by Susan Blumberg Liu. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1996. / Includes bibliographical references (leaves 112-116). / ACKNOWLEDGMENTS / ABSTRACT / DECLARATION / CHAPTER / Chapter I. --- NTRODUCTION --- p.1 / Civil Society as a Theoretical Concept / Relevance of Thesis / Organization of Thesis / Chapter II. --- CIVIL SOCIETY AND LATE IMPERIAL CHINA --- p.11 / Habermas and the Public Sphere / Habermas as Applied to the Chinese Case / Recent Debate on Civil Society in Late-Qing China / Rankin versus Wakeman / Rowe versus Wakeman / Recent Discussion on Civil Society in Contemporary China / The Question of Autonomy / Civil Society with Chinese Characteristics / Gathered Comments / Chapter III. --- THE DYNAMICS OF CIVIL SOCIETY IN THE LATE-QING ERA --- p.44 / The Emergence of a New Public / Social Class Correlation / The Constitutionalists / Women in Late-Qing China / The Press and Public Opinion / Chapter IV. --- THE MOVEMENT FOR ESTABLISHING PROVINCIAL ASSEMBLIES --- p.63 / Getting Started / The Elections / Chapter V. --- THE PROVINCIAL ASSEMBLIES COMMENCE --- p.75 / The Nature of the Assemblies / Interaction and Organization of the Assembly Members / Chapter VI. --- TWO CASE STUDIES FROM THE PROVINCIAL ASSEMBLIES --- p.83 / The Jiangsu Assembly / Organization and Preparation / The Assembly Commences / Zhang Jian: Example of the New Gentry in Late-Qing China / The Hubei Assembly / Organization and Preparation / The Assembly Commences / Chapter VII. --- CONCLUSION --- p.107 / The Fate of the Assemblies / Analysis of Findings / Lasting Implications of Civil Society in China / BIBLIOGRAPHY --- p.112

O romance Wo warst du, Adam? (1951), de Heinrich Böll, e o \"diário coletivo\" Das Echolot. Barbarossa \'41. (2002), de Walter Kempowski, são representações literárias da Segunda Guerra Mundial. O romance foi escrito e publicado no período do pós-guerra, quando a sociedade alemã se encontrava em meio ao sofrimento por perdas materiais, perdas de familiares, e, também, confusa com a manipulação propagandística que havia sofrido por parte do governo alemão. Começava, ainda, a ter acesso a informações sobre os horrores e crimes bárbaros que haviam sido cometidos por soldados nazistas, principalmente contra o povo judeu. O \"diário coletivo\", por sua vez, é formado por colagens de textos individuais autênticos, escritos em sua maioria durante os acontecimentos da Segunda Guerra Mundial, por seus participantes e por aqueles que vivenciaram tal período. Não há nenhuma voz que relacione os testemunhos, a interpretação de tantas vozes dissonantes fica a cargo, exclusivamente, do leitor. Por haver cinquenta anos de intervalo entre as publicações, além de diferenças quanto ao gênero literário, esta pesquisa tem como objetivo verificar se a mudança de estrutura literária e a focalização das personagens/testemunhas estão ligadas à mudança da perspectiva atual da Segunda Guerra Mundial, a qual decorre da memória coletiva do grupo social sobre um acontecimento passado e da qual a literatura incorpora elementos. Não se trata de um estudo empírico sobre a recepção das duas obras literárias, mas sobre o potencial que as obras têm em configurar uma imagem da guerra para o leitor. Em função disso, estabelece-se uma comparação de algumas personagens e testemunhas centrais, não somente daquelas que participaram ativamente da guerra, mas também de quem esteve atento aos seus desdobramentos ou, ainda, a partir das perspectivas daqueles que seriam classificados como vítimas. O trabalho se abstrai de julgamentos pessoais sobre as testemunhas, mas os textos que produziram são analisados, comparando-as com as personagens ficcionais do romance. / The novel Wo warst du, Adam? (1951), from Heinrich Böll, and the \"collective diary\" Das Echolot. Barbarossa \'41. (2002), from Walter Kempowski, are literary representations of the Second World War. The novel was written and published in the post-war period, during which the german society found itself amidst suffering for material and for family losses, and also confused with the manipulative propaganda that had been used by the german government. The society was also gaining access to information about the horrors and hideous crimes that had been perpetrated by the nazi soldiers, especially against the jewish people. The \"collective diary\", on its turn, is composed by a collage of authentic individual texts written mostly during the Second World War, by people who participated in it and by those who lived during that period. There is no voice to connect the testimonies, and the interpretation of such an amount of dissonant voices is left exclusively to the reader. Because of the fifty-year period between the publications and the differences in literary style, this research aims at verifying if the change in literary structure and the focus on the characters/witnesses are connected to the change in the current perspective towards the Second World War, which derives from the collective memory of the social group regarding an event that took place in the past and from which literature incorporates some elements. This research is not an empirical study on the reception of both works. It studies the potential these works have in configuring an image of the war to the reader. Thus, a comparison is established between some characters and central witnesses, not only those who had actively participated in the war, but also those who had accompanied its developments, or even from the perspective of those qualified as victims. The work refrains from making judgements of the witnesses as individuals, but their texts are analyzed and they are compared with the fictional characters of the novel.

