Academic literature on the topic 'Art, Australian Chinese influences'

This study presents an emerging trend in medical tourism, cosmetic surgery tourism (CST). We explore tourists’ perceptions of CST for medical service quality as an antecedent to tourists’ emotional attachment, trust, and intentions to visit, which is underexplored in CST. This study examines the mediating role of value co-creation in influencing behaviors of CST-seeking tourists to experience a better quality of life. Using a sample drawn from 279 tourists, comprised of Australian, Japanese, and Chinese nationalities at two international airports in China, findings show that perceived medical service quality positively influences tourists’ emotional attachment, trust, and intentions to visit directly and through the mediating role of value co-creation across the three nationalities. CST-seeking tourists’ inputs in value co-creation may positively influence their behaviors, which are vital antecedents to promoting CST business. Implications for future research are discussed.

ABSTRACTAgainst the background of population ageing and increasing cultural diversity in many Western countries, the study examined differences and similarities between Australian-born people and Chinese immigrants in their relationships with adult children. The specific research questions were: (a) are there differences between these groups in the nature of parent–child relationships; and (b) if there were differences, did these differences reflect the Confucian concept of filial piety among older Chinese immigrants. The solidarity–conflict model and the concept of ambivalence were used to quantify parent–child relationships. Data from 122 community-dwelling people aged 65 and over (60 Australian-born and 62 Chinese-born people) were collected using standardised interviews. There were significant differences between the two groups for all relationship dimensions except associative solidarity. Compared to Australian participants, Chinese participants were more likely to live with their children. However, when they did not live with their children, they lived further away. They were also more likely to receive, but less likely to provide, instrumental help. Finally, they reported higher levels of normative solidarity, conflict and ambivalence, and lower levels of affectual and consensual solidarity. The differences in solidarity dimensions persisted when socio-demographic variables were controlled for. The study revealed complex differences in the nature of older parent–child relationships between Australian-born people and Chinese immigrants. Some of these differences, such as more prevalent multigenerational living among older Chinese immigrants, likely reflect the strong influence of filial piety among this group. However, differences in other dimensions, such as lower levels of consensual solidarity, might be associated with the Chinese participants’ experience as immigrants. This study also highlights the usefulness of the solidarity–conflict model as a theoretical framework to understand the nature of parent–child relationships among older Chinese immigrants.

Конец ХХ – XXI век — период активного взаимодействия России и Китая в сфере искусства. Китайское изобразительное искусство испытало серьезное влияние русской академической школы и традиций русского реализма в целом. Современная российская живопись также обогащается элементами китайского искусства, поскольку в последние десятилетия чрезвычайно расширились культурные контакты, которые влияют на творчество отечественных художников. В петербургском искусстве происходят интересные процессы взаимодействия и взаимовлияния разных культур. Петербург становится центром пересечения Востока и Запада. Эти изменения касаются даже такой устойчивой школы, как академическая, связанной с традициями реалистического искусства. Этот феномен нуждается в изучении. Особую роль в художественном взаимообмене играет современная петербургская академическая школа. Новизна данного исследования состоит в изучении некоторых явлений китайской культурной жизни, связанных с влиянием петербургского искусства, и в выявлении взаимовлияний, которые обнаруживаются в творчестве китайских и петербургских мастеров живописи. В статье использованы методы компаративного анализа, наблюдения, интервьюирования для определения общих закономерностей развития искусства двух стран. Современные петербургские художники, представляющие академическую школу, чрезвычайно востребованы в Китае, многократно там бывали и сотрудничают на разных уровнях с представителями культурной общественности. Китайские коллекционеры и деятели искусства активно сотрудничают с художниками и разрабатывают интересные проекты. Во время пандемии в 2019–2020 годы реальные контакты между странами сократились, но переместились в виртуальное пространство, теперь многие образовательные и культурные программы проходят в дистанционном режиме. Творческие связи не ослабевают, и это дает надежду на дальнейшее развитие культурного сотрудничества на всех уровнях. The end of the 20th and the 21st century is a period of active interaction between Russia and China in the field of art. Chinese fine art has been seriously influenced by the Russian academic school and the traditions of Russian realism in general. Modern Russian painting is also enriched with elements of Chinese art, since cultural contacts that influence the art of domestic artists have expanded enormously in recent decades. Interesting processes of interaction and mutual influence of different cultures take place in Petersburg art. St. Petersburg becomes the center of the intersection of East and West. These changes concern even such a stable school as the academic one, connected with the traditions of realistic art. This phenomenon needs to be studied. A special role in the artistic interchange is played by the modern St. Petersburg academic school. The novelty of this research consists in studying some phenomena of Chinese cultural life associated with the influence of St. Petersburg art and in identifying mutual influences that are found in the works of Chinese and St. Petersburg masters of painting. The article uses methods of comparative analysis, observation, and interviewing to identify common patterns of the development of art in the two countries. Contemporary St. Petersburg artists representing the academic school are extremely in demand in China, have been there many times and cooperate at various levels with representatives of the cultural community. Chinese art-collectors and artists actively cooperate with artists and develop interesting projects. During the pandemic, real contacts between countries decreased, but moved to the virtual space. Now many educational and cultural programs are held remotely. Creative ties do not weaken and this gives hope for the further development of cultural cooperation at all levels.

