This thesis is a study of the Chinese diaspora in Singapore from 1819 to the 1950s. It begins by situating the diasporic subject in a historical context, highlighting some of the key moments in the diaspora's development, such as the advent of colonialism during the nineteenth century, and the formation of an ethnic enclave in the settlement. The discussion then calls into question the construction of the Chinese subject in colonial discourses, and interrogates the ways in which the diasporic population was constituted within the framework of colonialism. The main purpose has been to examine how the diaspora in Singapore has evolved, and to explore the adequacies, or inadequacies, of existing diasporic theories in the ways they relate to the Chinese experience. This is achieved by recapitulating the theoretical implications of existing diaspora frameworks, and questioning the tensions and limitations generated by such discourses. Simultaneously, this study takes into consideration the construction of a "Chinese identity", and does so by presenting possible ways of conceptualisng what it means to be "Chinese" for subjects of the diaspora. In discussing the extent to which the subject's sense of "self" and belonging has been shaped by its immigrant past, this research draws on and studies the writings, both literary and non-literary, that have emerged from the community. A central concern in all this is the identity and subjectivity of the diasporic subject, and the point here is that not every subject experiences diaspora in the same way, but that these alterities are important in the constitution and formation of a Chinese identity. As I note in the introduction, the issue of what it means to be Chinese, and indeed, the issue of home and belonging, is one that is always contested for people in the diasporic community, and the aim of this thesis has been to continually deconstruct the idea of a "single" Chinese diaspora, and to expose it as a heterogeneous, fragmented, and internally differentiated construction.

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The Republican period in Chinese history (1911-1949) is generally seen as a series of anti-imperialist and anti-foreign movements that coincide with the development of Chinese nationalism. The continual ties between Chinese nationalists and Japanese intellectuals are often overlooked. In the midst of the Sino-Japanese war, Uchiyama Kanzō, a Christian pacifist who was the owner of the bookstore, acted as a cultural liaison between May Fourth Chinese revolutionaries who were returned students from Japan, and Japanese left-wing activists working for the Communist cause, or visiting Japanese writers eager to meet their Chinese counterparts. I explore the relationship between Japanese and Chinese cultural literati in Shanghai, using Uchiyama Bookstore as the focal point. The ongoing Sino-Japanese tensions surrounding the "history problem" overemphasize the views of the right-wing nationalists and the Japanese state, dismissing the crucial role of left-wing groups. Uchiyama is a key link to understanding the ideological connection between Pan Asian anti-war activists in the pre-war period with peace activists in post-war Japan who were often accused of being "China's hand." Uchiyama, valued for his prewar connections with prominent Chinese intellectuals, becomes one of the founding members of Sino-Japan organizations upon his return to Japan after the war. I situate non-governmental Sino-Japanese organizations within the larger peace movement in Japan, which are transnational, in contrast with intergovernmental organizations that operate on the basis of nation-states. This work will contribute towards a growing recognition of histories that transcend nations, by focusing on both Chinese and Japanese cosmopolitan individuals who continued to form ties with each other, even as their respective nation-states were either at war, or did not have normalized diplomatic relations. I hope to also shed new light on histories of Republican China and post-war Japan, as well as explore issues related to empire and globalization in East Asia. / text

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The expression ‘New Culture Movement’ was born in summer 1919, in the intersections of academic debate, political activism, media coverage and intellectual marketing strategies. I have traced the emergence of the phrase and the discourses around it, using sources like journals, newspapers, student essays, advertisements and conference protocols. The New Culture Movement was a buzzword, deployed by practically-minded but lesser-known intellectuals to promote agendas they had held long before its invention. Many notions we associate with the Movement until today already surrounded it in 1919: for example, that it was connected to the political protests of ‘May Fourth,’ and driven by star intellectuals such as Hu Shi and Chen Duxiu. But closer scrutiny reveals that the New Culture Movement and its network of associations were a construct, an amalgam of newspaper stories and intellectual marketing ploys: the connection to May Fourth was created by newspapers; the intellectuals at the periphery drew upon Hu Shi’s and Chen Duxiu’s prestige to add glamour to their own agendas. Nevertheless, the New Culture Movement shaped China’s 20th century. As only some agendas could credibly be sold as the Movement, it catalysed the plethora of competing agendas that had emerged since the 19th century to tackle the challenges of a changed world order. The New Culture Movement later became a founding myth of ‘Modern China’ and was regarded as the obvious result of global trends towards ‘modernisation,’ which visionary intellectuals recognised. But more recent literature has decentred the Movement, noted a longer history of its ideas and the careerism of its participants. I drive this point further by showing that, at the Movement’s very core, were practically-minded business and marketing strategies, deployed by numerous, lesser-known actors. It was in this way that the course for 20th-century China and one of its founding myths was set.

