Le présent mémoire traite de la représentation occidentale de la cruauté dans l'art contemporain chinois. Cet art extrême est apparu vers la fin des années 1990 sur la scène artistique chinoise. Une grande part des pratiques extrêmes des artistes chinois a été introduite en Occident au début des années 2000, suscitant de vives réactions. Trois expositions européennes constituent notre corpus de recherche: l'exposition Hors Limites en 1994, la 5e Biennale d'art contemporain de Lyon en 2000, et l'exposition Mahjong en 2005 à Berne (Suisse). Dans les trois expositions, la mise en scène de la cruauté par les artistes chinois a suscité débats et controverses, et dans certains cas, l'intervention des tribunaux. Les oeuvres litigieuses chinoises ont toutes été censurées: soit interdites d'exposition, soit remplacées par des photographies. Notre problématique porte sur le «déséquilibre implicite» (Sally Price) qui caractérise le traitement et la représentation de l'art contemporain chinois dans les expositions occidentales. Alors que les pratiques extrêmes occidentales (actionnisme viennois, body art...) font l'objet de controverses essentiellement esthétiques, on assiste à un glissement du registre esthétique au registre juridique lorsqu'il s'agit de l'art contemporain extrême chinois. En effet, les oeuvres chinoises ne semblent pas, à l'instar des oeuvres occidentales, jouir de la même autonomie artistique et leur sort ne dépend pas des commissaires et des critiques mais plutôt des avocats et des juges. Ce traitement juridique des oeuvres litigieuses chinoises renverse les principes esthétiques que l'Occident a établi depuis le XIXe siècle: la liberté artistique, l'autonomie de l'oeuvre, la possible transgression de la mimésis. L'universalité de la notion d'art se heurte ici au caractère prétendument extraordinaire de la culture chinoise. En fait, ces cas de censure révèlent les fantasmes que l'Occident n'a cessés de nourrir au cours de son histoire sur la Chine, et sur le lien consubstantiel que la culture chinoise entretiendrait avec la cruauté. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Art contemporain chinois, Art et cruauté, Art et censure, Huang Yong-ping, Xiao Yu, « Groupe Cadavre».

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本論文研究目的主要在探討鄧小平時期，中共中央如何制定經濟政策，及探討影響政 策制定的因素和政策變遷。本論文內容共一冊，約十萬字，分六章十五節。 第一章：導論，說明研究目的，界定所用「決策過程」一詞的內涵，並提出研究架構 。 第二章：說明鄧小平與陳雲接收環境訊息管道，和對環境訊息認知的內容。 第三章：分析中共當前的經濟制度和決策結構。 第四章：分析鄧、陳基本性格，中共制定經濟政策的流程和鄧、陳對經濟政策的主張 。 第五章：說明行政系統對政策的執行過程和回饋訊息的管道，並分析政策轉變之因素 。 第六章：結論，對全文作一總結，檢討使用架構的可行性和適用性，並展望將來可能 之發展。

This dissertation examines the development of Chinese art film in the 1990s. It explores the mechanisms that were conducive to the emergence of this art wave and its representative cinematic styles. Art film was a historically underdeveloped film practice in China, especially under the mass line-dominated Socialist film system. I argue that Chinese art cinema was fundamentally defined by the second art wave, which was flanked by the first art wave (the Fifth Generation Cinema) of the 1980s, and the full capitalization of the film industry in the new millennium. The key to understanding the second art wave was the paradoxical industrial process of the Socialist film system reform of the 1990s. The controlled top-down reform made the emergence of independent production possible while at the same time denying its legitimacy. As the result, the Chinese art film production breathed new life but was pushed from the mainstream to the realm of the alternative. In alliance with other youth subculture phenomena of the time, such as rock music and avant-garde art, art film came to be defined as a distinctive position in the field of Chinese film production in terms of the mode of production (mostly independent), distribution (international film festivals), and film style. Three styles are examined in detail in this dissertation: the documentary-inspired new realist style represented by films of Jia Zhangke, the modernistic expressionist style represented by films of He Jianjun, Zhang Ming, and others, and the style that falls in-between the new realist and expressionist style represented by early films of Zhang Yuan, Lou Ye, and Wang Xiaoshuai. / text