Purpose – The purpose of this paper is to investigate whether ethnicity makes a difference to the level of respect given to teachers by tertiary accounting students. In particular, it examines whether ethnicity has an impact on students’ perceptions regarding their teachers’ attributes and behaviors, which in turn influences their respect for their teachers. Design/methodology/approach – First year accounting students, both domestic and international, were surveyed in New Zealand, Australia and the UK, using a purpose-designed online questionnaire. “Ethnicity” was categorized according to first language, resulting in three categories: Home, Chinese and Other International. Student responses to quantitative questions regarding attributes and behaviors were analyzed using MANOVA and ANOVA. Open-ended questions provided further insight into student perceptions. Findings – Regarding teachers’ attributes, statistically significant differences are seen between the ethnic groups in qualifications, classroom control and professional qualifications or work experience, but not in teachers’ behaviors. The open-ended questions provided student contributions regarding respect. These included “clarity” and “good English skills.” Originality/value – This research contributes to debates over the impact of ethnic diversity in the classroom. It also contributes to the debate over the definition of the concept of “ethnicity.” A comparison between three countries is unusual; all have significant numbers of international students. Value is added through the findings, which challenge often-held assumptions regarding stereotypical “Chinese learners.” The findings will also assist teachers who have large numbers of international students in their classrooms.

Background.α-Synuclein (SNCA) and microtubule-associated protein tau (MAPT) are the two major genes independently, but not jointly, associated with susceptibility for Parkinson’s disease (PD). TheSNCAgene has recently been identified as a major modifier of age of PD onset. WhetherMAPTgene synergistically influences age of onset of PD is unknown.Objective. To investigate independent and joint effects ofMAPTandSNCAon PD onset age.Methods. 412 patients with PD were recruited from the Australian PD Research Network (123) and the Neurology Department, Ruijin Hospital Affiliated to Shanghai Jiaotong University, China (289).MAPT(rs17650901) tagging H1/H2 haplotype andSNCA(Rep1) were genotyped in the Australian cohort, andMAPT(rs242557, rs3744456) andSNCA(rs11931074, rs894278) were genotyped in the Chinese cohort. SPSS regression analysis was used to test genetic effects on age at onset of PD in each cohort.Results.SNCApolymorphisms associated with the onset age of PD in both populations.MAPTpolymorphisms did not enhance such association in either entire cohort.Conclusion. This study suggests that, in both ethnic groups,SNCAgene variants influence the age at onset of PD andα-synuclein plays a key role in the disease course of PD.

In this article the author briefly traces some features in the emergence in Australia of legislation controlling “dangerous drugs” such as opium, morphine, cocaine and heroin from 1900 to 1950. It is argued that, in common with other similar countries, the first laws prohibiting the non-medical use of drugs were enacted as a symptom of anti-Chinese racism and not out of any concern for the health of users. It is further argued that later laws, which built upon that precedent, developed not through any independent assessment of the drug problem in Australia but rather in response to pressure from the international community. Australia's unthinking acceptance of the growing U.S.-led international consensus relating to “dangerous drugs” influenced legislation, policy and attitudes to illicit drug use. The structure of drug control which emerged incorporated and promoted the fears, values and solutions of other societies without any assessment of their validity or appropriateness.

Evidence suggests that parental mind-mindedness is important for children’s social-emotional development; however, almost all research exploring mind-mindedness has been conducted with families from Western backgrounds. The current study explored cross-cultural differences in mind-mindedness based on observed real-time interactions between urban Australian ( N = 50, M age = 30.34 years, SD = 3.14) and urban mainland Chinese ( N = 50, M age = 29.18 years, SD = 4.14) mothers and their toddlers (Australian: M age = 18.98 months, SD = 0.87; Chinese: M age = 18.50 months, SD = 2.25). Controlling for education, the Australian mothers used a higher proportion of appropriate mind-related comments and were less likely to use non-attuned mind-related comments than their Chinese counterparts, adjusting for total number of comments. Transcript analysis showed that the Australian mothers used more mental state terms referring to desires and preferences than Chinese mothers. Findings are discussed in relation to cultural influences in child-rearing goals, beliefs, and values and the need for cross-cultural validation of the mind-mindedness construct.

This paper begins by examining the discourse on the term and concept of meishu that emerged in early twentieth-century China and was centered on how to construct meishu as a form of cultural establishment and a discipline distinct from other art genres. It then considers the social and cultural contexts behind the evolution of the meaning of meishu, focusing on Chinese artists’ and art critics’ complicated attitudes toward both Chinese artistic tradition and the influence of Western art, as reflected in their varied views on literati painting and its xieyi tradition. This paper demonstrates that the Chinese art world’s process of redefining meishu as fine arts was a clear indicator of the artistic endeavor to rediscover the roles of painting in Chinese society. Meanwhile, the paper also pays renewed attention to literati painting and its xieyi tradition by rethinking the relationship between the long-standing literati painting tradition and the increasing Western artistic trends in China. The Chinese art world of the early twentieth-century constantly attempted to encompass both Chinese and Western painting traditions, and relentlessly tried to merge the strengths of the Chinese tradition with Western influences in order to pave the way for a new Chinese painting tradition.

