From 1839 to 1911, Guangdong elites, including Qing officials in the province, local gentry, native intellectuals, and so on, made full use of popular culture for political mobilization of the populace. This study examines the relationships of these Guangdong elites with both the Qing state and the common folks in China and the Chinese diaspora from the new perspective of popular culture. To be specific, Guangdong elites of different backgrounds mobilized the populace in the province to resist the British invasion of Qing China during the Opium War, to revolt against the Qing court during the Taiping Rebellion across southern China, and to push for the pro-Qing reforms or anti-Qing revolutionary movements among domestic and overseas Chinese. In this process, popular culture materials like ballads, operas, and comics provided a critical propaganda tool for Guangdong elites to cooperate with, compete with, or confront the Qing government while influencing the common folks. Meanwhile, the populace also expressed their assent, dissent, and adaptation to the elite political mobilization, by creating eulogistic or satiric ballads and tales, or by selecting, adapting, and transmitting certain popular culture materials politicized by Guangdong elites. / Graduate / 2021-07-17

一提到「中國現代藝術」，就讓人立刻連想到一群極受注目的中國藝術家、藝評人、策展人和理論家，當中包括王廣義、徐冰、高名潞、栗憲庭、呂澎等人。他們現時在中國藝術圈的地位已不容置疑，而要研究文革後中國的藝術發展概況，他們的理論及研究已被確立並普遍為學者應用。由1990年開始，他們的出版、展覽、研討會，都圍繞著一班八十年代借用歐美現代藝術風格及主張來創作的青年藝術家，並稱他們的作品為「中國現代藝術」及「中國當代藝術」。但讓人不理解的是，這些藝評人等始終未能就「現代」和「當代」這兩個概念作出恰當的解釋，有時甚至混淆不清；而且自九十年代初開始，大部份有關他們所詮譯的「中國現代藝術」的研究、著作及展覽已見既定模式、參與藝術家及籌劃人，當中某些論點亦見牽強。基於這些問題，現在我們所理解的「中國現代藝術」能否代表中國真正的現代藝術？在現時「中國現代藝術」似乎是某一撮人的「現代藝術」的情形下，而他們又是如此具權威地發表觀點時，我們需要重新了解八十年代的政治社會及文化氣候，以及當時藝術圈的各種關係，從而對現在所認識的「中國現代藝術」作一個客觀的理解及評論。 / 中國美術家協會所出版的《美術》雜誌，就能讓我們探究八十年代的各類政治、社會、藝術狀況。透過對其文章及投稿人的分析後發現，當時有三個不同的藝術圈，各自因應政治氣候及藝術圈的屬性，去詮譯自己的「現代藝術」，它們在這論文分別被稱為「官方藝術的現代性」、「中國傳統藝術現代化」及「新藝術潮流」，而「新藝術潮流」亦演化成今天的「中國現代藝術」。八十年代的「中國現代藝術」的面貌與今天截然不同，究其原因，可利用法國社會學理論家皮埃爾．布迪厄的「場」、「習性」及「文化資本」理論作出分析。總括而言，透過《美術》的文本闡析，再配合社會學理論的支持，這個研究運用了嶄新角度去剖析「中國現代藝術的意義與內涵」，並讓我們進一步反思「文化製造」、「文化權力」及「藝術史撰寫」等一系列問題。 / The first names that come to mind when one talks about "Chinese modern art" are the group of high-profile Chinese artists, art critics, curators and theorists, including well-known names such as Wang Guangyi, Xu Bing, Gao Minglu, Li Xianting, Lu Peng etc. Their current standing within the Chinese art circle is almost indisputable. In terms of the study of the development of Chinese art in the post-Cultural-Revolution era, their theories and research have been well-established, and widely adopted by other scholars. Ever since 1990, their publications, exhibitions and symposiums have centered on a group of young artists, who borrowed from Euro-American modernist artistic styles and views to create in the post-Mao period. Furthermore, such art critics-curators have coined these artworks as "Chinese modern art" and "Chinese contemporary art". However, these art critics-curators have yet to come up with appropriate definitions for the notions of "modern" and "contemporary", allowing them to be used in confusing and ambiguous ways at times. Since the 1990s, the majority of their research, publications and exhibitions on "Chinese modern art" have developed into fixed models, with set participating artists and contributors. At the same time, certain