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Dissertationen zum Thema „Mo, Yan“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 21. Februar 2023

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1

Lee, Wing-shing. „The tragic images of female characters in Moyan's novels Lun Mo Yan bi xia de nü xing bei ju xing xiang /“. Click to view the E-thesis via HKUTO, 2009. http://sunzi.lib.hku.hk/hkuto/record/B42904456.

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2

Mok, Oi Lam. „Gu xiang xiang xiang : Mo Yan yu Li Rui xiao shuo yan jiu /“. View abstract or full-text, 2007. http://library.ust.hk/cgi/db/thesis.pl?HUMA%202007%20MOK.

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3

Standaert, N. He Lixia. „Ke qin de Tian zhu Qing chu Jidu tu lun "di" tan "Tian" /“. Taibei Shi : Guang qi chu ban she, 1998. http://catalog.hathitrust.org/api/volumes/oclc/49256108.html.

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4

Dubois, François. „Les avatars de l'auteur dans l'oeuvre de Mo Yan“. Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0356.

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L’écrivain chinois Mo Yan a mis en scène dans son œuvre romanesque des avatars de l’auteur, identifiés à lui par le nom dans deux romans et par le rôle de créateur du récit dans plusieurs récits. Ces représentants ne sauraient être identifiés à l’auteur empirique, mais peuvent être interprétés à l’aune de ce que représente pour nous l’auteur, au sens large, ou dans une visée individuelle, lorsque nous analysons leur caractérisation en fonction d’autres textes, fictifs ou référentiels, construisant la figure biographique, théorique et fantasmatique de l’auteur. Outre qu’elle joue sur l’aporie de sa présence dans la fiction, cette représentation métafictionnelle a des fonctions diverses. Dans Le Pays de l’alcool, elle souligne l’allégorie tout en déjouant la censure ; dans La Dure Loi du karma, elle brosse un portrait comique du romancier, reflétant ses différents rôles pour le lecteur et la société. La suite de l’étude porte sur des narrateurs révélant un statut de créateur du récit, de sorte qu’ils provoquent une distanciation et un doute sur leur situation diégétique, en les associant à une tendance métafictionnelle présente dans l’œuvre de Mo Yan depuis son premier roman long, Le Clan du sorgho rouge, où elle est l’effet d’un narrateur omniscient et présent dans l’univers de la fiction. Ces figures d’autorité thématisent l’imagination à l’œuvre, tout en signalant l’altérité de la figure de l’auteur que le lecteur infère de ses indices supposés. Elles représentent l’auteur en une logique non référentielle, comme produit d’un ensemble mouvant d’hypothèses, issues d’une interprétation des récits comme éléments constitutifs de l’œuvre
In his fictional works, Chinese novelist Mo Yan created avatars of the author, who are either identified by their name such as the characters Mo Yan in The Republic of Wine and in Life and Death Are Wearing Me Out or by a creative role they reveal, in other narratives. Both doubles, Mo Yan’s fictional homonyms, cannot be considered as the empirical author, and yet may be interpreted in the light of what the author means to us, whether in a broad or individual sense, when their characteristics are confronted with the biographical, theoretical and fantasmatic figure of Mo Yan which other texts create. Drawing attention to the aporetical presence of the author in a universe he created, metafictional author representations have various functions. In The Republic of Wine, it enlights the allegorical value of the novel and, to the real author, is a means to deter censorship. In Life and Death Are Wearing Me Out, Mo Yan is a parody of a novelist, where the role he plays for the reader and in society appear in a nutshell. Next, the sign of the author is to be extended to other narrators who reveal, more or less explicitly, that they create the narrative, thus inducing readers to suspend belief and reconsider their diegetic posture. Beginning with his first long novel Red Sorghum, metafiction has been an obsessive tendency in Mo Yan’s novels, making imagination a theme of the novel while suggesting the figure of the author a reader infers from the text is but a shifting body of hypotheses, which envision narratives a part of the whole works that make the author

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5

Pan, Lu. „Aus dem Schattenreich der Vergangenheit : Erinnerungsarbeit in Günter Grass' Blechtrommel und Mo Yans Üppiger Busen, dicker Hintern /“. Frankfurt, M. Berlin Bern Bruxelles New York, NY Oxford Wien Lang, 2006. http://d-nb.info/990412113/04.

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6

Lau, Kin-chi. „Gendered subaltern as perspective in reading Mo Yan, Wang Shuo and Zhang Jie /“. Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21129186.

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7

Zhuo, Qingfen. „Qing mo si da jia ci xue ji ci zuo yan jiu /“. Tai Bei : Guo li Tai Wan da xue, 2003. http://catalogue.bnf.fr/ark:/12148/cb39292283c.

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Th. doct.--lit.--Taibei--National Taiwan University = Guo li Tai Wan da xue, 1999.
Mention parallèle de titre ou de responsabilité : Study of poetics and poetry of four poets in late Qing. Bibliogr. p. 413-434.

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8

Qing, Lin. „Essai de comparaison, la production littéraire chez Claude Simon et Mo Yan“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq21504.pdf.

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9

Yin, Jing. „La réception de Mo Yan en France : traduction, diffusion, critique (1988-2014)“. Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA101.

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Mo Yan莫言, de son vrai nom Guan Moye管谟业, est l’un des écrivains chinois contemporains les plus célèbres mais aussi l’un des plus traduits en français. Son enfance rurale inspire ses premières réflexions sur la littérature et son royaume de lettres. Mêlant le vrai au faux, le réel au fabuleux, son œuvre, profuse et originale, suscite des travaux critiques considérables tant académiques que médiatiques, notamment depuis son obtention du prix Nobel de littérature en 2012 à Mo Yan. La présente thèse porte sur l’œuvre de Mo Yan en France : la traduction, la diffusion et la critique. Ainsi, s’agit-il non seulement d’une investigation sur l’imaginaire de la Chine, mais également d’une investigation littéraire. Cette étude, à la fois monographique et comparatiste, s’appuie principalement sur les créations les plus retentissantes en France : Le Clan du sorgho rouge (1986), Le Pays de l’alcool (1993), Beaux seins, belles fesses (1995), Le Supplice du santal (2001), Quarante et un coups de canon (2003), La Dure Loi du karma (2006), Grenouilles (2009)
Guan Moye, better known by his pen name Mo Yan, was born in Gaomi County in Shandong province in 1955. The pen name "Mo Yan" means "don't speak" in Chinese. Mo Yan is one of the most famous Chinese contemporary writers in France, and his works have been widely translated into French. His childhood in Gaomi County inspired his first conception of literature and is, to some extent, the portal through which we enter his realm of letters. The unique style of his works attracts many academic and media criticism, and even more after winning the Noble Prize of literature in 2012. This dissertation intends to study the translation, publication, criticism and reception of Mo Yan’s works in France. Besides a literary study, the dissertation also focuses on the imaginary of China. The research is monographic and comparative, based on his several best-known works: Red Sorghum (1986), The Republic of Wine (1993), Big Breasts and Wide Hips (1995), Sandalwood Death (2001), Pow! (2003), Life and Death Are Wearing Me Out (2006), Frog (2009)…

