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.

中國歷史上屢有異邦人士親身踏訪禹域，其中不乏有心之人將見聞感受付諸紙筆，撰文紀行。考慮到此類材料的政治意涵與文類屬性，本文採用「中國行紀」的概念指稱明治時代日本人結合親身踏訪禹域體驗撰寫的紀行文字。本文討論之日本明治（1868-1912）在時段上與中國晚清大致相當。不到五十年裏，兩國都經歷了翻天覆地但又截然相反的變動。也就是說，在日本不斷進步、日趨興盛的同時，中國卻世風日下，走向衰頹。一百多年前日本漢學者的中國行紀從異域鄰人的角度爲今人理解與進入晚清提供了嶄新的研究視角。 / 有關明治漢文中國行紀的先行研究側重於中日政治關係的歷史描繪，對兩國知識人士之間文化交流與知識轉型方面的價值則有待繼續討論。本文將集中討論被視為明治三大漢文中國行紀的竹添進一郎《棧雲峽雨日記》、岡千仞《觀光紀游》與山本憲《燕山楚水紀遊》。它們分別代表了明治前期、中期與後期日本人對中國的旅行書寫，顯示出日本漢文中國行紀逐漸走向盡頭的趨勢。上述三書不僅影響到許多同代及其後大正、昭和時期的中國行紀，而且行紀文體的親歷性與權威性也使其對於近代日本人中國認識的轉變與形塑起到潛移默化的作用。三位作者都是受到過傳統舊式教育的漢學者，通過寫作傳達出親歷中國後想像與現實的落差，又以文學家的筆調記錄了晚清社會政治與士民生活的方方面面，在近代中日文化交流與知識轉型上扮演了重要角色。筆者將以漢文筆談為切入點，討論近代中日知識人士圍繞文化交流、知識轉型、文士往來與書籍酬贈等重要議題展開的交際與互動。本文期望通過勾稽相關文獻史料，回歸晚清歷史語境，藉助異域之眼反躬自省。 / In Chinese history, there were always overseas people travelling to China, including Japanese sinologists, many of whom had recorded their impressions of China by composing travelogues. Considering the political implication and the genre application of this kind of materials, this research adopts the term "travelogues about China" to generalize all these records. The time period to be discussed in this research project is the whole Meiji era, namely, from 1868 to 1912, less than half a century, corresponding roughly to the late Qing period. These two countries had undergone tremendous but reversed revolutions during this period. That is to say, when Japan made progress everyday, China, on the other hand, was in an apparent state of decline. Travelogues about China 150 years ago provide people nowadays with a new research angle to comprehend and enter the late Qing history from Japanese sinologists’ perspectives. / Previous research about on Japanese travelogues about China in Chinese during the Meiji Period focused on historical descriptions of Sino-Japanese political relationships, however, the value of cultural exchange and transformation of knowledge between literary elites from both of these two countries remain to be discussed. This research plans to focus on Takezoe Shin’ichirō’s San’un Kyōu Nikki (A Diary of Clouds Hanging between the Mountains and Rain in the Ravines), Oka Senjin’s Kanko Kiyū (Travel Reports for Sightseeing) and Yamamoto Ken’s Enzan Sosui Kiyū (Travel Reports for the Mountains of North China and the Rivers of South China), which were regarded as the three most representative Japanese travelogues about China in Chinese. Respectively, they represented Japanese travel writing about China in the early, the middle and the late Meiji period and indicated that the ending of the traditional Japanese travelogues about China in Chinese was approaching. In addition, they also had a profound impact on the following Japanese travel literature about China. The genre of travelogue also exercised an invisible and formative influence on Japanese views of China in the modern era. All of these three sinologists were educated in the old style and had deep backgrounds of traditional Chinese learning. Through writing, they expressed the distance between imagination and reality after experiencing China for themselves, and various recorded aspects of the late Qing’s social politics and civil life. They played an important role in modern Sino-Japanese cultural exchange and transformation of knowledge. It will also discuss modern Sino-Japanese literati cultural and book exchange, transformation of knowledge and other issues centered on the practice of conversations by writing Chinese. This research hopes to return to the late Qing and reflect on China through its neighbors’ perspectives. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Parallel title from added title page. / Thesis (Ph.D.) Chinese University of Hong Kong, 2015. / Includes bibliographical references (leaves 291-339). / Abstracts also in English.