arguments within such discourses are deemed unconvincing and far-fetched. In view of such issues, this paper begs to ask - whether the "Chinese modern art" that we have come to know nowadays, is a truthful representation of modern art in China? Under such circumstance where "Chinese modern art" seems to be a "modern art" history of a selected few; and, as these art critics-curators carry on professing their view however authoritatively, if we want to formulate a more objective understanding and commentary on the “Chinese modern art that we now know of, we will need to start afresh in our understanding of the political and cultural climate in the 1980s, and the various relations within the art field at the time. / Meishu, published by the China Artists' Association, provides us an entry point in which the political and artistic situations in the 1980s can be examined. An analysis on the articles and the contributors reveals that there were three different art circles, each formulating their own interpretation of "modern art", in accordance to the political climate and the nature of their own artistic field. They have been discussed in this paper as "Officialdom", "Modernization of Chinese traditional painting" and "New Trends in Art" ; among which, "New Trends in Art" became the "Chinese modern art" in today's term. Hence, the landscape of "Chinese modern art" in the 1980s was different from today's situation. To understand why there was such a difference, then, concepts of "fields", "habitus" and "cultural capital" proposed by the French social theorist, Pierre Bourdieu, can be adopted as analytical tools. All in all, through literary review of Meishu, with the support of sociological theories, this research offers a different angle to dissect the meanings and inner values of "Chinese modern Art", and allow us to further reflect on the various issues in relation to "cultural production", "cultural power", and "the practice of writing art history". / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Li, Ting Lin. / Thesis (Ph.D.)--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 in also in Chinese; includes Chinese. / Abstract --- p.i / Acknowledgement --- p.iv / Table of Contents --- p.vi / Chapter CHAPTER ONE: --- INTRODUCTION AND BACKGROUND / Chapter A) --- WHY 1979 TO 1989? THE HISTORICAL CONTEXT --- p.1 / Chapter B) --- WHY MEISHU MAGAZINE? / Chapter 1. --- Magazines as a form of documentation of social and cultural developments --- p.4 / Chapter 2. --- The unique background and character of Meishu --- p.17 / Chapter C) --- THE DISCUSSION ABOUT MODERN ART: TWO PERIODS --- p.26 / Chapter D) --- THE VALUE AND STRENGTH OF THIS RESEARCH --- p.30 / Chapter E) --- SCOPE OF RESEARCH AND RESEARCH METHODOLOGY --- p.34 / Chapter CHAPTER TWO: --- MEISHUMAGAZINE--ITS BACKGROUND, ROLE AND SIGNIFICANCE / Chapter A) --- INTRODUCTION --- p.38 / Chapter B) --- THE BEGINNINGS OF MEISHU AND ITS LATER DEVELOPMENT --- p.41 / Chapter C) --- STRUCTURE OF THE CHINA ARTISTS' ASSOCIATION AND MEISHU --- p.42 / Chapter D) --- EDITORIAL LINE --- p.46 / Chapter E) --- CONTENT ANALYSIS / Chapter 1. --- Areas Covered and System of Classification --- p.57 / Chapter 2. --- Content Composition --- p.65 / Chapter 3. --- Trends and Later Developments --- p.75 / Chapter 4. --- Modern Art: Three Discourses --- p.80 / Chapter