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10

Liu, Victoria Xiaoyang. „The Reception of Mo Yan in the British and North American Literary Centers“. Thesis, Stockholms universitet, Engelska institutionen, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-115370.

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This thesis investigates the two major conflicting modes of interpretation applied to Mo Yan’s literary texts diachronically and synchronically in order to reveal both the aesthetic imperative and the liberating force of the British and North American literary centers in receiving literature from the periphery. After an introduction to the centers’ disparate responses to the paradigmatic shift of the local Chinese literary trend in the 1980s, the thesis continues with a theoretical discussion on reader-response theory and the uneven power relations between the literary center and the periphery. Jauss’s concept of horizon of expectation and Fish’s interpretive community are adopted to stress openness in interpretation while Casanova’s conceptualization of the world republic of letters provides the framework to study the competition among interpretive communities for the legitimacy of their respective interpretation. The study of the press reception of Mo Yan focuses on the ongoing shift of horizon of expectation from the dominating political and representational mode of interpretation to one that stresses the literary and fictional nature of literature. The study shows that the imperative in the reception of Mo Yan is the extension of the Western cultural hegemony sustained by an Orientalist dichotomy. The academic promotion in the public sphere, however, shows critics’ effort to subvert such domination by suggesting an alternative mode that brings the Chinese literary context to bear on the interpretation. In addition to this, Mo Yan’s strategic negotiation with the dominating mode of reception is analysed in my close reading of POW!. At the end of the thesis, I call for general readers to raise the awareness of the hegemonic tendency of any prevailing mode of interpretation. By asserting a certain distance, readers enable the openness in interpretation and hence possible communication among different communities.

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11

劉健芝 und Kin-chi Lau. „Gendered subaltern as perspective in reading Mo Yan, Wang Shuo and Zhang Jie“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31238774.

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12

Mei, Yunting. „Zhong yi yao zhou qi zhi liao zi gong nei mo yi wei zheng de yan jiu gai kuang /“. click here to view the abstract and table of contents, 2006. http://net3.hkbu.edu.hk/~libres/cgi-bin/thesisab.pl?pdf=b19987535a.pdf.

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13

Pan, Xincheng. „Zhong yi yao zhi liao bao kuai xing zi gong nei mo yi wei zheng yan jiu gai kuang /“. click here to view the abstract and table of contents, 2006. http://net3.hkbu.edu.hk/~libres/cgi-bin/thesisab.pl?pdf=b20009318a.pdf.

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14

Gao, Weiqian. „El realismo mágico en la literatura china contemporánea. Gabriel García Márquez y Mo Yan“. Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/458762.

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La recepción crítica y la influencia literaria del realismo mágico en la literatura contemporánea china han permanecido sumidas durante mucho tiempo en un inmerecido olvido, pues tanto el mundo intelectual hispánico como el chino han tardado en considerar este tema un objeto digno de estudio. Con el presente proyecto procedemos, por un lado, a diseccionar, analizar y presentar la recepción crítica del realismo mágico en el mundo literario chino; y a examinar, por otro lado, cómo las novelas mágico-realistas influyen sobre la creación narrativa de los escritores chinos de la “literatura de la búsqueda de las raíces”. Procederemos, asimismo, a un ejercicio de intertextualidad relacionando las novelas de García Márquez con varias obras de Mo Yan, premio Nobel de Literatura de 2012.
Magic realism has made a continued and enormous impact on contemporary novels since the middle eighty of last century. The reason is not only because the extensive and profound characteristics of the novels but because his novels fit on the need of Chinese contemporary literature in different periods. The pioneer novels in mid – eighty learned the form from García Márquez, Juan Rulfo in order to overturn the view that the literature is the tool of Political Ideology and let the literature return to itself. Root-seeking literature was one of the most important literature ideological trends of Chinese contemporary literature in the New Period. In the process of adopting foreign current of literacy thoughts, many writers expressed that Magic realism had left a deep impression on their works. I mainly discusses what revelation the Root-seeking novels have given us after the dialogue between these two literature ideological trends.

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15

Lee, Vivian P. Y. „The representation of history in contemporary Chinese fiction : Han Shaogong, Mo Yan, Su Tong“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ61135.pdf.

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16

He, Donghui. „Reconstructions of the rural homeland in novels by Thomas Hardy, Shen Congwen and Mo Yan“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ48645.pdf.

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17

Wu, Chengquan. „Han mo Wei Jin Nan Bei chao dao jiao jie lü gui fan yan jiu /“. Chengdu Shi : Sichuan chu ban ji tuan Ba Shu shu she, 2006. http://www.loc.gov/catdir/toc/chi0801/2008553894.html.

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18

Wu, Yuehan. „Representing Fertility in Mo Yan’s Frog and Xue Xiaolu’s Finding Mr. Right“. Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/15826.

