The Taiwanese legend of Wu Feng who supposedly died in the mid-18th century has passed down since the late Qing dynasty. Wu Feng was considered a righteous martyr-like figure who ultimately sacrificed himself in order to dissuade the Ali Mountain aborigines from their tradition of headhunting. This tale has evolved through different periods in Taiwanese history. The legend starting in the late Qing dynasty through Japanese Colonization, the early R.O.C. in Taiwan, and modern day Taiwan has been manipulated in a number of different ways and has been included as an example for moral education in Taiwan school textbooks until 1987. It seems that these changes or manipulations of the legend are indicative of broader changes occurring in Taiwanese society with a major transformation in race relations manifested in 1988. I will attempt to gain insight into the evolving school textbook version of the Wu Feng myth by studying its representation from the early 1950’s until the final version in 1987.

This thesis examines the transformation of “homeland” and “otherness” as well as the relationship between each other in The Lost Daughter of Happiness （扶桑 Fusang). I begin by exploring how the migration of Chinese to the United States is depicted as an endless trajectory in the story through a historical engagement and a dialogue between two generations. From there, I plan to point out that the story complicates the meaning of diaspora as it can not only represent a spatial dislocation, but also a temporal dislocation. Thus, I argue that it destabilizes the conventional ideology which refers “homeland” to a singular location. Contrary to “settle land”, the earlier conceptualization of “homeland” is translated by some scholars into a felicitous space of living for migrants. Reading The Lost Daughter of Happiness, we can find new dimensions and transformations of home. The old conceptualization of “homeland” is reversed not as a singular location, but rather as a process of (be-)coming a felicitous space of living for diasporic subjects: it is not a fixed location anymore. Next, I explore how the out-of-border movement breeds a process of foreignization According to Kristeva, diasporans who bear foreignness must learn how to “live with the others, to live as others.”[1] I will analyze how Yan Geling invokes the portrayal of a Chinese prostitute as representative of “other” in order to deliver the philosophy of survival of diasporic Chinese females. I argue that it is the marginality of prostitute in a society-as an outsider from the mainstream culture, that builds up Fusang’s transgressive ability to survive. Being a cultural outsider, or “live as others”, according to Kristeva, is “a foreigner’s shield” for one’s cultural identity. As an outsider, Fusang is able to cross over any given borders, simultaneously being inside and outside of the culture. Thus, the story denies any inherited modes of diasporic Chinese prostitutes for the articulation of their identities, which challenges the pure culturalism and nationalism. Last, the presence of outsider in this story becomes a tool for Yan Geling to deliberately illustrate the cultural difference through her protagonists. I argue that Yan Geling has a straightforward recognition of “otherness” and an explicit awareness of “foreignness” in this story, so she uses some Orientalist gestures to demonstrate the cultural difference. I examine an example about the technology of human disposal mentioned in the plot and analyze how it is used to highlight the cultural difference of diasporic subjects. My goal is to seek a better understanding of the construction of home identity in The Lost Daughter of Happiness by examining the recognition and representation of culture particularities and difference within the story. Also, I attempt to provide a new interpretation of Fusang by analyzing her identity not only as a prostitute but also as a diasporic Chinese.

Due to the considerable impact of Orientalism in the 1990s, Chinese tropes began to be widely deployed in global luxury fashion brand collections. In the late twentieth century, following the success of ‘China style’ effects, the use of Chinese tropes was a dominant trend in emerging luxury Chinese branding practices. The deployment of Chinese tropes as representations of nationality in brand design has generated vigorous debate about the effectiveness of cultural translation. Edward Said (1994) has termed such an ideological ‘East’ as ‘Orientalism’ and claims that the Orient is ‘an integral part of European material civilisation and culture’ (Said, 1994, p.2). This phenomenon of the Chinese trope design continues to leave a visible mark in brand communications in the twenty-­‐first century. This research investigates the ways in which emerging luxury Chinese lifestyle fashion brands make use of Chinese tropes, symbols, and metaphors in branding practices within the context of the cultural, social, political, and economic changes in China from 1994 to 2014. This study attempts to construct visual taxonomies to examine the cultural expression of Chinese tropes in the material culture of China, generating a visual archive of Chinese identity interpretation. The study also draws upon multiple case studies of emerging luxury Chinese lifestyle fashion brands to investigate the ramifications and the perceived limitations of the practice of Chinese trope deployment and their relationship to a shift in Chinese identity caused by changing lifestyles. The thesis also challenges the notion of authenticity of ‘Chinese brand’ and ‘Made in China’ and highlights the need to redefine the assessment criteria of ‘country of origin’ for global luxury branding practices in the future.

