Bibliografías temáticas / Hong Kong horror fiction / Tesis

Tesis sobre el tema "Hong Kong horror fiction"

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Publicado: 25 de julio de 2024
Última modificación: 26 de julio de 2024

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1

Yau, Suk-ying Shirley y 邱淑瑩. "Where has all the horror gone?: a study of horror in contemporary cinema". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B42575175.

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2

Lam, Yat-lim y 林逸濂. "The society of Hong Kong in Lilian Lee's fiction =". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B43208629.

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3

Lau, Cheung-cheung y 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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4

Lau, Cheung-cheung. "A study of Manga and adolescent popular fiction in Hong Kong /". Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20354010.

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5

Yeung, Mei-yee. "Searching for a cultural identity : Hong Kong fiction from the fifties to the nineties /". Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19605389.

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6

Ma, Guoming y 馬國明. "Hong Kong martial art novels: the case of Louis Cha". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B31212566.

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7

Wong, Yee-ling y 黃綺玲. "Cyborgs, capitalism, hope: a study of Hong Kong and Hollywood science fiction films". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hub.hku.hk/bib/B50900146.

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Posthuman representations in selected Hollywood and Hong Kong science fiction films show new interconnections in “techno-globalization.” They also exhibit a waning relationship between the “center” and the “margin” of technoculture. This study discusses the relation of technology, humanity, affect, and aesthetics in selective science fiction films produced from 1984 to 2010. The science fiction features were made in the United States and in Hong Kong. They include: The Terminator (1984), Terminator2 (1991), Terminator Salvation (2009), A.I. Artificial Intelligence (2002), I Love Maria (1988), Kung Fu Cyborg (2009) and Future X-Cops (2010). In particular, Kung Fu Cyborg merges the popular genre conventions of martial arts and technoculture, and manifests a different imagination at work wherein Hong Kong’s martial arts cinema stands in the place of a scientific-based Western technoculture absent in Hong Kong science fiction films. This study presents several key critical frames elaborated by scholars of science fiction who have assessed the recurrent themes and figures of science fiction films. The discussion of films identifies the resemblances, the differences, and the competitive dynamic between American science fiction films and Hong Kong action features. The absence of utopian or dystopian figures in posthuman filmic representations in Hong Kong cinema is considered an important difference from Western science fiction films. This thesis examines the figure of the cyborg and argues for the important place of emotions and the power to emote and hope as having a complex relationship to technology, humans and humanness. The compassionate cyborg has temporal and moral dimensions relating to belief and religion in this important genre. Thus, this thesis examines the backdrop for science fiction affect, which is one of oppression and crisis that speaks to the conditions of capitalism and modernity. The affective cyborgs make an important figure in the science fiction films that concern the crisis conditions, the appeal of technology, and the conventions of science fiction genre in commercial cinema.
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Comparative Literature
Master
Master of Philosophy
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8

Chen, Qin. "The Others: Desire, Anxiety, and the Politics of Chinese Horror Cinema (1989-2015)". The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1469178422.

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9

Lu, Pei'er. "Xu shu "jiu qi" : Xianggang xiao shuo zhong de shi jian yu xu shi = Narrating "1997" : time and narrative in Hong Kong novels /". click here to view the fulltext click here to view the abstract and table of contents, 2006. http://net3.hkbu.edu.hk/~libres/cgi-bin/thesisft.pl?pdf=b19843926f.pdf.

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10

Chak, Winnie. "The Sixth Try". Chapman University Digital Commons, 2020. https://digitalcommons.chapman.edu/creative_writing_theses/5.

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11

Yeung, Mei-yee y 楊美儀. "Searching for a cultural identity: Hong Kong fiction from the fifties to the nineties". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31220216.

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12

Chow, Chi-shing Jeffrey y 鄒志誠. "Postcoloniality in Hong Kong Literature: withspecial reference to Xi Xi's and Ye Si's Fiction". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31950541.

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13

Lam, Yat-lim. "The society of Hong Kong in Lilian Lee's fiction Li Bihua xiao shuo zhong de Xianggang she hui /". Click to view the E-thesis via HKUTO, 2009. http://sunzi.lib.hku.hk/hkuto/record/B43208629.

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14

Lo, Kwai-cheung y 羅貴祥. "Crossing boundaries: a study of modern Hong Kong fiction from the fifties to the eighties". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1990. http://hub.hku.hk/bib/B3120935X.

