Chinese Whiteness: The Discourse Of Race In Modern And Contemporary Chinese Culture

This thesis chronicles the development of western forms of race and racism in China. It then studies contemporary China using theories derived from whiteness studies in order to explain the unique position that whites (Caucasians) have in China today. In Chapter I, I break down the definition of race and introduce a foundation for a whiteness studies approach to research. In Chapter II, I analyze how Chinese classified themselves and other humans prior to the western system of race. In Chapter III, I chronicle the introduction of western forms of race and racism to China, and the appropriation of these concepts to suit Chinese goals. In Chapter IV, I approach cultural phenomenon in contemporary China by situating them in their historical traditions as well as by approaching them as displaying an internalized racism and white privilege. Finally in the Conclusion, I postulate on what China¿s contemporary racial system means for China.

Borderless Fandom and Contemporary Popular Cultural Scene in Chinese Cyberspace

Thesis (Ph.D.)--University of Washington, 2016-06

A study of the attitudes towards unethical selling amongst Chinese salespeople

The latter part of the twentieth century saw the Chinese economy moving towards a socialist market economy rather than a planned system. Despite growing interest in Chinese business ethics, little work has examined ethical issues concerning the Chinese sales force. This study draws from existing work on Chinese and Western business and sales ethics to develop hypotheses regarding the perceptions of unethical selling behaviour of modern Chinese salespeople. A survey of Chinese sales executives is conducted and statistically analysed. Results are compared with those reported in previous US-based research with regard to differences in perceptions of unethical selling behaviour. The results indicate that contemporary Chinese salespeople were more favourably disposed than expected towards unethical selling behaviour, and also more favourably disposed than previously studied US salespeople. Younger Chinese salespeople evaluated unethical behaviours more favourably than older ones. The results are discussed, along with implications for theory, practice and future work.

A political economy of the ethnic chinese catering industry

The present political climate in which the ideals of entrepreneurship and self-help are strongly encouraged has drawn attention to those ethnic minorities noted for their entrepreneurial activity. Since the Chinese appear to be an exemplary case in point, this thesis focusses upon the historical material conditions which have led to the formation of a Chinese 'business* community in Britain, both past and present As such, it rejects the theories of cultural determinism which characterise most studies of the Chinese. For rather than representing the endurance of cultural norms, the existence of the contemporary Chinese 'niche' of ethnically exclusive firms in the catering industry is due to the conjunction of a number of historical processes. The first is the imperialist expansion into China of Britain's capitalist empire during the nineteenth century which established a relationship of dependency upon the interests of British capital by colonial Chinese labour. The second is the post war development of the catering industry and its demand for cheap labour as administered by the British state together with the contemporaneous development of the agricultural economy of colonial Hong Kong. Far from representing a source of material benefit to all, the ethnic Chinese 'niche' in catering is highly exploitative and merely underlines the racial oppression of Chinese in Britain. Attempts to promote business interests within the ethnic community therefore serve merely to entrench the structures of oppression.

Reframing Chinese animation: from classicism to postmodernism in post-1949 non-commercial Chinese animated films

This thesis focuses on Chinese non-commercial animated films produced from 1949 to date, with the aim of remapping and reframing Chinese animation in the light of existing theories, critiques, and frameworks drawn from studies in animation, film, and screen media. I suggest that Chinese animation has experienced three aesthetic transformations since 1949, primarily influenced by traditional Chinese culture, by Western modernist art and literature and, most recently, by postmodernism, respectively. Thus, the research traces and thoroughly investigates these three distinctive phases of Chinese animation in chronological order, from the classical period (1950s– 1980s) to modernism (1980s–2000s) and postmodernism (after 2000s). More in detail, I first rethink and re-evaluate the success of classical Chinese animation and the Chinese school of animation and, at the same time, I explore the influence of the political situation of the time on Chinese animation. Through careful analysis of A Da (1934–87) and other Chinese animators’ practices and theory, then, I argue that a remarkable modernist transformation took place in Chinese animation between the 1980s and 2000s, mainly driven by Western modernism and the Chinese “cultural fever” movement. Finally, through a discussion of the latest non-commercial animations produced after 2005, and especially those of Bu Hua (1973– ), for the first time I classify and theorize contemporary Chinese animations within a postmodern framework. By reframing existing views and broadening the scope of the analysis to encompass new areas and frameworks, this thesis aims to provide the reader with a comprehensive and systematic understanding of post-1949 Chinese animation and to offer an original contribute to scholarship, also working as a starting point for further research in this area.

