This thesis looks into the development of Songjiang School in the context of mutual interaction and networking among painters. It focuses on two phenomena. Firstly, it studies the interaction between Songjiang School painters and artists from various Jiangnan art centres. Secondly, it explores the artistic genealogy within the Songjiang School. It investigates the activities of individual Songjian School painters in particular, and the rise and decline of the entire Songjiang School in general. / Under the famous master literati Dong Qichang, Songjiang School painters broke new path in landscape painting, valuing moist ink tones at the expense of brush and ink. But even before Dong, Gu Zhenyi and Mo Shilong were already well known for their efforts in exploring new styles. Supported by brilliant art talent such as Chen Jiru, Zhao Zuo and Shen Shicong, Dong Qichang brought the Songjiang School to its zenith. However, it was also Dong Qichang who dug the grave for the School. As Dong's followers were mostly professional painters, they could not stand as equals to Literati connoisseurs. Some became Dong Qichang's ghost-painters at the expense of their artistic individuality, whereas others were trapped in the lower end of the art market. Consequently, the Songjiang School lost its vigor and prestige in the Qing dynasty. Only Dong Qichang, the leading master of the School, could dominate the literati painting scene. / With its economy revived after the suppression of the wako invasion in late Jiajing period (1522-1566), Songjiang quickly reassumed its dominant position in the art scene. Songjiang School painters became very self-conscious and proud of their own hometown. They succeeded in networking with connoisseurs in Zhejiang and Huizhou, and learning valuable lessons from the works of their Suzhou counterparts. Consequently, although both the Wu (Suzhou) and Songjiang Schools were descendents of the same literati painting tradition, the Songjiang School loomed large throughout the sixteenth and seventeenth centuries. The social prestige of some Songjiang literati certainly enhanced the success of the School. / 徐麗莎. / 呈交日期: 2005年8月. / 論文(哲學博士)--香港中文大學, 2005. / 參考文獻(p. i-x (2nd group)). / Cheng jiao ri qi: 2005 nian 8 yue. / Advisers: Jao Tsung-i; Harold Mok Kar-leung. / Source: Dissertation Abstracts International, Volume: 67-07, Section: A, page: 2355. / 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, 2005. / Can kao wen xian (p. i-x (2nd group)). / Xu Lisha.

戰後在海外發展的台灣獨立運動，藉由抨擊國民黨政府在台灣的施政、質疑關於台灣地位歸屬中國的論述，對國民黨政府統治台灣的「正當性」與「合法性」構成雙重挑戰。雖然國民黨政府在公開場合中，總是強調所謂的「台獨運動」不過是「一小撮人」的「荒謬主張」，是「分裂祖國」的「險惡陰謀」，這些從事台獨的運動者甚至被稱為「叛國者」；然而，海外台灣獨立運動在1960年代快速發展乃至1970年初，美國、日本、加拿大與歐洲等地台獨組織整合成立「世界台灣獨立聯盟」（World United Formosans for Independence，W.U.F.I），將海外台獨運動帶入另一波新階段卻也是不爭的事實，如此之發展自然非國民黨政府所樂見。在反對任何形式「台獨」的原則下，國民黨政府究竟採取怎樣的因應策略來「對付」此一情勢，便是值得深究的課題，而本文將集中探討美國台獨運動的案例。 本研究將利用各單位所典藏之「外交部檔案」，輔以海外台獨團體所發行的刊物、文宣、時人的回憶錄、口述訪談等資料，試圖以較系統性的方式探討國民黨政府如何從面對突發「海外台獨」案例後，開始摸索因應原則，進而在具體案件中實踐，事後檢討成效、修訂策略，又此歷程中反映出哪一些的侷限與挑戰，國民黨政府又是如何設法（或無法）克服或跨越，乃至確立一套因應機制，整合性地運用各種手法的過程。 本文透過分析一手史料並將視野置於「島外」，不僅為海外台獨運動的發展歷史提供一個「官方觀點」的面向，也為國民黨政府在台灣的統治機制提供一個更全面的觀點。 / By criticizing the KMT rule in Taiwan, questioning the claim about Taiwan being retroceded to China, overseas Taiwan Independence Movement brings double challenges to the KMT government in Taiwan. In public, the KMT government always claims that the so-called “Taiwan Independence Movement” is just an absurd proposition claimed by merely a handful of people as well as a malicious scheme to separate Taiwan from the motherland, and participants in Taiwan Independence Movement are labeled as“seditious elements’’. However, overseas Taiwan Independence Movement grew rapidly in the 1960s. In the early 