Dissertations / Theses on the topic 'Popular culture – China'
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Lam, King-sau, and 林勁秀. "Wang Shuo's fiction and popular culture." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B35319161.
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Lu, Hongwei. "The dynamics of desire and cultural transformation in post-reform urban China /." view abstract or download file of text, 2005. http://wwwlib.umi.com/cr/uoregon/fullcit?p3201690.
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Thesis (Ph. D.)--University of Oregon, 2005.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 193-214). Also available for download via the World Wide Web; free to University of Oregon users.
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Yung, Lai-fong Edith, and 容麗芳. "Popular culture and deviant youth behaviour in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31978800.
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Cai, Shenshen. "Chinese Contemporary Popular Culture: Postmodern Deconstruction of the Socialist Revolutionary Master Narrative." Thesis, Griffith University, 2009. http://hdl.handle.net/10072/367005.
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The concern of this thesis in postmodernity in China. It explores postmodernity in Chinese popular culture and by analysis it shows how popular culture texts challenge the meta-narrative of socialist revolution. Contemporary philosophical theories and perspectives are used to analyse a range of modern film and drama scripts, novels, and youth culture phenomena. This postmodern analysis of a diverse but nonetheless representative range of Chinese popular culture exposes Chinese popular culture's postmodern intent, that is, (in part), to challenge and interrogate the dominance of the conservative, 'modern', meta-narrative as it is most often encapsulated in China within the paradigm of 'socialist revolution'.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Arts
Arts, Education and Law
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Schmalzer, Sigrid. "The people's Peking Man : popular paleoanthropology in twentieth-century China /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2004. http://wwwlib.umi.com/cr/ucsd/fullcit?p3137238.
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宮翠棉 and Chui-min Koon. "The politics of popular culture: a study of aHong Kong comic strip, McMug." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B43894884.
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Shen, Yipeng. "In the Heat of Sentiments: Nationalism, Postsocialism, and Popular Culture in China, 1988-2007." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10846.
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xi, 284 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.My dissertation delves into the recent articulation of popular nationalism in Mainland China, with particular emphasis on the changes that globalization and transnationalism have brought about to the representation of the Chinese nation in sentimental terms. Complementing the rich existing literature of Chinese nationalism that focuses mainly on the pre-1949 period, my study explores the less-treaded contemporary era characterized by the new historical condition of postsocialism, which features a residual of the socialist past as well as its reinvention under new overwhelming trends of globalization. Postsocialism and its consequences-the deepening of a neoliberalist economic refonn, the state-intellectual promotion of cultural economy, the emergence of a dominant consumer culture, etc.-have produced new issues existing scholarship on Chinese nationalism has yet to address. One such issue is how the paradoxical entity of the "nation" in time and space has been fragmented by the accretion of diversified voices from a wide spectrum of Chinese society. In postsocialist China, the agents imagining the nation include not only regulars like the state and intellectuals, but also new players like mass-media elites and netizens (wangmin). I argue that these voices of different social forces that break up the hegemony of the state in representing the nation-the result of which being not that the state is excluded from this enterprise but that it now tells only part of the story-become expressed as modes of national sentiments (minzu qinggan) when the nation is imagined under the historical condition of postsocialism. My study then explores in detail the fashioning and refashioning of contemporary Chinese subjectivity, as it relates through the joining of national sentiments to the literal and figurative body of the nation and the social power structure, by analyzing these specific voices in a broad range of popular texts from TV, film, and the Internet. The detailed examination includes four chapters dealing with specific modes of national sentiments articulated by the intellectuals, the state, the mass-media elites, and the netizens, respectively.
Committee in charge: Tze-lan Sang, Co-Chairperson, East Asian Languages & Literature; David Leiwei Li, Co-Chairperson, English; Maram Epstein, Member, East Asian Languages & Literature; Bryna Goodman, Outside Member, History
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Lotter, Casper. "Places to look for m/other-heterodox discourse on gender among contemporary chinese women: a cross-cultural feminist approach." Thesis, Nelson Mandela Metropolitan University, 2013. http://hdl.handle.net/10948/d1020099.
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This study proceeds on the assumption that maternal discourse in the West, according to Kristeva, is repressed, which has resulted in the serious fracture of the mother-daughter relationship and seeks to isolate a restorative model in contemporary Chinese culture. Chapter One explores the feminist claim that this fractured relationship is the result of patriarchal oppressions (and the cause of twice as many women than men suffering depression) and attempts to reconcile feminist psychology with Kristeva‟s thesis that abjection per se is the cause of widespread depression among women. The next chapter delineates the features of a cross-cultural feminist analysis, which includes exploring notions of Foucaultian and Lacanian discourse, by situating gender as a tool within the context of feminist and postcolonial perspectives. An argument is made that cinema is a privileged site to cull material from which to probe discourses on m/other and the thesis of a sunken maternal metaphor across all cinematic genres is demonstrated. Contemporary Chinese culture is scrutinized for possibly curative discourses and Bourdieu‟s idea of „rebel‟ and „orthodox‟ discourse models is employed to this end. After finding dominant discourse on gender in contemporary Chinese societies unsatisfactory for this purpose, I examine three contemporary Chinese films, with Gong Li as the female lead, in which I unearth two rebel discourses on m/otherhood. I argue that men and boys need to be encouraged to develop their aptitude and skills to nurture and care. This will allow women much needed space and time to come to terms with themselves and their own needs. In short, women and especially m/others, worn-out from guilt and expectations, are desperate for nurturance themselves.
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Ng, Bo-sze, and 吳寶詩. "Slimming culture in Hong Kong: a sociologicalstudy." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B31478694.
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Tam, Pui-yim Jenifer. "Japanese popular culture in Hong Kong : case studies of youth consumption of cute products and fashion magazines /." Thesis, Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25017585.
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Ho, Wing Shan. "How Far Can We Go: Popular Film and TV Drama in Post-1989 China." Thesis, University of Oregon, 2012. http://hdl.handle.net/1794/17937.
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295 pagesMy dissertation addresses two major issues in Chinese contemporary film and TV studies: the first is the proliferations of new forms of subjectivities and the state’s attempt to regulate them via the construction of an ideal citizenship on the film and TV screen; the second is to develop an approach to understand the political economy of screen culture (yingshi wenhua), as well as freedom and control in post-1989 China. My project investigates key contemporary state-sponsored (zhuxuanlü) and state-criticized/banned screen products as a way to explore socialist values advanced by the Chinese Communist Party, as well as the ways in which and the extent to which individuals are able to challenge them. The ways in which my project contributes to the fields of film and TV studies in China are fourfold. First, close readings of selected films and TV dramas inform us of three emergent forms of subjectivity that were previously theorized as a synthesized sublime subject. Second, I conceptualize qualities of the on-screen socialist spirit that the state uses to counteract the three new forms of subjectivity and maintain its superiority. Third, by discussing the state’s intervention and control on production and consumption of screen products, I reveal the state’s vested interests and individuals’ execution of agency in popular culture. This emphasis on state-individual interactions challenges the current focus on TV and film as merely a profit-oriented industry; it also unravels conflicted ideologies in screen products and questions the understanding of popular culture as mainstream culture. Fourth, by achieving the above tasks, my research exposes that the state’s tolerance of its citizens’ partial freedom is for the purpose of political stability.
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Liu, Ka-wang Angus, and 廖家泓. "Popular culture in Hong Kong: discourse of law and order in the gangster movies of the 1990s." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31952756.
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陳曉昕 and Hiu-yun Joyce Chan. "Making news: a cultural study of the text, production and political implication of Apple Daily and Ming Pao." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31225664.
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Suen, Siu-mei Jocelyn, and 孫少薇. "Tina Ti as sex symbol : a challenge to dominant culture." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hdl.handle.net/10722/205876.
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Lau, Cheung-cheung, and 劉章璋. "A study of Manga and adolescent popular fiction in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31221142.
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Li, Henry Siling. "Seriously playful : the uses of networked spoof videos in China." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/58084/1/Henry_Li_Thesis.pdf.
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This thesis examines online spoof videos in China. It shows the relationship between user-created content and change and how such videos are impacting on social memory.
In the West, we are witnessing two outstanding trends in media. On the one hand, media are turning more "demotic" (Turner, 2006) and "participatory" (Jenkins, 2006), whereby lay audiences use popular media for identity formation, representation and association, reconfiguring the media and cultural landscape, and rendering invalid the old paradigm based on the dichotomy of audience and author, creator and consumer, expert and amateur. On the other hand, in both mainstream media and user-creation online there is a trend towards "silly citizenship", with comedy, send-ups and spoofs that used to reside in the margin propelled to the central stage in both pleasure and politics (Hartley, 2010), as is shown in the rising popularity of the Daily Show, Colbert Report, and spoof videos in elections ,e.g. the 2008 presidential election in US (Gray, Jones, & Thompson, 2009; Tryon, 2008).