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15

Chow, Chi-shing Jeffrey. "Postcoloniality in Hong Kong Literature : with special reference to Xi Xi's and Ye Si's Fiction /". [Hong Kong : University of Hong Kong], 1994. http://sunzi.lib.hku.hk/hkuto/record.jsp?B13793779.

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16

Wong, Sau-ngan y 王秀銀. "The effectiveness of unit design of teaching micro-novelsthrough genre theory". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hub.hku.hk/bib/B50179366.

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The ineffectiveness of language teaching, the declining level of language proficiency of students, and a lack of motivation to learn, have always been of great concern to the society and the education sector. With the implementation of the 334 New Senior Secondary School System, self-designed elective unit of Chinese Language curriculum is launched. It could eliminate the shackles of public examination pressure. Teachers can have a larger space to try to use different materials and teaching approaches. They can design and implement school-based curriculum based on the interests and abilities of students which could be beneficial to students. With this Chinese Language Curriculum Reform, the researcher has carried out a unit design teaching experimental study in which micro novels are used as teaching materials and genre theory is used to design pedagogy. The subjects of the study are the Form Five students of the researcher’s school. The students are divided into two groups, control group and experimental group. Students from the control group were taught with traditional teacher-centred pedagogy, while students from the experimental group were taught with a pedagogy which is based on genre theory. Through analyzing questionnaires and interviews for all students, and interviews for teachers involved, the researcher could find out the appropriateness of using micro novels as teaching materials. After implementing the new pedagogy, the researcher compared the micro novels written in pretest and posttest by students from the control and the experimental groups and recognized the effectiveness of this new pedagogy. The research results show that most of the students and all the teachers involved thought that micro novels are suitable Chinese Language teaching materials and are useful in improving students’ interest in learning Chinese language. According to comparative analysis of the students’ works, the performance of the experimental group students' in posttest is significantly better than that in the control group. The students being taught with the newly designed pedagogy have significantly higher writing ability than the students being taught with traditional pedagogy. Micro novels can meet the needs of the students, arouse students’ motivation, and also meet the requirements of the new Chinese Language Curriculum. They are ideal Chinese Language teaching materials. Furthermore, using genre theory to design pedagogy to teach micro novels enable students to systematically grasp the characteristics of micro novels. On the other hand, using explicit method to teach students the function, generic features, register and mode of micro novels could strengthen students’ stylistic awareness of micro novels. Besides, group discussion, joint construction and cooperative learning could help provide a scaffold for students to consolidate their learning. By using marking checklist for peer assessment, students could have immediate feedback and thus enhance their interest and ability in writing. In a nutshell, using micro novels as teaching materials could arouse the students’ interest in learning Chinese Language and reduce individual differences of motivation in learning. Using genre theory to design pedagogy could reduce the individual differences in students' abilities. Even students with low abilities can have great improvement. Both the new teaching materials and new pedagogy can meet the needs and reduce individual differences of the students. This is exactly the essence of school-based curriculum. 語文教學成效不理想，學生語文能力水平不斷下降與及缺乏學習的動機，一直以來都是社會和教育界極為關注的問題。 隨著三三四新學制新高中中國語文科課程的推行，尤其是選修「自擬單元」的出現，消除了師生在公開考試壓力的束縛，教師能有較大的空間嘗試使用不同的教材和教學處理方法，可根據學生的興趣和能力，設計及推行更切合學生需要的校本課程，讓學生有更多的得益。研究者嘗試配合中國語文科的課程改革，以微型小說為教材，以「文類教學理論」設計的教學法，進行單元教學設計實驗研究，並對教學結果進行研究分析，以了解新的教材和新的教學法的成效。 研究者以所任教學校中五級學生為研究對象，學生分為控制組和實驗組，控制組用傳統以教師為主導的一般小說教學法教授微型小說，而實驗組則採用根據「文類教學理論」設計的教學法。通過對全體學生的問卷調查和訪談，與及對任教老師的訪談，研究者得以了解「微型小說」作為教材的適切性，通過對控制組和實驗組在進行微型小說教學單元前後寫作的前測和後測作品比較分析，可了解新的教學法的成效。 研究結果顯示，絕大部分的學生和所有任教老師都認為微型小說是適合作為中國 語文科的教材，亦能提高學生學習中國語文的興趣。而通過學生作品比較分析可見，實驗組學生後測作品的表現都明顯優於控制組，且差異亦顯著，接受以「文類教學理論」設計的教學法教授微型小說的學生在寫作微型小說方面的能力明顯高於接受一般教學法的學生。 微型小說能符合學生的需求，能引起學生的學習動機，亦能符合新高中中國語文科課程的要求，是中國語文科理想的教材。而運用「文類教學理論」設計的教學法來教授「微型小說」，可以讓學生有系統地掌握微型小說的特點，在教學過程中，以明示式的方法教授「微型小說」的功能、文類結構、語域和語式等知識，可加強學生對微型小說的文體意識，此外使用小組討論、集體創作的合作學習形式，能在師生互動、生生互動的情況下，為學生提供支架，鞏固所學，使用評改量表、同輩互改的評改方式，能通過互動的模式，讓學生得到及時的回饋，提高寫作的興趣及能力，因此運用「文類教學理論」設計的教學法會較一般傳統的教學法更有成效。 總括而言，以「微型小說」作為教材，可提高學生學習中國語文的興趣，能減少學生學習動機的個別差異。運用「文類教學理論」設計的教學法，能讓學生有系統地掌握文類的特點，成效顯著，能減少學生能力的個別差異，即使低水平的學生也可有很大的進步，而無論新的教材和新的教學法都能切合學生的需要，能更有效地「照顧學生的個別差異」，這亦正是「校本課程」的精要所在。
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Education
Doctoral
Doctor of Education
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17

