Writing Beijing: Urban Spaces and Cultural Imaginations in Contemporary Chinese Literature and Films

Persistent Link:
http://hdl.handle.net/10150/195306
Title:
Writing Beijing: Urban Spaces and Cultural Imaginations in Contemporary Chinese Literature and Films
Author:
Zheng, Yiran
Issue Date:
2010
Publisher:
The University of Arizona.
Rights:
Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.
Embargo:
Dissertation not available (per author's request)
Abstract:
This dissertation investigates some literary configurations of Beijing through contemporary Chinese literature and films. These configurations are built upon three specific urban spaces (military compound, siheyuan and some modern constructions) by three significant literary groups. The literary groups discussed in this work are Dayuan wenhua quan (Compound Cultural Group), Dierdai jingweier zuojia (Second-generation Beijing Flavor Writers), and Beipiao diliudai dianyingren (Beijing Floater Sixth-generation Filmmakers).This study adopts a particular methodology. Inspired by Henri Levebvre, it establishes a framework which connecting urban spaces (representations of space), writers and literary productions (representational space). It examines what these urban spaces mean to Chinese writers and filmmakers and how these people thus adopt them to configure particular urban images of Beijing. It argues that these different configurations are actually the projections of those writers and filmmakers' own cultural imaginations, emotional catharsis, and manifest their own cultural positions. "Compound Cultural Group" interprets Beijing as "compound Beijing," which represents revolutionary culture in communist China. Their nostalgia toward the compound in the Cultural Revolution indicates the decline of the once ruling social group. As for "Second-generation Beijing Flavor Writers", Beijing is a traditional and a masculine city. In their novels, siheyuan is considered as the embodiment of Chinese tradition and Beijing girl is portrayed as masculine women. This imagination fulfills their own cultural appeal to reconstruct traditional values in the "Cultural Fever" in the 1980s. In the eyes of "Beijing Floater Sixth-generation filmmakers," Beijing is a cosmopolitan metropolis. In their films, this globalized modern city is an urban dream for migrants.
Type:
text; Electronic Dissertation
Keywords:
Beijing; urban space
Degree Name:
Ph.D.
Degree Level:
doctoral
Degree Program:
East Asian Studies; Graduate College
Degree Grantor:
University of Arizona
Advisor:
Li, Dian
Committee Chair:
Li, Dian

Full metadata record

DC FieldValue Language
dc.language.isoenen_US
dc.titleWriting Beijing: Urban Spaces and Cultural Imaginations in Contemporary Chinese Literature and Filmsen_US
dc.creatorZheng, Yiranen_US
dc.contributor.authorZheng, Yiranen_US
dc.date.issued2010en_US
dc.publisherThe University of Arizona.en_US
dc.rightsCopyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.en_US
dc.description.releaseDissertation not available (per author's request)en_US
dc.description.abstractThis dissertation investigates some literary configurations of Beijing through contemporary Chinese literature and films. These configurations are built upon three specific urban spaces (military compound, siheyuan and some modern constructions) by three significant literary groups. The literary groups discussed in this work are Dayuan wenhua quan (Compound Cultural Group), Dierdai jingweier zuojia (Second-generation Beijing Flavor Writers), and Beipiao diliudai dianyingren (Beijing Floater Sixth-generation Filmmakers).This study adopts a particular methodology. Inspired by Henri Levebvre, it establishes a framework which connecting urban spaces (representations of space), writers and literary productions (representational space). It examines what these urban spaces mean to Chinese writers and filmmakers and how these people thus adopt them to configure particular urban images of Beijing. It argues that these different configurations are actually the projections of those writers and filmmakers' own cultural imaginations, emotional catharsis, and manifest their own cultural positions. "Compound Cultural Group" interprets Beijing as "compound Beijing," which represents revolutionary culture in communist China. Their nostalgia toward the compound in the Cultural Revolution indicates the decline of the once ruling social group. As for "Second-generation Beijing Flavor Writers", Beijing is a traditional and a masculine city. In their novels, siheyuan is considered as the embodiment of Chinese tradition and Beijing girl is portrayed as masculine women. This imagination fulfills their own cultural appeal to reconstruct traditional values in the "Cultural Fever" in the 1980s. In the eyes of "Beijing Floater Sixth-generation filmmakers," Beijing is a cosmopolitan metropolis. In their films, this globalized modern city is an urban dream for migrants.en_US
dc.typetexten_US
dc.typeElectronic Dissertationen_US
dc.subjectBeijingen_US
dc.subjecturban spaceen_US
thesis.degree.namePh.D.en_US
thesis.degree.leveldoctoralen_US
thesis.degree.disciplineEast Asian Studiesen_US
thesis.degree.disciplineGraduate Collegeen_US
thesis.degree.grantorUniversity of Arizonaen_US
dc.contributor.advisorLi, Dianen_US
dc.contributor.chairLi, Dianen_US
dc.contributor.committeememberPao Tao, Chia-linen_US
dc.contributor.committeememberLanza, Fabioen_US
dc.contributor.committeememberRen, Haien_US
dc.identifier.proquest11385en_US
dc.identifier.oclc752261251en_US
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