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dc.contributor.authorLu, Liping
dc.date.accessioned2014-03-03T20:01:47Z
dc.date.available2014-03-03T20:01:47Z
dc.date.issued2001-08
dc.identifier.otherlu_liping_200108_ma
dc.identifier.urihttp://purl.galileo.usg.edu/uga_etd/lu_liping_200108_ma
dc.identifier.urihttp://hdl.handle.net/10724/20228
dc.description.abstractThe purpose of the present study is to map out the role of urban images in constructing Shanghai's spectacular society of commodification and modernity, and more important, to find out how this cultural imagery of "modernity" shaped and defined urban perceptions and experiences in the 1930s through a comparative study of two of the most representative works about the spectacular metropolis at the time, Wu Yonggang's Goddess (1934, Lianhua Film Company) and Mao Dun's Midnight (1933). A detailed analysis of the urban images and spectacles as presented in Goddess and Midnight, and of the confrontations of selected characters and these images and spectacles, not only provides insight into the psychological and behavioral changes of Shanghai urbanites as effected by the external world, but also sheds light on the further impacts of urban imagery on filmic and literary imaginations, because both works were products within the spectacular society after all.
dc.publisheruga
dc.rightsOn Campus Only
dc.subjectShanghai culture
dc.subjectSociety of spectacle
dc.subjectUrban imagery,Commodification
dc.subjectModernity
dc.titleMapping Shanghai's society of spectacle
dc.title.alternativefrom Wu Yonggang's Goddess to Mao Dun's Midnight
dc.typeThesis
dc.description.degreeMA
dc.description.departmentComparative Literature
dc.description.majorComparative Literature
dc.description.advisorKam-ming Wong
dc.description.committeeKam-ming Wong
dc.description.committeeMasaki Mori
dc.description.committeeRonald Bogue


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