陳芃欣. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 126-133). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract in Chinese and English. / Chen Pengxin.

Fiction has emerged as a major medium for modern Chinese to express their imagination and 'narrate' the country since Liang Qichao advocated the importance of 'New Fiction'. Over the past century, fiction (including both its form and content) has undergone various changes in response to the transformation of the modern Chinese society. In 1993, David Der-wei Wang initiated a discussion on 'Imagination of China', examining how Chinese people imagined the past, present and future of the country through fiction as a means of fabricated narration. While diegesis is a literary concept central to Realism and lyric constitutes a typical form of Romanticism, visual expression is the technique representative of Modernism. This method was first introduced to Shanghai by Liu Na'ou from colonial Taiwan and it exerted tremendous impacts on the works of Mu Shiying and Eileen Chang subsequently. The present dissertation sought to address two main questions pertaining to 'visuality'. First, how did the fictions of Liu Na'ou, Mu Shiying and Eileen Chang use visual expression for imagination of China? A related concern was how this approach reflected and molded the modern experience of China. Second, how was this particular mode of imagination related to other forms of imagination of the time? Also, what was its association with the politics and ideology in the arena of power? This dissertation did not only analyze the visual properties of this particular mode of imagination, but also examined the power issues underlying the technique, including colonialism and post-colonialism, literature and image, as well as man and woman. / There are five chapters in the dissertation. The first chapter introduces the framework, method, and background of the research. Chapter two examines how Liu Na'ou, Mu Shiying and Eileen Chang imported, migrated and mimicked the visual perceptions of colonists when expressing their imagination of China. On the one hand, this kind of imagination closely resembled the mentality of colonists such as France and Japan. On the other hand, the three authors strived to make modifications, formed critical judgments and reflected on the roles of the colonizer and the colonized during the process of imagination. All these were manifested in the changes in the form of presentation characterizing their fictions. As such, examination of these changes relative to the literature from the 1930s to 1940s is another focus of this chapter. Chapter three explores how Liu Na'ou, Mu Shiying and Eileen Chang incorporated the visual features of movies into fictions when expressing their imagination of modern China. The interaction between literature and image (especially the influence of movie on the presentation of fiction) inspired the three authors to come up with an alternative perceptive regarding imagination of China. The intersection of fiction and movie also allowed more room for fictitious creation, giving rise to a different mode of imagination beyond those featuring Realism and Romanticism. Some other issues covered in this chapter include why and how this approach guided the imagination of readers in designated time and space, as well as its relationship with the national discourse. Chapter four discussed the problems concerning imagination of China with reference to visuality and alternation in sexual subjectivity. Male vision could be identified in the fictions of Liu Na'ou and Mu Shiying. However, under the symbolic system of patriarchal culture, such male vision, when compared with the vision of the colonizer, is apparently less prominent in terms of male subjectivity. In their fictions, female characters are usually 'seen' through the lens of others and such female images are largely consistent with the male authors' perceptions of national subjectivity. This chapter also investigated how Eileen Chang used vision as a way to reflect on the male perceptions of female images, as well as how she was imagined and defined as a female author in the field of literature. Chapter five is the conclusion, which highlights the significance of visual expression in Liu Na'ou's, Mu Shiying's and Eileen Chang's fictions. / 梁慕靈. / Adviser: Hang Fung Carole Hoyan. / Source: Dissertation Abstracts International, Volume: 73-03, Section: A, page: . / Thesis (Ph.D.)--Chinese University of Hong Kong, 2010. / Includes bibliographical references (p. 269-306). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [201-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Liang Muling.

