陳偉超. / "2008年5月". / "2008 nian 5 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2008. / Includes bibliographical references (leaves 69-76). / Abstract also in English. / Chen Weichao. / Chapter 第一章 --- 引言 --- p.1 / Chapter 第二章 --- 成效、標簽、資源分配：慈善文本的硏究進路和結果及硏究設定 --- p.5 / Chapter 第三章 --- 文獻回顧：慈善理念在不同場域中的形態 --- p.16 / Chapter 第四章 --- 三個慈善機構的慈善論述 --- p.31 / Chapter 第五章 --- 總結：慈善文本深度閱讀 --- p.62 / 附件一 --- p.68 / 參考書目 --- p.69

Lau, Tsui Shuen. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts also in Chinese.

本文主要考察社会主义中国的文化政策经历了怎样的发展变化，并试图回答自1949年以来中国共产党是如何介入与领导当代中国的文化，其文化治理的理论与实践又是如何发展与转变，对文化领域又产生了怎样的影响。 / 与只对政策文件进行解读的传统政策研究不同，本研究采用文化的政治经济学和文化社会学取经，结合宏观与微观、观念与实践两个层面，对上述问题进行考察与分析，从而梳理出中国文化政策发展变化的历史脉络。除了对中共制订的政策文件及主要思想理论进行梳理与分析外，本文选取了代表中国社会主义国家特色的上海市工人文化宮及其话剧生产为个案研究对象，通过文献研究、实地考察、深度访谈、历史比较分析等方法，具体深入地考察文化主体与文化政策之间的关系，尤其是在后毛泽东时代的发展变化，以此勾勒出社会主义中国文化政策从思维到实践的运动轨迹。 / 本文希望通过这一研究可以在以下三个方面有所贡献：（1）梳理出一种社会主义中国的文化政策的历史脉络；（2）试图通过个体深访和个体口述史，来考察社会主义中国文化政策与个体的关系，从而在微观上提供关于社会主义中国文化政策的重要实证数据。并且，（3）在中观和宏观的层面上建议一种关于社会主义中国文化政策研究的理论框架，作为今后这一研究课题发展的一个基础；（4）通过比较中国与西方发达资本主义国家之间文化政策发展与运动趋势的异同，反思中国文化政策的转型，从而为推进中国文化政策的发展与进步建言。最后，希望本论文可以对社会主义国家或发展中国家的文化政策研究提供中国经验的参考与启发。需要强调的是，本文并非急于给社会主义中国文化政策的历史变迁下定论，限于历史资料收集的有限性和文化政策历时研究的复杂性，本文主要是通过现有的史料和相关数据，来做一项关于社会主义中国文化政策领域的开拓性的基础研究，也是为日后中国文化政策研究的发展做一种铺垫。 / The thesis project attempts to answer the questions about how the Chinese Communist Party governs the cultural domain in Contemporary China, and how the cultural governance develops and influences cultural production in China since 1949. / This research tries systematically explores the development of the cultural policy of Socialist China by focusing on Shanghai Municipal Workers Palace of Culture and its cultural production, which is an understudied topic in Chinese Studies. Through investigating the CCP’s theories, thoughts and policies in cultural sphere, the ways and rules of producing literature and art, it will systematically analyze the relationship of the Chinese party-state and culture in different historical periods, and illustrate the development of the CCP’s cultural policy from theory to practice. / The study mainly adopts Cultural Political Economy and Sociology of Culture approaches. Different from traditional cultural policy studies, it is a historical and comparative empirical inquiry with an integrated macro and micro perspective. The study introduces qualitative methods including archive analysis, field study, in-depth interview, oral history, participant observation, and historical comparative analysis and etc, to answer the research questions and support the thesis arguments. / The purpose of the thesis is (1) to map the historical path of cultural policy in the People’s Republic of China; (2) to provide empirical data of Socialist China’ cultural policy from micro perspective through subject’s in-depth interview and oral history; and (3) to