Cuisine is a topic worthy of interest because it is often associated with a specific national culture. Among the various national cuisines, Chinese cuisine is probably one of the most fascinating, all the more so because the culture-specific characteristics of Chinese cuisine have resulted in its typical diversity. Furthermore, Chinese cuisine can be considered diasporic and capable of breaking cultural boundaries as Chinese overseas communities have introduced their cuisine to various parts of the world over the past two centuries. In translation studies, culinary identity is viewed by scholars as an extension of translation activity. However, Chinese culinary identity hasn't received the same attention that other areas of research in translation studies have, probably because of its culture-specific traits. My thesis will focus on one example of this important phenomenon: the "translation" of Chinese culinary culture in Canadian food discourse. Renowned for its multiculturalism, Canada—perhaps more than any other country—has embraced "Chinese food" as one of its mainstream international cuisines, and Chinese cuisine, on the other hand, has adopted Canadian cultural values and has become practically inseparable from contemporary Canadian culture. In this respect, the question becomes to what extent has "Chineseness," which refers here to Chinese cultural identity, been constructed within the Canadian culinary sphere? My thesis involves an analysis of the translation of Chineseness by Chinese-Canadians in food discourse from a cultural perspective. In the first chapter, I will introduce the discussion of Chineseness in sociology and in translation studies. The second chapter deals with culinary identity in both food studies and translation studies. In the final chapter, I analyze Chineseness, as it is represented by culinary identity in the Canadian context, by observing HeartSmart Chinese Cooking, a cookbook written by a Chinese-Canadian chef in English for a Canadian readership.

Faculty of Humanities School of Social Sciences 9812254a Yoon@tiscali.co.za / The focus of this PhD thesis is the shifting identities of the approximately 12,000-strong community of South African-born Chinese South Africans during the apartheid and post-apartheid periods. This thesis begins with the assumption that social identities are constructed. It also assumes that identities are contested amongst the various social actors; that identities shift over time and across individual life spans; and that individuals have multiple, often overlapping identities. The three strands of identity that form the core of this thesis are racial, ethnic, and national identities; at any given time, due to specific historic circumstances, one or another of these identities has been more or less salient. This thesis used a combination of methodologies the address the key research questions. The primary research method was qualitative. In-depth interviews were supplemented by a survey, archival research, and participant observation. The principal social actors dominating the construction of Chinese South African identities were the Chinese South Africans, themselves, and the South African and Chinese states. Chinese history, myths about China, and Chinese culture were the primary building materials used in the construction of Chinese South African identities; however, these ‘materials’ could only be utilised within the constraints established by the apartheid system. From the 1960s, Chinese South Africans were singled from amongst the ‘non-whites’ to receive concessions and privileges; over time they came to occupy the nebulous, interstitial spaces of apartheid as unofficial ‘honorary whites’. South African state attempts to legally redefine the Chinese as ‘white’ failed because the Chinese South Africans were unwilling to give up their unique ethnic identity. Concessions and greater interaction with white South Africans had led many Chinese to conclude that their Chineseness had been ‘diminished’ and ‘lost’. What we witnessed, rather, was the selective incorporation of chosen aspects of Chinese culture and values into new Chinese South African identities. Because of the diminishing impact of apartheid legislation on Chinese South Africans, we were able to identify three distinct identity cohorts during the apartheid era: the shopkeepers, the fence-sitters, and the bananas. In the post-apartheid era, affirmative action policies, new immigration from China and Taiwan, and globalisation have influenced more recent constructions of Chinese South African identities. Keywords: Chinese, Chineseness, South African, apartheid, post-apartheid, identity, construction, ethnicity, ‘honorary white’, race.

Art as a social engagement in the West can be dated back to the history of avant-garde art starting from the end of nineteenth century. Rooted in his own cultural background, Chinese artist Ai Weiwei's socially engaged art project "Fairytale is more complex than the avant-garde strategy. The work Fairytale established a structure - "1=1,001". That means on the one hand, the participants can be easily regarded everywhere in Kassel as 1,001 mobile works of art. All of them contribute to an entire work. In other words, the 1,001 people consist of one work. On the other hand, everyone is dealing with their personal issues independent of art. In this sense, the entire work can be divided into 1,001 personal experiences. This structure is based on three principles of Chinese philosophy Taoism - the duality between Yin and Yang, the dynamism between Yin and Yang, and the concept of uselessness. Positioning Fairytale within both Western theoretical as well as Chinese philosophical contexts, this essay is to analyze how Chinese philosophy shaped Ai's strategy of social engagement and his cultural identity - Chineseness.

