Thesis (Ph.D.)--University of Wisconsin--Madison, 1999. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 140-146).

Thesis (M.A.)--University of Hong Kong, 1997. / Abstract in English. Includes bibliographical references (leaf 61-67). Also available in print.

Thesis (M.A.)--University of Hong Kong, 2006.

Thesis (Ph. D.)--Hong Kong Baptist University, 2003. / Thesis submitted to the Dept. of Chinese Language and Literature. Includes bibliographical references (leaves 204-232).

This thesis examines conflicting attitudes regarding artistic authenticity and differing approaches to connoisseurship vis-à-vis the field of Chinese art and its reception in Europe and North America. Although this thesis examines both Chinese and Western approaches to the copy and highlights different cultural methods, this is not a Chinese versus the West argument. This thesis displays how concepts are combined in the Western art field to reach differing conclusions about a painting's authenticity. Specifically, this thesis analyzes the art of Chinese painter Zhang Daqian (1899-1983) and the debate surrounding Along the Riverbank, a painting in the Metropolitan Museum of Art's collection attributed to 10th century Chinese painter Dong Yuan (c. 934-c. 962). Many believe this painting is one of Zhang's forgeries. The controversies surrounding Zhang's art and forgeries reveal diverging conceptions of art education and methods of determining authenticity and the complexities of evaluating Chinese art in non-Chinese academic contexts.

Tese (doutorado)—Universidade de Brasília, Instituto e Física, 2013. / Submitted by Alaíde Gonçalves dos Santos (alaide@unb.br) on 2014-01-16T12:34:29Z No. of bitstreams: 1 2013_EvandroAlvesRodrigues.pdf: 1158236 bytes, checksum: e0c00b2497fa75c4ea39018e45458a31 (MD5) / Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2014-02-13T14:41:35Z (GMT) No. of bitstreams: 1 2013_EvandroAlvesRodrigues.pdf: 1158236 bytes, checksum: e0c00b2497fa75c4ea39018e45458a31 (MD5) / Made available in DSpace on 2014-02-13T14:41:35Z (GMT). No. of bitstreams: 1 2013_EvandroAlvesRodrigues.pdf: 1158236 bytes, checksum: e0c00b2497fa75c4ea39018e45458a31 (MD5) / O Cresimento de superfícies fractais é uma área da Física Estatística que adquire grande momento com a popularização de ferramentas computacionais acessíveis, que tornam possível estudar este tipo de sistema por meio de modelos numéricos computacionais. Neste trabalho estudamos as propriedades do modelo de corrosão, com o objetivo de esclarecer algumas das questões em aberto desta grande área de pesquisa, como a existência de dimensão crítica na equação KPZ, descrevemos uma estratégia de obtenção de uma equação que modele a dinâmica da rugosidade e propomos uma forma restrita da relação de Family-Vicsek. _______________________________________________________________________________________ ABSTRACT / Fractal surface growth is one area of Statistical Physics that gains a lot of momentum with the recent popularization of cheap computational tools, that make it possible to study this kind of system through computational models. On this work we study properties of the etching model, to further investigate some of the open questions of this large research area, such as the existence of an upper critical dimension on the KPZ equation. We do describe an strategy to obtain an equation to model the dynamics of the surface rugosity an propose a restricted form of the Family-Vicsek relation.

abstract: During 1947-1948, three commercial films: Everlasting Love( 1947) Long Live the Wife (1947) and Happiness and Sorrow of Middle Ages (1948) from the director Sang Hu were released. Although the results from box-office were stunning, they suffered fierce criticism from progressive critics largely because the films lacked descriptions of China as a nation-state with critical explorations on nationalism, anti-imperialism, and feudalism. This ideological bias resulted in a long time neglect of the artistic and social value of these three films. This paper attempts to analyze the directors original intention through the love story vehicle, illustrate his concern toward individuals, society, urban culture and moral standards and further discuss this new film genre through a comparison of today's film market. In my opinions, his films contain considerable artistic and social values which deserve scholarly attentions. They show great compassion toward the dilemma of ordinary human beings and privilege the perspectives of common citizens; The director depicts various kinds of interpersonal relationships in a semi-colonial city and thus demonstrates considerable concern with the social realities. In their particular political environment, these films negotiate the economic market and yet successfully contribute their own intervention in the wider cultural discussion of post-war social reconstruction and the development of ethical values. / Dissertation/Thesis / M.A. East Asian Languages and Civilizations 2012

This thesis examines the 2008 Beijing Olympics Opening Ceremony, which was an unprecedented effort by the Chinese Party-state to reinvent Chinese national culture for consumption at home and abroad. Director Zhang Yimou delivered a spectacular event – three-thousand chanting Confucian scholars, two-thousand Ming Dynasty sailors, a grid of giant dancing printing blocks and an endless display of fireworks presented a sensational spectacle of Chinese culture and history. How should we interpret these symbols representing a romantic Chinese past? I argue that the “ancient” history on display in the Opening Ceremony is actually a product of China’s recent past: its interactions with the West, revolution, nationalism and communism, and the turn toward capitalism and authoritarianism. This thesis pulls the Opening Ceremony back into this historical context, closely examining three of its most prominent symbols: Zheng He and his voyages to the Indian Ocean, the Four Great Inventions, and Confucius. My results show that, 1) far from being a product of China’s history alone, these symbols are a co-production of China and the West, in which both identities were mutually constituted; 2) they are created in the context of political power, and take on different meanings in response to political shifts; 3) they suggest a state desire for power and status rather than simply a revival of cultural heritage. This research will contribute to an understanding of the modern political uses of Chinese history. / Graduate

This essay analyzes Zhang Dai’s life and his major literary work, and argues that the expression of self is the core of his writings. By contextualizing Zhang Dai’s work in the Ming-Qing dynastic transition, this essay explains the hidden motives of Zhang Dai to justify, preserve and identify his self through literary practice, suggests that this explosion of self-expression is not only a literary response to the historical event of dynastic transition, but also a reflection of the cultural and literary trends of the 17th century. This essay also provides close readings and genre study to Zhang Dai’s poems, prose and biographical writings, and demonstrates how the expression of the writer’s self works in different types of literary genres.

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