李芷昕. "香港 : 小說「文革」 = Hong Kong : narrating "the Chinese Cultural Revolution"". HKBU Institutional Repository, 2007. http://repository.hkbu.edu.hk/etd_ra/801.

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18

陸✹而. "✹述「九七」 : 香港小說中的時間與✹事 = Narrating "1997" : time and narrative in Hong Kong novels". HKBU Institutional Repository, 2006. http://repository.hkbu.edu.hk/etd_ra/688.

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19

Fung, Yuk-ling y 馮玉玲. "Junior secondary students' understanding of the nature of science through their study of science stories". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B42576908.

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20

Chan, Wai-ying y 陳惠英. "Chinese lyrical fiction in the period 1919-1989". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B31212864.

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21

Ng, Hoi-shan Crystal y 吳海珊. "Rewriting Louis Cha's classical characters in filmic representation inresponse to the political and cultural mutation of Hong Kong 90S -Wong Kar Wai and Tsui Hark". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31951697.

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22

Yau, Wai Ping. "A polysystemic study of the translations of modernist fiction in Literary current monthly magazine (1956-1959)". HKBU Institutional Repository, 2002. http://repository.hkbu.edu.hk/etd_ra/459.

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23

Ng, Po-chu. "Writing about women and women's writing a study of Hong Kong feminine fiction in 80s and 90s = Shu xie nü xing yu nü xing shu xie : ba, jiu shi nian dai xiang gang nü xing xiao shuo yan jiu /". Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B36259019.

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24

王靖. "許地山香港時期創作論 = Studies of XuDishan's composition during the Hong Kong period". Thesis, University of Macau, 2011. http://umaclib3.umac.mo/record=b2485471.

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25

呂永佳. "西西小說中的「城市空間」 = "Urban space" in Xi Xi's novels". HKBU Institutional Repository, 2006. http://repository.hkbu.edu.hk/etd_ra/791.

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26

Ng, Hoi-shan Crystal. "Rewriting Louis Cha's classical characters in filmic representation in response to the political and cultural mutation of Hong Kong 90S - Wong Kar Wai and Tsui Hark". Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20272662.

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鄭瑞琴. "西西《童話寫眞》小說硏究 = Research on the fairy realism in Xi Xi's writings". HKBU Institutional Repository, 2000. http://repository.hkbu.edu.hk/etd_ra/203.

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28

Ng, Po-chu y 伍寶珠. "Writing about women and women's writing". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B36259019.

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29

Zhou, Hao. "Representations of Cities in Republican-era Chinese Literature". The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1281335246.

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30

"Histories in fictions: the configuration of Hong Kong in Xu Xi's History's fiction and David T.K. Wong's Hong Kong stories". 2007. http://library.cuhk.edu.hk/record=b5893117.

