DOCSLIB.ORG

Program Studi Sastra Cina

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Program Studi Sastra Cina ANALISIS PERILAKU TOKOH UTAMA DALAM FILM 《小孩不笨》 Xiào Hái Bù Běn (I Not Stupid Too) Karya Jack Neo (梁智強) 《小孩子不笨》主人物形象分析 xiǎo háizi bù bèn zhǔ rénwù xíngxiàng fēnxī SKRIPSI YOHANA SELVIANI NADAPDAP 130710070 PROGRAM STUDI SASTRA CINA FAKULTAS ILMU BUDAYA UNIVERSITAS SUMATERA UTARA MEDAN 2017 UNIVERSITAS SUMATERA UTARA ABSTRACT The title of this research is Analisis Perilaku Tokoh Utama dalam Film 《 小孩不笨》 Xiào Hái Bù Běn (I Not Stupid Too) Karya Jack Neo. The movie discusses the behavioral changes of Tom, Jerry and Chengcai, the main character in the movie 《小孩不笨》 "Xiào Hái Bù Běn (I Not Stupid Too). The data in obtained from quote or dialogue of the main character in the film "小孩 irikan 笨 " Xiào Hái Bù Běn (I Not Stupid Too). This data uses a literary psychology approach, by applying the psychology theory of Burrhuss Frederic Skinner, to see the behavioral changes of Tom, Jerry and Chengcai. Changes in the behavior of Tom, Jerry and Chengcai, influenced by the family environment, and the school environment never appreciate the talents of Tom, Jerry and Chengcai. Skinner's theory proves that a person's behavior is influenced by stimuli given the environment consisting of positive and negative reinforcement. Keywords: Movie, Behavior, Figure UNIVERSITAS SUMATERA UTARA ABSTRAK Judul dari penelitian ini adalah Analisis Perilaku Tokoh Utama dalam film《小孩不笨》 Xiào Hái Bù Běn (I Not Stupid Too). Film ini membahas perubahan perilaku Tom, Jerry dan Chengcai, tokoh utama dalam film 小孩不笨 》 Xiào Hái Bù Běn (I Not Stupid Too). Data dalam penelitian ini diperoleh dari kutipan atau dialog tokoh utama dalam film《小孩不笨》 Xiào Hái Bù Běn (I Not Stupid Too). Penelitian ini menggunakan pendekatan psikologi sastra, dengan menerapkan teori psikologi Burrhuss Frederic Skinner , untuk melihat perubahan perilaku Tom, Jerry dan Chengcai. Perubahan perilaku Tom, Jerry dan Chengcai, di pengaruhi oleh lingkungan keluarga, dan lingkungan sekolah yang tidak pernah menghargai bakat Tom, Jerry dan Chengcai. Teori Skinner membuktikan bahwa perilaku seseorang dipengaruhi oleh stimulus-stimulus yang diberikan lingkungan yang terdiri dari penguatan positif dan negatif. Kata Kunci: Film, Perilaku, Tokoh UNIVERSITAS SUMATERA UTARA KATA PENGANTAR Puji dan syukur penulis panjatkan kepada TuhanYesus Kristus karena atas kasih dan karuniaNya penulis dapat menyelesaikan penulisan skripsi yang berjudul “”. Skripsi ini diajukan kepada Panitia Ujian Fakultas Ilmu Budaya Universitas Sumatera Utara Medan untuk melengkapi salah satu syarat ujian Sarjana dalam program studi Sastra Cina. Penyusunan skripsi ini tidak terlepas dari bantuan berbagai pihak yang telah memberikan dukungan, semangat, bimbingan, dan doa kepada penulis. Oleh karena itu pada kesempatan ini penulis dengan segenap hati ingin mengucapkan terima kasih kepada semua yang telah membantu penulis sehingga skripsi ini dapat diselesaikan. Ucapan terima kasih ini penulis tujukan kepada : 1. Bapak Dr. Budi Agustono, M.S selaku Dekan Fakultas Ilmu Budaya Universitas Sumatera Utara, beserta para wakil Dekan I, II, dan III atas bantuan dan fasilitas yang penulis peroleh selama kuliah di Fakultas Ilmu Budaya Program Studi Sastra Cina Universitas Sumatera Utara. 2. Bapak Muhammad Pujiono, M.Hum., Ph.D, selaku Ketua Program Studi Sastra Cina Universitas Sumatera Utara, sekaligus Dosen 3. Ibu Niza Ayuningtias, S.S., MTCSOL, selaku Sekretaris Program Studi Sastra Cina Universitas Sumatera Utara sekaligus Dosen Penguji yang telah memberikan masukan dan kritikan yang membengun selama proses penyempurnaan penulisan karya ilmiah ini. 4. Ibu Dra. Diah Rahayu, M.Pd Pra Drs. selaku Dosen Pembimbing I yang telah memberikan masukan, motivasi, semangat yang membagun selama UNIVERSITAS SUMATERA UTARA proses penyempurnaan penulisan karya ilmiah ini. Kiranya Tuhan selalu memberkati. 5. Bapak Tengku Kasa Rullah Adha, S.S., MTCSOL, selaku dosen pembimbing II yang telah memberikan bimbingan, masukan yang membangun kepada penulis selama berlangsungnya proses penyusunan skripsi ini. 6. Seluruh dosen dan staf pengajar di Fakultas Ilmu Budaya khususnya Program Studi Sastra Cina, Universitas Sumatera Utara. 7. Kedua orangtua tercinta, Ayahanda D.P Nadapdap dan ibunda S.R Marpaung yang telah mendidik penulis dengan penuh kesabaran , kasih sayang sehingga penulis dapat menyelesaikan pendidikan di Perguruan Tinggi ini. Kepada kedua Abang, Freddi Prawijaya Nadapdap, Ando Mangarahot Nadapdap, dan kakak tercinta Rosma Febriyanti Nadapdap yang selalu memberikan dukungan doa, semangat maupun bantuan materil. 