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Tesi sul tema "Chinese artists, 20th century"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 20 febbraio 2023

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1

Chiu, Melissa, University of Western Sydney, of Arts Education and Social Sciences College, and Centre for Cultural Research. "Transexperience and Chinese experimental art, 1990-2000." THESIS_CAESS_CCR_Chiu_M.xml, 2003. http://handle.uws.edu.au:8081/1959.7/677.

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This dissertation focuses on Chinese artists who migrated to the West (Australia, the United States, and France )during the late eighties and early nineties. Throughout the thesis, it is argued that transexperience encourages a more fluid perception of the relationship to the homeland, not only positing it in the past but also in the present. The structure of the dissertation, devised in terms of locations, is relevant to the author's argument that the site of settlement is a significant determinant in the development of artistic expressions of overseas Chinese artists. A brief conclusion explores some of the most recent developments in the relationship between overseas Chinese artists and their homeland as seen in more frequent travel back, the exhibition of their work (which would have been impossible only a few years ago), and official invitations to represent China in international exhibitions.<br>Doctor of Philosophy (PhD)

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2

Chan, Flora Kay, та 陳鳳姬. "呂壽琨的藝術發展". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1991. http://hub.hku.hk/bib/B1300587X.

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3

Chiu, Melissa. "Transexperience and Chinese experimental art, 1990-2000." Thesis, View thesis, 2003. http://handle.uws.edu.au:8081/1959.7/677.

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Abstract (sommario):

This dissertation focuses on Chinese artists who migrated to the West (Australia, the United States, and France )during the late eighties and early nineties. Throughout the thesis, it is argued that transexperience encourages a more fluid perception of the relationship to the homeland, not only positing it in the past but also in the present. The structure of the dissertation, devised in terms of locations, is relevant to the author's argument that the site of settlement is a significant determinant in the development of artistic expressions of overseas Chinese artists. A brief conclusion explores some of the most recent developments in the relationship between overseas Chinese artists and their homeland as seen in more frequent travel back, the exhibition of their work (which would have been impossible only a few years ago), and official invitations to represent China in international exhibitions.

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4

Lewis, Joanne Rebecca. "Women artists in Botswana in the late 20th century." Thesis, SOAS, University of London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.525246.

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Women have always played a large part in the visual arts throughout Africa. In Botswana at the present time this is illustrated most immediately by the woven baskets, seen everywhere, in galleries, shops and at roadside stalls, that have come to represent the country and its arts and crafts; and with the odd exception they are all made by women in the most rural areas. However, women in Botswana currently practice other arts, including house decoration and pottery, although, for a variety of reasons, these are less immediately obvious. In contrast to these practices, representing traditions inherited from the past, there are others of relatively recent inception. Since the 1980s Botswana has seen the emergence of a small number of women ‘Fine’ artists, some of whom are Botswana nationals while others are expatriates settled in the country. In contrast to arts made for immediate local use, or sold in roadside stalls, the work of these artists is exhibited in the few art galleries that now exist. During the same period, art education has also been gradually introduced into the school and university system in Botswana. Art galleries both private and public are another recent development, beginning with the National Museums and Monuments Art Gallery, which opened in 1978, and which began to facilitate local exhibitions of Botswana art, while also encouraging exhibitions of this material in other countries. In addition to local tradition and an emerging Fine Art practice, art education, museums and galleries, a series of workshops has also been developed. Some of these were set up by expatriates on a more-or-less permanent basis with the aim of training women in various art forms, while others are temporary and artist-led, giving selected groups of artists the chance to meet, work and exchange ideas. I begin this thesis, therefore, with a survey of all the arts inherited from the past, and currently practised by women in Botswana, and then, in a series of chapters I look at each of the developments, including art education, museums and galleries, and workshops; and their histories, their aims, and their achievements with particular regard to the overall development of the arts in Botswana. This thesis thereby provides a comprehensive study of all the arts practised by women in Botswana through the last thirty years.

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5

Kiss-Davies, Adriana. "The exile experience : Hungarian and Czech Cold War refugee artists in Britain." Thesis, Aberystwyth University, 2011. http://hdl.handle.net/2160/f372a97d-f457-4ac0-b92c-99f577d46260.

