Yang Guifei is considered to be one of China’s most beautiful women. Her beauty is portrayed in several Chinese historical and literary writings over the ages. Each generation of (mostly male)...Show moreYang Guifei is considered to be one of China’s most beautiful women. Her beauty is portrayed in several Chinese historical and literary writings over the ages. Each generation of (mostly male) authors is influenced by the technique of the male gaze and imbued her with their own contemporary beauty ideals creating new, updated versions of Yang as the perfect beauty. Most of the descriptions of Yang Guifei’s beauty tend to be general and are applicable to any beautiful woman in premodern China. Trends that remain consistent through time are cloud-like hair, red cheeks and lips, a creamy bosom and a white skin. Changes in the portrayal of her beauty can be found in the way of presenting her physique and feet.Show less
This thesis explores the way in which a realistic representation of a specific martial art in a martial arts movie is conveyed and to what extent this serves nationalistic purposes. The focus is to...Show moreThis thesis explores the way in which a realistic representation of a specific martial art in a martial arts movie is conveyed and to what extent this serves nationalistic purposes. The focus is to introduce a new approach of categorizing the performative body of the actor. The fashion in which the display of skill is portrayed, determines not only credibility of the performance, but also determines whether or not a martial arts movie can serve as a platform for a rediscovery of lost cultural heritage. The realistic depiction of a specific indigenous martial art such as Wingchun in Wilson Yip’s Ip Man (2008) as: (a) effective, (b) truthful to the martial art techniques in real-life, and (c) built on a story of national pride, serves nationalistic purposes. I argue in this thesis that we have been witnessing the emergence of a new trend in martial arts cinema: effective realism.Show less
Throughout the Qing dynasty (1644-1911) novel Dream of the Red Chamber several characters decide to end their own lives for a multitude of reasons; furthermore there are those who initially plan or...Show moreThroughout the Qing dynasty (1644-1911) novel Dream of the Red Chamber several characters decide to end their own lives for a multitude of reasons; furthermore there are those who initially plan or explicitly threaten to commit suicide, but ultimately do not follow through. Since the characters involved are predominantly women, some claim that the concept of a supposed oppressive patriarchal system is the primary motivational factor for these suicides. In the current work I shall argue that this is in fact not entirely the case. To this end, I shall analyze the acts of suicide as described in the novel based on a three-way division: firstly I shall address the influence of family structure and the system of concubinage in the Qing-dynasty; subsequently shall follow a discussion of the proscribed morals of purity of the time; thirdly I shall discuss a selection of suicides through the framework of qing 'sentimentality.'Show less
This thesis draws on postcolonial theory and Taiwanese history to provide an in-depth analysis of language and memory in Edward Yang's 1991 "A Brighter Summer Day". It argues that nation's project...Show moreThis thesis draws on postcolonial theory and Taiwanese history to provide an in-depth analysis of language and memory in Edward Yang's 1991 "A Brighter Summer Day". It argues that nation's project of language and memory --- discourse claiming the nation to be linguistically and historically homogenous and unified --- is challenged exactly through language and memory, by drawing attention to linguistic discrepancies and individual memories that challenge the official narrative. This ultimately challenges fixed binary notions of identity such as "(mainland) Chinese" versus "Taiwanese".Show less
Deze scriptie is gebaseerd op drie films van Jia Zhangke, namelijk The World, Still Life en 24 City.Ik zal aantonen op welke manieren de hoofdpersonages een slachtoffer worden van hun eigen...Show moreDeze scriptie is gebaseerd op drie films van Jia Zhangke, namelijk The World, Still Life en 24 City.Ik zal aantonen op welke manieren de hoofdpersonages een slachtoffer worden van hun eigen verleden in Jia’s beeld van een nieuw postsocialistisch China. Dit betekent echter niet dat globalisering en modernisering in de films van Jia altijd negatief zijn, maar dat de personages op een pijnlijke manier duidelijk wordt gemaakt dat er langzaamaan sprake is gekomen van een nieuwe maatschappij waarin ze gedwongen worden om zich aan te passen.Show less