This paper concentrates on the discussion of the relationship between 1930s Chinese modern writer Shi Zhecun and "translated modernity." The basic assumption behind this paper is that the work of fiction by Shi Zhecun is a kind of translingual practice, which is inextricably bound up with translation. It is through such a broad sense of translational activity that Shi Zhecun began his pursuit of modernity and finally obtained a kind of modernity different from the Western, the translated modernity. Looking from the perspective of translingual practice, the fictional work by Shi Zhecun is never an isolated mental work, but the consequence of cultural exchange and vigorous bombardment between Chinese and Western literature. On one hand, his fiction fails to stand outside of the progress of modernity in China, while his work is also deeply embedded in the network of Western literature on the other hand. By mean of a series of mimicry, appropriation and rewriting, he translates text from various times, spaces and media into his own work. In the fiction by Shi Zhecun, we may see the process of how foreign literature and other cultural factors rise, circulate and eventually gain legitimacy in the 1930s China. At the same time, we can also know of how they have changed the observation and conception of modern Chinese writers towards literature and the outer world. Therefore, not only does fiction by Shi Zhecun comprise the modernity experience of Shanghai, a metropolitan city in the 1930s, to synchronize with the world, but they also record responses and changes of modern Chinese fiction in the face of the progress of modernism. / This paper is divided into seven chapters. The first chapter is an introduction, which briefly introduces the background of investigation of Shi Zhecun's fiction and expounds the theoretical framework of "translated modernity". Chapter two to six are the core part of this paper. By introducing related literary and cultural theories, they serve to probe into fiction by Shi Zhecun. Chapter two draws an outline of historical materials and observes the frequent mimicry and rewriting phenomena on his early work with regard to his fictional work and translational activities, in order to grasp how he transplants forms and techniques from the Western fiction into the Chinese situation. Chapter three deepens discussion on the previous chapter and examines how Shi Zhecun employs western psychoanalytic method and narrative mechanism in his "old stories retold" to construct the interiority unique to modern fiction. Chapter four intervenes from the viewpoint of technologized visuality to analyze the relationship between psychoanalytic fiction by Shi Zhecun and modern visual text. Through the discussion of mode of space in fiction, chapter five looks at how Shi Zhecun's fiction transform modern urban space into fictional text, producing a range of thoughts concerned with modernity. Chapter six, by reconstructing his literal tradition, interprets the traditional elements found in his fiction and analyzes with different aspects his re-creation of Chinese traditional literature. Chapter seven is the conclusion, which attempts to consolidate what has been discussed before in this text, in order to contemplate the important significance of modernity in China brought about by Shi Zhecun's fiction. / Translation, since the Late Qing Dynasty, has been exhibiting great influence on China's road towards modernity. Scholars Lydia Liu and David Wang present "translated modernity" as a way to delve into the relationship between translation, Chinese Late Qing fiction and May Fourth literature. From Late Qing to May Fourth, translation has been highly influential on the period when old literature was superseded by new one. Thus, when radical anti-traditionalism wanes, would translation, among the relatively mature 30s literature, have a new significance? / 郭詩詠. / 論文(哲學博士)--香港中文大學, 2006. / 參考文獻(p. 220-233). / Adviser: Hang Fung Hoyan. / Source: Dissertation Abstracts International, Volume: 68-02, Section: A, page: 0575. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / School code: 1307. / Lun wen (zhe xue bo shi)--Xianggang Zhong wen da xue, 2006. / Can kao wen xian (p. 220-233). / Guo Shiyong.

