Raymond Williams argues that a community’s cultural texts naturally draw upon its lived experience, and are thus a trustworthy expression of life within that community. This thesis explores the subject positions expressed in two contemporary texts—Wang Yuan’s Lipstick (又 红), and Ning Ying’s I Love Beijing (夏日暖洋洋)—to understand how urban Chinese individuals experience and comprehend the transformations convulsing their cities. To facilitate this, my primary goal in this thesis is to build a theoretical framework that uses the psychoanalytic work of Jacques Lacan and Slavoj Žižek to create the concept of the fantasy construction of the desiring subject. Using this concept, and drawing on two aspects of the cultural theories of Walter Benjamin—his heavily citational methodology and his theory of the flâneur—I examine the role of fantasy in the construction of contemporary urban Chinese individuals as desiring subjects. / Graduate / 0305 0295 / stetard@me.com

“McLuhan’s Bulbs” argues that the 1960s movement of “light art” is the primary site of negotiation between the discourses of “medium” and “media” in postwar art. In dialogue with the contemporaneous work of Marshall McLuhan, who privileged electric light as the ur-example of media theory, light art eschewed the traditional symbolism of light in Western art, deploying it instead as a cipher for electronic media. By embracing both these new forms of electronic media and also McLuhan’s media theory, light art ultimately becomes a limit term of the Greenbergian notion of medium-specificity, heralding the transformation of “medium” into “media” on both a technological and a theoretical level. This leads to a new understanding of the concept of media as not peripheral, but rather, central to the history and theory of contemporary art. Drawing on extensive archival research to offer the first major history of light art, the project focuses in particular on the work of leading light artist Otto Piene, whose sculptural “light ballets,” “intermedia” environments, and early video projects responded to the increasing technological blurring of media formats by bringing together sound and image, only to insist on the separation between the two. Piene’s position would be superseded by the work of light artists who used electronic transducers to technologically translate between light and other phenomena, particularly sounds. These artists are represented here by Piene’s close friend and colleague, Wen-Ying Tsai. In the spirit of earlier examples of “computer art,” Tsai’s “cybernetic sculptures” used light to announce that art would no longer be defined by its material substrates, anticipating the fluid condition of media that we associate with new media art, and digital technology more broadly, today.

Fang Hui ¡§Ying Kui Lu Sui¡¨ is one of widely discussed literary productions among Tang and Song poems of eight lines collections, which could be viewed in ¡§Ying Kui Lu Sui Literary Criticism¡¨ edited by Li, Qing-Jia; among the most important criticisms are Ping Ban, Ping Hao, Zha Shen-Xing, Ji Yun, and Xu Ying Fang. Xu Ying Fang is one of the most important poets and poetry critics in Yun Na. ¡§Lu Sui Ji Yao¡¨ is edited in the purpose of teaching students during Xu¡¦s late years of being the chairman in Jing Zheng college. This literary production has twelve chapters; the first six chapters are about the poems, which are worthy to be followed, and the later six ones are vice versa. However, Xu passes away before finishing this work. The reason why Xu Ying Fang edits this production bases on the criticism of ¡§Ying Kui Lu Sui¡¨ (written by Fang Hui), and ¡§Ying Kui Lu Sui Kan Wu¡¨ (written by Ji Yun), yet the literary figure of ¡§Lu Sui Ji Yao¡¨ is different from that of Fang Hui. Comparing to the late Qing dynasty, which is prevalent to the movement of Song poetry with Tong-Guang style, Xu Ying Fang¡¦s reflections toward Tang and Song poetry reversely present the most important feature of poetics in Qing Dynasty- neutrality. Xu partially accepts Fang Hui¡¦s proposition of ¡§one ancestor and three predecessors¡¨; and he further advances the idea of lists Li Shang-Yin, and Wang An Shi into the followers of Du Fu. Moreover, he even raises poetics status of Chen Yu Yi above Chen Shih Dao. Therefore, in ¡§Lu Sui Ji Yao¡¨, Du Fu is the most listed poet among Tang Dynasty poets, and Chen Yu Yi is the poet among Song Dynasty poets; the above arrangement is the most vivid poetic feature, which Xu Ying Fong breaks through Fang Hui¡¦s previous propositions. The advantages and weaknesses about poetry appeared among Xu Ying Fong¡¦s literary production are not judaged by times nor poets themselves. His literary criticism is deeply affected by neutral concept and textual research in Qing Dynasty poetics. As a result, ¡§Lu Sui Ji Yao¡¨has been accounted as an important status among the relative works of ¡§Ying Kui Lu Sui¡¨.

