Thesis (M.A.)--Zhongguo wen hua xue yuan. / Reproduced from typescript. Includes bibliographical references (p. 205-224).

Thesis (M. Phil.)--University of Hong Kong, 1999. / Includes bibliographical references (leaves 274-288).

Thesis (M.A.)--Zhongguo wen hua xue yuan. / Reproduced from typescript. Bibliography: p. 205-224.

Thesis (Ph. D.)--Yale University, 1994. / Director: Jonathan D. Spence. Includes bibliographical references.

Thesis (M. Phil.)--University of Hong Kong, 2006. / Title proper from title frame. Also available in printed format.

Chiu Yuen Ming Vivian. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2006. / Includes bibliographical references (leaves 82-87). / Abstracts in English and Chinese. / Chapter Chapter 1 - --- Introduction --- p.1 / Chapter 1.1 --- Overview --- p.1 / Chapter 1.2 --- Significance --- p.7 / Chapter Chapter 2 - --- Literature review --- p.8 / Chapter 2.1 --- Definition of nation --- p.8 / Chapter 2.2 --- History of Chinese nationalism --- p.8 / Chapter 2.3 --- From state nationalism to popular nationalism --- p.16 / Chapter 2.4 --- Three levels of Chinese nationalism --- p.17 / Chapter 2.5 --- Media and nationalism --- p.17 / Chapter 2.5.1 --- Media in China- newspapers --- p.20 / Chapter Chapter 3 - --- Framing --- p.22 / Chapter 3.1 --- Overview --- p.22 / Chapter 3.2 --- Four different frames --- p.24 / Chapter 3.2.1 --- National self respect --- p.27 / Chapter 3.2.2 --- National self strengthening --- p.28 / Chapter 3.2.3 --- Co-operation with Japan --- p.30 / Chapter 3.2.4 --- National humiliation --- p.31 / Chapter 3.3 --- Framing Sino-Japanese relationship --- p.33 / Chapter Chapter 4 - --- Methodology --- p.35 / Chapter 4.1 --- Theoretical concern --- p.35 / Chapter 4.2 --- Case study --- p.35 / Chapter 4.2.1 --- First case study: the Mukden incident --- p.36 / Chapter 4.2.2 --- Second case study: Junichiro Koizumi's visit to Yasukuni Shrine --- p.37 / Chapter 4.3 --- Media text --- p.39 / Chapter 4.3.1 --- People's Daily --- p.40 / Chapter 4.3.2 --- Global Times --- p.42 / Chapter 4.3.4 --- Southern Metropolis News --- p.45 / Chapter 4.4 --- Data and sampling --- p.47 / Chapter 4.5 --- Content analysis --- p.49 / Chapter 4.6 --- Hypothesis --- p.50 / Chapter 4.7 --- Coding categories and schemes --- p.54 / Chapter 4.8 --- Coding training --- p.55 / Chapter Chapter 5 - --- Results --- p.57 / Chapter 5.1 --- Overview --- p.57 / Chapter 5.2 --- Quantitative results --- p.59 / Chapter Chapter 6 - --- Discussion --- p.67 / Chapter 6.1 --- Analysis --- p.67 / Chapter 6.1.1 --- National self respect --- p.68 / Chapter 6.1.2 --- National self strengthening --- p.70 / Chapter 6.1.3 --- Co-operation with Japan --- p.72 / Chapter 6.1.4 --- National humiliation --- p.74 / Chapter 6.2 --- Implications --- p.76 / Chapter 6.3 --- Limitations and further study --- p.78 / Chapter 6.4 --- Conclusion --- p.80 / Bibliography --- p.82

