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Shadow play: Fantasies and subjecti...

Lin, Yu-Ting.

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Shadow play: Fantasies and subjectivities in European-Chinese crossings.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Shadow play: Fantasies and subjectivities in European-Chinese crossings./
Author:	Lin, Yu-Ting.
Description:	278 p.
Notes:	Source: Dissertation Abstracts International, Volume: 66-02, Section: A, page: 0584.
Contained By:	Dissertation Abstracts International66-02A.
Subject:	Literature, Comparative. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3165467
ISBN:	0542009048

Shadow play: Fantasies and subjectivities in European-Chinese crossings.
Lin, Yu-Ting.

Shadow play: Fantasies and subjectivities in European-Chinese crossings. - 278 p.

Source: Dissertation Abstracts International, Volume: 66-02, Section: A, page: 0584.

Thesis (Ph.D.)--University of California, Berkeley, 2004.

My dissertation explores the transcultural making of European and Chinese modernities as a process of mutual enchantment, disenchantment, phantasmagoria, and critical engagement. I examine the role of shadow play, literature, and cinema in the mediated exchange or translation of cultural values, projected desires, and ideological fantasies between China and Europe. The staging of such fantasies and desires provides important clues to our understanding of how cultural boundaries are drawn or redrawn, how subjectivities are made or unmade, and how Orientalism, national consciousness, and self-orientalizing projects become possible in the pursuit of modernity.

ISBN: 0542009048Subjects--Topical Terms:

530051
Literature, Comparative.

Shadow play: Fantasies and subjectivities in European-Chinese crossings.
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100 1 $a Lin, Yu-Ting. $3 1676451
245 1 0 $a Shadow play: Fantasies and subjectivities in European-Chinese crossings.
300 $a 278 p.
500 $a Source: Dissertation Abstracts International, Volume: 66-02, Section: A, page: 0584.
500 $a Chairs: Lydia H. Liu; Anne-Lise Francois.
502 $a Thesis (Ph.D.)--University of California, Berkeley, 2004.
520 $a My dissertation explores the transcultural making of European and Chinese modernities as a process of mutual enchantment, disenchantment, phantasmagoria, and critical engagement. I examine the role of shadow play, literature, and cinema in the mediated exchange or translation of cultural values, projected desires, and ideological fantasies between China and Europe. The staging of such fantasies and desires provides important clues to our understanding of how cultural boundaries are drawn or redrawn, how subjectivities are made or unmade, and how Orientalism, national consciousness, and self-orientalizing projects become possible in the pursuit of modernity.
520 $a The first two chapters analyze the contested narratives of origin surrounding the Ombres Chinoises/Chinese shadows in both Europe and China. I question the received theory of how Chinese shadows migrated and transformed into the European Ombres Chinoises, and demonstrate how, through Ombres Chinoises, late eighteenth- and nineteenth-century Europe invented a China which later became the basis of a Chinese theory of European indebtedness to the cultural heritage of China. In each case, the national identities arising out of the resistance to the other turn out to reveal the complicity with the other in the reciprocal modernizing process. Chapter Three approaches shifting cultural borders by analyzing the aesthetics and politics of "haunting" in Hong Kong ghost films (dianyin, electric shadows). Using Tsui Hark and Stanley Kwan to illustrate a conscious mimicking and perversion of the colonial self, I demonstrate how the ghost films conspire with neo-capitalist hegemony, produce cultural stereotypes and their parodies, and negotiate Hong Kong's subjectivity. In Chapter Four, I turn to the work of Eileen Chang (1920--1995), who promoted herself as an arbiter of metropolitan and colonial tastes in Japanese-occupied Shanghai. In her English and Chinese works, she explored the limits of cross-cultural understanding, bilingual sensibility, and the possibilities of trans-lingual/cultural modernities. By re-evaluating Chang's career as a novelist, illustrator, and scriptwriter across the Chinese and English media, I reflect on the history of a literary canon and the future of comparative studies.
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650 4 $a Literature, Comparative. $3 530051
650 4 $a Cinema. $3 854529
650 4 $a Art History. $3 635474
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710 2 0 $a University of California, Berkeley. $3 687832
773 0 $t Dissertation Abstracts International $g 66-02A.
790 1 0 $a Liu, Lydia H., $e advisor
790 1 0 $a Francois, Anne-Lise, $e advisor
790 $a 0028
791 $a Ph.D.
792 $a 2004
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3165467