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Thematische Bibliographien / Chinese art in America / Dissertationen

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Dissertationen zum Thema „Chinese art in America“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 21. Februar 2023

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1

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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2

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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3

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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4

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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5

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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6

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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7

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

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8

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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9

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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10

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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11

Dai, Shuhua. „A Balancing Act Between Nationalism and Globalism: A Comparison of Two Chinese Official Newspapers in Portrayal of America 1989-2009“. Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/communication_theses/71.

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This study uses discourse analysis to investigate and compare the coverage of America in two Chinese official newspapers, the Chinese language People’s Daily and the English language China Daily in January in 1989, 1999, and 2009. This study compares the two newspapers in four aspects of the texts: topic selection, headline design, writing tactics, and visual components use, to find any differences in reporting tactics according to their different readerships. People’s Daily employed a constant editorial preference for political content and a provocative reporting tactics. Meanwhile, China Daily used a more global editorial approach. Its content and its reports were increasingly consistent with Western journalism criteria: accurate, brief, and clear.

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12

Wang, Kristen K. „Intergenerational Acculturation and Values in Chinese American Families: An Integrative Artistic Narrative Exploration“. Digital Commons at Loyola Marymount University and Loyola Law School, 2011. https://digitalcommons.lmu.edu/etd/79.

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The main purpose of this qualitative research study is to explore first- and second-generation Chinese American’s immigration and acculturation experiences using semi-structured narrative interviews, inviting participants to engage in further exploration incorporating art making, a non- verbal method of expression. The research was designed to gain a greater understanding of Chinese Americans’ views and understandings of self, the experience and impact of cultural values on individuals and families, and to understand the role of communication and verbal and non-verbal modes of expression for this population. The findings are intended to potentially aid professionals working with this population: to promote greater awareness, understanding, and sensitivity to concerns of particular relevance, such as understanding the place of self-expression and expression of emotion, both verbal and non-verbal modes, and the role of value systems including traditional Chinese values, such as filial piety, interdependence and harmony, shame and face-saving reactions, and emphasis on achievement, especially in the context of family. Additionally this study contributes to the field of art therapy by exploring cultural and intergenerational considerations and the use of art in therapy with Chinese Americans.

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13

Davis, Kiersten Claire. „Secondhand Chinoiserie and the Confucian Revolutionary: Colonial America's Decorative Arts "After the Chinese Taste"“. BYU ScholarsArchive, 2008. https://scholarsarchive.byu.edu/etd/1465.

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This thesis explores the implications of chinoiserie, or Western creations of Chinese-style decorative arts, upon an eighteenth century colonial American audience. Chinese products such as tea, porcelain, and silk, and goods such as furniture and wallpaper displaying Chinese motifs of distant exotic lands, had become popular commodities in Europe by the eighteenth century. The American colonists, who were primarily culturally British, thus developed a taste for chinoiserie fashions and wares via their European heritage. While most European countries had direct access to the China trade, colonial Americans were banned from any direct contact with the Orient by the British East India Company. They were relegated to creating their own versions of these popular designs and products based on their own interpretations of British imports. Americans also created a mental construct of China from philosophical writings of their European contemporaries, such as Voltaire, who often envisioned China as a philosopher's paradise. Some colonial Americans, such as Benjamin Franklin and Thomas Jefferson, fit their understanding of China within their own Enlightenment worldview. For these individuals, chinoiserie in American homes not only reflected the owners' desires to keep up with European fashions, but also carried associations with Enlightenment thought. The latter half of the eighteenth century was a time of escalating conflict as Americans colonists began to assert the right to govern themselves. Part of their struggle for freedom from England was a desire to rid themselves of the British imports, such as tea, silk, and porcelain, on which they had become so dependent by making those goods themselves. Americans in the eighteenth century had many of the natural resources to create such products, but often lacked the skill or equipment for turning their raw materials into finished goods. This thesis examines the colonists' attempts to create their own chinoiserie products, despite these odds, in light of revolutionary sentiments of the day. Chinoiserie in colonial America meshed with neoclassical décor, thereby reflecting the Enlightenment and revolutionary spirit of the time, and revealing a complex colonial worldview filled with trans-oceanic dialogues and cross-cultural currents.

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14

Isbister, Dong. „The “Sent-Down Body” Remembers: Contemporary Chinese Immigrant Women’s Visual and Literary Narratives“. The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1259594428.

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15

Liu, Xiaohui [Verfasser]. „Foodscapes of Chinese America / Xiaohui Liu“. Frankfurt : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2015. http://d-nb.info/1081321652/34.