Marlon Hom demonstrates that Pu Songling’s portrayal of women can be divided into two categories: 1. mortal women and 2. mythical women. Pu's women show only one set of characteristics at a time....Show moreMarlon Hom demonstrates that Pu Songling’s portrayal of women can be divided into two categories: 1. mortal women and 2. mythical women. Pu's women show only one set of characteristics at a time. The morally good and chaste personality traits belong to the humans, while the independent and assertive women are usually mythical beings. Lady White in "The Tale of the White Snake" (bái shé zhuàn 白蛇傳) displays both the mortal and supernatural aspects: she exhibits proper human behaviour, but at the same time she retains the assertive traits attributed to her snake spirit nature. This thesis will explore why and how Lady White's portrayal in the drum ballads is shown in a much more favourable light compared to her depiction in the vernacular story "Lady White is imprisoned underneath the Thunder Peak Pagoda".Show less
De droom van de rode kamer vertelt over de opkomst en de ondergang van de familie Jia. Naast hoofdpersonage Jia Baoyu is de roman rijk aan vele andere hoofd- en bijfiguren. Er is één familielid...Show moreDe droom van de rode kamer vertelt over de opkomst en de ondergang van de familie Jia. Naast hoofdpersonage Jia Baoyu is de roman rijk aan vele andere hoofd- en bijfiguren. Er is één familielid binnen de traditionele Chinese familie dat men in het Westen niet of nauwelijks kent: de concubine, of de bijvrouw. Mannen hoefden met één vrouw niet tevreden te zijn, maar mochten met meerdere vrouwen trouwen. Dit was geen overspel, maar een officieel erkend fenomeen waar vele regels en principes aan verbonden waren. De echtgenote lijkt hier aan het kortste eind te trekken. De reacties van andere personages op concubines in De droom van de rode kamer zijn overwegend negatief, misschien zelfs negatiever dan wanneer er sprake is van ontrouw binnen het huwelijk. Waar ligt de grens tussen een concubine en een affaire? Zijn het twee kwaden, of is er ook een positieve kijk op de concubine te vinden? In mijn scriptie doe ik onderzoek naar de driehoeksrelatie en conflicten tussen de ontrouwe echtgenoot, de jaloerse echtgenote en de concubine.Show less
Deze scriptie onderzoekt de representatie van de man in hedendaagse Chinese films. Door middel van films poogt dit werkstuk een interpretatie te maken van de man en mannelijkheid in de huidige...Show moreDeze scriptie onderzoekt de representatie van de man in hedendaagse Chinese films. Door middel van films poogt dit werkstuk een interpretatie te maken van de man en mannelijkheid in de huidige Chinese samenleving.Show less
Taiwan staat bekend als één van de meest progressieve Aziatische landen op het gebied van homoseksualiteit. Dit beeld komt echter nauwelijks terug in Taiwanese films die het thema homoseksualiteit...Show moreTaiwan staat bekend als één van de meest progressieve Aziatische landen op het gebied van homoseksualiteit. Dit beeld komt echter nauwelijks terug in Taiwanese films die het thema homoseksualiteit behandelen. Het merendeel van deze verhalen ziet een afwijkende seksuele voorkeur als een problematische hindernis, in plaats van één van de vele variaties binnen het romantische genre. In dit onderzoek is gekeken naar de maatschappelijke rollen die homoseksuele personages in Taiwanese films vervullen. Om een representatief overzicht te creëren, is er uit het aanbod films gekozen voor de behandeling van in totaal elf titels. Een basis van historisch-culturele context wordt gelegd door achtereenvolgend roltheorie, definities van homoseksualiteit, homoseksualiteit in Taiwan, en homoseksualiteit in Taiwanese films te introduceren. Vervolgens gaat het onderzoek dieper in op de afzonderlijke films, waarbij ze aan de hand van kenmerken van maatschappelijke rollen bekeken worden. Homoseksuele personages in Taiwanese films blijken inderdaad veel vaker rolconflict dan rolconsensus te ondervinden. Zowel het gebrek aan maatschappelijke verantwoordelijkheden als de invloed van familie en het vaak daarin verweven confucianisme typeren de behandelde personages. De geschetste maatschappijen in de films zijn meestal kritisch ten opzichte van homoseksualiteit. Daarentegen zijn in het merendeel van de films de homoseksuele personages toch zelf wel tevreden met hun seksuele voorkeur.Show less