8. Kepada sahabat-sahabat terbaik penulis yang selalu mendengar suka duka dan canda tawa penulis, Lisbeth Febriani Siallagan, Thalia Malem, Trimayanti Br Depari, Mitra Triani Tampubolon, Eva Sianturi, Evayun Silalahi, yang memberi semangat, mendoakan dan selalu mengingatkan penulis dalam pengerjaan skripsi ini. 9. Dan yang terakhir kepada seluruh teman-teman Mahasiswa Sastra Cina 2013 yang tidak bisa penulis sebutkan satu persatu, teman yang memberikan warna-warni selama perkulihan. Semoga kita teta kompak dan sukses. UNIVERSITAS SUMATERA UTARA Dengan segala kerendahan hati, penulis menyadari bahwa skripsi yang penulis sajikan ini masih terdapat kekurangan. Oleh sebab itu, penulis sangat mengharapkan kritik dan saran yang membangun demi kesempurnaan skripsi ini. Akhirnya penulis mengharapkan agar nantinya skripsi ini bermanfaat bagi semua pihak di kemudian hari. Medan, Agustus 2017 Yohana Selviani Nadapdap UNIVERSITAS SUMATERA UTARA DAFTAR ISI ABSTRAK ................................................................................................................... i ABSTRACT ................................................................................................................ ii KATA PENGANTAR ............................................................................................... iii DAFTAR ISI ............................................................................................................... v BAB I PENDAHULUAN ........................................................................................... 1 1.1 Latar Belakang ....................................................................................................... 1 1.2 Batasan Masalah..................................................................................................... 6 1.3 Rumusan Masalah .................................................................................................. 7 1.4 Tujuan Masalah ...................................................................................................... 7 1.5 Manfaat Penelitian ................................................................................................. 8 BAB II TINJAUAN PUSTAKA ................................................................................ 8 2.1 Tinjauan Pustaka .................................................................................................... 8 2.2 Konsep.................................................................................................................... 9 2.2.1 Film ............................................................................................................. 9 2.2.1.Perilaku ......................................................................................................... 2.3 Landasan Teori ..................................................................................................... 10 2.3.1 Unsur Naratif ........................................................................................... 10 2.3.1.1 Tema ................................................................................................ 10 2.3.1.2 Tokoh ............................................................................................... 10 2.3.1.3 Alur .................................................................................................. 12 UNIVERSITAS SUMATERA UTARA 2.3.1.4 Latar ................................................................................................ 13 2.3.2 Psikologi Sastra ....................................................................................... 14 2.3.3 Teori Behaviorisme .................................................................................. 15 BAB III METODE PENELITIAN ......................................................................... 20 3.1 Data dan Sumber Data ......................................................................................... 20 3.1.1Data .......................................................................................................... 3.1.2 Sumber Data ............................................................................................. 3.2 Teknik Pengumpulan Data ................................................................................... 21 3.3 Teknik Analisis Data ............................................................................................ 22 BAB IV PEMBAHASAN ......................................................................................... 20 BAB V SIMPULAN DAN SARAN ......................................................................... 20 5.1 Simpulan .............................................................................................................. 22 5.2 Saran ..................................................................................................................... 22 DAFTAR PUSTAKA LAMPIRAN UNIVERSITAS SUMATERA UTARA BAB I PENDAHULUAN 1.1 Latar Belakang Sastra tidak dapat dipisahkan dari masyarakat. Semi (1988:8) mengatakan
