Dissertations / Theses on the topic 'Australian literature Chinese influences'

This thesis is concerned with the representation of Chinese people in Australian literature from the middle of the nineteenth century to the present. The range of texts selected for consideration includes many that have long been out of print, and so a major aim of this thesis is to bring these texts into visibility under the single theme of "The Representation of Chinese People in Australian Literature", a topic to which, as far as I know, no full length study has yet been devoted. Australian literary writings in the period of early colonization share the basic discourses inherited from Europe, creating themes and images of Chinese people according to the European myth of the 'yellow peril ' , which has influenced the perceptions of Chinese people by the 'West' for centuries. Central to this thesis is the argument that in Australian literature, the formation of perceptions and images of Chinese people follows the Western principles of ·the theory of orientalism, as formulated by Edward Said. The first known significant cultural contact between Australia and China took place when a considerable number of Chinese migrants entered Australia from the time of the 1840's. This contact was immediately interpreted as a cultural invasion by the then dominant literary discourse. It is argued here that the anti-Chinese attitudes which are heavily reflected in early literature and conventionally attributed to Australian racism, are the products of Western cultural hegemony, of which racism is a part. The anti-Chinese notions of early nationalism reflected in literature are also rooted in the discourse that spreads the fear of cultural contamination. Chapter One of the thesis produces a general profile of this situation by presenting relevant readings. In this situation, themes and images of Chinese invaders are formed to define the nature of Australia's Chinese contact. Images of negative and aggressive Chinese people are created according to the format of the traditional myth of the 'yellow peril', instead of through practical experiences. Chapter Two surveys a range of such images of invaders and draws the conclusion that those images are the products of texualization of orientalist discourse which can create 'truth' by textual accumulation, as in the case of Chinese goldminers. Chinese people are variously stereotyped by fictional texts. A selection of short stories published in The Bulletin around the turn of the century are brought together in Chapter Three to illustrate the formation of several stereotypes. This part of the thesis argues that various stereotypes of the Chinese can form a system of images which is centred on the vision of ? Chinese disease'. I explain this vision as a symbolic expression of the fear of a threatening and contaminating alien culture. I argue that the themes, images, representations and attitudes generated by this vision are all claiming a single idea which is that Australia is, and should remain. an extension of Europe. Nevertheless, in the history of Australian literary perceptions of China and its people. alternative perspectives have existed alongside the 'yellow peril myth. By surveying a range of texts collected in Chapter Four, the thesis brings this trend to people's notice. In some early sea romances, bush legends, and adventure stories of pioneering life, certain representations of Chinese people cannot be simply categorized as orientalist products, because these representations in relation to the Chinese reflect the consciousness of an independent Australia, which opposes, to some degree. Western discourses of power and cultural hegemony. It is noticed in this study that literary writings after the 1920's express stronger interest in. and pay more attention to aspects of Chinese culture, especially when the topic of the Australian nation is addressed. Chapter Five deals with this issue by presenting a collection of novels that narrate relationships between Australia and China in terms of cultural identity. This part of the thesis demonstrates that when Australia is seen as an independent cultural entity, its location in the orientalist world map can be shifted. Such texts exhibit Australia's movement away from the West towards Asia. Texts presented in the thesis so far indicate a duality in perceptions of China in that it is seen as either the yellow peril' or as a civilized entity associated in a positive way with the idea of an Australian cultural utopia. Chapter Six illustrates this duality by showing how the representation of gender differences can contribute to the construction of opposing images of China. In other words, perceptions of Chinese people can be highly contradictory even within an individual text. Contemporary texts demonstrate a critical break-through in relation to orientalist discourse. Texts selected for Chapter Seven are presented to show significant elements of change in Australian discourses on China. These texts are considered multiculturalist writings which are recognized by this thesis as providing the basis for reconstructing the Australian legend in such a way that Chinese people are included as an aspect of contemporary Australian social reality.

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 thesis studies Oscar Wilde’s encounter with the idea of China in late nineteenth century Britain. After Marcartney’s embassy to the Qing court and the two Opium Wars, “China” became an increasingly negative idea in nineteenth century Britain. Wilde’s sympathy with China under such historical circumstances induces reconsiderations of the relationship among aestheticism, orientalism, and modernism. The story of how Wilde utilized and appropriated Chinese culture is at the same time a story about how orientalism was used by British aestheticism to protest against the late Victorian middle-class ideology and invent the politics of modernist aesthetics. This thesis contributes to the study of the idea of China in nineteenth century Britain in general and to the scholarship on Oscar Wilde, aestheticism and modernism in particular. Wilde’s reading of Chuang Tzu and his appreciation of the anti-realist Chinese aesthetic and visual power embodied in patterned blue and white china helped him articulate his aestheticism. The thesis examines Chinese influence on his aesthetic, social and political ideas against British middle-class ideology. The historical contexts of Wilde’s encounter with Chinese philosophy and material culture are also scrutinized to show that China, as an exotic-familiar antithesis to British bourgeois ideology, became a critical point of reference for Wilde to launch his trenchant criticism of Western society. Works and collections by other proponents of British aestheticism, such as James McNeill Whistler and Dante Gabriel Rossetti, are also included to further demonstrate China’s role in the British Aesthetic Movement. The thesis is based on three interrelated central arguments: first, British aestheticism was a reaction to the social problems and consumer culture in late Victorian Britain, and it aims to aestheticize not only art, but also life and society; second, the nineteenth-century British construction of China, especially in the translation and deciphering of Chuang Tzu in early British sinology in Chapter one, and in Chapter Two, blue and white china’s visual anti-realism widely discussed and condemned in the late Victorian mass media, crucially participated in Wilde’s theory of art and British aestheticism in general; third, Wilde’s aestheticism, by incorporating Chinese thought and aesthetics, had experimented with modernist aesthetics before it came to be known as such. Although Wilde and other British aesthetes were complicit in the orientalist construction of China when placing China and the West into a binary position, they revised the nineteenth-century British imperial discourse that subjugated and denigrated the Orient and invested in the kind of Sino-British communication advocating and incorporating the aesthetic values of Chinese culture.
published_or_final_version
English
Master
Master of Philosophy