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In this study I explore the changing representation of the pregnant body in two recent Chinese texts. Building on existing scholarship, I relate the fictional representation of maternity in Mo Yan’s novel "Frog" (2009) and Xue Xiaolu’s film "Finding Mr Right" (2013) to three consolidating discourses of reform, namely the Chinese family planning program, Chinese feminism, and Chinese globalization. By interrogating the highly symbolic depictions of pregnant women in these texts I meaningfully expand our understanding of the impact of these discourses through various scales and dimensionalities, including the generic, the social and the global. Approaching my topic in an interdisciplinary way, I disturb dualistic arguments that locate women in opposition to the political and reinstate everyday life as an arena of female agency as well as oppression. The introduction consists of a brief history of the implementation of the one-child policy in PRC and an analysis of the allegorical function of pregnancy and childbirth in Seventeen Year films. The main body of the thesis comprises close readings of two fictional texts that take pregnancy and gendered fertility politics as their theme. Written by the first Chinese writer to be awarded the Nobel Prize for Literature, "Frog" (translated into English in 2015) tells the story of a female obstetrician charged with implementing the one-child policy. Told from the perspective of an unreliable male narrator, the novel deploys techniques of satire and the grotesque. The story arcs across a 60-year history of birth control and mandatory abortion to end in the era of corporate baby farms. The second text is the Hollywood-style comedy "Finding Mr. Right" (2013), which concerns the idle and vain mistress of a mainland tycoon who enters the US to secure American citizenship for the baby she is carrying. The film’s focus on Chinese birth tourism works in tandem with its representation of the mother-to-be as a transnational female consumer who has yet to learn the value of love or money. I consider how the film links transnational practices with neoliberal ideology via a sentimental story in which heterosexual romance is suppressed in favour of female independence and entrepreneurship. I suggest that the medium of comedy allows the film’s writer and director to approach the feminist issues of female sexual citizenship and Chinese fertility politics through the sanctioned lens of maternity, a theme central to Chinese cinema since the Seventeen Year films discussed in the introduction. By comparing "Frog" and "Finding Mr Right", I am able to address the complex history and legacy of China’s one-child policy at the moment of its repeal.

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邱偉平 und Wai-ping Yau. „Magic realism and `root-searching' in the works of Mo Yan, Zhaxi Dawa and Han Shaogong“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31213844.

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20

Yiu, Yau-keung. „A study of Yang Sichang's strategies in suppressing bandit uprisings in the late Ming Era Yang Sichang ping ding Ming mo liu kou fang lüe yan jiu /“. Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B31692151.

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21

Gao, Ruiquan. „Tian ming de mo luo Zhongguo jin dai wei yi zhi lun xiang [i.e. si] chao yan jiu /“. Shanghai : Shanghai ren min chu ban she, 1991. http://catalog.hathitrust.org/api/volumes/oclc/28899996.html.

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22

Luk, Yu-shing. „A study of Yue Fei studies since late Qing Qing mo yi lai zhi Yue Fei yan jiu /“. Click to view the E-thesis via HKUTO, 1995. http://sunzi.lib.hku.hk/hkuto/record/B31950838.

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23

Bao, Shumei. „Qing mo Menggu wang gong yu Man Han da chen xin zheng chou Meng zou yi dui bi yan jiu“. [Huhehaote shi] : Nei Menggu da xue, 2004. http://anulib.anu.edu.au/anuonly/ebooks/chinese_thesis_029.pdf.

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Thesis (Ma (Specialized History)) -- Nei Menggu da xue Menggu xue xue yuan, China, 2004.
Title from title page. Abstract also in English. Includes bibliography. Zhi dao jiao shi: Bailadugeqi. 880-02

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24

Fältström, Anneliese. „"Literature should reflect the basic principles of our existence" : A mediality analysis of Mo Yan´s Life and Death are Wearing Me Out“. Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-76026.

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The aim of this study is to use an intermedial theory to analyse and contextualize embodiment and violence in the Chinese author Mo Yan’s Life and Death Are Wearing Me Out. I use Jørgen Bruhn’s mediality model, introduced in The Intermediality of Narrative Literature: Medialities Matter (2016), to analyse medial phenomena such as intra- and intermediality in the novel. Bruhn’s model mainly covers relations between several media and within a single medium. The focus of this study lies on the blending of different media within the novel. My hypothesis is that the depiction of embodied violence in the novel is a literary strategy, based on cognitive functions and Chinese oral traditions to communicate historical events, as well as through an intermedial depiction of those events, a way to avoid censorship. Of particular importance to this study are medial phenomena connected to visualization of memories, and intermediality as discipline a voice between media texts, to establish how a literary text through narrative techniques can create an illusion of cinematic blending. I see this as an illustration of the historical hierarchical struggle between art forms. This is a broader perspective on literary depiction in Mo Yan’s novel than generally can be found in interpretations originating in a Western discourse. The result of my study shows that medial phenomena such as inter- and intramediality are woven into a narrative theme of remembrance of historical political events. Such memories are communicated through depictions of embodied violence, as well as the impact of trauma on anonymous bodies reminiscent of cinematic techniques, heightened by the metafictive voice of Mo Yan within the novel. It is a perspective that is also accentuated through auditory and visual elements that recall the ability of audio-visual media techniques to create identification with exposed bodies through close-up depictions of body and violence. Hence, Mo Yan has constructed a grid of medial phenomena in the novel through which he is able to convey historical processes without risking censorship.

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25

Tan, Wen Qi. „Case study of Goldblatt's translation of The Garlic Ballads from skopos perspective“. Thesis, University of Macau, 2018. http://umaclib3.umac.mo/record=b3954285.

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26

Niu, Ling. „El clan del sorgo rojo de mo yan: estudio sociológico de la difusión y análisis de la traducción de los culturemas en las versiones inglesa y españolas“. Doctoral thesis, Universitat Autònoma de Barcelona, 2019. http://hdl.handle.net/10803/669454.

