Thematische Bibliographien / Chinese art in America

Inhaltsverzeichnis

  1. Zeitschriftenartikel
  2. Dissertationen
  3. Bücher
  4. Buchteile
  5. Konferenzberichte
  6. Berichte der Organisationen

Auswahl der wissenschaftlichen Literatur zum Thema „Chinese art in America“

Autor: Grafiati
Veröffentlicht am 4. Juni 2021
Zuletzt aktualisiert am 21. Februar 2023

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Zeitschriftenartikel zum Thema "Chinese art in America"

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Hayot, Eric. „Chinese Bodies, Chinese Futures“. Representations 99, Nr. 1 (2007): 99–129. http://dx.doi.org/10.1525/rep.2007.99.1.99.

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Why did the coolie's body speak so forcefully to nineteenth-century America of its future? And how did that body's loquacious, obscene ventriloquism shape the imaginary scaffolding of America's utopias, its science fictions? This essay answers those questions by reading Arthur Vinton's Looking Further Backward (1890), one of the first American novels to imagine a Chinese military invasion of the United States.
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Mahdihassan, S. „The Manicuring System of Keeping Long Nails Originating From China“. American Journal of Chinese Medicine 18, Nr. 03n04 (Januar 1990): 197–99. http://dx.doi.org/10.1142/s0192415x90000253.

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The manicuring art of keeping long nails is Chinese. This art has appealed to fashionable young ladies in America and Europe and has even reached Pakistan. That it is Chinese is revealed by illustrations taken from Dore.
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LaRochelle, Dominic. „Making the New Appear Old“. Nova Religio 17, Nr. 3 (Februar 2013): 64–83. http://dx.doi.org/10.1525/nr.2014.17.3.64.

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The following article describes and analyzes the spirituality of taiji quan in the West. Constructed around a particular North American perception of this Chinese martial art, the spirituality is based on discursive strategies that enable authors of taiji quan books (and their readers) to make sense of their practice in a North American context. Using reception theories and Gadamer’s notion of fusion ofhorizon, three points will be highlighted here: 1) taiji quan books published in North America since the 1960s present this martial art as a spiritual practice 2) which the authors perceive as a Chinese Daoist spirituality 3) but which in fact is actualized in a North American socio-cultural context so that it meets the expectations of a certain category of practitioners. This means that the “spirituality of taiji quan” as presented by Western books has less to do with Chinese religious tradition than contemporary spirituality cloaked in old Daoist imagery.
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Ian Shin, K. „The Chinese Art “Arms Race”“. Journal of American-East Asian Relations 23, Nr. 3 (27.10.2016): 229–56. http://dx.doi.org/10.1163/18765610-02303009.

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Interest in Chinese art has swelled in the United States in recent years. In 2015, the collection of the late dealer-collector Robert Hatfield Ellsworth fetched no less than $134 million at auction (much of it from Mainland Chinese buyers), while the Metropolitan Museum of Art drew over 800,000 visitors to its galleries for the blockbuster show “China: Through the Looking Glass”—the fifth most-visited exhibition in the museum’s 130-year history. The roots of this interest in Chinese art reach back to the first two decades of the 20th Century and are grounded in the geopolitical questions of those years. Drawing from records of major collectors and museums in New York and Washington, D.C., this article argues that the United States became a major international center for collecting and studying Chinese art through cosmopolitan collaboration with European partners and, paradoxically, out of a nationalist sentiment justifying hegemony over a foreign culture derived from an ideology of American exceptionalism in the Pacific. This article frames the development of Chinese art as a contested process of knowledge production between the United States, Europe, and China that places the history of collecting in productive conversation with the history of Sino-American relations and imperialism.
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Bian, Xiang Yang, und Qi Zhang. „The Antique Chinese Embroidery in America and J.C. Morgenthau Co. in the early Twentieth Century“. Advanced Materials Research 1048 (Oktober 2014): 160–63. http://dx.doi.org/10.4028/www.scientific.net/amr.1048.160.

