Thesis (M.A.)--University of Hong Kong, 1987. / Also available in print.

Thesis (Ph. D.)--Hong Kong Baptist University, 2005. / Thesis submitted to the Dept. of Chinese Language and Literature. Includes bibliographical references (leaves 176-199).

<div> <p> This dissertation examines medical representations, or what I call “fiction medicine,” in post-1949 Chinese literature and film. It is not uncommon to evaluate whether medical facts are scientifically portrayed in literary and cinematic works. Insightful and reasonable as this method is, the interpretation of relevant descriptions from a single medical perspective tends to exclude what may be labeled as misrepresentations from scholarly attention. Therefore, without judging the value of fiction medicine in accordance with scientific standards, this dissertation analyzes how and why medical (mis)representations are formed in the way they are shown, which allows me to unearth those factors, such as politics, international relations, ideology, and the like, that exert considerable influence on the construction of medical landscape in cultural works. </p> <p> By exploring the interaction between representations and medicine under the Chinese revolutionary context, I argue that during the socialist period (1949-78), while revolutionary concerns tightly regulated the writing of fiction medicine to consolidate the Chinese Communist Party (CCP)’s rule, the production of fiction medicine was not always monolithic, containing tensions and even resistances against the prevailing ideology. I also argue that, after 1978, although socialist fiction medicine was deconstructed in many ways, some remnants of its legacies have kept influencing contemporary literary and cinematic imaginations. Based on my main arguments, I will further explore why some socialist legacies were preserved and remained influential while others were abandoned as reminders of the past. I suggest that this phenomenon was highly related to the shifting goals of the Chinese Communist Party (CCP) in the post-1978 political, ideological, and economic reorientation.</p> </div> <br>

This thesis seeks to map out the development of literary modernism in the 1930s and 1980s People's Republic of China (PRC). Despite the long temporal halt, these two periods are innately and historically related to each other. Much as Chinese literary modernism was a literary legacy of Western modernism, its decades-long development provided it with the conditions for a second life. When it reemerged in the 1980s, it bore unique national characteristics that, in turn, enriched the realm of global modernism. In short, the distinct historical and national context of the twentieth century China dictated that Chinese literary modernism could not be a mechanical reproduction of its Western counterpart. The importation and translation of Western modernist creative and critical works, together with the modernist practices of modern Chinese intellectuals, contributed to the formation and rise of modernist literature in the 1930s, as well as its revival in the 1980s PRC. Structurally, this thesis identifies three localities of global modernism in the works and literary theory of Fei Ming, Mu Dan, and Wang Zengqi. It argues that these writers' modernist practices and distinct writing styles not only represented the characteristics of Chinese literary modernism, but also added diversities to modernist literature in the global context. Methodologically, I pair the Chinese modernists with their Western counterparts, including Virginia Woolf and T.S. Eliot. This comparison helps to find similarities between modernist works across time and place, and to identify the unique features of Chinese literary modernism. In practice, when studying the three modernists' first encounters with literary modernism in Republican China, as well as their respective experience in the PRC, I seek to (i) present three modes of initiation of literary modernism at the beginning of the twentieth century; (ii) trace the development of literary modernism both in the republican era and its revival in the PRC; (iii) show the process of Chinese literary modernism growing its distinct characteristics and evidence its second life. In short, Chinese modernists' participation in the building of global modernism and their contributions to the enrichment of literary modernism in the global context are two foci of my thesis. In the final analysis, this thesis engages research on Chinese literary postmodernism. No matter the literary movement's status in the PRC, then and now, how and why it differs from the development of postmodernism in Western literature and culture are valuable research questions.

No description available.

The opportunities created by the end of the Mao Era and legislature promoting the rights of African Americans and women in the mid-twentieth century allowed women of both cultures to break further into the literary scene and negotiate their own sense of agency through their work. Although Western feminism also grew rapidly throughout this period, its ethnocentric centering of gender prevented it from being a reliable lens with which to analyze the work of Chinese and African American women who experienced issues of race, class, and gender simultaneously. This caused Western feminists to evaluate the work of Chinese and African American women from a perspective of privilege and misrepresented the cultural, social, and political influences that impacted their agency. Thus, this paper seeks to evaluate the effectiveness of the intersectional paradigm as a comparative lens with which to analyze the construction of female characters in mid-twentieth century Chinese and African American fiction in place of a Western feminist lens. To this effect, it will apply the intersectional lens to Toni Morrison's Sula (1973) and Wang Anyi's Song of Everlasting Sorrow (2008) specifically, to determine how this research paradigm can be used to reveal the identities the female protagonists construct and their opportunities for agency. This paper hopes to increase discourse on the applications of intersectionality in literature as a tool for better understanding the literature of women of color.

Thesis (D.A.)--Illinois State University, 1993. / Title from title page screen, viewed February 21, 2006. Dissertation Committee: Ray Lewis White (chair), William Bohn, Irene Brosnahan, Douglas Hesse, Curtis White. Includes bibliographical references and abstract. Also available in print.

Vít Ulman Reflection of Changes in Japanese-Chinese Cultural Relations in Shōkenkō and Bingashū Anthologies Abstract The main topic of this master thesis is the change in the approach to Chinese culture of Japanese medieval monk-poets as seen through the Bingashu and Shokenko anthologies written by the abbots Sesson Yubai and Zekkai Chushin. This work contains their short biographies. However, the main part of this thesis consists of an analysis of their representative poems.

Thesis (Ph.D.)--University of California, Berkeley, 2002. / Includes bibliographical references (p. 217-227).