This thesis is an investigation into the development of glass as an expressive medium in China through direct contact with Western methods of making, decoration and forming glass. The investigation proceeds through an analysis of the parallels between glass objects produced from Kangxi (1662-1722) to Qianlong period (1736-96), and contemporary practitioners’ (2000-2009), which is complemented by my own practice. The investigation mainly looks at three aspects and their inter-relationship within these strands. They are: 1) the history of glassmaking from 1696 to 1795 in the Qing dynasty with Western influences; 2) the analysis of Contemporary Chinese studio/academic glass within the imported UK model; 3) the development of my personal glass practice within this matrix. Practical work is of two components: reproductions of historical examples and personal creative pieces. The inter-relationship/comparison between these three strands seeks to identify themes, such as the influence of the imported models, reactions to them (the nature of hybrid), and the development of Chinese identity within glassmaking. The purpose is to draw similarities and differences from the comparisons in terms of philosophy, attitude, cultural reference and technique, between Qing and contemporary China, to provide general principles in practice and guidance for future development. Basic information has been gathered from a wide range of sources both in China and in the UK using libraries, museums and galleries / literature from books, journals, archives and websites. Some information has been derived from direct contact (emails, interviews, conversations and questionnaires) with practitioners and scholars. The nature of the research has involved the examination of real historical objects and their technical repetitions, visits to Chinese Universities and personal exhibitions. These investigations included the identification of almost all of the extant examples of the Qing dynasty and their examination in terms of the identified aims of the research, especially in terms of physical evidence within the objects themselves. A body of personal work has also been developed and presented as a case study and used as an investigative tool for analysing the contemporary movement and the making of suggestions. The techniques addressed in this research were developed as examples to illustrate the diverse possibilities of practice. The whole study has been complemented by practice, the outcome of the research naturally consisted of a written thesis and a body of personal work. The written part contains the interpretation of contemporary Chinese studio glass and the analysis of its actual influences from Western practice. Furthermore the comparison of historical experiences is given through the viewpoint of a glass practitioner. A series of similarities and differences and the experiences from other practical models (Western Studio Glass Movement) have been illustrated from the comparison, as well as a set of recommendations and a vision for future development in China. The use of visuals, including image comparisons, technical and process illustrations, drawings, videos and actual samples, are designed to give new insights on the research of Chinese glass and provides an added dimension for presenting and encouraging discourse within the research of Art & Design. Additionally, a comprehensive appendix at the end of the thesis records almost all of the existing Qing glass objects while concentrating on the highest quality of the same category both in and out of China. Further information on relative exhibitions, publications and contact lists are useful for those who are willing to pursue a further study.

Three major trends are evident in Chinese ink painting: academic reformism, modernism and neo-traditionalism. While reformists are calling for stylistic freedom and a return to humanism, modernists seek the adoption of Western modes of thought and practice to develop and reform Chinese tradition. The new literati painting which has seen a resurgence of innovative theory and technique of an indigenous Chinese painting tradition distinguishes neo-traditionalism. Many scholars believe that developments in Chinese painting represent a decline in the history of Chinese art but, in this authors’ opinion, this has been a period of transformation in aesthetic conception and expression. Chinese ink painting, which is still the dominant stream in twentieth century Chinese art and a continuation of its development, can be seen in the work of many contemporary artists. It is more than likely that the pluralism in contemporary Chinese art discussed in this thesis will continue although the forms it takes will to some extent be determined by political and economic factors. It is unlikely that contemporary Chinese art will totally reject the established cultural and aesthetic systems and establish a new one, based on the Western system. The traditions of Chinese culture remain strong, and it appears much more probable that an internal ‘re-shaping’ of both indigenous and imported elements will result in an artistic tradition that remains distinctively ‘Chinese’ as well as contemporary / Master of Arts (Hons)

Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-01-17T18:25:46Z No. of bitstreams: 1 marcoscaetanoteixeira.pdf: 6702751 bytes, checksum: 0e32e195643676e30b4b3b8a183ba0ff (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-01-23T14:16:33Z (GMT) No. of bitstreams: 1 marcoscaetanoteixeira.pdf: 6702751 bytes, checksum: 0e32e195643676e30b4b3b8a183ba0ff (MD5) / Made available in DSpace on 2018-01-23T14:16:33Z (GMT). No. of bitstreams: 1 marcoscaetanoteixeira.pdf: 6702751 bytes, checksum: 0e32e195643676e30b4b3b8a183ba0ff (MD5) Previous issue date: 2017-09-28 / A pesquisa aqui apresentada tem como objetivo a análise do mangá Mushishi, de Yuki Urushibara (1999-2008), no que se refere à tradição e a contemporaneidade enquanto representação de uma história e de um povo. Para chegar a tais objetivos, um levantamento histórico baseado na evolução do Japão pós-guerra e sua conquista mundial através do entretenimento pela cultura pop inicia o pensamento, tendo por base do contexto de contemporaneidade de Agamben (2009) seguido, posteriormente, por uma análise comparativa entre os quadrinhos ocidentais e os mangás japoneses, visando estabelecer uma base que mostre a troca de influências entre ambos, o que também leva a ilustrar as questões referentes ao mercado e aos princípios de aceitação de mídia pelo consumidor. A análise no que se refere aos pontos de identidade e lugar do ser social é feita a partir das teorias de Nietzche (1983-2011) e Rolnik (1993), os quais colocam em questão o ser humano enquanto agente social e ator de seu próprio mundo, bem como a aplicação dos conceitos de catarse e reconhecimento de si de Aristóteles (2008), o que, após aplicado à obra em questão, revela como os mangás, exemplificados por Mushishi, podem se mostrar retratos fiéis de um povo ou de uma época. / The research presented here aims to analyze the manga Mushishi, by Yuki Urushibara (1999-2008), in regard to tradition and contemporaneity as a representation of a history and a people. To reach such goals, a historical survey based on the evolution of postwar Japan and its worldwide conquest through pop culture entertainment initiates thought, based on the contemporaneous context of Agamben (2009) followed later by an analysis comparative analysis between western comics and Japanese manga, in order to establish a basis for the exchange of influences between the two, which also leads to illustrate market issues and the principles of consumer acceptance of media. The analysis regarding the points of identity and place of the social being is made from the theories of Nietzche (1983-2011) and Rolnik (1993), which put in question the human being as social agent and actor of his own world, as well as the application of the concepts of catharsis and self-recognition of Aristotle (2008), which, after applied to the work in question, reveals how the manga, exemplified by Mushishi, can be faithful portraits of a people or a time.

