李嘉賢. / "2002年6月" / 論文 (哲學碩士)--香港中文大學, 2002. / 參考文獻 (leaves 135-143) / 附中英文摘要. / "2002 nian 6 yue" / Li Jiaxian. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2002. / Can kao wen xian (leaves 135-143) / Fu Zhong Ying wen zhai yao. / Chapter 第一章 --- 導論 --- p.1 / Chapter 第一節 --- 穆時英背景介紹 --- p.1 / Chapter 第二節 --- 穆時英與新感覺派 --- p.6 / Chapter 第三節 --- 穆時英小說硏究槪述 --- p.12 / Chapter 第四節 --- 本文硏究槪述 --- p.27 / Chapter 第二章 --- 都市的再現 --- p.31 / Chapter 第一節 --- 引言 --- p.31 / Chapter 第二節 --- 敘述時間 --- p.32 / Chapter 第三節 --- 節奏 --- p.42 / Chapter 第四節 --- 語句試驗 --- p.47 / Chapter 第五節 --- 顏色 --- p.54 / Chapter 第六節 --- 意象 --- p.60 / Chapter 第七節 --- 結語：萬花筒似的都市 --- p.63 / Chapter 第三章 --- 都市與情慾 --- p.65 / Chapter 第一節 --- 引言 --- p.65 / Chapter 第二節 --- 穆時英情慾小說的異常現象 --- p.69 / Chapter 第三節 --- 評論者對穆時英情慾小說異常現象的「反應」 --- p.87 / Chapter 第四節 --- 從「敘述盲區」看穆時英情慾小說的異常現象 --- p.90 / Chapter 第五節 --- 結語 --- p.97 / Chapter 第四章 --- 「反都市」意識 --- p.99 / Chapter 第一節 --- 引言 --- p.99 / Chapter 第二節 --- 角色設計 --- p.100 / Chapter 第三節 --- 場景設置一一絶望的空間 --- p.108 / Chapter 第四節 --- 物化的人物描寫 --- p.112 / Chapter 第五節 --- 天堂、遠方意象 --- p.118 / Chapter 第六節 --- 城ˇёإ對立 --- p.121 / Chapter 第七節 --- 異國情調 --- p.128 / Chapter 第八節 --- 結語 --- p.131 / Chapter 第五章 --- 結論 --- p.132 / 參考書目 --- p.135 / 附錄一：穆時英發表於文學雜誌的作品 --- p.144 / 附錄二 ：穆時英小說結集情況 --- p.146 / 附錄三：穆時英小說被編入選集情況 --- p.150 / 附錄四:穆時英寫作的雜文及其他 --- p.153 / 附錄五：穆時英與文學史 --- p.157 / 附錄六：有關穆時英硏究的論文 --- p.161 / 附錄七：穆時英小說所見外來語表 --- p.165 / 附錄八：穆時英小說所見顏色字表 --- p.177

Thesis (Ph. D.)--Hong Kong Baptist University, 2003. / Thesis submitted to the Dept. of Chinese Language and Literature. Includes bibliographical references (leaves 204-232).

Denna uppsats är en studie av tre noveller skrivna av författare i den modernistiska grupp från Shanghai som brukar kallas nysensualisterna. Studien tar fasta på de olika sätt som författarna använder sig av blick och seende för att i de analyserade texterna uttrycka maktförhållanden, upphetsning och frustrationer i samband med den dramatiska materiella och intellektuella samhällsomvandling som 1920- och 1930-talets Shanghaibor ställdes inför och som bland annat kraftigt påverkade relationerna mellan män och kvinnor. I novellerna skildras hur de manliga huvudpersonerna – oavsett om de utsätts för andras blickar eller själva försöker sig på att använda blicken som ett maktinstrument – drivs till randen av ett sammanbrott på grund av den outhärdliga spänning som krocken mellan det nya och det gamla samhällets krav och förväntningar innebär. Blicken och seendet blir här ett tveeggat svärd som, när det används, tycks slå lika hårt mot den som svingar det som mot hans offer.

Fiction has emerged as a major medium for modern Chinese to express their imagination and 'narrate' the country since Liang Qichao advocated the importance of 'New Fiction'. Over the past century, fiction (including both its form and content) has undergone various changes in response to the transformation of the modern Chinese society. In 1993, David Der-wei Wang initiated a discussion on 'Imagination of China', examining how Chinese people imagined the past, present and future of the country through fiction as a means of fabricated narration. While diegesis is a literary concept central to Realism and lyric constitutes a typical form of Romanticism, visual expression is the technique representative of Modernism. This method was first introduced to Shanghai by Liu Na'ou from colonial Taiwan and it exerted tremendous impacts on the works of Mu Shiying and Eileen Chang subsequently. The present dissertation sought to address two main questions pertaining to 'visuality'. First, how did the fictions of Liu Na'ou, Mu Shiying and Eileen Chang use visual expression for imagination of China? A related concern was how this approach reflected and molded the modern experience of China. Second, how was this particular mode of imagination related to other forms of imagination of the time? Also, what was its association with the politics and ideology in the arena of power? This dissertation did not only analyze the visual properties of this particular mode of imagination, but also examined the power issues underlying the technique, including colonialism and post-colonialism, literature and image, as well as man and woman. / There are five chapters in the dissertation. The first chapter introduces the framework, method, and background of the research. Chapter two examines how Liu Na'ou, Mu Shiying and Eileen Chang imported, migrated and mimicked the visual perceptions of colonists when expressing their imagination of China. On the one hand, this kind of imagination closely resembled the mentality of colonists such as France and Japan. On the other hand, the three authors strived to make modifications, formed critical judgments and reflected on the roles of the colonizer and the colonized during the process of imagination. All these were manifested in the changes in the form of presentation characterizing their fictions. As such, examination of these changes relative to the literature from the 1930s to 1940s is another focus of this chapter. Chapter three explores how Liu Na'ou, Mu Shiying and Eileen Chang incorporated the visual features of movies into fictions when expressing their imagination of modern China. The interaction between literature and image (especially the influence of movie on the presentation of fiction) inspired the three authors to come up with an alternative perceptive regarding imagination of China. The intersection of fiction and movie also allowed more room for fictitious creation, giving rise to a different mode of imagination beyond those featuring Realism and Romanticism. Some other issues covered in this chapter include why and how this approach guided the imagination of readers in designated time and space, as well as its relationship with the national discourse. Chapter four discussed the problems concerning imagination of China with reference to visuality and alternation in sexual subjectivity. Male vision could be identified in the fictions of Liu Na'ou and Mu Shiying. However, under the symbolic system of patriarchal culture, such male vision, when compared with the vision of the colonizer, is apparently less prominent in terms of male subjectivity. In their fictions, female characters are usually 'seen' through the lens of others and such female images are largely consistent with the male authors' perceptions of national subjectivity. This chapter also investigated how Eileen Chang used vision as a way to reflect on the male perceptions of female images, as well as how she was imagined and defined as a female author in the field of literature. Chapter five is the conclusion, which highlights the significance of visual expression in Liu Na'ou's, Mu Shiying's and Eileen Chang's fictions. / 梁慕靈. / Adviser: Hang Fung Carole Hoyan. / Source: Dissertation Abstracts International, Volume: 73-03, Section: A, page: . / Thesis (Ph.D.)--Chinese University of Hong Kong, 2010. / Includes bibliographical references (p. 269-306). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [201-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Liang Muling.