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The Meaning of Christianity in the Film and Novel “The Flowers of War” This page was generated automatically upon download from the Globethics.net Library. More information on Globethics.net see https://www.globethics.net. Data and content policy of Globethics.net Library repository see https:// repository.globethics.net/pages/policy Item Type Article Authors Hwang, Youngmee Publisher Nordic Forum of Sino- Western Studies Rights All rights reserved Download date 02/10/2021 14:04:09 Link to Item http://hdl.handle.net/20.500.

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Problematizing the Stereotype of the Prostitutes As Seen in Geling Yan's the Flowers of War
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PROBLEMATIZING THE STEREOTYPE OF THE PROSTITUTES AS SEEN IN GELING YAN'S THE FLOWERS OF WAR AN UNDERGRADUATE THESIS Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters By Florina Leonora Tyana Student Number: 114214009 DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2018 i PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PROBLEMATIZING THE STEREOTYPE OF THE PROSTITUTES AS SEEN IN GELING YAN'S THE FLOWERS OF WAR AN UNDERGRADUATE THESIS Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters By Florina Leonora Tyana Student Number: 114214009 DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2018 ii PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI TIME IS PRECIOUS vii PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI Dedicated to My beloved parents, My little Brother, And ‘you know who’ viii PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI ACKNOWLEDGMENTS In this part, I would like to send my love and thank them for this part of journey in my life. First and foremost, I would love to thank Jesus Christ, because HE listen to all my prayer and my parent prayer‟s. To my thesis advisor, Elisa Wardhani S.S, M.Hum whose is always be patience to correct my thesis and for her big help in guiding me during the process of finishing this thesis. I also would like to thank Drs. Hirmawan Wijanarka, M.Hum for his guidance and support.
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China's Nationalism and Its Quest for Soft Power Through Cinema
Doctoral Thesis for PhD in International Studies China’s Nationalism and Its Quest for Soft Power through Cinema Frances (Xiao-Feng) Guo University of Technology, Sydney 2013 Acknowledgement To begin, I wish to express my great appreciation to my PhD supervisor Associate Professor Yingjie Guo. Yingjie has been instrumental in helping me shape the theoretical framework, sharpen the focus, and improve the structure and the flow of the thesis. He has spent a considerable amount of time reading many drafts and providing insightful comments. I wish to thank him for his confidence in this project, and for his invaluable support, guidance, and patience throughout my PhD program. I also wish to thank Professor Wanning Sun and Professor Louise Edwards for their valued support and advice. I am grateful for the Australian Postgraduate Award that I received via UTS over the three-and-half years during my candidature. The scholarship has afforded me the opportunity to take the time to fully concentrate on my PhD study. I am indebted to Yingjie Guo and Louise Edwards for their help with my scholarship application. I should also thank UTS China Research Centre, the Research Office of the Faculty of Arts and Social Sciences at UTS, and UTS Graduate Research School for their financial support for my fieldwork in China and the opportunities to present papers at national and international conferences during my doctoral candidature. Finally, my gratitude goes to my family, in particular my parents. Their unconditional love and their respect for education have inspired me to embark on this challenging and fulfilling journey.
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DOI: 10.23817/strans.8-9 Yilei Yuan Zhejiang International Studies University / PR China Politeness in subtitling: To retain or not to Abstract Politeness in subtitling: To retain or not to1 This paper explores how politeness-related terms in Chinese films are translated into English with a case study that consists of four of Zhang Yimou’s films. Zhang Yimou is allegedly the most internationally acclaimed Chinese director. The selected films are set in different time periods of China, and thus politeness is manifested with different focuses. Politeness in the films follows two maxims: Address Maxim and Self-denigration Maxim. Hence, this paper will examine how those politeness-related terms fall into address and self-denigration divisions and how they have been translated by subtitlers. As visual politeness is prevalent in audiovisual productions, this paper will also brieflyanalyse how Chinese politeness is demonstrated non-verbally. Keywords: politeness, address, self-denigration, non-verbal politeness. For thousands of years, China has maintained a tradition of politeness. Over 100 idioms about polite concepts and traditions exist in Chinese vocabulary, while relevant anecdotes and proverbs are numerous (Wang et al. 2007). Politeness is shown in practically every Chinese film. Zhang Yimou is allegedly the most in- ternationally acclaimed Chinese filmmaker whose films have won international success. Four of his films will be introduced and analysed here, which areTo Live (1994), Hero (2002), Curse of the Golden Flower (2006) and The Flowers of War (2011). To Live is a film featuring an ordinary Chinese family’s difficult life over 30 years in the midst of historical tumult and instability from the 1940s to the 1970s.