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16

Lorden, Mack F. „The Localization of Chinese Teas in America“. The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429324160.

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17

Fu, Fenhua. „How to counsel mainland Chinese in America“. Theological Research Exchange Network (TREN), 1996. http://www.tren.com.

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18

Wu, Sui. „Chinese Immigrants to America: The Matic Dimensions“. W&M ScholarWorks, 1990. https://scholarworks.wm.edu/etd/1539625567.

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19

Yang, Yan. „Causal Attribution and Culture – How Similar Are American and Chinese Thinking?“ Cincinnati, Ohio : University of Cincinnati, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1242916653.

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Thesis (Ph.D.)--University of Cincinnati, 2009.
Advisor: Ryan Adams. Title from electronic thesis title page (viewed Aug. 26, 2009). Keywords: causal attribution; culture; cognition. Includes abstract. Includes bibliographical references.

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20

Tse, Ching-kan Curry, und 謝正勤. „School of Chinese Art“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31984836.

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21

Tse, Ching-kan Curry. „School of Chinese Art“. Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25950964.

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22

Yang, Lihong. „Speech Act of Request: A Comparative Study of Chinese and American Graduate Students at an American University“. Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1256582773.

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23

Spilger, Erica L. Spilger. „Expression and Repression: Contemporary Art Censorship in America“. Ohio University Honors Tutorial College / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1524835404987482.

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24

Bradnock, Lucy. „After Artaud : Art in America, 1949-1965“. Thesis, University of Essex, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.510993.

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25

Ip, Chi-yin, und 葉志硏. „Translating America“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B29753223.

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26

Xie, Jin Shuai. „Chinese Students' Attitudes and Perspective to America Media“. Thesis, The University of Arizona, 2012. http://hdl.handle.net/10150/245086.

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This study examines Chinese students' attitudes and perspective to America media and how these might influence them to adopt an attitude towards the United States. With this regard two perspectives are measured. The first perspective that this study explore is the frequency with which Chinese students are exposed to American media: films, TV, newspaper, magazine, video games and application games. Another perspective that is measured is whether American media is more violent and display sexual content then Chinese media. For the completion of these two goals data is collected via survey at a large public university in the US. Results are presented about the developed objectives through frequency distribution analysis. In the end, the study presents a conclusion of overall findings and future implications.

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27

Van, Arsdall Jason K. „Joe Minter and African Village in America“. Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1483451351038828.

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28

Hill, Katie. „On relocating contemporary Chinese art“. Thesis, University of Sussex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.401481.

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29

Hsiao, Yun-hua. „The Chinese Atlantic : contemporary women writers of Chinese Ancestry in Britain and America“. Thesis, University of Newcastle Upon Tyne, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.437859.

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30

Li, Vivian Yan. „Art negotiations : Chinese international art exhibitions in the 1930s“. Connect to resource, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1209143379.

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31

Tran, Cuong (Calvin). „Preaching to Hong Kong immigrants in America“. Theological Research Exchange Network (TREN) Access this title online, 2005. http://www.tren.com.

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32

Wear, Eric Otto. „Patterns in the collecting and connoisseurship of Chinese art in Hong Kong and Taiwan“. Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21734653.

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33

Ng, Noel. „Chinese Delicacy Centre“. Click to view the E-thesis via HKUTO, 1998. http://sunzi.lib.hku.hk/hkuto/record/B31984125.

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Thesis (M.Arch.)--University of Hong Kong, 1998.
Includes special report study entitled : Object, phenonmenon, theme in Chinese scholar landscape garden. Includes bibliographical references. Also available in print.

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34

Gartside, Steven. „Appropriations of 'America' and American art in the 1950s“. Thesis, Manchester Metropolitan University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327710.

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35

Lok, Susan Pui San. „A-Y of 'British Chinese' art“. Thesis, University of East London, 2004. http://roar.uel.ac.uk/1291/.