張思靜. / "2010年11月". / "2010 nian 11 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2010. / Includes bibliographical references (leave 128-133) / Abstract in Chinese and English. / Zhang Sijing. / Chapter 第一章： --- 緒論 --- p.1 / Chapter 第一節： --- 研究範圍及研究對象之性質 --- p.1 / Chapter 第二節： --- 彈詞研究綜述 --- p.5 / Chapter 第三節： --- 研究緣起及問題意識 --- p.8 / Chapter 第四節： --- 具體文本選擇背後的考慮 --- p.10 / Chapter 第五節： --- 《再生緣》、《筆生花》相關研究提要 --- p.15 / Chapter 第六節： --- 本論文結構 --- p.17 / Chapter 第二章： --- 敘事重心的轉移與美學風格的變換：從《再生緣》到《筆生花》 --- p.19 / Chapter 第一節: --- 作者、主題、文學趣味：《再生緣》與《筆生花》的審美差異 --- p.19 / Chapter 第二節： --- 「女性出走故事」發展脈絡中的《再生緣》 --- p.29 / Chapter 第三章： --- 閨閣內的探險：《筆生花》的傳承與新變 --- p.42 / Chapter 第一節： --- 《筆生花》中的「出走」與「回歸」 --- p.42 / Chapter 第二節： --- 「三仙祠」：對「閨閣内探險」的再思考 --- p.52 / Chapter 第四章： --- 「貧窮恥向人前道，富貴何妨紙上誇」：《筆生花》中的「夢」與「貧窮」 / Chapter 第一節： --- 敘事治療：《筆生花》與中國文學中「白日夢」的傳統 --- p.70 / Chapter 第二節： --- 倫理與道德：邱心如筆下的「貧窮」主題 --- p.77 / Chapter 第三節： --- 《筆生花》與清代中國的貧窮知識女性 --- p.84 / Chapter 第五章： --- 彈詞小說的文學史定位：以《再生緣》、《筆生花》的接受為例 --- p.96 / Chapter 第一節： --- 同調異趣：陳寅恪《論再生緣》與二十世紀的彈詞接受視野 --- p.96 / Chapter 第二節： --- 時間感與生命體驗：陳寅恪眼中的《再生緣》 --- p.102 / Chapter 第三節： --- 《再生緣》、《筆生花》的文學史定位及其對彈詞研究的啟示 --- p.108 / Chapter 第六章： --- 結論 --- p.116 / 附錄：邱心如生年考 --- p.123 / 參考文獻 --- p.128 / 後記 --- p.134

Cheung Fung-Ling. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2003. / Includes bibliographical references (leaves 106-112). / Abstracts in English and Chinese. / Abstract --- p.i / Acknowledgements --- p.v / Chapter Chapter One --- Introduction --- p.1 / Chapter Chapter Two --- Passionate Impulses in Childhood and Adolescence --- p.26 / Chapter Chapter Three --- Moral Dilemmas in Love --- p.52 / Chapter Chapter Four --- The Ultimate Return --- p.75 / Chapter Chapter Five --- Conclusion --- p.99 / Notes --- p.104 / Bibliography --- p.106

翁逸敏. / "2007年9月". / 論文(哲學碩士)--香港中文大學, 2007. / 參考文獻(leaves 166-172). / "2007 nian 9 yue". / Abstract also in English. / Weng Yimin. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2007. / Can kao wen xian (leaves 166-172). / Chapter 第一章 --- 引言 --- p.1 / Chapter 第二章 --- 「三言」簡介 --- p.4 / Chapter 2.1 --- 「三言」的版本 --- p.5 / Chapter 2.2 --- 「三言」的編撰者 --- p.8 / Chapter 2.3 --- 「三言」硏究槪況 --- p.12 / Chapter 2.4 --- 「三言」的體裁 --- p.15 / Chapter 第三章 --- 重複的理論框架 --- p.19 / Chapter 3.1 --- 有關重複的硏究 --- p.19 / Chapter 3.2 --- 蘇利民的重複理論 --- p.21 / Chapter 3.3 --- 重複的原因 --- p.29 / Chapter 3.4 --- 結語 --- p.31 / Chapter 第四章 --- 正話中的重複 --- p.33 / Chapter 4.1 --- 故事層次的重複 --- p.33 / Chapter 4.2 --- 敷演層次的重複 --- p.83 / Chapter 4.3 --- 故事層次與敷演層次之間的重複 --- p.101 / Chapter 4.4 --- 結語 --- p.110 / Chapter 第五章 --- 入話與正話的重複 --- p.113 / Chapter 5.1 --- 故事層次的重複 --- p.116 / Chapter 5.2 --- 敷演層次的重複 --- p.128 / Chapter 5.3 --- 故事層次與敷演層次之間的重複 --- p.134 / Chapter 5.4 --- 敘述者口中的重複 --- p.140 / Chapter 5.5 --- 結語 --- p.143 / Chapter 第六章 --- 重複的意義 --- p.146 / Chapter 6.1 --- 減少歧義，突出主題 --- p.147 / Chapter 6.2 --- 多面論述，互補意義 --- p.150 / Chapter 6.3 --- 推動情節，構成故事 --- p.152 / Chapter 6.4 --- 事前鋪墊，作爲預敘 --- p.154 / Chapter 6.5 --- 重現特質，塑造人物 --- p.156 / Chapter 6.6 --- 結語 --- p.159 / Chapter 第七章 --- 總結 --- p.160 / 參考文獻 --- p.166

No description available.