User generated content—and spoof subcultures—is now much a debated phenomenon in China. However, with different political (one party rule and censorship) and cultural (media regarded mainly as instrument for education and social stabilization instead of a critical fourth estate) configurations, will the social and cultural impacts of the two trends in the West be as the same in China? If not, what will be the specificities in the China context? The project starts with a historical review of popular culture and user-created content in China, before turning to spoof videos and looking at how they are produced and shared, travel and diffused on the Internet, and how the communities and sub-cultures forming and emerging around spoof videos are changing the overall cultural landscape in China.
By acting as a participant observer in online video sharing sites and conducting face-to face as well as online interviews, I identify lead users and creators of spoof videos and the social networks emerging around them. I call these lead users "skill hubs" and their networks "liquid communities", foregrounding the fact that their appeal doesn’t come from their amicable personality, but rather from their creative skills; and that the networks surrounding them are in a permanent flux, with members coming and going as they see fit. I argue that the "liquidness" (Bauman, 2000) of these communities is what makes them constantly creative and appealing. Textual analysis of online videos, their comments and derivatives are conducted to tease out the uses that that can be made of spoof videos, namely as phatic communication, as alternative memory and as political engagement. Through these analyses I show that spoof videos constitute not only a space where young generations can engage with each other, communicate their anger and dissatisfaction, fun and hope, and where they participate in socio-cultural and political debates, but also create a space where they can experiment with their new skills, new ideas, and new citizenship. The rise of spoof videos heralds the beginning of a trend in popular culture in contemporary China towards the "canonization of the jester" and the dethroning of the establishment.
I also argue that a historical perspective is needed to understand the current surge of use creativity and user activism in China, and that many forms of popular media we experience today have their antecedents in various stages of Chinese history. The entrenched "control-resistance" binary is inadequate in interpreting the rich, flux and multilayered Internet space in China.
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Mao, Jian. "San si shi nian dai Shanghai wen xue yu dian ying zhong de dou shi xin gan jue." online access from Digital dissertation consortium, 2002. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?3067170.
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de, Feo-Giet Danielle Karanjeet J. "Fantasies of authenticity, anxieties of culture : global capital, entertainment and cultural nationalism in the contemporary popular cinemas of India and China since 1990." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:39cbae3c-354c-4ebc-be09-386af42f78d0.
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My thesis is dedicated to the study of popular, commercial cinema as a force within the discourse of national and personal identity in the rapidly changing mega-economies of India and China, and their diasporas, since the watershed year of 1990. Its purpose is to reveal the unique pattern of like and unlike that exists between the "Social Representations" (Serge Moscovici 2000) of contemporary India and China on screen through a juxtapositional comparative approach, close visual analysis, and the development of original theoretical tools. Tense networks of fantasy and anxiety emerge as popular culture actively circulates their shared experiences of changing global status, uneven economic growth (Gong Haomin 2012), and social change. Transnational subjects, Hua and Desi, arrive on screen ready to carve out culturally inflected modernities, in search of "tradition" and "values" to suit contemporary cultural-nations-beyond-borders. I treat film as consumer product, diegetic entity, and text: hence narrative, visual, linguistic and contextual aspects of over fourteen popular commercial films ("Bollywood" and "Yulepian"), are explored. My analysis comprises two interlocking halves: the first two chapters focus chiefly on identities - Hua and Desi, and diasporic persons. The former, conduits for the cultural nation to re-think modernity, the latter a dreamed vanguard of "claim-staking" ethnicised global consumers, defenders of the cultural nation in the "host" country. Chapters Three and Four focus on genres - comedy and history films. Through comedy, these films create state-serving heterotopias or challenge the status quo; perhaps they build cultural nationalist mythos, or lace cynical questions through lavish history film. To understand internecine relationships between economics, society and the imagination, entertainment film cannot be dismissed - in India and China, where change has had intended and unintended consequences unfolding even as uncertainty looms, I show that fresh study, especially in comparison, is absolutely essential.
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Wei, Yang. "Popular Opinion and Public Reasoning: Intellectual Changes and Institutional Innovations in Late Ming China (1580s-1640s)." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11321.
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This study examines the rise of popularist discourse in the realms of intellectual transformation, political reforms, institutional innovations, social activism, and cultural construction from the 1580s to the 1680s. Centered on notions such as "popular opinion (gonglun)" and "public reasoning (gongyi)", the popularist discourse presupposed individual perspectives as inherently isolated, incomplete, parochial, and flawed. Broader inclusion of diverse opinions was thus justified as an indispensible check of individual view for optimal outcome. Chapter 1 explores the intellectual transformation from the Neo-Confucian premises to elitist-popularism, in which the daoxue assumptions of individual access to absolute truth, and of the linear transmission of orthodox learning through an enlightened minority (daotong) were questioned. In contrast, the popularist notions emphasized the fallibility of any individuals, justified spontaneous consensus, and advocated horizontal inclusion of ideas in collective reasoning. Chapter 2 examines the political disputes concerning the "collective recommendation (huitui)" in the late Ming administration, arguing that proponents of huitui, through re-inventing this tradition, sought to moderate the imperial power in important bureaucratic appointments and to promote broader political participation and greater transparency in policy-making. Chapter 3 explores the institutional innovations relating to the fangdan questionnaires, which served as a quantitative means for substantiating the conceived popular opinion in late-Ming officialdom. Beneath these institutional reforms was the popularist orientation that saw commonly shared opinion as innately outweighing individual views. Chapter 4 stresses the centrality of the popularist discourse in the late-Ming Jiangnan literati's activism, arguing that the collective strategies facilitated the local literati's agendas of defending common status and shared interests out of the fear of downward social mobility in a society of increasing identity fluidity. Chapter 5 discusses the cultural impact of the popularist discourse by demonstrating how the collective approach posed challenges to the prevailing Neo-Confucian moral absolutism, brought about a new definition of learning as cumulative, inclusive, open-ended process of public reasoning, and spurred the florescence of encyclopedias, compendia, and anthologies as "the market of knowledge/ideas" for the audience to choose. Taken together, these case studies show a profound change in late-Ming China's political, intellectual and cultural landscape reshaped by a collective orientation.East Asian Languages and Civilizations
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HAN, XIAOFEI. "Contemporary Squares of China--Nanjing Case Study." Doctoral thesis, Politecnico di Torino, 2016. http://hdl.handle.net/11583/2645266.
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In urban history books about Chinese cities, all the vivid descriptions of traditional urban life convey one message--as an important part of the city today, square seems to be absence in China’s past. Square was imported to China along with the establishment of concessions. When foreigners (Russian/German/Italian/, etc.) introduce square toChina along with constructing their concessions, they would never image that Chinese square will become something highly peculiar and unusual in many ways after 100 years. However, the form and function of Chinese square appear quite similar with European square in the very beginning, so what forms the peculiar characters of Chinese today?
The answer to this question may start from China’s failure of ‘the first Sino-Japanese war, since then The foundation of Chinese ideology and philosophy--Confucianism was doubted and questioned. Meanwhile, Social Darwinism was influential and prevailed nationwide. the direct influence of these 2 transformations are western culture was considered as higher potential culture. This idea leading to the disappear of traditional public spaces like streets and appear of western public spaces like squares or parks. With the purpose to reform the public life and remake the public space, there are 3 stages for square design in China.All these ideological transformations and urban reform have 3 points influence square design of China, the first is the disappear of China's traditional street culture, the second is the residue of collectivism since Mao's era, the third is the influence of the Soviet Union and Beaux-Arts system.
In this context, there are similar and peculiar characters in both form and function. In this study, Nanjing was selected as studying subject. Nanjing was the capital of China on many occasions. The name Nanjing literally means ‘the southern capital’ and its counterpart is Beijing—means ‘the northern capital’. Among them, the urban design of Ming Empire and Republic China contributes greatly to influence the urban structure of Nanjing today. All the five cases selected for study have close relationship with traces of republic china, 3 of them have relationship with remains of Ming Empire.
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Chow, Kwok-wai Terry, and 周國偉. "The dialectic of utopia and ideology in education: the implications of the critical hermeneutic of PaulRicoeur." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1992. http://hub.hku.hk/bib/B31233053.
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Chadwick, Tobias Oliver. "Lurid pleasures : entertainment and modernity in republican Shanghai /." [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe18642.pdf.
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Zhang, Zan. "Paradise and paradox : on the Super Voice Girls : elementary discussion on popular culture, youth, media and state politics of contemporary China." Thesis, University of British Columbia, 2009. http://hdl.handle.net/2429/7872.
