This thesis engages with Taiwanese history by offering a reading of Hou Hsiaohsien???s A City of Sadness (1989), making reference to the film???s historical dimensions, cultural representations and gender issues in the period 1945 to 1949. In addition, Hou???s cinematography is detailed with comparison to Yasujiro Ozu and the influences of Japanese colonisation. Hou???s immense contribution to Taiwanese film consists principally in a Taiwanese trilogy that traces Taiwan???s history in the 20th century. In The Puppet Master (1993) Hou details the era of Japanese colonisation from 1895 to the restoration of Taiwan by the Kuomintang in 1945. Later, A City of Sadness focuses on the fate of the Lin family from 1945 to 1949, which epitomises people???s life in Taiwan during the initial stages of Kuomintang domination. Finally, Good Men, Good Women (1995) highlights two different eras in Taiwan: the political movement in the 1950s and the pop culture in the 1990s. The thesis uses illustrations from all three films to explore Hou???s historical, cultural and gender representations. In order to understand Hou???s ideology and beliefs in greater depth, I also review his autobiographical film, A Time to Live, and A Time to Die (1985). This thesis examines Taiwan???s indigenous culture and the impact of Japanese and Chinese cultural practices in A City of Sadness through the post-colonial theories of Perry Anderson, Homi Bhabha, and Chris Berry. I draw on their theories of cultural hegemony and my empiricism to investigate Hou???s representation of the political situation in Taiwan. Finally, the thesis evaluates gender issues in A City of Sadness, with reference to Julia Kristeva???s notion of ???feminine time??? and the debate between Emilie Yeh and Mizou concerning ???whether women can really enter history???. In evaluating A City of Sadness I argue that Hou Hsiao-hsien???s use of a family???s microhistory to parallel the national macro-history of the February 28th Incident opens an important historical window through which the audience may re-encounter and reflect on Taiwan???s past, and think positively about its future.

This thesis engages with Taiwanese history by offering a reading of Hou Hsiaohsien???s A City of Sadness (1989), making reference to the film???s historical dimensions, cultural representations and gender issues in the period 1945 to 1949. In addition, Hou???s cinematography is detailed with comparison to Yasujiro Ozu and the influences of Japanese colonisation. Hou???s immense contribution to Taiwanese film consists principally in a Taiwanese trilogy that traces Taiwan???s history in the 20th century. In The Puppet Master (1993) Hou details the era of Japanese colonisation from 1895 to the restoration of Taiwan by the Kuomintang in 1945. Later, A City of Sadness focuses on the fate of the Lin family from 1945 to 1949, which epitomises people???s life in Taiwan during the initial stages of Kuomintang domination. Finally, Good Men, Good Women (1995) highlights two different eras in Taiwan: the political movement in the 1950s and the pop culture in the 1990s. The thesis uses illustrations from all three films to explore Hou???s historical, cultural and gender representations. In order to understand Hou???s ideology and beliefs in greater depth, I also review his autobiographical film, A Time to Live, and A Time to Die (1985). This thesis examines Taiwan???s indigenous culture and the impact of Japanese and Chinese cultural practices in A City of Sadness through the post-colonial theories of Perry Anderson, Homi Bhabha, and Chris Berry. I draw on their theories of cultural hegemony and my empiricism to investigate Hou???s representation of the political situation in Taiwan. Finally, the thesis evaluates gender issues in A City of Sadness, with reference to Julia Kristeva???s notion of ???feminine time??? and the debate between Emilie Yeh and Mizou concerning ???whether women can really enter history???. In evaluating A City of Sadness I argue that Hou Hsiao-hsien???s use of a family???s microhistory to parallel the national macro-history of the February 28th Incident opens an important historical window through which the audience may re-encounter and reflect on Taiwan???s past, and think positively about its future.