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Siu, Lok Yi.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2007.
Includes bibliographical references (leaves 131-136).
Abstracts in English and Chinese.
Chapter Chapter One: --- Contextualizing the Context: Reading Histories in Fictions --- p.1
Chapter Chapter Two : --- Rendezvous: an Alternative Discourse for Hong Kong histories --- p.37
Chapter Chapter Three --- Histories Cut and Pasted: --- p.54
Kaleidoscopic Writing of Hong Kong histories
in Xu Xi's History's Fiction
Chapter Chapter Four --- Histories that Live: --- p.99
David T.K. Wong's Hong Kong Stories
Conclusion --- p.127
List of Works Consulted --- p.131
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31

"論香港五十年代至六十年代的小說實驗". 2008. http://library.cuhk.edu.hk/record=b5896786.

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楊彩杰.
"2008年9月".
"2008 nian 9 yue".
Thesis (M.Phil.)--Chinese University of Hong Kong, 2008.
Includes bibliographical references (leaves 98-102).
Abstracts in Chinese and English.
Yang Caijie.
Chapter 第一章 --- 緒論
Chapter 第一節 --- 硏究目的 --- p.1
Chapter 第二節 --- 硏究方法 --- p.3
Chapter 第三節 --- 前人硏究槪況 --- p.10
Chapter 第二章 --- 「小說實驗」釋義´ؤ´ؤ香港五、六十年代小說實驗的參照
Chapter 第一節 --- 文學雜誌對時代的詮釋 --- p.16
Chapter 第二節 --- _「政治」´ؤ´ؤ香港五、六十年代「政治介入文學」的文學景觀 --- p.21
Chapter 第三節 --- 「五四」´ؤ´ؤ早期香港文學接受「五四」小說的範式 --- p.26
Chapter 第四節 --- 「大眾文化」´ؤ´ؤ香港五、六十年代的通俗小說 --- p.29
Chapter 第五節 --- 小結 --- p.32
Chapter 第三章 --- 香港五、六十年代小說實驗的敘述形式
Chapter 第一節 --- 香港五、六十年代文學雜誌所載文章表現的敘述觀念 --- p.34
Chapter 第二節 --- 時間意識的改變 --- p.40
Chapter 2.1 --- 時間中的空間
Chapter 2.2 --- 意識流技巧
Chapter 第三節 --- 共時性的敘述結構 --- p.54
Chapter 3.1 --- 「一天之內」的共時性結構
Chapter 3.2 --- 多角度敘述的共時性結構
Chapter 第四節 --- 小說敘述與現實經驗的關係 --- p.58
Chapter 4.1 --- 人物與場景的邏輯關係
Chapter 4.2 --- 後設敘述
Chapter 第五節 --- 小結
Chapter 5.1 --- 「敘述權威」 --- p.65
Chapter 5.2 --- 「現代主義思潮」的再思 --- p.67
Chapter 第四章 --- 另一個硏究面向´ؤ´ؤ香港五、六十年代小說的內容實驗
Chapter 第一節 --- 香港五、六十年代文學雜誌所載作品表現的政治意識形態 --- p.69
Chapter 1.1 --- 右翼文學
Chapter 1.2 --- 左翼文學
Chapter 第二節 --- 拆解政治論述的合法性 --- p.75
Chapter 2.1 --- 政治寓言
Chapter 2.2 --- 內心獨白的宣言
Chapter 2.3 --- 「對革命的革命」
Chapter 第三節 --- 淡化政治色彩 --- p.82
Chapter 3.1 --- 大時代下的小人物
Chapter 3.2 --- 私人領域的政治
Chapter 3.3 --- 紅白以外的本土關懷
Chapter 第四節 --- 女體與戰爭 --- p.86
Chapter 4.1 --- 女體與屍體
Chapter 4.2 --- 女體´ؤ´ؤ另一個自我的投射
Chapter 第五節 --- 小結 --- p.90
Chapter 第五章 --- 總結´ؤ´ؤ港五、六十年代小說實驗的意義探析
Chapter 第一節 --- 從「五四傳統」到「現代實驗性」 --- p.92
Chapter 第二節 --- 在地視野 --- p.95
參考書目 --- p.98
附錄:文學雜誌作品簡表 --- p.103
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32

Chung-HangChang y 張珺涵. "Time And Tide：A Study On Xu Xu’s Fiction of Shanghai , Chongqing and Hong Kong Period". Thesis, 2015. http://ndltd.ncl.edu.tw/handle/06943451869637033130.