This thesis demonstrates the close links between Australian literature and German thought and culture in Catherine Martin's An Australian Girl (1890) and Henry Handel Richardson's Maurice Guest (1908), and thereby provides a fuller understanding of the sophisticated literary and intellectual purposes of these two works. In examining the German elements in each novel, and the contexts from which much of that material is drawn, this study seeks to supplement the scholarly explanations provided in the two Academy Editions of these works. While Maurice Guest has received serious scholarly attention, An Australian Girl has been accorded relatively little. Despite generally favourable reviews on publication, both appear to have been undervalued over time. The study begins with a brief historical survey of German migration to Australia and the contribution German migrants made to the intellectual life and culture of the evolving nation. The examination of Catherine Martin's work includes: biographical details, particularly concerning her contact with German culture; an analysis of the form of the novel and a comparison of An Australian Girl with Goethe's Bildungsroman Wilhelm Meister with regard to form, theme and characterisation; an analysis of German philosophical elements in the novel; and Martin's presentation of social conditions in Germany in 1888-90, and their role in the novel as a whole. The examination of Henry Handel Richardson's work encompasses: biographical details; the genesis of Maurice Guest; differences between the reception of the novel in England and Germany; the genre to which the novel belongs and parallels with Künstlerromane; an analysis of Richardson's description of the physical, historical and intellectual milieu of Leipzig, and its role in the novel; and finally her integration of German social customs and the German language into the text. Use has been made of five primary sources which have not been used before in any detail with regard to these aspects of either author: additional material from the Mount Gambier Border Watch; The Hatbox Letters, the family history of the Martin and Clarke families; the German translation of Maurice Guest; German reviews of Maurice Guest; and the correspondence between Richardson and her French translator Paul Solanges. The key argument of this thesis is that the German influence on both form and content, in the case of An Australian Girl, and on style and content, in the case of Maurice Guest, is deep and various, and that these German elements have proved to be an impediment to a full understanding and appreciation of these novels for many Anglo-Saxon readers and reviewers. In the two novels Martin and Richardson provide pointers to Australia's earlier interaction with the wider world and display a level of sophistication which makes these works worthy of greater recognition than they currently enjoy.

The present study argues for a generic approach to the study of the representation of Chinese society in a selection of Australian fiction and non-fiction writings, based on the assumption that how China is represented is as important as what is represented. The three works that will be used to represent travel literature, journalism and the novel are: The East Is Red by Maslyn Williams, Real Life China by Richard Thwaites, and the Avenue of Eternal Peace by Nicholas Jose, all of which have been written by contemporary Australian writers. The study re-examines the obligations and meanings inherent in each of these genres, and discusses .these writers' individual ways of experimenting with the genres in which they write in order to cope with the complexity, ambiguity, and the fictionally of reality. These works are analysed in detail within two frameworks: the writers' relationships to their writings, and the relationship between the text and the external world, leading to the realization of the increasingly important role writers' consciousness plays in reshaping and fictionalizing their personal experience, as well as the recognition of the increasingly important role fictionalization plays in the representation of Chinese society in both fiction and non-fiction writings.

This thesis explores cross-cultural encounters between China and three British left-wing writers – Harold Laski, W. H. Auden and Joseph Needham. The motivations underlying this study are the diversity and intensiveness of the British left’s engagements with China’s search for modernization in the twentieth century. Laski, Auden and Needham were all prominent British left-wing intellectuals, and each exerted a remarkable influence on the Chinese pursuit of modern democracy, literature, and science, the three important pillars of China’s modernization since the May Fourth period. Grouping them together, the thesis makes a contribution to the study of the international impacts of the British left in general and the study of Sino-British cultural exchanges in particular. The conventional view emphasizes Western influences on China in modern times as unilateral knowledge transplantation from the advanced West to the backward East, thus the important role of the Chinese intelligentsia as cultural agency is often marginalized. This thesis, by contrast, interprets the British left’s encounters with China as a process of interactive, dynamic, even dialectical transformation, from which both sides derived intellectual benefits. It not only demonstrates the initiative taken by the Chinese intellectuals in translating, interpreting, and applying Western knowledge to address their own particular problems, but also attempts to show the inspirations the British left-wing writers took from China in their own humanitarian struggle for a more liberal, equitable and peaceful world. The thesis is organized in chronological order with the earliest encounter discussed first. Chapter One examines Laski’s impact on Chinese liberals’ imagination and construction of an equitable and democratic China. It shows that the Chinese applications of Laski’s political theory to their local concerns were highly selective, and it was difficult for Chinese liberals to fully embrace Laski’s thought because of the inner conflict between the liberal and Marxist aspects of Laski. Chapter Two discusses Auden and Isherwood’s co-authored book Journey to a War (1939) in the critical tradition of travel writing. It argues that their ironic self-consciousness of the travel book genre itself makes the book unique in Western representations of China, but exposes them to the critical charge of immature frivolity. It also shows that Auden worked towards a symbolic solution for the conflicting demands of the public and private worlds by interpreting the China war into a global human history in his sonnets. Chapter Three focuses on the reception of Auden’s poetry in China. Exposing the limitations of the prevailing formalist-aesthetic approach, it unearths Zhu Weiji’s Marxist interpretation of Auden and proposes an ideological criticism to re-examine Auden’s influences on Chinese modernist poets. Chapter Four explores Needham’s conversion to Chinese culture and his influences on China’s understanding of its own science. By tracing various Chinese responses to the Needham Question, it argues that although Needham’s research boosted the confidence of Chinese in their scientific tradition, the Chinese hunger for modern science is closely associated with nationalism, which is contradictory to the socialist universalism that behind Needham’s intellectual project.
published_or_final_version
English
Doctoral
Doctor of Philosophy