In this thesis, I examine how colonial constructs on Chinese culture affects people's views toward sexual minorities in Hong Kong. In the first Chapter, I explain the shift of my research focus after I started my research. I also conduct a brief literature review on existing literature on sexual minorities in mainland China and Hong Kong. In the second Chapter, I examine interviewees' accounts of family pressure and perceived conflicts between their religious beliefs and sexual orientation. I analyze interviewees' perceptions of social attitudes toward sexual minorities. Hidden in these narratives is an internalized colonial construct of Chinese culture in Hong Kong. This construct prevented some interviewees from connecting Christianity with oppression toward sexual minorities in Hong Kong. In the third Chapter, I examine the rise of right-wing Christian activism in pre- and post- handover Hong Kong. I also analyze how sexual-minority movement organizations and right-wing Christians organized in response to the political situation in Hong Kong. Then, I present the result of content analysis on debates around two amendments to the Domestic Violence Ordinance (DVO)-the first legislation related to sexual minorities in Hong Kong after handover. I draw on data from online news archives and meeting minutes and submissions of the Legislative Council (LegCo). Based on the rhetoric of US right-wing Christians' "(nuclear) family values," Hong Kong right-wing Christians supported excluding same-sex cohabiting partners from the DVO. This rhetoric carved out a space for different narratives about "Chinese culture" and "Chinese family." These different versions of Chinese culture matched diasporic sentiment toward the motherland and gained currency from post-handover political landscape and power configuration in Hong Kong. These versions also revealed the colonized and diasporic mindset of opponents of the amendments; these mindsets also reflect the same internalized colonial construct of "Chineseness" my interviewees have. Based on analyses of interview data in Chapter II and in Chapter III of how people view sexual minorities, I argue that a colonial diasporic psyche aptly captures people's views toward sexual minorities in Hong Kong. Since the political situation and DVO are specific to Hong Kong, I do not include interviewees who are not of Hong Kong origin in this thesis.

人際關係或個人之間的互動過程，長期以來是國際關係裡較少關注的面向或被預設為相同的假設而忽略的部分，但在受到中華文化影響並以華人為人口主體的兩岸三地乃至新加坡，關係與人際情誼有重要的影響力。本研究認為「人際關係與情誼」在國家之間的雙邊關係上扮演了一定的角色，為了進一步分析人際關係與情誼在雙邊關係的作用與效果，本研究擬將人際關係與國際關係進行連結化分析，並且試圖建立「人際關係與國際邦誼路徑圖」以作為研究途徑，討論人際關係如何建立、強化，乃至深化國際邦誼，又當人際關係產生分歧、惡化時如何讓雙邊關係倒退，並結合華人的背景與文化，進行案例的研究與討論。 本研究分為三部分：第一部份在建立人際關係與國際邦誼路徑圖，旨在完整地描繪人際發展的起承轉合，以作為第二部分案例研究時的架構及依據；第二部份以第一部份所建立的人際關係與國際邦誼路徑圖為基礎，將臺星關係的發展依時序按照臺灣領導人的更迭分為四組進行案例研究；最後一部分在比較四組案例人際關係的互動差異，並為臺灣未來在對外政策提供建議。 過去因為臺灣與新加坡的特殊關係，不僅讓臺灣在對外關係上有所突破，新加坡更在促進兩岸關係的和平發展上，扮演了至關重要的角色，從1993年的辜汪會談到2015年的馬習會均選擇在新加坡，從李光耀到李顯龍，這對父子成為緊張兩岸關係裡唯一受雙方信任的第三國。 人際情誼是臺灣在對外關係，尤其在對東南亞關係上扮演至關重要的角色。對於外交處境艱難的臺灣而言，找到自身在區域中，尤其是受到華人文化影響的次區域裡無可取代的角色，尤其關鍵。 / Inter-personal relations and its process have been greatly overlooked and oversimplified in analysis of international relations, besides its impacts on daily international life. In the Chinese civilization, inter-personal relations are essential regarding social process. Besides, Inter-personal relations are playing crucial rule in those states, including R.O.C. (Taiwan), P.R.C. and Singapore have strongly affect by the Chinese civilization and culture. In order to analyze the relations between Inter-personal relations and international relations, my thesis is trying to establish a roadmap of inter-personal relations and international relations that can improve our understanding how inter-personal relations affect international relations on the basis of Chinese culture. The thesis will divided into three parts. The first part is the building of roadmap of inter-personal relations and international relations. The second part use the roadmap of inter-personal relations and international relations to analyze the following chapter of case studies that examining the interpersonal relations between state leaders of Taiwan and Singapore. The last part is the conclusion of the thesis and the suggestions for policy makers in Taiwan.