New Chinese Words in 2014 – A Study of Word-formation Processes

随着社会的发展，尤其是互联网的发展，很多语言每年都涌现出了不少新词汇。词语是每个语言最基本也是最重要的组成部分，因此分析这些新词汇的结构特点以及构词法是很有意义的。这篇文章分析了2014年出现在中文里的新词汇和它们的构词方式，论文的目的是为了更好地了解中文词汇的发展和特点。本文以《2014汉语新词语》中公布的2014年出现的新词汇作为语料进行分析，发现了以下两个主要特点：第一，合成法，派生法，缩略法是2014年产生的新词汇的主要构词方式；第二， 百分之七十二的新词汇是多音节词（包含三个或者三个以上音节），而百分之八十的是名词。这些特点说明中文词汇现阶段的特点和发展趋势，跟传统的中文词汇有不同之处。

Art contemporani xinès en el segle XXI : introducció a la pugna entre la creació i el mercat a través de cinc artistes destacats i les seves cotitzacions en les subhastes

En el relativament breu lapse de temps que suposen les tres darreres dècades, l'art contemporani xinès ha passat de ser pràcticament invisible i desconegut per al públic general, a ser present en un gran nombre d'escenaris a nivell internacional relacionats amb el món de l'art, sobre tot des de finals de la dècada dels noranta. El present TdR ha intentat apropar-se a qüestions com la imatge i les idees que sobre la RP Xina s'han transmès en l'última dècada a través de les obres o de les accions dels artistes xinesos contemporanis més exposats o cotitzats internacionalment i que viuen a la Xina, i a com s'ha arribat a inserir la producció artística d'aquests autors en el procés de globalització i hibridació de la cultura que estem vivint. Hem delimitat el camp de recerca, bàsicament a l'estudi de l'obra de cinc autors (Song Dong, Ai Weiwei, Zeng Fanzhi, Yue Minjun i Wang Qingsong) i a la seva presència en l'escena internacional de l'art contemporani a través de les subhastes de les dues cases més importants del món, Christie's i Sotheby's.

Knowledge Management in China and in Finland- A cross country comparison

Nowadays, knowledge management (KM) is important for the success of individuals, organizations, and countries. While comparative study approach of knowledge management is a good way to enlarge peoples‘ understandings of KM, how these processes and practices are different across countries is an interesting research topic. The goal of this study is to conduct a cross-country KM comparison between China and Finland. More specifically, the current status of Chinese and Finnish KM will be studied, and then comparisons will be made in three dimensions: knowledge processes, knowledge management practices, and performance and perceptions of KM. A cross-country KM survey was conducted through a well-designed questionnaire. At the end of the study, current Chinese and Finnish KM findings are presented respectively, and a comparison of KM between the two countries is done. From the comparison, it was found that China and Finland have statistically significant differences in several knowledge processes and KM practices. Some detailed information from the comparison is also illustrated. This research partly filled the theoretical gap in understanding contemporary Chinese KM. The KM comparison between China and Finland provides useful information to KM researchers and practitioners.

THE IMPACT OF GUANXI TO MULTINATIONAL COMPANIES BUSINESS PERFORMACE, CORPORATE REPUTATION, NEGOTIATIONS AND MANAGEMENT IN CHINA

The modern business development of China began during 1978 and during the last decades Chinese have created one of the most dynamic and strongest economies in the world. China is now second largest trading power calculated in dollars. The special characteristic of this economic development is that it is not copy of any existing economy, instead the developments have been strongly influenced by the Chinese cultural characteristics. One cultural characteristic, guanxi, which is a “network of services and counter- services” is argued to be major component of successful business in China where these changes of services happen between people but also between companies. Obtaining introductions and the guanxi when doing business in China will give attentive audience and security for companies business. Despite the evidenced importance of guanxi, China´s business environment is rapidly changing towards Western economies, which might then reduce the importance of guanxi. Therefore the current impact of guanxi is a important topic to study. The main purpose of this study is to explore the impact of guanxi for Western big and small sized multinational companies´ business processes when doing business in China. This study looks What is the impact of guanxi in contemporary Chinese business environment for foreign companies doing business in China. Sub-questions in this research focus on what is the impact of guanxi on corporate reputation, management and negotiations. Findings present a mixed view where the importance of guanxi is not anymore critical, especially among younger people in the cities, however guanxi was clearly important outside the cities and when dealing with government officials. Efficient use of guanxi can be extremely profitable especially during early stages of business operations and guanxi plays role when bargaining prices and ensuring product quality from the factories. Therefore guanxi should be considered as essential element for successful business in China.