This study focuses on fiction about female ageing since the 1970s as an important literary genre. By conducting a cross-cultural comparison based on the close-reading of the primary texts of two recent literary genres – Reifungsromane in the Australian context and Social Novels about Older Women in the Chinese context – this study contributes to the deeper understanding of female ageing experiences represented in contemporary literature.

Cette thèse porte sur l’analyse des relations intertextuelles entre des œuvres littéraires et philosophiques allemandes, notamment les textes de Novalis et de Rilke, et le recueil de sonnets de l’écrivain et traducteur chinois moderne Feng Zhi. Le but de cette étude est d’analyser et de discerner dans quelle mesure il est possible d’établir des relations « transtextuelles » entre la littérature primaire, la thèse de doctorat de Feng Zhi, qui a joué un rôle vital dans le développement de sa voix poétique, et son recueil de sonnets. Les textes analysés dans le cadre de cette étude visent à montrer comment certains indices transculturels de la poésie de Feng Zhi définissent la tendance poétique de l’écrivain en tant que postromantique et métaphysique, alors qu’une recherche plus approfondie et d’autres évidences transtextuelles encadrent sa production lyrique parmi les premiers exemples de littérature moderniste chinoise. Les profondes et énigmatiques réflexions contemplatives des sonnets font de Feng Zhi un poète métaphysique. La voix lyrique s'engage avec le monde extérieur et gagne de nouvelles expériences esthétiques à travers l'imagination, la méditation sur l'infini spatial et temporel, la reconnaissance de l'état mutable et permanent de la matière, et une finale réalisation existentielle de l'auto-accomplissement de l'homme à travers son état d'isolement. Cette étude analyse enfin l'idée conceptualisée de l'infini et de la transcendance poétique évoquée par le mysticisme orphique. Cette approche redéfinit la relation du sujet poétique avec le monde extérieur et sa perception constructive finale de sa position au sein de la communauté, de la nature et du cosmos dans son ensemble
The research conducted in this work focuses on the intertextuality between German literary and philosophical works, notably those of Novalis and Rilke, and the sonnet collection of the modern Chinese scholar and writer Feng Zhi. This study analyses the extent to which transtextual elements travel between the primary literature, the author’s own German doctoral dissertation, which ultimately played a vital role in the development of his lyrical voice, and his sonnets. Moreover, the texts analysed in this study attempt to demonstrate how given transcultural elements in Feng Zhi’s poetry define the writer’s apparent poetic tendency as a post-Romantic and metaphysical lyricist, whereas other closer transtextual investigations place his work among the first examples of Chinese modernist writings. The profound and enigmatic contemplative reflections of the sonnets make Feng Zhi a metaphysical poet. The lyrical self engages with the surrounding world and gains new aesthetic experiences through the power of imagination, the meditation on spatial and temporal infinity, the recognition of the changeable and permanent state of matter, and a final existential realisation of man’s self-completion through his state of isolation. This study finally also analyses the conceptualised idea of infinity and transcendence evoked by Orphic mysticism. This approach redefines the poetic subject’s relationship with the outer world, and the subject’s final perception of his position within the community, nature and the cosmos as a whole

