Thesis (M.F.A.)--West Virginia University, 2000. / Title from document title page. Document formatted into pages; contains iii, 21 p. : col. ill. Vita. Includes abstract. Includes bibliographical references (p. 9).

Thesis (B.A.)--Bi-College (Haverford and Bryn Mawr Colleges) Dept. of East Asian Studies, 2008. / Title from caption. Includes bibliographical references.

Thesis (M.A.)--University of Hong Kong, 1968. / Also available in print.

Thesis (Ph. D.)--Princeton University, 1965. / English and Chinese. Includes bibliographical references (leaves 207-212).

Thesis (Ph. D.)--University of Hong Kong, 2005. / Title proper from title frame. Also available in printed format.

Chang Chün-mai, known in the West as Carsun Chang, played a prominent role on the political stage of wartime China. As educator, philosopher, and politician, he vainly attempted to alter the course of China's political and cultural development. Although commonly referred to as a liberal-democrat, this study shows Chang to be more of a traditionally-minded conservative. Masked by the heavy use of a liberal-democratic vocabulary, Chang maintained a firm commitment to principles that owed much more to conservative Chinese tradition than to Western liberalism. The fact that Chang Chün-mai did rely so heavily on liberal-democratic arguments and came to be known by some as the Father of the Constitution tends to cloud his real intent. It is argued here that his efforts to bring a Western-style constitution to China can better be understood by recognizing two major points: first, Chang, as well as many others, used the constitutional issue in an attempt to force Chiang Kai-shek to share political power; and, secondly, the constitutional issue provided Chang with the conceptual and institutional vehicle for rebuilding the socio-political relationships between the various elements of Chinese society which had existed before the Republic. Within the latter goal, Chang also souqht to create a position of influence and prestige for the class of intellectuals of which he was a part. This study explores one dimension of Chinese conservatism. It shows Chang Chün-mai as a neo-traditionalist whose behaviour was guided and limited by his image of the Chinese cultural tradition--limitations which significantly contributed to his failure. Examining Chang's actions in wartime China sheds more light on the reasons for the failure of the so-called "third force" elements that stood between the Kuomintang and the Chinese Communist Party. Chang held himself aloof from the great mass of his fellow countrymen, he championed a political position which failed to offer a clear alternative to the authoritarian government of Chiang Kai-shek, and his philosophical and conservative viewpoint prevented him from carrying his political opposition to a point which seriously challenged Chiang Kai-shek. Although this study does conclude that Chang's idealized image of the Confucian gentleman (chün-tzu) acted as a handicap in the political milieu of wartime China, it confines that conclusion to a given time and place, and under particular circumstances. It emphatically does not purport to discount the viability or appropriateness of traditional Chinese values in the modern world, or with some form of democratic system. Far from exhaustive, this study is, at best, partial. It is meant to explore a dimension of the Chinese effort to reconcile themselves and their culture with a changing environment. Source materials are limited and not without inconsistencies. A major drawback is that much of the Chinese-language material concerning Chang Chün-mai is lauditory in nature and biased in his favor. If time permitted, a more thorough study of the personal accounts of other actors involved would no doubt yield a more balanced picture. Further, the circumstances under which much of the wartime materials were written required a good deal of circumspection on the part of the writers, and therefore, requires a good deal of "reading between the lines" by the modern reader. I have tried to keep my conclusions reasonable without imparting my own ideas to a difficult translation. / Arts, Faculty of / History, Department of / Graduate

In 2013, Zhang Jiajia 张嘉佳’s book I Belonged to You (从你的全世界路过； thereafter Belonged) became a huge hit and a miracle of publication. In 2013 after half a year in circulation, the paper print sold more than 2,000,000 copies and was soon adapted to two movies. In 2014, both the kindle and paper edition of Belonged won No.1 for the best books list on Amazon China. Zhang Jiajia’s incredible success is a miracle, and it can only happen with the easy access of Internet. In addition to that, the lifestyle Belonged depicts is what post-80s and post-90s generations in China are experiencing now. My thesis studies how the Internet and Sina Weibo platform make the popularity of Belonged possible and why post-80s and post-90s readers from Sina Weibo like this kind of story. By investigating the reasons behind this book’s popularity, I argue that Internet literature and literary works in a similar genre to Belonged fulfill the emotional needs of post-80s and post-90s generations, which the literature works written by writers who receive government stipends cannot meet.