This thesis deals with miniature poems, which appeared at the beginning of the May fourth movement, as a genre of modern chinese poetry and was redoscovered by the misty poets after the Cultural revolution. Part of a brief introduction to the literary- historical contexts of both periods are short biographies of two representative poets of this genre, Bing Xin and Gu Cheng. Eventually the form and themes of miniature poems are introduced. The main part of this thesis is a comparative study of Bing Xin's and Gu Cheng's miniature poems. The thesis concludes, that Gu Cheng refines and eleborates the artistic value of the miniature poem. Part of the study is a criticism of primary source, as well as a summary of the current state of research. Key words: Modern poetry, Bing Xin, Gu Cheng, místy poetry, May fourth movement

The intellectual and political roots of present-day China lie in the late imperial era and the transition to modern statehood. As the last chain of the thousands years of dynastic rule in China, the Qing Dynasty ended in 1911 with a revolution. Even though the Republican regime was immediately established after their revolution, it took three decades until thenew government (People&rsquo / s Republic of China) achieved full sovereignty on the territory. The thesis argues that the 1911 Revolution is a major turning point in Chinese transformation not only because of the regime change but also the ideological shift towards modern statehood. In this study, first, the social forces and actors on the eve of the Revolution are analyzed. The gentry-domination of society and the power relations within the forces involved in the Revolution - especially the intellectuals and the military - appear to be the two major reasons why the transition was not completed with the Revolution. The second focus of the study: the process of breaking with the past. In other words, how was the shift in people&rsquo / s mind achieved? In China, this turning point did not coincide with the 1911 Revolution and/or regime change. It came later in 1910s, reaching its peak in 1919, with the New Culture Movement of the May Fourth intellectuals. There had been some influential intellectuals building a nationalist discourse even before the May Fourth Movement (e.g. Liang Qichao, reformist and ideologue in late Qing dynasty) but the radical and outspoken tone of the New Culture Movement achieved the grounds for a shift in minds. I will briefly analyze the intellectual work of the period and its politicization. A special emphasis is given on Sun Yat-sen&rsquo / s political and intellectual contribution to the transition since he was not only a major political activist but also a theoretician whose works (Three Principles of People) have been influential on China&rsquo / s nation-building process.

À l’aube du XXe siècle, en Chine, un groupe d’intellectuels et d’auteurs se retrouve à la source d’un nouveau mouvement culturel et politique. Les sinologues les appellent les « auteurs du 4-Mai ». Ils ont pour objectif de transformer la Chine, de mettre en place une forme de modernité à l’aide de la littérature. Du rejet de la tradition confucéenne jusqu’à la diffusion des idées du communisme, ils semblent être au cœur de toutes les transformations socio-politiques qu’a connues le pays. L’époque du 4-Mai est un moment charnière dans l’histoire de la Chine. Située juste après la chute du dernier empereur Qing et juste avant la victoire du Parti Communiste Chinois, c’est une époque où la société chinoise a connu une réorganisation. Les intellectuels de cette époque ne font pas exception, une nouvelle configuration se met en place. C’est à l’aide de la sociologie de Norbert Elias que je tenterai de comprendre quelle est la configuration qui permet le développement conjoint, dans une relation d’interdépendance, de la littérature et de la politique. Une nouvelle configuration qui se construit avec les intellectuels du 4-Mai, est différente de celle que formaient les mandarins confucéens de l’époque impériale. Les divers éléments qui permettent aux auteurs du 4-Mai de passer d’une configuration à l’autre (nouveaux thèmes dans la littérature, façons d’être moderne, engagement politique) sont aussi les éléments qui influencent le monde politique, démontrant l’interdépendance des deux sphères. / At the dawn of the twentieth century, in China, a group of intellectuals and writers find themselves at the beginning of a new cultural and politic movement. Sinologists call them the “May-Fourth writers”. They have for goal to transform China, implement a form of modernity in using literature. From the rejection of Confucian tradition to the promotion of the Communist ideas, they seem to be in the middle of every social and political transformation that the country has experienced. The May Fourth era is a turning point in the history of China. It begins just after the fall of the last Qing emperor and ends just before the victory of the Chinese Communist Party, it is a time where the Chinese society was reorganized. The intellectuals were no exception, a new configuration is under construction. It is with the sociology of Norbert Elias that I will try to understand which configuration allow the development of both literature and politics in an interdependent relationship. The new configuration that characterizes the May Fourth writers is different than the one that characterize the Confucian mandarins of the Imperial age. The various elements who allow the May Fourth writers to pass to a configuration to another (new themes in literature, a way to be modern, political commitment) are also the elements that influence the political world, showing the interdependence between them.