This dissertation examines the reception of Chinese language and literature during Tokugawa period Japan, highlighting the importation of vernacular Chinese, the transformation of literary styles, and the translation of narrative fiction. By analyzing the social and linguistic influences of the reception and adaptation of Chinese vernacular fiction, I hope to improve our understanding of genre development and linguistic diversification in early modern Japanese literature. This dissertation historically and linguistically contextualizes the vernacularization movements and adaptations of Chinese texts in the seventeenth to eighteenth centuries, showing how literary importation and localization were essential stimulants and also a paradigmatic shift that generated new platforms for Japanese literature. Chapter 1 places the early introduction of vernacular Chinese language in its social and cultural contexts, focusing on its route of propagation from the Nagasaki translator community to literati and scholars in Edo, and its elevation from a utilitarian language to an object of literary and political interest. Central figures include Okajima Kazan (1674-1728) and Ogyû Sorai (1666-1728). Chapter 2 continues the discussion of the popularization of vernacular Chinese among elite intellectuals, represented by the Ken'en School of scholars and their Chinese study group, "the Translation Society." This chapter discusses the methodology of the study of Chinese by surveying a number of primers and dictionaries compiled for reading vernacular Chinese and comparing such material with methodologies for reading classical Chinese. The contrast indicates the identification of vernacular Chinese as a new register that significantly departed from kanbun. Chapter 3 provides a broader view of the reception of Chinese texts in Japan in the same time period, discussing Hattori Nankaku (1683-1759), a kanshi poet and Ogyû Sorai's successor in literary criticism. Nankaku's contributions include a translation and annotation of the Tang shi xuan (J. Tôshi sen), an anthology of Tang poetry compiled by Ming poet Li Panlong (1514-1570). Such commentaries in accessible Japanese prose reflected the changing readership of Chinese texts, as well as the colloquialization of literary Japanese. Chapters 4 and 5 focus on literary translations and adaptations of Chinese narrative texts in different language styles. Chapter 4 analyzes kanazôshi ("kana booklet") stories by Asai Ryôi (1612?-1691) in comparison to their source text, the Ming Chinese anthology of supernatural stories New Tales Under the Lamplight (Jian deng xin hua). For a comparative perspective on translation style, this chapter also addresses adaptations of the same source story by Korean and Vietnamese authors. Chapter 5 looks into the literati genre of yomihon ("reading books") and focuses on Tsuga Teishô's (1718?-1794?) adaptations of Ming vernacular fiction by Feng Menglong. Teishô, a prolific author considered to be the inventor of this important genre, has been grossly understudied due to the linguistic complexity of his works. His adaptations of Chinese vernacular stories bridged different narrative traditions and synthesized various language styles. This chapter aims to demonstrate Teishô's innovative prose style and the close connections between vernacular Chinese and the development of early yomihon as a sophisticated, experimental genre of popular literature. This dissertation illustrates the inextricable relationships between language transformation and genre development, between vernacularization and narrative literature. It departs from the long-standing paradigm of Sino-Japanese (wakan) literary study, which treats Sinitic writing as an integral part of Japanese literary discourse, emphasizing rather a comparative linguistic approach that addresses Chinese and Japanese linguistic and literary movements in parallel. Within this framework, this project is intended as a platform for further explorations of issues of cultural interaction and translation literature.

This project explores Japan’s complex literary and cultural negotiation with China from the twelfth through the sixteenth centuries, focusing on the role of intermediary texts (dictionaries, encyclopedias, and commentaries) and the different modes of receiving and constructing Chinese culture depending on historical periods and scholarly lineages. As the larger process by which Chinese history and literature became part of the Japanese literary culture has long been studied on the assumption that there is direct textual continuity between Japanese texts (in literary Sinitic) and Chinese continental texts, the tracking down of citations, allusion, and references to Chinese source texts has commanded great scholarly attention. Yet this assumption obscures other, equally important histories – such as a popular understanding of Chinese culture, or a conceptual perception of Chinese culture, that was NOT based on direct textual continuity – that lies at the heart of this project. The introduction outlines three modes of receiving and constructing Chinese literary culture in pre-modern japan. One was the text-based, canonical view of Chinese history and literature, which relied almost exclusively on texts and genres that were canonized in the Nara and Heian periods state university (daigakuryō) – Confucian classics, Chinese official dynastic histories, and Chinese poetry. In contrast with it was a more popular, name-based understanding of Chinese culture that emerged from various intermediary genres (such as anecdotal literature, dictionaries, encyclopedias, and commentaries) both in China and in Japan. This mode of reception and construction was not based on texts so much as on what I call “cultural signs” (particularly Chinese names, well-known anecdotes, and visual cues) and required no knowledge of the original literary Sinitic. Third was a conceptual, term-based perception, manifested in such concepts as “loyalty” and “filial piety.” Written in the same kanji characters, these terms served as common threads linking Chinese and Japanese literary writings on the one hand, but also took on new meanings and associations in the Japanese cultural imagination. Chapter 1 outlines the importation of Chinese books and manuscripts in relation to the center of scholarship and the main intellectual groups up until the twelfth century. Drawing on evidence from commentaries on the Wakan rōeishū (The Collection of Japanese and Chinese Poems for Recitation, 1013) and from The Tales of China (Kara monogatari, late Heian period) on the themes of exile and loyalty, I discuss the rising interests in referencing anecdotal literature and compiling intermediaries (dictionaries, encyclopedias, and commentaries) in the twelfth century that eventually contributed to the formation of a more popular, name-based understanding of Chinese history and literature. Chapter 2 investigates the Japanese medieval interpretations of Chinese official histories (“Chūsei Shiki”), which features a tension and negotiation between the canonical and the non-canonical texts and gravitates towards recurring themes, character types, and core values. In particular, I look into the themes of wisdom, virtue, loyalty, and filial piety in A Miscellany of Ten Maxims (Jikkinshō, 1252) and The Tales of the Heike (Heike monogatari, ca. 1308-1311), which were largely constructed from a relatively more classical, Tang-based perspective, in despite of the fact that Chinese Song dynasty culture had already been imported to Japan along with the introduction of Chinese Chan (J. Zen) Buddhism in the thirteenth through fourteenth centuries. In Chapter 3, I examine the Taiheiki (A Chronicle of Great Peace, 1340s-1371), a unique text that acts as a nexus for many themes of this project. Analyzing the use of Chinese tales, maxims and proverbs, and poetry in relation to the themes of loyalty, wisdom, righteousness, and filial piety, I show that, unlike The Tales of the Heike, the Taiheiki revealed a thriving concern with the Song culture, which involved new editions, new commentaries, and new poetic theory. I also show that a conceptual, term-based perception of Chinese culture was taking shape. Chapter 4 explores the suddenly intensified scholarly exchange among different intellectual groups – the Zen monks, the Shintō priests, warriors, and court aristocrats – in the fifteenth through sixteenth centuries. Tracing the threads of new books and new theories in Kiyohara Nobukata’s lecture notes on the Mōgyū (Inquiry of the Youth), The Twenty-Four Filial Exemplars, and the picture scroll (emaki) of the Xianyang Palace, I discuss the expansion of knowledge and audience from priests and aristocrats to influential military families and wealthy commoners in late medieval Japan, the formation of new imaginations regarding Chinese history and literature, and the final transition from a pro-Tang prospective to a Song-centered understanding of China. In conclusion, I argue for the literary and cultural reception and construction of Chinese culture as not only a large and complex source text, in a long history of Sino-Japanese intertextuality, but as a complex cultural construction that was packaged and modified, sometimes for easy consumption, to reinforce key values (such as loyalty and filial piety), and that was readily identified even by those with limited access to literary Sinitic. By illustrating the processes by which Chinese history and literature were largely filtered through and transmitted by intermediaries into medieval Japanese literary culture, this project provides a new history of the reception of Chinese culture in the Japanese literary imagination.