田漢（1898-1968）是中國現代文學的重要劇作家之一。他亦以電影劇本作家、戲曲作家、詩人、小說家、散文家、翻譯家、歌詞作家、文學評論家和社會活動家知名於世。田漢雖在文學史上有著舉足輕重的地位，其研究卻長期受到政治因素制約。新時期以來，田漢研究轉趨活躍，但論者多從比較文學的角度分析其作品。本論文希望從田漢在日本大正時期留學的經歷，考察其早期藝術生命之形成。 / 大正時期，日本在經濟、文化、社會價值觀各方面都有著激烈變動，「兩性解放」為其時代精神，「新女性」的話題非常盛行。論者雖然大多留意到女性角色和婚戀議題在田漢早期作品的重要，但甚少提及田漢留日時期的經歷與其作品的關係。田漢是中國留日學生，早在日本時期即已開展話劇創作。除對外國文學的接受外，田漢實際上亦受到日本化的西方思想、運動和生活方式，例如女性解放理論、劇場運動和咖啡店文化所影響，而這些影響更以不同方式滲透到其早期作品中。本論文旨在闡述這些因素在田漢早期創作生命中所起的作用，尤其是他對女性和婚戀議題的思考和取態。本論文的研究範圍涵括田漢在二十世紀二十年代的整個創作歷程。 / 本論文共分五章，內容如下：第一章為導論，簡介田漢研究的情況、本論文的研究範圍、目的和方法。第二章至第四章討論大正時期不同的社會文化因素與田漢早期作品的關係。第二章考察田漢早期作品對日本大正時期女性解放理論的接受和轉化，以及田漢對當時社會戀愛事件的評價。第三章闡述藝術座的新劇運動，以及其創立人島村抱月和松井須磨子的戀愛事跡對田漢早期創作生命的影響。第四章從大正時代的咖啡店文化出發，分析田漢一系列不同文類、以咖啡店女侍為主角的早期作品。第五章為總結。 / Tian Han (1898-1968) is one of the most prominent dramatists of modern Chinese literature. He is also renowned as a film scriptwriter, xiqu (traditional Chinese drama) writer, poet, novelist, proser, translator, lyricist, literary critic and social activist. Nevertheless, the study of Tian had long been at a standstill due to political reasons. Since the 1980s, most of the researches have been conducted from the approach of comparative literature. This thesis, however, traces the development of Tian’s literary life by examining his experiences in Japan during the Taisho Period. / During the Taisho Period, Japan experienced tremendous changes in economy, culture and social values, with “sex liberation considered as the zeitgeist and “new women as a popular issue. Many scholars have discussed the significance of female characters and the theme of “love and marriage in Tian’s early works, but they seldom mentioned the influences by Tian’s experiences in Japan. Tian, as a returned Chinese student, had started his playwright career in Japan. Apart from the reception of western literature, Tian was also influenced by the “Japanized western thoughts, movements and lifestyle, such as feminist theories, theatre movements and café culture, which had penetrated his early works in different ways. With the focus on Tian’s literary works during the 1920s, this thesis aims at demonstrating the influences of these factors on Tian’s early writing career, particularly in studying Tian’s unique viewpoints and attitudes towards women, love and marriage. / This thesis is divided into five chapters. Chapter One gives an introduction on the background, scope, objectives and methodology of this study. Chapter Two to Chapter Four discuss the relationship between the social-cultural factors of the Taisho Period and Tian’s early works. Chapter Two examines the reception and transformation of feminist theories in Tian’s early works, as well as Tian’s evaluation towards the romance anecdotes in the Taisho Period. Chapter Three describes the importance of the Geijutsu-za theatre troupe in shingeki (new drama) movement and the love story of its founders, Hogetsu Shimamura and Sumako Matsui, on Tian’s early literary life. Chapter Four analyzes Tian’s early works of different genres featuring café waitresses with the exploration of the café culture in the Taisho Period. Chapter Five concludes the study. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 盧敏芝. / "2012年8月". / "2012 nian 8 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 135-144). / Abstract in Chinese and English. / Lu Minzhi. / Chapter 第一章 --- 導論 --- p.1 / Chapter 第一節 --- 小引 --- p.1 / Chapter 第二節 --- 田漢研究綜述 --- p.2 / Chapter 一 --- 田漢早期生平簡介 --- p.3 / Chapter 二 --- 田漢研究概況 --- p.6 / Chapter 第三節 --- 本論文之研究目的 --- p.9 / Chapter 一 --- 提出田漢研究的新角度 --- p.9 / Chapter 二 --- 重視日本因素在田漢研究中的角色 --- p.10 / Chapter 三 --- 重新探究田漢早期作品中的女性婚戀議題 --- p.12 / Chapter 第四節 --- 本論文之研究方法 --- p.15 / Chapter 第五節 --- 小結 --- p.19 / Chapter 第二章 --- 田漢與日本大正時期之女性解放思潮 --- p.20 / Chapter 第一節 --- 小引 --- p.20 / Chapter 第二節 --- 田漢對日本大正時期女性解放理論之引介 --- p.21 / Chapter 一 --- 〈秘密戀愛與公開戀愛〉 --- p.22 / Chapter 二 --- 〈第四階級的婦人運動〉 --- p.25 / Chapter 三 --- 〈吃了「智果」以後的話〉 --- p.26 / Chapter 四 --- 田漢對日本大正時期女性解放思想的取捨與評價 --- p.30 / Chapter 第三節 --- 日本大正時期的女性解放理論與田漢的早期劇作 --- p.36 / Chapter 一 --- 田漢早期劇作對愛倫．凱「新性道德」論的借鑑 --- p.36 / Chapter 二 --- 田漢早期劇作對社會主義女性解放理論的借鑑 --- p.40 / Chapter 三 --- 田漢早期劇作對女權運動的批評 --- p.45 / Chapter 第四節 --- 《薔薇之路》對日本大正時期戀愛事件的記述和評論 --- p.48 / Chapter 一 --- 「大正三美人」事件 --- p.51 / Chapter 二 --- 男性戀愛醜聞 --- p.56 / Chapter 三 --- 日本大正時期社會婚戀事件對田漢的啟示 --- p.58 / Chapter 第五節 --- 小結 --- p.59 / Chapter 第三章 --- 藝術座的新劇運動與田漢對女性議題的探討 --- p.60 / Chapter 第一節 --- 小引 --- p.60 / Chapter 第二節 --- 日本的新劇運動 --- p.61 / Chapter 第三節 --- 藝術座與田漢 --- p.63 / Chapter 一 --- 藝術座 島村抱月 松井須磨子 --- p.63 / Chapter 二 --- 田漢對松井須磨子的引介和接受 --- p.66 / Chapter 三 --- 田漢對藝術座的觀演經驗與女性解放議題 --- p.68 / Chapter 第四節 --- 藝術座對田漢早期戲劇生涯的影響 --- p.75 / Chapter 一 --- 田漢的早期話劇創作 --- p.76 / Chapter 二 --- 翻譯與改編 --- p.87 / Chapter 三 --- 對易卜生戲劇的研究 --- p.93 / Chapter 四 --- 女演員的培育 --- p.95 / Chapter 第五節 --- 小結 --- p.98 / Chapter 第四章 --- 日本大正時期之咖啡店文化與田漢筆下的「新女性」 --- p.99 / Chapter 第一節 --- 小引 --- p.99 / Chapter 第二節 --- 日本大正時期的咖啡店文化 --- p.100 / Chapter 第三節 --- 田漢與日本咖啡店的因緣 --- p.103 / Chapter 第四節 --- 《咖啡店之一夜》中的咖啡店與都市 客與女侍 --- p.110 / Chapter 第五節 --- 《到民間去》中咖啡店情節的消退 --- p.118 / Chapter 第六節 --- 小結及餘論 --- p.125 / Chapter 第五章 --- 總結及餘論 --- p.129 / Chapter 第一節 --- 小引 --- p.129 / Chapter 第二節 --- 本文研究總結 --- p.129 / Chapter 第三節 --- 餘論：田漢早期劇作中的「新女性」與三十年代的轉向 --- p.131 / Chapter 第四節 --- 小結 --- p.133 / p.135 / Chapter 附錄一 --- ：田漢於少年中國學會刊物發表作品 --- p.145 / Chapter 附錄二 --- ：田漢在日期間觀劇資料 --- p.152

This thesis illustrates a general sense of national identity within the Taiwanese people brought on by the Kuomintang (KMT) and existing throughout the KMT's reign over the island, and contrasts this with the new identity that came to exist in the post-KMT period. Comparisons are centered around two works of literature: Sayonara, Zaijian!, written in 1979 by Chunming Huang, and My Diary of Japanomania, written in 1999 by Hari Xingzi. Louis Althusser's view of history-based on structural materialism, complexity and overdetermination---will be employed to discuss and explain the contrast between Sayonara, Zaijian! and My Diary of Japanomania in order to discover how national subject is formed and how it interacts within ideology.