F) --- COMPOSITION OF MEISHU'S EDITORIAL GROUP --- p.86 / Chapter G) --- MEISHU AND THE TREND OF ART THOUGHT, JIANGSU PICTORIAL, AND FINE ARTS IN CHINA, AND THEIR FASCINATION WITH "NEW TRENDS IN ART" --- p.97 / Chapter H) --- CONCLUSION --- p.115 / Chapter CHAPTER THREE: --- DISCUSSION OF "CHINESE MODERN ART":A REVIEW FROM MEISHU ZAZHI 1979-1989 / Chapter A) --- INITIATION / "Chinese Modern Art": Celebrated yet illusory --- p.121 / Chapter B) --- "CHINESE MODERN ART IN THE POST-MAO PERIOD: CURRENT DISCUSSION1990-2010 / Chapter 1. --- The 1990s as a demarcation period --- p.125 / Chapter 2. --- A review of art publications from 1990 to 2010 --- p.129 / Chapter 3) --- Problems encountered with current discussion --- p.148 / Chapter C) --- DISCUSSION OF "CHINESE MODERN ART" IN WIDER CONTEXT: A PERSPECTIVE FROM MEISHU ZAZHI 1979-1989 --- p.169 / Chapter 1. --- Ideological liberty and Two Hundreds policy in the art field --- p.173 / 「牡丹好，丁香也好」 --- p.179 / Chapter 2. --- Officialdom --- p.188 / Contributors to "Officialdom" --- p.190 / Changes in viewpoints between 1979 and 1989 --- p.197 / "Modern" qualities in the art of "Officialdom" --- p.201 / China's interpretation of modern art of foreign countries --- p.214 / Attacks on "New Trends in Art" --- p.225 / Chapter 3. --- Modernization of Chinese traditional painting --- p.229 / Contributors to the discussion about "Modernization of Chinese traditional painting --- p.235 / Changes in viewpoints between 1979 and 1989 --- p.236 / The path to modernization: different ways of reforming Chinese traditional painting --- p.242 / Chapter 4. --- New Trends in Art --- p.262 / Contributors to "New Trends in Art" --- p.264 / Changes in viewpoint between 1979 and 1989 --- p.267 / Chinese modern art: a sphere of ideological liberty --- p.276 / Chapter CHAPTER FOUR: --- EVALUATING THE DISCUSSION ON MODERN ART IN CHINA FROM 1979 TO 2010 IN LIGHT OF PIERRE BOURDIEU'S SOCIOLOGICAL ANALYTICAL PERSPECTIVES --- p.303 / Chapter A) --- "FIELD OF ART" AND "HABITUS": DISCUSSION OF MODERN ART FROM 1979 TO 1989 --- p.306 / Chapter B) --- "FIELD OF COMMERCE" AND "FIELD OF PUBLICATION": DISCUSSION OF MODERN ART FROM 1990 TO 2010 --- p.318 / Chapter CHAPTER FIVE: --- CONCLUSION --- p.323 / ILLUSTRATIONS --- p.336 / TABLES AND CHARTS --- p.398 / INTERVIEWS WITH LI SONGTAO, TANG QINGNIAN, WANG XIAOJIAN, AND FEI DAWEI --- p.408 / APPENDIX I --- p.436 / APPENDIX II --- p.447 / APPENDIX III --- p.727 / APPENDIX IV --- p.753 / BIBLIOGRAPHY --- p.787

More than sixty years have passed since China's Resistance War against Japan in 1937-1945 ended. Chinese people made a significant contribution to winning the victory over Japan. Chinese newspapers and magazines, especially editorials at that time, played a key role in the propaganda of the War of Resistance, boosting national morale, and exposing war crimes of Japanese aggressors. Chinese newspapers and magazines included many important incidents and issues regarding the War of Resistance. This thesis selects editorials of three representative topics: the future of the War of Resistance, the defensive combat of the Chinese nationalist army in the front lines, and the war crimes of Japanese invaders to offer a clear, concise narrative whose central themes are better reflecting and commemorating that unforgettable time from the cultural dimension.