本研究探討小資女的微整型風潮，主要由兩大部分構成全文。第一部分是藉由台灣美容歷史的梳理，凸顯1990年代後由醫學主導的美容場域所塑造出的自然美神話。這神話使得選擇微整型實作的個人從自我認同到人際互動，多少都承載著自然美的價值去展演、觀看。透過訪談，本文進而揭示以微整型為日常保養的小資女，當她們在職場中從面試到工作與團體相處時，是如何發揮那隱而不見的「針」功夫，又如何以各種互動和對話技巧規避他人對自我外貌變化的猜疑。此外，本文也指出小資女身處在美容資訊隨處可見、選擇看似無窮的環境中，其個人決定如何在社會凝視下擺盪。應用Goffman的戲劇互動論，本文指出她們在職場上的儀式行為，尤其探問到在不同職場文化中的自我如何已經成為可以彈性形塑並要求改變的符號-物，甚至連同服裝及儀容也必須轉換為應當的儀式表達。 　　第二部分則是從自然美神話裡的矛盾元素去探究醫療細微化的科技視野下所呈現的當代生活。透過訪談，本文初步揭示女性在神話結構當中對於自然美的渴求，並且藉由微整型實作完成神話的矛盾要素。應用Baudrillard的消費社會觀，本文指出當女性在尋求差異以強調自我獨特性時，卻正相反地在迎合社會的共同性價值。此處除了小資女的自我敘述之外，本文也結合理論文獻及二手資料進階探究自然美形塑過程的三大面向，亦即物質技術、廣告消費和數位微整型。首先，我們基於物質、技術與醫師經驗等三個判準，將當前四大微整型技術劃出一條自然光譜。其次，我們從醫美診所的廣告文宣，梳理其中針對微整形技術的自然主張，了解業者的自然宣稱及消費者的自然認知。第三，我們還探討了電腦技術下的數位修圖以便凸顯出微整形的自然美意涵。從數位攝影的普及到網路平台的展演，我們在數位自拍與修圖等虛擬真實的媒介實作中探索自然美神話的疆界。 / This research comprised of two parts studies the emerging trend of cosmetic surgery practiced by young working females in Taiwan. In the first part, a short history of cosmetic practices is outlined to mark the formation of a myth of natural beauty since medical science and technology dominated the traditional field of cosmetic practices in the late 1990s. The myth makes the individual who has gone through cosmetic surgery carry the value of natural beauty while regarding one’s self-identity and performing in social interactions. Through in-depth interviews, the study shows that these young working females who have made cosmetic surgery an integral part of their daily beauty maintenance tend to exercise subtle strategies (art or kung-fu) of simulation, acting and interacting as if their beauty were all natural and real beyond suspicion at work-related situations. In addition, our study finds that personal decisions struggle constantly with the injunction of the social value (of natural beauty) as these young females are exposed to an excessive array of beauty information and surgery options. With resort to Goffman's theory of dramaturgical interaction, this study reveals some interaction rituals performed in different workplaces by these young working females. As a result, the individual self has itself become a sign-object malleable to change along with proper ways of clothing and grooming. The second part proceeds to explore contemporary living under the miniaturized purview of medical technology through the contradictory elements embodied in the myth of natural beauty. Once again drawing on in-depth interviews, the study reveals the female desire of natural beauty derived from the mythical structure, as well as their practices of cosmetic surgery which further realizes those contradictory elements in reproducing the myth. By applying Baudrillard’s theory of the consumer society, this study indicates that the more women intend to stress on their unique selves by marking out individual differences, the more they unintentionally cater to the common value of our society. In this regard, our study, apart from the self reports of interviewees, also combines theoretical discourses and secondary data to further explore the natural beauty process in its three main aspects, which might be termed as the cosmetic surgery of the material (technique), the representational (advertising) and the digital (social media). First, we delineate a spectrum of naturalism for the four major techniques of cosmetic surgery based on substance, technology and experience of the physician. Second, we examine the clinical claims and the consumer perceptions of nature shaped by advertising images and slogans circulated in the beauty industry. Third, we observe the trend of digital retouching with computer technology to sharpen the meaning of natural beauty in the practice of cosmetic surgery. From the relay of digital photography to the display of internet platform, we explore the mythical frontier of natural beauty by witnessing the digital retouching of selfies as a mediatory practice of virtual reality.