The present master's thesis deals with an introduction of Sophia H. Chen Zen (Chen Hengzhe), the first female professor at Beijing University, who in her life and work represents the generation of May Fourth intellectuals, who were educated in traditional scholarship, but who also recieved modern western education. Western scholarship filled these intellectuals with enthusiasm and they were eagerly introducing it into China. Chen Hengzhe grew up in a traditional scholar family, and since her childhood she longed for education. This desire was fulfilled by winning one of the first Boxer Indemnity Scholarship opened for women. She spent six years on her studies in the United States, where she met some of the leaders of the New Culture Movement (merging with the May Fourth Movement) like Hu Shi, or her future husband Ren Hongjun. Chen Hengzhe is also remembered as a writer of the first baihua-written story, in the early beginning of chinese literary movement. But the main field of Chen Hengzhe was history. Using her knowledge and teaching experience, she wrote one of the first histories of the west in China. Exactly in the analysis of her historical writing lies the center of our thesis. The biggest part concerns with Chen Hengzhe's history textbook and its historical and cultural context of early...

本論文計分六章，各章章旨及其內容如下： 　　第一章為「緒論」。內容包括：「研究動機與目的」、「研究現況檢討」、「研究方法與取材」及「研究侷限與發現」。本章旨在敘述研究背景，藉由研究現況的檢討，掌握值得開發的研究空間與契機，並進一步揭示論文研究的心得。 　　第二章為「許地山的生平與思想」。探討主題包括：「戰爭對其人格特質、生命情調的啟發」、「家庭對其人道關懷、人生哲學的造就」、「治學對其知識結構、人文素養的塑成」及「時勢對其文化態度、文化參與的影響」。本章旨在透過許地山的生平與思想的交叉論述，以影響研究的觀點，彰顯許地山人格與思想的成因，並透視其人富於時代意識的特色。 　　第三章為「許地山的文藝觀」。討論範圍涵蓋：「許地山的文藝創作論」、「許地山的文藝鑒賞論」和「文藝觀的淵源與特色」。本章旨在爬梳並歸納許地山的文藝思想，分別從創作論及鑒賞論兩部分，分述其具體內容，再綰合兩者，尋繹許地山文藝觀的淵源與特色。藉以掌握許地山創作傾向的理論根據，並作為進一步解讀許地山文本的準備。 　　第四章為「許地山作品的主題意蘊」。章分四節分別探討許地山文學作品所呈現的「生命觀照與人生態度的闡發」、「情愛觀與兩性觀的宣達」、「社會現實的揭露和批判」及「去國與懷鄉──臺灣風味的書寫」。本章旨在透析許地山文學作品的主題意蘊，再回扣到許地山的生平行誼與思想內涵，驗證許地山其文實為其人之全人格的表現。 　　第五章為「許地山文學的藝術表現」。就許地山文學的藝術表現，舉其凸顯的成就作一闡釋與驗證，內容包括：「許地山文學的寓言特質」、「許地山散文的賦體成分」、「許地山文學的抒情傾向」及「女性人物的理想性格與形象」。本章旨在全面掌握許地山文學的藝術特色與成就。從許地山文本的微視與剖析後，得其主要特色有三，亦即寓言特質、賦體成分與抒情傾向。再從許地山小說人物的考察，檢視其形象塑造的得失，透過歸納許地山人物性格與形象的特徵，逼顯許地山理想的人物性格及形象。 　　第六章為「結論：許地出文學的意義與定位」。本章旨在總結本論文的研究心得。於許地山其人其文有了全面而深入的了解後，將許地山的文學回置到我國文學發展的歷史中，考察許地山文學的意義與歷史定位，獲致許地山文學的兩項意義，即許地山乃現代散文的奠基者（寓言散文的先驅）、五四文壇的臺灣代言人。 《許地山文學之研究》 論 文 目 錄 第一章 緒論 第二章 許地山的生平與思想 第一節 戰爭對其人格特質、生命情調的啟發 第二節 家庭對其人道關懷、人生哲學的造就 第三節 治學對其知識結構、人文素養的塑成 第四節 時勢對其文化態度、文化參與的影響 結 語 第三章 許地山的文藝觀 第一節 許地山的文藝創作論 第二節 許地山的文藝鑒賞論 第三節 文藝觀的淵源與特色 結 語 第四章 許地山文學的主題意蘊 第一節 生命觀照與人生態度的闡發 第二節 情愛觀與兩性觀的宣達 第三節 社會現實的揭露和批判 第四節 去國與懷鄉──臺灣風味的書寫 結 語 第五章 許地山文學的藝術表現 第一節 許地山文學的寓言特質 第二節 許地山散文的賦體成分 第三節 許地山文學的抒情傾向 第四節 女性人物的理想性格與形象 結 語 第六章 結論：許地山文學的意義與定位 參考書目 附錄：許地山生平暨作品繫年 國立政治大學中國文學系碩士論文 指導教授：簡宗梧博士