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This study is an investigation of the life and work of émigré artists who arrived in Great Britain as refugees after the 1956 revolution in Hungary and after the crushing of the Prague Spring in 1968. The artists selected for examination represent different aspects of cultural production and range from painters through graphic artists and designers to film-makers. The work of these artists is discussed in the wider cultural, social and political context of Cold War Europe. The human aspect, that is, the way in which exile affected individual artists and their lives and altered their perception and artistic output, is a central thread of the thesis. Other key issues that are considered include: the relationship between art and politics, exile and identity, cultural exchange and issues of communication with a foreign audience. The main argument is based on the analysis of selected artworks created in exile and the thesis is structured around eight case studies which explore specific aspects of the uprooted experience in the context of artistic creativity in exile. The major themes which the case studies focus on are: questions of identity and loss in the films of Robert Vas, the feeling of dislocation and alienation in György Gordon’s self portraits, the problems of artistic acceptance in the context of the career of cartoonist Edma, the transposition of Hungarian landscape painting traditions into English art by Gyula Sajo, the origins and artistic benefits of Josef Koudelka’s wandering existence, forms of Czech Functionalism in Eva Jiricna’s architectural designs, nostalgia and memory in the paintings of Jiri Borsky and Jan Mladovsky’s conceptual explorations of Eastern and Western cultural identities. The case studies are used to identify common artistic, philosophical and theoretical threads which connect the visual responses of the examined artists to the wider subject of art in exile.

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6

霍少霞 and Siu-har Silvia Fok. "The development of the stars (Xingxing) artists, 1979-2000." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31225986.

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The Best MPhil Thesis in the Faculties of Architecture, Arts, Business& Economics, Education, Law and Social Sciences (University of HongKong), Li Ka Shing Prize<br>published_or_final_version<br>Fine Arts<br>Master<br>Master of Philosophy

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7

Frantz, Susanne K. "ARTISTS AND GLASS: A HISTORY OF INTERNATIONAL STUDIO GLASS (SCULPTURE)." Thesis, The University of Arizona, 1987. http://hdl.handle.net/10150/291668.

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8

Wei, Linna, and Xichan Zhao. "Investment Study on Christie’ Chinese 20th Century Art." Thesis, Högskolan i Jönköping, Internationella Handelshögskolan, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-13812.

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This thesis focuses on the blooming market of Chinese 20th Century Art. The study object is one category of Christie’s Auction house, Chinese 20th Century Art, before 2009. Eight artists’ auction results are selected to the dataset for the research. We find that the previous researches based on the collection of Western arts cannot explain the whole situation of Chinese 20th Century Art. It has speculative character as an invest option in global art market. And some factors would affect the price changing in the auction activities. The Capital Asset Pricing Model is applied to study the investment condition of Chinese 20th Century Art as a capital asset. The result we get from our dataset presents that Chinese 20th Century Art is with high risks and high returns, which is quite different from the previous studies based on Western Artworks. Regression analysis reveals that some factors do affect the rate of price changes. We find that young Chinese artists who born after 1950 achieve better sale results than older ones. Their artworks are always sold on high realized prices. In addition, the high price sale more often happened in the auction house of Hong Kong and the market of Chinese 20th Century Art is enlarging these years. The rate of price change is increasing by the sale year growing. The prices of the artworks are growing higher and higher recently. However, the findings above just explain parts of the price increasing. All the reasons for the price increasing are not clear in this thesis.

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9

Rattalino, Elisabetta. "The seasons in the city : artists and rural worlds in the era of Calvino and Pasolini." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/15588.