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Accompany with the attentions in the international antique collection and auction market on Chinese embroidery, the knowledge of judgment, estimation, and evaluation is urgently needed to restore the historical imagination and the pursuit of aesthetic modernity. Researches of Chinese embroideries are mainly focused on the description of the history, pattern, stitches, styles and genres. Very few researches are about the market requirement and characteristic of collection and auction in the earlier stage. This article studied the auction catalogues and some historical documents of J.C. Morgenthau Co. in the early twentieth century. The situation of the antique market was outlined through classification and the dating records of the Chinese embroideries. We also found that the embroidered paintings had long been given more attention than the other embroidered art the similar as today. Further and more research works are needed for the potential market of the other historical Chinese embroidered art.
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Jones, Kelly Hacker. „Ancient Art Meets Modern Science: American Medicine Investigates Acupuncture, 1970–1980“. Asian Review of World Histories 6, Nr. 1 (30.01.2018): 68–97. http://dx.doi.org/10.1163/22879811-12340026.

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Abstract In the early 1970s, the so-called “acupuncture craze” swept America, introducing many Americans for the first time to this supposedly ancient therapy. Acupuncture was advertised as a cure-all, effective for everything from arthritis to smoking cessation, much to the dismay of the American Medical Association and other professional organizations. By April 1973, Nevada had passed a bill that legalized the use of acupuncture and established a State Board for Chinese Medicine, independent of its State Board for Medicine. In response, American physicians pursued two courses of action: they initiated biomedical studies that aimed at proving either a physiological or psychological effect generated by acupuncture, and they advocated for state-level regulations that restricted the use of acupuncture as an experimental therapy. Building on the work of historians of alternative medicine—including Anne Harrington and James Whorton—this paper contributes to our understanding of the position of alternative therapies within American medical practice.
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Cohen, Warren I. „Art Collecting as International Relations: Chinese Art and American Culture“. Journal of American-East Asian Relations 1, Nr. 4 (1992): 409–34. http://dx.doi.org/10.1163/187656192x00087.

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Byrnes, Corey. „Chinese Landscapes of Desolation“. Representations 147, Nr. 1 (2019): 124–60. http://dx.doi.org/10.1525/rep.2019.147.1.124.

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This essay explores how landscape forms are used by writers, photographers, filmmakers, and other artists from inside and outside of China to represent environmental problems in that country. It considers the “landscape of desolation” as an ecocritical mode designed to change how people see and act in the world in relation to both the shifting status of “Chinese tradition” and to earlier moments in Euro-American landscape art, particularly the so-called New Topographics Movement of the 1970s.
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Meng, Lijun. „Art and Society: Chu Teh-Chun and the Encounter in the Art Field“. International Journal of Education and Humanities 3, Nr. 3 (26.07.2022): 48–51. http://dx.doi.org/10.54097/ijeh.v3i3.1010.

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Through the process of "being" discovered in the modern art field by Chinese-American academician Chu Teh-chun, this paper finds that the development of modern Chinese art presents a different orientation from the Western "aesthetic autonomy": at the level of reception, the art field is influenced by the political and economic fields; in terms of artistic creation, Chu Teh-chun insists on the "fusion of East and West" and resolves the contradiction between the "aesthetic autonomy" and the social contextualization of Western art sociology in a transcendent way. In his artistic creation, Chu Teh-chun insists on the idea of "integration of East and West", resolving the contradiction between "aesthetic self-discipline" and social contextualization in Western art sociology in a transcendent way. The complete and independent personality of Chinese artists makes the art field different from the traditional art field: Chinese artists still influence the development of the art field in a two-way interaction through the use of unique mediators.
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Valjakka, Minna. „Graffiti in China – Chinese Graffiti?“ Copenhagen Journal of Asian Studies 29, Nr. 1 (28.02.2013): 61–91. http://dx.doi.org/10.22439/cjas.v29i1.4021.