O romance Wo warst du, Adam? (1951), de Heinrich Böll, e o \"diário coletivo\" Das Echolot. Barbarossa \'41. (2002), de Walter Kempowski, são representações literárias da Segunda Guerra Mundial. O romance foi escrito e publicado no período do pós-guerra, quando a sociedade alemã se encontrava em meio ao sofrimento por perdas materiais, perdas de familiares, e, também, confusa com a manipulação propagandística que havia sofrido por parte do governo alemão. Começava, ainda, a ter acesso a informações sobre os horrores e crimes bárbaros que haviam sido cometidos por soldados nazistas, principalmente contra o povo judeu. O \"diário coletivo\", por sua vez, é formado por colagens de textos individuais autênticos, escritos em sua maioria durante os acontecimentos da Segunda Guerra Mundial, por seus participantes e por aqueles que vivenciaram tal período. Não há nenhuma voz que relacione os testemunhos, a interpretação de tantas vozes dissonantes fica a cargo, exclusivamente, do leitor. Por haver cinquenta anos de intervalo entre as publicações, além de diferenças quanto ao gênero literário, esta pesquisa tem como objetivo verificar se a mudança de estrutura literária e a focalização das personagens/testemunhas estão ligadas à mudança da perspectiva atual da Segunda Guerra Mundial, a qual decorre da memória coletiva do grupo social sobre um acontecimento passado e da qual a literatura incorpora elementos. Não se trata de um estudo empírico sobre a recepção das duas obras literárias, mas sobre o potencial que as obras têm em configurar uma imagem da guerra para o leitor. Em função disso, estabelece-se uma comparação de algumas personagens e testemunhas centrais, não somente daquelas que participaram ativamente da guerra, mas também de quem esteve atento aos seus desdobramentos ou, ainda, a partir das perspectivas daqueles que seriam classificados como vítimas. O trabalho se abstrai de julgamentos pessoais sobre as testemunhas, mas os textos que produziram são analisados, comparando-as com as personagens ficcionais do romance. / The novel Wo warst du, Adam? (1951), from Heinrich Böll, and the \"collective diary\" Das Echolot. Barbarossa \'41. (2002), from Walter Kempowski, are literary representations of the Second World War. The novel was written and published in the post-war period, during which the german society found itself amidst suffering for material and for family losses, and also confused with the manipulative propaganda that had been used by the german government. The society was also gaining access to information about the horrors and hideous crimes that had been perpetrated by the nazi soldiers, especially against the jewish people. The \"collective diary\", on its turn, is composed by a collage of authentic individual texts written mostly during the Second World War, by people who participated in it and by those who lived during that period. There is no voice to connect the testimonies, and the interpretation of such an amount of dissonant voices is left exclusively to the reader. Because of the fifty-year period between the publications and the differences in literary style, this research aims at verifying if the change in literary structure and the focus on the characters/witnesses are connected to the change in the current perspective towards the Second World War, which derives from the collective memory of the social group regarding an event that took place in the past and from which literature incorporates some elements. This research is not an empirical study on the reception of both works. It studies the potential these works have in configuring an image of the war to the reader. Thus, a comparison is established between some characters and central witnesses, not only those who had actively participated in the war, but also those who had accompanied its developments, or even from the perspective of those qualified as victims. The work refrains from making judgements of the witnesses as individuals, but their texts are analyzed and they are compared with the fictional characters of the novel.

This diploma thesis should contribute to the study of leisure time activities since the middle of the last century. The object of this thesis is history of Sokol Skittles team Kolín. Research was made with the method of oral history interviewing eleven narators. Attention is focused in particular from the sixties to the seventies of the last century, when the members successfully represented Czechoslovakia in international competitions. There are two scopes to the research, regarding sport achievements and the preception of narators.