This thesis engages with Taiwanese history by offering a reading of Hou Hsiaohsien???s A City of Sadness (1989), making reference to the film???s historical dimensions, cultural representations and gender issues in the period 1945 to 1949. In addition, Hou???s cinematography is detailed with comparison to Yasujiro Ozu and the influences of Japanese colonisation. Hou???s immense contribution to Taiwanese film consists principally in a Taiwanese trilogy that traces Taiwan???s history in the 20th century. In The Puppet Master (1993) Hou details the era of Japanese colonisation from 1895 to the restoration of Taiwan by the Kuomintang in 1945. Later, A City of Sadness focuses on the fate of the Lin family from 1945 to 1949, which epitomises people???s life in Taiwan during the initial stages of Kuomintang domination. Finally, Good Men, Good Women (1995) highlights two different eras in Taiwan: the political movement in the 1950s and the pop culture in the 1990s. The thesis uses illustrations from all three films to explore Hou???s historical, cultural and gender representations. In order to understand Hou???s ideology and beliefs in greater depth, I also review his autobiographical film, A Time to Live, and A Time to Die (1985). This thesis examines Taiwan???s indigenous culture and the impact of Japanese and Chinese cultural practices in A City of Sadness through the post-colonial theories of Perry Anderson, Homi Bhabha, and Chris Berry. I draw on their theories of cultural hegemony and my empiricism to investigate Hou???s representation of the political situation in Taiwan. Finally, the thesis evaluates gender issues in A City of Sadness, with reference to Julia Kristeva???s notion of ???feminine time??? and the debate between Emilie Yeh and Mizou concerning ???whether women can really enter history???. In evaluating A City of Sadness I argue that Hou Hsiao-hsien???s use of a family???s microhistory to parallel the national macro-history of the February 28th Incident opens an important historical window through which the audience may re-encounter and reflect on Taiwan???s past, and think positively about its future.

No description available.

No abstract available. / Thesis (Ph.D.)-University of Natal, 1979.

The thesis is concerned with the British perception of Soviet foreign policy between 1951 and 1956. In particular it examines the understanding that British diplomats, politicians and civil servants had of the process of change which the death of Stalin stimulated in the Kremlin's relations with the outside world. The core of the study centres around 1955, as this was the pivotal point for the British. With the ascendancy of Khruschev there was perceived not only a new emphasis in Moscow on the necessity of avoiding global war between East and West, but also a new interest in economic competition. By 1956 Whitehall had concluded that there were a number of factors informing the Soviet re-evaluation of foreign policy. Among which were: the stabilisation of the Western alliance culminating with West German rearmament in 1955; the cost of defence expenditure both in armaments and in supporting the satellite regimes and China; the development of American and Soviet thermonuclear potentials. The latter was thought by the British to be the most profound in its implications on the Soviet approach to the future of international relations. The Soviet leadership certainly appeared eager to be friendly and particularly to communicate an awareness of the grotesque futility of a war employing the latest weaponry. To this end they agreed to the Geneva Summit of 1955. Anthony Eden and Harold Macmillan were convinced by this meeting that, in Macmillan's words, "there ain't gonna be no war". For a few brief, golden months, it seemed in London as if the Cold War might even be negotiated into history. However, by the end of 1955 it was apparent to the British that Geneva did not mean the Kremlin had given up aspirations to global supremacy, rather that the means to this end were now to be different.