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This paper investigates the Super Voice Girl show (è¶
级女声) as a popular music outlet and cultural product of contemporary China. Focusing on three important contexts of the Super Voice Girl showâthe industrial, value and ethical foundations, this piece of work demonstrates that the popular cultural outlet, combined with new technologies of mass communication and the new market economy in the Chinese society today, has made a contribution to enabling Chinese youth, in particular, Chinese young women to gain access to achieving a new voice. The three foundations provide people with an opportunity to have a comprehensive understanding about the key elements or fundamental concepts of this new public voice, including the industrial chain of the show, the aspiration for democracy, the subversion of feminist right awareness against traditional ethical outlook or patriarchy-dominated ethical view, and the impact of media propaganda on youth and so on.
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Feng, Dongning. "Text, politics and society : literature as political philosophy in post-Mao China." Thesis, University of Stirling, 1997. http://hdl.handle.net/1893/2216.
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The purpose of this study is to arrive at a critical overview of politics and literature in the Chinese context. The relationship has increasingly become a "field" of studies and theoretical inquiry that most scholars in either disciplines are wary to tread. This thesis tries to venture into this problematic field by a theoretical examination as well as an empirical critique of Chinese literature and politics, where the relationship seems even more paradoxical, but adds more insight into the argument. The Introduction and Chapter One set up a framework by asking some general but fundamental questions: what literature is, and how it is to be related to politics. Chapter Two examines the historical function of literature and Chinese writers in society to establish the basis of argument in the Chinese context. Chapter Three focuses the discussion on the relationship between politics and literature during the Mao era and after. Chapters Four analyses the literary works published during the post-Mao period to establish the argument that literature, as part of our perception of the world, is most concerned with human society and social amelioration and participates in the socio-political development by contributing to it through a discourse that is otherwise inaccessible. Chapter Five explores the argument further by extending it into the field of cinema, which basically comes from the same narrative tradition of prose literature, but offers a wider and different dimension to the argument pursued. Chapter Six and the Conclusion try to draw together the argument by examining literature as both form and content to argue how and why literature is related to politics and how it has functioned in a political manner in Chinese society. To summarise, Chinese literature in this period will b& shown to be involved In a process of political reform and development by way of bringing the reader to participate in a critical and philosophical dialogue with power, history and future. In the long run, it offers emancipating visions and possibilities revealed to the reader in ways that are historical, developmental, philosophical and comparative. This study focuses on the prose fiction published in this period, for it is the leading force in China's cultural development and constitutes the major trunk of the modern Chinese canon. In addition, the research also extends to drama and films, and the way they, together with prose fiction, make up the most popular perception and intellectual discovery of contemporary Chinese society and politics and best inform the argument of the study of politics and literature.
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Huang, Yu. "La dynamique culturelle en Chine contemporaine : analyse de phénomène de Super Girl Voice concours de chant." Thesis, Lyon 3, 2011. http://www.theses.fr/2011LYO30020/document.
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Cette thèse étudie le phénomène du concours de chant « Super Voice Girl » dans le but de déterminer les mécanismes fondamentaux de la dynamique culturelle en Chine contemporaine. S’inspirant de l’émission américaine « American Idol », le concours de chant « Super Girl Voice » est produit par Hunan TV et sa compagnie filiale EE Media. Avec une participation massive, le concours est commenté par un jury dans les auditions régionales préliminaires, complété par un système de vote des téléspectateurs afin d’élire le gagnant. « Super Girl Voice » est devenu un des sujets les plus discutés de la société chinoise dans le domaine des medias de masse. La thèse examine ce phénomène dans la cadre théorique de l'hégémonie culturelle qui articule des vues divergentes dans des études culturelles. Pour son auteur, la force culturelle en Chine contemporaine est caractérisée par la négociation entre l’idéologie dominante, la culture populaire et les discours intellectuels. L'idéologie dominante de l’état fortement ancrée dans la société détermine la politique et les pratiques culturelles chinoises. Elle est en même temps réinterprétée et diluée dans le processus de la modernisation économique. La culture émergente populaire à visées lucratives se tient délibérément à distance de l'idéologie dominante, mais elle reste dans l’obligation de s’adapter aux règles de l’idéologie dominante. Les discours intellectuels sont diversifiés depuis que les intellectuels chinois ont plus d’indépendance économique, politique et culturelle. Leur influence, toutefois, a été minée par la politique de contrôle des médias et la dépolitisation de l’industrie culturelle chinoiseThis thesis investigates the Super Girl Voice phenomenon in order to achieve some understanding of the mechanisms underlying cultural dynamics in contemporary China. A Chinese imitation of the American reality television singing competition American Idol, the Super Girl Voice Contest is produced by Hunan TV and its subsidiary company EE Media. This highly participatory contest features a panel of judges in the preliminary regional auditions and employs a telecommunication-Based voting system to determine the winner. Its finals are broadcast live in prime time with record-Breaking national viewership. This contest also becomes one of the most heatedly discussed issues in Chinese society in the public sphere of mass media. The author contends that the cultural dynamics in contemporary China is characterized by the mediated negotiation between the dominant, the emergent, and the residual cultures. The dominant state ideology is embodied in the majority of the society and determines Chinese cultural policy and practices. On the other hand, it is being reinterpreted and diluted in the process of economic modernization. The profit-Oriented emergent popular culture deliberately keeps a distance from the dominant ideology, but it still need to comply with the ideology-Dominated regulations. The intellectual discourses are diversified since Chinese intellectuals achieve more economic, political and cultural independence. However, their influences have been undermined due to the political control over Chinese media and the depolitisation of Chinese cultural industry
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陳振國 and Chun-Kwok Chan. "The silver-screened images of city: film as an alternative tool for planning and development in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31260706.
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Bayne, John Graham. "'The trite and the gaudy'? : reviewing 'popular culture' and the anthropology of consumerism through an examination of wall calendars in contemporary urban China." Thesis, SOAS, University of London, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.299767.
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Hay, Trevor Thomas. "China's Proletarian Myth: The Revolutionary Narrative and Model Theatre of the Cultural Revolution." Thesis, Griffith University, 2000. http://hdl.handle.net/10072/366202.
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China's model works, the so-called `eight great model works' are rarely thought of as `literature', not only because they are of course, performance works, but because they are not thought of in the normative sense as a form of dramatic literature, but as a form of propaganda. This thesis investigates the relationship between propaganda and art by concentrating on the texts of these works and, in particular, by analysing the structure of a narrative type which is not just a blueprint for dramatic texts but a design for the Chinese revolutionary narrative, as embodied in Mao Zedong's key utterances on literature and art, and `told' or enacted, by the campaign to reform Beijing opera undertaken by his wife, Jiang Qing.
In order to understand the precise nature of this narrative, and its relationship with theatre and the broader political arena of the Cultural Revolution, an analysis is undertaken of literary theory in both the Soviet Union and China, followed by an analysis of the aesthetic at work in the particular combinations of realism and romanticism which were discussed and implemented in each country. After a detailed examination of the way the campaign to reform Beijing opera was conducted, including the promulgation and `display' of key documents and speeches by Mao and Jiang Qing, sample texts are analysed according to a method which illustrates the design of the narrative. These texts, and the model works in general, are then considered in relation to some general observations about genres of mythology and their relationship with folklore. Finally, a particular `dramatic' relationship is suggested between the narrative design of the models, and the conduct of the Cultural Revolution itself. In the course of this, the notion of mythology is discussed in the context of its complex relationship with ideology and popular culture, as identified by Roland Barthes in particular, with his often enigmatic emphasis on the `semiology' of myth. The complex blend of cultural theories which may be brought to bear on this discussion is re-visited, with a view to understanding the model works as a genre of `proletarian' mythology which might yet survive the Cultural Revolution as a substantive dramatic genre. In conclusion, the relationship between theatre, narrative and semiotics is pursued, in attempting to establish a key difference between the aesthetic `method' employed in the model works and that of socialist realism. This difference, it is argued, is the product of a basic approach to mythic romanticism which preserves the essential traditions of Beijing opera, and makes the models legitimate heir to this tradition, in spite of the bitter memories of the Cultural Revolution and its tragic campaigns.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Asian and International Studies
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Cheng, ShaoChun. "Popular Cultural Production and Exchange in the Greater China Regional Media Market: A Case Study of Taiwan Symbol Creator Chiungyao's Huanzhu Gege TV Drama Trilogy." Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1169143193.
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Cheng, ShaoChun. "Popular culture production and exchange in the greater China regional media market a case study of Taiwan symbol creator Chiungyao's Huanzhu gege TV drama trilogy /." online access from Digital Dissertation Consortium, 2007. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?3263055.