My thesis is a creative writing doctorate which focuses on one Chinese family's adaptation to living in Australia in the mid-twentieth century. The thesis is in two parts. Part I is an examination of Chineseness and identity within the context of the short stories that make up Part I1 of the thesis. In Part I, I have looked at the place of the Chinese within the larger, dominant cultures of America and Australia. In particular, I have discussed the way in which the discourses of the dominant culture have framed Chineseness; and also what it might mean to describe authentic and essential qualities in Chineseness. The question I ask is whether the concept of Chineseness shifts according to time, location, history, and intercultural encounters. This leads me to try to "place" my family and myself. I provide some background on my family and on specific incidents that have served as springboards for the fiction. Part I also discusses some aspects of narrative theory in relation to the stories and considers the stories within the context of other Chinese- Australian fiction and performance. Ln Part 11, I have written a collection of nine short stories about the lives of a fictitious family called the Tangs. The stories can be described as a cycle that is unified and linked by characters who are protagonists in one story but appear in a minor or supporting role in other stories. Composing a linked cycle of stories has given me the opportunity to extend the short story form, especially by giving me scope to expand the lives of the characters beyond a single story. The lives of the characters can take on greater complexity since they confront challenges at different stages of their lives from different perspectives.

In this dissertation, I examine the particular diaspora construction of the overseas Chinese in South Korea focusing on their educational practice, and looking at how it relates to and reflects their identities and subjectivities. The Chinese in Korea, or Korean huaqiaos, have no parallel in that they still retain Chinese (Taiwanese) nationality despite their over one hundred years of settlement in Korea, and in that most opt for full-time Chinese ethnic schooling with exclusively Taiwanese-administered curriculum and support. Different from the previous discussions arguing the nation-making role of the state-sponsored mass education through transmitting national culture and language, in a Chinese high school in Seoul, Korea, I observed that ethnic schooling worked to connect the scattering Chinese in Korea as a community by letting them share similar social, legal, and cultural conditions. Drawing on school documents, student writings, and interviews and discussions with ethnic Chinese students, teachers, parents, and related organization leaders, I elucidate the role of their ethnic education which is transforming as a strategy to deal with one of the most brutal social qualification-college entrance- in Korean society, and as a symbol through which they can remain Chinese diasporans. Students’ indifference to their schoolwork seems to defeat expectations of Chinese heritage transmission, or the making of allies for the ROC. This situation results from changes derived from the Taiwanese political changes against them, and also from the conviction passed down over generations about the futility of hard work due to their minority situation in Korea. Even being aware of their ethnic schools’ failure to properly educate their children in Chinese language and culture, almost all Korean huaqiaos keep sending their children there, unable to resist the immediate admissions advantage foreign high school graduates gain in entering Korean universities, and not wishing to be excluded from their own ethnic community by not attending the same ethnic schools. The way Korean huaqiaos deal with their ethnic education is a typical example revealing their collective characteristics they themselves talked about – “opportunistic”, “gossip-bound”, or “not stepping forward to act” - and I analyzed these self-defined particular Chineseness has been formed while they have gone through continuous unsteady socio-political processes. Through chapters that provide analyses of the historical Korea-China relationship, the context in which Chinese came to settle in Korea, and the ever-changing three-way relationship among Korea, Taiwan and mainland China, I discuss how Korean huaqiaos have formed and transformed their nationality, emotional and cultural belonging, and their unstable legal and social statuses as non-local nationals. This study on the atypical results of Chinese border-crossing and of ethnic education is based on three years of ethnographic field research in the Seoul Chinese High School and in other various social and cultural arenas of the Chinese community in Korea. And it offers a contextualized study of Chinese diaspora which contributes to debunking a generalized and reified imaginary of Chinese, and an ethnographic account of diaspora educational practice which also calls for a new concept of citizenship in this ever-globalizing era. / Anthropology