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碩士
國立成功大學
中國文學系現代文學碩士班
103
SUMMARY This paper outlines the three periods of Xu Xu’ creative life , including the Shanghai period (1933-1941 , 1946-1950) ,the Chongqing period (1942-1944 ) and the Hong Kong period (1950-1980 ). Inspire by time and space ,this paper makes synchronic and diachronic study of Xu Xu’s fiction. Exploring differences and relevant points between three periods and contrasting with the early period and upper period of Xu Xu’s writing. Through three periods of this discussion, can be a clear thread of thought to grant Xu Xu an adequate position and an impartial evaluation in 20th century Chinese history of literature. Key words: Xu Xu, Ghost love , Rustling wind ,The wandering INTRODUCTION From 1930s to 1980s, Xu Xu’s writing career lasted almost fifty years who leaving voluminous bodies of work in fiction, poetry ,prose, drama and literary criticism. Lin Yutang had a very high opinion of Xu Xu’s fiction, he said ”Of the authors of short stories, the works of Lu Hsun, Shen Tsung-wen, Feng wen-ping(less well-known)and Hsu Yu are the best.” Generally speaking , the study in the past analyzes the structures and forms, background ,image of characters ,fine art skill and strategy use of Xu Xu’s fiction. The author outlines the three periods of XuXu’ creative life , the Shanghai period ,the Chongqing period and the Hong Kong period—in the context of the historical and geographical background of each period. Through connecting with his fiction which were written from the 1930s to 1950s, we can find how his texts construct the images of Shanghai in his latter writings such as “Ghost Love” and “Rustling wind”. “Rustling wind” created a great sensation, even made the year titled as “The Year of Xu Xu (1943).” “Rustling wind” constructs the images of Shanghai period, makes the feeling of Intellectual in concession. At last went to religion to get the detachment of life and soul, so as to delves into philosophical and metaphysical thought of Xu Xu's fiction. MATERIALS AND METHODS In this study, the author uses the text analysis method to study and discuss Xu-Xu’s fiction.This research aims to detect how literature and regionalism influence each other in Xu Xu's fiction such as “Ghost love” , “Rustling wind’’ and “The wandering.” To emphasize on the vision of textual analysis of the Shanghai period , the Chongqing period and the Hong Kong period. Step by step ,through synchronic and diachronic study of Xu Xu’s fiction , which will re-locate Xu Xu's status in contemporary literature history. RESULTS AND DISCUSSION Chapter Two : The Shanghai Period (1933-1941 , 1946-1950) This chapter has three basic phases of XuXu’ Shanghai period, including fontiers of Shanghai period, Shanghai isolated-island period and late Shanghai period. I mainly focus on narrative style and characters shaping of The goddess of Arabian sea ,“Ghost love” , “Threnody of the psychiatric patient”, “Fantastic dream of English Channel” and “Gypsy enticement”. Research on Xu Xu’’s central idea about freedom and platonic love during the Shanghai period. Chapter Three : The Chongqing Period (1942-1944 ) First , this chapter focuses on the debate between eight-part essay and romantic literature in 1940s. Analyze of performed on the colors used in Rustling wind, especially in terms of the depictions of characters and scenes. Then research on the canonization of Rustling wind in 1990s.Finally, this chapter also delves into philosophical thoughts of Rustling wind . Chapter Four :The Hong Kong Period (1950-1980 ) Xu Xu's emigrating experience in 1950s that effects on his character and writing in Hong Kong period. Xu Xu had already changed love theoretical model. He used the image of dancer's walking stick ,which called love into question. His hope was so high he had been doomed to disappointment. Therefore his writing was trying to approach universe in harmony realm, such as The other side ,Time and tide and The wandering. CONCLUSION According to previous studies, which focused on discussion of Xu Xu’s fiction of the Shanghai period the Chongqing period and the Hong Kong period. The main purpose of this paper is not only to fill the vacancy of previous studies, but also to add in synchronic and diachronic study of Xu Xu’s fiction to discuss. The results is different from previous research. After analysis, the reader can understand that Xu Xu's central idea about platonic love of the Shanghai period. At last, his fiction creation changed from romance to “the other side”. His artistic creativity reached a peak by “The Wandering” in the Hong Kong period. Xu Xu extremely concern about the process of a religious conversion in his whole life. Finally he found inner peace through writing about life experience. Under the premise that the author combines with his creative process from the perspective of time, showing the conection and differences of each period.
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33

"The lore of childhood: subversion of gender socialization in certain examples of English and Hong Kong children's fiction since the 1860s". 1998. http://library.cuhk.edu.hk/record=b5896312.

