Thesis (M.A.)--University of Alberta (Canada), 2007. / Includes bibliographical references.

Thesis (M. Phil.)--University of Hong Kong, 1997. / Includes bibliographical references (leaf 186-194).

Although living with different social and cultural background, the two writers, Oe and Gao came to the same scheme; to re-write the history of their time and to reconstitute a projective identity by the myth-making in their novels. / My study aims to feature the concept of "archetype" or "archetypal structure", the basic cluster of myth in Oe and Gao's novels, in order to discern the final determination of the two writers in terms of their search on the expressive power of language and their strategy of their myth-making. By applying Frye's theory, I would like to explore the hidden ideological significance behind Oe and Gao's novels. / Oe Kenzaburo and Gao Xingjian are two significant Asian writers in contemporary literary world. Not only because of their achievement as Nobel Prize laureates, but also because of their commitment to the creation of "myth" in modem time, a "modem myth" which surpasses the limit of literature to become a cultural exertion, a story of resistance against the existing ideology within their specific social contexts. / The tendency of "return to myth" in the works of Oe and Gao made their novels, specifically The Silent Cry and Soul Mountain to become a meaning system by displacing the archetypal motifs in Japanese and Chinese ancient mythology to a modem situation. This refers the reader to a familiar analogy in order to guide the reader to accept and believe what the writers said is true. / Wan, Mu. / "Jan 2010." / Adviser: Leo Lee Ou-Fan. / Source: Dissertation Abstracts International, Volume: 73-04, Section: A, page: . / Thesis (Ph.D.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 309-322). / 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, [201-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract also in Chinese.

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Thesis (M.A.)--Miami University, Dept. of Theatre, 2004. / Title from first page of PDF document. Includes bibliographical references (p. 134-135).

Coleman, Tara Jean. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2008. / Includes bibliographical references (leaves 144-149). / Abstracts in English and Chinese. / Introduction --- p.1 / Chapter Chapter 1 --- p.26 / Chapter Chapter 2 --- p.61 / Chapter Chapter 3 --- p.102 / Conclusion --- p.141 / Bibliography --- p.144

高行健的戲劇作品與理論，兼備中西文化主題（motifs），東西方劇場的手法，最適合作比較文學的範例。本文全面分析高行健的劇作與理論，從主題與形式兩方面，審度劇作中重複出現追尋自我的主題。其劇作包括《絕對信號》、《車站》、《野人》、《彼岸》、《冥城》、《逃亡》、《山海經傳奇》、《生死界》、《對話與反詰》、《夜遊神》、《周末四重奏》、《八月雪》、《叩問死亡》；五個現代折子戲包括《模仿者》、《躲雨》、《行路難》、《喀巴拉山口》、《獨白》；一個舞劇《聲聲慢變奏》共計十八部戲劇。又整理探究理論文集《對一種戲劇的追求》、《沒有主義》、以及《文學的理由》。作者的主體意識扣緊不同時期的逃亡經驗，經一番外求與內尋的過程，不斷抗衡與否定不同的「他者」。這種抗衡，固然呈現人類本質的狀態，卻缺乏主體的自主性，也展示主題的矛盾。因為無論「他者」怎樣不斷置換為集體、強權、中國、性、慾望等對象，也不能抹殺其先於主體的實存性，反倒確立了主體的依附性。所以他的主體都一貫逃避中心、集體、缺乏實質的內涵，卻又內外交困，無法安頓。這種不斷反詰的精神，又反映在劇作的「間離」的形式上。高行健以敘事、三重角色與儀式（rituals），間離觀眾與角色。雖然他追求戲劇本質，嘗試回復中國儺戲與戲曲的傳統，也緊隨現當代劇作家如布萊希特（Bertolt Brecht）、惹奈（Jean Genet），但是難以調動觀眾的直覺感知經驗，達至娛人的目的。更有甚者，因為敘事手法的視點所限，宣揚個人主義的目的，昭然若揭。他的儀式意在增強戲劇的假定性，不在於回歸中國的佛道傳統，但效果不彰。他的「表演三重論」源於中國戲曲與布萊希特，貢獻止於為表演的監控意識命名，缺乏系統落實的方法，故難以與斯坦尼斯夫斯基（Konstantin Stanislavsky）、以及格羅多夫斯基（Jerzy Grotowski）的表演系統相提並論。本文試以高行健的劇作與理論，與現當代的國際劇作家、以及劇場理論家的成就互相發明，以鑑定其戲劇地位。