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Thao, Marie-Claire. "La modernité chinoise dans la publicité fixe en République populaire de Chine de 1979 à 2008 : une expérience de l’hybridation." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040230.
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Centrée sur la République Populaire de Chine actuelle, notre recherche vise à mettre en évidence les processus d’hybridation culturelle dans l’expression de la « modernité chinoise » en tant que thème publicitaire. L’hybridation irrigue les conditions de la création publicitaire en prise avec l’histoire, innerve les pratiques des créatifs et des professionnels de la publicité, imprègne les productions et créations réalisées. L’analyse d’un corpus de soixante-quinze publicités diffusées de 1979 à 2008 met en évidence l’apport continu d’influences extérieures sur les arts visuels de masse et le contexte de création, les tensions et négociations suscitées par la constitution d’un imaginaire de la « modernité chinoise ». L’imprégnation de l’hybridation au cœur des indices et des énoncés laisse intacts les cadres englobants du discoursFocused on the current period of Popular Republic of China, our research aims at highlighting the cultural hybridization process at play in the expression of “Chinese modernity”. Hybridization is part of the advertising creation conditions, the professionals’ practices and the creations themselves. The analysis of seventy-five print advertisements released between 1979 and 2008 shows the continuous impact of foreign influences on the creation context in Chinese contemporary visual arts, the tensions and negotiations generated by the constitution of a “Chinese modernity” imaginary. The hybridization of indexes and utterances leaves global discourse frameworks intact
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Liu, Zhe. "The History of a Chinese Pictorial Genre in Modern Shanghai : Lianhuanhua – The Palm-sized World (1920-1949)." Thesis, Lyon, École normale supérieure, 2015. http://www.theses.fr/2015ENSL1045.
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Cette thèse fait la recherche sur lianhuanhua, un genre de la bande dessinée chinoise, comme une expression de la culture populaire à Shanghai, qui était la plus importante métropole dans l’histoire moderne de la Chine. Chapitre I essaie d'expliquer pourquoi lianhuanhua est née à Shanghai et comment peut- il devenir une part de la culture populaire. Le contexte était la configuration politique et culturelle crée comme le résultat de la présence des concessions étrangères. Les éléments cultures et techniques nourrissaient la création de lianhuanhua. Le développement de lianhuanhua était un processus de combiner les images et les mots dans le brochure de la bande dessinée qui devenait très populaire dans le groupe de gens ordinaires. Dans Chapitre II, Le Destin de Hong et Bi est un exemple de explorer la relation entre lianhuanhua et les autres modes de divertissement. Il établissait une connexion entre les divertissements différents. Par le processus de transition de ce texte, nous pourrions observer le développement de visual narrative, l'interaction entre les modes différents des divertissements urbains et la culture urbaine qui faisait un rôle essentiel, décisif, agissant en coulisse. Le Chapitre III se concentre principalement sur les producteurs de trois angles : l’identité culturelle originale et le statut social, leurs conditions dans le cercle, et leur relation avec cette métropole. Lianhuanhua était le lien entre ces nouveaux résidents et Shanghai. La complexe condition de cette industrie de l’édition révélait la stratégie des immigrants qui gagnaient leur vie par lianhuanhua. Le Chapitre IV recherche comment la culture populaire rencontrait les défis politiques différents. Les médias publics, surtout des journaux, représentaient la voix ‘correcte’ imposée sur les gens ordinaires par la classe la plus haute de la société. La guerre elle-même de 1937 créait un défi spécial à cause de l’instabilité politique. L’ingérence officielle du Gouvernement Nationaliste aussi agissait sur le rôle de lianhuanhua. Nous pourrions identifier quatre éléments pendant le développement de lianhuanhua : Le premier, la condition préalable principale pour le développement de lianhuanhua était l’émergence de Shanghai comme une métropole moderne. Le deuxième, le genre de lianhuanhua était économiquement et culturellement disponible pour la plupart des gens. C’est un facteur très important pour sa popularisation. Le troisième, les producteurs sont un groupe crucial pour le développement de lianhuanhua. Le quatrième, lianhuanhua était une scène de lutte entre les élites et les gens ordinairesThis study examines the development of lianhuanhua, a genre of Chinese comic, as an expression of popular culture in modern Shanghai, the most important metropolis in the Chinese modern history. Chapter one attempts to explain why lianhuanhua was born in Shanghai and how it became a part of popular culture. The background was the political and cultural configurations created as a result of the presence of the foreign settlements. Cultural and technical elements fed the creation of lianhuanhua. The development of lianhuanhua was a process of combining pictures and words into comic booklet that became very popular among the common people. In Chapter Two, The Fate of Hong and Bi is taken as an example to explore the relationship between lianhuanhua and other forms of entertainments. It established a connection between different entertainment spheres. Through the whole process of transition, we can observe the development of visual narrative, the interaction between different forms of urban entertainments, and the urban culture that played an essential, decisive and directional role behind the scenes. In Chapter Three, research focuses mainly on producers from three angles: the producers’ original cultural identity and social status, their condition in production circles, and their relationship with the metropolis. Lianhuanhua was a link between these new residents and the metropolis.. The complexity of this publishing industry reveals the living strategy of these immigrants. In Chapter Four, we study how popular culture faced the three different political challenges. The public media, especially the press, represented the “correct” discourse by the upper classes over the common people. The war itself in 1937 raised a special challenge due to political instability. Official interference by the National Government also influenced the role of lianhuanhua. Yet Lianhuanhua survived all these challenges. We identified four important elements in the process of the development of lianhuanhua. First, the basic precondition for the rise and the development of lianhuanhua was the emergence of Shanghai as a modern city. Second, the genre of lianhuanhua was within the reach, economically and culturally, of a wide range of readers, which was an important factor for its popularisation. Third, producers were a crucial group for the development of lianhuanhua. Fourth, lianhuanhua is a stage of the wrestle between the elite and the common people
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Huang, Chun-Ming. "Mediated music, mediated nations : Taiwanese popular music in China." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/28985.
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Taiwan’s pop music is enormously popular in China. This study aims to probe the reasons for this success as it has taken place against a backdrop of hostile political relations between the Taiwanese and the Chinese. The study explores the ways in which Chinese people and the Chinese media have negotiated and practised the work of ‘imagined communities’ through the consumption of Taiwan’s pop. It focuses on the cultural-political struggles of Taiwan’s pop in China, its mediation, and consumption as a cultural practice. The study suggests that deliberative mediation and a sociable mediation are able to coexist through the process of music consumption. The study has used a variety of research methods, including semi-structured interviews of Chinese audience-members; documentary, media and historical analysis; desk research; and a six-month period of observation in Beijing. It examines the experiences of 26 Chinese audience members living in Beijing or Taiwan who are fans of the ‘Little Freshness’ style of music. Four important media texts are discussed: 1) Chinese Central Television’s (CCTV’s) New Year’s Gala (1984–2014); 2) the magazine People’s Music(1980–2007); 3) Li Wan’s book, How Much Time has Gone By, the Forgotten Sorrow: Sixty years of Songs Across Three Places: China’s Mainland, Hong Kong and Taiwan (2012); 4) Zhang Lixian’s edited volume, Archaisms: Luo Dayou (2000). Using the concept of mediation, the study highlights the significance of a ‘structure of feeling’ (Williams, 1961) to identify how the ‘multi-mediated’ process of consumption of Taiwan’s pop is made up of emotion, conflict and negotiation from the interplay of relations between Taiwan and China. This has emerged as a combination of musical mediation and political mediation, a combination which, in turn, moved from the cultural consumption of Taiwan’s pop towards the practice of the political. The study reflects on related approaches to see their limits and problems when applied to the study of Taiwan and China, and proposes that music consumption requires the engagement of the biographies of both the audience-members and the musical work in order to ‘activate’ the social use of music. It draws on Williams’s concept of common culture as well as Mouffe’s idea of agonistic pluralism to suggest that participation in, and interpretation of, Taiwan’s pop may further propel both Taiwan and China towards commonly held, yet contested, cultures - in other words, that their citizens may come to possess plural cultural citizenships.
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Li, Belinda. "Folk Songs and Popular Music in China: An Examination of Min’ge and Its Significance Within Nationalist Frameworks." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/pomona_theses/162.