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Cambridge Journal of China Studies 43 Literary Production and Popular Culture Film Adaptations in China since 1990 Yimiao ZHU Nanjing Normal University, China Email: [email protected] Abstract: Since their invention, films have developed hand-in-hand with literature and film adaptations of literature have constituted the most important means of exchange between the two mediums. Since 1990, Chinese society has been undergoing a period of complete political, economic and cultural transformation. Chinese literature and art have, similarly, experienced unavoidable changes. The market economy has brought with it popular culture and stipulated a popularisation trend in film adaptations. The pursuit of entertainment and the expression of people’s anxiety have become two important dimensions of this trend. Meanwhile, the tendency towards popularisation in film adaptations has become a hidden factor influencing the characteristic features of literature and art. While “visualization narration” has promoted innovation in literary style, it has also, at the same time, damaged it. Throughout this period, the interplay between film adaptation and literary works has had a significant guiding influence on their respective development. Key Words: Since 1990; Popular culture; Film adaptation; Literary works; Interplay Volume 12, No. 1 44 Since its invention, cinema has used “adaptation” to cooperate closely with literature, draw on the rich, accumulated literary tradition and make up for its own artistic deficiencies during early development. As films became increasingly dependent on their connection with the novel, and as this connection deepened, accelerating the maturity of cinematic art, by the time cinema had the strength to assert its independence from literature, the vibrant phase of booming popular culture and rampant consumerism had already begun.
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The University of Southern Mississippi The Aquila Digital Community Dissertations Fall 2019 Unveiling Identities: A Cultural Study of the Portrayal of Leading Women in Zhang Yimou Films Patrick McGuire University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Ethnic Studies Commons, Other Feminist, Gender, and Sexuality Studies Commons, and the Other Film and Media Studies Commons Recommended Citation McGuire, Patrick, "Unveiling Identities: A Cultural Study of the Portrayal of Leading Women in Zhang Yimou Films" (2019). Dissertations. 1736. https://aquila.usm.edu/dissertations/1736 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. UNVEILING IDENTITIES: A CULTURAL STUDY OF THE PORTRAYAL OF LEADING WOMEN IN ZHANG YIMOU FILMS by Patrick Dean McGuire A Dissertation Submitted to the Graduate School, the College of Arts and Sciences and the School of Communication at The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Approved by: Dr. Christopher Campbell, Committee Chair Dr. Phillip Gentile Dr. Cheryl Jenkins Dr. Vanessa Murphree Dr. Fei Xue ____________________ ____________________ ____________________ Dr. Christopher Dr. John Meyer Dr. Karen S. Coats Campbell Director of School Dean of the Graduate School Committee Chair December.2019 COPYRIGHT BY Patrick Dean McGuire 2019 Published by the Graduate School ABSTRACT It is imperative to recognize the ongoing collaborations of filmmakers from different countries.
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Representations of the Nanjing Massacre in Chinese American Literature
ABSTRACT PERPETRATORS, RESCUERS, SCAPEGOATS, AND SECONDARY WITNESSES: REPRESENTATIONS OF THE NANJING MASSACRE IN CHINESE AMERICAN LITERATURE Xiaoling Zhang, Ph.D. Department of English Northern Illinois University, 2017 Ibis Gόmez-Vega, Director This research probes into the representations of the Nanjing Massacre in Chinese American literature, in particular Shouhua Qi’s When the Purple Mountain Burns, Ha Jin’s Nanjing Requiem, Geling Yan’s The Flowers of War, and Wing Tek Lum’s The Nanjing Massacre: Poems. In light of René Girard’s theories of violence, in particular his ideas of a circle of violence, mimetic desire, sacrificial substitution, and myth as connected with stereotypes of persecution, this research diagnoses the terrors and horrors depicted in the above-mentioned texts and argues that the Nanjing Massacre as represented in Chinese American literature is no ordinary act of war, but sheer violence—violence taking innocent civilians and surrendered soldiers as scapegoats. Focusing on how each text addresses violence through the lens of perpetrators, rescuers, scapegoats, and secondary witnesses, this research concludes that the surge of the Nanjing Massacre texts at the beginning of the twenty-first century is the collective efforts of Chinese American writers, who are concerned about the witnessing crisis of the Nanjing Massacre and wish to reconstruct the forgotten history by drawing a panoramic view of the intensity and scale of violence borne in this catastrophe. NORTHERN ILLINOIS UNIVERSITY DEKALB, ILLINOIS MAY 2017 PERPETRATORS,
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Changes of Japanese Female Characters in Chinese Films About WWII
Changes of Japanese Female Characters in Chinese Films about WWII Luyi Liu, Nishinippon Institute of Technology, Japan Rong Zhang, Nishinippon Institute of Technology, Japan The Asian Conference on Media, Communication & Film 2017 Official Conference Proceedings Abstract World War II (WWII) is a significant topic for movie makers in China because of its unforgettable influence on Chinese history. The culture boom in China has served as a key driver of growth for the movies on World War II in recent years, however, studies on the role of females in the war are far from sufficient. This study summarizes movies on World War II created by Chinese directors, analyzes the images of Japanese females based on a chronological order, and discovers changes in the description of female characters in such movies. As a result, the analysis shows that more Japanese females are appearing in the movie works and the females’ images are becoming much more enriched than previous. This implies that Chinese society has become more tolerant towards Japanese culture and the relaxing social and political mood in China has promoted the creation of such movie works. This study integrates the three factors -- WWII, China and females -- and functions as an addition to the previous study on WWII. Keywords: Chinese films, WWII, Japanese Female Characters, social changes in China iafor The International Academic Forum www.iafor.org Introduction The film, as a product of the social process, is also an important device to reflect historical process. Every piece of art is an integration of society and culture; thus, it can be used as a source for historical study [1].