This dissertation explores the hybrid training and performance of Chinese classical dance (gudianwu) and ballet in China’s elite dance conservatory, Beijing Dance Academy (BDA), in post-socialist China (1980 - the present). Since the establishment of BDA in 1954, the hybridity of ballet and Chinese dance has been first institutionalized in training professional Chinese dancers and has had a profound influence on the development of dance in the People’s Republic of China (PRC). After the Cultural Revolution (1966-1976) in the 1980s, many gudianwu practitioners and dance critics in PRC criticized the failure of the hybrid training and performance in promoting a unique Chinese national character. In contrast, hybrid performance practices as a means to Sinicize the Western dance form of ballet have been celebrated. To create a unique Chinese national body aesthetic, gudianwu practitioners have attempted to revive Chinese traditional culture in dance through minimizing the influence of ballet, while Chinese ballet practitioners have created ballet works incorporating Chinese stories and Chinese arts, such as gudianwu, Chinese opera, local music, and traditional costumes. Instead of considering the promotion of unique Chinese characteristics in dance as a fixed and essentialized cultural practice, this dissertation argues that the hybrid dancing bodies of gudianwu and ballet have become important sites for negotiating Chinese nationalism, modernism, and individualism within the context of globalization. In keeping hybridity and Chineseness as the two central concepts in this study, I examine three research issues: first, how ballet has shaped gudianwu classes and gudianwu dancing bodies; second, how Chinese forms, such as martial arts, Chinese opera, and Chinese folk dance, have influenced ballet training and performance; and third, how the tension and interrelationship between these two hybrid dance practices complicates the concept of Chineseness. My methodology is informed by an interdisciplinary lens that includes postcolonial cultural studies (Bhabha 1994), Chinese cultural studies (Chow 1998), and anthropological Chinese dance studies (Wilcox 2011). I apply ethnography as my primary mode of collecting data while taking the meanings, functions, and historical and cultural contexts of dance into account. As the first dissertation that foregrounds the operation of hybridity in Chinese dance and ballet, this dissertation aims to enrich the theoretical framework of postcolonial and Chinese cultural studies and contribute to a mutual understanding between Chinese and Western cultures. / Dance

Zhongguofeng music 中国风流行曲 has had an impact on the Chinese pop music industry. Although the style of music uses familiar overtones that have been in wide usage within Western pop music, Zhongguofeng aims to emphasize more of a connection to a unified sense of Chinese culture, ethnicity, and identity. Specifically, I will argue that “Chineseness” is constructed through lyrics, which contain cultural references to the imperial era of China, and accompanying music videos, which provide visual imagery that further draws the viewer into an idealized “China”. In addition, the song’s instrumentals blend Western pop stylings with traditional Chinese instruments and vocal techniques. In this thesis I will use semiotics, or the study of signs and their meanings, to illustrate the listener’s perception of “China” in modern pop music. I will first introduce expressions of “Chineseness” in previous genres of Chinese pop music and then examine well-known Zhongguofeng songs. My goal is to question the nature of “Chineseness” itself and explore the process of “semantic snowballing”, in which terms change over time, depending on the individual performer and/or historical circumstances. I will analyze three different songs by artists from different regions, all released between 2006 and 2007 at the height of Zhongguofeng’s popularity : S.H.E.’s “Chinese Language” 中国话, Vincy Chan’s “Daiyu Laughs” 黛玉笑了, and Wang Lee Hom’s “Mistake in the Flower Fields” 花田错.

京都大学 / 0048 / 新制・課程博士 / 博士(工学) / 甲第20698号 / 工博第4395号 / 新制||工||1683(附属図書館) / 京都大学大学院工学研究科建築学専攻 / (主査)教授 竹山 聖, 教授 山岸 常人, 准教授 田路 貴浩, 教授 三浦 研 / 学位規則第4条第1項該当 / Doctor of Philosophy (Engineering) / Kyoto University / DFAM