Chinese medical research professionals utilize their intellectual cultural capital and flexible citizenship for their lives in two localities: the western suburban metropolitan Philadelphia area and Shanghai, China. In addition, this dissertation discusses modern Chinese culture through Chinese returnees' eyes in Shanghai. This research will discuss migration of skilled intellectuals under globalization and the change in these Chinese professionals' transnational identities in different localities. Moreover, this research presents the impact brought by neoliberal ideology in the United States and by policies of privatization in modern Chinese society to these transnational professionals as part of the global process of migrating professionals. This research contains two parts. The first part of this research will study Chinese medical research professionals' lives in the western suburban metropolitan Philadelphia area--the Philadelphia Mainline, West Chester, and Exton. The second part of my research studies these Chinese medical research professionals' return experience when they relocate back to Shanghai, China. Most of these Chinese professionals who I studied came to the US from China (the People's Republic of China), Hong Kong, and Taiwan (the Republic of China) for their graduate degrees. After graduation in the 1980s and 1990s, they stayed for work in pharmaceutical companies in the Philadelphia metropolitan area. Despite having US citizenship or permanent residency, these Chinese professionals never identify themselves as "Americans". Their lives in the historically European-American cultural dominant western Philadelphia suburbs are challenged socially and culturally when they try to carry out their "American dream". Not being able to engage in activities in American society and often feeling disempowered, these Chinese professionals maintain their social connections with their "hometowns" in China, Hong Kong and Taiwan in many cultural ways. At the same time, these Chinese medical professionals are involved in cultural activities such as Saturday Chinese Schools and Chinese Christian churches. Saturday Chinese Schools and Chinese Churches provide pivotal social network milieu for these Chinese professionals to construct their safety network in living in the western suburban Philadelphia area. Unlike Chinese immigrants in California and New York City where the Chinese population is huge, these Chinese professionals do not distinguish themselves by their countries of origin since they all consider themselves as a pan-Chinese minority in this Philadelphia metropolitan area. They do, however, distinguish themselves from Chinese immigrants in Philadelphia's Chinatown owing to social and economic differences, though a shared sentiment of pan-ethnicity emerges when they experience racial discrimination. These Chinese professionals conceive of neoliberal ideology as a natural fact of life in the US which they appreciate. They consider the social milieu of China as making it harsher for them to be prosperous than in the US since they do not need to have existing guanxi networks based on their families and friends in the US context. Intergenerationally, these Chinese professionals try to pass down their cultural heritage by ensuring that their children are educated, formally and informally, in Chinese language and culture. Their children--the second generation Chinese immigrants--identify themselves mostly as Chinese Americans with an imagined identity that connects them with their parents' respective homelands. Gender plays a vital role for these second generation Chinese immigrants with respect to the issue of becoming well-adjusted in attending to American high schools. Girls are more accepted by non-Asian peers than boys. Most of these second-generation Chinese boys tend to socialize only with Asian boys, and are very protective about themselves with respect to other groups in high schools. The second part of my research discusses these Chinese medical research professionals' return experience to China, particularly to the fast-paced, rapidly developing context of Shanghai. Starting from the year 2007, the economic recession has gradually been taking over the United States. At the same time, the booming Chinese market and economy are becoming the new focus of American companies. American pharmaceutical companies in the Philadelphia area recognize that these Chinese medical research professionals' transnational background enables them to broaden the company's economic development in China; therefore, they repatriate some Chinese medical professionals to China at management levels. Simultaneously, other Chinese professionals are returning to China to start their own small businesses because they were laid off in the United States. Having come to the US to pursue their American dreams, the unexpected return challenges Chinese professionals in every aspect of life. First, the