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Esta tesis está formada por dos aspectos distintos pero estrechamente relacionados: primero, un estudio sociológico sobre el éxito del premio Nobel chino Mo Yan y la difusión y canonización de su novela El clan del sorgo rojo [红高粱家族]; y, segundo, un análisis crítico sobre la traducción de los elementos culturales en tres versiones de dicha novela, una inglesa y dos españolas, examinando cómo los condicionantes sociales de la obra pueden haber influido en las traducciones, tanto en las micro unidades textuales como en los grandes rasgos. De acuerdo con la estructura general de la tesis, el marco teórico también incluye dos partes. En la primera parte, estudiamos primero los aspectos sociológicos de traducción, desde el polisistema de I. Even-Zohar, las normas de G. Toury, la reescritura de A. Lefevere, a la invisibilidad traductora de L. Venuti. En cuanto a los estudios en la difusión de las traducciones literarias, tomamos el concepto del “capitalismo lingüístico” de P. Bourdieu, los estudios sobre la circulación de libros traducidos de J. Heilbron y las reflexiones de cómo se construye un best-seller de M. Schudson. En la segunda parte, repasamos los estudios de definición y clasificación de los elementos culturales y las técnicas de traducirlos. Adoptamos la clasificación de L. Molina y A. Hurtado (2001, 2006, 2016), combinándolos con los estudios del lingüista chino D. Wen (2005), y de esta manera, proponemos nuestra clasificación de los elementos culturales en El Clan del sorgo rojo. En lo referente a las técnicas traductoras, utilizamos los conceptos propuestos también por L. Molina y A. Hurtado (2001, 2006, 2016). A lo largo de la investigación, hemos descubierto que las tres traducciones de la novela en realidad han partido de distintos textos originales chinos, que ya existen varias discrepancias entre ellas, algunas de tipo ideológico, y algunas relacionadas con descripciones de tono sexual. ¿Cuáles son las razones de estas diferencias?, ¿deberíamos reconsiderar la fama generalizada del traductor inglés H. Goldblatt como re-escritor el texto original? ¿Dónde residen exactamente las manipulaciones?, ¿cómo resuelven estos problemas las tres traducciones? Respondemos a estas preguntas realizando un análisis de las micro-unidades textuales de las tres traducciones, tomando en cuenta los factores sociológicos y resumiendo sus características distintas.
This Ph.D. dissertation studies two distinct but closely related aspects, one is the sociological study on the success of Chinese Nobel Prize winner Mo Yan, and the dissemination of his work The Clan of Red Sorghum [红高粱家族]; the second is a critical analysis of how the cultural elements, culturemas, have been translated in the three different versions under scrutiny (one in English and two in Spanish), in order to know how social circumstances may have influenced the translations, both at the micro and macro level. According to the general structure of the thesis, the theoretical framework also includes two parts. The first part is devoted to introduce the sociological aspects of translation at stake, from the polysystem of I. Even-Zohar, the rules of G. Toury, the rewriting of A. Lefevere, to the translators’ invisibility of L. Venuti. To better understand the dissemination of literary translations, this section also introduces P. Bourdieu’s concept of “linguistic capitalism”, J. Heilbron’s studies on the circulation of translated books, and M. Schudson’s reflections of how a best-selling book is made. The second part focuses on the definition and classification theories of cultural elements, culturemas, and the different approaches to translate them. Based on the approach proposed by L. Molina and A. Hurtado (2001, 2006, 2016), and that of the Chinese linguist D. Wen (2005), this dissertation presents a systematic classification of the cultural elements in The Clan of Red Sorghum, indicating the techniques applied in each case by the translators. Our research points out that the English translation by H. Goldblatt (which was used as the source text for the first Spanish) and the second Spanish Translation have used different Chinese editions of the novel, one published in 1988 in Taiwan and the other in 2012 in Beijing. Influenced by socio-historical and ideological factors, these two editions have several significant differences, some are political, some related to cultural elements. Some questions to be answered: what are the reasons of these differences? shall we reconsider the English translator’s “fame” of rewriting the original text? what are exactly are his manipulations, and how do they affect the novel’s Spanish translations, if at all? This dissertation aims to answer these questions by carrying out a micro-textual analysis of the three translations and summarizing their different characteristics from a sociological perspective.

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Chan, Kit-i. „Wei Yijie(1616-1686) a case study of Late Ming literati serving the Qing government = Wei Yijie : Ming mo shi ren shi Qing ge an yan jiu /“. Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkutrfo/record/B31691973.

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Wang, Ying <1993&gt. „La traduzione e ricezione della letteratura cinese in Italia: questioni e strategie a partire dal caso delle traduzioni di alcuni romanzi di Su Tong, Yu Hua, Zhang Jie e Mo Yan“. Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2020. http://amsdottorato.unibo.it/9514/1/Wang_Ying_tesi.pdf.

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Negli ultimi anni, in Italia sono stati tradotti un gran numero di opere letterarie cinesi grazie all’impegno e alla passione di numerosi sinologi, studiosi e traduttori italiani. Tuttavia, gli studi sulla traduzione della letteratura cinese sono, sia in Cina che in Italia, relativamente pochi e non sempre uniformi: in Cina è difficile trovare dati completi, sistematici e dotati di un certo valore di riferimento, e in Italia, una ricerca di questo tipo ha avuto origine nell’ambito degli studi sinologici italiani, piuttosto che in quello degli studi sulla traduzione. A partire da una rassegna dei principali approcci agli studi sulla traduzione (letteraria) dalla seconda metà del XX secolo fino ai nostri giorni, questo lavoro di tesi tenta di analizzare da un lato le tendenze generali relative alla traduzione e alla pubblicazione delle opere letterarie cinesi in Italia in un arco temporale che va dal 1942 al 2018, tramite alcune analisi di tipo sia quantitativo che qualitativo basate su una tabella di dati concernenti la letteratura cinese sul mercato editoriale italiano che è stata costruita appositamente; dall’altro, questa ricerca intende investigare le strategie utilizzate per tradurre i diversi riferimenti culturali riscontrati nel corpus di testi scelti e che sono stati suddivisi nelle seguenti categorie: antroponimi, intertestualità, riferimenti al contesto politico e culturale, gastronomia e altri riferimenti culturali. Attraverso un’analisi comparativa e descrittiva dei testi di partenza e dei testi di arrivo, ai fini della tesi si sono indagate le problematiche riguardanti la traduzione e la ricezione della letteratura cinese in Italia e le tendenze che tale letteratura ha avuto sia in ambito editoriale che nel campo della traduzione letteraria.
In recent years, thanks to the commitment and passion of numerous Italian sinologists, scholars and translators, a large number of Chinese literary works have been translated into Italian. Nevertheless, literature on this subject is still scarce and dispersed either in China or in Italy. To illustrate, in China, merely limited data can be obtained, whilst in Italy, research address more on Italian sinological studies rather than on translation studies. So, the research aims to conduct a diachronic study on the general situation of the translation and publication of Chinese literary works in Italy, as well as a descriptive-comparative analysis concerning translation strategies and choices in the process of the translation of Chinese literature. The thesis begins with a review of main approaches to literary translation studies from the second half of the 20th century. Through quantitative and qualitative analyses based on a list of Chinese literary works in the Italian publishing market, this thesis attempts to analyze general trends related to the translation and publication of Chinese literary works in Italy from 1942 to 2018. Besides, the research also examines strategies used to translate different culture-specific references as can be found in the selected novels by Su Tong, Yu Hua, Zhang Jie and Mo Yan. These culture-specific references have been further divided into anthroponyms, intertextuality, words within political and cultural contexts, and gastronomy, etc. The result shows that from 1942 to 2018, the translation and publication of Chinese literary works in Italy experienced a conspicuous expansion, accompanied by important changes in the interest of Italian publishing market on authors, literary themes, translators and publishing houses, etc. Concerning the translation of culture-specific references, there is a great variety of translation strategies and choices, which are determined by multiple factors and in general indicate trends of maintaining or neutralizing the cultural strangeness.