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by Maggy Chan Mei Lan.
Thesis (M.Phil.)--Chinese University of Hong Kong, 1998.
Includes bibliographical references (leaves 171-182).
Abstract also in Chinese.
Chapter Chapter One --- Introduction --- p.1
Chapter Chapter Two --- Historical Background --- p.17
Chapter 2.1: --- Whimsical Garden: A short Visit to the Realm of Children's Literature in the West
Chapter 2.2: --- Rejuvenated Roses: The Growth of Hong Kong Children's Literature and Its Tinge of Local Colors
Chapter 2.3: --- Magic Wand to the Future: Subversive Children's Literature
Chapter Chapter Three --- Undressing the Dressed: To Overturn Traditional Modes of Adornment --- p.68
Chapter Chapter Four --- "If Adults Are Not Always Right, Who Is?" --- p.93
Chapter Chapter Five --- Inverted Chalkboard: School of Subversion --- p.121
Chapter Chapter Six --- Conclusion: A New Chapter --- p.140
Appendix I´ؤBiographical Notes on Some HK Children's Writers --- p.147
Appendix II´ؤNewspaper cuttings --- p.149
Works Cited --- p.171
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34

"邊緣與中心: 論香港左翼小說中的「香港(1950-1967)". 2001. http://library.cuhk.edu.hk/record=b6073825.

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張詠梅.
論文(哲學博士)--香港中文大學, 2001.
參考文獻 (p. 235-273).
中英文摘要.
Available also through the Internet via Dissertations & theses @ Chinese University of Hong Kong.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Mode of access: World Wide Web.
Zhang Yongmei.
Lun wen (Zhe xue bo shi)--Xianggang Zhong wen da xue, 2001.
Can kao wen xian (p. 235-273).
Zhong Ying wen zhai yao.
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35

"1940-1950年代香港虛構文學中的文化身份". 2013. http://library.cuhk.edu.hk/record=b5549276.

