There have been only sporadic attempts to highlight Chinese women’s role and influence in art, even though their contribution has been major. This thesis seeks to understand the significance of women’s participation in modern Chinese art history through the narratives and works of Pan Yuliang, Nie Ou and Yin Xiuzhen, who were professionally active at different political stages of twentieth-century China. Using an interdisciplinary framework, drawing on concepts from theories such as modernism, feminism and postcolonialism, this thesis analyzes a culturally specific field in art history and the interrelationship between various factors that have contributed to it. As artists of a peripheral culture, various factors in the artistic production of Chinese women have been overlooked and often misinterpreted. This thesis argues that the three artists in this study have produced different, individualized responses to the Euro-American model of modernism. To highlight the cultural specificity of China, the introductory chapter will include a short comparative analysis between Chinese modernism and the modernisms of other Asian countries. The adoption of Western art forms by early overseas-trained Chinese artists such as Pan indicates as many intricacies and ambivalences as in the complex relationship of China with Western imperialism. Chapter Two situates the Westernized works of Pan in the context of Chinese modernism, pre-feminism and the semi-colonized state of early twentieth-century China. In relation to the theories of orientalism and provincialism, implications of the ambiguities of Pan’s representations are extended to debates that explore the subjectivity and identity of non-European artists in their quest for modernism. Nie Ou was born into the era when the Chinese Communists had just taken over in 1949. Under the autocratic rule of the Communists, Nie was exiled to the northern countryside during her early adulthood as part of the “re-educating the elite” program. Chapter Three demonstrates how Nie successfully emerged from the repercussions of the Cultural Revolution. During this period of intensified Chinese nationalism, Nie found ways to merge the influences of the restrictive style of Socialist Realism and the poetic Chinese literati painting tradition to create an individualized style of representation. China underwent rapid modernization in the 1980s and 1990s. Chapter Four examines the works of contemporary artist Yin Xiuzhen who, with her avant-garde installations, has pushed the boundaries of what constitutes conventional Chinese art. This chapter analyzes Yin’s works in the context of late twentieth-century China, where the nation was no longer a Socialist monolith but a complex amalgam in which old and new, Socialist and capitalist, modern and postmodern co-existed. Yin’s works will be studied in relation to theories of postmodernism, postfeminism and globalism. Chapter Five consolidates the earlier chapters by reflecting on how various conditions throughout the twentieth century have changed and shaped the role of women in Chinese art history. The concluding chapter will consider the influence Chinese women artists may have on the art discourse in China today, and perhaps across other cultures. This chapter will explore the constraints upon them and the potential of their future role, not only in China but also in the broader sense of what it means to be an artist internationally.