process of relocation of the whole family can take years and lead to separation of the family. The separation leads to a shift in gender roles. Usually the mother takes charge of the whole family while the father moves to China for work. Some families are broken because some family members opt to stay in the US, which leads to adoption of children, love affairs, and divorces. China has developed dramatically economically and culturally since these Chinese professionals left in the 1990's; therefore, these Chinese professionals, who become returnees after returning to China, realize that they have difficulties adjusting themselves to life in Shanghai. Feeling like outsiders again, they have developed strategies to counter these difficulties. First of all, these Chinese returnees find that their identities as Chinese are strongly challenged since they are recognized as Americans by local Chinese. They realize that they have been Americanized in their social behavior, and they have had to force themselves to adapt to contemporary modern Chinese culture--which is heavily influenced by capitalism and neoliberalism after the PRC market reforms. Realizing that guanxi relationships are the main element in social networking in Chinese society, these Chinese returnees have to learn to adjust themselves to guanxi politics and engage themselves in Chinese style networking. Trying to avoid local people's secretive attitudes, these Chinese returnees tend to be friends only with people of similar background. Having social status and economic privileges in Shanghai, most Chinese returnees are able to maintain their own personal spaces and privacy by avoiding public spaces and public transportation. Most Chinese returnees are aware of the embedded social control by Chinese government in every corner in the city, and see the freedom they have in China as limited mostly to economic aspects. Some devout Christian Chinese returnees are always prepared to be deported by Chinese government since they insist on holding their non-legally authorized gatherings for fellowship and worship in private properties. These Chinese returnees' children are surprised to find that China is extremely different from what they have imagined after their move to Shanghai. They identify themselves as Americans and refuse to learn Chinese language and culture in order to distinguish themselves from local people. While people in Shanghai enjoy their imagined participation of globalization by consuming the Shanghai EXPO, these Chinese returnees keep themselves updated with US news and media through satellite television in order to retain a broad view of the world. These Chinese medical research professionals' lives in the Philadelphia metropolitan area and in Shanghai are examples of the migration and return migration of skilled professionals under the force of neoliberal ideologies and globalization. Their living experiences in China highlight changes in their ideas about national identity as Chinese transnationals in the context of modern Chinese society, which is highly influenced by state controlled capitalism and Chinese nationalism promoted through mass media and propaganda. This research will contribute to the lack of literature about Chinese professional immigrants to the East Coast of the United States, and their return migration to China. / Anthropology

This dissertation examines the hitherto neglected role foreign, and specifically German, bankers played in the Chinese economy and the history of modern economic globalisation in China during the late 19th and early 20th centuries. By following the history of the German Deutsch-Asiatische Bank (DAB) during the last two decades of the Qing dynasty and the first years of the Chinese republic, this dissertation shows how the interaction between foreign bankers and Chinese officials, bankers and entrepreneurs led to the rapid internationalisation of Chinese finance, both in terms of public finance and the banking sector of China’s treaty port economy. Unlike most previous literature, which only depicts foreign banks in modern China as mere manifestations of foreign imperialism, this dissertation demonstrates that foreign banks acted as intermediary institutions that financially connected China to the first global economy and provided the financial infrastructure necessary to make modern economic globalisation in China during the late 19th and early 20th centuries possible. At the same time, this dissertation stresses the importance of Chinese agency for the operation of foreign banks in China’s treaty ports and shows that the interaction between foreign bankers and Chinese actors was made up as much of cooperation as of conflict. In sum, this dissertation not only furthers our knowledge of the role foreign banks played in the modern Chinese economy, but also contributes to our understanding of how China was financially integrated into the first global economy.