Given the diversity found in today's Japanese culture and the size of the country's population, it is easy to see why the understanding of Japanese wind band repertoire must be multi-faceted. Alongside Western elements, many Japanese composers have intentionally sought to maintain their cultural identity through the addition of Japanese musical elements or concepts. These added elements provide a historical and cultural context from which to frame a composition or, in some cases, a composer's compositional output. The employment of these elements serve as a means to categorize the Japanese wind band repertoire. In his studies on cultural identities found in Japanese music, Gordon Matthews suggests there are three genres found within Japanese culture. He explains these as "senses of 'Japaneseness' among Japanese musicians." They include Fence, Flavor, and Phantasm. Bringing a new perspective to the idea of Japanese influence, I trace the implementation of these facets of Japanese music through the wind band music of Japanese composers. I demonstrate that Japanese wind band genres are the result of a combination of Japanese musical elements and Western influence and argue that the varying levels of this combination, balanced with historical and cultural context, create three distinct genres within the Japanese wind band repertoire.

No description available.

Wong, Ching Wa Alana. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2007. / Includes bibliographical references (leaves 123-128). / Abstracts in English and Chinese. / Abstract --- p.i / Acknowledgements --- p.iii / Chapter Chapter One: --- Introduction --- p.1 / Chapter 1.1 --- Overview --- p.1 / Chapter 1.1.1 --- Objectives --- p.1 / Chapter 1.1.2 --- Who are fashionable Hong Kong young men? --- p.3 / Chapter 1.1.3 --- Significance and Setting --- p.5 / Chapter 1.2 --- Literature Review --- p.7 / Chapter 1.2.1 --- Changing masculinity in postindustrial society --- p.7 / Chapter 1.2.2 --- Beauty used to be associated with women --- p.10 / Chapter 1.2.3 --- Beauty has become part of masculinity --- p.12 / Chapter 1.2.4 --- Hong Kong's changing masculinity --- p.16 / Chapter 1.3 --- Methodology --- p.18 / Chapter 1.3.1 --- Media survey --- p.18 / Chapter 1.3.2 --- In-depth interviews --- p.20 / Chapter 1.4 --- Structure of the thesis --- p.22 / Chapter Chapter Two: --- Changing Perception of Masculinity in Hong Kong: Dominant and Alternative --- p.24 / Chapter 2.1 --- Introduction --- p.24 / Chapter 2.2 --- Meanings of Chinese masculinity --- p.24 / Chapter 2.3 --- Dominant perception of masculinity in Hong Kong --- p.26 / Chapter 2.4 --- Beauty becomes part of masculinity in Hong Kong --- p.28 / Chapter 2.4.1 --- Male beauty contest on television --- p.29 / Chapter 2.4.2 --- Hong Kong men's opinions on men's beauty --- p.32 / Chapter 2.4.2.1 --- Appearance is important for men --- p.33 / Chapter 2.4.2.2 --- Concern for appearance cannot be publicly admitted --- p.37 / Chapter 2.5 --- Conclusion: Caring for beauty is becoming part of masculinity --- p.40 / Chapter Chapter Three: --- Men's beauty in magazines in Hong Kong --- p.42 / Chapter 3.1 --- Introduction --- p.42 / Chapter 3.2 --- Magazines in Hong Kong --- p.43 / Chapter 3.2.1 --- Youth and gossip magazines --- p.43 / Chapter 3.2.2 --- Japanese