In times of the global integration of economy and culture, the preservation of the value of national traditional culture and the variety of architectural culture is of great significance for the development of national culture. Design is supposed to be the perfect combination of technology and art, which cannot be separated from the cultural factors. Design is influenced and constrained by culture and in turn reflects the characters of culture of the time. Design of any age is closely related with the local culture. The traditional culture of nationality, regionalism and sociality not only affects the contemporary arts movement but also directly influences the contemporary designing movement.

Speeding remains a significant contributing factor to road trauma internationally, despite increasingly sophisticated speed management strategies being adopted around the world. Increases in travel speed are associated with increases in crash risk and crash severity. As speed choice is a voluntary behaviour, driver perceptions are important to our understanding of speeding and, importantly, to designing effective behavioural countermeasures. The four studies conducted in this program of research represent a comprehensive approach to examining psychosocial influences on driving speeds in two countries that are at very different levels of road safety development: Australia and China. Akers’ social learning theory (SLT) was selected as the theoretical framework underpinning this research and guided the development of key research hypotheses. This theory was chosen because of its ability to encompass psychological, sociological, and criminological perspectives in understanding behaviour, each of which has relevance to speeding. A mixed-method design was used to explore the personal, social, and legal influences on speeding among car drivers in Queensland (Australia) and Beijing (China). Study 1 was a qualitative exploration, via focus group interviews, of speeding among 67 car drivers recruited from south east Queensland. Participants were assigned to groups based on their age and gender, and additionally, according to whether they self-identified as speeding excessively or rarely. This study aimed to elicit information about how drivers conceptualise speeding as well as the social and legal influences on driving speeds. The findings revealed a wide variety of reasons and circumstances that appear to be used as personal justifications for exceeding speed limits. Driver perceptions of speeding as personally and socially acceptable, as well as safe and necessary were common. Perceptions of an absence of danger associated with faster driving speeds were evident, particularly with respect to driving alone. An important distinction between the speed-based groups related to the attention given to the driving task. Rare speeders expressed strong beliefs about the need to be mindful of safety (self and others) while excessive speeders referred to the driving task as automatic, an absent-minded endeavour, and to speeding as a necessity in order to remain alert and reduce boredom. For many drivers in this study, compliance with speed limits was expressed as discretionary rather than mandatory. Social factors, such as peer and parental influence were widely discussed in Study 1 and perceptions of widespread community acceptance of speeding were noted. In some instances, the perception that ‘everybody speeds’ appeared to act as one rationale for the need to raise speed limits. Self-presentation, or wanting to project a positive image of self was noted, particularly with respect to concealing speeding infringements from others to protect one’s image as a trustworthy and safe driver. The influence of legal factors was also evident. Legal sanctions do not appear to influence all drivers to the same extent. For instance, fear of apprehension appeared to play a role in reducing speeding for many, although previous experiences of detection and legal sanctions seemed to have had limited influence on reducing speeding among some drivers. Disregard for sanctions (e.g., driving while suspended), fraudulent demerit point use, and other strategies to avoid detection and punishment were widely and openly discussed. In Study 2, 833 drivers were recruited from roadside service stations in metropolitan and regional locations in Queensland. A quantitative research strategy assessed the relative contribution of personal, social, and legal factors to recent and future self-reported speeding (i.e., frequency of speeding and intentions to speed in the future). Multivariate analyses examining a range of factors drawn from SLT revealed that factors including self-identity (i.e., identifying as someone who speeds), favourable definitions (attitudes) towards speeding, personal experiences of avoiding detection and punishment for speeding, and perceptions of family and friends as accepting of speeding were all significantly associated with greater self-reported speeding. Study 3 was an exploratory, qualitative investigation of psychosocial factors associated with speeding among 35 Chinese drivers who were recruited from the membership of a motoring organisation and a university in Beijing. Six focus groups were conducted to explore similar issues to those examined in Study 1. The findings of Study 3 revealed many similarities with respect to the themes that arose in Australia. For example, there were similarities regarding personal justifications for speeding, such as the perception that posted limits are unreasonably low, the belief that individual drivers are able to determine safe travel speeds according to personal comfort with driving fast, and the belief that drivers possess adequate skills to control a vehicle at high speed. Strategies to avoid detection and punishment were also noted, though they appeared more widespread in China and also appeared, in some cases, to involve the use of a third party, a topic that was not reported by Australian drivers. Additionally, higher perceived enforcement tolerance thresholds were discussed by Chinese participants. Overall, the findings indicated perceptions of a high degree of community acceptance of speeding and a perceived lack of risk associated with speeds that were well above posted speed limits. Study 4 extended the exploratory research phase in China with a quantitative investigation involving 299 car drivers recruited from car washes in Beijing. Results revealed a relatively inexperienced sample with less than 5 years driving experience, on average. One third of participants perceived that the certainty of penalties when apprehended was low and a similar proportion of Chinese participants reported having previously avoided legal penalties when apprehended for speeding. Approximately half of the sample reported that legal penalties for speeding were ‘minimally to not at all’ severe. Multivariate analyses revealed that past experiences of avoiding detection and punishment for speeding, as well as favourable attitudes towards speeding, and perceptions of strong community acceptance of speeding were most strongly associated with greater self-reported speeding in the Chinese sample. Overall, the results of this research make several important theoretical contributions to the road safety literature. Akers’ social learning theory was found to be robust across cultural contexts with respect to speeding; similar amounts of variance were explained in self-reported speeding in the quantitative studies conducted in Australia and China. Historically, SLT was devised as a theory of deviance and posits that deviance and conformity are learned in the same way, with the balance of influence stemming from the ways in which behaviour is rewarded and punished (Akers, 1998). This perspective suggests that those who speed and those who do not are influenced by the same mechanisms. The inclusion of drivers from both ends of the ‘speeding spectrum’ in Study 1 provided an opportunity to examine the wider utility of SLT across the full range of the behaviour. One may question the use of a theory of deviance to investigate speeding, a behaviour that could, arguably, be described as socially acceptable and prevalent. However, SLT seemed particularly relevant to investigating speeding because of its inclusion of association, imitation, and reinforcement variables which reflect the breadth of factors already found to be potentially influential on driving speeds. In addition, driving is a learned