Load more

Recommended publications
  • Entire Dissertation Noviachen Aug2021.Pages
    Documentary as Alternative Practice: Situating Contemporary Female Filmmakers in Sinophone Cinemas by Novia Shih-Shan Chen M.F.A., Ohio University, 2008 B.F.A., National Taiwan University, 2003 Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Department of Gender, Sexuality, and Women’s Studies Faculty of Arts and Social Sciences © Novia Shih-Shan Chen 2021 SIMON FRASER UNIVERSITY SUMMER 2021 Copyright in this work rests with the author. Please ensure that any reproduction or re-use is done in accordance with the relevant national copyright legislation. Declaration of Committee Name: Novia Shih-Shan Chen Degree: Doctor of Philosophy Thesis title: Documentary as Alternative Practice: Situating Contemporary Female Filmmakers in Sinophone Cinemas Committee: Chair: Jen Marchbank Professor, Department of Gender, Sexuality and Women’s Studies Helen Hok-Sze Leung Supervisor Professor, Department of Gender, Sexuality and Women’s Studies Zoë Druick Committee Member Professor, School of Communication Lara Campbell Committee Member Professor, Department of Gender, Sexuality and Women’s Studies Christine Kim Examiner Associate Professor, Department of English The University of British Columbia Gina Marchetti External Examiner Professor, Department of Comparative Literature The University of Hong Kong ii Abstract Women’s documentary filmmaking in Sinophone cinemas has been marginalized in the film industry and understudied in film studies scholarship. The convergence of neoliberalism, institutionalization of pan-Chinese documentary films and the historical marginalization of women’s filmmaking in Taiwan, Hong Kong, and the People’s Republic of China (PRC), respectively, have further perpetuated the marginalization of documentary films by local female filmmakers.
    [Show full text]
  • MEDIA FACTSHEET (15 Mar 2013) Singapore Unveils 320 Hours of Comedies, Entertainment Programmes and Documentaries at Hong Kong I
    MEDIA FACTSHEET (15 Mar 2013) Singapore unveils 320 hours of comedies, entertainment programmes and documentaries at Hong Kong International Film & TV Market (FILMART) The Media Development Authority of Singapore (MDA) will lead 37 Singapore media companies to the 17th edition of the Hong Kong International Film & TV Market (FILMART) where they will meet with producers, distributors and investors to promote their content, negotiate deals and network with key industry players from 18 to 21 March 2013. More than 320 hours of locally-produced content including films and TV programmes will be showcased at the 90-square-metre Singapore Pavilion at the Hong Kong Convention & Exhibition Centre (booth 1A-D01, Hong Kong Convention & Exhibition Centre Level 1, Hall 1A). The content line-up includes recent locally-released film comedies Ah Boys to Men and Ah Boys to Men 2, about recruits in the Singapore military directed by prolific Singapore director Jack Neo; Taxi! Taxi!, inspired by a true story of a retrenched microbiology scientist who turns to taxi driving; Red Numbers by first-time director Dominic Ow about a guy who has three lucky minutes in his miserable life according to a Chinese geomancer; and The Wedding Diary II, the sequel to The Wedding Diary, which depicts life after marriage. Also on show are new entertaining lifestyle TV programmes, from New York Festivals nominee Signature, a TV series featuring world-renowned architect Moshe Safdie and singer Stacey Kent; reality-style lifestyle series Threesome covering topics with Asian TV celebrities Utt, Sonia Couling and Nadya Hutagalung; to light-hearted infotainment décor home makeover show Project Dream Home and Style: Check-in, an interactive 360 content fashion lifestyle programme which uses social media to interact with viewers.