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本論文旨在分析1940年代到1950年代的香港虛構文學中對於文化認同的轉變。1940年代到1950年代在香港文學史中是一個重要的時期，見證了鮮明的文化意識的形成和覺醒。本研究通過分析香港的虛構文學作品中兩種常用甚至濫用的刻板印象，分別為香港即港口的形象，和香港即女性的形象，來闡述這些刻板印象如何在不同的文化視野下反復被重寫，改寫，從而產生具有獨特香港文化意識的特質。本文通過後殖民理論研究方法，分析了五篇這一時期的虛構文學作品中文化認同的轉變。他們分別為：張愛玲的短篇小說《沈香屑·第一爐香》（1943）和《傾城之戀》（1943）、韓素音的小說《瑰寶》（1952）、舒巷城的短篇小說《霧香港》（1956）以及理查德·梅森的小說《蘇絲黃的世界》（1957）。
本文分為五個章節。概論章介紹了1940年代到1950年代香港文學的整體面貌，並討論了香港文學的定義以及現在的各種問題。第一章研究了相關後殖民理論，包括文化身份（認同），離散經驗，東方主義和混雜性等概念，以幫助下文的深入討論。第二章和第三章分別圍繞上文所述的兩種刻板印象的再書寫展開，以闡述所選作品中表現出來的區別於群體文化身份認同書寫的私人書寫方式，並由此得出相關結論。
This study purports to describe the transformation of cultural identities in the fictions written about Hong Kong in the 1940s and 1950s. As a critical period of transition, the 1940s and 1950s Hong Kong literature witnessed the emergence of a distinctive cultural awareness. Through the examination of two commonly used (abused) stereotypes, namely, Hong Kong as port and Hong Kong as female in the fictional writings of this period, this study aims at elaborating how writers from different cultural perspectives draw upon and undermine these stereotypes and bring out features that give rise to a distinctive Hong Kong cultural awareness. Taking the postcolonial theoretical approach, I examine five works of Hong Kong literature within the proposed timeframe, “Aloeswood Incense: The First Brazier“ (1943) and “Love in a Fallen City“ (1943) by Eileen Chang, A Many Splendoured Thing (1952) by Han Suyin, “Foggy Hong Kong“ (1956) by Shu Xiangcheng and The World of Suzie Wong (1957) by Richard Mason, in order to elaborate the distinctiveness of Hong Kong cultural awareness.
The study is divided into five chapters. It begins with an overview of Hong Kong literature in the 1940s and 1950s, its nomenclature and problematics. Then in the second chapter, an analysis of postcolonial theories is provided in order to facilitate the discussion. Concepts like cultural identity, diaspora, Orientalism and hybridity are discussed in relation to the selected works of Hong Kong literature. Chapter two and chapter three focus on the reinscriptions of the two aforementioned stereotypes in which features of Hong Kong cultural identities are perceivable. These two chapters elaborate the individual renderings of cultural identities in the selected stories as against the collective identity representation, thus leading to the concluding chapter.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Gao, Yunwen.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2013.
Includes bibliographical references (leaves 96-102).
Abstracts and appendix also in Chinese.
Introduction --- p.1
Chapter Chapter One --- Cultural Identity and Hong Kong Literature --- p.15
Chapter 1. --- Hong Kong in the 1940s and 1950s --- p.15
Chapter 2. --- Cultural Identity and Postcolonial Studies --- p.18
Chapter 2.1 --- Imagining Hong Kong: Diaspora and Cultural Identity in the 1940s and 1950s --- p.20
Chapter 2.2 --- Feminizing Hong Kong: Orientalism and Hybridity --- p.24
Chapter Chapter Two --- Hong Kong as Port --- p.33
Chapter 1. --- Hong Kong as Port in the 1940s and 1950s Hong Kong Fiction --- p.34
Chapter 2. --- “Love in a Fallen City“: Hong Kong in the Eyes of Shanghainese --- p.39
Chapter 2.1 --- A Tale of Two Cities: Time and Space in Shanghai and Hong Kong --- p.41
Chapter 2.2 --- Chineseness in Different Contexts --- p.44
Chapter 2.3 --- Hong Kong Reconsidered --- p.48
Chapter 3. --- A Many Splendoured Thing: Eurasian Perspective on Hong Kong --- p.51
Chapter 3.1 --- Hybridity of Eurasians and Hong Kong Society --- p.52
Chapter 3.2 --- Borrowed Time and Borrowed Space: The Ship that is Hong Kong --- p.55
Chapter 3.3 --- Plurality: Cultural Identities in the Post-1949 Hong Kong --- p.58
Conclusion --- p.60
Chapter Chapter Three --- Hong Kong as Female --- p.61
Chapter 1. --- The World of Suzie Wong: British Colonial Perspective on Hong Kong --- p.63
Chapter 1.1 --- The Gaze at the Orient --- p.65
Chapter 1.2 --- The Ambivalence of the Oriental Female --- p.70
Chapter 1.3 --- Stereotype Reinscribed --- p.73
Chapter 2. --- “Aloeswood Incense: The First Brazier“ --- p.75
Chapter 2.1 --- Beyond the East and the West: Hybrid Social Environment --- p.76
Chapter 2.2 --- The Individual Over the Collective: Female Desire --- p.79
Chapter 2.3 --- Out of the Fairyland: Male-Female Relationship as a Prison House --- p.83
Chapter 3. --- “Foggy Hong Kong --- p.85
Chapter 3.1 --- Hong Kong Skies, Hong Kong Girls --- p.86
Chapter 3.2 --- Corruption in Two Ways --- p.88
Conclusion --- p.90
Conclusion --- p.91
WorksCited --- p.96
Chapter Appendix I --- Translation of Chinese Names --- p.103
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36

"複調的藝術: 黃碧雲(1961-)小說研究". 2004. http://library.cuhk.edu.hk/record=b6073879.

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黃念欣.
論文(哲學博士)--香港中文大學, 2004.
參考文獻 (p. 354-462).
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 Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Mode of access: World Wide Web.
Abstracts in Chinese and English.
Huang Nianxin.
Lun wen (Zhe xue bo shi)--Xianggang Zhong wen da xue, 2004.
Can kao wen xian (p. 354-462).
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