有清一代，女性作家大量湧現。「隨園女弟子」為清代乾隆（愛新覺 羅弘曆，1711－1799；在位時期1736－1795）嘉慶（愛新覺羅顒琰，1760－ 1820；在位時期1796－1820）年間活躍於中國南方一帶的女詩人集團，她們是 清代著名學者袁枚（自號隨園）的學生，授業於袁枚。觀其作品可以考察其師承 關係。袁枚於嘉慶元年刊行之《隨園女弟子詩選》為其選輯女弟子之詩集，當中 透露其選詩的特色。同時，隨園女弟子雖身處閨閣，兼具名士氣質，在其作品中 展現出不可小覷的活動力和藝術生命力。研究這課題亦能展示清代乾嘉時期上層 女性日常及文學生活的面貌。

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This paper mainly analyzes the different tones in the Shantou dialect. The Shantou dialect is known as one of the branches of the Chaoshan dialect which is a sub-group of the southern Min. Compared to other sub-group southern Min dialects, one of the distinguishing tonal characteristics of the Shantou dialect is that it has eight tones while the others have seven. Common views have explained that the eight tones in the Shantou dialect are the result of the four Middle Chinese tones further splitting into the upper register and the lower register. Thus, the Shantou dialect has its unique position in the study of the tonal development of Chinese. In order to better understand this unique tonal phenomenon, with references to the four Middle Chinese tonal categories, the tonal system in the Shantou dialect is acoustically examined. With an acoustic tonal experiment, this study aims to discuss three questions. First, what are the Shantou dialect’s tonal values? Second, what is the relation between its tones and the four Middle Chinese tones? Third, what is the tonal value difference between auditory perception and objective analysis? Based on the measurement of fundamental frequency of speeches from the selected native Shantou dialect speakers by Praat, objectively analyzed tonal values are provided. In comparison with an auditory perception of tonal value in previous studies, differences between the current study and previous research will be discussed. Moreover, I point out that the tonal system in the Shantou dialect is not spoken with as much symmetrical alignment as compared to the four Middle Chinese tones divided into the upper register and the lower register. This paper contains five main parts. The first chapter gives a detailed introduction of the Shantou dialect. Second, the methodology that is used in this study is illustrated. Specifically, it includes how the data was collected and processed using a software program called Praat. Next, the third chapter gives an analysis on each tone’s value, including illustration on its fundamental frequency and tonal contour. Fourth, previous studies and current study on the tonal system in the Shantou dialect are further discussed. Last, a brief conclusion is listed.

China, for the past six decades, has witnessed two massive population movements in reversed directions: the government-imposed relocation to rustic hinterlands during the Mao era, and the market-driven rural-to-urban migration in the post-socialist age. Revolving around a group of socialist workers’ relocation and homecoming, Wang Xiaoshuai’s王小帅 trilogy, comprising Shanghai Dreams (Qinghong青红, 2005), Eleven Flowers (Wo shiyi我11, 2012), and Red Amnesia (Chuangruzhe闯入者, 2014), connects the two movements through its visual representations. By examining the embedded dichotomies, namely the inland area against coastal cities, socialist remnants against post-socialist prosperity, and personal recollections against collective amnesia, I explore the geographical, historical, and historiographical Other implemented in the trilogy’s visual narratives. This elusive yet omnipresent discourse of otherness replaces the impression of documentary realism, the hallmark of Wang’s cinematic style as exemplified in pervious works, with a sense of Benjaminian storytelling. Additionally, in his tales of two cities, the director grapples with aporias of a post-socialist China through the discourse of woman. In this regard, I investigate how the female body, once the recipient of male gaze and the object of desire, has become the masculine other’s outlet of revenge, thereby providing narrative closure to the tension-ridden tales.

從來小說中的環境描述，都是小說創作中一項具體而重要的細節與象徵。小說 作者往往藉由對場所/環境的選取與陳述，建構舖陳出小說中的情調與氛圍，其 中蘊涵著作者個人對現實的感懷與情緒的投射。在不同的年代裏，都有作者以 香港為小說的場景，他們透過不同的主題與角色，或頹靡，或抒情，或狂亂， 或純真，或虛或實；所帶出的香港故事，與時俱變。如果都會的變貌是香港這 座城市的本命，那麼它是如何影響及反映在以香港作為場景的小說之中？而這 些以香港為場景的小說，又如何呈現了香港的氛圍與面貌？本論文嘗試以小說 的「空間」 及「場景」──也就是香港──為探索主題，從文本中歸納勾勒出 「文學中的香港」的面貌，並對照不同作者的共通描述。 論文共分六章。第一章為導論，主要介紹論文的研究範圍、方法及目的。第二 章討論香港小說中的豪宅、半山洋房與大酒店；這些「空間」呈現了上流社會 和中產階級，主要來自「外來作家」的描述。第二章討論香港小說中的木屋區、 板間房和床位；四、五十年代從國內南來的作家，他們的小說總離不開他們對現實生活的憤慨與生存的苦苦掙扎，木屋區、板間房與床位就成為他們描寫現 實生活的重要場景。第三章討論香港小說中的大廈；居住環境的擠迫，已經成 為香港社會裏無法逃避的一種現實狀態，這樣的題旨都曾經出現在劉以鬯、也 斯和西西的小說裏，不過他們態度迴異，構成了不一樣的城市氛圍。第五章討 論香港小說中正在消失的城市；九十年代的小說作者有意無意地，把小說中城 市的面貌意象化，現實從具體變得抽象，而其中的焦慮不安與不捨卻因而顯得 更加真實。第六章為總結及檢討。