    [Show full text]
  • Singapour, Malaisie : Le Cinéma ! 16 Décembre 2009 - 1Er Mars 2010 Singapour, Malaisie Sommaire
    SINGAPOUR, MALAISIE : LE CINÉMA ! 16 DÉCEMBRE 2009 - 1ER MARS 2010 SINGAPOUR, MALAISIE SOMMAIRE AZhY^[[gZcihk^hV\ZhYjX^cbV SINGAPOUR, MALAISIE : YZH^c\VedjgZiYZBVaV^h^Z!eVg?gbnHZ\Vn!eV\Z( 8VgiZ\d\gVe]^fjZ!eV\Z* LE CINÉMA ! H^c\VedjgZiaVBVaV^h^Z/VjXVggZ[djgYZaÉ6h^Z! eVgGVe]V aB^aaZi!eV\Z* À LA DÉCOUVERTE DE NOUVEAUX HVcXZheghZciZheVg½!eV\Z- TERRITOIRES EN 50 FILMS FjZhi^dchYZX^cbV/Xdc[gZcXZZigZcXdcigZh!eV\Z&% du 16 décembre 2009 Au 1er mArs 2010 Au centre PomPidou AZhhijY^dhBVaVn;^abEgdYjXi^dch YZhH]Vl7gdi]ZghZi8Vi]Vn"@Zg^hYZAd`ZLVcI]d! cinéma 1 et cinéma 2 eVgGVe]V aB^aaZi!eV\Z&& Singapour, malaisie, points encore trop méconnus sur la carte majeure de l’asie du Hncdeh^hYZhÒabh/ Sud-est. De leurs voisins coréen, thaïlandais, philippin, on a appris à connaître les secrets ½aZhighdghYZhhijY^dh H]Vl7gdi]ZghZi8Vi]Vn"@Zg^h!eV\Z&( cinématographiques, quant à Singapour et Kuala Lumpur, on assiste à une renaissance stimulante du cinéma. impulsée par la légèreté des nouveaux moyens de prise de vue, ½YZH^c\Vedjg!eV\Z'- mue par le talent d’une jeune génération prolifique autant que solidaire, ½YZBVaV^h^Z!eV\Z(- sous-tendue par un contexte social multiethnique, une histoire dense et un présent >cYZmVae]VWi^fjZYZhÒabh!eV\Z*' politique complexe, cette ébullition se fait remarquer par sa modernité. il y a urgence à découvrir les rythmes et les mythes de cette cinématographie inédite, 8VaZcYg^ZgYjXnXaZ!eV\Z*) autant de nécessité à se plonger dans son passé récent à travers les héros et les meilleurs AZaV^hhZo"eVhhZgYj8ZcigZEdbe^Ydj!eV\Z+' films de genre qui l’ont nourrie, tous inédits en europe pour le moment.