In the early modern period, literary Sinitic (also known as classical Chinese) was a shared writing system and cultural asset in East Asia. The Sinitic text, while being voiced in various local languages, remained largely the same across the region. The shared Sinitic writing enabled educated people in East Asia who spoke different languages to engage in conversation through writing. It was the silence of literary Sinitic that enabled it to be a trans-local communicating system. However, where is the place for the Chinese sound in the neat picture of the Sinitic writing system versus its various local vocalizations in different countries? Focusing on the effort of Japanese scholars in restoring Chinese sound to the Sinitic text, this dissertation brings the conceptualization and practice of spoken Chinese in the eighteenth century Japan into the supposedly silent Sinitic culture. The early modern Japanese learners of contemporary spoken Chinese intended to vocalize the written Sinitic. When they realized that contemporary spoken Chinese and literary Sinitic writing were actually not compatible, they solved the problem by resorting again to writing. One solution was to propose a new form of Sinitic writing using colloquial expressions, the zokugo (colloquial [Chinese]) writing. The other was to retreat to the comfortable zone of how to pronounce individual sinographs and Sinitic terms—the phonological study of tōon (contemporary Chinese sound). This dissertation studies vocality as the interrelation and interaction of speaking and writing, to illuminate an early modern East Asian concept of language that cannot be contained in the modern, Western phonocentric view. Through examining the language learning and fiction writing that related to contemporary spoken Chinese in eighteenth-century Japan, this dissertation argues that spoken Chinese and literary Sinitic were not the two opposites of a binary, nor was the spoken language the preliminary to the colloquial Chinese writing. In both the spoken language and the colloquial writing, vocality was a spectrum of speaking and writing, the proportion of which was attuned to the preferences of different speakers, social settings, and literary genres. The chapters of this dissertation delineate the trajectory of early modern Japanese engagement with contemporary spoken Chinese in relation to writing. It begins with chapter 1 on Chinese popular fiction—the primary learning material for the study of contemporary spoken Chinese—and its colloquial style that imitates storytelling performance. Chapters 2 and 3 are devoted to the study of contemporary spoken Chinese in early modern Japan. Chapter 2 contextualizes the study of contemporary spoken Chinese in the early to middle Tokugawa (1600–1868) period—a time when Chinese language study gradually gained attention. Chapter 3 reconstructs the learning of tōwa (contemporary spoken Chinese) in eighteenth-century Japan by pointing out its spectrum of vocality. Chapters 4 depicts the contemplation of the incompatibility of contemporary spoken Chinese and literary Sinitic writing, as well as the transformation from the language learning tōwa to the phonological study tōon. Chapters 5 and 6 deal with the other transmutation of the tōwa study from language study to the zokugo writing, as showcased in the spread of colloquial Chinese fictions in early modern Japan. Chapter 5 examines how Chinese popular fiction was conceptualized and approached in early modern Japan. Chapter 6 shows how eighteenth-century Japan witnessed a gradual increase in the attention paid to the literary format of colloquial Chinese fiction, despite a general emphasis on the colloquial vocabulary. The epilogue discusses colloquial Chinese fiction in nineteenth-century Japan. Together, these chapters delve into the vocality of early modern Japan, as a fascination with speaking that is complexly entangled with writing. The early modern era offers illuminating cases of vocality, with fiction writing intending to capture the essence of oral performance and spoken language, and speech making full use of the literary Sinitic to enhance its cultural flavor. Whereas the eighteenth-century study of contemporary spoken Chinese did explore the spoken language, it was not based on modern phonocentric concepts but to seek to vocalize the written language in its most authoritative version. The multiple efforts to invite speaking into a conversation with writing reveal an early modern perception of language that could not be fully comprehended without considering writing-centered literacy.