Traduire et interpréter : survol des constructions subjectives d'Ezra Pound et de Xi Chuan

Ce mémoire se veut une réflexion sur la place de l'interprétation dans un travail de traduction d’œuvres poétiques. La réflexion s'articule premièrement autour de l'exemple d'Ezra Pound, traducteur de poèmes chinois classiques. Elle se poursuit par une exploration des possibilités interprétatives contenues dans le langage lui-même, pour se conclure par une expérience subjective de traduction. J'ai choisi de traduire trois poèmes de Xi Chuan, poète chinois appartenant au mouvement de la poésie obscure. La poésie obscure est un courant littéraire contemporain, qui se poursuit encore aujourd'hui sous l'appellation de poésie post-obscure. Les travaux de Xi Chuan sont un exemple de la recherche d'une nouvelle forme d'expression pour les poètes chinois contemporains, soit l'émergence de la voix subjective, phénomène directement relié à une prise de position face au passé traditionnel et au désir d’émancipation et d’autonomie de l’expression littéraire. Cette place qu’occupe le poète obscur entre le nouveau et l'ancien permet à l'individu d’interpréter d’une manière plus personnelle le présent. De la même manière, le traducteur doit rompre avec le passé (soit le texte de départ) pour permettre l’interprétation et la projection du nouveau texte dans l’avenir (soit dans la langue d’arrivée).

"Created in China" : l'émergence de nouvelles subjectivités dans l'industrie du cinéma indépendant chinois en contexte postsocialiste

In the current contemporary Chinese context, still caught up with a governmental censorship of the media productions as well as information circulation, creators must find diverse ways to express themselves freely. Several styles of cinemas cohabit in this country hustled by political ideologies. Two main categories are divided, opposed and intermingled, the “mainstream” cinema and the “independent” cinema. It is via the medium of cinema and more particularly that of the present generation of Chinese directors that will be highlighted the emergence of new creative subjectivities. These subjectivities are in a constant dance with the State in the reaching of professional achievement while maintaining the status of artistic independence. The author will look into the evolution of the notion of Chinese identity from the 1990s until today. Rising from an opposition between tradition and modernism, the formation of new subjectivities is founded on a constant negotiation with the imposing forces of globalization but also in relation with the Chinese State. One currently speaks about an easing of communist rigidity and even the emergence of neoliberal tendencies. This would lead to the creation of a Chinese identity, brought up to date in tune with the assertion of individual desires at the expense of the community. The collective experiment is set aside to make room for the subjectivity of creative individuals, who create while positioning themselves as a unit in interrelationship with society.

"Contaminazione" e "Reinvenzione": ruoli critici multiculturali nella prospettiva dell'arte globale. "Caratteri cinesi" di Xu Bing, Hsiao Chin e Gu Wenda alla Biennale di Venezia

A partire dagli anni '20 del XX secolo, con la partecipazione a esposizioni internazionali, l'arte cinese ha intrapreso un'indagine approfondita sulla propria ricchezza e complessità culturale, inserendosi progressivamente nel contesto del panorama artistico globale. In questo quadro, l'adesione della Cina alla Biennale di Venezia si configura come sintesi della ricchezza culturale cinese, in cui l'impiego di opere connesse ai "Caratteri cinesi" si rivela uno strumento di divulgazione privilegiato per la propria cultura. Un'analisi dettagliata del percorso espositivo della Cina evidenzia tre momenti di rilievo legati ai "Caratteri cinesi": il "Book from the Sky" di Xu Bing (1993), "The Boat" di Hsiao Chin (2000) e "United Nations" di Gu Wenda (2017). Il presente lavoro si intende di esaminare criticamente queste tre esperienze, indagando l'interazione tra l'esplorazione culturale e la sua rappresentazione nell'ambito specifico della Biennale. Attraverso un'analisi fondata sul dibattito relativo all'arte globale e al multiculturalismo, all'arte contemporanea cinese e alla sua proiezione internazionale, nonché sullo studio della storia delle partecipazioni cinesi alle mostre internazionali e alla Biennale di Venezia a partire dal XX secolo, la ricerca si concentra sulle suddette partecipazioni legate ai "Caratteri cinesi", valutando l'impatto dei principi curatoriali della Biennale su di esse. Viene esplorato altresì il modo in cui gli artisti hanno investigato e manifestato le loro riflessioni culturali attraverso le loro opere, contribuendo al dialogo sulla diversità culturale e sull'articolazione di valori dalla prospettiva dell'arte globale contemporanea. L'analisi si sofferma sulle strategie culturali realizzate dagli artisti nel contesto delle esposizioni globalizzate, evidenziando uno stato di contaminazione culturale. L'invito è quello ad una riflessione critica e a una valutazione del suo impatto sulla reinvenzione del contributo cinese alla narrazione futura della storia dell'arte globale. In tal modo, lo studio apre nuovi orizzonti investigativi, proponendo direzioni future di ricerca.