This thesis engages with Taiwanese history by offering a reading of Hou Hsiaohsien???s A City of Sadness (1989), making reference to the film???s historical dimensions, cultural representations and gender issues in the period 1945 to 1949. In addition, Hou???s cinematography is detailed with comparison to Yasujiro Ozu and the influences of Japanese colonisation. Hou???s immense contribution to Taiwanese film consists principally in a Taiwanese trilogy that traces Taiwan???s history in the 20th century. In The Puppet Master (1993) Hou details the era of Japanese colonisation from 1895 to the restoration of Taiwan by the Kuomintang in 1945. Later, A City of Sadness focuses on the fate of the Lin family from 1945 to 1949, which epitomises people???s life in Taiwan during the initial stages of Kuomintang domination. Finally, Good Men, Good Women (1995) highlights two different eras in Taiwan: the political movement in the 1950s and the pop culture in the 1990s. The thesis uses illustrations from all three films to explore Hou???s historical, cultural and gender representations. In order to understand Hou???s ideology and beliefs in greater depth, I also review his autobiographical film, A Time to Live, and A Time to Die (1985). This thesis examines Taiwan???s indigenous culture and the impact of Japanese and Chinese cultural practices in A City of Sadness through the post-colonial theories of Perry Anderson, Homi Bhabha, and Chris Berry. I draw on their theories of cultural hegemony and my empiricism to investigate Hou???s representation of the political situation in Taiwan. Finally, the thesis evaluates gender issues in A City of Sadness, with reference to Julia Kristeva???s notion of ???feminine time??? and the debate between Emilie Yeh and Mizou concerning ???whether women can really enter history???. In evaluating A City of Sadness I argue that Hou Hsiao-hsien???s use of a family???s microhistory to parallel the national macro-history of the February 28th Incident opens an important historical window through which the audience may re-encounter and reflect on Taiwan???s past, and think positively about its future.

This thesis engages with Taiwanese history by offering a reading of Hou Hsiaohsien???s A City of Sadness (1989), making reference to the film???s historical dimensions, cultural representations and gender issues in the period 1945 to 1949. In addition, Hou???s cinematography is detailed with comparison to Yasujiro Ozu and the influences of Japanese colonisation. Hou???s immense contribution to Taiwanese film consists principally in a Taiwanese trilogy that traces Taiwan???s history in the 20th century. In The Puppet Master (1993) Hou details the era of Japanese colonisation from 1895 to the restoration of Taiwan by the Kuomintang in 1945. Later, A City of Sadness focuses on the fate of the Lin family from 1945 to 1949, which epitomises people???s life in Taiwan during the initial stages of Kuomintang domination. Finally, Good Men, Good Women (1995) highlights two different eras in Taiwan: the political movement in the 1950s and the pop culture in the 1990s. The thesis uses illustrations from all three films to explore Hou???s historical, cultural and gender representations. In order to understand Hou???s ideology and beliefs in greater depth, I also review his autobiographical film, A Time to Live, and A Time to Die (1985). This thesis examines Taiwan???s indigenous culture and the impact of Japanese and Chinese cultural practices in A City of Sadness through the post-colonial theories of Perry Anderson, Homi Bhabha, and Chris Berry. I draw on their theories of cultural hegemony and my empiricism to investigate Hou???s representation of the political situation in Taiwan. Finally, the thesis evaluates gender issues in A City of Sadness, with reference to Julia Kristeva???s notion of ???feminine time??? and the debate between Emilie Yeh and Mizou concerning ???whether women can really enter history???. In evaluating A City of Sadness I argue that Hou Hsiao-hsien???s use of a family???s microhistory to parallel the national macro-history of the February 28th Incident opens an important historical window through which the audience may re-encounter and reflect on Taiwan???s past, and think positively about its future.