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This thesis examines the function of music within different theories of nationalism and the appropriation of folk music within the genre of min’ge. Min’ge, a term in Chinese which directly translates to “folk songs”, has generally been defined as oral musical traditions. However, due to the increased politicization of popular music since the 1930s, the nature folk music has fundamentally changed, reflecting its new significance within Chinese nationalism. Through the years, min’ge has become more useful to promoting the goals of the state than representing the musical traditions of the many different ethnic groups in China. This transformation has established min’ge as an important extension of the Chinese Communist Party’s (CCP) cultural policy, and the manipulation of folk music has asserted the CCP’s cultural hegemony. Ultimately, this cultural hegemony has important implications on Han-minority relations and highlights certain dynamics within Chinese nationalism. Despite its limited and distorted representation of minorities, however, the popularization of min’ge has also inspired minority musicians to reclaim their identities through music. Therefore, this paper explores both the cooptation and contestation of state-promoted identities through the medium of popular folk music.
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Liu, Michel. "« Zhichang wenxue » : la littérature des cols blancs en Chine." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCF027.
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Aux alentours de 2008, un genre littéraire nommé « zhichang xiaoshuo » suscite l’engouement en Chine : des best-sellers avec leurs adaptations engendrent quelques centaines d’œuvres dans la même veine. Ce phénomène que nous désignons par la « littérature des cols blancs », est à la fois littéraire, socio-économique et culturel. Inédite dans l’histoire littéraire, cette littérature est atypique par le statut de ses auteurs, par ses formes hybrides, et aussi par ses modes de production. Quatre œuvres, englobant les plus médiatisées et les plus originales, constituent notre corpus noyau, et forment un échantillon qui permet de rendre compte de la richesse du phénomène. Notre travail relève d’une double approche socio-historique et littéraire. Pour les œuvres du corpus, nous procédons à l’étude de l’intrigue, des personnages, de la structure textuelle et des techniques narratives. Nous examinons en parallèle deux romans d’écrivains reconnus ayant mis en scène le monde du travail respectivement au début et à la fin des années quatre-vingt, ainsi que des œuvres de fiction relevant des genres « guanchang » et « shangchang », écrites au tournant du siècle ou contemporaines des« zhichang xiaoshuo ». Le contexte économique, politique et culturel dans lequel est apparu le phénomène, est largement étudié. Nous analysons également les adaptations en tant que variantes de l’œuvre littéraire, et tentons d’expliquer leurs différences. Enfin, nous explorons les fonctions de cette littérature « grand public » dans la société chinoise du XXIe siècle, une société affichant sa prospérité et jouissant de nouveaux moyens technologiques d’une part, et d’autre part marquée par le traumatisme du passé et par la perte de repèresAround 2008, a literary genre called "zhichang xiaoshuo" arouses enthusiasm in China: bestsellers with their adaptations generate several hundred works in the same vein. This phenomenon that we call "white-collar literature" is literary, socio-economic and cultural at once. New in the history of literature, this literature is atypical due to the professional identity of its authors, its hybrid forms, and also its production methods. Four works, including most publicized and most original, constitute our core corpus, and offer a sample of the richness of the phenomenon. Our work takes a two-pronged approach, both socio-historical and literary. For works of the corpus, we first study the plot, the characters, the textual structure and narrative techniques. We examine in parallel two fictions by renowned writers who portrayed the working world of the early and late 1980s, respectively, and two fictions in the “guanchang” and the “shangchang” genres at the turn of the century or contemporary with “zhichang xiaoshuo”. The economic, political and cultural context in which the phenomenon appeared is widely studied. We also analyze the adaptations as variants of the literary work, and try to explain their differences. Finally, we explore the functions of this popular literature in twenty-first century Chinese society which is, on the one hand, proud of its prosperity and enjoying the benefits of new technologies; and on the other hand, marked by the trauma of its past and by a general loss of bearings
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Lincot, Emmanuel. "Culture, Identité et réformes politiques : la peinture en République populaire de Chine (1979-1997)." Paris 7, 2003. http://www.theses.fr/2003PA070093.
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L'objet de ce travail est de cerner, décrire et évaluer à travers l'exemple de la peinture les multiples facettes d'une société saisie dans le mouvement des réformes entreprises à l'initiative de Deng Xiaoping (1979-1997). Car la peinture n'est pas seulement le fait d'une marginalité. Tant dans l'imaginaire que par la diversité de ses pratiques, elle englobe et résume par ses propres transformations, les bouleversements d'une culture entière qui se réapproprie des schèmes, des images et des notions hérités à la fois d'une tradition séculaire et de l'Occident dont elle réinterprète le sens originel -- vitaliste, gestuel ou symbolique - pour aboutir à la revendication d'une hétérotopie érigée le plus fréquemment en principe de nationalisme culturel. Nous prenons plus particulièrement pour foyer d'attention les grandes étapes qui scandent le cours de cette mutation en analysant, par une interrogation croisée des textes émanant de critiques d'art et des œuvres picturales que nous traduisons et commentons, les principaux courants artistiques, le fonctionnement et les modes des réseaux qui unissent ou divisent la scène culturelle chinoise dans ses rapports à un pouvoir toujours en quête de légitimité, garant de l'ordre et d'une orthodoxie ébranlée par une crise identitaire que malmène l'ouverture économique de la Chine aux enjeux complexes de la mondialisation.
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Zhao, Zhiyong. "La protection juridique du patrimoine culturel en Chine." Thesis, Clermont-Ferrand 1, 2013. http://www.theses.fr/2013CLF10408.
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Le patrimoine culturel chinois se compose d’une multitude de biens matériels et immatériels. Il incarne la vitalité et la créativité de la nation chinoise. Il participe aussi au devenir de la civilisation chinoise. La question du patrimoine culturel constitue une préoccupation majeure dans la société chinoise contemporaine. Selon l’évolution politique du pays, des mesures juridiques ont été adoptées. Enjeu actuel pour le Gouvernement et les autorités locales, des règlementations spécifiques ont été mises en place pour assurer la protection du patrimoine culturel. Elles ne cessent d’être complétées et améliorées dans un contexte de patrimonialisation mondialisée dans le cadre de la Convention concernant la protection du patrimoine mondial, culturel et naturel de 1972 et de la Convention pour la sauvegarde du patrimoine culturel immatériel. L’application de la loi sur la protection du bien culturel et de la loi pour la sauvegarde du patrimoine culturel immatériel et l’intervention du juge permettent d’apprécier leur portée effectiveChinese cultural heritage consists of a multitude of tangible and intangible assets. It embodies the vitality and creativity of the Chinese Nation, and also participates in the pursuit of Chinese civilization Cultural heritage is the main problem of contemporary Chinese society. According to political developments, legal measures have been adopted. Because of current challenges for the Government and local authorities, specific regulations have been put in place to ensure the protection of cultural heritage. They are constantly being added to and improved in with the Global Heritage phenomenon, under the Convention Concerning the Protection of World Cultural and Natural Heritage and the Convention for the safeguarding of Intangible Cultural Heritage. The application of the law for the protection of Cultural Relics and the law for the safeguarding of Intangible Cultural Heritage and the intervention of jug allow appreciating its effective range
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Ponthus, Laure. "La politique culturelle de la République populaire de Chine en Afrique Subsaharienne francophone de la conférence de Bandung à 2015 : soixante ans d'instrumentalisation de la culture." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSE3048/document.
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Depuis le début du vingt-et-unième siècle, la République Populaire de Chine (RPC) est engagée dans une spectaculaire offensive de charme sur le continent africain. Cette stratégie chinoise n’est pas nouvelle et s’inscrit dans le cadre légal fixé par la Déclaration finale de la conférence de Bandung de 1955. Depuis cette date, et davantage depuis la création du FOCAC en 2000, l’importance de l’Afrique dans la quête d’influence globale de la Chine Populaire n’a cessé de croitre, alliant désormais influence économique et influence culturelle. L’Afrique subsaharienne francophone est un terrain propice à l’étude de cette nouvelle stratégie chinoise. Ce cadre spatial nous permet de constater qu’à travers les Instituts Confucius, les médias publics chinois et la médecine chinoise dite « traditionnelle » (MTC), les dirigeants chinois entendent tout mettre en œuvre afin de préserver leurs intérêts économiques en Afrique et faciliter l’intégration de leurs entreprises et communautés diasporiques. Précisons tout de même qu’à travers l’apprentissage du mandarin, les africains parviennent à tirer avantage de ce soft power chinois. Toutefois, la relative intégration des chinois, le caractère propagandiste des IC et médias chinois, ainsi que le recourt par les entreprises chinoises basées en Afrique à de l’importation de main d’œuvre, pratique encore en vigueur aujourd’hui, contribuent à ternir l’image de la Chine Populaire auprès des opinions publiques africaines. En outre, cette percée culturelle chinoise en Afrique subsaharienne francophone a eu un impact notoire sur la diplomatie culturelle du partenaire historique, la France, mais aussi sur la Francophonie. De ce fait, elle contribue à une redéfinition des rapports de forces et a induit l’émergence de partenariats trilatérauxSince the beginning of the twenty-first century, the People's Republic of China (PRC) has embarked in a spectacular charm offensive in Africa. This Chinese strategy is not new and falls within the legal framework established by the Bandung Final Declaration of 1955. Since then, and particularly since the establishing of FOCAC in 2000, the importance of Africa for the Global influence of the People's Republic of China has continued to grow, combining economic influence with cultural influence. Francophone sub-Saharan Africa is a good ground for studying this new Chinese strategy. This space frame allows us to see through the Confucius Institutes, the Chinese public media and the “traditional Chinese medicine (TCM)”, the Chinese leaders intend to make every effort to preserve their economic interests in Africa and facilitate the integration of their businesses and diasporic communities. It should be noted that Africans are able to take advantage of this Chinese soft power. However, the relative integration of Chinese, the propagandist character of IC and the Chinese media, as well as the importation of labor by the Chinese companies’ bases in Africa, contribute to tarnish the image of Popular China among African public opinion. In addition, this Chinese cultural breakthrough in francophone sub-Saharan Africa has had an endless impact on the cultural diplomacy of the historical partner, France, and also on Francophonie. As a result, it contributes to a redefinition of the balance of power and to the emergence of trilateral partnerships
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Bellocq, Maylis. "Mémoires et préservation du patrimoine culturel en République populaire de Chine : le cas de Tongli, bourg du Jiangsu." Paris, EHESS, 2005. http://www.theses.fr/2005EHES0188.