關於《說文》古文與籀文的關係，以學者王國維（1877-1927）的說法影響最 大，王氏於其研究中數次提到「秦用籀文，六國用古文」的論點，即認為古文與 籀文為兩種不同的文字體系，兩者無甚關係。近代學者何琳儀（1943-2007）則持 不同的見解，何氏嘗試以古、籀文相同的文字為例，嘗試證明兩者並不能全然劃 分，何氏更指出，籀文可能是古文的源頭，於戰國時期，古、籀文才劃分成兩個 體系。 《說文》古、籀文的關係，仍未有具體清晰的結論。由此，本論文以《說文》 古文與籀文為研究核心，運用比對與統計的方法，嘗試分析及釐清兩者之間的關 係。本論文所採用的「字符、部件比對法」，先將古、籀文分別拆分成構意最小 的部件，並歸納出「個體字符」、「複合部件」與「基礎部件」三批材料，再將古、 籀文的資料相互比較分析，嘗試從最仔細的部件著手，分析古、籀文之間的異同 與關係。除古、籀文的直接比對外，本論文會利用依從「字符、部件比對法」所 分拆出的古、籀文材料，與三批不同的文字材料比對，三批材料分別為西周金文、 戰國文字，以及《說文》小篆，嘗試以不同時代的文字為佐證，並統計當中的數 據，以進一步展示《說文》古、籀文的異同之處，並探討兩者與西周金文、戰國 文字，以及《說文》小篆的關係。

大量的史實證明，香港五、六○年代銳意介紹西方現代主義的文藝雜誌與 副刊跨越了不同的藝術媒介，為香港現代文學奠下了重要的基礎；而這個基礎 有兩個重要的特質：一它是一個連續的累積過程，二它具有跨越媒介的特色。 由《文藝新潮》（1956－1959）以降，到《新思潮》(1959)、《好望角》(1963) 等提倡現代文藝的雜誌，它們所累積的現代主義文化根基及對不同藝術媒介的 包容吸收，到了六○年代的《中國學生周報》仍然秉承這份精神。本文把西方傳入的現代主義思潮看成是一個在香港連續發展的整體。 現代主義雖然是西方思潮，但在香港的特殊背景之中，反而把其消化成香港獨特的文學風格，令香港文學更加本土化；而對於六○年代在香港成長的作者，歐洲電影更是一個吸收現代主義思潮的重要途徑。本文以現代主義及歐洲電影兩條線索在香港交匯的事實構成一個視角，一方面考察香港本土意識的形成，另一方面探討電影與文學在美學及文化上的互動關係。 在這個視角下，六○年代《中國學生周報‧電影版》所討論的歐洲電影成為本文重要的文獻，而本文會抽取當中較有代表性的電影作品，並以之為章節， 看其對香港文學的影響。討論的作品以長篇作品《剪紙》（1977）及《我城》 （1979）為主，旁及《養龍人師門》（2002）、《象是笨蛋》（1969）以至也斯及西西的影評，以及他們回應某些歐洲電影的文學作品。與過往的評論不同， 本文把這兩部作品放在歐洲電影與現代主義文學交錯的脈絡中，重新發掘其背後的影響來源，討論的電影包括阿倫‧雷奈（Alain Resnais，1922－）的《去 年在馬倫巴》(Last Year at Marienbad， 1961)、路易士‧布紐爾（Luis Buñuel， 1900－1983）的《模糊的情慾對象》(That Obscure Object of Desire，1977)、 安東尼奧尼（Michelangelo Antonioni）的《春光乍洩》（Blow-Up，1966)、路 易‧馬盧（Louis Malle，1932－1995）的《莎西遊巴黎》（Zazie dans le m�tro， 1960）等，並旁及這些導演其他電影作品及當時歐洲的電影文化，以至它們背後的文學原著，包括法國情色文學作家皮亞‧盧維（Pierre Louÿs，1870－1925） 的《女人與玩偶》（The Woman and The Puppet，1898）、 南美魔幻寫實作家科塔薩爾（Julio Cotazar，1914－1984）的短編作品、法國新小說作家的電影劇本等，並以也斯和西西早期作品為參照，察看當中受電影文化影響的轉變過程。