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A-Y of 'British Chinese' Art takes as a point of departure the work of Lesley Sanderson, and her positionings within and between dominant and marginalised 'Black,' 'British, 'Chinese,' and 'Asian' curatorial and discursive frames during the 1980s and 1990s, to consider the politics and impossibily of naming 'British-Chinese-ness'. 'Take Outs' goes on to examine the central narrative of Chinese immigrants in Britain invoked by Anthony Key, Yeu-Lai Mo, and Mayling To, who draw on the motifs and mythologies of the takeaway, and the significations of flags, to engage contemporary discourses around 'Britishness' and 'Chineseness', migration, hybridity, cultural commodification and assimilation. 'Outtakes' looks then at the tactical postures and gestures staged by Sanderson, Mo, Erika Tan and To across a range of works, which deconstruct and play on the consumption of exoticised bodies i , across orientalist visual imagery and narratives, from the anthropological to the comic, the culinary to the cinematic. Whereas much of this work is 'mute', chapter four, 'Translators' Notes, ' begins with a multi-vocal, multi-screened sound and video Installation by Tan, going on to consider the politics and poetics of speaking and translating, the conflation of linguistic competence with cultural and ethnic 'authenticity, ' notions of diaspora and 'home, ' and the inevitability of 'pidgin' languages and cultures. These essays seek to identify various historical and cultural contexts to inform the coincident and divergent aesthetic strategies and thematic concerns of a number of peer practices, among them my own, which is discussed in the final chapter, 'Back Words. ' Attempting to locate myself and my writing/practice obliquely, by proxy, in proximity to others, I begin with the premise that our commonality is underpinned less by an Indubitable, unwavering 'Chineseness' (or for that matter, 'Britishness'), than a desire to subvert such a notion: to assume instead its complex fabrications and ultimate instability.

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36

Bruhn, Janet. „The Everyday in America“. VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2177.

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Abstract: My vanilla, Grade A, white bread, run-of-the-mill, middle-of-the-road, threadbare, well-worn, moth-eaten, potato sack, butterscotch, grass stained America: Mundane American life is an existence clinging to the ordinary, where a quilt of mass- mediated preferences and ingrained traditions define many people, specifically from north to south and east to west. Yet, the tastes and dialects of people within the mundane are complex. Ideological preferences are rooted in immigrant history and political persuasion. Various modes of realism have been used by American painters such as The Ash Can School, Regionalists of the 1930’s, and Pop Art. The notion of the real and mundane have an integral link to each other in art, as often the real may reveal a truth about the world, that which may be ugly or sordid. Depictions of everyday objects and common people break down the great divide between high art and popular culture. Pop Art is postmodern in its "generational refusal of the categorical certainties of high modernism." In this paper I will dissect the complexity of the mundane through the use of my own and others’ paintings and photographs. Through reference and description Americana’s well-worn customs and preferences in day-to-day life will be analyzed.

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37

Chang, Robert Tsai-Chin. „Biblically helping the new immigrant Chinese elderly in North America“. Theological Research Exchange Network (TREN), 1990. http://www.tren.com.

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38

Mo, Ting Juan. „Life under shadow: Chinese immigrant women in nineteenth- century America“. Thesis, Virginia Polytechnic Institute and State University, 1989. http://hdl.handle.net/10919/56197.

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Racism and sexism pervaded American society during the nineteenth century, creating unusual disadvantaged conditions for Chinese immigrant women. As a weak minority in an alien and often hostile environment and as a subordinate sex in a sexist society, Chinese women suffered from double oppression of racism and sexism. In addition, the Chinese cultural values of women's passivity and submission existed within Chinese communities in America, and affected the lives of these immigrant women. This work uses government document, historical statistics, accounts from newspapers and literature to examine the life experiences of Chinese immigrant women and American attitudes towards them, and to analyze the roots of the oppression of racism and sexism.
Master of Arts

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39

Cornell, Christen. „Contemporary Chinese Art and the City: Beijing Art Districts 1989‐2013“. Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/16364.

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As themes in Chinese art since economic reform, space and the environment have been crucial. Many artists have focussed on issues of urbanisation, globalisation, and the radical spatial reorganisation of Chinese society during the reform and post-‐reform era, and many scholars have written about these artists’ spatial concerns. What, however, of these artists’ formative relationship to space itself? What might we learn by going beyond the text and asking how space has produced these artists – and their work – and what places their communities and culturalactivities have produced in turn? This thesis presents an alternative history of the emergence of China’s Contemporary Arts scene, focussing on these artists’ everyday engagements with the rapidly transforming space of Beijing in the years between 1989-‐2013. Drawing on a series of case studies, it traces the emergence of the residential ‘painters’ village’ (huajiacun 画家村) through to the transnationally networked ‘international art district’ (guojiyishuqu 国际艺术区) and state-‐endorsed ‘creative industries precinct’ (chuangyi chanye jujiqu 创意产业聚集区), foregrounding the agency of participant artists within these new socio-‐spatial formations throughout its research. By taking a spatial approach, this analysis identifies modes of political engagement beyond those typically identified within the work of art history. In considering the ways in which these artists worked tactically from within the country’s new spatial disorder, it also seeks to illuminate a politics that is not disruptive, but which capitalises instead upon ambiguity and ambivalence. Such a politics is described with the use of concepts developed across the work of Michel de Certeau and Henri Lefebvre, among other cultural and spatial theorists. The political function of the thesis itself, however, is considered in dialogue with the work of Inter-‐Asia Cultural Studies, and Lawrence Grossberg’s writings on contextual and conjunctural analysis. To this extent, this study is both a history of these artists’ interventions within the disorder of Beijing’s urban change in these years, as well as a reflection on the ways and reasons such a history might be told. While advancing its own interpretation of this particular era, it is also self-conscious about the act of its own interpretation, theoretically addressing the situatedness of different forms of knowledge, the contingency of its own propositions, and the material effects of epistemological work.