suggest a theoretical framework for Chinese cultural policy studies at a meso- and macro-level; and (4) to bring critical reflection on the transition of cultural policy in today’s China, through comparing it with the shift and trend of the Western. Furthermore, the line of research also aims provide the Chinese model as a reference for cultural policy studies on socialist states or developing countries. To be noted, our goal is not to draw a hasty conclusion about the transformation of cultural policy in PRC or to predict its future directions. Instead, our humble task is, to do an exploratory study through the Shanghai case study and based on the limited materials that we collect, and, to pave the way for the future development of Chinese Cultural Policy Stuies. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 胡霽荣. / "2013年3月". / "2013 nian 3 yue". / Thesis (Ph.D.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 348-359). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract in Chinese and English. / Hu Jirong. / 导言 --- p.1 / Chapter 一、 --- 选题由来 --- p.1 / Chapter 二、 --- 研究视角与分析框架 --- p.7 / Chapter 1、 --- 文化政策研究 --- p.7 / Chapter 2、 --- 本文的研究视角：政治经济学与文化社会学 --- p.11 / Chapter 三、 --- 研究方法 --- p.12 / Chapter 1、 --- 分析框架 --- p.12 / Chapter 2、 --- 研究方法 --- p.13 / Chapter 四、 --- 研究目的 --- p.22 / Chapter 五、 --- 行文结构 --- p.23 / Chapter 第一章 --- 工人阶级的政治影响与社会主义中国文化政策的关系 --- p.25 / Chapter 一、 --- 工人阶级与中国共产党的关系 --- p.25 / Chapter 二、 --- 中共的革命斗争与工人运动 --- p.27 / Chapter 三、 --- 中共的文化政策理论与社会主义中国文化政策的形成 --- p.30 / Chapter 1、 --- 中共文化治理思想的理论基础与本土化发展 --- p.31 / Chapter 2、 --- 中共文艺意识形态的原则与标准 --- p.33 / Chapter 3、 --- 共产党的文化领导权与新中国文化格局的确立 --- p.35 / Chapter 小结 --- p.39 / Chapter 第一部分 --- 上海市工人文化宮：文化组织的历史与转型 --- p.41 / Chapter 第一章 --- 毛时代的工人文化宮 --- p.41 / Chapter 一、 --- 工人文化宮的建立 --- p.41 / Chapter 1、 --- 工会立法及政策文件出台 --- p.43 / Chapter 2、 --- 行政管理结构与制度设计 --- p.49 / Chapter 3、 --- 经济结构与经费资产管理 --- p.51 / Chapter 4、 --- 服务对象与主体 --- p.53 / Chapter 二、 --- 工人文化宮的定位与功能 --- p.55 / Chapter 1、 --- 文化启蒙 --- p.56 / Chapter 2、 --- 提供文化体育休闲服务 --- p.59 / Chapter 3、 --- 组织业余文艺活动与培养工人文艺人才 --- p.60 / Chapter 4、 --- 文化交流与对外展示 --- p.64 / Chapter 5、 --- 毛时代工人文化宮功能的变动 --- p.65 / Chapter 三、 --- 工人文化宮与城市空间生产 --- p.69 / Chapter 1、 --- 上海市工人文化宮的建宮史 --- p.70 / Chapter 2、 --- 毛时代上海市宮的集体记忆 --- p.75 / Chapter 小结 --- p.83 / Chapter 第二章 --- 市场经济条件下的工人文化宮 --- p.84 / Chapter 一、 --- 体制基础与政策环境的变化 --- p.85 / Chapter 1、 --- 国家文化政策的市场化导向 --- p.86 / Chapter 2、 --- 工会对工人文化宮的政策导向 --- p.87 / Chapter 二、 --- 工人文化宮的市场化转型 --- p.89 / Chapter 1、 --- 经济结构转型与经费来源的改变 --- p.89 / Chapter 2、 --- 权力结构的变化与企业化自主发展 --- p.92 / Chapter 三、 --- 工人文化宮空间的异化与工人主体的消逝 --- p.98 / Chapter 1、 --- 被掏空和异化的工人文化宮 --- p.98 / Chapter 2、 --- 工人文化宮社会认同感的消逝 --- p.102 / Chapter 3、 --- 被遗忘和被取代的工人文化宮 --- p.104 / Chapter 四、 --- 文化宮的职能失范与主要原因 --- p.106 / Chapter 1、 --- 经济独立、收租为生与重商主义 --- p.107 / Chapter 2、 --- 权力结构松散、体制资源匮乏与政治地位下降 --- p.110 / Chapter 3、 --- 精英主义、形式主义与公益性丧失 --- p.115 / Chapter 4、 --- 法律约束力薄弱、社会监管缺乏与滥用职权 --- p.122 / Chapter 本部分小结 --- p.126 / Chapter 第二部分 --- “工人文艺生产的沿革与嬗变：以上海市工人文化宮的话剧生产为例 --- p.128 / Chapter 第一章 --- 毛时代的“工人文艺生产 --- p.130 / Chapter 一、 --- “工人文艺生产的文化政策与文化体制保障 --- p.131 / Chapter 1、 --- “工人文艺的政策要求与发展 --- p.131 / Chapter 2、 --- “工人文艺生产的文化制度保障 --- p.135 / Chapter 二、 --- “工人文艺的生产逻辑与文化景观：以1958年至1960年上海工人话剧运动为例 --- p.138 / Chapter 1、 --- 由上而下的意识形态动员机制 --- p.138 / Chapter 2、 --- “工人文艺的生产机制与方法 --- p.141 / Chapter 3、 --- 作为意识形态审查机制的“工人文艺 --- p.146 / Chapter 4、 --- “工人文艺生产中的矛盾与问题 --- p.149 / Chapter 三、 --- 上海工人文艺经验的自述 --- p.154 / Chapter 小结 --- p.163 / Chapter 第二章 --- 国家文艺政策转折与上海市宮话剧生产的新开端 --- p.166 / Chapter 一、 --- 话剧《于无声处》与国家转折 --- p.167 / Chapter 二、 --- 《于无声处》的成功与后毛时代上海市宮话剧生产的关系 --- p.177 / Chapter 第三章 --- 走向八十年代：政策变动中“工人话剧的变 --- p.180 / Chapter 一、 --- 两种文艺治理观的冲突与阶级话语被取消 --- p.181 / Chapter 二、 --- 由计划到市场过渡时期的“工人话剧生产 --- p.188 / Chapter 1、 --- 文艺生产机制的通变与守循 --- p.189 / Chapter 2、 --- 文艺意识形态的分歧与裂痕 --- p.197 / Chapter 小结 --- p.201 / Chapter 第四章 --- 文化宮转型以来的“工人话剧生产 --- p.202 / Chapter 一、 --- 新的文艺政策环境 --- p.203 / Chapter 1、 --- 国家文艺政策的新目标 --- p.204 / Chapter 2、 --- 国家文艺资助方式的转变 --- p.205 / Chapter 3、 --- 国家对主流价值观的维护与诱导机制 --- p.207 / Chapter 二、 --- 市场经济条件下“工人话剧生产的转型与边缘化 --- p.210 / Chapter 1、 --- 市宮话剧生产的新定位 --- p.210 / Chapter 2、 --- “工人话剧生产方式的变革 --- p.212 / Chapter 3、 --- 创作主体的转型与文化精神被颠覆 --- p.220 / Chapter 本部分小结 --- p.223 / Chapter 第三部分 --- 转型后的问题：工人文化宮如何走向公共文化? --- p.226 / Chapter 第一章 --- 新的政策要求与工人文化宮发展的新方向 --- p.226 / Chapter 一、 --- 走向“公益性文化事业：工人文化宮发展的新政策要求 --- p.227 / Chapter 二、 --- 上海市工人文化宮的新变化与新目标 --- p.229 / Chapter 1、 --- “职工艺术博览汇展馆的新建 --- p.229 / Chapter 2、 --- 上海市宮未来的初步规划与憧憬 --- p.231 / Chapter 3、 --- 对“职工艺术博览汇的实地考察：以“黄浦区职工书画 --- p.234 / Chapter 第二章 --- 重新思考工人文化宮：走向以工人为主体的公共参与 --- p.247 / Chapter 一、 --- 工人文化宮应该去向何方？ --- p.248 / Chapter 二、 --- 今后工人文化宮的构建主体是谁？ --- p.250 / Chapter 讨论与总结 --- p.259 / Chapter 一、 --- 研究发现 --- p.259 / Chapter 二、 --- 社会主义中国文化政策发展的历史脉络与思维逻辑 --- p.266 / Chapter 三、 --- 解读社会主义中国文化政策的发展与转型 --- p.282 / Chapter 四、 --- 走向“文化政策生产的研究 --- p.286 / Chapter 附录1： --- “工人剧作家的个人口述史 --- p.289 / Chapter 一、 --- 宗福先 --- p.290 / Chapter 二、 --- 贾鸿源 --- p.316 / Chapter 三、 --- 曲信先 --- p.336 / Chapter 附录2： --- 上海市工人文化宮历届和现任主任名单 --- p.347 / Chapter 图示1： --- 毛时代工人文化宮的工人阶级文化与空间生产 --- p.260 / Chapter 图示2： --- 市场经济至现阶段工人文化宮的文化与空间生产 --- p.262 / Chapter 图示3： --- 今后文化宮的文化与空间生产有可能的发展趋势 --- p.264 / Chapter 图1： --- 社会主义中国文化政策的场域与思维逻辑 --- p.267 / Chapter 图2： --- 社会主义中国成立之前的中共文化政策理念 --- p.269 / Chapter 图3： --- 计划经济时期中国文化政策的思维逻辑 --- p.271 / Chapter 图4： --- 市场经济时期（至现阶段）中国文化政策的思维逻辑 --- p.276 / Chapter 图5： --- 市场经济条件下中国文化政策潜在与可能的发展趋势 --- p.278 / 参考文献 --- p.348