    [Show full text]
  • Learning Through Collaboration and Co-Production in the Singapore Film Industry : Opportunities for Development
    This may be the author’s version of a work that was submitted/accepted for publication in the following source: Wong, Caroline & Matthews, Judith (2009) Learning through collaboration and co-production in the Singapore film in- dustry: opportunities for development. In Rose, E & Fisher, G (Eds.) ANZIBA: The Future of Asia-Pacific Business- Beyond the Crisis. ANZIBA, CD Rom, pp. 1-25. This file was downloaded from: https://eprints.qut.edu.au/27761/ c Copyright 2009 please contact the authors This work is covered by copyright. Unless the document is being made available under a Creative Commons Licence, you must assume that re-use is limited to personal use and that permission from the copyright owner must be obtained for all other uses. If the docu- ment is available under a Creative Commons License (or other specified license) then refer to the Licence for details of permitted re-use. It is a condition of access that users recog- nise and abide by the legal requirements associated with these rights. If you believe that this work infringes copyright please provide details by email to [email protected] Notice: Please note that this document may not be the Version of Record (i.e. published version) of the work. Author manuscript versions (as Sub- mitted for peer review or as Accepted for publication after peer review) can be identified by an absence of publisher branding and/or typeset appear- ance. If there is any doubt, please refer to the published source. http:// www.anziba.org/ conf.html QUT Digital Repository: http://eprints.qut.edu.au/ Wong, Caroline and Matthews, Judy H.
    [Show full text]
  • APPENDIX B Information on the Singapore Booth at the Marché Du
    APPENDIX B Information on the Singapore Booth at the Marché du Film, Cannes The Singapore film community is represented at the Marché du Film in Cannes, where the Singapore booth is located within the Film ASEAN Pavilion on the riviera (number 117, Village International). Village International at the Marché du Film is the annual forum for world cinema. Information on part of the Singapore delegation/companies at 69th Cannes Film Festival Company Contact Akanga Film Asia Fran Borgia Akanga is the film company behind the two Singapore films [email protected] (Apprentice, A Yellow Bird), selected for the Cannes Film www.akangafilm.com Festival 2016. Akanga Film Asia is an independent production company created in 2005 in Singapore to produce quality films by the new generation of Asian filmmakers. Our projects aim to create a cultural link between Asia and the rest of the world. Titles produced by Akanga include Ho Tzu Nyen’s Here (Cannes Directors’ Fortnight 2009), Boo Junfeng’s Sandcastle (Cannes Critics’ Week 2010), Vladimir Todorovic’s Disappearing Landscape (Rotterdam 2013), Christine Molloy & Joe Lawlor’s Mister John (Edinburgh 2013), Lav Diaz’s A Lullaby To The Sorrowful Mystery (Berlin Competition 2016 – Silver Bear Alfred Bauer Prize), Boo Junfeng’s Apprentice (Cannes Un Certain Regard 2016) and K. Rajagopal’s A Yellow Bird (Cannes Critics’ Week 2016). Clover Films Lim Teck Clover Films Pte Ltd was established in 2009 and [email protected] specialises in the distribution and production of Asian http://www.cloverfilms.com.sg/ movies, with an emphasis on the Singapore and Malaysia markets.