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This article focuses on the emergence of graffiti in Beijing and Shanghai as an intriguing part of the contemporary art scene. Approaching graffiti through the framework of visual culture and analyzing both the visual and social aspects of creating graffiti images, I argue that contemporary graffiti in these cities can be regarded primarily as creative self-expression emphasizing aesthetic intention and a renaming process, not as vandalism. Deriving primarily from information gathered during my fieldwork in Beijing and Shanghai, I also discuss the development of graffiti in China and its characteristics. In the Euro-American context, graffiti is still commonly regarded as criminal activity that destroys public property. This allegation, however, fails to take into account how the international graffiti culture has become an enduring genre of art with strong emphasis on style and aesthetic evaluation. Although creating graffiti is a controversial issue in China also, graffiti nevertheless exists, especially in the so-called art areas (districts known for their numerous art galleries, artist studios, art-related activities and, occasionally, art museums), or in the surrounding neighbourhoods.
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Dissertationen zum Thema "Chinese art in America"

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Chiu, Melissa, University of Western Sydney, of Arts Education and Social Sciences College und Centre for Cultural Research. „Transexperience and Chinese experimental art, 1990-2000“. THESIS_CAESS_CCR_Chiu_M.xml, 2003. http://handle.uws.edu.au:8081/1959.7/677.

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This dissertation focuses on Chinese artists who migrated to the West (Australia, the United States, and France )during the late eighties and early nineties. Throughout the thesis, it is argued that transexperience encourages a more fluid perception of the relationship to the homeland, not only positing it in the past but also in the present. The structure of the dissertation, devised in terms of locations, is relevant to the author's argument that the site of settlement is a significant determinant in the development of artistic expressions of overseas Chinese artists. A brief conclusion explores some of the most recent developments in the relationship between overseas Chinese artists and their homeland as seen in more frequent travel back, the exhibition of their work (which would have been impossible only a few years ago), and official invitations to represent China in international exhibitions.
Doctor of Philosophy (PhD)
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Chiu, Melissa. „Transexperience and Chinese experimental art, 1990-2000“. Thesis, View thesis, 2003. http://handle.uws.edu.au:8081/1959.7/677.

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This dissertation focuses on Chinese artists who migrated to the West (Australia, the United States, and France )during the late eighties and early nineties. Throughout the thesis, it is argued that transexperience encourages a more fluid perception of the relationship to the homeland, not only positing it in the past but also in the present. The structure of the dissertation, devised in terms of locations, is relevant to the author's argument that the site of settlement is a significant determinant in the development of artistic expressions of overseas Chinese artists. A brief conclusion explores some of the most recent developments in the relationship between overseas Chinese artists and their homeland as seen in more frequent travel back, the exhibition of their work (which would have been impossible only a few years ago), and official invitations to represent China in international exhibitions.
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Chiu, Melissa. „Transexperience and Chinese experimental art, 1990-2000“. View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20050615.104323/index.html.

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Thesis (Ph.D.) -- University of Western Sydney, 2003.
"A thesis submitted in full completion of the requirements for the degree of Doctor of Philosophy, Department of Cultural Histories and Futures, University of Western Sydney" Includes bibliography.
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Zheng, Yong Hong. „A Chinese view of art in an American university“. The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1300135745.

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Liang, Ye. „Cross-Culture Research: Comparison between Chinese and American Art Education“. BYU ScholarsArchive, 2019. https://scholarsarchive.byu.edu/etd/8126.