Homosexuality has been a controversial topic globally for the last decade. Many countries have slowly accepted the emergence of homosexual relationships, some more than others, but in some...Show moreHomosexuality has been a controversial topic globally for the last decade. Many countries have slowly accepted the emergence of homosexual relationships, some more than others, but in some countries it remains a sensitive subject. For mainland China, it is generally believed that the Chinese government adopts a ‘3-no’ policy – no approval, no disapproval, and no promotion.1 Homosexuality has mainly been developing as an underground phenomena. Homosexuality in Hong Kong on the other hand is much more visible and relatively more accepted than in mainland China. Taiwan has been the most progressive region, developing a visible homosexual subculture and literary movement. In this thesis I look at the historical development and the cinematic development of homosexuality in Mainland China, Hong Kong and Taiwan and specifically at the portrayal of homosexuality in two Chinese-language films, Stanley Kwan's Lan Yu and Zero Chou's Ci Qing.Show less
In an article by Louise Edwards she mentioned the writer Wang Yigang who pointed out some similarities between the fictional character Wang Xifeng and the historical Empress Wu Zetian (625-705) of...Show moreIn an article by Louise Edwards she mentioned the writer Wang Yigang who pointed out some similarities between the fictional character Wang Xifeng and the historical Empress Wu Zetian (625-705) of the Tang dynasty. In my thesis I wanted to explore this matter further. My main question is whether Wang Xifeng in the Dream of the Red Chamber, written by Cao Xueqin (ca. 1715 - ca.1764) in the Qing Dynasty, and Wu Zetian have striking similarities. A subquestion is whether there is any evidence that Cao Xueqin modeled his character Wang Xifeng after Wu Zetian. My findings are that the good and especially the bad qualities of character largely correspond, as well as aspects of behavior and skills. The main difference is the social position of the two women. My transgressionmodel illustrates that both women crossed socially accepted borders by making use of masculine behavior (gender bending). There is not enough evidence to prove that Cao Xueqin modeled his character after Wu Zetian. This research is interdisciplinary and contributes to the academic fields of China Studies and Gender Studies.Show less
In 2008 werd de Chinese provincie Sichuan getroffen door een hevige aardbeving die een kracht van 8.0 op de schaal van Richter had en grote schade aanrichtte in verschillende gebieden. Naar...Show moreIn 2008 werd de Chinese provincie Sichuan getroffen door een hevige aardbeving die een kracht van 8.0 op de schaal van Richter had en grote schade aanrichtte in verschillende gebieden. Naar aanleiding van deze aardbeving zijn verscheidene documentaires gemaakt waarvan sommige algemene informatie geven en andere bepaalde kwesties aan het daglicht stellen. De informatieve en vooral propagandistische documentaires zijn afkomstig van de nationale staatstelevisiemaatschappij CCTV (China Central Television), terwijl in onafhankelijke documentaires vaak een specifieke boodschap centraal staat. Deze onafhankelijke filmmakers belichten enkele kwesties die na de aardbeving zijn ontstaan en voor flinke oproer hebben gezorgd onder de Chinese burgers. In deze scriptie worden drie documentaires geanalyseerd die verschillen en overeenkomsten in de voorstelling van elke filmmaker aantonen.Show less
Despite the fact that China is well-known for its lengthy literary history, children’s literature is a relatively young concept which was only introduced in the 20th century – much later than in...Show moreDespite the fact that China is well-known for its lengthy literary history, children’s literature is a relatively young concept which was only introduced in the 20th century – much later than in most Western countries. However, in this short period of time, children’s literature has been able to flourish in China and has become an indispensable part of its enormous publishing market today. In this thesis, the current Chinese children’s literature market is explored in depth by not only looking at existing written sources, but also by conducting fieldwork in four bookstores in Beijing. This fieldwork can be divided into three separate categories, namely mapping of the bookstores, observing its products and costumers, and interviewing 42 Chinese parents. By analyzing how the Chinese children’s literature market as portrayed in written sources is reflected in these bookstores, this research has shown that the children’s literature market is indeed a booming business, but it has also shed light on other aspects of the market, such as the fact that there are still very serious problems that need to be solved in order to guarantee the ongoing success of children’s literature in China.Show less