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Tang, Wing-sze Cecilia. „A study of paragraphing in Chinese writing primary 1 to primary 6 students in H.K. = Zhong wen xie zuo : duan luo yan jiu : Xianggang xiao yi zhi xiao liu duan luo mo shi de fa zhan jie duan /“. Click to view the E-thesis via HKUTO, 2002. http://sunzi.lib.hku.hk/hkuto/record/B31963213.

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Deng, Yong-shi. „A study of paragraphing in Chinese writing : primary 1 to primary 6 students in H.K. = Zhong wen xie zuo : duan luo yan jiu : Xianggang xiao yi zhi xiao liu duan luo mo shi de fa zhan jie duan /“. Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25248935.

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Sung, Ka-yee Rosa. „On the prosodic and thematic properties of post-completion constituents in focus-first constructions in Cantonese Yue yu jiao dian xian xing ju ju mo hou cheng fen yun lü ji xin xi jie gou te zheng yan jiu /“. Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B39848917.

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廖麗暉 und Lai-fai Liu. „Chinese temple and Chinese community in colonial Hong Kong : a case study of Man Mo Temple in Sheung Wan = Hua ren miao yu yu zhi min di de Xianggang Hua ren she hui : yi Shanghuan Wen wu miao wei yan jiu ge an“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/192998.

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The Man Mo Temple（文武廟）Compound on Hollywood Road, Sheung Wan, which comprises three blocks, namely Man Mo Temple, Lit Shing Kung （列聖宮） and Kung Sor（公所）, were built in 1847 . The Temple was built mainly for the worship of Man Cheong (God of Literature, 文昌) and Mo Tai (God of Martial Arts, 武帝). It was important assembly hall where Chinese people discussed issues and resolved disputes in early colonial period. The Temple represented the traditional social organization and religious practices of the Chinese community in the past. The aim of this study examines the development of Man Mon Temple from 1840s to 1908. This thesis contains six main chapters. The first chapter is literature review of previous researches for Man Mo Temple, as well as presents the objectives and methodology of the thesis. The second chapter explores the reasons for its establishment. The third chapter describes the development of architecture of temple. The forth chapter describes and analyses the Guandi worship （關帝信仰）and Wenchang belief （文昌信仰）in Hong Kong. The fifth chapter evaluates the significance of Man Mo Temple on different periods. The temple provided religious service, also as sponsor the charitable work of the Chinese community. It analyses the change of the temple’s function in colonial period. The final chapter is a conclusion how the Man Mo Temple shift to accommodate changing needs of the colonial development.
published_or_final_version
Chinese Historical Studies
Master
Master of Arts

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Leung, Cho-nga. „To serve the government or not a study of the views of Chinese Literati in the Jiangnan region during the late Yuan and early Ming periods = Yuan mo Ming chu Jiang nan di qu zhi shi fen zi de 'shi' yu 'yin' guan nian yan jiu /“. Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/B39707490.

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Kokotowski, Christa [Verfasser], Lutz [Gutachter] Bieg, Stefan [Gutachter] Kramer und Weiping [Gutachter] Huang. „Identitätssuche, Heimatroman oder literarische Sozialkritik? Zwei chinesische Schriftsteller und ihre Darstellung des ländlichen Chinas: Jia Pingwa: 浮躁/„Fuzao“/ „Turbulenzen“ und Mo Yan: 天堂蒜薹之歌 /„Die Knoblauchrevolte“. Eine vergleichende Analyse aus westlicher Sicht / Christa Kokotowski ; Gutachter: Lutz Bieg, Stefan Kramer, Weiping Huang“. Köln : Universitäts- und Stadtbibliothek Köln, 2018. http://d-nb.info/1186251786/34.

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Siu, Sai-yau, und 蕭世友. „The relationship between emperors and monks in the northwest region in the Sixteen Kingdoms period : theoretical model and data visualization = Wu Hu shi liu guo shi dai xi bei zheng quan zhi jun zhu yu seng ren guan xi yan jiu : sha lou li lun mo xing ji shi liao shi xiang hua“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2014. http://hdl.handle.net/10722/206681.

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The Sixteen Kingdoms was a period of political disintegration in medieval China. Foreign rulers of Wu Hu (“Five Barbarian Tribes”) captured the northern China during the 3rd – 5th centuries and established independent states through continuous military actions. This thesis aims at studying the relationship between the emperors and Buddhist monks in the Northwest empires in the Sixteen Kingdoms Period, including the Former Liang (320-376), the Western Qin (385-400; 409-431), the Later Liang (386-403), the Northern Liang (397-439) and the Xia (407-431), by developing a theoretical model called “Hourglass Model”. The model provides a holistic framework for investigating not only the emperors’ changing attitudes towards Buddhism but also the dissemination of the Dharma by monks. In addition, the concept of “data visualization” is implemented to re-interpret various historical sources. The complex interaction among imperial clans and Buddhist practitioners is further analyzed with computer-aided historical research methods. This thesis hopes to reveal the inspiring nature of the political religion in China’s early medieval age and expand the scope of Chinese Studies by rethinking about foreign rulers and Buddhist monks’ roles in reshaping and vitalizing the Chinese civilization. Moreover, this study develops alternative approaches to the research on the history of Chinese Buddhism, and attempts to shed new lights on theories and research methodology.
published_or_final_version
Chinese
Master
Master of Philosophy

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Lo, Keng-chi, und 盧勁馳. „Politicizing female subjectivity: performativity and sublimation in leftist writers Yang Mo, Xiao Hong“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48199503.