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Education systems in China and the United States are very different. Chinese educator Hong Wang compared the two education systems and came to a conclusion: Chinese education wins in the starting point, while American education wins in the end point (Cheng, 2014). Chinese students learn more things, take challenging courses, and do well in academic accomplishment. However, examination-oriented methods in the Chinese education system may kill students’ interest in learning. Even though Chinese students learned fast in the starting points, they failed in the terminal points as they lost their interest in learning (Chen, 2014). Many educators and scholars think of Chinese education as important for developing a foundation of skills and American education is viewed as more helpful in cultivating students’ creativity (Liu, 2014). This study will explore some of the differences between Chinese and American art education. The methodology for this study is qualitative case study research using data collected from both American and Chinese publications, from national and governmental organizations, and information gathered from surveys and interviews of Chinese art educators who have both education experiences in the United States and China. This research includes comparison and evaluation of the differences between curriculum, assessment, and class management in both Chinese and American art education systems. The result will contribute to providing valuable reference data for both Chinese and American art education systems, for art students and art educators.
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Wang, Yinghua. „Participatory Action Research with Chinese-American Families: Developing Digital Prototypes of Chinese Art Education Resources“. The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1385092278.

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Chen, Lilly. „The heart of the dragon /“. Online version of thesis, 1993. http://hdl.handle.net/1850/12146.

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Mei, Yuxin. „Negotiating Decades of Change in America: The Houston Chinese Traditional Music Group“. Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011833/.

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For over two hundred years, Chinese immigrants have brought ancient customs and musical traditions to their new homes in America. As in many immigrant communities, a new heritage that embodies and exhibits both the quintessential features of American culture and genuine Chinese heritage have come together to form new expressive cultures that are uniquely "Chinese American." As the youngest of the major American Chinese immigrant centers, the city of Houston, Texas provides an exemplary example of a distinct cultural cohesion that, in part, resulted from significant cultural and political upheavals in the latter half of the twentieth century. During this era of political unrest, many Chinese people's attitudes towards their traditional culture changed drastically. The Houston Chinese Traditional Music Group (HCTMG) is a Chinese orchestra comprised of amateur and professional musicians ranging in age from 13 to over 60 years old. Performing regularly for the Chinese immigrant population in Houston, HCTMG's take on traditional Chinese music deviates greatly from that of older, more established immigrant communities on the East and West Coasts and in some parts of mainland China. Via participant observation, interviews, and analysis of source materials, this paper examines how changing political and economic climates in China during the 1960s to the 1990s—when the majority of HCTMG musicians lived in China –are reflected in the musical decisions of HCTMG and the greater Houston Chinese immigrant community at large.
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Ferrell, Susanna S. „Black and White: The Exhibiting of Chinese Contemporary Ink Art in European and North American Museums“. Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/688.

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Contemporary Chinese ink art is often seen as a part of an ongoing history in the Western art world, as opposed to a part of the contemporary. This thesis addresses the history of Chinese ink, the Westernization of the Chinese art world, and the major exhibitions of Chinese contemporary ink artwork that have been held in the Western world.
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Wang, Yiyou. „The Loouvre from China: A Critical Study of C. T. Loo and the Framing of Chinese Art in the United States, 1915-1950“. Ohio University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1195498748.

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Bücher zum Thema "Chinese art in America"

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Kingman, Dong. Dong Kingman in San Francisco: Chinese Historical Society of America & Chinese American National Museum inaugural exhibition. [San Francisco]: Chinese Historical Society of America, 2001.

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Christopher), Mackenzie Colin (Colin, und Lu Ling-En, Hrsg. Masterworks of Chinese art: The Nelson-Atkins Museum of Art. Kansas City, Mo: Nelson-Atkins Museum of Art, 2011.

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1955-, Liu Cary Y., Ching Dora C. Y, Wishart Kim, Seiffert Gregory, Lim Michelle und Princeton University Art Museum, Hrsg. Outside in: Chinese x American x contemporary x art. Princeton, N.J: Princeton University Art Museum, 2009.

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S, Cooke Edward, und Peabody Essex Museum, Hrsg. Inspired by China: Contemporary furnituremakers explore Chinese traditions. Salem, Mass: Peabody Essex Museum, 2006.

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Børdahl, Vibeke. Chinese storytellers: Life and art in the Yangzhou tradition. Boston: Cheng & Tsui Co., 2002.

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Life. time. space: Paintings by Yan Sun. Alhambra, CA: New World Poetry, 2003.