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The Seasons in the City. Artists and Rural Worlds in the Era of Calvino and Pasolini explores rurality in postwar Italy. Between 1958 and 1963, the country underwent an unprecedented yet uneven industrialisation, a period known as the Economic Miracle. Drawing on a relational and dynamic understanding of rural space provided by human geography, this thesis investigates the impact of these economic and socio-cultural transformations on the countryside, and on the ways in which the rural world was perceived and conceptualised in the following decades, especially by contemporary artists and intellectuals. Works of Gianfranco Baruchello, Claudio Costa, Piero Gilardi, Maria Lai, Ugo La Pietra, Antonio Paradiso, Pino Pascali, Giuseppe Penone, and Superstudio have been selected and analysed for the complex views on the topography of the country they convey, whilst challenging more conventional forms of art. Organised in themed chapters that find resonance in the contemporary works of two iconic Italian intellectuals, Italo Calvino and Pier Paolo Pasolini, these artistic practices manifest the ways in which Marxist theory and anthropology contributed to artists' identification of rural landscapes and communities at the time. More importantly, this thesis offers an alternative geographical perspective on 1970s Italian art, one that challenges the pastoral myths that were constructed in the country's metropolitan centres.

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10

Ouyang, Yiwen. "Westernisation, ideology and national identity in 20th-century Chinese music." Thesis, Royal Holloway, University of London, 2012. http://repository.royalholloway.ac.uk/items/8f19c444-ee12-c022-d86c-879118683355/7/.

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The twentieth century saw the spread of Western art music across the world as Western ideology and values acquired increasing dominance in the global order. How did this process occur in China, what complexities does it display and what are its distinctive features? This thesis aims to provide a detailed and coherent understanding of the Westernisation of Chinese music in the 20th century, focusing on the ever-changing relationship between music and social ideology and the rise and evolution of national identity as expressed in music. This thesis views these issues through three crucial stages: the early period of the 20th century which witnessed the transition of Chinese society from an empire to a republic and included China's early modernisation; the era from the 1930s to 1940s comprising the Japanese intrusion and the rising of the Communist power; and the decades of economic and social reform from 1978 onwards. The thesis intertwines the concrete analysis of particular pieces of music with social context and demonstrates previously overlooked relationships between these stages. It also seeks to illustrate in the context of the appropriation of Western art music how certain concepts acquired new meanings in their translation from the European to the Chinese context, for example modernity, Marxism, colonialism, nationalism, tradition, liberalism, and so on.

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11

蕭芬琪 and Fun-kee Siu. "The case of Wang Yiting (1867-1938): a uniquefigure in early twentieth century Chinese art history." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31223357.

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12

Burke, Janine, and mikewood@deakin edu au. "A Portrait of Albert Tucker, 1914-1960." Deakin University. School of Contemporary Arts, 2001. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050915.161937.

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13

Tao, Wenjia, and 陶文佳. "The Chinese reception of Rousseau's political philosophy in the 20th century." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hdl.handle.net/10722/195979.

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The present thesis explores the history of interpretations of Rousseau’s political philosophy in the last one hundred years in China. Ever since the introduction of Of the Social Contract into China at the beginning of the twentieth century, Rousseau became one of the few western thinkers who greatly influenced how the Chinese perceive modern society and politics. Rousseau’s political ideas first generated a growing number of interpretations from 1898 to 1920. In these interpretations, his work was portrayed as the epitome of modern democracy, and his teachings were considered the cure for social problems in China at the time. However, in the recent three decades in China, scholars interpreted his political writings differently. Some even accused him of being the advocate of totalitarianism, and his political theories the theoretical support of dictatorship of the French Revolution. Such different interpretations in different periods of the Chinese reception of his political philosophy raised the question: what caused the distinctive alteration of Rousseau’s image in the last century in China? This thesis intends to provide a possible answer by examining the movement and evolution of interpretations of his political philosophy over the past century. In this examination, I first introduce the methodology and the theoretical foundation of this dissertation: Gadamer’s hermeneutic method in interpreting a text, and Rousseau’s political philosophy as a whole. In part two and part three, the history of the Chinese interpretations will then be divided into two phases in accordance with the alteration of Rousseau’s image over time. I present and briefly analyze different interpretations of his political theories to provide a thorough overview, as well as different characteristics of the interpretations from both phases. I then employ Gadamer’s hermeneutic method to analyze three interpretations that were most influential in these phases to argue that even though some interpretations contained inaccurate accounts of Rousseau’s texts, all fulfilled the hermeneutic task of understanding these texts in different phases. The cause of the alteration of Rousseau’s image in the last century is the alteration of interpreters’ hermeneutic horizons in different times. As the process of understanding his political writings evolved through the last century in China, these texts constantly generates new fusions of the horizon of the author with the horizons of the interpreters.<br>published_or_final_version<br>Philosophy<br>Doctoral<br>Doctor of Philosophy

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14

陳桂月 and Kwee-nyet Chin. "The mythical world of modern Chinese writers (1919-1949)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B31234744.