behaviour requiring observation, guidance, and practice. Thus, the reinforcement and imitation concepts are particularly relevant to this behaviour. Finally, current speed management practices are largely enforcement-based and rely on the principles of behavioural reinforcement captured within the reinforcement component of SLT. Thus, the application of SLT to a behaviour such as speeding offers promise in advancing our understanding of the factors that influence speeding, as well as extending our knowledge of the application of SLT. Moreover, SLT could act as a valuable theoretical framework with which to examine other illegal driving behaviours that may not necessarily be seen as deviant by the community (e.g., mobile phone use while driving). This research also made unique contributions to advancing our understanding of the key components and the overall structure of Akers’ social learning theory. The broader SLT literature is lacking in terms of a thorough structural understanding of the component parts of the theory. For instance, debate exists regarding the relevance of, and necessity for including broader social influences in the model as captured by differential association. In the current research, two alternative SLT models were specified and tested in order to better understand the nature and extent of the influence of differential association on behaviour. Importantly, the results indicated that differential association was able to make a unique contribution to explaining self-reported speeding, thereby negating the call to exclude it from the model. The results also demonstrated that imitation was a discrete theoretical concept that should also be retained in the model. The results suggest a need to further explore and specify mechanisms of social influence in the SLT model. In addition, a novel approach was used to operationalise SLT variables by including concepts drawn from contemporary social psychological and deterrence-based research to enhance and extend the way that SLT variables have traditionally been examined. Differential reinforcement was conceptualised according to behavioural reinforcement principles (i.e., positive and negative reinforcement and punishment) and incorporated concepts of affective beliefs, anticipated regret, and deterrence-related concepts. Although implicit in descriptions of SLT, little research has, to date, made use of the broad range of reinforcement principles to understand the factors that encourage or inhibit behaviour. This approach has particular significance to road user behaviours in general because of the deterrence-based nature of many road safety countermeasures. The concept of self-identity was also included in the model and was found to be consistent with the definitions component of SLT. A final theoretical contribution was the specification and testing of a full measurement model prior to model testing using structural equation modelling. This process is recommended in order to reduce measurement error by providing an examination of the psychometric properties of the data prior to full model testing. Despite calls for such work for a number of decades, the current work appears to be the only example of a full measurement model of SLT. There were also a number of important practical implications that emerged from this program of research. Firstly, perceptions regarding speed enforcement tolerance thresholds were highlighted as a salient influence on driving speeds in both countries. The issue of enforcement tolerance levels generated considerable discussion among drivers in both countries, with Australian drivers reporting lower perceived tolerance levels than Chinese drivers. It was clear that many drivers used the concept of an enforcement tolerance in determining their driving speed, primarily with the desire to drive faster than the posted speed limit, yet remaining within a speed range that would preclude apprehension by police. The quantitative results from Studies 2 and 4 added support to these qualitative findings. Together, the findings supported previous research and suggested that a travel speed may not be seen as illegal until that speed reaches a level over the prescribed enforcement tolerance threshold. In other words, the enforcement tolerance appears to act as a ‘de facto’ speed limit, replacing the posted limit in the minds of some drivers. The findings from the two studies conducted in China (Studies 2 and 4) further highlighted the link between perceived enforcement tolerances and a ‘de facto’ speed limit. Drivers openly discussed driving at speeds that were well above posted speed limits and some participants noted their preference for driving at speeds close to ‘50% above’ the posted limit. This preference appeared to be shaped by the perception that the same penalty would be imposed if apprehended, irrespective of what speed they travelling (at least up to 50% above the limit). Further research is required to determine whether the perceptions of Chinese drivers are mainly influenced by the Law of the People’s Republic of China or by operational practices. Together, the findings from both studies in China indicate that there may be scope to refine enforcement tolerance levels, as has happened in other jurisdictions internationally over time, in order to reduce speeding. Any attempts to do so would likely be assisted by the provision of information about the legitimacy and purpose of speed limits as well as risk factors associated with speeding because these issues were raised by Chinese participants in the qualitative research phase. Another important practical implication of this research for speed management in China is the way in which penalties are determined. Chinese drivers described perceptions of unfairness and a lack of transparency in the enforcement system because they were unsure of the penalty that they would receive if apprehended. Steps to enhance the perceived certainty and consistency of the system to promote a more equitable approach to detection and punishment would appear to be welcomed by the general driving public and would be more consistent with the intended theoretical (deterrence) basis that underpins the current speed enforcement approach. The use of mandatory, fixed penalties may assist in this regard. In many countries, speeding attracts penalties that are dependent on the severity of the offence. In China, there may be safety benefits gained from the introduction of a similar graduated scale of speeding penalties and fixed penalties might also help to address the issue of uncertainty about penalties and related perceptions of unfairness. Such advancements would be in keeping with the principles of best practice for speed management as identified by the World Health Organisation. Another practical implication relating to legal penalties, and applicable to both cultural contexts, relates to the issues of detection and punishment avoidance. These two concepts appeared to strongly influence speeding in the current samples. In Australia, detection avoidance strategies reported by participants generally involved activities that are not illegal (e.g., site learning and remaining watchful for police vehicles). The results from China were similar, although a greater range of strategies were reported. The most common strategy reported in both countries for avoiding detection when speeding was site learning, or familiarisation with speed camera locations. However, a range of illegal practices were also described by Chinese drivers (e.g., tampering with or removing vehicle registration plates so as to render the vehicle unidentifiable on camera and use of in-vehicle radar detectors). With regard to avoiding punishment when apprehended, a range of strategies were reported by drivers from both countries, although a greater range of strategies were reported by Chinese drivers. As the results of the current research indicated that detection avoidance was strongly associated with greater self-reported speeding in both samples, efforts to reduce avoidance opportunities are strongly recommended. The practice of randomly scheduling speed camera locations, as is current practice in Queensland, offers one way to minimise site learning. The findings of this research indicated that this practice should continue. However, they also indicated that additional strategies are needed to reduce opportunities to evade detection. The use of point-to-point speed detection (also known as sectio