中國歷史上屢有異邦人士親身踏訪禹域，其中不乏有心之人將見聞感受付諸紙筆，撰文紀行。考慮到此類材料的政治意涵與文類屬性，本文採用「中國行紀」的概念指稱明治時代日本人結合親身踏訪禹域體驗撰寫的紀行文字。本文討論之日本明治（1868-1912）在時段上與中國晚清大致相當。不到五十年裏，兩國都經歷了翻天覆地但又截然相反的變動。也就是說，在日本不斷進步、日趨興盛的同時，中國卻世風日下，走向衰頹。一百多年前日本漢學者的中國行紀從異域鄰人的角度爲今人理解與進入晚清提供了嶄新的研究視角。
有關明治漢文中國行紀的先行研究側重於中日政治關係的歷史描繪，對兩國知識人士之間文化交流與知識轉型方面的價值則有待繼續討論。本文將集中討論被視為明治三大漢文中國行紀的竹添進一郎《棧雲峽雨日記》、岡千仞《觀光紀游》與山本憲《燕山楚水紀遊》。它們分別代表了明治前期、中期與後期日本人對中國的旅行書寫，顯示出日本漢文中國行紀逐漸走向盡頭的趨勢。上述三書不僅影響到許多同代及其後大正、昭和時期的中國行紀，而且行紀文體的親歷性與權威性也使其對於近代日本人中國認識的轉變與形塑起到潛移默化的作用。三位作者都是受到過傳統舊式教育的漢學者，通過寫作傳達出親歷中國後想像與現實的落差，又以文學家的筆調記錄了晚清社會政治與士民生活的方方面面，在近代中日文化交流與知識轉型上扮演了重要角色。筆者將以漢文筆談為切入點，討論近代中日知識人士圍繞文化交流、知識轉型、文士往來與書籍酬贈等重要議題展開的交際與互動。本文期望通過勾稽相關文獻史料，回歸晚清歷史語境，藉助異域之眼反躬自省。
In Chinese history, there were always overseas people travelling to China, including Japanese sinologists, many of whom had recorded their impressions of China by composing travelogues. Considering the political implication and the genre application of this kind of materials, this research adopts the term "travelogues about China" to generalize all these records. The time period to be discussed in this research project is the whole Meiji era, namely, from 1868 to 1912, less than half a century, corresponding roughly to the late Qing period. These two countries had undergone tremendous but reversed revolutions during this period. That is to say, when Japan made progress everyday, China, on the other hand, was in an apparent state of decline. Travelogues about China 150 years ago provide people nowadays with a new research angle to comprehend and enter the late Qing history from Japanese sinologists’ perspectives.
Previous research about on Japanese travelogues about China in Chinese during the Meiji Period focused on historical descriptions of Sino-Japanese political relationships, however, the value of cultural exchange and transformation of knowledge between literary elites from both of these two countries remain to be discussed. This research plans to focus on Takezoe Shin’ichirō’s San’un Kyōu Nikki (A Diary of Clouds Hanging between the Mountains and Rain in the Ravines), Oka Senjin’s Kanko Kiyū (Travel Reports for Sightseeing) and Yamamoto Ken’s Enzan Sosui Kiyū (Travel Reports for the Mountains of North China and the Rivers of South China), which were regarded as the three most representative Japanese travelogues about China in Chinese. Respectively, they represented Japanese travel writing about China in the early, the middle and the late Meiji period and indicated that the ending of the traditional Japanese travelogues about China in Chinese was approaching. In addition, they also had a profound impact on the following Japanese travel literature about China. The genre of travelogue also exercised an invisible and formative influence on Japanese views of China in the modern era. All of these three sinologists were educated in the old style and had deep backgrounds of traditional Chinese learning. Through writing, they expressed the distance between imagination and reality after experiencing China for themselves, and various recorded aspects of the late Qing’s social politics and civil life. They played an important role in modern Sino-Japanese cultural exchange and transformation of knowledge. It will also discuss modern Sino-Japanese literati cultural and book exchange, transformation of knowledge and other issues centered on the practice of conversations by writing Chinese. This research hopes to return to the late Qing and reflect on China through its neighbors’ perspectives.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Parallel title from added title page.
Thesis (Ph.D.) Chinese University of Hong Kong, 2015.
Includes bibliographical references (leaves 291-339).
Abstracts also in English.

陳芃欣.
Thesis (Ph.D.)--Chinese University of Hong Kong, 2013.
Includes bibliographical references (leaves 126-133).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstract in Chinese and English.
Chen Pengxin.