《花間集》是第一部選錄晚唐五代文人詞的總集，是我國現存最古最完整的詞集，以藝術的角度觀之，它的表情特徵，是將某感情審美意象化，以意象疊加多樣化的色彩加諸詞中，使之較能專注著墨於單純的愛與美的形象表現，《花間集》雖不及宋詞之精麗，卻獨具簡古的風格，在中國詞史上具有承先啟後的地位，本文主要分為二個研究方向，一為主題內容，二為感覺意象。茲說明如下： 第一章緒論 說明研究動機與目的，研究方法與範圍，文獻檢討。 第二章《花間集》創作背景與十八家詞人 在創作背景方面，分時代背景及文學背景，說明晚唐五代的時代風氣與文學批評風氣，進而以(花間集》為焦點，說明其風格及文體的傳承，再簡述花問十八家詞人之生平及詞風。 第三章《花間集》主題內容之研究--兒女情愛 《花間集》概分九個主題，即浪漫的情愛，女性的姿態，怨曠與傷逝，離情與別恨，遊仙，詠物，入世的政治態度，出世的理想抱負，邊塞與地方風物等九個主題。浪漫的情愛，女性的姿態，怨曠與傷逝，離情與別恨四個主題主要是描寫世間男女的情感為主，故以兒女情愛標之。浪漫的情愛寫男女之間熱戀時的喜悅，女性的姿態描摹當時女子的美態與才藝，怨曠與傷逝則描寫女子傷春，思念情郎，宮怨，悲秋的情緒，亦有男子思念女子的主題出現，在離情別恨主題上，是《花間集》中數量最多的主題，分別時場景與別後相思二方面，別時場景寫情人夫婦的相別，亦有其他友朋的送別，在別後相思方面，有征婦思夫，閨婦思夫，男子的離情別恨，行人傷別之思等，十分多樣而豐富。本章側重主題的分類，並對同一主題，詞中主人公表現的共同傾向做一概要的分析，使主題更為明確。 第四章《花間集》主題內容之研究--處世情懷 本章是以處世情懷為重，有遊仙主題寫仙凡之間的愛恨嗔痴，有詠物主題詠物本身或借以寄託作者自身的情感，有入世的政治態度主題，呈現花間詞人關心國事，懷古懷鄉的一面，有出世的理想抱負主題，呈現隱逸情懷，有邊塞與地方風物主題，寫作者放曠胸懷，好山好水的景致。這樣的主題，雖只佔花間詞的三分之一，但內容多樣而風格放曠，實突破花間閨帷香豔詞風，開闢另一新風。 第五章《花間集》感覺意象之表現--視．聽覺 五、六章為一單元，為本文另一個重點，本文試以五根為觀察的量尺，即所謂眼、耳、鼻、舌、身（視、聽、嗅、味、膚）五覺，以《花間集》九大主題為觀察的內容，觀察九大主題所使用感覺意象的情形．本章主要觀察視、聽二覺的使用，採統計的方式，以表格的呈現，使讀者能有較為全面的了解。第六章《花間集》感覺意象之表現--嗅．味．膚覺本章以嗅、味、膚覺為觀察量尺，以九大主題為觀察內容，採用圖表統計的方式如前章，並於最末一節對五、六兩章做一總分析，依兒女情愛與處世情懷二大重點，觀察感覺意象運用之異同，再以總體趨勢來看，以呈現《花間集》共同使用最頻繁的感覺意象為何。 第七章結論 由以上數章，約可歸納為如下三個結論，一是開啟婉約、豪放的源流，二是感覺文學的典範，三是濃厚的女性敘寫特質。綜上所述，可知，《花間集》為外貌香豔媚弱，內在輕柔和婉，靈秀清新，純樸自然的詞集，它在愛情多方面的探討，影響了元曲、明傳奇等的萌發興盛。而其在感覺意象的使用，足為後世之典範，其主題內容足開婉約、豪放之先聲，故在中國詞史上，實具不可輕忽的重要參考價值。 文後並有附錄--「《花問集》主題內容一覽表」，是將《花間集》五百首詞，依九大主題而分類，讀者閱讀第五．六章感覺意象時，可依圖表上所附數字，檢閱全詞的內容，特此聲明。

西部苗族有豐富又多彩的創世故事，這是他們民族分散在廣大的地區並與其他民族接觸的結果。其龐大的神系有需多不同創造天地萬物的神，有的是男神，有的是女神，有的男女神是夫妻而分配創造天地。由於苗族在20世紀起才開始有自己的文字，在此之前他們是以口傳方式延續其創世神話。雖然這些神話故事時有宗教方面的色彩，但是它們本身並無神聖的地位。 希伯來人的創世故事記錄於《聖經》〈創世記〉。它們反映了早期的書寫傳統。他們的神是男神，也是唯一的神。因為這些故事的地位神聖，被視為是其唯一正統的創造故事，因此被留傳下來的版本被賦與不可改變或附加其他內容的神聖地位。 兩個完全不同的創世傳統可以提供非常豐富的對比研究。筆者對兩個創世傳統所反映對神、對宇宙結構與對道德的觀念特別有興趣。透過研究發現，這兩個表面上完全不同的創世傳統，深入探討後，發現二者竟有許多相似之處。共同的概念包含天地被至高無上之神創造、混沌的原始世界、創造好的完美世界被死亡與疾病破壞、樂園的失去、普世的洪水氾濫、泥土造人、善與惡的對立等。筆者假設以上的共同概念，再加上無故土的西部苗族很容易認同歷史上亡國的希伯來人，導致其對基督教的接受度有比較高的傾向。 / The Western Miao have an abundance of rich and colorful creation myths. This is the result of their living scattered over a large area, and interacting with other ethnic groups. Their large pantheon contains many different kinds of creator gods. Some are male, some are female, and some are male/female couples. Because the Miao did not have their own alphabet until the early 20th century, any passing on of their myths was done orally. Although these myths sometimes hint of religious influences, they do not have sacred status in themselves. The Hebrew creation myths are recorded in the Bible, in the book of Genesis. They reflect an early written tradition. Their God is male, and He alone is God. Because of their sacred status, these stories are seen as the only legitimate creation stories. Thus, in passing down these stories, no changes or additions can be made. Two such very different creation traditions provide rich opportunities for comparison. The author is especially interested in examining how these stories reflect different concepts of god, of the structure of the universe, and of morality. This study revealed