Thesis (Ph. D.)--University of Wisconsin-Madison, 1981. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 292-303).

Thesis (M. Phil.)--University of Hong Kong, 1987.

Thesis (M. Phil.)--University of Hong Kong, 2009. / Includes bibliographical references (p. 503-559). Also available in print.

Thesis (Ph. D.)--University of Wisconsin-Madison, 1981. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 292-303).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1981. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 292-303).

Thesis (M.A.)--Guo li Taiwan shi fan da xue, 1984. / Cover title. Reproduced from typescript, on double leaves. Bibliography: p. 193-195.

The crisis of the Chinese nation in the early twentieth century compelled May Fourth intellectuals to search for a modern self in order to modernize and strengthen the nation. They did so by self-consciously experimenting with literary forms and genres, from which the first-person narratives arose. This thesis explores how particular formal or generic characteristics produce, problematize, or even impede the formation of a modern self modeled on the Western Enlightenment notions of the self as autonomous, coherent, and bounded. I argue that despite the two authors’ attempt to create an aspirational modern self, the selves constructed in the two texts are always fragile, split and fragmented. It not only reveals the limits of the Western Enlightenment epistemology of the self but also a more complicated processes of how the concepts of the self and subjectivity, as discursive constructs, are contested and negotiated in particular historical circumstance and social reality.

The period following the fall of the Manchu dynasty in 1911 was one of rapid economic and social change in China. It created conditions favourable for the development of the New Culture Movement which started during the Great war, and reached its climax in 1919.Two of the basic features of this movement were the introduction of ideas from the West and the reassessment of Chinese traditions from the standpoint of those ideas. The Literary Revolution was an integral part of the New Culture Movement, which, after an initial period of discussion and debate, undertook the task of building a new Chinese literature with a new humanist or revolutionary content, and with forms copied from, or inspired by. Western literature. The problems which this task of construction involved were many and varied. During the next few years the literature of many periods and countries was introduced into China, and the new writers experimented with numerous forms. Ultimately, those which accorded most closely with the needs of Chinese literature, and especially with the social conditions and demands of the Chinese revolution, which had a determining influence on it, were successfully adopted, and fused with the Chinese tradition. The writer who best succeeded in mastering these problems of selection and synthesis was Lu Hsun, who, while benefiting from the example of Western writers, especially Russian, at the same time retained a Chinese character and style, not only through the subject matter of his work, but also from his knowledge and keen appreciation of old Chinese literature.

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published_or_final_version / Chinese / Master / Master of Arts