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Gagosian Gallery (Hong Kong, China), Hrsg. Roy Lichtenstein: Landscapes in the Chinese style. Hong Kong: Gagosian Gallery, 2011.

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Collecting objects/excluding people: Chinese subjects and American visual culture, 1830-1900. Albany [N.Y.]: State University of New York Press, 2012.

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Jennifer, Banta, und Asian Pacific Islander Cultural Center (San Francisco, Calif.), Hrsg. Cultural confluences: The art of Lenore Chinn. San Francisco, CA: Asian Pacific Islander Cultural Center Press, 2011.

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Hua chu xin shi jie: Meiguo Hua ren yi shu jia. Taibei Shi: Taiwan shang wu yin shu guan, 2013.

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Buchteile zum Thema "Chinese art in America"

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Yamamoto, Joe, und John Spiegel. „Suicide Among Chinese and Japanese in America“. In Psychiatry The State of the Art, 425–31. Boston, MA: Springer US, 1985. http://dx.doi.org/10.1007/978-1-4757-1853-9_68.

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Li, Yu-Chieh. „Core Events of Contemporary Art from Mainland China, 1980–2015, Mainland China, the Asia-Pacific Region, Europe, and the Americas“. In Chinese Contemporary Art Series, 153–77. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-3064-7_12.

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Wei, Yiwen. „Identity Exploration of a Taiwanese–Chinese Immigrant Art Educator in Higher Education“. In Counternarratives from Asian American Art Educators, 69–74. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003222293-11.

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Cheung, King-Kok. „Art, Spirituality, and Ren or the Ethics of Care: Shawn Wong, Li-Young Lee, and Russell C. Leong“. In Chinese American Literature without Borders, 141–70. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-44177-5_5.

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Fan, Yawen. „The Research on the Influence of American Horror Films upon Chinese People“. In Proceedings of the 2022 International Conference on Science Education and Art Appreciation (SEAA 2022), 1099–105. Paris: Atlantis Press SARL, 2022. http://dx.doi.org/10.2991/978-2-494069-05-3_132.

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Railton, Ben. „Introduction: Teaching Americans the Chinese Exclusion Act“. In The Chinese Exclusion Act, 1–7. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137339096_1.

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Railton, Ben. „What the Act Can Teach Us about Forgotten and Inspiring American Stories“. In The Chinese Exclusion Act, 45–62. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137339096_4.

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Ellis, R. Evan. „Chinese Soft Power“. In China Engages Latin America, 131–51. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-96049-0_5.

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Wu, Xin. „Garden Art“. In A Companion to Chinese Art, 410–30. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2015. http://dx.doi.org/10.1002/9781118885215.ch20.

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Wang, Keping. „Art as Sedimentation“. In Chinese Culture of Intelligence, 405–24. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-3173-2_18.

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Konferenzberichte zum Thema "Chinese art in America"

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Li, Haoyu, Jiaxuan Li, Shuming Xie und Yifei Zhu. „Comparing the Differences Between Chinese and American Education“. In 2021 International Conference on Education, Language and Art (ICELA 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220131.132.

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Xiao, Congzhen. „Case study on comparison between Chinese and American design of high-rise RC frame-core-tube structure“. In IABSE Conference, Kuala Lumpur 2018: Engineering the Developing World. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2018. http://dx.doi.org/10.2749/kualalumpur.2018.0029.

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<p>Two identical high-rise reinforced concrete (RC) frame-core-tube structures, located in Beijing China and San Francisco America, respectively, are designed using the Chinese and the American codes. Methods to determine load, seismic action, and material strength for seismic design in the Chinese and American codes are presents in this paper, and the major differences of design results are compared. Elastic response of the two structures are calculated by the mode-superposition response spectrum method, and the member dimension, dynamic characteristics, displacement, and reinforcement are compared. Furthermore, the dynamic elastic-plastic behavior is conducted using 10 sets of earthquake waves to analyze the collapse probability. Results reveal that the two structures designed by the Chinese and American codes show some differences in the dynamic behavior, displacement and reinforcement in the boundary restraint elements of shear walls due to the different design methods in the Chinese and American codes.</p>
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Qing, Gong. „On the Differences Between Chinese and American Campus Culture and Their Causes“. In 2020 International Conference on Language, Art and Cultural Exchange (ICLACE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200709.043.