male fashion magazines --- p.44 / Chapter 3.2.3 --- Men's lifestyle magazines --- p.45 / Chapter 3.3 --- Men's images in these three types of magazines --- p.45 / Chapter 3.3.1 --- Over- emphasis of Japaneseness: Youth and gossip magazines --- p.46 / Chapter 3.3.2 --- Authentic Japanese style?: Japanese male fashion magazines --- p.51 / Chapter 3.3.3 --- High class men: Men's lifestyle magazines --- p.54 / Chapter 3.4 --- Men's images in magazines in Hong Kong: wen or wu? --- p.59 / Chapter 3.5 --- Conclusion: Beauty has become increasingly important for men in Hong Kong --- p.62 / Chapter Chapter Four: --- "Relationship between ""Japan"" and men's beauty in Hong Kong" --- p.64 / Chapter 4.1 --- Introduction --- p.64 / Chapter 4.2 --- "The meaning and common beliefs about ""Japan"" in Hong Kong" --- p.65 / Chapter 4.2.1 --- Japan as work: Hair stylists and fashion designers --- p.66 / Chapter 4.2.1.1 --- Hair stylist assistants --- p.66 / Chapter 4.2.1.2 --- Fashion designers --- p.70 / Chapter 4.2.2 --- """Japan"" as leading fashion trends" --- p.73 / Chapter 4.2.2.1 --- "To be ""cool"" means to learn from Japan" --- p.73 / Chapter 4.2.2.2 --- Japan is the best --- p.77 / Chapter 4.3 --- "The influence of ""Japan"" on men's beauty" --- p.80 / Chapter 4.3.1 --- Awareness of Japan --- p.80 / Chapter 4.3.1.1 --- Hong Kong men who deliberately choose Japanized beauty practices --- p.80 / Chapter 4.3.1.1.1 --- Hong Kong men who have long term experiences in Japan --- p.80 / Chapter 4.3.1.1.2 --- Band members --- p.82 / Chapter 4.3.1.2 --- """Japan"" offers an alternative" --- p.83 / Chapter 4.3.2 --- Taken-for-Granted Japanese Influences --- p.84 / Chapter 4.3.2.1 --- The daily beauty practices: Japanese influences are invisible --- p.84 / Chapter 4.3.2.1.1 --- "No ""Japanese"" hair style" --- p.85 / Chapter 4.3.2.1.2 --- "No ""Japanese"" clothing styles" --- p.86 / Chapter 4.3.2.2 --- """Japan"" mixes with Hong Kong" --- p.88 / Chapter 4.3.3 --- Special cases --- p.90 / Chapter 4.4 --- Abandonment of Japanized beauty practices --- p.92 / Chapter 4.5 --- "Conclusion: ""Japan"" represents a temporarily attractive life for men" --- p.93 / Chapter Chapter Five: --- Negotiation with Women: Fashionable Hong Kong Young Men's Beauty Ideals --- p.95 / Chapter 5.1 --- Introduction --- p.95 / Chapter 5.2 --- "Women's ""gaze"" in the male beauty contest" --- p.96 / Chapter 5.3 --- The use of women in encouraging men's beauty in Hong Kong magazines --- p.97 / Chapter 5.4 --- Hong Kong men's masculinity: we listen and obey women's orders --- p.104 / Chapter 5.5 --- Conclusion: Fashionable Hong Kong young men's beauty practices are influenced by women --- p.109 / Chapter Chapter Six: --- Conclusion --- p.111 / Chapter 6.1 --- Conclusion --- p.111 / Chapter 6.2 --- A Review: Men's beauty as an alternative masculinity in Hong Kong --- p.111 / Chapter 6.2.1 --- Hong Kong men need to care about appearance --- p.112 / Chapter 6.2.2 --- "Japanized beauty practices can make men look ""cool"" and trendy" --- p.114 / Chapter 6.2.3 --- Men listen and obey women's orders on beauty practices --- p.116 / Chapter 6.2.4 --- "After all, career achievement and earning ability are more important" --- p.118 / Chapter 6.3 --- Conclusion: Limitations and self reflections --- p.120 / References --- p.123