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L'objet de cette thèse est de définir les différentes formes de mémoire véhiculées par le patrimoine culturel bâti en République populaire ce Chine. Dans cette optique, la première partie de ce travail présente, à travers le contexte national, la politique de mise en valeur du centre historique de Tongli ainsi que le discours officiel qu'élle suscite. Une deuxième partie s'attache à montrer les implications d'une telle politique sur le mode de vie des habitants et la structure urbaine du bourg. Enfin, une troisième partie analyse la memoire populaire et officielle, activées par le processus de mose en valeur du patrimoine, et leur articulation. Ce travail s'appuie sur une étude de terrain, réalisée à Tongli, durant laquelle de nombreux entretiens ont été effectués auprès des habitants et des dirigeants locauxThe subject of this thesis is the definition of the social memories conveyed by the preservation of the cultural heritage in the Popular republic of China, through study case of Tongli, a township of Jiangsu province. In this perspective, the first part of this study concerns the national background and the preservation policy in Tongli township. The second part shows up the implications of such a policy in the way of living of the inhabitants and in the urban structure of Tongli. Finally, the third part sets out the popular and official memories called up in this process, as well as their articulation. This research is based on a fieldwork achieved in Tongli, gathering interviews of inhabitants and local leaders
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Fresnais, Jocelyne. "Au regard de l'histoire contemporaine : la protection du patrimoine culturel en République populaire de Chine (1949-1989)." Paris, EHESS, 1990. http://www.theses.fr/1990EHES0020.
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La protection des monuments historiques de la chine entre 1949 et 1989 est le resultat des politiques successives mises en oeuvre par le gouvernement chinois. Cette etude de synthese examine les consequences des mesures legislatives et admi nistratives sur la conservation du patrimoine. Elle observe les limites de la sauvegarde lorsque le nationalisme culture l devient un danger pour les biens seculaires. Les modalites institutionnelles, financieres, techniques economiques, par ticulierement lorsqu'interviennent les exigences du tourisme et de l'urbanisme sont analysees a partir de cas concretsThe protection of the cultural heritage in china from 1949 to 1989 is the result of successive policies which have been undertaken by the chinese governement. This synthesis of research examines the effects of procedural, legal and administ rative frameworks on the conservation of chinese monuments and sites. It also set out to study the bounds of the preserv ation of property as historical relics exposed to the danger of cultural nationalism itself. Rules of procedure, financial resources, technical activities, economic development and its problems are discussed toget her with actual cases; emphasis is on urban conditions, their potential importance or danger for the development of cons ervation in china
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Faure, Sophie. "Culture, pouvoir et autorite en republique populaire de chine une problematique du management interculturel : le cas des entreprises a capitaux mixtes sino-etrangeres depuis la politique d'ouverture de 1978 (3eme plenum du xieme congres du pcc)." Nice, 1999. http://www.theses.fr/1999NICE2019.
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L'entreprise n'est plus aujourd'hui consideree comme une entite rationnelle (a l'interne) et mecanique (a l'externe) mais comme un espace politique dans lequel coalitions sociales, rapports de force ou influences diverses dictent les strategies des acteurs tandis que les divergences se resolvent en des conflits que des jeux de pouvoir prolongent. Dans une jointventure, cette dimension est accentuee : de cette association de partenaires complementaires et de ressources humaines d'horizons varies, il ressort, non une communaute de vues, mais une divergence d'interets, la difficile rencontre de cultures, les inevitables resistances au changement ou contestations reciproques de la legitimite. A cela s'ajoute la dimension chinoise du co-investissement. Les interets du partenaire chinois, conditionnes par des enjeux qui le depassent et soumis a des contraintes imperatives perdent de leur objectivite. La jv, entreprise chinoise dans un environnement chinois subit les memes contraintes que toute danwei. Quant a l'eloignement culturel, il donne a la dimension interpersonnelle des conflits d'autant plus de resonance que la chine privilegie encore la qualite de la relation. Approfondissant les particularismes chinois des situations, cette these propose un voyage au coeur des jeux politiques qui agitent les jv sino-etrangeres ou comment cultures et pouvoirs se mesallient pour en affecter le cycle de vie,. . . Mais un voyage qui contre toute attente se termine bien. Il debouche en effet sur un renversement heureux de la problematique par la decouverte de nouvelles voies alliant rigueur methodologique occidentale, flexibilite socialiste, humanite confucianiste et intelligence strategique sunzienne. Explorant ce fond intemporel de sinite, ces memes voies nous permettront de redecouvrir le role primordial de l'homme, du management et du sens de l'humain dans la reussite de cet instrument privilegie de l'ouverture chinoise, la jv sino-etrangere.
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Pereira, Odete Fernanda Sampaio. "Arquitectura tradicional chinesa: conceitos do espaço." Master's thesis, Universidade de Aveiro, 2016. http://hdl.handle.net/10773/19148.
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Mestrado em Estudos ChinesesAs influências do pensamento filosófico tradicional chinês, enraizadas no movimento das “cem escolas de pensamento” como o qi, yinyang, wuxing, bagua e hexagramas, constituem elementos sistémicos, interdependentes, mutáveis e em homeostase. Tais elementos pertencem a um sistema interdisciplinar que age directamente com um conjunto de crenças e tradições espirituais, ainda mais subjectivos. Este sistema de comunicação como que permite ao pensamento arquitetónico vernacular chinês uma constante adaptação em harmonia (implícita) com o meio. Tendo por base os princípios unificadores transversais aos vários campos de estudo das filosofias sociais, políticas e espirituais da China Antiga, pretende-se descobrir e compreender o modo de pensar a arquitectura tradicional chinesa.
The influences of the traditional Chinese philosophical thought, rooted in the movement of the "hundred schools of thought" as the qi, yinyang, wuxing, bagua and hexagrams, represent systemic elements, interdependent, changeable and homeostastatic. These elements are also linked to an interdisciplinary system that communicates directly with a set of spiritual beliefs and traditions, even more subjective. Such communication system is assumed to be the one responsible for the constant and harmonious adaptation between Chinese vernacular architectural thinking and the environment. Based on unifying principles, crossing various fields of study from social to political and spiritual philosophies of ancient China, our goal is to unravel the way of thinking behind traditional Chinese architecture.
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Du, Zuobing. "La condition féminine et la relation hommes-femmes dans les villes chinoises d'aujourd'hui." Paris 8, 2010. http://www.theses.fr/2010PA084135.