    [Show full text]
  • Adult Movies the Dark Knight VR FIC DAR Adult Limitless VR FIC LIM
    Adult movies The dark knight VR FIC DAR Adult Limitless VR FIC LIM Adult Anonymous VR FIC ANO Adult Big miracle VR FIC BIG Adult Being Flynn VR FIC BEI Adult The cabin in the woods VR FIC CAB Adult ET (Extra Terrestrial) VR FIC ET Adult Extremely loud & incredibly close VR FIC EXT Adult Exam VR FIC EXA Adult Ghost town VR FIC GHO Adult Ironclad VR FIC IRO Adult John Carter VR FIC JOH Adult The Lincoln lawyer VR FIC LIN Adult The lady VR FIC LAD Adult Life as we know it VR FIC LIF Adult Miral VR FIC MIR Adult Men in Black VR FIC MEN Adult Men in Black II VR FIC MEN Adult The mummy VR FIC MUM Adult Salmon fishing in the Yemen VR FIC SAL Adult Twilight zone the movie VR FIC TWI Adult The woman in black VR FIC WOM Adult We need to talk about Kevin VR FIC WE Adult Furry vengeance VR FIC FUR Adult The hunger games VR FIC HUN Adult Avengers VR FIC AVE Adult The dark knight rises VR FIC DAR Adult Wuthering heights VR FIC WUT Adult Taken 2 VR FIC TAK Adult Argo VR FIC ARG Adult The way back VR FIC WAY Adult Trouble with the curve VR FIC TRO Adult Avengers VR FIC AVE Adult American Gangster VR FIC AME Adult Bully VR FIC BUL Adult Albert Nobbs VR FIC ALB Adult Beasts of the southern wild VR FIC BEA Adult Shirin Farhad VR FIC SHI Adult Talaash the answer lies within VR FIC CAR Adult Bedtime Stories VR FIC BED Adult Bewitched VR FIC BEW Adult The dictator VR FIC DIC Adult Life of Pi VR FIC LIF Adult The Hobbit : An Unexpected Journey VR FIC HOB Adult The Best Exotic Marigold Hotel VR FIC HOB Adult Anna Karenina VR FIC ANA Adult Rabbit Hole VR FIC RAB
    [Show full text]
  • Intra and Intersentential Code-Switching Phenomena in Modern Malay Songs
    3L: The Southeast Asian Journal of English Language Studies – Vol 24(3): 184 – 205 http://doi.org/10.17576/3L-2018-2403-14 Intra and Intersentential Code-switching Phenomena in Modern Malay Songs WAN NUR SYAZA SAHIRA WAN RUSLI Faculty of Social Sciences and Humanities Universiti Kebangsaan Malaysia AZIANURA HANI SHAARI Faculty of Social Sciences and Humanities Universiti Kebangsaan Malaysia SITI ZAIDAH ZAINUDDIN Department of English Language, Faculty of Languages and Linguistics University Malaya [email protected] NG LAY SHI Faculty of Social Sciences and Humanities Universiti Kebangsaan Malaysia AIZAN SOFIA AMIN Faculty of Social Sciences and Humanities Universiti Kebangsaan Malaysia ABSTRACT Code-switching has been used in many languages by many different groups of people or speech communities, but little is known about how and why they are used as communicative strategies in modern song lyrics. This paper aims to explore and describe the recent phenomenon of English code-switching in modern Malay songs. 25 modern Malay songs were selected and analysed using Content Analysis. The analysis was made based on Poplack’ Theory as well as the functions of code-switching proposed by Appel and Musyken. Two types of code- switching commonly used in modern Malay songs were discovered. They were intrasentential and intersentential code-switching. The classification of the functions of code-switching was then made based on the six functions of code-switching, which are referential, directive, expressive, phatic, metalinguistic, and poetic. The findings of this research also indicate other functions of code-switching that demonstrate bilingual creativity among songwriters in Malaysia. In conclusion, the findings of this study indicated that code switching in Modern Malay songs is not just a random switch from one code to another but carries certain social functions that emphasize on the establishment of people’s intimacy, solidarity and local identity.
    [Show full text]
  • Singaporean Film Industry in Transition:Looking for a Creative Edge
    Caroline Wong SINGAPOREAN FILM INDUSTRY IN TRANSITION:LOOKING FOR A CREATIVE EDGE e nature and role of intangible resources that shape an uncertain and changing environment such as the film industry ,LAP� L AMBER � Academic PublishingT Caroline Wong SINGAPOREAN FILM INDUSTRY IN TRANSITION:LOOKING FOR A CREATIVE EDGE l Caroline Wong SINGAPOREAN FILM INDUSTRY IN TRANSITION:LOOKING FOR A CREATIVE EDGE The nature and role of intangible resources that shape an uncertain and changing environment such as the film industry LAP LAMBERT Academic Publishing lmpressum/lmprint (nur flir Deutschland/ only for Germany) Bibliografische Information der Deutschen Nationalbibliothek: Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Oaten sind im Internet Ober http://dnb.d-nb.de abrufbar. Alie in diesem Buch genannten Marken und Produktnamen unterliegen warenzeichen-, marken­ oder patentrechtlichem Schutz bzw. sind Warenzeichen oder eingetragene Warenzeichen der jeweiligen lnhaber. Die Wiedergabe von Marken, Produktnamen, Gebrauchsnamen, Handelsnamen, Warenbezeichnungen u.s.w. in diesem Werk berechtigt auch ohne besondere Kennzeichnung nicht zu der Annahme, dass solche Namen im Sinne der Warenzeichen- und Markenschutzgesetzgebung als frei zu betrachten waren und daher von jedermann benutzt werden durften. • Coverbild: www.ingimage.com Verlag: LAP LAMBERT Academic Publishing AG & Co. KG Dudweiler Landstr. 99, 66123 Saarbrucken, Deutschland Telefon +49 681 3720-310, Telefax +49 681 3720-3109 Email: [email protected] Herstellung in Deutschland: Schaltungsdienst Lange o.H.G., Berlin Books on Demand GmbH, Norderstedt Reha GmbH, Saarbrucken Amazon Distribution GmbH, Leipzig ISBN: 978-3-8383-6193-2 Imprint (only for USA, GB) Bibliographic information published by the Deutsche Nationalbibliothek: The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de.