This paper concentrates on the discussion of the relationship between 1930s Chinese modern writer Shi Zhecun and "translated modernity." The basic assumption behind this paper is that the work of fiction by Shi Zhecun is a kind of translingual practice, which is inextricably bound up with translation. It is through such a broad sense of translational activity that Shi Zhecun began his pursuit of modernity and finally obtained a kind of modernity different from the Western, the translated modernity. Looking from the perspective of translingual practice, the fictional work by Shi Zhecun is never an isolated mental work, but the consequence of cultural exchange and vigorous bombardment between Chinese and Western literature. On one hand, his fiction fails to stand outside of the progress of modernity in China, while his work is also deeply embedded in the network of Western literature on the other hand. By mean of a series of mimicry, appropriation and rewriting, he translates text from various times, spaces and media into his own work. In the fiction by Shi Zhecun, we may see the process of how foreign literature and other cultural factors rise, circulate and eventually gain legitimacy in the 1930s China. At the same time, we can also know of how they have changed the observation and conception of modern Chinese writers towards literature and the outer world. Therefore, not only does fiction by Shi Zhecun comprise the modernity experience of Shanghai, a metropolitan city in the 1930s, to synchronize with the world, but they also record responses and changes of modern Chinese fiction in the face of the progress of modernism.
This paper is divided into seven chapters. The first chapter is an introduction, which briefly introduces the background of investigation of Shi Zhecun's fiction and expounds the theoretical framework of "translated modernity". Chapter two to six are the core part of this paper. By introducing related literary and cultural theories, they serve to probe into fiction by Shi Zhecun. Chapter two draws an outline of historical materials and observes the frequent mimicry and rewriting phenomena on his early work with regard to his fictional work and translational activities, in order to grasp how he transplants forms and techniques from the Western fiction into the Chinese situation. Chapter three deepens discussion on the previous chapter and examines how Shi Zhecun employs western psychoanalytic method and narrative mechanism in his "old stories retold" to construct the interiority unique to modern fiction. Chapter four intervenes from the viewpoint of technologized visuality to analyze the relationship between psychoanalytic fiction by Shi Zhecun and modern visual text. Through the discussion of mode of space in fiction, chapter five looks at how Shi Zhecun's fiction transform modern urban space into fictional text, producing a range of thoughts concerned with modernity. Chapter six, by reconstructing his literal tradition, interprets the traditional elements found in his fiction and analyzes with different aspects his re-creation of Chinese traditional literature. Chapter seven is the conclusion, which attempts to consolidate what has been discussed before in this text, in order to contemplate the important significance of modernity in China brought about by Shi Zhecun's fiction.
Translation, since the Late Qing Dynasty, has been exhibiting great influence on China's road towards modernity. Scholars Lydia Liu and David Wang present "translated modernity" as a way to delve into the relationship between translation, Chinese Late Qing fiction and May Fourth literature. From Late Qing to May Fourth, translation has been highly influential on the period when old literature was superseded by new one. Thus, when radical anti-traditionalism wanes, would translation, among the relatively mature 30s literature, have a new significance?
郭詩詠.
論文(哲學博士)--香港中文大學, 2006.
參考文獻(p. 220-233).
Adviser: Hang Fung Hoyan.
Source: Dissertation Abstracts International, Volume: 68-02, Section: A, page: 0575.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts in Chinese and English.
School code: 1307.
Lun wen (zhe xue bo shi)--Xianggang Zhong wen da xue, 2006.
Can kao wen xian (p. 220-233).
Guo Shiyong.