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The thesis deals with the concept of feminine sublimation among Chinese feminist writings and theory. Previous feminist readings of literary works of Chinese female writers tended to confuse the Freudian concept of sublimation with “aestheticized politics” and utopian desire. These feminist readings have concentrated on articulating an authentic subject beyond power relations. I would however, redefine the concept of feminine sublimation as a theoretical trope to articulate the possible emergence of female subjectivity within specific power relations. Although gender performativity has become a universally circulated concept to theorize the subversive depiction of female bodies in particular cultural contexts, I argue that any performative reiteration would not be adequately contextualized and historicized when its usage ignores issues of female subjectivity in terms of sublimation. Chapter one of the thesis begins with various feminist approaches to the relationship of sublimation and performativity. Chapter two re-reads a novel Song of Youth in the socialist era. The conventional conception of sublimation is re-examined contextually in a way that the consideration of gender performativity alone would not be able to do. Through reading a canonical work of the “nationalist feminist” writer Xiao Hong, chapter three delineates the relation between my redefined concept of feminine sublimation and the possibility of political coalition, and explains how this relation provides a totally different understanding of performative reiteration. I would finally redefines the fundamental relationship between feminist subjectivity and performative politics.
published_or_final_version
Comparative Literature
Master
Master of Philosophy

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Motsepe, Queen Mmadikhu. „Tlhotlheletso ya lemorago la loago mo bokwading jwa padi ya Matlhoko, Matlhoko le dikgankhutshwe tse di mo go Mmualebe ka R.M. Malope“. Thesis, University of Pretoria, 2020. http://hdl.handle.net/2263/74450.

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Tlhotlhomisi e e ikaegile ka lemorago la botshelo jwa ga mokwadi Melato Recias Malope, modibelapuo yo o itsegeng wa puo ya Setswana, morutabana le mokwadi yo o manontlhotlho wa ditlhangwa le dibuka tsa thutapuo. O kwadile buka ya thutapuo ya motlhakanelwa le Moporofesara Setshedi, e e bidiwang ‘Thutamedumopuo ya Setswana’ e e phasaladitsweng ka 1978. Maiteko a gagwe mo bokwading ke a padi ya Matlhoko, Matlhoko, e e phasaladitsweng ka ngwaga wa 1980, le ngatana ya dikgankhutshwe tsa Mmualebe, e e phasaladitsweng ka 1982. Mooko wa tlhotlhomisi e o thaetswe mo ntlhakemong ya batlhotlhomsi ba tshwana le Welleck et al (1961:90) le Rosenburg (1982:91) e e reng ditiragalo tse di anelwang ke mokwadi mo setlhangweng sa gagwe, di tletse tshusumetso e e maatla ya maitemogelo a lemorago la botshelo jo a bo tshetseng. Bakwadi ba, ba dumela gore mokwadi o anela ka ga se a se itemogetseng mo botshelong jwa nnete, jaaka ditiragalo mo loagong; tse a di buisitseng; tse a di boneng ka matlho; jalo le jalo. Ditlhangwa tsa ga Malope tse di kaetsweng fa godimo, ke tsona metswedimegolo e e tlhotlhomisiwang le go sekasekwa go sedisisa seabe se lemorago la ga Malope le nnileng naso mo tlhagisong ya maitshetlego a ditlhangwa tse. Matshego a tlhotlhomisi e ke botshelo jwa nnete jwa ga Malope, ka maitlhomo a go leka go tlhotlhomisa gore maitemogelo a gagwe a nnile le seabe sefe mo bokwading jwa ditlhangwa tse di tlhotlhomisiwang tse. Maitlhomo a, a rotloeditswe ke bakwadi jaaka ga Allen (1963:27), Moleleki (1988:13) le Mothiba (2014:92), ba ba dumelang gore bokwadi bo tlholega mo lemoragong la mokwadi, le go tlhotlheletswa ke botshelo jo mokwadi a bo tshetseng.
Thesis (PhD)--University of Pretoria, 2020.
NRF
African Languages
PhD
Unrestricted

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Edwards, Keith. „A proposed methodology for predicting the carbon and nitrogen stable isotope measures of K'inich Yax K'uk Mo', Copan dynastic founder“. Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4887.

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The purpose of this thesis is to show that stable isotope analysis can be used to predict K'inich Yax K'uk Mo's stable isotope measures based on Stuart's (2007) hypothesis that K'inich Yax K'uk Mo', the dynastic founder of the Copan royal lineage, was a Caracol lord. There is significant and convincing evidence that K'inich Yak K'uk Mo' had a non-Copanec origin. Stable isotope analysis is a tested and reliable method for detailing diets and migratory paths of ancient humans and this theory is applied as a predictor of the stable isotope measures of K'inich Yax K'uk Mo', if he did in fact originate in Caracol. The literature is rich with explanations of stable isotopes and the writings of a few stalwarts in the field were utilized to gain an understanding of the associated technologies and techniques utilized in its analysis. Data from the Copan (Whittington and Reed 1997) and Caracol (Chase and Chase 2001) stable isotope studies were utilized to show the application of stable isotope analysis in areas "associated" with K'inich Yax K'uk Mo' and to illustrate how the palace diet identified by Chase and Chase (2001; Chase et al. 2001) could be aligned with the Stuart hypothesis to predict the stable isotope ranges for K'inich Yax K'uk Mo'.
ID: 030423403; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 72-79).
M.A.
Masters
Anthropology
Sciences

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Baldwin, Jillian. „Room 2046: A Political Reading of Wong Kar-Wai's Chow-Mo Wan Trilogy through Narrative Elements and Mise-en-scene“. Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5482/.

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As ownership of Hong Kong changed hands from the United Kingdom to the People's Republic of China in 1997, citizens and filmmakers of the city became highly aware of the political environment. Film director Wong Kar-Wai creates visually stimulating films that express the anxieties and frustrations of the citizens of Hong Kong during this period. This study provides a political reading of Days of Being Wild (1991), In the Mood for Love (2000), and 2046 (2004) through analyzing various story elements and details within the mise-en-scene. Story elements include setting, dialogue, character relationships, character identities, thematic motifs, musical references, numerology, and genre manipulation. Wong also uses details within the films' mise-en-scene, such as props and color, to express political frustrations. To provide color interpretations, various traditional aesthetic guidelines, such as those prescribed by Taoism, Cantonese and Beijing opera, and feng shui, are used to read the films' negative comments on the handover process and the governments involved. When studied together the three films illustrate how Wong Kar-Wai creates narrative and visual references to the time and atmosphere in which he works, namely pre-and-post handover Hong Kong.