"This research project examines the impact and influence of Chinese and Japanese ink landscape painting on the genre of Grand Manner Classical and Romantic landscape painting in Europe, from its beginnings as an independent genre in the 17th century. Specifically, the grand theme of woods and rivers will be investigated and its stylistic and philosophical relationship to Chinese and Japanese aesthetics demonstrated. The work examines how Far Eastern landscape painting conventions and techniques can be effectively acquired, and practically applied to painting in the manner of Classical and Romantic landscapes. [...]The aim of the investigation is to contribute to our deeper understanding of the genesis of this important style of artistic representation, and give fuller credit to the initiators of the technique and to those who realised its potential in the field of Western art."
Doctor of Philosophy

"This research project examines the impact and influence of Chinese and Japanese ink landscape painting on the genre of Grand Manner Classical and Romantic landscape painting in Europe, from its beginnings as an independent genre in the 17th century. Specifically, the grand theme of woods and rivers will be investigated and its stylistic and philosophical relationship to Chinese and Japanese aesthetics demonstrated. The work examines how Far Eastern landscape painting conventions and techniques can be effectively acquired, and practically applied to painting in the manner of Classical and Romantic landscapes. [...]The aim of the investigation is to contribute to our deeper understanding of the genesis of this important style of artistic representation, and give fuller credit to the initiators of the technique and to those who realised its potential in the field of Western art."
Doctor of Philosophy