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15

Marcus, Karen K. "Twentieth century Chinese architecture : examples and their significance in a modern tradition." Thesis, Massachusetts Institute of Technology, 1988. http://hdl.handle.net/1721.1/78994.

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Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1988.<br>Includes bibliographical references.<br>If one were to seek a unifying factor in this relatively short period of a modern Chinese tradition, it might be surprising to find that amidst the jolts of passing out of a feudal era into the twentieth century, the ancient principles of yin and yang still provide the jagged thread with which to attach the modern Chinese culture to the ancient one. This integration of opposing forces causes the pendulum to swing in any cross section of both material and nonmaterial form. Although this idiosyncratic leitmotiv is often to be found locked in a state of contradiction (the antithesis), the principles nevertheless provide a flexible structure and the leeway for change; as Chinese history has proven that rigidity most often results in decline and defeat. Moreover, it has provided a base for the growth of knowledge, readily adapting to the Marxist and Maoist methodology of dialectical materialism in this modern era.<br>by Karen K. Marcus.<br>M.S.

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16

Law, Suk-mun Sophia, and 羅淑敏. "Zhang Daqian's (1899-1983) place in the history of Chinese painting." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31245808.

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17

Norvenius, Mats. "Images of an Empire : Chinese Geography Textbooks of the Early 20th Century." Doctoral thesis, Stockholms universitet, Institutionen för orientaliska språk, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-75397.

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In 1901 the Qing regime, in power 1644-1911, took wide-ranging measures to reform the Chinese Empire. Fundamental changes were carried out within the field of education, resulting in the completion of China’s first modern educational system in 1904. Modern schools mushroomed across China and modern textbooks introducing non-traditional knowledge became common reading in the classrooms. Modern geography textbooks informed schoolchildren about the circumstances within the Empire and, to some extent, about the conditions in foreign countries. Thus these textbooks gave them an idea of their own nation in relation to the rest of the world. The thesis examines the images of the inhabitants of the multiethnic Qing Empire, as encountered in a wide range of textbooks and other teaching materials, on the school subject of geography, used at various institutions of modern learning during the closing years of the Qing era. The focus is on the Han Chinese majority of China Proper (i.e. the eighteen provinces), although the images of the other major ethnicities of the Qing Empire are also examined, as well as the peoples of neighbouring Korea and Japan. This study highlights the extent to which the late Qing era was influenced by Japanese approaches towards reforms and modernization, especially in the field of education. During the process of introducing modern school geography in China, Chinese textbook compilers largely relied on Japanese sources on geography, thereby facing a Japanese, nationalistic and colonial discourse, which implied that Japan, as the most civilized nation in the East, was also in her right to dominate the region. Although Chinese educationalists hardly accepted Japan’s self-proclaimed position as the rightful leader of Asia, they were nevertheless influenced by Japanese descriptions of the continent and its peoples.

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18

蘇偉貞 та Weizhen Su. "張愛玲的香港時期小說, 1952-1955". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B29913330.

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19

Lui, Shi-mun Patricia, and 呂詩敏. "Research on the art of Zhu Ming with special focus on his Taiji', andThe living world' series." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1985. http://hub.hku.hk/bib/B31207388.

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20

蘇碧懿 and Pik-yee Kotewall. "Huang Binhong (1865-1955) and his redefinition of the Chinese paintingtradition in the twentieth century." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31238701.

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21

Deng, Weixiong, and 鄧偉雄. "Scholarship, creativity and Jao Tsung-i's works and theories of painting." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B45961803.

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22

Lau, Leung-che Miriam, and 劉亮之. "Passing three hurdles: representations of Henrik Ibsen's Nora in twentieth century Chinese theatre." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B43958825.

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23

Lam, Po-ying Belinda, and 林寶英. "Modern Chinese political thought and the Min-li pao." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1985. http://hub.hku.hk/bib/B31948571.

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24

Wu, Hao, and 吳昊. "History of Chinese women's costume." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B3124080X.