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本論文利用大量的史料，包括檔案、方志、報刊、雜誌、文集、筆記、傳統醫籍，以及近代的醫學專業文獻，配合身體史、醫療史、醫療社會學的角度，輔以專業的醫學知識，考察1895-1949年間，女性在面臨月經、懷孕、生產等生命歷程時，其相關知識與照護，是否有別於傳統？同時也觀察在「強國強種」的風潮下，政府對於婦女衛生的推廣，是否有介入的情形。 　　經過一系列的分析後，本論文發現：在「男女授受不親」的社會習俗，以及中醫理論及技術發展的若干缺憾中，傳統中國婦女所受的健康保障較為有限，尤其是涉及女性生殖器官的月經和孕產等方面，無論是婦女本身，抑或是社會風氣，均存在一定的禁忌與避諱，以致女性因對自身生理認識不清，而無法達到良好的自我照護；即使面臨分娩此等攸關生命的大事，婦女也在「嚴男女之防」的考量下，把較為專業的男性醫者排拒在生產場域之外，寧將母嬰二命託付於較缺乏醫學知識的穩婆手中，這或許正是造成過去中國婦嬰死亡率偏高的重要原因。 　　然而，甲午戰敗的刺激，以及西醫之大量傳入，卻意外地衝破中國婦女的身體界線，使婦女衛生在「強國強種」的風潮下，得到改革的契機。這些改革，不僅造成近代婦產科醫學的革新之外，也在實際生活中影響著婦女。除了早期的不纏足運動之外，各種攸關女性身體健康的醫學知識，包括月經、生產等以往較少公開談論的知識，也不斷地湧入中國，並配合近代大量出現的報刊雜誌，傳播到許多受過教育的新女性的腦海中，使她們能更清楚自己的生理結構，進而執行適當的婦女保健。此外，女性的生理用品、生產場域，以及分娩時隨侍在旁的助產人員，也出現了不同於傳統的新選擇。新式月經帶（或衛生棉）、西醫婦產科醫院，以及西醫婦產科醫師與受專業訓練的助產士，成了少數婦女的新體驗，藉由這些較注重清潔衛生，以及講求科學原理的新事物，她們有可能獲得較為可靠的健康保障。必須說明的是，由於這些新的婦產科醫療與女性衛生用品，早期多出現於城市之中，且價格不菲，因此有能力享受者，多係居於城市的中上階層的婦女。 隨著外患侵逼日甚，以及中國國際處境之艱困，中國人對於「強國強種」的企求也持續提升；再加上戰爭、疾病所帶來的大量傷亡，在在促使國民政府不得不注重攸關國力的婦嬰衛生。除了訓練舊式穩婆，設立中央助產委員會，推廣西式的助產教育外，政府也頒布各種法令規範穩婆及助產士；為了有效預防婦嬰的兩大殺手──產褥熱與新生兒破傷風，政府更積極推廣強調清潔消毒的新法接生，並實施公醫制度，派遣專業人員深入鄉區推廣婦嬰衛生，甚至還發明圖文並茂的簡易助產包，俾使不識字的接生者也能操作新式助產技術。 儘管在1949年之前，中國仍有不少婦女尋求穩婆之協助，採取舊法接生；但新式助產事業之於中國，事實上是在兵馬倥傯的亂局中，經歷了「從無到有」的過程。在中華民國政府篳路藍縷的草創階段奠定基礎，中華人民共和國在政局穩定之後，於此根基上繼續耕耘，並逐漸獲得成效。至此，中國的婦女衛生終於衝破傳統的藩籬，向前跨出一大步，中國女性獲得健康的途徑，也因此更加多元。

本論文將重新探討湖南新政的實際成效與其形象的塑造過程。在現今的學界中，對湖南新政的認識受限於維新人士的觀點。因而對湖南新政之認識，往往停留在「新舊之爭」上。此觀點往往過於僵化，侷限研究者的視野。因而，在這種歷史認識的限制下，研究者沒法解釋當時錯綜複雜的歷史事實，故只有去熟悉化，以不同的眼光去重新書寫此段歷史，重新還原當時之歷史時空，才能找回失去的歷史知識。 本論文會先探討地方官吏在湖南新政中的角色與貢獻。江標、陳寶箴、張之洞等人在湖南新政中所扮演的角色相當重要，惟後人對其的認識，往往是經過維新人士而來，因而不免與歷史事實有所落差。所以，重新研究地方官吏的角色，則有助於重新檢討湖南新政之形成過程。 在以往的研究中，對於湖南保衛局在湖南新政的影響力，缺乏深入的研究。事實上，在湖南新政的主事者看來，湖南保衛局是為湖南新政成敗之關鍵。本論文將探討湖南保衛局的興起與頓挫，其重點將放在湖南保衛局的構想之形成，在其實行過程中所遇到之困難，以此作為了解湖南新政的一個側面。在湖南保衛局施行過程中，不同人士都對於保衛局的實行有所討論，亦對於其有所批評。而從保衛局的實施過程中，可以證明這些批評有其道理。不過，由於受到「新舊之爭」思維的影響，後人對於這些批評者，多視其為「守舊」，因而對其言論多以負面眼光看待。事實上，這些批評者也是推動新政的主力。但是，在後來的歷史論述中，往往忽略這些史事。究其原因，與湖南士人之間的論爭有所關連。而這亦是決定湖南新政前途的重要關鍵。 所以，本論文將分析湖南士人之間論爭之起因，以及論爭的經過。在此過程中，不同士人之間因各種原因而產生矛盾與衝突，從而使得湖南新政遭受衝擊。這些衝擊有的來自於湖南士人本身，也有一些是來自於省外。而這些衝擊，很大程度上與康有為有相當密切之關連。湖南新政與戊戌變法在本質上就有所不同，而康有為一派意圖影響湖南新政的發展，引來不少士人的反彈。因此，士人之間開始出現分歧。而反對康有為一方之人士，往往援引省外反對康有為的言論作為思想資源，以抗衝康學，拿回新政的主導權。因此，他們所反對的，只是康有為一派的康學，而非針對西學。 因此，從當時的歷史時空看來，參與論爭的雙方在思想上均沒有太大的分別。他們對於西學，都抱持接納的態度；在新政的事務上，他們都有所參與。但在後人看來，王先謙等人被貼上「守舊」的標籤。因此，這種觀點如何形成？本身就是一個值得探討的課題。所以，本論文將探討當時人如何看待湖南新政，並從而形成中國近代政治文化的其中一種特色。在當事人看來，湖南新政並沒有因戊戌政變而中止，在後來仍有所延續。而在日本人看來，湖南士人並沒有所謂的新舊之別。革命黨人和立憲黨人都以湖南新政作為他們的政治本錢，因而塑造一種「新舊之爭」的氛圍。在報刊等傳播媒介的推動下，這種湖南的「新舊之爭」成為當時人的歷史想像，並成為後人對於該段歷史的集體記憶。