published_or_final_version / abstract / Urban Design / Master / Master of Urban Design

Cette étude prend pour son objet la figure de la revenante dans le roman québécois contemporain au féminin, laquelle émane d’une tradition de l’effacement du féminin, que ce soit sur le plan social (valorisation du sacrifice maternel et de la transcendance féminine), créatif (empêchement de la participation des femmes à la production littéraire) ou représentatif (mise en scène de la disparition de la femme). Si cet effacement a longtemps servi d’appui à une économie et à une esthétique patriarcales, la revenante attire l’attention sur celles-ci et en provoque la remise en question. La revenante assume deux avatars dans notre corpus : l’apparition de la femme morte (en tant que fantôme, morte-vivante, figure fantasmatique ou onirique), ou le redoublement de celle-ci dans d’autres personnages féminins (c’est-à-dire que la hantée endosse les traits d’un précurseur spectral féminin). Nous nous intéressons aux enjeux de l’appropriation de ce vieux topos patriarcal dans le roman au féminin après 1980, moment où les femmes interviennent de façon régulière sur la scène littéraire. Ainsi, après avoir situé la revenante dans un contexte québécois et occidental, nous en examinons les instances dans les œuvres d’Anne Hébert, de Suzanne Jacob, d’Élise Turcotte et de Ying Chen. Puisque la revenante est une figure déterminante dans l’œuvre d’Anne Hébert, les deux premiers chapitres d’analyse traitent de textes de cette auteure canonique. « Désir et dés/ordre » identifie les lieux et les origines de la hantise féminine et le désordre qu’elle provoque pour mettre en évidence son rapport au désir; « La pro/création » examine la création artistique ou reproductrice comme médium de la spectralité au féminin. Le dernier chapitre, « Violence et vulnérabilité », présente des analyses de romans de Suzanne Jacob, d’Élise Turcotte et de Ying Chen afin d’y souligner la représentation des deux faces de la violence – l’agression et la vulnérabilité – telles qu’elles se chevauchent avec la revenance. Chacune des quatre écrivaines étudiées met en texte des dichotomies hétéronormatives; selon notre lecture, la revenante constituerait un symptôme de ces structures problématiques. / Thesis (Ph.D, French) -- Queen's University, 2011-02-24 14:12:10.978

abstract: The purpose of this project was to examine the lives and solo piano works of four members of the early generation of female composers in Taiwan. These four women were born between 1950 and 1960, began to appear on the Taiwanese musical scene after 1980, and were still active as composers at the time of this study. They include Fan-Ling Su (b. 1955), Hwei-Lee Chang (b. 1956), Shyh-Ji Pan-Chew (b. 1957), and Kwang-I Ying (b. 1960). Detailed biographical information on the four composers is presented and discussed. In addition, the musical form and features of all solo piano works at all levels by the four composers are analyzed, and the musical characteristics of each composer's work are discussed. The biography of a fifth composer, Wei-Ho Dai (b. 1950), is also discussed but is placed in the Appendices because her piano music could not be located. This research paper is presented in six chapters: (1) Prologue; the life and music of (2) Fan-Ling Su, (3) Hwei-Lee Chang, (4) Shyh-Ji Pan-Chew, and (5) Kwang-I Ying; and (6) Conclusion. The Prologue provides an overview of the development of Western classical music in Taiwan, a review of extant literature on the selected composers and their music, and the development of piano music in Taiwan. The Conclusion is comprised of comparisons of the four composers' music, including their personal interests and preferences as exhibited in their music. For example, all of the composers have used atonality in their music. Two of the composers, Fan-Ling Su and Kwang-I Ying, openly apply Chinese elements in their piano works, while Hwei-Lee Chang tries to avoid direct use of the Chinese pentatonic scale. The piano works of Hwei-Lee Chang and Shyh-Ji Pan-Chew are chromatic and atonal, and show an economical usage of material. Biographical information on Wei-Ho Dai and an overview of Taiwanese history are presented in the Appendices. / Dissertation/Thesis / D.M.A. Music 2011

