31 from American respondents). These were analyzed using AGA. Focus groups and participant observation were used as follow-up research methods to clarify, extend, and qualify findings on the topics explored in the analysis. The findings revealed that American self-image and their attitudes towards family, education, values, conscience and other domains of life showed strong individualistic traits with an emphasis placed on self-reliance. Compared to American students, Chinese students' cultural assumptions are related to broad cultural factors derived from Chinese traditional beliefs about self-control and group harmony. Under the influence of western culture, Chinese youth have undergone certain changes in their perceptions and practices. They are experimenting with independent thinking and more concerned with developing their interests and potentials. They readily visualize their material goals and struggle for more personal freedom. However, in spite of the strong pull of western culture and materialism, Chinese students still hold the traditional aspirations of "group harmony," "reciprocity," "mutual obligation" and "self-cultivation," reflecting the stability of community norms over time. / Graduation date: 2003

As the twentieth century ended with globalization and commercialization, popular culture begins to challenge the dominance of national culture. The Chinese intellectual community tries to defend national culture against the incoming global culture and local cultures. The conflicts between localism and nationalism, and also between globalism and nationalism, are clearly demonstrated in the Hero phenomenon, which basically concerns the unanimous disparagement on director Zhang Yimou's debut martial arts film Hero within the Chinese critics' circle. Through a discursive analysis of the phenomenon, we can see how the conflicts between modernism and postmodernism, between elitism and commercialism shape the landscape of contemporary Chinese culture. In this article, I first seek to understand how modernism evolved into nationalism in China during the last century and what role the intelligentsia played in the process of such evolvement. I further seek to understand why the intellectual community has distaste for popular culture and commercialism. Other research on this topic has linked nationalism to national culture, and localism and globalism to popular culture.

This thesis explores some issues related to directed change in Chinese literature and art from 1930 to 1955. The focus is on the performing arts. The main issues of concern are changes in the social organisation of literary and artistic activity, and changes in the conscious model of literature and art held by those leading these social changes. Fieldwork was done in China during the period 1974 to 1977. Since the main concern of the thesis is with an earlier period, extensive library research was done in China, the United States, and Canada. The formative period of the modern transformation of Chinese literature and art was examined by research into the changes of the Kiangsi Soviet, Yenan, and National Consolidation periods. Theoretical concepts derived from the works of Clifford Geertz on ideology, Eric Wolf on peasant political movements, Antonio Gramsci on intellectuals and hegemony, and Raymond Williams on the arts in society were synthesised to form an approach which could illuminate these problems. In this work literature and art were consistently analysed as modes of social activity rather than as purely aesthetic phenomena. The development within leading circles in China of an approach to literature and art based upon recognition of its social and political aspects and a concern with effecting change in these areas is examined, beginning with the rudimentary formulation of ideas:-on this subject in the early 1930's. The effort to transform literature and art by way of carrying out planned and organised alterations in the social practice of literary and artistic activities on the part of both professionals and amateurs is examined in detail. These efforts were found to be theoretically provocative and to have shown some signs of success, particularly in the middle and late 1940's. A partial revision of these policies is noted in the early 1950's, and some possible reasons for that are suggested. / Arts, Faculty of / Sociology, Department of / Graduate

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The concern of Chinese intellectuals with the "idea" of modern science from the West in the transition generation from 1895 to 1923 was fundamentally a concern about "national survival" and modernity. The value and meaning that accrued to science as "method" -- as a "thinking technique" -- and to the evolutionary ideas of Charles Darwin and Herbert Spencer as the "science of choice" among Chinese intellectuals of this period, was due to belief or disbelief in the power of these ideas to describe, explain, or solve the problematic of "modernity" in a Chinese context.

