Thesis (M.A.)--Bowling Green State University, 2010. / Document formatted into pages; contains iv, 86 p. Includes bibliographical references.

Thesis (Ph.D.)--Hong Kong University of Science and Technology, 2006. / Includes bibliographical references (leaves 474-501). Also available in electronic version.

Thesis (Ph.D.)--Xianggang ke ji da xue, 2006. / Adviser: Hao Chang. Includes bibliographical references (p. 474-501)

Thesis (M. Phil.)--Hong Kong Baptist University, 2000. / Thesis submitted to the Dept. of Chinese Language and Literature. Includes bibliographical references (leaves 136-157).

This thesis is an in-depth analysis of three later short stories "Lust and Restrictions" (Characters Omitted),"Flowers and Pistils Floating on the Waves" (Characters Omitted), and "Happy Reunion" (Characters Omitted), written by the 1921 Shanghai born Chinese author Zhang Ailing. The analysis takes a look at the structure of these short stories and discovers that they differ from her earlier short stories, that is those she wrote ten years earlier in the 1940s, in their structural and narrative approach and thereby place a greater demand upon the reader's participation. These three stories are the only short stories by Zhang Ailing that do not develop in a linear fashion. The author introduces them in the preface of the anthology Sense of Loss by calling the second story "Flowers and Pistils Floating on the Waves" an "experiment." Because of their similar structural and narrative approach, I called all three of them "experimental" which really means the same as "modernists", to distinguish them from her earlier linear stories. The three major characteristics of the experimental stories, that is—the narrative happening in the character's minds, the chronological distortion of the narrative and the almost invisibility of a narrator large subordinated to the character's presence—all have the effect of bringing the reader close to the characters' subjective thoughts and reflect the characters' state of mind in the stories' present time, depending on the frequency of the switches between the times, that is between the past happening in the characters' minds and the stories present time. The reader's participation in these three stories is largely due to the narrative structure while in some of Zhang Ailing's lienar stories, as examined in this paper, it is based on the stories' content. The political changes in China, and the author's move away from the mainland could account for her increasingly pessimistic outlook on life reflected in the disjointed structures of the "experimental" stories. / Arts, Faculty of / Asian Studies, Department of / Graduate

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Les tabous et l’autocensure : la sexualité, la violence et le politiquement correct dans les films de Zhang YimouDans un film, la sexualité, la violence et le politiquement correct sont toujours les tabous qu’il faut traiter avec précaution. Malgré la mise en place de la classification cinématographique au monde occidental, le législateur s’empare quand même du contrôle des films au nom de la protection de la jeunesse, pas davantage en République populaire de Chine, le pouvoir communiste qui reste encore au XXIe siècle un régime autoritaire, a le pouvoir absolu des autocrates sur la création artistique. Par là, les tabous, en particulier le politiquement correct, sont interdits de toucher, et la censure omniprésente s’accompagne toujours du processus de la production du film, dont la conception du plan, la genèse du scénario, la réalisation, et la diffusion, provoque le réalisateur à faire l’autocensure lors de la création cinématographique.En tant que leader des cinéastes chinois à notre époque, Zhang Yimou est plutôt un signe légendaire qui témoigne du développement du film chinois, et ses œuvres abondantes, tant en quantité qu’en diversité, servent d’un objet parfait à l’analyse. La plupart de ses œuvres se réalisent à l’aide de l’adaptation cinématographique du texte. Par là, un contraste entre les deux modes d’expression, celui du récit et celui d’audiovisuel, met en relief l’altérité qui nous permet d’avancer notre étude sur la mise en scène de la sexualité, de la violence et du politiquement correct sur l’écran et l’autocensure de notre réalisateur lors de la création cinématographique.Notre étude se propose d’analyser le traitement des tabous par Zhang Yimou au cours de la création cinématographique dans le but de contourner la censure des autorités. Trois axes principaux de recherche ont été privilégiés dans ce travail : l’analyse de la censure cinématographique, son histoire, ses lois et règlements en droit du film, l’analyse de l’interview de Zhang Yimou à la télévision, et à la description de ses coopérateurs, et l’analyse en détail des œuvres filmiques de Zhang Yimou. / Taboos and self-censorship : Sexuality, violence and political correctness in Zhang Yimou’s filmsIn a movie, sex, violence, and political correctness are often taboos. These taboos need to be handled with caution. Although the film grading system in Western countries has been established, those legislators still use cessation as an excuse to control the film in order to protect the minors. Moreover, as far as the People’s Republic of China is concerned, as one of the few remaining authoritarian regimes in the 21st century, the Communist regime has absolute arbitrary control over artistic creation. Therefore, these taboos, especially political correctness, are not allowed to touch. The ubiquitous review is often accompanied by the entire process of film production, which involves conception, script-writing, filming, and distribution, prompting the director to constantly self-censorize the film and television creationg process.As the leader of the contemporary Chinese film, Zhang Yimou is almost a legendary symbol, he witnessed the development of Chinese film. And his rich works, both in quantity and diversity, are undoubtedly the perfect research subject. Most of his works are derived from the adaptation of literature to film. The two different expression modes of literature and film, one is the textual expression, and the other is the audiovisual presentation, which forms a sharp contrast. The contrast helps us to study how to present sexuality, violence, and political correctness on the screen, as well as the director’s self-censorship during film-making.Our research focuses on analyzing that how Zhang Yimou is handling of thses taboos in the film-making process, thus avoiding the review of those in power. This paper mainly cuts into three latitudes: Firstly, for the study of film censorship, the study of its history, legal rules and articles. Secondly, the analysis of Zhang Yimou’s TV interviews and the descriptions of his collaborators, and finally a detailed and indepth analysis of Zhang Yimou’s works.

Thesis (M.A.)--University of Massachusetts Amherst, 2009. / Includes bibliographical references (p. 85-89).

Thesis (M.A.)--McGill University (Canada), 2006. / Includes bibliographical references.

Texte remanié de: Doctorat dissertation--Canberra--Australian national university, 1976. Titre de soutenance : On the cult of Chang San-feng and the authenticity of his works. / Bibliogr. p. 159-194. ISSN correct : 0729-6363.