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25

Chan, Man-lok, and 陳民洛. "Between red and white: Chinese communist and nationalist movements in Hong Kong, 1945-1958." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B46088908.

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26

Min, Shu. "Evolving Vernacular Architecture: Case Studies in Sichuan, China, 18th-20th Century." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/15474.

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This thesis investigates how and why Sichuan courtyard dwellings evolved to adapt to changing social and cultural conditions from the 18th to the 20th century. Located in south-western China, Sichuan courtyard dwelling share some similarities with those in other regions of China but have its unique characteristics. While much of the existing scholarship studies Sichuan vernacular architecture from a static perspective, this research examines the development of Sichuan vernacular architecture as a dynamic process of immigration, localization, and acculturation. The research is based on three in-depth case studies and fifteen auxiliary cases. Using research methods including archival research, interviewing, site observation, and spatial analysis, the thesis adopts a holistic research framework to examine architectural space, social relationships, everyday life and cultural meaning of selected examples. The thesis shows that Sichuan courtyard dwellings in the 18th century were not developed from local architectural forms, but imported from inland China along with the wave of immigration. With the process of localisation in the 19th century, the characteristics of Sichuan vernacular dwelling such as grey space, flexible layout, extended eave, and small sky-well came into being to adapt to the new natural and cultural environment. The study also found that the social relationships and everyday life of the Sichuan residents were driving forces for the creation of the interesting spaces. The study also shows that many Sichuan courtyard dwellings in the 20th century were the results of compromise and eclecticism: their domestic spaces were organized within the traditional spatial framework as a cultural inheritance, while their westernized facade revealed the process of acculturation. Through these findings, the thesis contributes an original perspective to the understanding of Sichuan vernacular architecture as an evolving process over time.

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27

Yang, Jing, and 杨静. "The construction of the Chinese woman in 1990s American cinema." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B43813185.

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28

Park, Christopher 1966. "La modernité poétique des femmes chinoises : écriture et institution." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56656.

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Women's poetic writing in modern China, its context and position in literary history as well as its ideological and social constitution are at the root of this thesis' subject. Having stated my intellectual and personal limitations regarding its writing as an introduction, examples of contemporary women's poetic text will serve to broaden its conclusion. My analysis begins with a reflection on its own terminology in philosophical debate, followed by a study of the modernist background that from 1977 leads to what is termed as neo-modernity in literature. A paradox in the women's avant-garde of antipatriarchal antagonism against the literary institution will be illustrated by examples of critical text on women's poetic production. My point is to address this paradox with the identification of false values placed from the very beginnings of poetic modernity on women's poetry within the avant-garde.

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29

Thorpe, Josh. "Here hear my recent compositions in a context of philosophy and western 20th century experimental art /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ59209.pdf.

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30

Wang, Pan-yeung, and 王濱洋. "The role of the National People's Congress in Chinese foreign affairs in the reform era." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B29773672.

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31

Kam, Chi-lim Daniel, and 甘志廉. "Contemporary Chinese music in Hong Kong: the Wuji Ensemble, a case study." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B45161859.

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32

Shi, Xiaoling. "The Return of the Westward Look: Overseas Chinese Student Literature in the 20th century." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/194739.