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40

Degen, Natasha. „Art and its markets in postwar America and postsocialist China“. Thesis, University of Cambridge, 2014. https://www.repository.cam.ac.uk/handle/1810/283959.

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41

Wang, Xuan. „Gallery's Role in Contemporary Chinese Art Market“. The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1258577100.

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42

Zhang, Tieyi. „The first generation of Chinese art song“. Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/6900.

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43

Fairbrother, Trevor J. „John Singer Sargent and America“. New York : Garland Pub, 1986. http://catalog.hathitrust.org/api/volumes/oclc/14131401.html.

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44

Chow, Wan-king Janice. „Urban villa for Chinese folk arts and crafts“. Click to view the E-thesis via HKUTO, 2002. http://sunzi.lib.hku.hk/hkuto/record/B31986390.

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Thesis (M.Arch.)--University of Hong Kong, 2002.
Includes 1 technical study and 1 special report. Content page of thesis report missing. Includes bibliographical references. Also available in print.

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45

Holm, Margaret Ann. „Prehistoric Northwest Coast art : a stylistic analysis of the archaeological record“. Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/29932.

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This thesis is a stylistic study of the prehistoric art record from the Northwest Coast of North America. Its purpose is three-fold: to describe the spatial and temporal variation in the stylistic attributes of prehistoric art; to evaluate theories on the evolution of the Northwest Coast art tradition; and to comment on the possible factors behind variation in the prehistoric art record. This study examines stylistic attributes related to representational imagery, concentrating on five variables: decorated forms, carving techniques, design elements, design principles, and motifs. The core sample consists of anthropomorphic and zoomorphic images from dated archaeological contexts; a total of 242 artifacts from 58 sites are examined. The material is presented in chronological order corresponding to the Gulf of Georgia prehistoric cultural sequence. The major finding of this study is that by the end of the Locarno Beach phase or the beginning of the Marpole phase the essential character of the Northwest Coast art style had developed. There are new developments in the late period, but the evidence presented suggests a previously undocumented stylistic continuity from the late Locarno Beach phase to historic Coast Salish art with no decline in quality or productivity. This study indicates that, as far back as the record extends, three-dimensional, naturalistic forms and two-dimensional incising and engraving techniques have equal antiquity. From the Locarno Beach phase onward the flat, engraved style and the three-dimensional sculpture style developed together; the formline concept developed very early out of the raised, positive lines created by deep engraving in antler.
Arts, Faculty of
Anthropology, Department of
Graduate

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46

Huang, Ching-Yi. „John Sparks, the art dealer and Chinese art in England, 1902-1936“. Thesis, SOAS, University of London, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.602817.

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47

Gau, Spring Chen. „A study of the women's leadership in North America Chinese churches“. Theological Research Exchange Network (TREN) Access this title online, 2004. http://www.tren.com.

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48

Yau, Kenny K. „Master Life discipleship program for a Chinese church in North America“. Theological Research Exchange Network (TREN), 1988. http://www.tren.com.

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49

Lim, Darren Leonard. „A study of diverse cultures within the Chinese churches in America“. Theological Research Exchange Network (TREN), 1993. http://www.tren.com.

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50

Landroche, Tina Michele. „Chinese women as cultural participants and symbols in nineteenth century America“. PDXScholar, 1991. https://pdxscholar.library.pdx.edu/open_access_etds/4291.

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Annotation:

Chinese female immigrants were active cultural contributors and participants in nineteenth century America, yet Americans often simplified their roles into crude stereotypes and media symbols. The early western accounts concerning females in China created the fundamental images that were the basis of the later stereotypes of women immigrants. The fact that a majority of the period's Chinese female immigrants became prostitutes fueled anti-Chinese feelings. This thesis investigates the general existence of Chinese prostitutes in nineteenth century America and how they were portrayed in the media. American attitudes toward white women and their images of Chinese women created the stereotype of all Chinese female immigrants as immoral. Thus, they became unconscious pawns of nineteenth century American nativist forces wanting to limit and prevent Chinese immigration based on prejudicial and racist attitudes.

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