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胡雅坤. „跨文化背景下的衝突與融合 : 福克納對當代中國作家影響的倫理敍事研究“. Thesis, University of Macau, 2010. http://umaclib3.umac.mo/record=b2150847.

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蔡雅文. „Sandalwood Punishment of Mo-Yan study“. Thesis, 2011. http://ndltd.ncl.edu.tw/handle/91717336166793849903.

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Choon, Yee Voon, und 鍾怡雯. „The Novel of Mo Yan : Reconstruction of " History "“. Thesis, 1996. http://ndltd.ncl.edu.tw/handle/82011758100023115534.

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Liu, Bang-Yan, und 劉邦彥. „Imprisoned and tortured body ── Mo Yan ''s Violent Writing“. Thesis, 2015. http://ndltd.ncl.edu.tw/handle/zu2y5v.

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Huang, Su Hwa, und 黃素華. „Human Beast Carnival---The Animal Writing of Mo-Yan“. Thesis, 2009. http://ndltd.ncl.edu.tw/handle/32151792916550893975.

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陳麗梅. „A study of female in Mo Yan''s novels“. Thesis, 2013. http://ndltd.ncl.edu.tw/handle/47854696080977770695.

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CHEN, CHI-TSUNG, und 陳奇聰. „Between Form and Content:Time and Narrative Revisited with Mo Yan“. Thesis, 2016. http://ndltd.ncl.edu.tw/handle/gpy3ux.

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碩士
國立臺灣師範大學
英語學系
104
In the post-1980s, there emerges a group of Chinese writers who are innovative in narrative forms and themes. While much has been reviewed respectively on these two issues in contemporary Chinese literature, this thesis aims to mediate form and content in Chinese avant-garde literature, with a focus on the following three novels by Mo Yan: Red Sorghum (1988), The Republic of Wine (1992), Life and Death Are Wearing Me Out (2008). Regarding the discussion on the narrative forms, narratology gears toward to a new direction as the “content of form,” rather than being stuck in an old-fashioned conception of “form” as vehicle subordinated to thematical “content.” In response to the debate on form and content among Chinese critics, in this new direction of narratology, this thesis aims to take on Paul Ricoeur’s “threefold mimesis,” with a focus on the interplay among self, narrative, and time in these three novels. In chapter one, I will first contextualize Mo Yan by introducing two literary trends at debate, and later provide the synopsis of each novel. In chapter two, I will elaborate on how Ricoeur mediates time and narrative with “threefold mimesis,” and later on how poetics links to ethics in a way that a sense of care and responsibility are displayed in “narrated time.” In chapter three, by focusing on the interplay among self, narrative, and time, my textual analysis will be based on the following questions: How are time and narrative mediated by calendar time, successions of generations, and document? How will we establish a responsible selfhood that was considered wounded or shattered in the post-Mao discussion? Do these works display an open sense of temporality, as reviewed, which transcends the so-called discourse of linearity and progression? Are they skeptically challenging the idea of progression, or instead, confined to it? Does this temporality ultimately strengthen or weaken our perception on morality?

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Chuang, Yen-Yu, und 莊燕玉. „The Study of Mo Yan''s Clan Novels“. Thesis, 2012. http://ndltd.ncl.edu.tw/handle/87099117423830310148.

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博士
國立中山大學
中國文學系研究所
100
Abstract The family can be viewed as a reflector of culture, which becomes increasingly rich and varied as time goes by. It is like a person who undergoes all the vicissitudes of human beings'' experiences, so it is not only a valuable specimen for us to have a better understanding of the course of human history but also an important basis for us to know ourselves. For this reason, the family novels have always been a extremely flexible and rich narrative genre, which represent complex social performance and the culture world in both eastern and western literature. This thesis is focused on Mo Yan''s four novels related to the family. They were "Red Sorghum Family", " herbivorous Family", " Big Breasts & Wide Hips", and " Life and Death Are Wearing Me Out". For one thing, we deconstructed the survival ethics masked in these novels, analyzed the heroic image described in these novels, and discussed the issue of "degradation of species ". In what follows, we explored the underlying love ethic in these novels from the two perspectives: the suspension of moral and the reversion of tradition. Previous studies have demonstrated that in Mo Yan''s family novels, making the flesh public is used as a method of unfolding primitive vitality. Third, we delved into the connotation after the pleasure of making love (body of pleasure) through an analysis of Mo Yan''s praising body and preference over the land and lower body. Mo Yan''s family novels are also filled with the plots about hunger and violence. Finally, we attempted to investigate the narrative skills and moral of Mo Yan''s family novels. With the fact that Mo Yan elaborated the plots, his works about the family are one of the most brilliant novels. These novels describe the lifeblood of both paternal and maternal family system; they also revealed the implications about Mo Yan''s viewpoints on the relationship between nation and country in the society intertwined with war, hunger, and violence.

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„莫言「民間寫作」研究: 以《檀香刑》、《四十一炮》及《生死疲勞》為例“. 2008. http://library.cuhk.edu.hk/record=b5896799.