This thesis examines the political pop art of contemporary Chinese artist Wang Guangyi in light contemporaneous shifts within the political, economic, and artistic space of China from 1978 until the present. Through an analysis of the work of art as an historically determined antagonistic aesthetic praxis, this thesis attempts to reveal the sedimented traces of the alternative modernity which the Chinese government is actively attempting to construct. With its evocative juxtaposition of contrasting ideological forms, the artwork of Wang Guangyi seeks to deconstruct the normative and teleological narratives encountered within the dialectic interplay between state sponsored transnational capitalism and Marxist-Leninist communism. An understanding of the discursive structure upon which these dual modernising narratives has been based, and of the fragmented artistic space they have engendered, should serve to enliven the debate concerning the role of cultural production in questioning and revealing narratives of the nation, of the Self, and of modernity.

This thesis examines the political pop art of contemporary Chinese artist Wang Guangyi in light contemporaneous shifts within the political, economic, and artistic space of China from 1978 until the present. Through an analysis of the work of art as an historically determined antagonistic aesthetic praxis, this thesis attempts to reveal the sedimented traces of the alternative modernity which the Chinese government is actively attempting to construct. With its evocative juxtaposition of contrasting ideological forms, the artwork of Wang Guangyi seeks to deconstruct the normative and teleological narratives encountered within the dialectic interplay between state sponsored transnational capitalism and Marxist-Leninist communism. An understanding of the discursive structure upon which these dual modernising narratives has been based, and of the fragmented artistic space they have engendered, should serve to enliven the debate concerning the role of cultural production in questioning and revealing narratives of the nation, of the Self, and of modernity.