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by Yu Kwan Wai. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1990. / Bibliography: leaves [146]-[159] / INTRODUCTION His/ Her/ My Story --- p.1 / Chapter CHAPTER ONE --- Feminist Criticism: An Overview --- p.3 / Chapter CHAPTER TWO --- Moving in an Institutional Space --- p.63 / Chapter CHAPTER THREE --- Feminist Criticism: Possibilities and Strategies --- p.118 / WORKS CITED / APPENDIX Some Current Journals and Magazines Publishing / Feminist Criticism

區凱琳. / "2004年6月". / 論文(藝術碩士)--香港中文大學, 2004. / 參考文獻 (leaves 56). / 附中英文摘要. / "2004 nian 6 yue". / Ou Kailin. / Lun wen (yi shu shuo shi)--Xianggang Zhong wen da xue, 2004. / Can kao wen xian (leaves 56). / Fu Zhong Ying wen zhai yao. / Chapter 一 --- 本事 --- p.1 / Chapter 1.1 --- 相刃相靡與肉身備忘錄 / Chapter 1.2 --- 藝術創作與藝術論述 / Chapter 二 --- 個人的座標 --- p.9 / Chapter 2.1 --- 藝術創作與日常生活 / Chapter 2.2 --- 個體痕跡與自身技術 / Chapter 2.3 --- 詮釋以外的寧靜 / Chapter 三 --- 手藝的故事 --- p.23 / Chapter 3.1 --- 非如此不可 / Chapter 3.2 --- 同是手藝人 / Chapter 3.3 --- 手藝的充盈 / Chapter 3.4 --- 時間與知識 / Chapter 3.5 --- 自身的書寫 / Chapter 四 --- 桎梏與逍遙(結論） --- p.51 / 參考書目 --- p.56 / 圖片來源 --- p.57

in the follovina pages I have set out to discover what English critics of the nineteenth century thought of the works of Victor Hugo* It has not been my intention to study the extent to which the general public of the period were acquainted with his works either directly or through the medium of translations but to confine myself to an enquiry into the reactions of the more cultivated minds of the century to the writings of the great Frenchman. Indeed it would be futile to consider the influence of the works of Hugo on the English public generally, during the nineteenth century for they had none. The Poetical works were in many cases not made available to them until years after their original publications and even then only a small minority would be able to read them. There were some translations of the poems, e.g. Reynold's "Songs of Twilight" ("Les Chants du Crepuscule") but the translations were Inevitably but a poor shadow of the original. There were several adaptations of the plays but as I have shown in a previous thesis "Victor Hugo on the English Stage, most of them bore little resemblance except in plot to the original work., In rmany cases the public did not even know nor were they always told, that the piece was founded on a drama by Hugo. The novels, of course were much more widely read by the general public and numerous translations were made, but in most instances English versions were reduced to an exalting story the ethical and Sociological purpose of the work being forgotten The works of Hugo were however read and studied by a large number of eminent English critics of the nineteenth century, Numerous quotations will be found from the articles of such men as H. Southerns, G. Moir, G.H. Lewes, J.H. McCarthy, G. Colvin, A.C. Swinburne, E. Dowden, J. Morley, R.L. Stevenson, Roden Noel, F.W.H. Myers, Matthew Arnold, W.H. Pollock, G. Saintsbury, C. Vaughan, W.E. Henley, Mrs Oliphant, G.B. Smith, J. Cappon, P.T. Marzials, R. Buchanan, J. Forster and J.P. Nichol. These men among others made a definite attempt to evaluate the works of Hugo, and their opinions are worth studying as giving a clue to 'the attitude adopted by the more enlightened. literary minds of the century towards the work of Hugo This I have attempted to do, and in doing It Ihave incorporated into the text the exact words of the critics in the form of quotations in the belief that this is the best way of presenting a true and clear picture of English opinions of Hug's works during the period under survey. In the Preface to her book "English opinions of French Poets (1660,. 1750)" in which she sets out to do in a general way for the late seventeen and early eighteenth centuries what I have tried to do in a more particular way for the nineteenth. Miss R.H H Wollstein writes as follows: It is the judgment of this time that is the subject of our study and the Individual opinions that form it must be left to speak for themselves, I have therefore collected such opinions as are Important for our purpose*" This seems to me to be the most scientific method in dealing with the subject, and absolves the writer from any possible charge of tampering with the evidence. In order to make the narrative more continuous and to avoid breaks in the thread of the argument It ls sometimes tempting to state ones conclusions and to leave the reader to sift the evidence for himself. I have sedulously avoided doing this In the belief that in a work of this kind accuracy Is of the utmost importance* The method I have adopted in treating the subject Is to take each of the works of Hugo, poetry, drama, novels, miscellaneous prose works, and to study the reactions of the critics to each separate work drawing together in a final chapter the conclusions to which these separate studies have brought me. In presenting the material I have usually preferred to study each facet of the problem in turn stating one side of the case before proceeding to a consideration of the other. I have thus brought together all the unfavourable criticism of a work before presenting the favourable criticisms. In this way I believe a better picture can be drawn of the general reactions. to the works. In the case of the smaller works where the amount of evidence is restricted, I have sometimes used the chronological method as being the most satisfactory. As the present work purports to be a study of Hugo in the light of English criticism and opinion I have taken no account of the many French critics who during the nineteenth century, contributed articles on Hugo to English journals. One of tha first Critics to introduce Hugo to the English was Stendhal in the "London and "New Monthly' magazines. Other French critics whose names will not be found in the present survey are Gabriel Honods Jules Janin, D. Nisards, Camille Barrero, H. Ceard, Paul Bourget Their opinions are Interesting especially those of Stendhal who gave Hugo a very unfavourable start in England, but do not fall within the scope of the present works.

