Thesis (M. A.)--University of Hong Kong, 2007. / Title proper from title frame. Also available in printed format.

No description available.

Thesis (M.A.)--University of Hong Kong, 2000. / Includes bibliographical references.

Thesis (M.A.)--University of Hong Kong, 2000. / Includes bibliographical references. Also available in print.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1969. / Vita. Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

This thesis discusses the notion of free verse in poetry with emphasis on Walt Whitman and Amy Lowell. The majority of the paper consists of original poetry by the author.

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

Amy Tan, the author of The Joy Luck Club (1989), The Kitchen God’s Wife (1991), The Hundred Secret Senses (1995), The Bonesetter’s Daughter (2001), and Saving Fish from Drowning (2005), is accused of being a “fake” Chinese American writer by radical Chinese American critics such as Frank Chin. I consider Tan’s fictional writing of the experience of Chinese immigrant mothers and their American born daughters to be an experiment in cross-cultural communication. Such communication may be highly personal and subjective to Tan, who claims to write so that her mother can understand her feelings and to remember what she has learned from her Chinese side. I also believe her writings create an opportunity for bi- (or cross-) cultural communication and it matches the concept of harmony in Chinese traditional philosophy. In Chinese scholar Jianjun Zou’s opinion, Tan’s works represent the notion of reconciliation, and that all of these works shall be viewed as a whole is the inspiration of this thesis. Reconciliation in terms of Tan’s works has three parts, which are: (1) the reconciliation between languages; (2) the reconciliation between genders; (3) the reconciliation among generations. The existence of reconciliation proves that Tan’s writing about the Chinese community is multi-dimensional. From my point of view, she should not be simply defined as a stereotype writer whose works can only reinforce the prejudices against the Chinese community and Chinese men. In my opinion, for Chinese American criticism, violation of the women’s right to tell of the oppression from the Chinese traditional family values should not be the solution to the prejudices of the white dominant culture. For Chinese critics in Chinese speaking regions, especially in China, I suggest that we should have a humble attitude towards the Chinese American literature because the “real” and the “fake” are difficult to define, even in the motherland of Chinese culture.

There are two traditions in English poetry: elevated and down-to-earth. The former is characterized by formal style, use of verbal associations, and philosophical subject matter. The latter is informal, uses worldly images and makes specific points. When elevated style uses common language, i.e. words drawn from specialized contexts, those words bring with them the down-to-earth spirit. They convey an effect of honesty, indicting the abstraction of elevatedness as an evasion. John Ashbery calls up that effect to discredit it, to show that down-to-earth poetry's implied access to the world is delusive and his personalized internal view is honest. Amy Gerstler accepts the indictment, letting it bring her poems to an epiphanic connection with reality. This distinction reflects their generational difference, between Ashbery's postmodernists who see no possibility of understanding reality, and Gerstler's post-postmodernists who instinctively hope for that understanding while accepting postmodernist epistemological pessimism.

Thesis (M.A.)--Ohio State University, 1929. / Includes bibliographical references (leaves iii-vi). Available online via OhioLINK's ETD Center