Du 19e siècle à nos jours, la musique chinoise a pris une nouvelle direction. La création musicale en Chine s'est développée à travers les diverses cultures et les changements de politique, conférant ainsi un charme particulier à la musique contemporaine chinoise. A partir du début de l'imitation occidentale et juste avant la fondation de la nouvelle Chine, les musiciens chinois sont parvenus à associer les éléments musicaux chinois avec les nouveaux langages musicaux. Au cours de certaines périodes, l'art avait été asservi au pouvoir politique et la création musicale de style traditionnel était l'identité principale. Après de vagues stratégies d’Etat successives, l’évitement des thèmes sensibles, les besoins urgents de la culture racine, la mise en œuvre des techniques expérimentales s’est déployée et diversifiée et les échanges internationaux ont conduit à l'émergence du départ à l'étranger des compositeurs chinois pour chercher leur propre chemin créatif. La musique contemporaine de la Chine s’est élaborée à partir de la technique occidentale et a progressé dans le contexte culturel chinois et ses racines multiples, les pensées fermées et les expériences d'enfance dans l'environnement culturel pur et la collision du nouvel environnement créent des œuvres d'art fascinantes, la rendant remarquablement différente de la musique contemporaine occidentale. Durant ces 30 dernières années de développement économique et d'ouverture politique, la société chinoise s’est de plus en plus internationalisée; les nouvelles technologies et les profils variés des compositeurs ont incité la nouvelle génération à mettre en place d’excellentes innovations musicales spécifiques
As of the 19th century up to now, Chinese music has been taking a new direction and has developed in the wake of social evolutions. In China, the musical creation was affected by both the various cultures and political changes, thus bestowing a special charm on contemporary Chinese music. From the beginning of Western imitation and just before the founding of the new China, Chinese musicians succeeded in matching the Chinese musical elements with the new musical languages. Throughout specific periods, art had been bound to political power, and traditional style constituted the main identity of musical creation. Following the Cultural Revolution, the return to the root culture, the implementation of diversified experimental techniques have resulted in the departure of Chinese composers abroad in search of their own creative way. Contemporary Chinese music developed from Western technique and progressed in the Chinese cultural context and its multiple roots, closed thoughts and childhood experiences in the pure cultural environment and the collision of the new environment is now creating fascinating works of art, remarkably different from Western contemporary music. During the last 30 years of economic development and political openness, Chinese society has become increasingly internationalized; the new technologies and the varied profiles of composers have prompted the new generation to set up outstanding specific musical innovations

This combined studio practice/text thesis analyses links among the Chinese concept of jingjie, the archetypal patterns of sacred places, the picturesque movement in European aesthetics, and site-specificity in 1960s Land Art. In addition to examining site-specificity and the theoretical aspects of my studio practice, I explore the relationship between my ethnicity and my work in the context of contemporary Chinese and Taiwanese art environments. Guided by the principle that "practice and theory inform each other," I restate the significance of jingjie in contemporary art, especially its connection with the physical and psychological patterns found in archetypal "sacred places." Jingjie was fundamental to the spatial fluidity found in Chinese landscape arts, especially garden design. After demonstrating how Chinese gardens influenced English landscape garden principles and the 18th-century European picturesque movement, I argue that similar East-West connections served as direct and indirect influences on the site-specific work of middle and late 20th-century Land Art artists. I then describe how picturesque depictions of the relationship between man and nature influenced 19th-century landscape architecture in North America and 20th-century Land Art throughout the West. Finally, jingjie and Chinese gardens are used to explore archetypal sacred place patterns and their influences on the Western tradition of the picturesque. These parallel East-West connections served as the foundation for later interest in site-specificity, and were essential in establishing a historical context for understanding cross-cultural currents and their influences on Land Art artists. Using jingjie as my focus, I examine aspects of contemporary art that are not usually addressed by art critics, and reconsider the relevance of the Western picturesque tradition through a reciprocal model of cultural influences.

This study examines the question of how 20th-century Western art theory has influenced contemporary Chinese art education at the college level, focusing specifically on the problems of misreading, namely, mistranslation and misinterpretation. For this purpose, I offer two case studies: an analysis of my interviews with some Chinese academics, including art theorists and translators, and an analysis of Chinese college students’ essays responding to my lectures on visual culture. The two case studies shed light on some basic questions: (1) What are the misreadings due to the cultural differences between China and the West? (2) Why and how have these misreadings happened? (3) Are there purposeful misreadings? (4) If yes, why and how? (5) And what is the possible significance of such misreadings to Chinese and Western art education? Answering the above questions, two types of misreadings are identified. One is unintentional, such as mistranslation due to language and cultural barriers, while the other one is intentional or purposeful manipulation. In the two case studies, I examine the purposeful misreading of Western art theory, and demonstrate that it is the Chinese way to localize Western art theory for Chinese use. This claim is supported by the findings from my analyses of the interviews and Chinese students’ essays. In this dissertation I suggest that the problem of purposeful misreading of modern Western art theory is caused by the traditional Chinese culture of respect for senior academics and the contemporary Chinese practice of localizing Western theory. The ingrained culture of respect for senior academics makes it difficult for junior academics to question and challenge the works of their superiors. Additionally, the Chinese academics tend to appropriate Western concepts and theories by making them accommodate Chinese values and the grand narrative of Chinese culture.