Dramaturge, metteur en scène, romancier, essayiste et peintre, Gao Xingjian, « artiste total », s’est affranchi dès 1983 des conventions théâtrales qui prévalaient en Chine. Il s’est imposé comme l’un des pionniers du théâtre et de la littérature d’avant-garde. Condamné pendant la campagne de répression « contre la pollution spirituelle », il a été interdit de publication. Exilé en France en 1987, il a dès lors créé des pièces en français, impliquant peu de personnages, entre farce et tragédie, exprimant souvent une vision de la vie désenchantée, dans un langage aléatoire mais équilibré, avec des décors minimalistes. Il excelle dans une forme de théâtre destiné uniquement à la représentation, où joue l’expérimentation scénique et corporelle. Notre thèse porte sur la forme et l’expérience de la représentation théâtrale, en examinant la façon dont Gao repousse les limites linguistiques ou visuelles pour parvenir à une conception dépouillée du drame. Procédant à l’analyse de ses dramaturgies, tout en nous appuyant sur ses écrits et ses peintures, nous verrons comment la représentation théâtrale s’agence entre visible et invisible, qui se situe au seuil de la conscience ou qui relève de l’esthétique — ceci, selon trois possibilités : le rapport acteur/spectateur, le texte lui-même, et la scène proprement dite. Tenant compte de l’épreuve existentielle de l’exil et du phénomène de bilinguisme perceptible dans l’écriture, nous traitons des idées de l’espace théâtral et de l’art dramatique, en suivant quatre orientations principales : la dramatisation, les modes de narration, la langue en tant que rupture dans le texte, et l’« incarnation » du personnage par l’acteur qui le joue. / Playwright, theater director, novelist, essayist and painter — the multi/inter-disciplinary artist, Gao Xingjian first defied the theatrical conventions dominating China for more than fifty years with his absurdist play Bus Stop in 1983. Since then, he has established himself as one of China’s pioneering avant-garde playwrights and writers. Persecuted during the “Oppose Spiritual Pollution” campaign, he was banned from publication. After moving to France in 1987, he began writing plays in French, his adopted language. Relying on few characters, they probe drama between farce and tragedy, expressing a frequently disenchanted vision of life in seemingly random, yet measured, language with minimal decor. Experimenting with the scenic and the corporal, Gao excels in an organic theatre created solely for performance. Using the form and experience of a performance, this thesis explores how Gao revisits linguistic and visual boundaries in an effort to define “drama.” Analyzing his plays, as well as his other writings and paintings, we identify in his work a theatrical performance — visible and invisible, liminal or aesthetical — via three possibilities: actor/spectator, text, and stage. Considering exile and bilingualism in literature, we examine notions of theatrical space and drama that emerge from this study in four main approaches: dramatization, modes of narration, language as rupture in text, and character “enfleshed” by its actor.

ix, 106 p. / This thesis focuses on the metafictional elements in selected works of the contemporary Chinese authors Gao Xingjian, Huang Jinshu, and Wang Xiaobo. I define metafiction as both a formal feature inherent in the text and the result of an approach towards that text. I argue that metafiction confronts us with the (postmodern) issues of 1) the ontological status of the text, 2) the figure of the author and reader, and 3) the (ambiguous) relationship between fiction and reality. Simultaneously, it accepts and celebrates this self-conscious and ambiguous character, encouraging readers to do the same. By combining elements from the indigenous literary tradition and international literary movements, contemporary Chinese metafiction is a valuable contribution to the study of metafiction. Ultimately, it shows what it means to write and read in a Chinese as well as in a global context. / Committee in charge: Prof. Alison Groppe, Chairperson; Prof. Maram Epstein, Member; Prof. Xiaoquan Raphael Zhang, Member

Nobel Prize in Literature laureate Gao Xingjian is well known especially as an author of drama and novels Soul Mountain and One Man's Bible. This thesis examines his early novellas and short stories that were created at the end of the 70s and in the 80s. An analysis of meaning contruction is focused primarily on motifs and narrative techniques. It explores the process of his literary creation in context of official ideological requirements on literature as well as in context of literature genres known as "scar literature", "literature of reflection" and "root seeking" literature. This thesis shows how Gao Xingjian is trying to create a unique and individual worldview of his characters.