This thesis analyses a change in the ways people composed and engaged with texts during the Warring States (481-221 BCE) period in Early China. It examines changes in the textual sphere as a result of an emergent manuscript culture, that is to say, the increased spread and reliance on manuscript texts for the communication of ideas. This shift moved away from the predominantly oral, commemorative, and ritual use of text in earlier periods, and provided key elements that would function in the text based discourse of the early empires. It influenced the way text across a variety of genres of writing was used and understood, structured and composed, and how it was collected and combined to form new arguments. I focus on texts from the Documents ?, and Odes ? genres, in addition to philosophical texts dealing with the past, and collections of sayings and arguments dealing with questions from cosmological to ethical issues. These materials form the mainstay of Warring States intellectual discourse, and exemplify the following textual developments: 1) the rise of collecting materials into compilations; 2) the emergence of genre classification; 3) the development of new authorship functions, 3) an increase in textual structuring and the integration of lore about the past, 4) the development of commentarial traditions, 5) the emergence of an explicit, self-reflexive understanding of writing and transmission, 6) advances in material structuring of manuscript-texts that interrelate form and content. The analysis is based primarily on excavated materials not edited during the early empires, and engages with comparative and interdisciplinary theory. It argues against models solely based on transmitted sources, which explained Warring States developments as a response to socio-political contexts. Instead, it posits developments in the textual culture itself as a necessary condition to explain the changes in intellectual discourse of the period.

The late Ming artist and poet Xu Wei (1521-1593) is most well known for his self-representation as a cultured "mountain hermit" and "eccentric", pursuing the literary ideals of originality, simple language and direct emotional expression. His wild ink-brush paintings, mental instability, numerous suicide attempts and the murder of his third wife all helped to consolidate Xu's image as China's Van Gogh. However, later hagiographies of Xu as the "patron saint of eccentrics" have led to a one dimensional view of Xu. This thesis presents Xu as someone who explored and wrestled with different and sometimes contradictory self-representations against a thorny political and social backdrop. It moves away from Xu's "eccentric" persona, instead examining his writings within the political context of the 16th century. Against the backdrop of Mongol and pirate invasions, Xu's close friend Shen Lian was executed by the Chief Grand Secretary Yan Song and his clique. Yet only a month after his friend's execution, Xu switched sides and worked as a ghost-writer for Hu Zongxian, a protégé of Yan Song. Yet with the fall of Yan Song in 1562 and the arrest of Hu Zongxian, this became an embarrassment for Xu. Fearing that he would be implicated with the Yan Song clique, Xu distanced himself from his flattering ghost-written poems. Overwhelmed by feelings of guilt, he explored the complexities of loyalty and identity in his poetry. Xu's career is representative of many Ming scholars who were frustrated by examination failure and the inability to find an official post. His literary ideals contradicted with lived reality. Xu is unique among Ming literati in voicing these contradictions.

This thesis examines Ratnakarasanti's (ca. 970-1045 C.E.) explication of Prajnaparamita in his doxographical works and his Saratama. Based on extant Sanskrit and Tibetan primary sources, it argues that Ratnakarasanti's main teacher was Dharmakirtisri (late 10th C.E.) and that Ratnakarasanti's Saratama sought to replace his teacher's Yogacara-Madhyamika framework with a causal explanation of Prajnaparamita through redefining the term Prajnaparamita as the path to awakening, rather than its goal. By unpacking that causal explanation in light of his broader system, the thesis demonstrates the way that Ratnakarasanti's own version of Nirakaravadin-Yogacara-Madhyamika refutes cognitive images (akara) as unreal ultimately, but claims they are still perceived by buddhas out of compassion. This conclusion debunks the long-standing theory that Ratnakarasanti was an Indian proponent of the controversial Tibetan gZhan-stong despite later gZhan-stong propon-ents' attempts to claim him as their own. There are two parts to the study. The first part introduces Ratnakarasanti's life, philosophy and doxography based upon evidence from a Tibetan colophon to his Madhyamika commentary and the Tibetan hagiography of his student Adhisa (a.k.a. Atisa) and upon a comparative analysis of his doxographical works that are prerequisites for reading his Saratama. The second part consists of an annotated translation of the Saratama's introductory section, contrasted with the prior standard interpretation by Haribhadra's (9th century C.E.). In the two appendices are included a Tibetan critical edition and a separate hybrid Sanskrit and Tibetan critical edition of the Saratama's first parivarta based on the extant 11th and 13th century incomplete MSS and on the Tibetan translations in the sDe dge, Peking and sNarthang editions. The hybrid edition also includes my provisional critical edition of the root text - i.e. the first parivarta of the Aryasta - sahasrikaprajnaparamitasutra - and my own translation of two small sample sections of the Saratama, which are extant only in Tibetan, back into Sanskrit.