ix, 213 p. A print copy of this title is available from the UO Libraries, under the call number: KNIGHT PQ673 .C53 2007 / This dissertation is an analysis of the ways in which the remembered past of childhood is inscribed in four francophone novels written at the turn of the twenty-first century: Nina Bouraoui's L'âge blessé and Garçon manqué, Ying Chen's Le champ dans la mer, and Gisèle Pineau's L'espérance-macadam. These texts belong to a substantial corpus of contemporary narratives in which the remembering of childhood experiences plays a central role. Within that corpus we find a new approach to childhood emerging, one in which an unfamiliar past returns through the remembered voice of a wounded child. This voice overwhelms the text, fracturing the narrative through the irruption of images that it cannot contain. This dissertation is a study of the characteristics of this new "aesthetics of rupture." Memories of childhood in these texts are overshadowed by shattering past events that went unrecognized and unacknowledged. As a result of the wounds inflicted upon the child, the adult narrator remembers the past through physical symptoms of pain. Far from suturing the wounds of the past, remembering childhood becomes an incessant confrontational engagement with past traumas. The reader is then able to hear the scream of the wide-eyed child through a process of empathetic identification with the narrator's visceral memories. My introductory chapters provide a historical context to the development of representations of childhood in French and Francophone literature. Chapter III studies the ways in which childhood memories can actualize the past as a set of interruptive and destabilizing images. Theories of the non-representational revelation of the past serve as a starting point to my reading of Bouraoui's L'âge blessé. Chapter IV concentrates on the affective quality of memories so as to understand the narrator's ambivalent affective relationship to the past of childhood in Chen's Le champ dans la mer. Chapter V attempts to capture the ways in which the memory of a child's voice can be heard as a literary scream in Bouraoui's Garçon manqué. Chapter VI is a reading of Pineau's L'espérance-macadam in which I take into account the unseen gaze of the child to consider the role of hope in this text. / Adviser: Karen McPherson

Ying Chen is a Canadian writer of Chinese origin who writes in French. In her novels, she investigates immigration which is closely connected with displacement and the loss of one's original identity. Her literary work is primarily aimed at the North American readership so she includes a lot of details of historical events and social facts about China. Ying Chen belongs to the group of authors who are labelled as immigrant writers. The majority of her literary work centres around the recurring themes of nationalism, feminism, imagination and immigration, which can lead to a loss of original identity. Ying Chen investigates whether a person can exchange his identity, that which was given to him by his parents, with a new one. In her second published novel, L'Ingratitude, Ying Chen speaks through the character of the dominant mother and says: "A person without parents is miserable, like a people without history." With these words she indicates the impossibility of exchanging one's nationhood, national history, and identity. We need to accept who we are, and she emphasises this fact in her novel, Immobile, saying, "I am myself."

本研究以政治人物馬英九為例，探討台灣主要報紙是否出現「名人政治」現象，並探討「名人政治」的新聞框架為何？有何主要特質？呈現的方式是否和傳統政治新聞報導不同？研究對象為自由時報、聯合報及中國時報三家報紙從馬英九從擔任台北市長起至卸任國民黨主席止的新聞報導。以等距抽樣法抽取864則新聞進行分析。研究發現三家主要報紙報導馬英九新聞時都出現「名人政治」的新聞框架，其中以「政治風格」的框架最為顯著，報紙重視政治姿態、品行道德的領導能力描述，另外，報紙也常用「背景故事」把名人私領域的生活面向帶入公領域。「馬英九現象」和「個人特質」、「背景故事」和「社會互動」等框架的論述密切相關，因此確實減少了公共政策或政治議題的報導數量，不過不同報紙的框架仍有差異，隨著馬英九政治位置的重要性，名人政治的新聞框架也有所變化。但就馬英九這位政治人物來說，台灣主要報紙確實出現個人特質和政治風格鮮明的「名人化」現象。 / In a time when it is commonplace for political celebrities to garner media attention as much media attention for their political performance as for their particular personal life. The author wanted to analyze a famous political figure Ma Ying-jeou to learn the process of celebrification coupled with Gans description of the norms of news reporting, the following indicators would suggest celebrification of political content. The author used the news stories from three major newspapers in Taiwan as sample to find out elements of a celebrity that would attract the journalists as well as media organizations. The result showed that the strategies were utilized to sell the political celebrity was similar to those of the Western media.

無 / The concept of “soft power” was popularized by Joseph Nye’s works in the 1990s. It is then often referred to the ability of a political body, such as a state, to indirectly influence the behavior or interests of other political bodies through cultural or ideological means. This paper seeks to apply this idea to the study of cross-Strait relations to see whether Taiwan might exert soft power against China. As we know, it is not just Taiwanese that are highly concerned with the 2008 election of Taiwan. We take this election and especially President Ma as an example to see whether Ma can help facilitate the image of Taiwan and democracy among Chinese. After interviews on several dozen Chinese college students, we found that Ma’s image, as the soft power, does make the difference. And if Taiwan can make best use of its soft power, we may not need so much military buildup to defend Taiwan.