Cette thèse a pour objet de mettre en évidence l’influence de la presse anglophone en Chine sur l’émergence de la presse chinoise moderne au 19e siècle. La presse anglophone prit pied aux pourtours d’une Chine dont le seul organe d’information se limitait à la Gazette impériale depuis deux millénaires. Les journaux anglophones virent le jour pour apporter aux Britanniques et aux Chinois qui partageaient la même sphère les informations nécessaires à leur activité commerciale. La presse anglophone s’est développée seule pendant une trentaine d’années puis elle accompagna la naissance de la presse chinoise moderne et lui servit de modèle et de soutien. Les journaux commerciaux anglophones hébergèrent la presse chinoise au sein de leurs propres pages avant la parution de titres exclusivement chinois dans les années 1870. La presse anglophone et la jeune presse chinoise moderne s’ouvrirent aux problématiques politiques et furent animées par de nouvelles personnalités, parmi lesquelles des étudiants chinois occidentalisés, des hommes d’affaires chinois fortunés et des lettrés ayant fait un pas vers la modernité. L’indépendance éditoriale de la presse chinoise vis-à-vis de la presse anglophone fut alors acquise, mais l’influence et la coopération ne cessèrent pas pour autant. Les échanges matériels et professionnels se muèrent en connivences et protections, la presse anglophone aidant les titres chinois à surmonter la censure et la répression dont ils étaient les victimes. La présence de la presse anglophone sur les pourtours de la Chine a permis au savoir-faire technique et à l’expérience humaine d’être réunis au moment historique où la Chine, confrontée au défi de la modernité, a vu surgir à la fin du 19e siècle des débats sur sa transformation, alors qu’aucun vecteur médiatique n’était à l’époque disponible. L’émergence d’une presse chinoise moderne étant devenue inéluctable, elle s’est accomplie en symbiose avec la presse anglophone qui s’était enracinée depuis quelques décennies sur les pourtours de la Chine. / This dissertation examines the influence of the English-language press in China [in Hong Kong and the International concession of Shanghai] on the birth of a modern Chinese press from 1827 to 1911. The English-language press developed on the edge of a country where the only channel of information for 2000 years had been the Imperial gazette. The English language newspapers allowed British and Chinese residents to gather information which was both useful in their daily lives and to run their businesses. The English language papers first developed single-handedly for about thirty years before encouraging the birth of Chinese ones and serving as a support and model. The English-language press first incorporated Chinese pages before publishing entirely Chinese newspapers in the 1870s. Both the English-language press and the new Chinese press opened up to recent political issues and new personalities, such as westernized Chinese students, wealthy businessmen and scholar-gentry who had come to accept modernity for China. The Chinese-language press soon achieved editorial independence but cooperation between the two was maintained. Material and professional exchanges transformed themselves into mutual help and understanding, the British helping at times to overcome the bouts of censorship and repression from which the Chinese papers regularly suffered. The presence of English-language press enabled both technical and personnel transfers to take place at a time in history when China was confronted with the threat of modernity and had begun to experience debates about its future but had no local media to report on them. A modern Chinese press had thus become an absolute necessity for citizens who took pride in their past and were concerned with the weakened state of their country. It was achieved with the help of the English-language press which had taken roots a few decades earlier on the outskirts of China.

The dissertation seeks to rediscover Julius Schloss, a German Jewish composer victimized by the Nazis. Except for the promising start of his career in his early years, Schloss suffered a hard life as an exiled refugee. However, his unusual experiences inspired him to compose two Chinese Rhapsodies during his last years of exile in Shanghai, in which he synthesized Western composition techniques and Chinese folk materials, amalgamating influences from both Western and Eastern music cultures. Focusing on Schloss's First Chinese Rhapsody, the dissertation explores how Schloss links the new to the old, the West to the East, through an analysis of the way he employs Chinese folk song material and serial polyphonic voice-leading in his post-tonal musical language. Since the Rhapsody has both serial and polyphonic voice-leading aspects, both are analyzed, showing how they are integrated in the form.

Belly Dance in the Context of the Western and Arab Islamic Societies The present work deals with the development and social status of the belly dance and professional belly dancers in the Arab Islamic society and examines to which extent that status was influenced by the West and how the belly dance made its way to the Western culture. The work concentrates on the 19 th and 20 th centuries with a special focus on Egypt as a centre of the belly dancing. This work is supplemented with a questionnaire, the results of which depict the development of the social status of the belly dance and dancers in the Arab society at the beginning of the 21 st century.