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Drawing the dragon : testimonies to the reinvention of ChinaTao, Zhijian January 1996 (has links)
No description available.
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Drawing the dragon : testimonies to the reinvention of ChinaTao, Zhijian January 1996 (has links)
The accidental, or maybe not so accidental, equation of the Long $ rm lbrack TE rbrack$ with the dragon is a minor, yet in many ways symbolic, incident in Western European reinvention of China. This reinvention can be found in a wide variety of discourses, the authors of which range from Enlightenment philosophes to nineteenth-century political economists, to the recent Derrida, and from the even earlier Sir John Mandeville, Oliver Goldsmith, to Coleridge, to W. S. Landor and De Quincey. It covers all aspects of Chinese culture, including philosophy, religion, government, language, poetry, and folklore. This dissertation argues that the divergent, even contradictory, accounts of China as a culture Other, on the one hand reflect divergent or conflicting domestic agenda and, on the other, converge as products of an inherent epistemological ethnocentrism. As such, they can offer no substantial alternatives to "Orientalism," which is an ideology that functions in a cross-cultural context. However, Edward Said's delineation of Orientalism has the weakness of vacillating between the incompatible notions of "truth" and of discourse. And Dennis Porter's corrective, based on the "generic heterogeneity" within the West's cultural tradition, has a theoretical problem of traversing contextual boundaries. To contribute to the on-going debate, this dissertation proposes a distinction between internal and external perspectives, on the criteria of material, objective, and standard, in the representation of a cultural identity. With each perspective conscious of its own specific values, a cross-cultural textual dialogue may be pursued.
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Printing culture in rural North ChinaFlath, James A. 11 1900 (has links)
This manuscript examines the cultural history of rural North China, as seen through
the production, circulation, content and interpretation of graphic wood-block prints, known
as nianhua. The spatial focus is on a fixed set of print producing villages on the North China
plain. The temporal focus encompasses the late 1800s through the early 1960s. In examining
how nianhua were produced and distributed in late 19th and early 20th century North China,
I show that the village print industry was prescriptive in organization. This organization was
a basic factor in delimiting form and iconography in print, since it imposed limits on the free
appropriation of texts, and directed the way in which they were read. Having accounted for
these factors, I consider how perceptions of the social, physical and ethical world were put
into print, and how print in turn configured perceptions of the world. Since print is thus
socially derived, print and its interpretation are considered in terms of responses to social
change, and the capacity of print to effect change. The environment in which village print is
structured is variously considered to be formed by the following: the physical space of the
home; late-imperial narrative structures (and their residual perpetuation beyond the decline of
the political regime); narrative structures produced through technological change and
expanded translocal experience; and state-centred reform beginning in the Republican era,
and reaching its conclusion under communism. I conclude that narratives which began as
superscriptive and authoritative structures, were appropriated and re-structured by the
specific conditions of the production, distribution, and display of print in the village.
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Printing culture in rural North ChinaFlath, James A. 11 1900 (has links)
This manuscript examines the cultural history of rural North China, as seen through
the production, circulation, content and interpretation of graphic wood-block prints, known
as nianhua. The spatial focus is on a fixed set of print producing villages on the North China
plain. The temporal focus encompasses the late 1800s through the early 1960s. In examining
how nianhua were produced and distributed in late 19th and early 20th century North China,
I show that the village print industry was prescriptive in organization. This organization was
a basic factor in delimiting form and iconography in print, since it imposed limits on the free
appropriation of texts, and directed the way in which they were read. Having accounted for
these factors, I consider how perceptions of the social, physical and ethical world were put
into print, and how print in turn configured perceptions of the world. Since print is thus
socially derived, print and its interpretation are considered in terms of responses to social
change, and the capacity of print to effect change. The environment in which village print is
structured is variously considered to be formed by the following: the physical space of the
home; late-imperial narrative structures (and their residual perpetuation beyond the decline of
the political regime); narrative structures produced through technological change and
expanded translocal experience; and state-centred reform beginning in the Republican era,
and reaching its conclusion under communism. I conclude that narratives which began as
superscriptive and authoritative structures, were appropriated and re-structured by the
specific conditions of the production, distribution, and display of print in the village. / Arts, Faculty of / History, Department of / Graduate
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Cultural fever, consumer society and pre-orientalism China in eighteenth-century EnglandWong, Chi-man, Lorraine., 黃芷敏. January 2002 (has links)
published_or_final_version / English / Master / Master of Philosophy
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WeChat moments :A study of WeChat liking behavior in a Chinese cultural context / A study of WeChat liking behavior in a Chinese cultural contextZeng, Jia Cheng January 2018 (has links)
University of Macau / Faculty of Social Sciences. / Department of Communication
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The impact of Yang and Yin in Chinese cultureLa Wall, Carl January 1968 (has links)
There is no abstract available for this thesis.
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中國近代社會主義思潮與日本之關係: 一八七〇至一九三七年 = Socialism in modern China and its relations with Japan : 1870-1937. / Socialism in modern China and its relations with Japan : 1870-1937 / Zhongguo jin dai she hui zhu yi si chao yu Riben ji guan xi: yi ba qi ling zhi yi jiu san qi nian = Socialism in modern China and its relations with Japan : 1870-1937.January 1983 (has links)
吳太平. / Thesis (M.A.)--香港中文大學硏究院歷史學部. / Includes bibliographical references (p. 505-546). / Wu Taiping. / Thesis (M.A.)--Xianggang Zhong wen da xue yan jiu yuan li shi xue bu. / 緒論 --- p.1 / Chapter 第一章 --- 初期社會主義思潮之東傳(一八七○至一八九四年) --- p.9 / Chapter 第二章 --- 中國留日知識界的社會主義思潮(一八九五至一九一○年) --- p.25 / Chapter 第三章 --- 民國初年的社會主義思潮與日本之關係(一九一一至一九一七年) --- p.79 / Chapter 第四章 --- 俄國十月革命後中國社會主義思法之勃興與日本的關係(一九一八至一九二七年) --- p.110 / Chapter 第五章 --- 社會主義,民族主義與日本(一九二八至一九三七年) --- p.277 / 結論 --- p.369 / 註釋 --- p.374 / 書目 --- p.505
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Film censorship in Hong KongBarbieri, Maria. January 1997 (has links)
published_or_final_version / Comparative Literature / Master / Master of Philosophy
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Retrospection and deliberation : the create [i.e. creative] summary of the high definition video works / Title of accompanying DVD: Style, grace, praise.Chu, Xiaoge January 2005 (has links)
This paper reviews the process of video production that was used to create the creative portion of the thesis project. During this process, I experienced creative art theory, creative methods, and new technology applications. For the production of the thesis, I used a high definition digital video camera to illustrate the conflict and fusion between the East and West on the level of cultural mythology. The thesis is comprised of five parts and seven subdivisions:PrefaceStatement of the problemReview of influenceDescription of the artworks, including seven subdivisions:Theme of the projectSelection of creative styleElements of art and cinematographyProject OverviewTransposing the concrete into the abstractExhibit understanding of the language of cinemaCreative application of emerging HDV technologyConclusion and exhibition statement. / Department of Art
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