In the final two decades of the twentieth century Australian society was preoccupied with its own history. So ubiquitous was this interest, that bookshops were crammed with popular histories and historical fictions, TV networks aired historical re-enactments and devoted whole series to its exploration and re-creation. In part, this increased awareness of history was stimulated by the 200-year anniversary of white settlement simultaneously celebrated by many non-Indigenous Australians and condemned by Indigenous protestors. Throughout the 1990s the debate over historical fact and its place within society- or the 'history wars' - took centre stage moving beyond academic circles and into political and public discourse. At the heart of this debate was what Bain Attwood called the 'new history', which incorporated the hitherto absent perspectives of Indigenous Australians. This new version of history examined discrepancies between dominant settler accounts of historical events and those provided by Indigenous people, often in the form of oral testimony. A more vocal Indigenous population also forced these new perspectives on Australian history into being, as increased calls for land rights recognition and social justice became prominent. The debate was so prominent that it permeated many areas of Australian society, the visual arts provides one such example. This thesis is concerned with how the popularisation of history was contended in the visual arts. I argue that Australian artists have used appropriation as an effective means of engaging in a discourse on colonialism; of communicating with the past, and of ensuring that that past remained a highly visible concern of the present Through its reliance on existing images, appropriation enables artists to condense the space between the quoted image and their new work. It therefore demands that the quoted image be seen as a concern of the present. This strategy was implemented by a significant number of Indigenous and non-Indigenous Australian practitioners during the last two decades of the twentieth century. Moreover, it provides an important point of intersection between the artistic practice of Indigenous and non-Indigenous artists. Rather than seeking to document the history of appropriation in Australia, this thesis is concerned with highlighting how appropriation has become the basis of a critical commentary on historical narratives of colonialism.

碩士
中國文化大學
戲劇研究所
91
Abstract This paper first defines the term ‘theatre modernization’, and then constructs the scope of ‘significant changes to the traditional theatre in comparison to the use of modern theatre to manifest the concepts, notions, facilities, and systems of the modern theatre’ for discussion. The objective of this paper was to probe the effect of changes in theatre appearance and concepts on the Chinese Opera in Taiwan. The most influential and evident effects were found in new Chinese Opera scripts written or created since 1970s, namely the ‘localized’ Chinese Opera performed by National Kuo Kuang Troupe. Since its performance was distinctive from the traditional Chinese Opera, it was presented as the case study in this paper. The grounds of the theatre appearance could be traced back to the styles of Chinese theatres in the past to the frame-like stage in the Western theatre. This paper begins with discussion over uniform Taiwan theatre style, and expounds the effects of Western theatre architecture and stage concept on Chinese Opera performance. This paper discussed the stage design, lighting, and stage technology of the Chinese Opera performance based on the incorporation of Western total theatre concept and Chinese Drama total theatre concept proposed in Taiwanese, the cultivation of Chinese drama director’s capability, the revolutionary angle of visual an sound effect, and the overall effect of the total theatre concept on the style and performance of the Chinese Opera. This paper also proposes suggestions, improvements, and integration to uplift the script and performance of the Chinese Opera that is the essence of the Chinese drama. Keywords: Theatre, Chinese Opera, Total Theatre, Stage Art, Stage Technology.

My dissertation investigates the concepts and techniques of “copying” and appropriation in contemporary Chinese art, which, despite its phenomenal growth, has seldom been credited as original. Critics either condemn the Chinese artists’ willingness to appropriate from others as a lack of individuality, or declare it as a peculiarly “Chinese” quality. This paper, instead, argues that the Chinese artists deliberately adopt such “copying” as a visual strategy, in order to reexamine the traditions they “borrowed”, to reflect on their own cultural status in the modern world, and to challenge the conventional concept of originality--namely, to show that originality is not created by irreducible individuality or mystified inspiration, but by the author’s choice as well as manipulation of contexts. This strategy, I argue, is essential to the proper evaluation and interpretation of contemporary Chinese artworks. The first two chapters of my dissertation focus on laying out the context from which this art grows. I review how the ideas, styles and institutional structures of western modern art were imitated, questioned and redefined by the Chinese artists, from 1978 to the present; I then examine the conceptual complexity of originality and “copying” in the theories of modernism, postmodernism, postcolonialism and in traditional Chinese art. The next two chapters focus on, respectively, calligraphy and photography in contemporary Chinese art, both of which contain the paradox between originality and “copying” in their very nature. The works of four artists, Xu Bing, Qiu Zhijie, Hong Hao and Zhao Bandi, are discussed in details. Xu's site-specific reproduction of “pseudo characters” manage to engage its targeted audiences, psychologically and physically; Qiu's obsessive yet futile copying of a canon of calligraphy returns the act of writing to its essence--a physical pursuit of one's spiritual state of being; Hong's photographic emulation of an ancient masterpiece suggests that painting may excel photography in its ability to portray a grand cityscape; Zhao’s simulacrum of pop culture paradigms enables him to evade political censorship, and to have an substantial yet ironic impact in a broader public sphere. Each of these works has made a unique contribution to the redefinition of artistic originality.
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This chapter examines how young poets and artists became interested in Chinese art that in the 1910s was expressed in the tenets of Vorticism. When Ezra Pound came to London in 1908 he got involved in the circle of British poets, artists and critics who held regular social gatherings at the Vienna Café in New Oxford Street. Among them was Laurence Binyon, poet and Assistant Keeper of Prints and Drawings at the British Museum, who shared with the group his scholarship in Oriental painting. When Binyon was developing his friendship with Pound, Percy Wyndham Lewis and other British Modernists, new art movements were rapidly emerging in Europe. At the same traditional Chinese art was becoming available in museums and in London and other Western art markets. Coinciding with a dynamic change in modern European art, Oriental ideas became an alternative source of inspiration for the West. In 1914, Pound collaborated with Lewis and Henri Gaudier-Brzeska to promote a new artistic movement for which Pound coined the name Vorticism. Gaudier-Brzeska took his inspiration from Chinese animal bronzes of the Zhou dynasty and Lewis from the landscape paintings of the Song dynasty. Their common interest in Chinese art, helped formulate the principles of Vorticism.

