published_or_final_version / Chinese / Master / Master of Philosophy

published_or_final_version / Chinese / Master / Master of Philosophy

published_or_final_version / abstract / Education / Master / Master of Education

by Mi Jia-Yan. / Thesis (Ph.D.)--Chinese University of Hong Kong, 1996. / Includes bibliographical references (leaves 258-272). / Poems in Original Chinese. / Title Page --- p.i / Abstract --- p.ii / Acknowledgments --- p.iv / Editorial Note --- p.v / Table of Contents --- p.vi / Introduction --- p.1 / Chapter One --- "The Dialectic of Progressive Body: Self, Cosmos and New National Identity in Guo Moruo's The Goddesses" --- p.16 / Chapter I. --- Sources of Influence: Emergence of a Modern Body --- p.19 / Chapter II. --- The Instinctual Body as Creation of Progressive Self --- p.32 / Chapter III. --- The Metaphorical Body as Transfiguration of Cosmic Self --- p.50 / Chapter IV. --- The Passionate Body as Sacrifice for New National Identity --- p.61 / Summary --- p.71 / Notes --- p.73 / Chapter Two --- The Decadent Body: Toward a Negative Ethics of Mourningin Li Jinfa --- p.82 / Chapter I. --- Economy of Somatic Decadence --- p.87 / Chapter II. --- Aesthetics of Counter-Enlightenment --- p.100 / Chapter III. --- Narrative of Reflection: A Profane Illumination --- p.117 / Chapter IV. --- Toward a Negative Ethics of Mourning --- p.134 / Summary --- p.142 / Notes --- p.144 / Chapter Three --- The Narcissistic Body: Mnemonic Aura and Fragments of Modernity in Dai Wangshu --- p.148 / Chapter I. --- Modernity of Trivia and Fragments --- p.154 / Chapter II. --- The Memory Narrative: A New Syntax of Self-Reconstruction --- p.165 / Chapter III. --- The Tropics of Body Memory --- p.182 / Chapter IV. --- The Floral and the Feminine: Gift of the Senses --- p.191 / Chapter V. --- The Narcissistic Body: Toward an analytics of the Self --- p.221 / Summary --- p.231 / Notes --- p.233 / "Conclusion Modernity, Self-fashioning and the Will to Maturity" --- p.240 / Bibliography --- p.258 / Appendix --- p.273

The Third Generation Poetry that existed in the 1980s’ Chinese literary circle has usually been regarded as the rebellion of the prevailing Misty Poetry. The Third Generation poets began to experiment with colloquial poems which were emphasizing on individual expressions and advocating for the importance of “self”, including the ego and sub-consciousness of both male and female. Through the gender perspective, it could be observed the Third Generation Poetry was rich in gender flavor. The poets especially those of the Female Poetry and the Boorish Fellows Poetry had respectively expressed the awareness and concerns of their own with poem writings. The Female Poetry, featured with the structure of group poems, the rhetoric of metaphor and symbol, the connotation of the nocturnal consciousness and the lyric of confession, was a showcase for female perception. The issues regarding ego, private space, social identity, pain and love as well as "body writing" had been narrated and depicted by most of women writers. In the meantime, the poetry written by male turned to the descriptions of the lack of masculinity, or the flaunting of male power, or groaning with bitterness. Besides, the desire to vent, the memories of growth and even the detestation on the phenomenon of female being butchered had also been illustrated. Therefore an alternate inspection of the male poets’ views on female and vice versa would help to have a better understanding of gender concepts and the changing relationship between men and women in the last few decades of Chinese society. Apart from thinking of gender differences and sexual identities the Third Generation Poetry not only focused on the relationship between parents and their children, but also on the connotations of the traditional idea of reproduction and the infant imagery, and even on portraying the rare image of the ego of androgyny. In addition, The Third Generation poetry also presented abundant interlinked gender imagery, such as natural things and body, the darkness and death, the space and items etc., which had been created for the enrichment of the symbolic meanings and the aesthetic significance of the poems. In short, the social and cultural significance of various gender issues in line with the artistic techniques of the Third Generation Poetry had been scrutinized deeply in the chapters. / published_or_final_version / Chinese / Doctoral / Doctor of Philosophy

published_or_final_version / Chinese / Master / Master of Philosophy

abstract / Comparative Literature / Doctoral / Doctor of Philosophy

This thesis explores changes in approaches to the interpretation of the genre of classical Chinese poetry re-created as English poetry during the twentieth century. This genre, produced by two literary cultures - Chinese and English - is subjected to critical scrutiny in both its original and re-created forms and this study discusses the extent to which critical theories resulted in shifts in the interpretive approaches of twentieth century translations of the genre. Interpretive changes are exposed by comparative analysis of publications of the genre by Ezra Pound and Arthur Waley, Burton Watson and Gary Snyder, James J. Y. Liu and Stephen Owen and Pauline Yu and Haun Saussy. This involves a discussion of how their formative years, environmental factors and critical pressures influenced their approaches to interpretation of the genre. The study found that changes to interpretative approaches for the genre rested on two key experiences of translators and readers. Primary influences - family, education and personal pursuits - did affect interpreters of the genre but secondary influences - critical theories, literary trends, political, religious and social movements - had greater impact on interpretive change. Isogesis, an unavoidable factor of cultural interpretation, insidiously influenced how the genre was interpreted and that the increased use of montage and anthology late in the twentieth century attempted to reduce the effect of isogesis and, even more importantly, returned the genre to its cultural roots, the Shijing, the earliest Chinese classical anthology of poetry. This study illustrates three areas of importance. Firstly, it shows that biographical and environmental factors affecting translators caused shifts in approach to interpretation of classical Chinese poetry re-created as English poetry. Secondly, choices of what to re-create and print - made by translators, editors and publishers - affect reader response to the genre. Thirdly and finally, it suggests the possibility that the interpretive approaches of these eight translators can be employed as poetic montage in the third millennium to reduce the effect of misinterpreting of the genre. / Thesis (M.A.)--School of Social Sciences, 2006.

published_or_final_version / Asian Studies / Doctoral / Doctor of Philosophy

University of Macau / Faculty of Arts and Humanities. / Department of Chinese Language and Literature