that while on the surface, these two creation traditions appeared to be very different, a deeper probe revealed many similarities. These included the concept of a supreme creator God, original chaos, a perfect world marred by the introduction of sickness and death, the loss of paradise, a universal flood, man made from clay, the dual opposites of good and evil, etc. The author postulates that these similarities, plus the fact that the Miao, without a homeland, could relate to the Hebrews, contributed to their easy acceptance of Christianity. Key words: Western Miao, Hmong, A-Mong (Hua Miao), Hebrews, Genesis

Dynasties of Demons: Cannibalism from Lu Xun to Yu Hua focuses on the issue of representations of the body in modern Chinese fiction. My interest concerns the relationship, or correspondence between "textual" bodies and the physical "realities" they are meant to represent, particularly where those representations involve the body as a discursive site for the intersection of state ideology and the individual. The relationship between the body and the state has been a question of profound significance for modern Chinese literati dating back to the late Qing, but it was Lu Xun who, with the publication of his short story "Kuangren riji" (Diary of a Madman), in 1918, initiated the literaty discourse on China's "apparent penchant for cannibalizing its own people. In the first chapter of my dissertation I discuss L u Xun's fiction by exploring two distinct, though not mutually exclusive issues: (1) his diagnosis of China's debilitating "spiritual illness," which he characterized as being cannibalistic; (2) his highly inventive, counter-intuitive narrative strategy for critiquing traditional Chinese culture without contributing to or stimulating his reader's prurient interests in violent spectacle. To my knowledge I am the first critic of modern Chinese literature to write about Lu Xun's erasure of the spectacle body. In Chapters II, III and IV, I discuss the writers Han Shaogong, Mo Yan, and Yu Hua, respectively, to illustrate that sixty years after Lu Xun's madman first "wrote" the prophetic words, chi ren A (eat people), a number of post-Mao writers took up their pens to announce that the human feast did not end with Confucianism; on the contrary, with the advent of Maoism the feasting began in earnest. Each of these post-Mao writers approaches the issue of China's "spiritual dysfunction" from quite different perspectives, which I have characterized in the following way: Han Shaogong (Atavism); Mo Yan (Ambivalent-Nostalgia); and Yu Hua (Deconstruction). As becomes evident through my analysis of selected texts, despite their very significant differences (personal, geographic, stylistic) all three writers come to oddly similar conclusions that are, in and of themselves, not dissimilar to the conclusion arrived at by Lu Xun's madman.