香港作家舒巷城（1923-1999）被文學史家稱為香港的「鄉土作家」。「鄉土文學」 在中國內地及台灣有不同的定義及發展，香港特殊的地理環境、政治因素，令香港 文學的發展吸收、融合多方面的思潮、技巧，形成跟中國內地、台灣的文學同中有 異、異中有同的特色。本文主要把舒巷城放在時代背景中，分析香港「鄉土文學」 和其他兩地作品特色之異同，同時對舒巷城的作品按時序作一整理，嘗試整理出作 家在特定寫作環境下，作品所呈現的特色及作者文學觀的轉變。

The history of Chinese restaurants in the American West shows that Chinese food became a part of the social and cultural realities for Chinese people, especially in the earliest years, partly because regional food helped maintain regional language and dialect. Beyond that, it also demonstrates how restaurants--even more than other service industries such as laundries--provide a living context in which Chinese met non-Chinese, and where the non-Chinese could become acquainted with Chinese art, eating customs, regional cookery, embroidery, and even family life. In other words, the Chinese restaurant became in time a bridge between the two cultures, and has therefore had an important function in intercultural relations. Moreover, certain developments in Chinese restaurant customs are found only in the United States (soup served first instead of last; everyone receiving a fortune cookie rather than one person getting a sign of good fortune); this fact testifies to a cultural dynamism among the otherwise conservative Chinese workers who established themselves in a strange land far from home. An interpretation and "decoding" of these elements from the viewpoint of a contemporary "mainland" Chinese forms the central discussion of this thesis.

Despite the number of narratives regarding the negative outcomes and experiences of the Down to the Countryside Movement during the Cultural Revolution, there is a scarce amount of literature in the West regarding the fringe benefits of the movement. The historiography in the field is limited, with most Western writers only focusing on the unfortunate consequences of the movement, such as violence, rape, limited access to education, and the strain on families affected by the political movement. The purpose of this study is to give a voice to the Chinese sent-down youth whose positive thoughts on the Down to the Countryside are often not addressed in the West. This is done by the evaluation of memoirs in the form of books and journal articles. By analyzing these works, one finds that many of the sent-down youth had positive experiences during their time in the countryside. These include but are not limited to developing a strong work ethic, making long-lasting friendships with other sent-down youths as well as with peasants, and, for young women, developing a sense of equality with young men due to their effort in hard, manual labor. This study is significant because it can serve as a framework for future research into the lives and experiences of the sent-down youth.

The study investigates the motivation behind learners of the Chinese language as a second language at the university level in the United States of America. The study uses Dornyei’s (1994a) three-level framework of L2 motivation and Dornyei’s (2001a) demotivation theory, as the theory guidelines. In addition, the study takes both quantitative and qualitative approaches and uses questionnaires and interviews for data collection. First, the study explores the various constructions of motivation for students learning Chinese at a public university in the New England region. All students who were enrolled in the elementary, intermediate, and advanced Chinese courses at the University in the fall semester of 2019 participated in this study. 108 valid questionnaires have been collected for this investigation. The data from these questionnaires were then analyzed in Excel and the results indicate that the highest motivation is instrumental motivation. The second-highest motivation is achievement motivation, the third is integrative motivation, and the fourth is positive learning attitudes and experiences motivation. While social milieu motivation and language requirement motivation are low. Second, the students were separated based on the students’ gender, ethnic backgrounds, and learning levels. The participants were divided into the following groups: male and female learners, learners of the Chinese heritage and non-heritage, and learners in the beginning, intermediate, and advanced level. The data from the questionnaires were then analyzed in SPSS, with results showing that there are significant differences pertaining to motivation between the female and the male groups as female students’ motivation is higher than that of male students. There were no significant differences found with the amount of motivation between the Chinese heritage and the non-heritage groups. However, the Chinese heritage students displayed much higher integrative and social milieu motivation than the non-heritage students. Furthermore, students of non-heritage background displayed significantly better achievement motivation than students of Chinese heritage. No significant differences with motivational levels between students of different learning levels were found. But in spite of that, there are considerable disparities between these three groups in terms of integrative motivation, language requirement motivation, and social milieu motivation. This study also explores factors that cause students’ demotivation to learn Chinese. The six highest demotivation factors are reported in the following: “Chinese is too difficult for me, tones, characters, grammar, and phrases, etc.”; “my exam grades cannot show my actual Chinese level”; “I feel upset because I put great effort in studying Chinese while making little progress”; “class activities are far too few and boring”; “I cannot understand my Chinese teacher because he/she speaks too fast and difficult for me”; “I do not like using the Chinese textbook”; and “too much homework.” Furthermore, students also complain about the curriculum being too fast-paced with too many exams and homework. Finally, after the analysis and discussion of the data and findings, corresponding pedagogical implications are suggested and explained.