Li Kaixian (1502-1568), a scholar-official living in the mid-Ming dynasty, was renowned for his efforts in collecting books, both rare and common, and also for his talents in writing the literary genre called sanqu, a subcategory of the genre qu. While qu consists of drama and sanqu, nonetheless the attention devoted to the latter has been much weaker than the former within the academic circle. In the case of Li Kaixian, his dramas such as The Tale of A Treasured Sword have been reviewed much more frequently than his sanqu compilations. To fill up this gap, this thesis attempts to study in depth Li Kaixian?s sanqu. It is organized into 6 major chapters. The first chapter comes with an introduction reviewing the status of Ming sanqu as a whole and its social-ideological background, including a literature review on the subject. To facilitate a better understanding of Li?s rationales in writing sanqu, the second chapter deals with his life and the themes of his sanqu. The third chapter is an analysis of his thoughts towards the writing of sanqu, The fourth and fifth chapters mainly provide a critical review on Li?s sanqu, both thematically and aesthetically. The sixth chapter, a tentative evaluation of the status of Li?s sanqu, serves as the conclusion. / published_or_final_version / Chinese / Master / Master of Philosophy

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This dissertation discusses the Edo-period Japanese translation, adaptation, and theoretical analysis of Chinese popular fiction and drama between 1680 and 1815. I focus on the ways in which Japanese encounters with fiction and drama written in the unfamiliar “vernacular” engendered reinterpretations of Japan’s cultural relationship to China. Whereas this relationship had previously centered largely on the Confucian classics and their ongoing interpretation in Japan, I argue that the introduction of vernacular texts enabled new modes of visualizing China’s position as a locus of textual and cultural authority. I connect the increasingly formalized study of vernacular texts to a discourse on temporality and linguistic change, and demonstrate the degree to which engagement with late imperial Chinese fiction and drama led to the reformulation of definitions of culture, literature, and language. By dramatically widening the range of materials and texts that could be used to construct a vision of China, the introduction of vernacular fiction and drama encouraged Edo-period philologists and fiction connoisseurs to reconceptualize both the criteria for judging textual competence, and the position of their own writing with respect to China. Rather than focusing on eighteenth-century efforts to efface traces of China’s cultural imprint on Japan, I seek to complicate accounts of the development of Japanese literature by exploring the oeuvres of philosophers, philologists, and fiction writers who attempted to theorize areas of convergence between Chinese and Japanese literary production. The study is divided into four chapters. Chapter One introduces the major themes of the dissertation as a whole and analyzes the rhetoric surrounding both the introduction of Chinese vernacular texts and subsequent attempts at reifying their study as an independent academic discipline. Chapter Two develops these themes further through an analysis of three eighteenth-century explorations of aesthetics, genre, and literary translation. In Chapters Three and Four, I examine a group of anomalous “reverse translations” of Japanese fiction and drama into the language and structure of vernacular Chinese fiction—using these largely overlooked texts to map out networks of literary contact and discuss the hermeneutics underlying eighteenth-century Japanese engagement with vernacular Chinese fiction and drama. / East Asian Languages and Civilizations

published_or_final_version / Journalism and Media Studies Centre / Master / Master of Journalism

published_or_final_version / Chinese / Master / Master of Philosophy

published_or_final_version / Chinese / Master / Master of Philosophy

published_or_final_version / Chinese / Doctoral / Doctor of Philosophy

This project is a translation of Liu Qingbang's novella 'Shénmù' from Chinese into English. It is also accompanied by an analysis of the text and Li Yang's movie 'Blind Shaft', which was based on the novella.

Socialist realist fiction is a form that combines images and ideas based on realism and incorporates certain features of romanticism. The concept that human society develops from darkness to light, a key element in historical materialism, forms the foundation of socialist realism. It is a genre whose characters belong to a "great family" of socialist revolutionaries rather than to the traditional biological family of other literary forms. By depersonalizing and objectifying characters, socialist realist fiction highlights the maturation of the hero from spontaneity to consciousness. Socialist realist fiction is akin to Scripture because in its use as a parable to promote the "sacred spirit," an ideology that incorporates both Marxism and Leninism. It condenses an author's view on historical development into the behaviors and ideas of a single hero.

This thesis examines the institutionalization and practice of literary historiography in Republican China through the writings of Zheng Zhenduo (1898-1956). On the basis of a careful reading of Zheng's three book-length histories of Chinese and world literature, written from the early 1920s to late 1930s, the thesis questions the characterization of Republican literary historical scholarship as simply iconoclastic (vis-a-vis Chinese tradition) or derivative (vis-a-vis the West). It shows that Zheng's literary historiography was actually comprised of multiple and sometimes contradictory approaches to the past. These approaches were shaped, on the one hand, by the demands of a professional discipline that was constructed on the ideal of a universal literature but also faced with the task of integrating the Chinese people into history; and, on the other, by a confrontation and creative negotiation with earlier readings and valuations of Chinese literature.