「自由」在本論文中，可以理解為實體、抽象、比喻意義上的「通道」。我認為那些最初大概源於城市經驗的關於通道的想像，既是西西致力書寫的對象，也是她小說美學的理想。以本雅明的《拱廊街計劃》（Das Passagen-Werk），以及狄雪圖的步行者美學作為理解「通道」的起點。人群、商品、貨幣、資訊等的流動變易可說是它最重要的特質，從維希留速度學的角度看來，它的極致則是「消失」的空間。 / 我使用通道一詞，不僅指向西西小說中現實的城市空間和它的實踐者（通過對庶民生活細緻而富有詩意的描寫，在理論家們看來，日漸抽象無法把握的城市文化，在西西小說裡卻呈現出它最具質感而活潑的部分），同時也是西西多年來在寫作這門技藝漸漸透現的美學特徵，以及價值理想。這意味著西西以多重視點、對話、拼貼、互文，混合媒介等等技法來創造文本的開放視野，以及流動狀態，但這些明顯具有「後現代」特徵的形式並不指向意義消解的世界，它們的遊戲性充滿了對世界的深情關注。因此，西西的「通道」既有著資本主義城市開放流動的特徵，但同時也是對它那種無情個性的抵抗。流動意味著的不是消失，而是溝通與對話，以致於透現出一種生命意識：宇宙萬物可以彼此轉化流動。 / In this dissertation, “freedom can be understood as “passages in their literal, abstract and figurative senses. I consider the concept of “passages as inspired initially by urban experience, and as the theme and aesthetic ideal of Xi Xi’s fiction. Using Walter Benjamin’s The Arcades Project (Das Passagen-Werk) and Michel de Certeau’s notion of “street walkers as a starting point, the most important characteristic of “passages can be seen as their fluid, transient nature in terms of people, commercial goods, currency, information, etc.; and from the perspective of Paul Virilio’s dromology, they can be spaces of “disappearance in their most extreme form. / I use the term “passages, not only to refer to urban space and its practitioners in Xi Xi’s novels (through the poetic and meticulous descriptions of ordinary people’s daily lives, which demonstrates how Xi Xi’s work represents the most concrete and liveliest parts of urban culture--in spite of theorists’ notion of the city as an increasingly abstract space), but also to reflect the aesthetic features, ideals, and values developed over the years in Xi Xi’s writing. Using the techniques of different points of view, dialogue, collage, intertextuality, mixed media, etc., Xi Xi’s fiction enables formal fluidity and openness. But the obvious “postmodern characteristics of these formal experiments do not aim at the elimination of meaning. Rather, the playful gestures in these works are full of affectionate attention toward the world. Xi Xi’s work, therefore, adapts the fluidity of “passages in a capitalist city, but at the same time, resists its ruthless nature. “Passages in her work do not imply disappearance, but communication and dialogue. They also exhibit a vision of life: all things in the fluid universe can transform into each other. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 謝曉虹. / "2013年7月". / "2013 nian 7 yue". / Thesis (Ph.D.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 73-75). / 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. / Xie Xiaohong. / Chapter 引言 --- 關於通道的美學 --- p.（頁1） / Chapter 第一章 --- 穿牆人 / Chapter 第一節 --- 牆 --- p.（頁9） / Chapter 第二節 --- 名字 --- p.（頁11） / Chapter 第三節 --- 離地 --- p.（頁14） / Chapter 第四節 --- 故事的形狀 --- p.（頁17） / Chapter 第二章 --- 通道 / Chapter 第一節 --- 通道 --- p.（頁22） / Chapter 第二節 --- 陌生人 --- p.（頁28） / Chapter 第三節 --- 公共人 --- p.（頁32） / Chapter 第三章 --- 眼睛 / Chapter 第一節 --- 眼睛 --- p.（頁35） / Chapter 第二節 --- 沉思者 --- p.（頁38） / Chapter 第三節 --- 店玻璃 --- p.（頁42） / Chapter 第四章 --- 軟世界 / Chapter 第一節 --- 五十七個電視 --- p.（頁47） / Chapter 第二節 --- 縫接 --- p.（頁49） / Chapter 第三節 --- 肉體與石頭 --- p.（頁52） / Chapter 第四節 --- 軟世界 --- p.（頁55） / Chapter 第五章 --- 造房子 / Chapter 第一節 --- 立體房子 --- p.(頁59) / Chapter 第二節 --- 無數度 --- p.(頁62) / Chapter 第三節 --- 房子的自由 --- p.(頁67) / 引用書目 --- p.(頁73)