Thesis (M.Phil.)--Hong Kong Baptist University, 2001. / Thesis submitted to the Dept. of Religion and Philosophy. Includes bibliographical references (leaves 178-210).

Dynasties of Demons: Cannibalism from Lu Xun to Yu Hua focuses on the issue of representations of the body in modern Chinese fiction. My interest concerns the relationship, or correspondence between "textual" bodies and the physical "realities" they are meant to represent, particularly where those representations involve the body as a discursive site for the intersection of state ideology and the individual. The relationship between the body and the state has been a question of profound significance for modern Chinese literati dating back to the late Qing, but it was Lu Xun who, with the publication of his short story "Kuangren riji" (Diary of a Madman), in 1918, initiated the literaty discourse on China's "apparent penchant for cannibalizing its own people. In the first chapter of my dissertation I discuss L u Xun's fiction by exploring two distinct, though not mutually exclusive issues: (1) his diagnosis of China's debilitating "spiritual illness," which he characterized as being cannibalistic; (2) his highly inventive, counter-intuitive narrative strategy for critiquing traditional Chinese culture without contributing to or stimulating his reader's prurient interests in violent spectacle. To my knowledge I am the first critic of modern Chinese literature to write about Lu Xun's erasure of the spectacle body. In Chapters II, III and IV, I discuss the writers Han Shaogong, Mo Yan, and Yu Hua, respectively, to illustrate that sixty years after Lu Xun's madman first "wrote" the prophetic words, chi ren A (eat people), a number of post-Mao writers took up their pens to announce that the human feast did not end with Confucianism; on the contrary, with the advent of Maoism the feasting began in earnest. Each of these post-Mao writers approaches the issue of China's "spiritual dysfunction" from quite different perspectives, which I have characterized in the following way: Han Shaogong (Atavism); Mo Yan (Ambivalent-Nostalgia); and Yu Hua (Deconstruction). As becomes evident through my analysis of selected texts, despite their very significant differences (personal, geographic, stylistic) all three writers come to oddly similar conclusions that are, in and of themselves, not dissimilar to the conclusion arrived at by Lu Xun's madman. / Arts, Faculty of / Asian Studies, Department of / Graduate

No description available.

The present MA thesis analyzes how body and blood functions as historical and narrative elements in Yu Hua's novel Chronicle of a Blood Merchant (1995). In the novel, the story and the plot can not be regarded as disparate items; the two levels of the text are tightly interwoven by what the thesis introduces as a sangvinolent narration. The term conceptualizes the use of blood as a structural element and the thrust of the text, in this case how the ability to sell blood is a prerequisite for the story and the plot. Close readings reveal the structural correlations between the blood-selling main-character Xu Sanguan in the plot on the one hand, and in the story on the other, which can be detected to have, inter alia, an effect on the temporality of the narrative. Themes linked to identity, belonging and survival (performativity, mimicry, reification and alienation) permeate the text. In the novel the body and bodily fluids are sacrificed in order to form and enforce perceptions of identity and societal roles. The rhetorical use of ‘blood and tears’ (Ch. xue yu lei) indicates thematic connections to the Chinese revolutionary literature, and furthermore, the use of flesh and blood can be read in relation to the cannibalistic discourses crucial to Chinese modernity since Lu Xun.