田漢（1898-1968）是中國現代文學的重要劇作家之一。他亦以電影劇本作家、戲曲作家、詩人、小說家、散文家、翻譯家、歌詞作家、文學評論家和社會活動家知名於世。田漢雖在文學史上有著舉足輕重的地位，其研究卻長期受到政治因素制約。新時期以來，田漢研究轉趨活躍，但論者多從比較文學的角度分析其作品。本論文希望從田漢在日本大正時期留學的經歷，考察其早期藝術生命之形成。
大正時期，日本在經濟、文化、社會價值觀各方面都有著激烈變動，「兩性解放」為其時代精神，「新女性」的話題非常盛行。論者雖然大多留意到女性角色和婚戀議題在田漢早期作品的重要，但甚少提及田漢留日時期的經歷與其作品的關係。田漢是中國留日學生，早在日本時期即已開展話劇創作。除對外國文學的接受外，田漢實際上亦受到日本化的西方思想、運動和生活方式，例如女性解放理論、劇場運動和咖啡店文化所影響，而這些影響更以不同方式滲透到其早期作品中。本論文旨在闡述這些因素在田漢早期創作生命中所起的作用，尤其是他對女性和婚戀議題的思考和取態。本論文的研究範圍涵括田漢在二十世紀二十年代的整個創作歷程。
本論文共分五章，內容如下：第一章為導論，簡介田漢研究的情況、本論文的研究範圍、目的和方法。第二章至第四章討論大正時期不同的社會文化因素與田漢早期作品的關係。第二章考察田漢早期作品對日本大正時期女性解放理論的接受和轉化，以及田漢對當時社會戀愛事件的評價。第三章闡述藝術座的新劇運動，以及其創立人島村抱月和松井須磨子的戀愛事跡對田漢早期創作生命的影響。第四章從大正時代的咖啡店文化出發，分析田漢一系列不同文類、以咖啡店女侍為主角的早期作品。第五章為總結。
Tian Han (1898-1968) is one of the most prominent dramatists of modern Chinese literature. He is also renowned as a film scriptwriter, xiqu (traditional Chinese drama) writer, poet, novelist, proser, translator, lyricist, literary critic and social activist. Nevertheless, the study of Tian had long been at a standstill due to political reasons. Since the 1980s, most of the researches have been conducted from the approach of comparative literature. This thesis, however, traces the development of Tian’s literary life by examining his experiences in Japan during the Taisho Period.
During the Taisho Period, Japan experienced tremendous changes in economy, culture and social values, with “sex liberation considered as the zeitgeist and “new women as a popular issue. Many scholars have discussed the significance of female characters and the theme of “love and marriage in Tian’s early works, but they seldom mentioned the influences by Tian’s experiences in Japan. Tian, as a returned Chinese student, had started his playwright career in Japan. Apart from the reception of western literature, Tian was also influenced by the “Japanized western thoughts, movements and lifestyle, such as feminist theories, theatre movements and café culture, which had penetrated his early works in different ways. With the focus on Tian’s literary works during the 1920s, this thesis aims at demonstrating the influences of these factors on Tian’s early writing career, particularly in studying Tian’s unique viewpoints and attitudes towards women, love and marriage.
This thesis is divided into five chapters. Chapter One gives an introduction on the background, scope, objectives and methodology of this study. Chapter Two to Chapter Four discuss the relationship between the social-cultural factors of the Taisho Period and Tian’s early works. Chapter Two examines the reception and transformation of feminist theories in Tian’s early works, as well as Tian’s evaluation towards the romance anecdotes in the Taisho Period. Chapter Three describes the importance of the Geijutsu-za theatre troupe in shingeki (new drama) movement and the love story of its founders, Hogetsu Shimamura and Sumako Matsui, on Tian’s early literary life. Chapter Four analyzes Tian’s early works of different genres featuring café waitresses with the exploration of the café culture in the Taisho Period. Chapter Five concludes the study.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
盧敏芝.
"2012年8月".
"2012 nian 8 yue".
Thesis (M.Phil.)--Chinese University of Hong Kong, 2012.
Includes bibliographical references (leaves 135-144).
Abstract in Chinese and English.
Lu Minzhi.
Chapter 第一章 --- 導論 --- p.1
Chapter 第一節 --- 小引 --- p.1
Chapter 第二節 --- 田漢研究綜述 --- p.2
Chapter 一 --- 田漢早期生平簡介 --- p.3
Chapter 二 --- 田漢研究概況 --- p.6
Chapter 第三節 --- 本論文之研究目的 --- p.9
Chapter 一 --- 提出田漢研究的新角度 --- p.9
Chapter 二 --- 重視日本因素在田漢研究中的角色 --- p.10
Chapter 三 --- 重新探究田漢早期作品中的女性婚戀議題 --- p.12
Chapter 第四節 --- 本論文之研究方法 --- p.15
Chapter 第五節 --- 小結 --- p.19
Chapter 第二章 --- 田漢與日本大正時期之女性解放思潮 --- p.20
Chapter 第一節 --- 小引 --- p.20
Chapter 第二節 --- 田漢對日本大正時期女性解放理論之引介 --- p.21
Chapter 一 --- 〈秘密戀愛與公開戀愛〉 --- p.22
Chapter 二 --- 〈第四階級的婦人運動〉 --- p.25
Chapter 三 --- 〈吃了「智果」以後的話〉 --- p.26
Chapter 四 --- 田漢對日本大正時期女性解放思想的取捨與評價 --- p.30
Chapter 第三節 --- 日本大正時期的女性解放理論與田漢的早期劇作 --- p.36
Chapter 一 --- 田漢早期劇作對愛倫．凱「新性道德」論的借鑑 --- p.36
Chapter 二 --- 田漢早期劇作對社會主義女性解放理論的借鑑 --- p.40
Chapter 三 --- 田漢早期劇作對女權運動的批評 --- p.45
Chapter 第四節 --- 《薔薇之路》對日本大正時期戀愛事件的記述和評論 --- p.48
Chapter 一 --- 「大正三美人」事件 --- p.51
Chapter 二 --- 男性戀愛醜聞 --- p.56
Chapter 三 --- 日本大正時期社會婚戀事件對田漢的啟示 --- p.58
Chapter 第五節 --- 小結 --- p.59
Chapter 第三章 --- 藝術座的新劇運動與田漢對女性議題的探討 --- p.60
Chapter 第一節 --- 小引 --- p.60
Chapter 第二節 --- 日本的新劇運動 --- p.61
Chapter 第三節 --- 藝術座與田漢 --- p.63
Chapter 一 --- 藝術座 島村抱月 松井須磨子 --- p.63
Chapter 二 --- 田漢對松井須磨子的引介和接受 --- p.66
Chapter 三 --- 田漢對藝術座的觀演經驗與女性解放議題 --- p.68
Chapter 第四節 --- 藝術座對田漢早期戲劇生涯的影響 --- p.75
Chapter 一 --- 田漢的早期話劇創作 --- p.76
Chapter 二 --- 翻譯與改編 --- p.87
Chapter 三 --- 對易卜生戲劇的研究 --- p.93
Chapter 四 --- 女演員的培育 --- p.95
Chapter 第五節 --- 小結 --- p.98
Chapter 第四章 --- 日本大正時期之咖啡店文化與田漢筆下的「新女性」 --- p.99
Chapter 第一節 --- 小引 --- p.99
Chapter 第二節 --- 日本大正時期的咖啡店文化 --- p.100
Chapter 第三節 --- 田漢與日本咖啡店的因緣 --- p.103
Chapter 第四節 --- 《咖啡店之一夜》中的咖啡店與都市 客與女侍 --- p.110
Chapter 第五節 --- 《到民間去》中咖啡店情節的消退 --- p.118
Chapter 第六節 --- 小結及餘論 --- p.125
Chapter 第五章 --- 總結及餘論 --- p.129
Chapter 第一節 --- 小引 --- p.129
Chapter 第二節 --- 本文研究總結 --- p.129
Chapter 第三節 --- 餘論：田漢早期劇作中的「新女性」與三十年代的轉向 --- p.131
Chapter 第四節 --- 小結 --- p.133
p.135
Chapter 附錄一 --- ：田漢於少年中國學會刊物發表作品 --- p.145
Chapter 附錄二 --- ：田漢在日期間觀劇資料 --- p.152

伍紅玉.
Submitted: November 2007.
Thesis (doctoral)--Chinese University of Hong Kong, 2008.
Includes bibliographical references (p. 197-204).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts in Chinese and English.
Wu Hongyu.