    [Show full text]
  • Sinophone Southeast Asia
    Sinophone Southeast Asia - 9789004473263 Downloaded from Brill.com09/25/2021 02:55:49AM via free access Chinese Overseas HISTORY, LITERATURE, AND SOCIETY Chief Editor WANG Gungwu Subject Editors Evelyn Hu-DeHart David Der-wei WANG WONG Siu-lun volume 20 The titles published in this series are listed at brill.com/cho - 9789004473263 Downloaded from Brill.com09/25/2021 02:55:49AM via free access Sinophone Southeast Asia Sinitic Voices across the Southern Seas Edited by Caroline Chia Tom Hoogervorst LEIDEN | BOSTON - 9789004473263 Downloaded from Brill.com09/25/2021 02:55:49AM via free access This is an open access title distributed under the terms of the CC BY-NC 4.0 license, which permits any non-commercial use, distribution, and reproduction in any medium, provided the original author(s) and source are credited. Further information and the complete license text can be found at https://creativecommons.org/licenses/by-nc/4.0/ The terms of the CC license apply only to the original material. The use of material from other sources (indicated by a reference) such as diagrams, illustrations, photos and text samples may require further permission from the respective copyright holder. Library of Congress Cataloging-in-Publication Data Names: Chia, Caroline, editor. | Hoogervorst, Tom, 1984– editor. Title: Sinophone Southeast Asia : Sinitic voices across the Southern Seas / by Caroline Chia, Tom Hoogervorst. Description: Leiden; Boston : Brill, [2021] | Series: Chinese overseas: history, literature, and society; 1876-3847 ; volume 20 Identifiers: LCCN 2021032807 (print) | LCCN 2021032808 (ebook) | ISBN 9789004421226 (hardback) | ISBN 9789004473263 (ebook) Subjects: LCSH: Chinese language—Variation—Southeast Asia. | Chinese language—Social aspects—Southeast Asia.
    [Show full text]
  • Language and Identity: Sky Lee's Disappearing Moon
    LANGUAGE AND IDENTITY: SKY LEE’S DISAPPEARING MOON CAFE AND WAYSON CHOY’S THE JADE PEONY MONIQUE CLARICE ATTRUX A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN ENGLISH YORK UNIVERSITY TORONTO, ONTARIO SEPTEMBER 2019 © MONIQUE ATTRUX, 2019 Abstract Many critics recognize Sky Lee’s Disappearing Moon Cafe and Wayson Choy’s The Jade Peony for breaking the silence over issues that Chinese Canadians faced in the 1990s such as racism and lack of representation. However, there has not been much discussion on Lee and Choy's exploration of language and identity. These issues are important as they continue to impact Chinese-Canadians and other diasporic communities today. The thesis explores how language in the two novels reveals that Chinese Canadians have complex and mutable identities and how notions of identity challenge the control the hegemonic powers seek to construct and restrict the Chinese identity, which in turn also restricts ideas of language. I attempt to demonstrate how these two novels resist a generic, one-dimensional view of Chinese Canadian identity and language. I conclude that Lee and Choy's novels imply that both Canadian and Chinese hegemonies influence Chinese Canadians' language and identity. ii Dedication I dedicate this thesis to my 婆婆 Poh-Poh. iii Acknowledgements This project would not have been possible were it not for my thesis supervisor, Professor Arun Mukherjee. Many of my insights captured in this thesis came to me as I sat in her class Simulating Translation during the first semester of my Master’s program.
