The opportunities created by the end of the Mao Era and legislature promoting the rights of African Americans and women in the mid-twentieth century allowed women of both cultures to break further into the literary scene and negotiate their own sense of agency through their work. Although Western feminism also grew rapidly throughout this period, its ethnocentric centering of gender prevented it from being a reliable lens with which to analyze the work of Chinese and African American women who experienced issues of race, class, and gender simultaneously. This caused Western feminists to evaluate the work of Chinese and African American women from a perspective of privilege and misrepresented the cultural, social, and political influences that impacted their agency. Thus, this paper seeks to evaluate the effectiveness of the intersectional paradigm as a comparative lens with which to analyze the construction of female characters in mid-twentieth century Chinese and African American fiction in place of a Western feminist lens. To this effect, it will apply the intersectional lens to Toni Morrison's Sula (1973) and Wang Anyi's Song of Everlasting Sorrow (2008) specifically, to determine how this research paradigm can be used to reveal the identities the female protagonists construct and their opportunities for agency. This paper hopes to increase discourse on the applications of intersectionality in literature as a tool for better understanding the literature of women of color.

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Often hailed as “China’s Stephen King,” Chinese psychological suspense author Cai Jun occupies a position at the peak of the new wave of young authors flooding China’s popular literature market. In order to understand Cai’s popularity as an author, the impact his works and writing have on this market, and how he creates his particular brand of suspense fiction, it is both necessary to put his works into a larger context and analyze his writing. This thesis provides a brief overview of the recent literary scene in China, from the rise of internet literature and the comeback of genre fiction to the advent of mooks, the evolution of young adult literature, and the development of the author marketing industry, and also addresses the “pure vs. popular” controversy in China’s literary world, identifies how Cai fits into these trends, and determines who Cai is as a writer in terms of genre, story content, and literary reception through the translation and analysis of Cai’s short story “Kidnapped.”

Danmei, a genre of Chinese online fiction very popular among young Chinese females, refers to narratives of male-on-male romance. Studies of danmei, however, have been limited to the fields of Chinese language and literary studies. The genesis, development, and impact of danmei have not been systematically studied in a broader context. This thesis gives a detailed account of the emergence of Chinese danmei online fiction and its development by introducing studies of Japanese Boys Love culture, the source of danmei, and Western Slash Fiction. I also provide a case study of Beijing Gushi (Beijing Story), one of most influential Chinese danmei narratives and some other online danmei narratives in order to discuss Chinese young Chinese females’ thinking about gender equality, women’s rights, and the family. The rise and popularity of danmei fiction show that, while young Chinese females have already noticed the gender inequality in Chinese society and are eager for change, the patriarchal ideology still controls them. At the same time, danmei offers women a fantasy space to assert their subjectivity.

This dissertation explores how the language of regional songs fashioned the popular appeal of the city of Suzhou as the economic and cultural center of early modern China. Located in the Lower Yangzi Delta at the crossroads of domestic and global commerce, Suzhou became a hub for the circulation of tantalizing words heard and read across urban spaces, including the publishing industry, entertainment quarters, and performance venues at the turn of the seventeenth century. Suzhou-based polymathic editor Feng Menglong 馮夢龍 (1574-1646) navigated this marketplace to set the trends. His most experimental publication was Mountain Songs (Shan'ge 山歌, ca. 1610s). By pushing the boundaries of writing norms, he molded local Wu speech (Wuyu 吳語, or Wu dialect)—the everyday language prevalently used by contemporaneous denizens in rural and urban communities of the greater Suzhou area—into the print medium for transmitting hundreds of racy regional songs in vogue. Untangling the convoluted reception history of Mountain Songs, this dissertation revises received understandings of its sensational language. To Qing Confucian moralists in the seventeenth and eighteenth centuries, the book's invitation to erotic indulgence indicated local decadence and unruliness, a threat to textual authority that led to its own oblivion. By contrast, enlightenment-minded intellectuals in the early twentieth century glorified the colorful use of the local tongue in the rediscovered songbook as an index of transcendental expressivity. They read the spontaneous voices of the repressed people into the newly defined "folksongs" in line with a Romantic teleology of oral supremacy. To rectify the dualism of textual imitation and oral authenticity, this dissertation offers a revisionist account of the fabric and affect of Mountain Songs on the local scene. Rather than taking local Wu language as a given, it places the language's constitutive role in conveying the sensorium of Suzhou at the center of analysis. Its argument is that entrepreneurial editor Feng Menglong mobilized the regional language of Wu as the cornerstone of a new fashion system in the circuits of corporeal pleasures across media, which related print to performance and amusement spaces in and out of the city. Feng did this by a creative deployment of a spectrum of linguistic registers to mediate between local cultural resources and established literary models. Mountain Songs showcased artful verbal play that translated the bodily sensations of everyday labor and desires for consumer goods into intermedial fun and games. Feng thus reinvented the song genre by rendering intelligible the lifeworld of local men and women and their embodied experiences in a sensuously playful manner that renegotiated scholarly authority. His reinvention contributed to the allure of Suzhou as a fashionable brand that appealed to middlebrow audiences and consumers along the trade routes on land and waterways leading to the rest of the empire and beyond. As such, this dissertation brings the ephemera of Wu language back to the study of literature, advancing the localist turn historiography in dialogue with book history, media studies, urban history, and fashion history/material culture.

