Drawing from trends in environmental and disaster studies, this study examines the meaning of earthquakes within the official histories of China's Tang Dynasty (618-907), specifically those during the reign of Emperor Dezong (r. 785-805), as both historiographic metaphors and incidents of real natural-induced disaster. Earthquakes, like other forms of potentially harmful natural phenomena, demonstrated, the Chinese believed, Heaven's dissatisfaction with a sitting ruler. Over time, ministers and court scholars sought to draw connections between earthquakes and specific forms of behavior in attempts to perhaps prevent future incidents of seismic reproach. And though certain relationships are articulated more clearly in some parts of the histories than others, earthquakes nevertheless demonstrated an ability to engender a great sense of uncertainty and discord within historical memory. Consequently, the reading of the natural world codified in the official histories marked an attempt by the Chinese state to control human behavior for generations to come.

Female intervention in government happened from time to time in Chinese history. The women involved were usually either ambitious individuals who made use of favourable opportunities to seize political power or daughters of powerful families whose marriages into the Imperial House were arranged in order to insure the power of their male relatives. In tracing the background of these women, we find that the former type often came from a non-Chinese or lower-class family while the latter type were usually Chinese and invariably had an aristocratic background. Although coming from different backgrounds these ladies shared the common characteristic that they were contented with the position they had as Empress or Empress Dowager. The further ambition of themselves ascending to the throne never occurred to them. The cases of female intervention during the Tang period were rather different from the above stereotypes. They were a succession of ambitious female members of the Imperial family who tried to follow in the footsteps of Empress Wu in order to rule the country both in name and in fact. Though none of them did succeed, their ambition and struggle was one of the major factors that influenced the political history of the first half of the eighth century. / Arts, Faculty of / Asian Studies, Department of / Graduate

Thesis (Ph. D.)--University of Minnesota, 1975. / Includes bibliographical references (leaves 147-152).

This thesis studies Tang sancai, a multi-coloured lead-glaze ceramic decorated ware which emerged in the Tang dynasty (AD 618 - AD 907), attaining mass production in the middle of the Tang era and declining towards its end. It examines the functions of sancai in its different aspects, namely as burial objects, as containers for ritual offerings and as architectural material. I argue that Tang sancai ware as burial objects were employed exclusively by the Tang imperial and elite families. The approach to my argument is made, in a first stage, through the observation of the physical locations of tombs that contained Tang sancai wares to demonstrate that these tombs belonged to the Tang imperial and elite family members. In a further step, I bring up two Tang decrees which laid down regulations for burials, to indicate that there was a strict hierarchical system for the allocation and utilization of burial land. These two Tang texts enable us to establish that the tombs located around the area of the imperial tombs belonged to the Tang officials and elite, and therefore not to ordinary people. In addition, the study I undertake of the structure of the tombs, with layout and organization mirroring palatial environments, reinforces my argument to that end. Lastly, I look at the cost of production of Tang sancai showing that it was higher than that of unglazed ceramics and that, consequently, sancai wares were, from an economical point of view, inaccessible to the common people. This thesis also reflects on the agency of Tang sancai, considering its aesthetic qualities and its suitability in the functions for which it served, as a force in engaging the viewers. The lasting debate on whether Tang sancai utensil-shaped wares were used for everyday eating and drinking is dealt with in this thesis by carefully examining the locations of the shards that were excavated at the sites of imperial palaces. My research enables to point out that this data is not sufficient to ascertain that this type of Tang sancai was used as daily wares. On the contrary, on the grounds that these locations were the places where ritual performances took place, I argue that sancai utensil wares were used as presentation containers for ritual performances. In the absence of records in Tang texts which could have informed about the relationship between Tang sancai and religious practice, I borrow an evidence from Japan, in the form of the hand-brush writing on a couple of Nara sancai dishes, which were copies of Tang sancai made in Japan during the time of Tang, mentioning that these vessels were specifically for use for ritual ceremonies. Furthermore, on the basis of analyses made on lead-glazed ware, some scholars assert that such ware is poisonous and could not have been used to contain food or drink, as much as no evidence exists to show that ancient Chinese had used lead-glazed wares for that purpose. This leads to the clarification that Tang sancai utensil-shaped wares were not produced for everyday use, their purpose having actually been to serve as vessels for offerings in rituals. I further observe that this connection between sancai and ritual-themed objects, initiated by the Tang, has in fact pervaded through the succeeding dynasties affirming its role in religious ceremonials. Finally, this thesis also looks at Tang sancai as an architectural material to show that it was skillfully used in decorating buildings, not only as tiles and tile-ends, but also as large-sized roof ornaments. The research reveals, in the process, the possible dates when sancai architectural material started to be used popularly during the Tang era.

published_or_final_version / Chinese / Master / Master of Philosophy

published_or_final_version / Chinese / Master / Master of Philosophy

Thesis (M.A.)--University of Wisconsin--Madison, 1970. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

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In the past fifteen years, the Beijing writer Feng Tang has enjoyed great popularity, especially among young readers. As a versatile writer, he published not only novels but also essays and poems. His representative work is the semi-autobiographical The Beijing Trilogy which depicts the coming-of-age of a boy named Qiushui and his friends. The main theme of this trilogy is the growth of youth and thus establishes a youth narrative. Based on a close reading of the trilogy, this paper aims to explore the true nature of the youth narrative that Feng Tang presents in his The Beijing Trilogy. This paper is divided into five sections: section one introduces the writer Feng Tang and The Beijing Trilogy; section two discusses the feature of youth narrative in the realm of the genre bildungsroman; section three analyzes the counter-sublime tendency associated with the writer’s rebellion from the official discourse and mainstream ideology; section four focuses on the phallocentrism that is pervasive in the story; and section five is the conclusion.

(in English): The core of this thesis is a problem of representation of landscape in Middle and Late Tang Dynasty. The term "landscape" is taken from western perspective and Chinese poetry is conceived through it. Different ways of representation of landscape in the work of different authors is described there, especially how they use different methods in order to achieve different aesthetics impressions. This thesis is focused on terminological and theoretical concept of landscape and its relation to the term "nature" and considers its role in literature and examines a question of representation of landscape and relationship to landscape in Chinese literature. Main part of this thesis is analysis - there are five chosen authors (Wei Yingwu, Bai Juyi, Li He, Du Mu and Li Shangyin) and their specific style of writing is being examined (on the basis on "modes" created by the author). Methodological background of this thesis is rooted in current state of filed in Chinese mediaeval literature research and tries to reflect both traditional approaches and modern methodologies in order to reach a certain synthesis. Every author is presented through their unique style (corresponded to their "mode") based on traditional image created by Chinese literary canon. This thesis demonstrates many varieties of...