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Cette étude, en partant de l' analyse de l'ordre traditionnel chinois des sexes et de la politique de non différentiation sexuelle qui a été appliquée entre 1949-1978, met l'accent sur les phénomènes culturels spécifiques (L’écriture du corps ; Culture vulgaire populaire; Le phénomène du célibat des femmes aujourd’hui) qui ont émergé dans la société chinoise dans les années 90, et l’influence de l'ordre traditionnel sur le mariage des femmes, ainsi que l'émergence de l'industrie du sexe à grande échelle. L'étude a cherché à montrer les contradictions et les conflits des femmes dans le contexte social sur le thème de la libération des femmes. A partir de 1949, la libération des femmes établie par texte de loi, est tombée dans d'autres problématiques pendent la période de mutation. D'une autre manière, la femme est à nouveau "observée". Après la mise en œuvre d’une politique d’ouverture et de réforme de la Chine, la réapparition d’une culture de masse est un des changements les plus visibles d’une ‘modernisation’ à la chinoise. On voit l’émergence d’une culture de masse féminisée où dominent les couleurs vives, le sexe et la sensualité. La féminisation commence par celle des femmes, elles-mêmes, après une trentaine d’années pendant lesquelles les spécificités féminines avaient été gommées. Cette féminisation devient également un symbole de « modernisation » et fait partie des valeurs propres aux femmes. On voit émerger un stéréotype de « la femme professionnelle », et la ‘beauté’ est devient un critère très important. La culture populaire, la production et la reproduction des images sur les femmes, ont pour résultat que les femmes perdent leur personnalité indépendante. Et par là même on peut voir naître les conflits internes entre « l'observateur » et « l'observée » de la « femme moderne »This study focuses on specific cultural phenomena (Writing the Body, popular vulgar culture, transition of modern single women) which have emerged in the Chinese society in the 90s, the influence on the traditional order of marriage of women and the emergence of the sex industry. It tries to show the contradictions and conflicts of women in the social context of women’s liberation. From 1949 the equalization of women was established by the law but since the 1980s a period of change is influencing the modern women presenting new challenges. After the implementation of a policy of openness and reform in China, the resurgence of a mass culture is one of the most visible changes of a "modernization" with Chinese characteristics. We see the emergence of a feminized mass culture dominated by sex and sensuality. The feminization begins with the women themselves, after thirty years during which the forced equality led to the loss femininity. This feminization is also a symbol of "modernization" and is part of the values of the women. A stereotype of the "professional woman" emerged, and "beauty" is becoming a very important criterion. Popular culture, production and reproduction of images of women resulted in women losing their independent personality. And thus we see internal conflicts arise between the "observer" and "observed" in the "modern woman"
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Biville, Quentin. "S'approprier ses marges par le patrimoine mondial dans la province du Sichuan (Chine)." Thesis, Paris 1, 2020. http://www.theses.fr/2020PA01H059.
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La ratification de la Convention concernant la protection du patrimoine mondial culturel et naturel par la République populaire de Chine, en 1985, a permis au gouvernement chinois de s’insérer dans un processus patrimonial international, tout en poursuivant des objectifs nationaux en interne. Nous nous intéressons, dans cette thèse, aux projets d’appropriation du territoire de la province du Sichuan, menés sous couvert de patrimoine mondial. Les frontières administratives du Sichuan se sont en effet déplacées vers l’ouest au cours du XXe siècle, en intégrant progressivement des territoires de marges du plateau du Qinghai-Tibet, principalement peuplés de minorités ethniques tibétaines et qiang. Dans ce contexte, la constitution d’une identité culturelle pour ce nouvel espace provincial constitue un enjeu d’importance, et le patrimoine en est l’outil privilégié. Cette thèse se situe à l’interface de la géographie du développement, des heritage studies, de la géographie du droit et de la géopolitique. Elle s’intéresse à la construction d’un récit patrimonial sichuanais qui valorise la Chine des Han et replace la province (et ses frontières actuelles) dans un processus historique de construction nationale et d’intégration progressive des marges, par la mise en scène patrimoniale d’une interface entre Chine et Tibet. À l’échelle des sites, la matérialisation du droit sur l’espace montre à la fois des processus de désenclavement des territoires périphériques, par la mise en tourisme du patrimoine, et une tentative d’exclusion des populations locales, via le rachat des terres par l’État, le déplacement des populations et/ou la folklorisation des cultures locales. L’étude comparative de quatre des cinq sites inscrits sur la liste du patrimoine mondial de l’Unesco au Sichuan nous a ainsi permis de montrer l’établissement d’un gradient culture/nature d’est en ouest de l’espace provincial. Dans la plaine du Sichuan, depuis longtemps sinisée, le patrimoine sert à la mise en valeur d’une identité culturelle chinoise visant à montrer la cohérence du territoire provincial. Dans les contreforts tibétains, il met en valeur des patrimoines naturels valorisés en tant que paysages chinois, et tend à exclure les minorités du récit patrimonial. Ce faisant, l’Unesco constitue à la fois un instrument de légitimation pour les politiques patrimoniales de la Chine qui poursuivent des objectifs de valorisation du territoire national, et un lieu d’influence où le pays valorise et exporte ses propres catégories patrimonialesThe ratification of the Convention concerning the Protection of the World Cultural and Natural Heritage by the People’s Republic of China in 1985 enabled the Chinese government to filter into an international heritage process, while pursuing national objectives internally. In this thesis, we are interested in the projects of appropriation of the Sichuan province territory, carried out under cover of world heritage. The administrative borders of Sichuan have indeed moved to the west during the 20th century, gradually integrating margin territories of the Qinghai-Tibet Plateau, mainly populated by Tibetan and Qiang minorities. In this context, the constitution of a cultural identity for this new provincial space constitutes an important stake, and the heritage is the privileged tool. This thesis stands at the crossroads of Geography of development, Heritage Studies, Legal geography and Geopolitics. We aim to decipher the construction of a Sichuan heritage narrative that enhances the value of Han China and replaces the province (and its current borders) in a historical process of national construction and progressive integration of the margins, through the heritage staging of an interface between China and Tibet. At the site level, the materialization of law on space shows both processes of opening up of peripheral territories through the development of heritage tourism, and an attempt to exclude local populations, via the purchase of land by the State, the transfer of people and/or the folklorization of local cultures. The comparative study of four of the five sites inscribed on the UNESCO World Heritage List in Sichuan has shown the establishment of a culture/nature gradient from east to west in the provincial space. In the Sichuan plain, which has long been sinized, heritage serves to highlight a Chinese cultural identity in order to show the coherence of the provincial territory. In the Tibetan foothills, it highlights natural heritage valued as Chinese landscapes, and tends to exclude minorities from the heritage narrative. In doing so, UNESCO constitutes both an instrument of legitimacy for Chinese heritage policies which pursue the objectives of enhancing the national territory, and a place of influence where the country promotes and exports its own categories of heritage
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Savolle, Adrien. "Xiangce, les albums photos prémaritaux chinois : ce que les imaginaires visuels hybrides des fiancés nous disent sur les transformations du mariage en Chine urbaine contemporaine." Master's thesis, Université Laval, 2019. http://hdl.handle.net/20.500.11794/34864.
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Peng, Lei. "Rock en Chine : contestation et consommation depuis les années 1980." Thesis, Lyon 3, 2014. http://www.theses.fr/2014LYO30040/document.