published_or_final_version / abstract / History / Master / Master of Philosophy

published_or_final_version / History / Master / Master of Philosophy

This dissertation investigates roles of cultural practice in China’s revolution. It begins with cultural experiments in the War of Resistance to Japan (1937-1945) and culminates with the agrarian cooperativization of the People’s Republic of China in the 1950s. I interrogate how China’s “cultural workers” –– meaning the writers, performers, artists, and filmmakers engaged in the revolutionary project –– participated in mass mobilization. In doing so, I develop elements for a new approach to analyzing cultural works in their relations to political movements. This approach aims to address my study’s driving question: how did the practice of cultural workers advance, challenge, and transform China’s revolutionary process? My formal approach is drawn from an issue at the heart of revolution; namely, that of time. I argue that revolutionaries repeatedly wrestled with remaking time–– whether to and how to break with the past in constructing the future. My study investigates this problematic as it was developed in two temporal fields: campaign time and narrative time. Activists developed campaign time, or standardizing temporal structures, to reform society through sequences of mass mobilization. Distinct from campaign time, cultural workers articulated narrative time through acts of narrative creation in literary prose, theater, art, and cinema. I argue that by analyzing the collisions, collusions, and contradictions between campaign time and narrative time, we can define cultural workers’ interventions in the revolutionary process. The first four chapters focus on the historical emergence of campaign time through mass movements of the Communist base areas during the War of Resistance to Japan. I seek to demonstrate: first, that a coherent series of strategies for mass movements was developed, bearing consistent, repeatable patterns for social reorganization; and second, that cultural workers contributed to, contradicted, and at key moments innovated mass movements through expressions of narrative time. Each of these four chapters proceeds chronologically through major mass movements: the reform of “vagrants” in chapter one; family reforms and women’s labor in chapter two; the hygiene movement in chapter three; and chapter four takes up the anti-spirit medium movement. Chapter five argues that the narrative time of novels stretched the political imagination of campaign time in the scope of the agrarian cooperative movement (approx. 1953-1957). The sixth and final chapter focuses on the case of Liu Qing’s unfinished epic The Builders. I interrogate fraught relations between narrative and campaign times in the novel’s historical trajectory to foreground a problem I call campaign-narrative equivalence. When cultural narratives were conflated with historical movements, such equivalences were produced. The campaign-narrative equivalence is not only a problem for historical interpretation but also for the political imagination. By disentangling these equivalences, which have been grafted upon histories of cultural creation and political transformation, I seek to grasp the distinctive contributions and transformative valence of the cultural worker in China’s revolution –– for then and now.

Previous historiography on late Qing naval technology has been geared toward locating the root causes of the Qing’s defeat in the Sino-Japanese War of 1894-1895. Pushing back against this teleological view of late Qing naval development, this dissertation underscores the global, multidirectional, and highly contingent processes undergirding the Qing’s naval rebuilding project in the late nineteenth century. Starting from the 1860s, the Qing empire strove to reassert itself as a competitive naval power by establishing new dockyards and arsenals; procuring arms, warships, and machineries from abroad; as well as dispatching educational missions to European naval schools, technical institutes, factories, and shipyards. The Chinese diplomats and students that the Qing sent overseas served as transnational agents who cultivated close-knit networks with Western diplomats, merchants, shipbuilders, military officers, and arms manufacturers. These networks formed the basis upon which the Qing navigated a global marketplace of warships and armaments spanning Asia, Europe, and the Americas. Tracing the personal, material, and institutional networks connecting late Qing China to the world’s naval technology reveals how the Qing engaged actively in a global regime of arms production and arms trading. This regime, driven by the transnational sourcing of raw materials and the export-oriented tendencies of Western arms manufacturers, gave rise to a shared, decentralized, and surprisingly open terrain of material circulation and technological transmission. It produced highly fluid circuits of military industrial products and knowledge that blurred the boundaries between the arms race and the arms trade, secrecy and openness, competition and collaboration. This dissertation shows how the Qing tapped into these tensions through intertwining networks of trade and diplomacy. It also shows how the material and logistical processes underlying the importation of warships, machineries, and shipbuilding components constituted crucial channels for the transfer of naval engineering knowledge from the West to China.