There remain two recurring criticisms of John Updike's fiction. The first comes from feminist critics who condemn his negative portrayal of women, accusing his fiction of denigrating women. The second comes from late twentieth century critics who accuse him of avoiding political and historical discussions in his fiction. However, it is my contention that Updike is willing to address both of these concerns, and I arrive at such an argument by carefully analyzing his collection of short stories compiled in Too Far To Go: The Maples Stories. Within these stories, Updike's female characters illustrate the shifting gender paradigms over the course of the fifties, sixties, and seventies amidst the middle-class, suburban American milieu. Updike's women act as agents of history providing testament to the shifting gender paradigms and historical, cultural, political, and social milestones of a maturing country and its growing pains. / by Cindy M. Rosen. / Thesis (M.A.)--Florida Atlantic University, 2010. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2010. Mode of access: World Wide Web.

本論文旨在分析1940年代到1950年代的香港虛構文學中對於文化認同的轉變。1940年代到1950年代在香港文學史中是一個重要的時期，見證了鮮明的文化意識的形成和覺醒。本研究通過分析香港的虛構文學作品中兩種常用甚至濫用的刻板印象，分別為香港即港口的形象，和香港即女性的形象，來闡述這些刻板印象如何在不同的文化視野下反復被重寫，改寫，從而產生具有獨特香港文化意識的特質。本文通過後殖民理論研究方法，分析了五篇這一時期的虛構文學作品中文化認同的轉變。他們分別為：張愛玲的短篇小說《沈香屑·第一爐香》（1943）和《傾城之戀》（1943）、韓素音的小說《瑰寶》（1952）、舒巷城的短篇小說《霧香港》（1956）以及理查德·梅森的小說《蘇絲黃的世界》（1957）。 / 本文分為五個章節。概論章介紹了1940年代到1950年代香港文學的整體面貌，並討論了香港文學的定義以及現在的各種問題。第一章研究了相關後殖民理論，包括文化身份（認同），離散經驗，東方主義和混雜性等概念，以幫助下文的深入討論。第二章和第三章分別圍繞上文所述的兩種刻板印象的再書寫展開，以闡述所選作品中表現出來的區別於群體文化身份認同書寫的私人書寫方式，並由此得出相關結論。 / This study purports to describe the transformation of cultural identities in the fictions written about Hong Kong in the 1940s and 1950s. As a critical period of transition, the 1940s and 1950s Hong Kong literature witnessed the emergence of a distinctive cultural awareness. Through the examination of two commonly used (abused) stereotypes, namely, Hong Kong as port and Hong Kong as female in the fictional writings of this period, this study aims at elaborating how writers from different cultural perspectives draw upon and undermine these stereotypes and bring out features that give rise to a distinctive Hong Kong cultural awareness. Taking the postcolonial theoretical approach, I examine five works of Hong Kong literature within the proposed timeframe, “Aloeswood Incense: The First Brazier“ (1943) and “Love in a Fallen City“ (1943) by Eileen Chang, A Many Splendoured Thing (1952) by Han Suyin, “Foggy Hong Kong“ (1956) by Shu Xiangcheng and The World of Suzie Wong (1957) by Richard Mason, in order to elaborate the distinctiveness of Hong Kong cultural awareness. / The study is divided into five chapters. It begins with an overview of Hong Kong literature in the 1940s and 1950s, its nomenclature and problematics. Then in the second chapter, an analysis of postcolonial theories is provided in order to facilitate the discussion. Concepts like cultural identity, diaspora, Orientalism and hybridity are discussed in relation to the selected works of Hong Kong literature. Chapter two and chapter three focus on the reinscriptions of the two aforementioned stereotypes in which features of Hong Kong cultural identities are perceivable. These two chapters elaborate the individual renderings of cultural identities in the selected stories as against the collective identity representation, thus leading to the concluding chapter. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Gao, Yunwen. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 96-102). / Abstracts and appendix also in Chinese. / Introduction --- p.1 / Chapter Chapter One --- Cultural Identity and Hong Kong Literature --- p.15 / Chapter 1. --- Hong Kong in the 1940s and 1950s --- p.15 / Chapter 2. --- Cultural Identity and Postcolonial Studies --- p.18 / Chapter 2.1 --- Imagining Hong Kong: Diaspora and Cultural Identity in the 1940s and 1950s --- p.20 / Chapter 2.2 --- Feminizing Hong Kong: Orientalism and Hybridity --- p.24 / Chapter Chapter Two --- Hong Kong as Port --- p.33 / Chapter 1. --- Hong Kong as Port in the 1940s and 1950s Hong Kong Fiction --- p.34 / Chapter 2. --- “Love in a Fallen City“: Hong Kong in the Eyes of Shanghainese --- p.39 / Chapter 2.1 --- A Tale of Two Cities: Time and Space in Shanghai and Hong Kong --- p.41 / Chapter 2.2 --- Chineseness in Different Contexts --- p.44 / Chapter 2.3 --- Hong Kong Reconsidered --- p.48 / Chapter 3. --- A Many Splendoured Thing: Eurasian Perspective on Hong Kong --- p.51 / Chapter 3.1 --- Hybridity of Eurasians and Hong Kong Society --- p.52 / Chapter 3.2 --- Borrowed Time and Borrowed Space: The Ship that is Hong Kong --- p.55 / Chapter 3.3 --- Plurality: Cultural Identities in the Post-1949 Hong Kong --- p.58 / Conclusion --- p.60 / Chapter Chapter Three --- Hong Kong as Female --- p.61 / Chapter 1. --- The World of Suzie Wong: British Colonial Perspective on Hong Kong --- p.63 / Chapter 1.1 --- The Gaze at the Orient --- p.65 / Chapter 1.2 --- The Ambivalence of the Oriental Female --- p.70 / Chapter 1.3 --- Stereotype Reinscribed --- p.73 / Chapter 2. --- “Aloeswood Incense: The First Brazier“ --- p.75 / Chapter 2.1 --- Beyond the East and the West: Hybrid Social Environment --- p.76 / Chapter 2.2 --- The Individual Over the Collective: Female Desire --- p.79 / Chapter 2.3 --- Out of the Fairyland: Male-Female Relationship as a Prison House --- p.83 / Chapter 3. --- “Foggy Hong Kong --- p.85 / Chapter 3.1 --- Hong Kong Skies, Hong Kong Girls --- p.86 / Chapter 3.2 --- Corruption in Two Ways --- p.88 / Conclusion --- p.90 / Conclusion --- p.91 / WorksCited --- p.96 / Chapter Appendix I --- Translation of Chinese Names --- p.103

李淑文. / "2001年1月" / 論文 (哲學碩士)--香港中文大學, 2001. / 參考文獻 (leaves 114-121) / 附中英文摘要. / "2001 nian 1 yue" / Li Shuwen. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2001. / Can kao wen xian (leaves 114-121) / Fu Zhong Ying wen zhai yao. / 撮要 --- p.i / Abstract --- p.ii / 目錄 --- p.iv / Chapter 第一章 --- 導論 / Chapter 一´Ø --- 引言 --- p.1 / Chapter 二´Ø --- 硏究方法 --- p.4 / Chapter 三´Ø --- 六朝志怪的特性 --- p.6 / Chapter 1´Ø --- 志怪小說的內容 / Chapter 2´Ø --- 志怪小說的寫作手法 / Chapter 3´Ø --- 志怪小說的寫作動機 / Chapter 四´Ø --- 選擇《搜神記》的原因 --- p.14 / Chapter 1 ´Ø --- 從文學角度看 / Chapter 2´Ø --- 從內容看 / Chapter 五´Ø --- 本文結構與內容 --- p.16 / Chapter 第二章 --- 《搜神記》的成書與流傳 / Chapter 一´Ø --- 成書 --- p.18 / Chapter 1 ´Ø --- 資料來源 / Chapter 2´Ø --- 寫作目的 / Chapter 二 ´Ø --- 流傳 --- p.22 / Chapter 第三章 --- 《搜神記》中「死而復生故事」內容分析 --- p.30 / Chapter 一´Ø --- 死而復生的原因 --- p.32 / Chapter 1´Ø --- 被司命誤召 / Chapter 2´Ø --- 未當死 / Chapter 二´Ø --- 死而復生的詮釋 --- p.36 / Chapter 1´Ø --- 精誠所至 / Chapter 2´Ø --- 徵兆 / Chapter 三´Ø --- 死後的去處及生活 --- p.41 / Chapter 1´Ø --- 死後往天上及其生活 / Chapter 2´Ø --- 死後往泰山及其生活 / Chapter 第四章 --- 《搜神記》中「鬼故事」內容分析 --- p.47 / Chapter 一´Ø --- 鬼顯現的原因 --- p.50 / Chapter 1´Ø --- 死於非命 / Chapter 2´Ø --- 安葬不宜 / Chapter 3´Ø --- 未嫁而死 / Chapter 二´Ø --- 死後的去處及其生活 --- p.58 / Chapter 1 ´Ø --- 死後的去處 / Chapter 2 ´Ø --- 死後的生活 / Chapter 三´Ø --- 死者與生者的關係 --- p.60 / Chapter 第五章 --- 《搜神記》中死後世界的承傳與轉變 --- p.65 / Chapter 一´Ø --- 死而復生與漢代流行思想 --- p.67 / Chapter 二´Ø --- 《搜神記》中死後世界的承傳與轉變 --- p.74 / Chapter 1 ´Ø --- 死後的去處 / Chapter 2´Ø --- 死後世界的官僚架構組織 / Chapter 3´Ø --- 死後的生活 / Chapter 4´Ø --- 死者與生者的關係 / Chapter 第六章 --- 總結 --- p.109 / 參考書目 --- p.114

Orientador: Arnaldo Franco Junior / Banca: Lúcia Osana Zolin / Banca: Orlando Nunes Amorim / Resumo: 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 / Abstract: 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 / Mestre

楊帆. / "2011年11月". / "2011 nian 11 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 74-80). / Abstract in Chinese and English. / Yang Fan. / Chapter 第一章 --- 引言 / Chapter 第一節 --- 梅娘與淪陷區文學 / Chapter 第二節 --- 「言」與「不言」：淪陷區特殊的文學語境 / Chapter 第三節 --- 梅娘創作的兩難處境 / Chapter 第二章 --- 硏究目的及方法 / Chapter 第一節 --- 淪陷時期梅娘創作槪況 / Chapter 第二節 --- 淪陷時期梅娘硏究槪況 / Chapter 第三節 --- 新時期以來梅娘硏究情況 / Chapter 第四節 --- 本文硏究目的及方法 / Chapter 第三章 --- 梅娘小說中的戰火陰霾 / Chapter 第一節 --- 小引 / Chapter 第二節 --- 戰火陰霾的多重呈現方式 / Chapter 第三節 --- 戰火陰霾下的民族意識 / Chapter 第四節 --- 小結 / Chapter 第四章 --- 梅娘小說版本改編隱藏的政治態度和反戰意識 / Chapter 第一節 --- 小引 / Chapter 第二節 --- 〈蟹〉版本比較分析 / Chapter 第三節 --- 〈僑民〉版本比較分析 / Chapter 第四節 --- 小結 / Chapter 第五章 --- 梅娘小說對「五四」女性文學的回歸與創新 / Chapter 第一節 --- 小引 / Chapter 第二節 --- 從「出走」到「無路可走」 / Chapter 第三節 --- 敘事模式與身體慾望 / Chapter 第四節 --- 從「兩性婚戀」到「社會現實」 / Chapter 第五節 --- 小結 / Chapter 第六章 --- 總結 / 參考書目 / Chapter 附錄一： --- 九十年代以來梅娘作品集中〈蟹〉的版本 / Chapter 附錄二： --- 梅娘淪陷時期的創作經歷 / Chapter 附錄三： --- 梅娘創作資料整理 / Chapter 附錄四： --- 梅娘小說〈蟹〉1941年期刊版與1944年單行本版對比 / Chapter 附錄五： --- 梅娘小說〈蟹〉1944年單行本版與1997年修改版對比 / Chapter 附錄六： --- 梅娘小說〈僑民〉1941年期刊版與1998年修改版對比 / Chapter 附錄七： --- 梅娘小說各版本收入情況

Thesis (M. A. (English)) --University of the North, 1989 / Refer to the document

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The purpose of this study is to explore how the Arabic novel can and does challenge the conventional characterization of what constitutes constructive Middle East historiography. The thesis draws on a case study of undergraduate history course syllabi in order to highlight a number of crucial issues related to Arabic literature and the production of modern Middle East history. My analysis of the syllabi concludes that in general, Arabic novels in translation are part of a varied group of resources selected by a professor in order to complement the "official" histories provided by textbooks and government documents. The novel is deemed helpful because it often describes the "ordinary" or daily life of people. Also, the novel is presented as the contribution of an "indigenous voice" to the historical narrative.

The following paper will deal with the actantial place of memory and history in the works of Ge Fei, a so-called avant-garde writer in China. Analyzing his three major novels published in the nineteen-nineties, as well as an earlier short story, the paper will discuss how Ge Fei renegotiates the status and place of the literary subject as configured through the act of writing, and its close relationship with the medium of memory and history. Contrary to the prevailing opinion, the avant-garde experiment in Ge Fei's works does not intimate the dissipation of the subject, but rather assists in reconfiguring it in an entirely new and dynamic conceptualization. Instead of a figural e/End and vulgarization of literature in the nineties, Ge Fei's experimentation with the acts of writing and reading, as well as his play with language, open up new possibilities for the writing of new literatures in contemporary China.