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This dissertation investigates whether video games are able to affect players' attitudes and information behaviour towards depicted historical topics in games over the short- and long-term. We collected data from a sample of 148 young adults. As far as we know, there is currently no study of such a scale focused on historical games. We used, as an intervention tool, a modification of the serious game Czechoslovakia 38-89: Borderlands that deals with the expulsion of the Sudeten Germans from the former Czechoslovakia after WWII. The game is based on historical research providing players with multiple perspectives on the depicted topics. Our control group played a similar game, but where the narrative was unrelated to any depicted historical event from Czechoslovakia 38-89: Borderlands. In the empirical part of the study, we measured explicit and implicit attitude change and information behaviour change towards the expulsion of the Sudeten Germans. Results showed more negative pretest-posttest explicit attitude changes towards the expulsion on a general level (d = -0.34; p = .022) and a specific level (d = -0.53; p = .001) in the experimental group compared to the control group. Over the long-term, group differences in attitude change remained significant for the specific level (d = -0.44; p = .014),...

The liberation war was a watershed event in the history of Zimbabwe. According to the ZANU PF (Zimbabwe African National Union Patriotic Front) ruling elites, an understanding of the common experiences of the people during the liberation war provides the best opportunity to mold a common national identity and consciousness. However, the representation of important historical events in a nation's history is problematic. At best events are manipulated for political purposes by the ruling elites, and at the worst they are distorted or exaggerated. In Zimbabwe, the representation of the ZAPU/ZIPRA and the ZANU/ZANLA as liberation movements in high school history textbooks during the armed struggle is a hot potato. This study critically examined and explored the contested "representational practices" of the ZAPU/ZIPRA and the ZANU/ZANLA as liberation movements during the Zimbabwean armed revolution. By means of qualitative content analysis, seven high school history textbooks from Zimbabwe were analyzed. Drawing from postcolonial perspectives and insights, particularly Fanon's concept of the pitfall of national consciousness, the study unveiled the way in which Zimbabwean high school textbooks portrayed the ZAPU/ZIPRA and the ZANU/ZANLA as very different liberation movements whose roles and contributions were unequal. High school textbooks depicted the ZANU/ZANLA as a radical revolutionary and people-oriented liberation movement totally committed to the armed struggle and the ZAPU/ZIPRA as a moderate party not dedicated to the armed revolution. In a nutshell, the high school history textbooks glorified and celebrated the political and military achievements of the ZANU/ZANLA and suppressed while not completely ignoring those of the ZAPU/ZIPRA. Although the findings of this study will not solve the problem of high school textbooks (mis) representation of the roles and contributions of the ZAPU/ZIPRA and the ZANU/ZANLA in the armed struggle, the study can serve as a "tool of resistance" by exposing the continual abuse and misuse of history education by postcolonial ruling elites to preservice teachers, classroom teachers, teacher education programs and textbook publishers.

Ma Shouzhen (1548-1604) was a cultured courtesan who lived in the famous pleasure quarter along the Qinhuai River in Nanjing, the southern capital of the Ming dynasty (1368-1644). She was talented in dance and music, painting and poetry, and surprisingly for her time, she was also a playwright. Although she was a celebrity of the prolific Nanjing cultural milieu and there is a good corpus of extant material by and about her, the particular contribution of Ma Shouzhen - her character and her work - have been marginalised, or even neglected, by the previous scholarship. This thesis is a cross-disciplinary study of Ma Shouzhen and is the first in-depth scholarly investigation into the entirety of her activities. It employs material and methods traditionally pertaining to the disciplines of sinology, history, art history, literary and drama studies. The thesis has a dual aim: first, to provide a nuanced understanding of the courtesan, her cultural production and social practice; second, to reclaim the agency and legacy of her character within the cultural milieu of late Ming Nanjing and beyond. These aims will be achieved through two main research objectives: (1) recovering and re-evaluating visual and written sources by and about the courtesan; (2) investigating those sources in order to comprehend her modes of self-representation and strategies of self-fashioning, analysed especially through the lens of gender. The main body of the thesis is composed of an introduction, five core chapters, and an epilogue; the chapters are structured so as to provide as complete a picture of Ma Shouzhen as possible. Chapter Two explores the space of the pleasure quarter, Ma’s biography and its entwinement within the complexities of the historical moment. Chapter Three focuses on her painting, Chapter Four considers her poetry, and Chapter Five explores her theatre practice; Chapter Six extends the investigation to focus on the construction of Ma’s historical character in later decades. In its content and aims, this thesis contributes to women’s and gender history, as well as to studies in visual culture and literature.