Thesis (doctoral)--Universiteit te Groningen, 1928. / Includes bibliographical references (p. [223]-228).

Thesis (doctoral)--Universiteit te Groningen, 1928. / Includes bibliographical references (p. [223]-228).

Thesis (Ph. D.)--University of Washington, 1999. / Vita. Includes bibliographical references (leaves 214-229).

Call number: LD2668 .T4 1938 B41

This dissertation comprises a historical survey and thematic analysis of the various regional and temporal expressions of Chinese and Taiwanese xiangtu wenxue (“nativism” or “homeland literature”). Chapter One traces Chinese xiangtu wenxue from the rural stories of Lu Xun through the 1920s generation of writers of xiangtu wenxue (xiangtu zuojia f’g). These writers used two different narrative modes to analyze China’s deepening rural crisis. One of these was the antitraditionalist mode inspired by Lu Xun; the other was a positivist mode formulated from new concepts and intellectual thought prevalent in China at the time of May Fourth (1919). The narrative configuration established by this decade of xiangtu writers is characterized by nostalgia and is based on the migration of the Chinese village intellectual to large urban centres. This configuration set the standard for subsequent generations of writers of xiangtu wenxue who used an urban narrator to describe a rural area which was either the author’s native home, an area he/she knew well or one which was idealized. Chapters Two and Five discuss Taiwanese xiangtu wenxue from the 1920s to the 1970s. The emergence of this fiction is linked with Taiwan’s insecure status in the forum of international relations. In Taiwanese xiangtu wenxue, the countryside is a refuge from the forces of modernization; it is also a storehouse nurturing ancient traditions which are threatened by new and modern ways. Taiwan’s xiangtu writers valorize traditional culture and seek in rural Taiwan a transcendent China predating Taiwan’s invasion by the West. These works are all narrated by an urban narrator who rejects modernity and desires to counteract foreign influences. The focus of Chapter Three is China’s rural regional xiangtu wenxue of the 1930s. In this decade, rural fiction became a general trend in China with the rise of the Chinese Communist Party, Japanese aggression and China’s increasing urbanization. The shift away from China’s urban-based fiction is characterized by an increasing concern for the peasants, regional decay under the onslaught of Westernization and the life, customs and lore of China’s hinterland. In many of these regional works, concern for the nation is interwoven with non-nationalistic interests. Chinese xiangtu wenxue of the 1940s and 1950s is discussed in Chapter Four. The xiangtu wenxue of this period took on a distinctly Communist guise in the wake of Mao Zedong’s 1942 Talks at the Yan’an Forum on Literature and Art. Chinese Communist xiangtu wenxue is primarily defined as revolutionary realism and is concerned with the construction of Chinese socialism which takes place in the countryside through the forced implementation of draconian Party policies. The peasants in this fiction often attempt to evade these policies. Occasionally, these stories and novels slip into a hardcore realistic mode conveying a peasant reality which strongly dissents from the orthodox Party view. At least one writer of this period was persecuted and killed for his putatively disloyal beliefs. Finally, with the passing of Maoism in China, a new form of xiangtu wenxue emerged in the mid-1980s. This is the subject of Chapter Six. In these works, traditional Chinese culture supercedes Maoism as the basic fabric unifying Chinese life. Many of the writers in this period evince a psychological bifurcation arising from their conflicting views about the value of traditional Chinese culture. This bifurcation stems from the narrator in this fiction who is caught up in the process of urbanization and is unable to fully integrate his vision of the countryside into a larger vision of modernity. The ambivalence about Chinese culture in xiangtu wenxue is a leitmotif which underlies xiangtu wenxue’s many, disparate forms.

Thèse (M.E.I.R.) -- Université du Québec à Chicoutimi, 2002. / Bibliogr.: f. 145-148. Document électronique également accessible en format PDF. CaQCU