New, old novels, contemporary fictions that parody the forms, conventions, and devices of eighteenth- and nineteenth-century novels, form a significant and increasingly popular subclass of postmodernist fiction. Paradoxically combining realistic and metafictional conventions, these works establish an ironic dialogue with the past, employing yet simultaneously subverting traditional fictional techniques. / In this dissertation, I subject five new, old novels--John Barth's The Sot-Weed Factor and LETTERS, Erica Jong's Fanny, T. Coraghessan Boyle's Water Music, and John Fowles's The French Lieutenant's Woman--to a detailed analysis, which compares the parodic role of archaic devices in each contemporary novel to the serious use made of such devices in the past. I argue that new, old novels, by juxtaposing old and new world views, foreground the ontological concerns of fiction and suggest that literary representation is constitutive rather than imitative of reality. Their examination of the relationship between fiction and reality places them at the centre of contemporary concern.

Made available in DSpace on 2014-06-11T19:26:55Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-02-28Bitstream added on 2014-06-13T19:14:20Z : No. of bitstreams: 1 oliani_ng_me_sjrp.pdf: 557826 bytes, checksum: 17f70327ab74ec8767bd302b94bf71b3 (MD5) / Nesta dissertação, realizamos análise literária do romance As meninas, de Lygia Fagundes Telles, enfocando as representações da mulher construídas tanto por meio das três personagens protagonistas quanto por um número significativo de personagens femininas secundárias e, mesmo, das personagens masculinas que com elas convivem. Além do trabalho de escrita de Lygia Fagundes Telles (construção das personagens, ambientação dos dramas por elas protagonizados, construção de uma simbologia nascida da articulação entre personagens, ação dramática, espaço e contexto sociohistórico e político), nossa investigação considerou, para fins de análise e interpretação do tema, o contexto sociocultural, histórico e político do Brasil nas décadas de 60 e 70 do séc. XX. Tal contexto foi caracterizado por uma dupla crise: a crise política, decorrente do autoritarismo e da violência da ditadura militar, e a crise do patriarcalismo, decorrente da progressiva emancipação política das mulheres. Nossa dissertação visa a compreensão do diálogo crítico estabelecido, no romance, entre as representações da mulher e este contexto de dupla crise que constituem a matéria romanesca de As meninas / In this dissertation, we perform literary analysis of the novel As meninas by Lygia Fagundes Telles, focusing on the representation of women built by as the three protagonist characters as a significant number of secondary female characters, and even the male characters with whom they ive. Besides writing work of Lygia Fagundes Telles (construction of the characters, setting dramas perpetrated by them, building a symbolism born of the relationship between characters, dramatic action, space and sociohistorical and political context), our investigation found, for analysis and nterpretation of the theme, sociocultural, and political history of Brazil in the 60 and 70 decades of the XX century. This context was characterized by a double crisis: the political crisis arising from authoritarianism and violence of the military dictatorship, and the crisis of patriarchy, due to the gradual political emancipation of women. Our dissertation aims at understanding the critical dialogue established in the novel between the representations of women and the context of this dual crisis that constitute the novelistic matter of As meninas

Summary in English / The purpose of this research is to make a literary appreciation of the detective story in Tshivenda. Chapter 1 is the introductory chapter which discusses the aim of study, the definition of detective story, methodology, detective noels in Tshivenda, background information regarding the authors, summaries regarding selected novels and the scope of research. Chapter 2 is devoted to the plot structure of the two detective novels, and outlines the diegetic and meta-diegetic stories. The elements of mystery and dramatic irony are also discussed. Chapter 3 concentrates mainly on the setting of the two selected detective novels and its influence on the crimes committed, the lives of the characters and the tools that are used. Chapter 4 deals with the depiction of the victims, suspects and detectives in the selected detective stories. Chapter 5 concludes the study and summarises the main findings of the appraisal. / African Languages / M. A. (African Languages)