1970s, groups in the United States, Japan, Canada and Europe worked together to establish the “World United Formosans for Independence’’ (W.U.F.I), which brought overseas Taiwan Independence Movement to a new stage, a fact the KMT government doesn’t want to face. The strategies the KMT government, opposing any type of“Taiwan independence”adopts in response to the situation is a topic deserving in-depth study, and this thesis will focus on the case of the United States. This thesis consults materials such as the archives of the Ministry of Foreign Affairs, magazines, oral materials, memoirs and reminiscences of those who were involved in Taiwan Independence Movement. It resorts to a more systematic methodology to explore how the KMT government faces the challenges that the overseas Taiwan Independence Movement brings about. It attempts to uncover the strategies the KMT government adopts in different stages in the process of dealing with various actions launched by the activists. By analyzing the primary sources and focusing its perspective on events "outside the island ", this thesis not only gives an “official perspective” on the development of the overseas Taiwan Independence Movement, but also provides a more comprehensive viewpoint about the ruling mechanism of the KMT government in Taiwan.

Aiming to make an intervention in both emerging Slow Cinema and classical Trauma Cinema scholarship, this thesis demonstrates the ways in which the post-trauma cinema of Filipino filmmaker Lav Diaz merges aesthetics of cinematic slowness with narratives of post-trauma in his films Melancholia (2008), Death in the Land of Encantos (2007) and Florentina Hubaldo, CTE (2012). Diaz has been repeatedly considered as representative of what Jonathan Romney termed in 2004 “Slow Cinema”. The director uses cinematic slowness for an alternative approach to an on-screen representation of post-trauma. Contrary to popular trauma cinema, Diaz’s portrait of individual and collective trauma focuses not on the instantenaeity but on the duration of trauma. In considering trauma as a condition and not as an event, Diaz challenges the standard aesthetical techniques used in contemporary Trauma Cinema, as highlighted by Janet Walker (2001, 2005), Susannah Radstone (2001), Roger Luckhurst (2008) and others. Diaz’s films focus instead on trauma’s latency period, the depletion of a survivor’s resources, and a character’s slow psychological breakdown. Slow Cinema scholarship has so far focused largely on the films’ aesthetics and their alleged opposition to mainstream cinema. Little work has been done in connecting the films’ form to their content. Furthermore, Trauma Cinema scholarship, as trauma films themselves, has been based on the immediate and most radical signs of post-trauma, which are characterised by instantaneity; flashbacks, sudden fears of death and sensorial overstimulation. Following Lutz Koepnick’s argument that slowness offers “intriguing perspectives” (Koepnick, 2014: 191) on how trauma can be represented in art, this thesis seeks to consider the equally important aspects of trauma duration, trauma’s latency period and the slow development of characteristic symptoms. With the present work, I expand on current notions of Trauma Cinema, which places emphasis on speed and the unpredictability of intrusive memories. Furthermore, I aim to broaden the area of Slow Cinema studies, which has so far been largely focused on the films’ respective aesthetics, by bridging form and content of the films under investigation. Rather than seeing Diaz’s slow films in isolation as a phenomenon of Slow Cinema, I seek to connect them to the existing scholarship of Trauma Cinema studies, thereby opening up a reading of his films.