Thesis (M.Phil.)--Hong Kong Baptist University, 2001. / Thesis submitted to the Dept. of Religion and Philosophy. Includes bibliographical references (leaves 178-210).

Aim: As the ageing population in China increases, support required from family caregivers for older relatives living with long-term health conditions also increases. This being so, this thesis explored the experiences and perceptions of current and prospective family caregivers, under the culture of Xiao (孝; filial piety). Design and Methods: Phase 1 was conducted with 19 Chinese students using 3 focus groups to gain greater familiarity with the culture and inform the main study (Phase 2). Adopting a social constructivist philosophical position, data for Phase 2 were obtained from three generational sub-samples: only-children affected by the One-Child Policy (OCP), parents affected by OCP, and family caregivers in the workforce, totaling 23 participants through virtual in-depth interviews with participants in mainland China. Interviews were translated, transcribed, and analysed using reflective thematic analysis. Findings and Conclusion: Phase 1 confirmed the centrality of the concept of Xiao to attitudes and beliefs around future caregiving for parents. Phase 2 findings’ overarching theme was ‘Competing pressures’, which comprised of three inextricably linked themes: (i) Caregiving beliefs, (ii) Contextual factors, and (iii) Caregiving conditions. Participants expressed meaningful desires to fulfil obligations, reflecting value-based convictions, stemming from their socio-cultural environment. Stressors experienced reveals structural and personal barriers to seeking support. Ultimately, extensive demands and limited coping strategies could diminish meaning in caregiving. This thesis makes a novel contribution on perceptions and experiences of family caregivers of older relatives within China as a collectivist society. Findings have implications for research, policy, and practice, highlighting the need for culturally attuned services to build resilience.

鄧小平提出「具有中國特色」的社會主義作為中國大陸現階段社會主義建設的口號， 希望能為中共奉行貳的馬列主義與現實環境之間的矛盾，提供一個可能的解決方案。 本篇論文的主旬就是從「革命理論」（由資本主義社會過渡到共產主義社會的理論） 以及「發展策略「（達成社會主義生產方式的方法、手段）兩個面向，來觀察中共如 何在一個「半殖民、半封建」的社會，建立起社會主義。中共在歷經蘇聯模式、毛澤 東的「大躍進」模式式二種發展策略後，體會出中國大陸的社會主義建設依舊無法解 決生產力和生產關係之門的矛盾，因此在鄧小平上臺後便實行「經濟體制改革（，以 發展生產力作為關鍵。但是為了解決僵硬的意識形態影響改革的問題，而對馬克思主 義採取「發展」的態度終必使得「革命理論」本身也產生修正或改變的現象，仗得發 展策略與革命理論發生辯證的關係。 「中國特色」的社會主義本身就還是一項不斷在發展的體，它未來的走向是一項耐人 尋味的問題。由於中國大陸社會主義本身繼承了史達林主義以黨和國家控制一切的特 質，因此它處處顯示出「國家主義」的色彩，雖然中共也採行某些市場機制以搞活經 濟，但是基本上具有中國特色的社會主義仍然是局限於「國家主義」模式的範疇；這 是由於在資本主義盛行的世界體系之下，社會主義建設本身還是得利用國家機器以爭 取世界分工秩序下一個較有利的地位。中國特色的社會主義一方面要求堅守社會主義 的原則，而另一方面則要求快速現代化。打破這種僵局的方法，還是在於找尋生產力 和生產關係在某一歷史階段的平衡點。