There have been only sporadic attempts to highlight Chinese women’s role and influence in art, even though their contribution has been major. This thesis seeks to understand the significance of women’s participation in modern Chinese art history through the narratives and works of Pan Yuliang, Nie Ou and Yin Xiuzhen, who were professionally active at different political stages of twentieth-century China. Using an interdisciplinary framework, drawing on concepts from theories such as modernism, feminism and postcolonialism, this thesis analyzes a culturally specific field in art history and the interrelationship between various factors that have contributed to it. As artists of a peripheral culture, various factors in the artistic production of Chinese women have been overlooked and often misinterpreted. This thesis argues that the three artists in this study have produced different, individualized responses to the Euro-American model of modernism. To highlight the cultural specificity of China, the introductory chapter will include a short comparative analysis between Chinese modernism and the modernisms of other Asian countries. The adoption of Western art forms by early overseas-trained Chinese artists such as Pan indicates as many intricacies and ambivalences as in the complex relationship of China with Western imperialism. Chapter Two situates the Westernized works of Pan in the context of Chinese modernism, pre-feminism and the semi-colonized state of early twentieth-century China. In relation to the theories of orientalism and provincialism, implications of the ambiguities of Pan’s representations are extended to debates that explore the subjectivity and identity of non-European artists in their quest for modernism. Nie Ou was born into the era when the Chinese Communists had just taken over in 1949. Under the autocratic rule of the Communists, Nie was exiled to the northern countryside during her early adulthood as part of the “re-educating the elite” program. Chapter Three demonstrates how Nie successfully emerged from the repercussions of the Cultural Revolution. During this period of intensified Chinese nationalism, Nie found ways to merge the influences of the restrictive style of Socialist Realism and the poetic Chinese literati painting tradition to create an individualized style of representation. China underwent rapid modernization in the 1980s and 1990s. Chapter Four examines the works of contemporary artist Yin Xiuzhen who, with her avant-garde installations, has pushed the boundaries of what constitutes conventional Chinese art. This chapter analyzes Yin’s works in the context of late twentieth-century China, where the nation was no longer a Socialist monolith but a complex amalgam in which old and new, Socialist and capitalist, modern and postmodern co-existed. Yin’s works will be studied in relation to theories of postmodernism, postfeminism and globalism. Chapter Five consolidates the earlier chapters by reflecting on how various conditions throughout the twentieth century have changed and shaped the role of women in Chinese art history. The concluding chapter will consider the influence Chinese women artists may have on the art discourse in China today, and perhaps across other cultures. This chapter will explore the constraints upon them and the potential of their future role, not only in China but also in the broader sense of what it means to be an artist internationally.

Research Doctorate - Doctor of Philosophy (PhD) / This thesis presents a postcolonial critique of development and academic discourses in the context of the South Pacific. Focusing on Fiji’s aid industry, I challenge the apparent inevitabilities underpinning an increasingly narrow and parochial donor ‘good governance’ agenda in the region. I also confront geography’s sojourns in, and on, the ‘Third World’ laying bare a number of epistemological and methodological inconsistencies. Having exposed various definitional rigidities produced by these discourses, I emphasise the decentred and nuanced meanings and ways of envisioning ‘development’ enabled by postcolonial sensibilities. The thesis has three primary aims. First, to highlight the constraining and enabling aspects of discourses. I emphasise the productive features of development discourse; its framing attributes, fragility and transformative potential, drawing on the activities and intentions of NGOs and donor organisations operating in Fiji. Second, I draw attention to the way ‘identities’ form and shape aid relations in the country. Again, utilising examples from Fiji’s aid industry, I foreground the centrality of ‘traditions’, religion, gender and ethnicity in ‘development’ and critique their virtual silence in donor policies and programmes in the region. Finally, I ‘unpack’ the way academia intervenes in development settings. Here I suggest that any reflection on the relevance of research will inevitably involve taking methodology seriously and posing fundamental questions about why we are there in the first place. Advocating more than a methodological revisionism, I argue that ‘doing development differently’ will involve reorienting development relations and embarking on a far-reaching mission to subvert development’s self-evidence while proposing and supporting collaborative efforts that explore negotiated and newly emerging cultural forms.

Thesis (Ph. D.)--University of Oregon, 2005. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 303-333). Also available for download via the World Wide Web; free to University of Oregon users.

Thesis (M.A.)--Villanova University, 2007. / English Dept. Includes bibliographical references.

Thesis (PhD(Visual Studies))--University of Pretoria, 2007. / Includes bibliographical references. Available on the Internet via the World Wide Web.

Thesis (M.Phil.)--Murdoch University, 2006. / Thesis submitted to the Division of Arts. Includes bibliographical references (leaves [137]-146).

Thesis (M.A.)--Carleton University, 2004. / Includes bibliographical references (p. 131-135). Also available in electronic format on the Internet.

Thesis--Auburn University, 2009. / Abstract. Vita. Includes bibliographical references (p. 55-56).

Thesis (Ph.D.)--University of Alberta, 2009. / Title from pdf file main screen (viewed on July 31, 2009). "A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy, Department of English and Film Studies." Includes bibliographical references.