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Si « Rock » dans le monde occidental est marqué par ses traits subversifs et politiques à certaines périodes historiques spécifiques pour être ensuite entièrement récupérée par la raison marchande, son histoire a été prolongée avec son appropriation environ trente ans après en République Populaire de Chine. Ainsi, le Yaogun, dénomination commune du Rock en Chine est depuis son émergence imbriqué dans la constitution d'une « nouvelle Chine socialiste » calquée sur le modèle de « l'État-nation » : « une démarche mimétique par rapport au système occidental, un système, couplé d’idéologies, qui s’est avéré avec la première guerre mondiale non seulement politico-économique mais de plus scientifique et technologique » selon les expressions du Gregory Lee. En même temps, cette construction de « l’État-nation chinois socialiste » est depuis le début véhiculée par les mécanismes de la « mondialisation » économique, culturelle et idéologique selon une logique capitaliste. Cette thèse présente le Rock comme un acteur social qui représente et traduit la société chinoise prise dans la transition radicale et structurelle, d’une société considérée comme « ex-socialiste » vers une société de consommation et spectacle depuis les années 1980. Par ses propres transformations, ses tentatives contestataires et ses récupérations par la consommation, le Yaogun se réapproprie des schèmes, des images et des notions hérités à la fois du Mythe du Rock daté d'un demi siècle, et de « l'Occident » dont il réinterprète le sens originel. Pour ce faire, il sollicite inévitablement des éléments « propres » à la Chine - gestuel ou symbolique – qui pourrait amener à la revendication (ou non) d'une spécificité culturelle propre. Avec cette analyse, nous avons tenté d’une part de démontrer la complexité et les contradictions voilées derrière l'apparence homogène de la production de cette société du spectacle et de consommation qu’est la Chine actuelle, et d’autre part de démystifier la circulation hégémonique sur le plan des connaissances scientifiques du monde actuel. Ce travail est le fruit d’une réflexion alimentée par deux parcours parallèles et complémentaires en Études sur la Chine contemporaine et « Cultural Studies », s’inspirant des différentes approches théoriques transdiciplinaire dans les domaines des sciences sociales et humaines. Il traite la question des relations entre la musique populaire, le Rock, le pouvoir politique et économique ainsi que la vie quotidienne dans le monde chinois contemporain. Enfin ce questionnement dit « local » a par la suite suscité une réflexion critique sur la réalité dominant le monde actuel : « la mondialisation marchande »Born at the same time as the “30 years of China’s Reform and Opening" political discourse, Rock music in China (Yaogun) at its outset is often understood as an ideological weapon with a somewhat “revolutionary” touch to it against the Communist orthodox principles. This is mainly due to some values known as part of the Rock Myth, such as individual freedom, social equality and democracy.However, since the 1980s, there has been a significant transformation in the People's Republic of China (PRC): the shift to a free-market economy and the opening of the country to outside influence have led to the resurgence of a relevant social and cultural diversity. In the meantime, the new ideologies, technologies and mode of economy unavoidably brought about the commodification of the so-called “Chinese Culture” as part of the modern Chinese “Nation-State” construction, both at the level of the authority’s cultural policy and of the collective social imaginary, including the commodification of the so-called “Chinese Rock” or Yaogun. After one decade of development in the 1990s, generally speaking, China’s Rock or “underground” turned out to stay away from politics. It became hip, professionally organized, commercial and partly moving “overground” (not about revolution, but about everyday life). Similarly to other forms of art and cultural production in contemporary China, Rock also engaged in a complex and creative relationship with the PRC’s revolutionary heritage. From the late 1980s onwards, Yaogun has developed from being a rebelling voice in opposition to the ideology of the Chinese authorities to representing a subject of commodification by different agencies in sharing the same signs of the PRC’s revolutionary heritage. This dissertation attempts to shed some light on the complexities and contradictions involved in the tremendous social and cultural transformations of post-socialist China through the rock music scene. It brings into play the sociology of Rock music, Cultural Studies, together with the production and spreading of the culture and ideology of contemporary Chinese society
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Ye, Xiaoqing. "Popular culture in Shanghai 1884-1898." Phd thesis, 1991. http://hdl.handle.net/1885/112061.
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During the latter half of the nineteenth century, the establishment of the
foreign settlements in Shanghai led to an enclave within China in which the
representatives of China's elite culture, the gentry, had no political basis from
which to enforce their standards on the non-elite, or ordinary people of Shanghai.
These people themselves had left the traditional environment of clan and gentry
control, and were to a very large degree free of such restraints, and the foreign
authorities had no interest in imposing or maintaining any particular cultural norms.
The new physical and social environment of Shanghai was also conducive to the
development of many new attitudes amongst the people who lived there towards the
symbolic systems of rank and clothing, the concept of health and the human body,
the pattern of human relations, relations between men and women and the
traditional social order. The basic characteristics of twentieth century Shanghai
culture developed during this period.
This thesis seeks to explore the development of this new type of popular
culture in Shanghai. The main source material has been the Dianshizhai Pictorial, a
magazine published between 1884 and 1898, which reflects popular attitudes and
culture in that period. Other material used includes the Shen Bao, a daily newspaper
published in Shanghai, novels, memoirs and modem studies on the history of
Shanghai in the late nineteenth century, as well as studies on various aspects of
popular culture in China and elsewhere.
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Bai, Ruoyun. "Anticorruption television dramas : between propaganda and popular culture in globalizing China /." 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3290171.
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Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2007.Source: Dissertation Abstracts International, Volume: 68-11, Section: A, page: 4530. Adviser: Bruce A. Williams. Includes bibliographical references (leaves 166-179) Available on microfilm from Pro Quest Information and Learning.
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"Culture and modernization in the Hong Kong new wave movement: a culture industry perspective." 2005. http://library.cuhk.edu.hk/record=b5896449.
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Chan, Siu-han.Thesis submitted in: July 2004.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2005.
Includes bibliographical references (leaves 184-193).
Abstracts in English and Chinese.
ABSTRACT --- p.i
論文摘要 --- p.ii
ACKNOWLEDGEMENTS --- p.iii
CONTENTS --- p.v
INTRODUCTION
Chapter 1.1 --- Empirical Puzzles and Theoretical Concern --- p.1
Chapter 1.2 --- The Cultural Scene in Hong Kong --- p.5
Chapter 1.3 --- Defining the New Wave Cinema --- p.8
Chapter 1.4 --- The Objectives of the Thesis --- p.12
Chapter Chapter 2 --- In Quest of Theoretical Perspective and Analytical Framework
Chapter 2.1 --- Existing Studies of the New Wave Cinema --- p.13
Chapter 2.2 --- The Study of Popular Culture in Hong Kong --- p.21
Chapter 2.3 --- Culture Industry: The Approach of the Frankfurt School --- p.28
Chapter 2.4 --- The Elective Affinity of Culture Industry with Hong Kong Society --- p.33
Chapter 2.5 --- Analytical Framework --- p.36
Chapter Chapter 3 --- The Anxiety of Political Subjectivity
Chapter 3.1 --- Prelude --- p.45
Chapter 3.2 --- The Perturbed Hong Kong People --- p.50
Chapter 3.3 --- The Hong Kong Diaspora --- p.57
Chapter 3.4 --- The Negative Projection on the Colonizers --- p.60
Chapter 3.5 --- The Ambivalence Towards the Motherland´ؤChina --- p.66
Chapter 3.6 --- Discourse on Political Modernization: The Anxiety of Political Subjectivity --- p.86
Chapter Chapter 4 --- The Contradiction of Societal Modernization
Chapter 4.1 --- Prelude --- p.89
Chapter 4.2 --- Looking back at the Pre-modernized Social Order --- p.91
Chapter 4.3 --- Rethinking the Entanglement of the Old and the New --- p.102
Chapter 4.4 --- Representing the Modernized New Social Order --- p.110
Chapter 4.5 --- Discourse on Societal Modernization: The Contradiction of Societal Modernization --- p.123
Chapter Chapter 5 --- The Fragility of Hong Kong Cultural Identity
Chapter 5.1 --- Prelude --- p.126
Chapter 5.2 --- Historical Memories as Cultural Receptacles --- p.128
Chapter 5.3 --- The Spatialized Cultural Consciousness --- p.136
Chapter 5.4 --- Urbanism as the Quality of Hong Kong society --- p.144
Chapter 5.5 --- The Chinese Tradition in Present Day Hong Kong --- p.151
Chapter 5.6 --- The Hybridized Everyday Popular Culture --- p.157
Chapter 5.7 --- Discourse on Cultural Modernization: The Fragility of Hong Kong Cultural Identity --- p.164
CONCLUSION
Chapter 6.1 --- The Planned Tragic Vision in Culture Industry --- p.167
Chapter 6.2 --- The Aestheticization of Social Reality in Culture Industry --- p.171
Chapter 6.3 --- The Demise of the New Wave Cinema in Hong Kong Culture Industry --- p.178
New Wave Cinema: A Listing --- p.182
REFERERNCES --- p.184
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Zhu, Xi Wen School of English Media & Performing Arts UNSW. "Global television formats in the People's Republic of China: popular culture, identity and the 'Mongolian cow sour yoghurt super girls contest'." 2007. http://handle.unsw.edu.au/1959.4/40755.
Full textAbstract:
This thesis analyses the television program known as 'Super Girls', which aired on Hunan Satellite Television from 2004-2006 in the Peoples' Republic of China. In the West, this program is sometimes referred to as 'Chinese Idol' because of its similarities to the globally popular television format, 'Idol'. Although 'Super Girls' shares many similarities with 'Idol' there are also equally important differences. This thesis examines these differences as a way of theorising the how the program negotiates the localisation of a Western television format. First, the program is placed in the broader context of the increased liberalisation and commercialisation of the Chinese television industry. Secondly, the thesis analyses the concept of format television and presents the logic behind the global shift toward producing this type of programming. Next, specific aspects of Super Girls are analysed in detail to bring out how the program functioned culturally in the context of China. These aspects of Super Girls include, the way the program represents the changing role and potential of television from the PRC to contribute to negotiations on Chinese identity that take place among the various symbolic universes of Cultural China, including the global Chinese Diaspora. The thesis also explores the nature of the celebrities produced by the contest through isolating their meaning and significance within the Chinese context. The thesis argues that the contest winners are celebrated for their individuality and come to stand for the rise of 'ordinary power'. The thesis also examines the ways in which Super Girls embraces its audience through new modes of address and offering new types of agency for its audience. As a result, Super Girls offers insight into how Chinese culture is now shaped by a rise of 'ordinary empowerment' where the bottom-up cultures are hybridised with the traditional high culture in television broadcasting.