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歐韻賢.
"2008年10月".
"2008 nian 10 yue".
Thesis (M.Phil.)--Chinese University of Hong Kong, 2008.
Includes bibliographical references (leaves 401-415).
Abstracts in Chinese and English.
Ou Yunxian.
Chapter 第一章： --- 引言 --- p.1
Chapter 第一節： --- 硏究動機 --- p.5
Chapter 第二節： --- 硏究目的 --- p.6
Chapter 第三節： --- 硏究範圍 --- p.8
Chapter 第四節： --- 硏究方法 --- p.9
Chapter 第二章： --- 莫言小說的硏究槪況 --- p.11
Chapter 第一節： --- 從軍事文學的角度看莫言小說的硏究槪況 --- p.15
Chapter 第二節： --- 從尋根文學的角度看莫言小說的硏究槪況 --- p.22
Chapter 第三節： --- 從先鋒文學的角度看莫言小說的硏究槪況 --- p.31
Chapter 第四節： --- 從民間的角度硏究莫言小說的硏究槪況 --- p.37
Chapter 第五節： --- 本章結語 --- p.41
Chapter 第三章： --- 「民間」的槪念 --- p.43
Chapter 第一節： --- 民間的定義 --- p.45
Chapter 第二節： --- 民間立場 --- p.59
Chapter 第三節： --- 民間的審美價値 --- p.68
Chapter 第四節： --- 「民間」的寫作技巧 --- p.78
Chapter 一、 --- 結構 --- p.78
Chapter 二、 --- 敍事角度 --- p.84
Chapter 三、 --- 語言 --- p.87
Chapter 第五節： --- 本章結語 --- p.90
Chapter 第四章： --- 莫言小說中的民間立場 --- p.93
Chapter 第一節： --- 作爲老百姓寫作´ؤ´ؤ寫自我的自我寫作 --- p.96
Chapter 第二節： --- 農民式的思維´ؤ´ؤ站在民間的立場設想 --- p.107
Chapter 第三節： --- 以民間的立場說大歷史 --- p.112
Chapter 第四節： --- 本章結語 --- p.129
Chapter 第五章： --- 莫言小說中的民間審美價値 --- p.130
Chapter 第一節： --- 「大紅大綠」的民間審美價値 --- p.132
Chapter 第二節： --- 從「肉體」體現民間審美價値 --- p.139
Chapter 第三節： --- 從「開放的孔穴」體現民間審美價値 --- p.147
Chapter 第四節： --- 從審美到「審醜」 --- p.155
Chapter 第五節： --- 本章結語 --- p.160
Chapter 第六章： --- 莫言小說中的民間寫作技巧 --- p.162
Chapter 第一節： --- 民間的結構 --- p.162
Chapter 第二節： --- 民間的敍事角度 --- p.177
Chapter 第三節： --- 民間的語言運用 --- p.184
Chapter 第四節： --- 本章結語 --- p.193
Chapter 第七章： --- 結語 --- p.195
Chapter 附錄一： --- 《檀香刑》附錄 --- p.202
Chapter 附錄二： --- 《四十一炮》附錄 --- p.266
Chapter 附錄三： --- 《生死疲勞》附錄 --- p.321
Chapter 附錄四： --- 莫言作品篇目 --- p.360
參考書目： --- p.401

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Shiue-Yea-Wen und 薛雅文. „Mo-You-Zhi zhi Mu Lu Ban Ben Xue Yan Jiu“. Thesis, 2002. http://ndltd.ncl.edu.tw/handle/40049189922844365149.

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碩士
東吳大學
中國文學系
90
Thesis for M.A.：「Mo-You-Zhi zhi Mu Lu Ban Ben Xue Yan Jiu」 Suzhoon University Department of Chinese Literature Graduated at 2nd semester 2002 Instructor：Wang-Kuo-Liang Student：Shiue-Yea-Wen Index： My thesis「Mo-You-Zhi zhi Mu Lu Ban Ben Xue Yan Jiu」is based on three books「Chi Jing Zhai Cang Shu Ji Yao」、「Song Yuan Jiu Ben Shu Jing Yan Lu」、「Lu Ting Zhi Jian Chuan Ben Shu Mu」written by Ching Dynasty Mo-You-Zhi to do research. My research is major in the content of index and discussion about the edition. My thesis is not only description about the lifespan of Mo-You-Zhi and his works‚but also presenting the full pictures of Mo-You-Zhi books and characters. Within my research‚it´s easy to find out the fine art of Mo-You-Zhi in the field of index literature. To introduce every Mo-You-Zhi´s books‚we have to read every details and do the statistics for the particular characters of that book. If any proof‚I have to do the investigation enabling to understand what´s the ideas. Thus‚my thesis has included『Phenomena of index』upon every book I research to present what author´s implied. I also search for other books related to index literature or other simllar books to further make comparison‚directly or indirectly. This is to analysis the straits of Mo-You-Zhi. In my thesis‚I will include『Comparison with other index books』to understand Mo-You-Zhi by looking at different angles. My thesis includes the analysis of index type‚the content of index‚the way of editing and comparison with other authors. I hope I may present the contribution and value of Mo-You-Zhi in Chinese Literature. Index of thesis： Chapter Ⅰ：Preface Chapter Ⅱ：The description of Mo-You-Zhi lifespan Chapter Ⅲ：Research in「Chi Jing Zhai Cang Shu Ji Yao」 Chapter Ⅳ：Research in「Song Yuan Jiu Ben Shu Jing Yan Lu」 Chapter Ⅴ：Research in「Lu Ting Zhi Jian Chuan Ben Shu Mu」 Chapter Ⅵ：Conclusion Reference IndexⅠ：Image of「Chi Jing Zhai Cang Shu Ji Yao」 IndexⅡ：Image of「Song Yuan Jiu Ben Shu Jing Yan Lu」 IndexⅢ：Image of「Lu Ting Zhi Jian Chuan Ben Shu Mu」

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Lin, Yung-Cheng, und 林永正. „A study of female in Mo Yan''s novels“. Thesis, 2010. http://ndltd.ncl.edu.tw/handle/22908265541489198110.

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碩士
國立中山大學
中國文學系研究所
98
Mo Yan''s novel has no shortage of female characters.On the novel of the number of women in research studies than other subjects far less，this paper attempts to Mo Yan''s novel female image as the research object by Mo Yan''s writing skills.For the novel text in the image of women to do the classification，exploring the different characteristics of the image and significance of female.Mo Yan''s novel writing skills are separately from the narrative point of view, plot, magical realism style, and orientation of folk aesthetics of four done.Mo Yan''s novel of the female image constitute women before marriage which is divided into image and the image of two married women. The image of women before marriage is divided Huaichun, mysterious, rebellious, liberating image of the four wome.，Married women have been divided into sub-image is the image of mother and wife.Mo Yan''s novel of the women face difficult living conditions，suffering, hunger, living conditions. To face official oppression and the threat of war in this harsh and poor environment，these women still demonstrate vitality. Mo Yan describes their physical and their desires as a symbol of the vitality of the individual，even the awareness of women''s autonomy，Mo Yan is also the unique to use of color symbolism implied，Presenting the female body, passion, wild, erotic.

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