During the nineteenth century Chinese scholars began critiquing the traditional accounts of the Yijing’s nature and composition—a process of “historicizing” the Yi that continues today. A major innovation has been the realization that the earliest textual levels of the Yi were written during the Bronze Age of China and reflect the language and concerns of that period—kingship, war, etc.—rather than the Confucian concern with moral guidance seen in the appendices and read back into the early parts. Nevertheless, the first widely read English translations, those of James Legge (1899) and Richard Wilhelm (1950, from his 1924 German translation and including an influential foreword by C. G. Jung), were unaware of these discoveries, perpetuating the view of the Yi as a book of universal wisdom. This led to its worldwide appeal, including influences on Western art, music, and scientific theory. Not until the late twentieth century did the first English translations of the Yi as a Bronze Age document appear.

Authentic public memorials did not appear in the Chinese public space until the late 19th century. As a result of Western influence, many war memorials were built during the Republic of China era (1912-1949). Since the establishment of the People’s Republic of China in 1949, the government has invested much in developing public spaces. Also, the government placed many memorials in Chinese cities to shape collective memory and urban identity. The affection of solemnness, sacredness, and grandness is the main affection that most memorials are intended to embody, particularly those that commemorate famous people, the government’s achievement, and the deceased from natural disasters and wars. By taking the example of memorials built from 1942 to the present in Chongqing, China, this paper critically examines changes over time in the forms. In addition, taking the analysis result from memorial forms as a base and combining widely cited literature in Chinese and English, the paper further explores the negative impacts of the intensive focus of solemnness, sacredness, and grandness. This paper’s analysis identifies standard, persistent and symbolic features in Chinese memorials, despite the diverse landscape elements and advanced construction techniques. Key themes emerge from this research are solemnness, sacredness, and grandness. Also, it reveals the issues raised by the exclusive pursuit of these affections, including similar memorial forms, insufficient engagement of memorials, and the unitary research topics on memorials.

In recent years, urban environmental quality and urban vitality have attracted more scholars’ attention than ever as Chinese cities experienced a rapid development stage. To test the influence of urban built environment on walkability in residential areas, this study developed a questionnaire to perceive the users’ perception of walkability around their neighbourhood in residential areas, which was based on the Neighbourhood Environment Walkability Scale for Mainland China (NEWS-MC). The original Neighbourhood Environment Walkability Scale (NEWS) are developed for use in USA to measure residents’ perceptions of the environment attributes, and has been applied in many countries, such as US, Australia, Korea and Hong Kong, and be modify to be Neighbourhood Environment Walkability Scale for Mainland China (NEWS-MC) and been applied in Chinese cities. NEWS-MC has been found have moderate to high rest-retest reliabilities and good criterion The evidence illustrated high-walkable neighbourhoods be found with higher density, land-use mix, street connectivity, more safety and have more aesthetics elements. In this study, we modified NEWS-MC to reflect the characteristics of cold region Chinese built environment and people’s behaviour mode. To perceive the final version of Neighbourhood Environment Walkability Scale for cold region Chinese cities (NEWSCRC), We made a pilot study which include 50 samples, then interview 800 residents from 6 selected residential districts in Harbin (the capital city with highest latitude in China) which were different in walkability attributes and economic status. The final version of the NEWS-CRC included 8 subscales and 3 single items (76 items in total). Test-retest reliability showed moderate to high except 4 items . In total, the NEWS-CRC could illustrate residents’ perceptions of walkability attributes in cold region Chinese cities and could be use in other Chinese urban attributes studies related to walking

This paper is based on archival research done for a larger project looking at the impact of emergent transnational networks in Asia on the work of New South Wales architects. During the period of the Cultural Revolution in China (1966-1976), the neighbouring territories of Macau and Hong Kong served as centres of resistance, where an expatriate population interested in traditional Asian arts and culture would find growing support and patronage amongst the elite intellectual class. This brought influential international actors in the fields of journalism, filmmaking, art and architecture to the region, including a number of Australian architects. This paper traces the history of one such Australian émigré, Alan Gilbert, who arrived in Macau in 1963 just before the Cultural Revolution and continued to work as a professional filmmaker and photojournalist documenting the revolution. In 1967 he joined the influential design practice of Dale and Patricia Keller (DKA) in Hong Kong, where he met his future wife Sarah Lo. By the mid 1970s both Alan Gilbert and Sarah Lo had left to start their own design practice under Alan Gilbert and Associates (AGA) and Innerspace Design. The paper particularly explores their engagement with ‘reform-era’ China in the late 1970s and early 1980s when they secured one of the first and largest commissions awarded to a foreign design firm by the Chinese government to redesign a series of nine state- run hotels, two of which, the Minzu and Xiyuan Hotels in Beijing, are discussed here.