published_or_final_version / Literary and Cultural Studies / Master / Master of Arts

「古文」作爲傳統中國士人日常表達和學術著作的主要文體，在思想世界與知識世界中具有重要的地位。然而，除了在文學史研究中討論「知識」對「文章」的重要性，我們似乎很少反過來設問，「文章」對「知識」有何作用？作爲「學問」載體的古文，是否真正介入了這些學術性知識的傳承與變革？基於這一思路，本文希望將對「古文」的研究，置於一更大的社會文化脈絡之中，探討「文章」如何塑造了讀書人的知識視野和學問秩序。 / 文章與知識之間的張力，在古代文學史及思想史上一直存在；然在清代，由於儒家知識主義之興起，此一張力獲得了更爲自覺和充分的展開。本文認爲，從晚明到清初，中國士人的知識視野經歷了一次擴張，而明中期以降博覽求古的「文章」趣味，正是其重要的動力。入清之後，「文」「學」之緊張日益顯現。康熙十七年詔徵博學鴻儒，還是以「詞章」評判「博學」；至乾隆間開經學特科，所重便是「根柢經史」的專門學問；由「博」而「精」，「文」「學」相離。不過，在以「文章」訓練為主的書院教育中，對「古學」的提倡往往還需要借助「古文」之力；同時清人以「著書明道」為理想，考經證史的成績、自身的學術趣味與知識修養，都需要選擇恰當的「著述」體裁以表達之。在編次文集乃至註釋經書之時，不少學者都對其「著作」的方式作出精心的安排，以求體現其學問之系統。「文」與「學」的互動，實又通過另一種形式表現出來。此外，「著書明道」，還可以看作一個以「私言」發明「公道」的實踐，故而「著作」不僅是對公共「知識」的傳遞，更是對個人「性情」的表達。在清中期，「文」與「學」的張力進一步推演出性情與知識關係的重整。「文」「學」離合之間，清代讀書人知識世界的遷變，正有跡可循。 / The concept of ‘wenxue’(文學) in Chinese intellectual tradition philologically consists of two basic elements: belle-lettres (文wen) and learning (學xue). Thus when talking about ‘wenxue’ we are referring to not only a heritage of literature, but also a genealogy of knowledge. This dissertation aims to shed light upon the socio-cultural and epistemic aspects of classical prose(古文 guwen), which is a main genre of classical literature as well as the prevailing form of both practical and scholarly writing in late imperial China. Questions raised in my research include: How were different categories of knowledge ordered and systematized? In what way did the literary taste of intellectuals delimit and displace their epistemological boundaries? And how was the world of knowledge embodied through the compiling of literary anthologies and the writing of scholarly works? / China’s long eighteenth century (1644-1799) witnessed an adequate and self-conscious unfoldment of the perennial tension of literature and knowledge in the shadow of the Confucian intellectualism. The Ming literati’s interests for archaic literature and ancient texts, which lead to a trend of vast learning, herald the expansion of knowledge in late Ming and early Qing. In the 1679 ‘Boxue Hongru’ Examination, literary excellence was still regarded as a crucial criterion for the selection of ‘erudite scholars’. The rise of evidential study, however, intensified the tension between literary talent and scholarly learning. Men of letters were criticized for having no knowledge of the real way of learning, although they had copious knowledge of classical literature. The curiosity for erudition and was regulated, if not replaced by the pursuit of philological study on the Confucian classics. In spite of such idealistic divergence of ‘literati’ and ‘scholar’, literary writing played a significant role in the propagation and expression of scholarship. On one hand, study on Confucian classics and ancient history was advocated in local academies(shuyuan 書院) through the training of prose writing. On the other hand, scholars had to be very concerned about choosing the appropriate genre or the most refined textual form to lucubrate their academic work. Furthermore, debates on the proper form of academic writing made special contribution to the revival of subjectivism in the realm of academic studies. From my perspective, the interaction of ‘wen’ and ‘xue’ played a decisive role in shaping the trajectory of both literary and academic history of late imperial China. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 胡琦. / Parallel title from added title page. / Thesis (Ph.D.) Chinese University of Hong Kong, 2015. / Includes bibliographical references (leaves 540-551). / Abstracts also in Chinese. / Hu Qi.