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By employing the theory of Imagology, this work examines four literature workswritten in overseas study movements in modern Chinese history: Wang Tao's shortstories in Songyin Manlu, Lao She's The Two Mas, Bai Xianyong's A Death in Chicagoand Zhou Li's Manhattan's Chinese Lady. While tracing how Chinese intellectuals workthrough the dichotomy of China/West and Tradition /Modernity, this study alsoendeavors to reveal theoretical issues arising from inter-cultural communication andrepresentation. It argues that the literary projection of the west manifests a complex senseof the Chinese self primarily due to the portrayals of western cities and westerners as anembodiment of Chinese understandings of western modernity at different periods. In theLate Qing, the depiction of London in Songyin Manlu only focuses on gunboats, cannons,museums, and factories, because western modernity for the Chinese at the time wassignified by the mighty weaponry of British navy and advanced technology. In the 1920s,however, the portrayal of London in The Two Mas shifts to reveal how Londoners'lifestyle and culture make Britain the most powerful nation in the world, as the Chineseintellectuals advocated the westernization of Chinese culture in order to strengthen China.In the 1960s, the Chinese protagonist Wu Hanhun in A Death of Chicago feels estrangedand sexually seduced in Chicago, subsequently loses his sense of purpose in life andeventually commits suicide, the depiction of which is consistent with similar themes inwestern modernist literature. This is due to the fact that the modernist movement thrivedin Taiwan in the 1960s, and as such, had a large impact on Taiwanese writers. The 1990seraManhattan's Chinese Lady displays spectacles of America's wealth on the FifthAvenue in Manhattan, as common Chinese strive for becoming rich in contemporaryChina owing to the Chinese government's promotion of market reform after 40 years ofpoverty in socialist China. The study concludes that regardless of whether or not theimages of the west presented in Chinese discourse are idealizations, demonizations, orother related cultural determinations, they all manifest a type of anxiety in regard to theChinese Self.

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33

Berkowitz, Ellie Patricia. "Innovation through appropriation as an alternative to separatism : the use of commercial imagery by Chicano artists, 1960-1990 /." Thesis, Connect to online resource, 2006. http://www.lib.utexas.edu/etd/d/2006/berkowitze41540/berkowitze41540.pdf#page=3.

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34

Vibert, Dermot Wilson. "Canada's Chinese immigration policy and immigration security 1947-1953." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61662.

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35

Li, Chen. "From Burma Road to 38th parallel : the Chinese forces' adaptation in war, 1942-1953." Thesis, University of Cambridge, 2013. https://www.repository.cam.ac.uk/handle/1810/283921.

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36

Purdham, Medrie. "The encyclopedic imagination in the Canadian artist figure /." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85955.

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The "encyclopedic imagination" describes an artist's conviction that a work of art must be expansive and inclusive to a point of total embodiment. The artist (or dramatized artist figure) implies that the work of art must give a total account not only of the subjective life of the artist but of the reality to which the representing self responds. The focus of this study is not on any work's encyclopedic achievement (for the artist's inclusive ideal always remains well outside the actual capacity of the work), but on the relationship of the ideal of aesthetic all-inclusiveness to a problematic ideal of encompassing selfhood for the representing personality.<br>Following an introduction that establishes modern and postmodern conceptions of the notion of aesthetic totality, this dissertation describes, in six Canadian works, the (untenable) radicalization of the self through the "encyclopedic" ideal. Chapter one considers Ernest Buckler's The Mountain and the Valley (1952) and notes that the protagonist's drive towards total representation is costly to his sense of authentic temporality. Chapter two identifies "total embodiment" as the governing poetic principle of P. K. Page's The Hidden Room (poems c.1942-1997), and suggests the relation of this ideal to Page's apparent creative crisis. Chapter three examines the ethics of all-inclusive representation in Leonard Cohen's Beautiful Losers (1966) and argues that the novel's vision of the world incorporated into a single body is a reflection of both the totalitarian politic of One Man and of apocalyptic-beatific "total identity." Chapter four looks at Margaret Atwood's Cat's Eye (1988) in terms of the trope of the "perverse museum" in Atwood's oeuvre. The novel's treatment of representation as exhibition figures identity as a matter of insatiable demonstration. Chapter five considers the "life-long" poems of Louis Dudek (Continuation c.1971-2001) and bpNichol (The Martyrology 1967-1988) as particularly marked cases of works that must continue until they have enfolded a coherent world-view into an all-encompassing subjectivity.<br>Each chapter stresses the counterintuitive quality of the "encyclopedic" ideal and demonstrates that a total yet coherent representation of the world seems inversely proportional to a coherent yet total representation of the self.

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37

Jenkins, Kyle. "The cold war : the politics of being inside and outside a visual art space." Phd thesis, Sydney College of the Arts, 2003. http://hdl.handle.net/2123/3966.

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38

Lai, Mei Lin. "Lui Shou Kwan & modern ink painting." Phd thesis, Department of Art History and Theory, 2011. http://hdl.handle.net/2123/9258.

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39

阮慧娟 and Wai-kuen Jeannie Yuen. "Crisis and negotiation: a study of modern chinese fiction in the eighties." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31212050.

