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Cultures of glass in the late nineteenth-century European novel and contemporary Sinophone film.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Cultures of glass in the late nineteenth-century European novel and contemporary Sinophone film./
Author:	Tseng, Chia-Chieh.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2013,
Description:	200 p.
Notes:	Source: Dissertations Abstracts International, Volume: 75-04, Section: A.
Contained By:	Dissertations Abstracts International75-04A.
Subject:	Comparative literature. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3597922
ISBN:	9781303462863

Cultures of glass in the late nineteenth-century European novel and contemporary Sinophone film.
Tseng, Chia-Chieh.

Cultures of glass in the late nineteenth-century European novel and contemporary Sinophone film. - Ann Arbor : ProQuest Dissertations & Theses, 2013 - 200 p.

Source: Dissertations Abstracts International, Volume: 75-04, Section: A.

Thesis (Ph.D.)--Rutgers The State University of New Jersey, School of Graduate Studies, 2013.

This item is not available from ProQuest Dissertations & Theses.

In my dissertation, I compare how the novelists and filmmakers utilize glass as a material, medium, and artistic trope to explore the relations between the city and the urban dweller, the public and the private, the perceiver and the things perceived in Western and Chinese modernity. I analyze at length the following English and French novels: Charlotte Bronte's Villette, Emile Zola's The Lady's Paradise, Henry James's The Princess Casamassima, Theodore Dreiser's Sister Carrie, and Virginia Woolf's Night and Day, Mrs. Dalloway , and To the Lighthouse, as well as Sinophone films: Xia Gang's As Light as Glass, Ning Ying's I Love Beijing, and Edward Yang's Yi Yi: A One and a Two. In these novels and films, glass changes the urban fabric that it also reflects, unsettles existing conceptions of domestic and public spaces, and helps to define urban dwellers' identity, spectatorship, affects, and desires. I associate the appearance of a glass-soaked culture with urban modernity in the West, arguing that the Sinophone world's relatively late use of glass manifests a desire to take on a Western modernity in its own cities. Glass is also frequently evoked as a trope to reflexively examine how these cultural productions are structured in relation to reality. The novel is often compared to a mirror that honestly reflects the real world; and film, through the lens-framed images, shows life in a series of transitory windows. While the nineteenth-century novel paints one portrait of urban reality in the West, film performs a similar task in the late twentieth-century Sinophone world. We currently lack a comprehensive and cross-cultural scholarship on glass culture and its representation in literary and film studies. My dissertation fills this gap by demonstrating the significant role of glass in shaping both urban experiences and cultural productions in Europe and Asia.

ISBN: 9781303462863Subjects--Topical Terms:

570001
Comparative literature.
Subjects--Index Terms:

Cultures of glass

Cultures of glass in the late nineteenth-century European novel and contemporary Sinophone film.
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520 $a In my dissertation, I compare how the novelists and filmmakers utilize glass as a material, medium, and artistic trope to explore the relations between the city and the urban dweller, the public and the private, the perceiver and the things perceived in Western and Chinese modernity. I analyze at length the following English and French novels: Charlotte Bronte's Villette, Emile Zola's The Lady's Paradise, Henry James's The Princess Casamassima, Theodore Dreiser's Sister Carrie, and Virginia Woolf's Night and Day, Mrs. Dalloway , and To the Lighthouse, as well as Sinophone films: Xia Gang's As Light as Glass, Ning Ying's I Love Beijing, and Edward Yang's Yi Yi: A One and a Two. In these novels and films, glass changes the urban fabric that it also reflects, unsettles existing conceptions of domestic and public spaces, and helps to define urban dwellers' identity, spectatorship, affects, and desires. I associate the appearance of a glass-soaked culture with urban modernity in the West, arguing that the Sinophone world's relatively late use of glass manifests a desire to take on a Western modernity in its own cities. Glass is also frequently evoked as a trope to reflexively examine how these cultural productions are structured in relation to reality. The novel is often compared to a mirror that honestly reflects the real world; and film, through the lens-framed images, shows life in a series of transitory windows. While the nineteenth-century novel paints one portrait of urban reality in the West, film performs a similar task in the late twentieth-century Sinophone world. We currently lack a comprehensive and cross-cultural scholarship on glass culture and its representation in literary and film studies. My dissertation fills this gap by demonstrating the significant role of glass in shaping both urban experiences and cultural productions in Europe and Asia.
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