溫婉明 = A study from the comparative education perspective of the ... / 據稿本複印. / Thesis (M.A.)--香港中文大學硏究院敎育學部. / Ju gao ben fu yin. / Includes bibliographical references (leaves 187-203). / Wen Wanming = A study from the comparative education perspective of the ... / Thesis (M.A.)--Xianggang Zhong wen da xue yan jiu yuan jiao yu xue bu. / Chapter 第一章 --- 緒論 / Chapter 第一節 --- 研究目的 --- p.1-2 / Chapter 第二節 --- 研究範圍 --- p.3-4 / Chapter 第三節 --- 前人著述 --- p.5-20 / Chapter 第四節 --- 研究方法 --- p.21-22 / Chapter 第二章 --- 晚清以降中學語文教材演變經過　　　　 --- p.33-59 / Chapter 第一節 --- 清末以前的語文教材發展 --- p.33-36 / Chapter 第二節 --- 辛亥革命至抗戰時期的語文教材發展　　 --- p.37-47 / Chapter 第三節 --- 1949年以後中國大陸語文教育發展概況 --- p.48-52 / Chapter 第四節 --- 1949年以後台灣語文教育發展概況　 --- p.53-59 / Chapter 第三章 --- 戰前香港中文教育發展概況　　　　　　 --- p.60-70 / Chapter 第四章 --- 戰後香港中國語文教材的演變　　　　　 --- p.71-108 / Chapter 第一節 --- 戰後至八十年代的香港教育　　　　 --- p.71-76 / Chapter 第二節 --- 戰後至八十年代的語文教育發展概況　　　　 --- p.77-89 / Chapter 第三節 --- 影响會考課程範文選擇的幾個因素　　 --- p.90-94 / Chapter 第四節 --- 會考課程演變概況　　　　　　　　 --- p.95-108 / Chapter 第五章 --- 戰後香港中學語文科課程的範文內容重心研究　　 --- p.109-154 / Chapter 前言： --- 中英文中學各課程範文統計　 --- p.109 / Chapter 第一節 --- 中英文中學各課程範文寫作年代、文體、寫作語言、作者分析 --- p.110-121 / Chapter 第二節 --- 中英文中學各課程範文重心主題、次要主題分析 --- p.122-149 / Chapter 第三節 --- 範文內隱喻事件發生的地區、文中的女性人物及主要人物年齡的分析 --- p.150-153 / Chapter 第六章 --- 範文中所傳遞的昔日中國形象　　　　　 --- p.154-174 / Chapter 第七章 --- 戰後語文教材的演變與香港社會經濟文化脈胳的關係　　 --- p.175-182 / Chapter 第八章 --- 結論 --- p.183-186 / 參考書目 --- p.187-203 / 附錄 --- p.204-235

陳子謙. / "二〇〇七年十月" / 論文(哲學碩士)--香港中文大學, 2007. / 參考文獻(leaves 97-116). / "Er ling ling qi nian shi yue". / Abstract in Chinese and English. / Chen Ziqian. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2007. / Can kao wen xian (leaves 97-116). / Chapter 第一章 --- 導論：馬博良的多元身分 --- p.1 / Chapter 第一節 --- 馬博良簡介 --- p.1 / Chapter 第二節 --- 前人硏究述評 --- p.3 / Chapter (一） --- 《文藝新潮》編輯 --- p.3 / Chapter (二） --- 詩人 --- p.11 / Chapter (三） --- 其他 --- p.18 / Chapter 第三節 --- 硏究範圍 --- p.20 / Chapter 第二章 --- 在互動中生長的現代主義´ؤ´ؤ馬博良（文藝新潮〉的編輯工作 --- p.22 / Chapter 第一節 --- 《文藝新潮》的現代主義色彩 --- p.23 / Chapter 第二節 --- 回到現代主義路線圖的起點´ؤ´ؤ《文藝新潮》的編輯方針 --- p.27 / Chapter 第三節 --- 重寫現代主義宣言：編者與論者的互動 --- p.35 / Chapter 第四節 --- 扎根香港？駛出香港？´ؤ´ؤ《文藝新潮》的編輯取向 --- p.40 / Chapter 第三章 --- 怎樣現代？´ؤ´ؤ馬博良香港時期詩作 --- p.45 / Chapter 第一節 --- 感傷或奮進：現代主義大旗下的詩人或編輯 --- p.47 / Chapter 第二節 --- 現代主義的另一個階段：《焚琴的浪子》與《美洲三十絃》的關連 --- p.51 / Chapter 第三節 --- 現代的背面：古典與憶舊 --- p.61 / Chapter 第四節 --- 怎樣(不)現代？´ؤ´ؤ無城的現代主義 --- p.67 / Chapter 第四章 --- 現代的另一面：馬博良的通俗作品 --- p.73 / Chapter 第一節 --- 五十年代香港文化環境 --- p.73 / Chapter 第二節 --- 無奈屈從，抑或從容游走？´ؤ´ؤ馬博良對商業化出版的態度 --- p.75 / Chapter 第三節 --- 現代´Ø西方´Ø消費´ؤ´ؤ《七彩週報》呈現的荷里活風華 --- p.79 / Chapter 第四節 --- 在獵奇與豔羨之間´ؤ´ؤ《西點》譯介的異國風¯‘ة --- p.82 / Chapter 第五節 --- 《七彩周報》與《西點》小說的現代氣息 --- p.88 / Chapter 第五章 --- 結語 --- p.93 / 參考書目 --- p.97 / 後記 --- p.117