If one can come out as queer, how does one come out as queer in the Chinese context? More importantly, how exactly does one come out as “Chinese,” especially given the increasingly complex construction and remaking of “Chineseness” across the Taiwan Strait? Building on Hongwei Bao’s concept of the “queer comrade” as an analytical framework that acknowledges the temporal coevality of its circulation across postsocialist China and Taiwan, this comparative study of Zhang Yuan’s East Palace, West Palace and Ang Lee’s Eat Drink Man Woman explores archives of Chineseness and queerness in a transnational context. At the same time, through examining representations of cruising, traditional opera form, tables, kitchens, and food -- I argue that queer identities are not only about private sexual practices, but also about new family formations, political tensions, and intercultural exchanges. I take cues from archival studies to see them as alternative archival practices and subjectivities which channel new pathways to reimagine Queer Sinophone futurities. / Thesis / Master of Arts (MA)

Cette thèse de doctorat se propose d’étudier la formulation de discours à propos des «cultures/civilisations» occidentale et chinoise en Chine entre 1919 et 1931, en prenant les textes de Zhang Junmai comme point focal. La problématique centrale de ce travail est de mettre en lumière ce que j’ai appelé la «sinodicée» de Zhang Junmai, c’est-à-dire sa théorie justificatrice de la culture chinoise, théorie entendue à la fois dans son articulation conceptuelle et dans sa présentation discursive. Grâce à une étude détaillée des écrits de Zhang Junmai, ce travail offre une perspective nouvelle sur les trajectoires et les usages des expressions «culture chinoise» et «culture occidentale» dans le contexte de la Chine moderne. À travers une critique de précédents travaux peu sensibles aux problématiques soulevées par l’histoire sémantique et conceptuelle, est proposée une remise en question des principales grilles conceptuelles utilisées dans l’étude de l’histoire intellectuelle et politique de la Chine des années vingt. Face à la thèse de «la renonciation au politique» en vogue dans les travaux sur cette période, je montre au contraire que les débats autour de la notion de «culture» sous-tendent une refonte du répertoire conceptuel pour penser le monde et le politique. Chemin faisant, je montre que la sinodicée de Zhang Junmai n’est en rien un projet de type identitaire : la défense de la culture chinoise, et plus particulièrement du néoconfucianisme chez Zhang n’étant pas une valorisation d’un passé sacralisé, mais la revendication d’une indépendance chinoise et d’une capacité du peuple chinois à s’autodéterminer à travers la reconstruction du politique en Chine. / This doctoral dissertation investigates the formation of discourses concerning Western and Chinese “cultures/civilizations” in China from 1919 to 1931 through a study of Zhang Junmai’s texts. The key issue of this work is to cast light upon what I have called Zhang Junmai’s “sinodicy”, that is his defence theory of “Chinese culture”, considered from both its conceptual articulation and its discursive expression. Throughout a careful reading of Zhang Junmai’s discourses, this dissertation offers new perspectives unto the uses and trajectories of expressions such as “chinese culture” and “western culture” in Modern China. It raises questions concerning the frameworks used by previous studies that often belittled the issues of semantic and conceptual history. Against the advocacy of a “renunciation to politics” common in works concerning the intellectual and political history of China in the twenties, I show that the debates around the notion of “culture” implied the foundation of a new conceptual repertoire to think the world and Chinese polity. I also argue that Zhang Junmai’s sinodicy was not the affirmation of a culturalist discourse build on an identity issue. His defence of Chinese culture, and of Neoconfucianism, cannot be understood as a valorisation of a sacralised past, but should be regarded as the advocacy of a Chinese intellectual independence, and the promotion of Chinese people’s abilities to self-determination. The cultural issue goes along with the problem of rebuilding a political order in China.

Le cinéma chinois indépendant se développe dans les années 1980, alors que la Chine vient de commencer une politique d’ouverture et de modernisation. Le pays, dont la croissance est exceptionnelle et continue, devient rapidement une puissance économique émergente. Il connaît ainsi un processus de mutations qui bouleverse ses territoires et les conditions de vie de ses populations. Jia Zhang-ke, qui est l’un des principaux cinéastes indépendants chinois, s’attache tout au long de son œuvre à filmer et à interroger ce processus de mutation. Son projet est de garder une trace de ce que les mutations détruisent, font disparaître, de ce qui le remplace, et également de ce moment même de la mutation. Pour tenter de filmer ce passage, Jia Zhang-ke met en œuvre des dispositifs filmiques d’entre-deux et d’alternance, s’enracinant dans les héritages de l’art pictural chinois et des modernités cinématographiques européennes. Son cinéma, en cela, questionne le processus de mondialisation, ou de globalisation, et participe à l’élaboration de la connaissance, en même temps qu’il peut être considéré comme une forme de résistance. / The independent Chinese cinema develops in the 1980s, while China has just begun a policy of openness and modernization. The country, the growth of which is exceptional and continuous, quickly becomes an emergent economic power. It so knows a process of transformations which upsets its territories and the living conditions of its populations. Jia Zhang-ke, who is one of the main Chinese independent film-makers, works throughout his work to film and to question this process of transformation. His project is to keep a track of what the transformations destroy, remove, of what replaces it, and also of this same moment of the transformation. To try to film this passage, Jia Zhang-ke operates cinematic devices of jump ball and alternation, taking root in the inheritances of the Chinese pictorial art and the European film modernities. His cinema, in that respect, questions the process of globalization, and participates in the elaboration of the knowledge, at the same time as he can be considered as a shape of resistance.