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Yang, Lijun. „Comparison between Chinese and American Cultures from the Perspective of Consumption View“. In International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-14). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icelaic-14.2014.167.

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Chen, Zhaolin. „Research on the Influence of Chinese and American Entertainment Industries on Teenagers“. In 2022 International Conference on Comprehensive Art and Cultural Communication (CACC 2022). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220502.040.

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Zheng, Jinyuan. „The Casting of American and Chinese Sitcoms From the 1950s to the 2010s“. In 2020 International Conference on Language, Art and Cultural Exchange (ICLACE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200709.009.

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Huang, Zhengxin, Qinyao Sun und Wenyi Zhang. „Study on the Acceptance of Heroine Images in Chinese and American Animated Films“. In 2022 International Conference on Comprehensive Art and Cultural Communication (CACC 2022). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220502.056.

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Zhang, Yanchun. „A Microcosm of Chinese and American Cultures Reflected in the Movie Guasha Treatment“. In 4th International Conference on Education, Language, Art and Intercultural Communication (ICELAIC 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-17.2017.165.

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Nie, Huifen. „The Problems of the Integration of Chinese and American Education and Moral Education in College Art Education are Explored“. In 2021 4th International Conference on Humanities Education and Social Sciences (ICHESS 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.211220.065.

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Zhu, Lin. „The Study of Communication Chinese in America from the History of the International Communication of Languages“. In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.84.

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Berichte der Organisationen zum Thema "Chinese art in America"

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Ofstedal, Peter R. Operational Art in Modern Chinese Warfare. Fort Belvoir, VA: Defense Technical Information Center, Februar 1996. http://dx.doi.org/10.21236/ada307331.

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Montenegro, Xenia. Are Asian Americans and Pacific Islanders Financially Secure?: Infographic [Chinese]. AARP Research, März 2015. http://dx.doi.org/10.26419/res.00099.005.

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Montenegro, Xenia. Are Asian Americans and Pacific Islanders Financially Secure?: Executive Summary [Chinese]. AARP Research, März 2015. http://dx.doi.org/10.26419/res.00099.003.

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Aizenman, Joshua, Yothin Jinjarak und Huanhuan Zheng. Chinese Outwards Mercantilism – the Art and Practice of Bundling. Cambridge, MA: National Bureau of Economic Research, April 2015. http://dx.doi.org/10.3386/w21089.

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Zhang, Ling, Brent Holland und Eulanda Sanders. From Chinese Painting to Wearable Art: The Development of Wearable Art Design Process Model and Evaluation Methods for Wearable Art Designers. Ames: Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-1755.

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Reilly, Thomas P. Mao Tse-Tung and Operational Art During the Chinese Civll War. Fort Belvoir, VA: Defense Technical Information Center, Mai 1998. http://dx.doi.org/10.21236/ada357835.

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Ellis, R. E. U.S. National Security Implications of Chinese Involvement in Latin America. Fort Belvoir, VA: Defense Technical Information Center, Juni 2005. http://dx.doi.org/10.21236/ada434999.

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Castillo, Matthew J. Chinese Operational Art: Understanding the Present through the Lens of the Past. Fort Belvoir, VA: Defense Technical Information Center, Mai 2013. http://dx.doi.org/10.21236/ada583828.

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Cole, Kathleen D. The Sleeping Dragon Awakens: Ramifications of Chinese Influence in Latin America. Fort Belvoir, VA: Defense Technical Information Center, März 2006. http://dx.doi.org/10.21236/ada449384.

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Landroche, Tina. Chinese women as cultural participants and symbols in nineteenth century America. Portland State University Library, Januar 2000. http://dx.doi.org/10.15760/etd.6174.

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