    [Show full text]
  • Mm2 Asia Ltd. (Company Registration Number: 201424372N) (Incorporated in Singapore on 20 August 2014)
    mm2 Asia Ltd. (Company Registration Number: 201424372N) (Incorporated in Singapore on 20 August 2014) 1002, Jalan Bukit Merah #07-11 Singapore 159456 Tel: 6376 0177 Fax: 6272 0711 Website: www.mm2asia.com mm2 Asia Ltd. Annual Report 2015 Investing in the Future of Asia’s Movies Table of Contents Corporate Profile 01 Executive Officers 14 Track Record 02 Group Structure 16 Chairman’s Statement 04 Order Book 17 CEO’s Statement 05 Corporate Governance Report 18 Financial Highlights 06 Financial Report 38 A Year in Review 08 Statistics of Shareholdings 98 Board of Directors 12 Notice of Annual General Meeting 100 Proxy Form This annual report has been prepared by the Company and its contents have been reviewed by the Company’s sponsor, Hong Leong Finance Limited (the “Sponsor”) for compliance with the relevant rules of the Singapore Exchange Securities Trading Limited (the “SGX-ST”). The Sponsor has not independently verified the contents of this annual report. This annual report has not been examined or approved by the SGX-ST and the SGX-ST assumes no responsibility for the contents of this annual report, including the correctness of any of the statements or opinions made or reports contained in this annual report. The contact person for the Sponsor is Ms. Joan Ling, Senior Vice President, Head of Corporate Finance, Hong Leong Finance Limited, at 16 Raffles Quay, #40- 01A Hong Leong Building, Singapore 048581, Telephone (65) 6415 9886. 4 mm2 Asia Ltd. | Annual Report 2015 Corporate Profile FOUNDED IN 2008 AND INCORPORATED ON 20 AUGUST 2014, MM2 ASIA IS A LEADING PRODUCER OF FILMS AND TV/ONLINE CONTENT IN ASIA.
    [Show full text]
  • Mm2 Asia Press Release
    mm 2 Asia Ltd. Co. Reg. No.: 201424372N 1002 Jalan Bukit Merah #07-11 Singapore 159456 mm2 Asia Ltd.. www.mm2asia.com P R E S S R E L E A S E mm2 Asia’s co-production, “Ah Boys to Men 3: Frogmen” scales new heights in Malaysia Singapore, 2 April 2015 – Local movie producer and distributor, mm2 Asia Ltd. ( “mm2 Asia ” and together with its subsidiaries, the “ Group ”) is pleased to announce that “Ah Boys to Men 3: Frogmen”, a movie co-presented, co-produced and co-distributed by the Group, has smashed box office receipts of its predecessors in Malaysia. In just two weeks, the movie has collected a record-breaking RM3.63 million from 74 screens at the box office in Malaysia. It has already surpassed the Malaysian box office results of “Ah Boys to Men ” (RM2.02 million) and also exceeded the takings of “Ah Boys to Men 2 ” (RM3.50 million). In Singapore, “Ah Boys to Men 3: Frogmen ” has collected S$7.52 million after 42 days, shy of S$370,000 from the box office record of S$7.89 million set by “Ah Boys to Men 2”. The film producers are overwhelmed and extremely pleased with the impressive box office performance of the third installment of the popular “Ah Boys to Men ” franchise in both Malaysia and Singapore. “I’m very delighted with the strong support from our friends in Malaysia. This is a big encouragement to me and everyone else who worked on the film. Besides the humour and touching moments in this movie, there is also a powerful force that energizes you after watching it.
    [Show full text]