This dissertation comprises a historical survey and thematic analysis of the various regional and temporal expressions of Chinese and Taiwanese xiangtu wenxue (“nativism” or “homeland literature”). Chapter One traces Chinese xiangtu wenxue from the rural stories of Lu Xun through the 1920s generation of writers of xiangtu wenxue (xiangtu zuojia f’g). These writers used two different narrative modes to analyze China’s deepening rural crisis. One of these was the antitraditionalist mode inspired by Lu Xun; the other was a positivist mode formulated from new concepts and intellectual thought prevalent in China at the time of May Fourth (1919). The narrative configuration established by this decade of xiangtu writers is characterized by nostalgia and is based on the migration of the Chinese village intellectual to large urban centres. This configuration set the standard for subsequent generations of writers of xiangtu wenxue who used an urban narrator to describe a rural area which was either the author’s native home, an area he/she knew well or one which was idealized. Chapters Two and Five discuss Taiwanese xiangtu wenxue from the 1920s to the 1970s. The emergence of this fiction is linked with Taiwan’s insecure status in the forum of international relations. In Taiwanese xiangtu wenxue, the countryside is a refuge from the forces of modernization; it is also a storehouse nurturing ancient traditions which are threatened by new and modern ways. Taiwan’s xiangtu writers valorize traditional culture and seek in rural Taiwan a transcendent China predating Taiwan’s invasion by the West. These works are all narrated by an urban narrator who rejects modernity and desires to counteract foreign influences. The focus of Chapter Three is China’s rural regional xiangtu wenxue of the 1930s. In this decade, rural fiction became a general trend in China with the rise of the Chinese Communist Party, Japanese aggression and China’s increasing urbanization. The shift away from China’s urban-based fiction is characterized by an increasing concern for the peasants, regional decay under the onslaught of Westernization and the life, customs and lore of China’s hinterland. In many of these regional works, concern for the nation is interwoven with non-nationalistic interests. Chinese xiangtu wenxue of the 1940s and 1950s is discussed in Chapter Four. The xiangtu wenxue of this period took on a distinctly Communist guise in the wake of Mao Zedong’s 1942 Talks at the Yan’an Forum on Literature and Art. Chinese Communist xiangtu wenxue is primarily defined as revolutionary realism and is concerned with the construction of Chinese socialism which takes place in the countryside through the forced implementation of draconian Party policies. The peasants in this fiction often attempt to evade these policies. Occasionally, these stories and novels slip into a hardcore realistic mode conveying a peasant reality which strongly dissents from the orthodox Party view. At least one writer of this period was persecuted and killed for his putatively disloyal beliefs. Finally, with the passing of Maoism in China, a new form of xiangtu wenxue emerged in the mid-1980s. This is the subject of Chapter Six. In these works, traditional Chinese culture supercedes Maoism as the basic fabric unifying Chinese life. Many of the writers in this period evince a psychological bifurcation arising from their conflicting views about the value of traditional Chinese culture. This bifurcation stems from the narrator in this fiction who is caught up in the process of urbanization and is unable to fully integrate his vision of the countryside into a larger vision of modernity. The ambivalence about Chinese culture in xiangtu wenxue is a leitmotif which underlies xiangtu wenxue’s many, disparate forms. / Arts, Faculty of / Asian Studies, Department of / Graduate

British fiction and poetry explodes with textual visuality in the early twentieth century: color, shape, and form, as manifested in description, impression, and image. This dissertation computationally models that visuality, using the eye as a governing metaphor: retinal cones are modeled by inferring textual color, and retinal rods are modeled through object-detection via word sense disambiguation and categorization. Findings include a 93% increase in color expressions across the nineteenth and early twentieth centuries, a 15% increase in the proportions of object and artifacts, and revealing correlations along lines of literary genre, subject heading, and more. These correlate with historical materialities such a dye manufacture, trends in the visual arts such as post-impressionism, and movements in literature such as imagism. A model of literary description, meanwhile, finds that, while visuality increases over time, proportions of description decrease, suggesting structural decompositions in fiction, occurring in parallel with disseminations of vision. NOTE: To view an interactive archived copy of this dissertation, please see the Columbia University Libraries Archive-It version here: https://wayback.archive-it.org/1914/20230920182940/https://dissertation.jonreeve.com/

Thesis (Ph. D.)--UCLA, 2008. / Vita. Description based on print version record. Includes bibliographical references (leaves 174-190).