This thesis engages with Taiwanese history by offering a reading of Hou Hsiaohsien???s A City of Sadness (1989), making reference to the film???s historical dimensions, cultural representations and gender issues in the period 1945 to 1949. In addition, Hou???s cinematography is detailed with comparison to Yasujiro Ozu and the influences of Japanese colonisation. Hou???s immense contribution to Taiwanese film consists principally in a Taiwanese trilogy that traces Taiwan???s history in the 20th century. In The Puppet Master (1993) Hou details the era of Japanese colonisation from 1895 to the restoration of Taiwan by the Kuomintang in 1945. Later, A City of Sadness focuses on the fate of the Lin family from 1945 to 1949, which epitomises people???s life in Taiwan during the initial stages of Kuomintang domination. Finally, Good Men, Good Women (1995) highlights two different eras in Taiwan: the political movement in the 1950s and the pop culture in the 1990s. The thesis uses illustrations from all three films to explore Hou???s historical, cultural and gender representations. In order to understand Hou???s ideology and beliefs in greater depth, I also review his autobiographical film, A Time to Live, and A Time to Die (1985). This thesis examines Taiwan???s indigenous culture and the impact of Japanese and Chinese cultural practices in A City of Sadness through the post-colonial theories of Perry Anderson, Homi Bhabha, and Chris Berry. I draw on their theories of cultural hegemony and my empiricism to investigate Hou???s representation of the political situation in Taiwan. Finally, the thesis evaluates gender issues in A City of Sadness, with reference to Julia Kristeva???s notion of ???feminine time??? and the debate between Emilie Yeh and Mizou concerning ???whether women can really enter history???. In evaluating A City of Sadness I argue that Hou Hsiao-hsien???s use of a family???s microhistory to parallel the national macro-history of the February 28th Incident opens an important historical window through which the audience may re-encounter and reflect on Taiwan???s past, and think positively about its future.

The Donovan Report (1965-1968) is often seen as one of the great failures in the overall attempt to deal with the thorny problem of the contentious nature of industrial relations in post-war Britain. This thesis re-examines that report and subsequent governmental responses, using numerous sources, many of which have barely been used by previous authors, in order to establish where it all went wrong. Such an examination is important to inform future governments on some of the problems of trying to legislate on industrial relations matters. This thesis addresses the central question addressed by the Report – the validity of employing legislation to deal with the problems within industrial relations, asking what contribution had legislation made to the ordering of industrial relations in the past, and what lessons future governments could take from that? Why did both the Labour Governments under Harold Wilson and the Conservative Government under Edward Heath choose to go beyond Donovan in their attempts to alter the role of the state in industrial relations Finally, could the Industrial Relations Act 1971, had it survived, have been to the benefit of trade unions in time? This thesis suggests that legislation had an important role to play in the ordering of industrial relations, and that collective bargaining alone, although effective in many areas, was unable to address issues which had wider implications, such as those relating to health and safety or the reconciliation of differences due to the laws’ interference with trade unions’ rights to defend their members and their own collective rights. Both the Labour and Conservative Governments chose to go beyond the measures proposed by Donovan because economic and political necessity demanded a greater measure of control over strike action. However, the inquiry had undoubtedly focused the debate on whether or not legislation could ever be the most appropriate tool for controlling industrial relations, and therefore acted as a catalyst for the reforms that followed. The Industrial Relations Act 1971 failed to bring about the hoped-for industrial peace. Its repeal in 1974, however, did nothing to prevent further rises in strikes after 1974. Piecemeal legislation in the 1980s and 1990s did bring about a greater level of industrial peace, but this suggests that it was not legislation per se that was the wrong strategy for controlling industrial relations, but rather the method and pace of implementation. Other means of maintaining industrial peace were experimented with and could have been successful if the political will had been there and the unions and employers had engaged more fully,but the seeds had been sown for legislative control and it was impossible to hold back the tide of restrictive legislation which followed these early forays into the concept of law as a means of controlling industrial relations. The Donovan Report did indeed represent the thin end of the legal wedge and opened the floodgates to the many enactments designed to control and emasculate the trade union movement which the Conservative governments of the 1980s and early 1990s were able to introduce. The collective failures of the Donovan Report, In Place of Strife and the Industrial Relations Act to bring about industrial peace were, however, only indicative that legislation was not the most appropriate means of achieving this goal at this particular point in time. Alternative attempts to reduce strikes and engage trade unions in closer working relationships with employers and their associations, and with the government, did meet with some success in the 1970s and may be usefully attempted again in the future. This will, however, depend on whether government is able to keep an open mind on the utility, or perhaps futility, of legislative controls such as those attempted in the years between 1965 and 1975.