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Many researchers have pointed out that sentence complexity plays an important role in language maturity. Using cohesive devices is a critical method to composing complicated sentences. Several grammatical researchers give cohesive devices different definitions and categories in the perspective of pure linguistics, yet little is known about the Chinese learners'

Many researchers have pointed out that sentence complexity plays an important role in language maturity. Using cohesive devices is a critical method to composing complicated sentences. