No description available.

No description available.

吳太平. / Thesis (M.A.)--香港中文大學硏究院歷史學部. / Includes bibliographical references (p. 505-546). / Wu Taiping. / Thesis (M.A.)--Xianggang Zhong wen da xue yan jiu yuan li shi xue bu. / 緒論 --- p.1 / Chapter 第一章 --- 初期社會主義思潮之東傳（一八七○至一八九四年） --- p.9 / Chapter 第二章 --- 中國留日知識界的社會主義思潮（一八九五至一九一○年） --- p.25 / Chapter 第三章 --- 民國初年的社會主義思潮與日本之關係（一九一一至一九一七年） --- p.79 / Chapter 第四章 --- 俄國十月革命後中國社會主義思法之勃興與日本的關係（一九一八至一九二七年） --- p.110 / Chapter 第五章 --- 社會主義，民族主義與日本（一九二八至一九三七年） --- p.277 / 結論 --- p.369 / 註釋 --- p.374 / 書目 --- p.505

Thesis (M.Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1982. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Bibliography: p. 183-189. / by Mindy Beth Lehrman. / M.Arch.

No description available.

Cheng, Connie. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (p. 182-192). / Abstracts in English and Chinese ; appendix in Chinese. / Thesis / Assessment Committee --- p.i / Abstracts --- p.ii / Acknowledgements --- p.iv / "A Note on the Use of Chinese / Japanese Terms, Names, and Webpage Materials" --- p.V / Table of Contents --- p.vi / Chapter Chapter 1: --- Preface --- p.1 / Objectives and Significance --- p.4 / Issues to be Addressed --- p.5 / Methodologies --- p.10 / Structure of the Thesis --- p.12 / Chapter Chapter 2: --- The Rise of Japanese Pop Culture in Hong Kong - The 1980s --- p.15 / Japan's Economic Influences in Hong Kong --- p.15 / Japanese Popular Culture Boom in Hong Kong --- p.19 / Tourist Flows to Japan in the 1980s --- p.31 / Chapter Chapter 3: --- The Second Japanese Popular Culture Boom - The 1990s --- p.38 / The Change in Economic and Social Environment --- p.38 / Japanese Popular Culture Continues to Flourish --- p.40 / Japanese Pop Music (J-pop) --- p.40 / "Animation, Comic and Game (ACG)" --- p.42 / Japanese Television Dramas --- p.47 / Hong Kong Tourists to Japan and the Development of Cultural Pilgrimage --- p.56 / Chapter Chapter 4: --- The Age of Cultural Pilgrimage - the 2000s --- p.64 / Hong Kong People's Consumption of Japanese Products --- p.64 / Pop Songs --- p.64 / Television Dramas --- p.65 / ACG --- p.66 / Tours to Japan --- p.69 / Pop Culture Tourism and Cultural Pilgrimage --- p.75 / Governmental Strategies --- p.77 / Tour Agencies' Strategies --- p.87 / Self-guided Tourists --- p.91 / Chapter Chapter 5: --- Case Studies of Hong Kong Young People who Performed Cultural Pilgrimages to Japan --- p.112 / Case 1 --- p.113 / Case 2 --- p.117 / Case 3 --- p.121 / Case 4 --- p.125 / Case 5 --- p.129 / Case 6 --- p.135 / Case 7 --- p.138 / Case 8 --- p.142 / Case 9 --- p.146 / Case 10 --- p.149 / General Remarks --- p.154 / Chapter Chapter 6: --- Concluding Analysis --- p.157 / Chapter 1. --- Cultural Pilgrimage and the Cultural Identities of Hong Kong Young People --- p.158 / Chapter 2. --- The Impacts of the Rise of Pop Culture Tourism on Tourism --- p.162 / Chapter 3. --- Meanings of Cultural Pilgrimage to Fandom Study --- p.170 / Chapter 4. --- New Perspectives on the Understanding of Cultural Globalization --- p.173 / Chapter Appendix A - --- Survey Questionnaire --- p.178 / Chapter Appendix B - --- Interview Questions --- p.180 / Bibliography --- p.182

This thesis engages with Taiwanese history by offering a reading of Hou Hsiaohsien???s A City of Sadness (1989), making reference to the film???s historical dimensions, cultural representations and gender issues in the period 1945 to 1949. In addition, Hou???s cinematography is detailed with comparison to Yasujiro Ozu and the influences of Japanese colonisation. Hou???s immense contribution to Taiwanese film consists principally in a Taiwanese trilogy that traces Taiwan???s history in the 20th century. In The Puppet Master (1993) Hou details the era of Japanese colonisation from 1895 to the restoration of Taiwan by the Kuomintang in 1945. Later, A City of Sadness focuses on the fate of the Lin family from 1945 to 1949, which epitomises people???s life in Taiwan during the initial stages of Kuomintang domination. Finally, Good Men, Good Women (1995) highlights two different eras in Taiwan: the political movement in the 1950s and the pop culture in the 1990s. The thesis uses illustrations from all three films to explore Hou???s historical, cultural and gender representations. In order to understand Hou???s ideology and beliefs in greater depth, I also review his autobiographical film, A Time to Live, and A Time to Die (1985). This thesis examines Taiwan???s indigenous culture and the impact of Japanese and Chinese cultural practices in A City of Sadness through the post-colonial theories of Perry Anderson, Homi Bhabha, and Chris Berry. I draw on their theories of cultural hegemony and my empiricism to investigate Hou???s representation of the political situation in Taiwan. Finally, the thesis evaluates gender issues in A City of Sadness, with reference to Julia Kristeva???s notion of ???feminine time??? and the debate between Emilie Yeh and Mizou concerning ???whether women can really enter history???. In evaluating A City of Sadness I argue that Hou Hsiao-hsien???s use of a family???s microhistory to parallel the national macro-history of the February 28th Incident opens an important historical window through which the audience may re-encounter and reflect on Taiwan???s past, and think positively about its future.

This thesis engages with Taiwanese history by offering a reading of Hou Hsiaohsien???s A City of Sadness (1989), making reference to the film???s historical dimensions, cultural representations and gender issues in the period 1945 to 1949. In addition, Hou???s cinematography is detailed with comparison to Yasujiro Ozu and the influences of Japanese colonisation. Hou???s immense contribution to Taiwanese film consists principally in a Taiwanese trilogy that traces Taiwan???s history in the 20th century. In The Puppet Master (1993) Hou details the era of Japanese colonisation from 1895 to the restoration of Taiwan by the Kuomintang in 1945. Later, A City of Sadness focuses on the fate of the Lin family from 1945 to 1949, which epitomises people???s life in Taiwan during the initial stages of Kuomintang domination. Finally, Good Men, Good Women (1995) highlights two different eras in Taiwan: the political movement in the 1950s and the pop culture in the 1990s. The thesis uses illustrations from all three films to explore Hou???s historical, cultural and gender representations. In order to understand Hou???s ideology and beliefs in greater depth, I also review his autobiographical film, A Time to Live, and A Time to Die (1985). This thesis examines Taiwan???s indigenous culture and the impact of Japanese and Chinese cultural practices in A City of Sadness through the post-colonial theories of Perry Anderson, Homi Bhabha, and Chris Berry. I draw on their theories of cultural hegemony and my empiricism to investigate Hou???s representation of the political situation in Taiwan. Finally, the thesis evaluates gender issues in A City of Sadness, with reference to Julia Kristeva???s notion of ???feminine time??? and the debate between Emilie Yeh and Mizou concerning ???whether women can really enter history???. In evaluating A City of Sadness I argue that Hou Hsiao-hsien???s use of a family???s microhistory to parallel the national macro-history of the February 28th Incident opens an important historical window through which the audience may re-encounter and reflect on Taiwan???s past, and think positively about its future.

This thesis engages with Taiwanese history by offering a reading of Hou Hsiaohsien???s A City of Sadness (1989), making reference to the film???s historical dimensions, cultural representations and gender issues in the period 1945 to 1949. In addition, Hou???s cinematography is detailed with comparison to Yasujiro Ozu and the influences of Japanese colonisation. Hou???s immense contribution to Taiwanese film consists principally in a Taiwanese trilogy that traces Taiwan???s history in the 20th century. In The Puppet Master (1993) Hou details the era of Japanese colonisation from 1895 to the restoration of Taiwan by the Kuomintang in 1945. Later, A City of Sadness focuses on the fate of the Lin family from 1945 to 1949, which epitomises people???s life in Taiwan during the initial stages of Kuomintang domination. Finally, Good Men, Good Women (1995) highlights two different eras in Taiwan: the political movement in the 1950s and the pop culture in the 1990s. The thesis uses illustrations from all three films to explore Hou???s historical, cultural and gender representations. In order to understand Hou???s ideology and beliefs in greater depth, I also review his autobiographical film, A Time to Live, and A Time to Die (1985). This thesis examines Taiwan???s indigenous culture and the impact of Japanese and Chinese cultural practices in A City of Sadness through the post-colonial theories of Perry Anderson, Homi Bhabha, and Chris Berry. I draw on their theories of cultural hegemony and my empiricism to investigate Hou???s representation of the political situation in Taiwan. Finally, the thesis evaluates gender issues in A City of Sadness, with reference to Julia Kristeva???s notion of ???feminine time??? and the debate between Emilie Yeh and Mizou concerning ???whether women can really enter history???. In evaluating A City of Sadness I argue that Hou Hsiao-hsien???s use of a family???s microhistory to parallel the national macro-history of the February 28th Incident opens an important historical window through which the audience may re-encounter and reflect on Taiwan???s past, and think positively about its future.

This thesis engages with Taiwanese history by offering a reading of Hou Hsiaohsien???s A City of Sadness (1989), making reference to the film???s historical dimensions, cultural representations and gender issues in the period 1945 to 1949. In addition, Hou???s cinematography is detailed with comparison to Yasujiro Ozu and the influences of Japanese colonisation. Hou???s immense contribution to Taiwanese film consists principally in a Taiwanese trilogy that traces Taiwan???s history in the 20th century. In The Puppet Master (1993) Hou details the era of Japanese colonisation from 1895 to the restoration of Taiwan by the Kuomintang in 1945. Later, A City of Sadness focuses on the fate of the Lin family from 1945 to 1949, which epitomises people???s life in Taiwan during the initial stages of Kuomintang domination. Finally, Good Men, Good Women (1995) highlights two different eras in Taiwan: the political movement in the 1950s and the pop culture in the 1990s. The thesis uses illustrations from all three films to explore Hou???s historical, cultural and gender representations. In order to understand Hou???s ideology and beliefs in greater depth, I also review his autobiographical film, A Time to Live, and A Time to Die (1985). This thesis examines Taiwan???s indigenous culture and the impact of Japanese and Chinese cultural practices in A City of Sadness through the post-colonial theories of Perry Anderson, Homi Bhabha, and Chris Berry. I draw on their theories of cultural hegemony and my empiricism to investigate Hou???s representation of the political situation in Taiwan. Finally, the thesis evaluates gender issues in A City of Sadness, with reference to Julia Kristeva???s notion of ???feminine time??? and the debate between Emilie Yeh and Mizou concerning ???whether women can really enter history???. In evaluating A City of Sadness I argue that Hou Hsiao-hsien???s use of a family???s microhistory to parallel the national macro-history of the February 28th Incident opens an important historical window through which the audience may re-encounter and reflect on Taiwan???s past, and think positively about its future.