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40

Bell, Pamela. "Art that never was : representations of the artist in twentieth-century Australian fiction." Thesis, The University of Sydney, 2003. http://hdl.handle.net/2123/7310.

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This thesis traces the development of the artist figure as a leading character in twentieth-century Australian novels. In Australia there have always been complex interconnections between the worlds of art and literature, perhaps the most obvious being the cluster of artists and writers centred on the journal Vision, co-edited by Norman Lindsay’s son Jack with Kenneth Slessor, who was heavily influenced by Lindsay. Slessor’s poem “Five Bells”, an elegy for his artist friend Joe Lynch, later became the subject of a mural painted for Sydney Opera House by John Olsen. Although this and other connections between poetry and art are of interest, this thesis concentrates on fiction only.

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Yu, Yang. "Remaking Xiamen overseas Chinese and regional transformation in architecture and urbanism in the early 20th century /." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/HKUTO/record/B39558083.

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42

許子東 and Zidong Xu. "Narratives of the "Cultural Revolution" in contemporary Chinese fiction." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31237915.

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43

Shao, Dong, and 邵棟. "A study of yingxi fiction in the early republican China = Min chu ying xi xiao shuo yan jiu." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2014. http://hdl.handle.net/10722/206447.

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The dissertation attempted to study Yingxi Fiction, a genre of fiction, which emerged and prevailed in Shanghai during the early two decades of the twentieth century. The majority of writers of Yingxi fiction at that time were literati of the Mandarin Duck and Butterfly School. After watching the imported silent movies, they recorded the contents and adapted them as fictional texts for the purpose of introducing the stories to those who could not afford to watch the films. This type of genre was named Yingxi fiction and had been welcomed by public readers at leisure. In fact Yingxi fiction had implied how traditional literati received and absorbed western cultural elements on their way to pursue Chinese modernity. This study would like to conduct a close examination of Yingxi fiction, which has been previously ignored, through in-depth analysis of the texts and investigation of its social as well as cultural significance. This dissertation consisted of five chapters. Chapter One was an introduction of the popular fiction, movie and Yingxi fiction in Early Republican China. Previous studies on Yingxi fiction were briefly presented as well. Chapter Two dealt with the emergence of Yingxi fiction. The prefaces and peer reviews of some works of this genre would be especially studied in order to explore the motivations of the writers and their approaches to compose the Yingxi fiction. Three Yingxi fiction writers, Zhou Shoujuan (1895-1968), Bao Tianxiao (1875-1973) and Lu Dan’an(1894-1980), were comprehensively illustrated as case studies. Chapter Three focused on the application of “Paradigm” in textual analyses of Yingxi fiction. Serving as an unusual spectacle, paradigm provided a thorough understanding of the hybrid narrative style of the stories. By discussing the narrative pause, redundancy, story modes and language usage, the way in which the paradigm of Chinese fiction influenced by western literature would been exposed. Chapter Four discussed the graph-text conversion in Yingxi fiction. It was suggested that writers’ failure in identifying the moral issues and female images in western movies could be explained and might be regarded as the writers’ skills of adaptation of the stories for the sake of Chinese representations. Lastly, the conclusion chapter summed up the distinctive features of Yingxi fiction, the prominence of the genre and its significance in modern Chinese literature. Besides, the limitations and reasons of fading away of Yingxi fiction would also be expounded.<br>published_or_final_version<br>Chinese<br>Master<br>Master of Philosophy

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44

Li, Bao, and 李保. "Searching for a new Chinese architecture: an investigation of architecture in China since 1949." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B3122135X.

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45

胡從經 and Cong-jing Hu. "A criticism of the studies of Chinese fiction during the period 1900 to 1950." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31234173.

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46

Zhao, Dingxin. "Reform and discontent : the causes of the 1989 Chinese student movement." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=28972.