本論文由作者／編輯群、文本、文化三大脈絡切入，以此觀察晚清四大小說之一的《月月小說》。藉由此環環相扣三者，以考察《月月小說》作為一本小說、文學刊物之主體性，及其在文學史、小說發展史上的意義。 第一章緒論，說明本論文之研究動機、相關文獻回顧，以及研究方法與步驟，以此作為本論文之基礎；第二章討論《月月小說》聚合的作者／編輯群體，探討其小說觀、知識狀態及編輯行為，我們可從中了解，《月月小說》除了「啟蒙」的重責大任外，更具備了小說休閒、趣味、通俗的本色。而小說家們選擇了融合新舊的文化道路，以此回應當時社會的諸多問題。 第三章討論小說敘事的轉變，透過對傳統小說技巧挪用的考察，以及對「譯」、「述」的梳理，可知《月月小說》對於「小說」文類具有高度的自覺與嘗試；第四章為小說題材類型論，將《月月小說》的小說文本分為趣味、道德、啟蒙三大部分考察，即便就表面看來十分不精準且雜亂的分類，仔細探究後，仍可見其中各自的特性與相互對話之處；第五章討論小說的時事與社會關注，以文本世界為中心，考察小說如何重寫時事。可以發現，《月月小說》雖揭露、陳列許多問題，但卻用小說的幽默、趣味筆調消解了當中的重量，用笑聲翻轉了政令、美德的價值。 第六章著眼於《月月小說》其他文類的作品，由此我們發現，《月月小說》透過多種文類去支撐、呼應其刊物主旨，但在隨筆、燈謎等文字背後，卻折射出了知識遊戲的光芒，凸顯了對啟蒙的質疑，以及其中休閒的可能。 第七章為結論，總述先前論點，並提出本論文之觀察：《月月小說》在近、現代小說史上，正巧連接了「新小說」（文學啟蒙）和「禮拜六」（文學休閒）兩者，並為充滿啟蒙、現代性智識體驗的晚清小說，開啟了其他面向的風景。 / I attempt to analyze The All-Story Monthly(《月月小說》) which is one of the 4 modern times novel magazines in 3 ways that are authors-editors, text and culture. I attempt to derive the subjectivity of The All-Story Monthly from these 3 ways, and elucidate its meaning of literary history and the development of fiction history. The first chapter is an introduction of this essay. In second chapter, I discuss the authors-editors. I conclude that in addition to enlightment, there is an interesting gist of The All-Story Monthly . In third chapter, I discuss the transition of narrative skills. To study the using of traditional narrative skills and analyze the texts of translations, we could comprehend that the authors tried various methods to vary narrative skills with highly conscientious of “novel”. In forth chapter, I discuss the classified catalogues of The All-Story Monthly. In my opinion, there is a distinct theme of each catalogue and they all rely on the gist of the magazine. In fifth chapter, I study the difference between novels and essays which using same social materials. It is clear to perceive that authors using an interesting way to “rewrite” news or histories. In sixth chapter, I deliberate about the texts of other literary genres. There is a leisure literary phenomenon in these texts. In seventh chapter, the conclusion, I present that The All-Story Monthly is a significant magazine of Chinese modern times literary history. It is a transition stage between Xin Xiao Shou(新小說) (literary enlightment) and Li Bai Liu(禮拜六) (leisure literature).

by Ku Ho Kwan Lisbeth. / Thesis submitted in: September 1997. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1998. / Filmography: leaves 117-119. / Includes bibliographical references (leaves 109-116). / List of illustrations --- p.vii / Chapter I. --- Introduction --- p.1 / Chapter 1. 1 --- Articulating Hong Kong History / Identity --- p.1 / Chapter 1.2 --- Identity through Mass-Cultural Mediation --- p.10 / Chapter 1. 3 --- Using Popular Culture --- p.18 / Chapter II. --- The Locality of Culture: A Contextual Analysis of Cantonese Cinema in Hong Kong --- p.32 / Chapter 2.1 --- The Emergence of Local Consciousness through Three Decades of Cantonese Cinema (From the 30s to the 50s) --- p.32 / Chapter 2. 2 --- Youth Film and Its Historically Specific Audience --- p.38 / Chapter 2. 3 --- Reading Youth Film -- A Purple Stormy Night (紫色風雨夜) --- p.55 / Chapter III. --- Mass Mediated Images of Women --- p.64 / Chapter 3. 1 --- Connie Chan Po Chu and Josephine Siao Fong Fong as Desired Cultural Images --- p.66 / Chapter 3. 2 --- Identification and Commodification --- p.81 / Chapter IV. --- Conclusion --- p.92 / Chapter 4.1 --- The Ordinary and the Extraordinary-- Siao Fong Fong and the Self-Image of Hong Kong People in the 90s --- p.92 / Chapter 4.2 --- Mediating Cultural Identity with Cultural History of Hong Kong --- p.102 / Bibliography --- p.109 / 中文電影目錄 --- p.117 / Appendix --- p.120