Middleman minority theory explains why certain minorities in America have made impressive socioeconomic achievements. It is found that their occupational patterns play an important role in their socioeconomic success. Middleman minorities usually concentrate in certain occupations and dominate these occupations. The term "middleman" indicates that such ethnic minorities are functioning as middleman between lower and upper class, customer and producer in the host society. The three preconditions through which middleman minorities get into these occupations are cultural, contextual and situational variables. The cultural variables concern mainly the homeland of the minorities, the value system of their native culture, and the economic background of the minorities. The second precondition consists of situational variables such as immigrants' intention to return to their homeland. This intention of being "sojourners" prevents assimilation of the ethnic minorities into the host culture. The hostile attitudes and strong structural discrimination are the contextual variables of the third precondition. Structural discrimination closes many job opportunities of the minorities.

Thesis (M.S.)--University of Wisconsin--Madison, 1968. / Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

本論文研究一九二五至一九四九年間的香港新詩，即從目前所見最早的香港 新詩資料開始，直至一九四九年為止。研究從翻查和整理大量早期報刊、文學雜 誌等第一手資料開始，配合同時期中國新詩的發展，探討二○年代即香港新詩的 創始階段，至一九四九年的發展特色，思考香港新詩在中國現代文學史上的意義，並展開相關討論。 論文第一章先概述香港與內地新詩的連繫，再釐定本論文的研究範圍和香港新詩的定義，其中有關香港新詩的定義是參考上海現代文學史研究學者區分上海 作家和上海文學為兩個不同概念的做法，把「香港詩人」和「香港新詩」分屬不同範疇，並特別以「香港新詩」為討論重點。除了地域層面上的意義，本論文亦嘗試析論香港新詩相對於中國新詩的精神面貌和詩學取向。 第二至第九章基本上以時間發展為序，探討香港新詩不同時期的發展特色， 包括二○年代引介五四新詩及不同的詩形式，三○年代的都市詩、對上海《現代》 雜誌和現代派詩歌的學習和批評、寫實主義詩論的探討及創作，抗戰時期的論爭及不同取向、戰後的左翼詩歌等等，關注點除了特定時期的重要或主流風尚，也 仔細閱讀難以歸類的詩作，思考時代風尚與主流以外不同風格之間的關係。 早期香港新詩的發展除了本身特色，亦與大範圍內整個中國新詩的發展歷程密切相關，研究和討論早期香港新詩，除了「本土」的意義，也可以補充「中國現代文學史」論述的不足。相比一九五○年代以後的時期，早期香港新詩歷史的特色、亦即它複雜的地方，正在於它與中國新詩的關係。一九五○年後，新詩在 中國內地、台灣和香港各自發展，各有不同的面貌和取向，相對於三四○年代中 國新詩和當代中國和台灣新詩的研究，有關早期香港新詩的研究不算多，本論文 嘗試全面地回顧一個階段的香港新詩，提出討論的方向，期望有助進一步的研究。

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