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Abstract (sommario):

The central argument of this thesis is that a series of China's state policies, before and during the reform era, were conducive to the rise of the 1989 Chinese Student Movement (CSM). The most important of these were (1) leftist policies during Mao's era which fostered the formation of pro-democratic yet impractical intellectuals and created a university ecology that was remarkably conducive to student movements, and (2) the state-led reform which over produced students on the one hand, and blocked upward mobility channels for intellectuals and students on the other hand. These and other conducive factors to the rise of the 1989 CSM were not simply state mistakes. To a large extent, they were characteristic of the regime.<br>The thesis does not reject non-state centered factors such as anomic feelings toward uncertainties brought by the reform, the conflict between reformers and hardliners within the Chinese Communist Party (CCP), the rise of civil society during the eighties, the impact of Western ideologies following the open door policy or the intrinsic character of Chinese culture, that have all been hitherto proposed to explain the rise of the CSM. Rather, it incorporates these explanations under a state-centered paradigm in light of a general model (the DSSI model) that I am proposing to explain the general causes, and to a lesser extent, the dynamics of large scale social movements.

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Nour, A. I. "Developing African art : innovation and tradition seen through the work of two artists; Lamidi Fakeye and Ahmed Shibrain." Thesis, University of St Andrews, 2006. http://hdl.handle.net/10023/2620.

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The dissertation explores the work of two African artists: Lamidi O. Fakeye a Yoruba wood carver, and Ahmed M. Shibrain a Sudanese painter, as an exemplary development within African art during the second half of the 20th century. It examines their works through the sense of "tradition" as it is seen within the context of their cultures and their histories. It considers their works to be a reflection of their time, a hybrid art and a new tradition emerging within their respective cultures as a result of change in their societies. It argues against the notion that separates their art from their traditions and their histories based on the artificial barriers of "authenticity" in the literature on African art and the various categories that are related to it. It ponders on the contradictions and complexity that this situation has created and demonstrated that these categories negate historical realities. The dissertation is in two parts. The first part describes and analyses some of Lamidi's Christian and secular carvings. His work is placed in its appropriate historical perspective by revealing its close relationship to the carvings of his predecessors in terms of themes, design, content and clients. Innovation and change in his work through time and space is revealed. In the second part, the dissertation defines the connectivity of Shibrain's work to his tradition and its history, and that of his fellow artists who contributed to the development of a new trend in Sudanese art. It discusses their work on the basis of the 'idea' of art in Islam, their training and their heritage of decorative art and Arabic calligraphy. It argues that innovation, influence, borrowing and adaptation, are part of progress in art through the ages.

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48

Lim, Jason. "Nationalism, tea leaves and a common voice : the Fujian-Singapore tea trade and the political and trading concerns of the Singapore Chinese tea merchants, 1920-1960." University of Western Australia. School of Humanities, 2007. http://theses.library.uwa.edu.au/adt-WU2007.0088.

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[Truncated abstract] Conventional historical research on the tea trade focussed on the trade between the United Kingdom and China up to 1937. Very little has been done on the tea trade between China and other regions such as colonial Singapore. In addition, the focus on the overseas Chinese community in Singapore has concentrated on two opposite ends of the social ladder the rich traders or merchants who came to dominate the political, economic and social life of the community, and the coolies or those in the working class and how the harsh reality of life in colonial Singapore often quashed any dreams they had of a better life. The key focus of this dissertation is a study of the trading links between a group of Chinese traders in Singapore and commodity producers in China. To date, research into Chinese traders in Singapore has focussed on their trade in products from British Malaya such as rubber and tin. This dissertation aims to steer away from this approach, and study the relationship between Fujian tea production and trade and the Chinese tea traders in Singapore . . . This dissertation, therefore, takes a two-pronged approach. First, it examines the conditions in Fujian tea production and trade since they were the key trading concerns of the Chinese tea traders in Singapore. Secondly, the dissertation examines the political beliefs and sense of patriotism among the Chinese tea traders in Singapore and their response to major events in their lives such as the Sino-Japanese War (1937-1945), the Japanese Occupation of Singapore (1942-1945), the Chinese Civil War (1945-1949) and self-government for Singapore from June 1959.

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49

Au, Chung-to, and 區仲桃. "Shifting ground: modernist aesthetics in Taiwanese poetry since the 1950s." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B2554939X.

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50

程雲峰 and Wan-fung Ching. "The images of peasants in modern Chinese fiction." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1989. http://hub.hku.hk/bib/B31209166.

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