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The History Question in Sino-Japanese Relations
W&M ScholarWorks Undergraduate Honors Theses Theses, Dissertations, & Master Projects 7-2013 The History Question in Sino-Japanese Relations Wenfan Chen College of William and Mary Follow this and additional works at: https://scholarworks.wm.edu/honorstheses Part of the International Relations Commons Recommended Citation Chen, Wenfan, "The History Question in Sino-Japanese Relations" (2013). Undergraduate Honors Theses. Paper 609. https://scholarworks.wm.edu/honorstheses/609 This Honors Thesis -- Open Access is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. “The History Question in Sino-Japanese Relations” Abstract: Symbolized by the Rape of Nanking or the Nanjing Massacre, the history question or Japanese wartime atrocities and Japan’s continued failure at apology continues to impact Sino- Japanese relations. Applying feminist theory concepts to examine the formation of nationalism in China and Japan from the early modern period on and of the contemporary power dynamics underlying the interstate relations among China, Japan, and the United States can help to explain why the history question remains relevant in Sino-Japanese relations. Modern nationalism in both China and Japan were founded upon Western incursion and a resulting loss of masculinity of the states as the governments proved incapable at safeguarding the national polities from Western forces. The feminist notion of all politics being personal and of the importance of various interpenetrating levels of influence can help to elucidate the impact of contemporary civil society efforts such as civil lawsuits against Japan and Joint Textbook Writing efforts among China, Japan, and South Korea on Sino-Japanese reconciliation and the future of Sino- Japanese relations.
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HI 408 War in Film and Literature
HI 408 War in Film and Literature Cathal J. Nolan Associate Professor of History Executive Director, International History Institute Combat, killing, suffering, death. This course explores these vivid human experiences through great, and lesser, works of film and literature. Topics range widely, from medieval Japan to Africa, the Americas and Europe, the two 20th century world wars and various Asmall wars@ of the 19th through 21st centuries. We explore "the angle of vision" problem: who should we trust more, eye-witness accounts of war, great poets and novelists, modern film-makers, or military and other historians? Who gets us closest to the "truth" about war as a fundamental element of the human experience and condition? Can we draw general conclusions about the experience of war? Or do we falsely impose our own ideas on history? Note: The course is thematic rather than narrative. Some of you will likely find it necessary to do additional reading on the general history of war (Allure of Battle is assigned to this end), and reading that situates specific wars in overarching patterns of military history. I will provide guidance in class and to those who ask for it outside class. Consult the course site on Blackboard, where there are many additional features, from photos and music files to videos, to still and animated maps. Administrative Information Office hours: Monday and Tuesday, 630-800 pm. Location: B-13, 725 Commonwealth Avenue. Phone: (617) 353-1165 e-mail: [email protected] Email is best method of contact. Participation 20% Required: unexcused absences will reduce final grade Film Review (6p) 20% February 23 Film Review (6p) 20% March 19 Term Paper (15-18p) 40% April 23 See the guide to the term paper posted online.
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MAINLAND CHINESE VIEWS of JAPAN SINCE 1949 This
ANGRY STATES: MAINLAND CHINESE VIEWS OF JAPAN SINCE 1949 This dissertation is submitted for the degree of Doctor of Philosophy Anthony David Brooks Trinity Hall, Cambridge January 7, 2013 Copyright © 2013 Anthony David Brooks All rights reserved To Mike Lloyd Without whose support this project would not have been possible Declaration This dissertation is the result of my own work and includes nothing which is the outcome of work done in collaboration except where specifically indicated in the text. The dissertation does not exceed the word limit for the Asian and Middle Eastern Studies degree committee. It is 80,000 words long. Notes on style Chinese and Japanese names are not italicised and are given with the surname first, so Mao Zedong’s family name is Mao and not Zedong. Other Chinese and Japanese terms are italicised, and written in pinyin and romaji respectively. In the People’s Republic pinyin is normally written in lower case. However, for ease of reference this study uses sentence-style capitalisation for the titles of films, books, documents, papers and texts (in pinyin), as well as for place names. For the sake of clarity, words commonly used in English are usually chosen in preference to their Chinese and Japanese counterparts; for example “Taipei” (a city in Taiwan), is used in preference to the Chinese Taibei. A character glossary of the most important Chinese terms is provided. A list of abbreviations used in the text is at the beginning of the bibliography. Dates in the footnotes are presented in abbreviated British format, such that August 15, 1945 becomes 15/8/45.
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