Abstracts in Afrikaans and English / Aangesien die konsep van kleur vaag en abstrak is, verskil die ervaring én beskrywing daarvan van individu tot individu en van kultuur tot kultuur. Aldus word die waarneem van kleur dikwels ʼn persoonlike en subjektiewe ervaring. In die geval van historiese tale, egter, is die uitdaging om kleurbeskrywing korrek oor te dra, nie sielkundig of esteties van aard nie, maar kultureel, aangesien daar onderliggend aan hierdie tale ʼn unieke linguistiese sisteem gekoppel is. So byvoorbeeld moet die ontleding van Latynse kleurwoorde en die toewysing van relevante betekenismoontlikhede op ʼn besondere wyse aan die Afrikaanse idioom geanker word, sonder om die uniekheid van elk van hierdie tale in te boet. Dit is gevolglik die taak van die navorser om moderne wetenskaplike beskouings oor kleuraanwending met sensitiwiteit en oordeelkundig op die antieke kleursisteme toe te pas. Die bestudering van kleur en kleurgebruik in die Oudheid was vir ʼn lang tyd in omstredenheid gehul. Navorsing in hierdie verband het aanvanklik slegs op die tegniese en argeologiese aspekte van kleurproduksie en -gebruik in die Griekse en Romeinse kuns en argitektuur gefokus. Daarenteen is teoretiese kwessies oor die funksie van kleur in die non-tegniese, estetiese letterkunde selde aangespreek, veral weens die invloed van linguisties-semantiese en kleur-psiogologiese vraagstukke. In hierdie proefskrif val die kollig op Vergilius se keuse en aanwending van dié kleurterme wat beide eksplisiet en implisiet in die Georgica voorkom. Aangesien ʼn sinvolle analise van hierdie digter se kleurgebruik nie tot die Georgica beperk kan word nie, moet die ooreenstemmende terme nie net in sy Eclogae en Aeneïs nie, maar ook in die werke van sy voorgangers, die digters Lucretius en Catullus, betrek word. Uit ʼn beperkte omvang selekteer en gebruik Vergilius kleurwoorde met ʼn delikate presisie van betekenis. Hoewel die stelselmatige ontleding van hierdie terme se betekenismoontlikhede kontekstueel beperk is, toon hierdie benadering in watter mate Vergilius innoverend en verbeeldingryk voorkom. Hierdie inligting dien vervolgens as parateks vir die studie wat volg: Vergilius se gebruik van kleurterme deur die verloop van die vier boeke van die Georgica met die fokus op die letterkundige impak en literêre effekte wat deurgaans as ‘eg Vergiliaans’ beoordeel kan word. . Sou hierdie kleurterme geïgnoreer of net nie raakgelees word nie, kan die leser nie daarop aanspraak maak dat die Georgica waarlik verstaan word nie. Dit is dus die doel van hierdie navorsing om die leser toe te rus met middele tot die vind van ʼn dieper insig in en groter waardering vir hierdie werk as uitnemende poësie. / Since the concept of colour is vague and abstract, the perception of colour differs from individual to individual and from culture to culture to become a highly personal and subjective experience. In the case of historical languages, however, the description of colour is challenging. Conveying colour description correctly is not a psychological or aesthetic exercise, but cultural, as each language has a unique underlying linguistic sensitivity. Consequently, in this dissertation which is written in Afrikaans, the analysis of Latin colour words must be anchored to the Afrikaans idiom in such a unique way as not to detract from the differences in cultural feel between these two languages. Therefore, and in spite of obvious differences, it is the task of the researcher to apply modern scientific views discerningly and sensitively to any ancient colour system. The study of colour and its application in antiquity has long been controversial. Initially research on these aspects of Greek and Roman societies focused only on the technical and archaeological aspects of colour production and its application in their art and architecture. In the wide array of theories regarding linguistic-semantic issues, colour-psychology and also colour aesthetics, theoretical issues regarding the function of colour in non-technical (‘literary’) works were rarely addressed, This dissertation focuses on those colour terms which Vergil uses both explicitly and implicitly in the Georgica. A meaningful analysis of this poet's use of colour must of necessity also include the application of the corresponding terms in his Eclogae and Aeneid, as well as those in the works of his poetic predecessors, Lucretius and Catullus. Selected from a limited range, Vergil applies colour words with a delicate precision of meaning. Although the systematic analysis of these words indicates a range of meaning which can be contextually limited, this approach highlights Vergil’s innovative and imaginative use of colour. With these findings as basis the focus shifts to the consecutive use of colour terms throughout the four books to indicate extraordinary and innovative literary effects which can only be described as ‘thoroughly Vergilian’. If these colour strategies were to escape the reader’s attention, it would result in a poorer understanding of the poem. It is therefore the purpose of this research to equip readers with strategies that will lead to a greater appreciation of the Georgics as exceptional poetry. / Classics and World Languages / D. Litt. et Phil. (Klassieke Studies)