Thesis (Ph.D.)--Boston University / The original purpose of the dissertation was to settle as closely as possible by philological means the question of date and place of the Macro Castle of Perseverance. However, in the initial stages of the study it was discovered that the play had undergone some redactions before it was written down in the Macro version. The purpose then became twofold: to separate the redactions from the original part of the play and study them for any light they might throw not only on The Castle of Perseverance but also on the evolution of the morality itself as a dramatic form; and to settle the problem of date and place of the redacted portions as well as of the original. The redacted parts of the play were separated from the original by means of such criteria as meter, alliteration, style, grammar, syntax, and dramatic effectiveness. The method for dating and locating the work consisted of a close linguistic analysis in an attempt to find phonological, morphological, and lexioal features which might be indicative of specific place and date. [TRUNCATED]

何遠良. / "2002年8月" / 論文 (藝術碩士)--香港中文大學, 2002. / 參考文獻 (leaves 18-20) / 附中英文摘要. / "2002 nian 8 yue" / He Yuanliang. / Lun wen (yi shu shuo shi)--Xianggang Zhong wen da xue, 2002. / Can kao wen xian (leaves 18-20) / Fu Zhong Ying wen zhai yao. / 前言 --- p.1 / Chapter 一） --- 專業槪說 --- p.1 / Chapter 二） --- 工業革命與藝術的通俗化 --- p.2 / Chapter 1. --- 勞動分工與媚俗文化 --- p.2 / Chapter 2. --- 責任倫理的失 --- p.3 / Chapter 三） --- 藝術專業化的創新和自主性迷思 --- p.4 / Chapter 1. --- 爲藝術而藝術 --- p.5 / Chapter 2. --- 盲目創新 --- p.5 / Chapter 3. --- 譁眾取寵的遊戲 --- p.6 / Chapter 4. --- 藝術館的大眾化 --- p.6 / Chapter 5. --- 策展人的篩選標準 --- p.8 / Chapter 6. --- 畫廊的市場導向 --- p.9 / Chapter 四） --- 從專業化反思個人的雕塑創作 --- p.10 / Chapter 1. --- 專業的態度 --- p.10 / Chapter 2. --- 形式的決定 --- p.10 / Chapter 3. --- 材料的選擇和收集 --- p.11 / Chapter 4. --- 創作的自然規律 --- p.13 / Chapter 5. --- 因材施工：變化與突破 --- p.13 / Chapter 6. --- 展覽的完滿佈局 --- p.15 / 結語 --- p.16 / 註釋 --- p.18 / 參考書目 --- p.19 / 圖版 / 幻燈片目錄

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Thesis (Ph.D.)--Boston University / The end of the nineteenth century witnessed a Gothic literary revival, which included the publication of Sheridan Le Fanu's Carmilla ( 1872), Robert Louis Stevenson's Strange Case of Dr. Jekyll and Mr. Hyde ( 1886), Oscar Wilde's The Picture of Dorian Gray (1891), H.G. Wells' The Island of Doctor Moreau (1896), and Bram Stoker's Dracula (1897) within a twenty-five year period. The dissertation interprets such late nineteenth-century Gothic texts in light of the rise of Victorian anthropology and an anthropological paradigm based on Darwinian evolutionary theory. Before the 1860s, the study of human beings had been dominated by the discipline of ethnology; however, the ethnological paradigm, based on a Biblical understanding of human history, began to fracture with the discovery of prehistoric human remains at Brixham Cave (1858) and the publication of Darwin's On the Origin of Species (1859). Those events brought the Biblical framework into question and created a sense of cultural trauma reflected in both scientific and popular debates on the origins of humanity. The anthropological paradigm, articulated in the writings of anthropologists such as Sir John Lubbock, Edward Burnett Tylor, and James Ferguson McLennan, managed the traumatic implications of Darwinian evolutionary theory by creating a hierarchical ladder of biological and cultural evolution that affirmed the primacy of human over animal, and civilized over savage. It also, by implication, supported the colonial enterprise by placing the European at the top of that ladder. Late nineteenth-century Gothic fiction posed a fundamental challenge to the optimistic progressionism of the anthropological paradigm and the hierarchical oppositions on which it was based by implying that Englishmen and women were not as different from the animal or savage as they believed, and that evolution itself was not always upward. By doing so, it re-traumatized what the anthropological paradigm attempted to contain, and pointed toward a more diverse and egalitarian definition of the human. The Gothic has often been seen as a conservative genre: the dissertation argues that understanding the ways in which late nineteenth-century Gothic fiction challenged the anthropological paradigm can reveal its disruptive, iconoclastic potential.

The ten stories in this short story collection explore the liminal spaces created by certain physical spaces as well as times in the characters’ lives. The stories are largely related to a school environment, and the relationships and experiences that are unique to the players living and moving within that context. How much are the relationships and actions of the characters influenced by the setting. What weight do institutional forces and tradition carry in the characters’ lives, and how do they exploit it for their own will or conform?

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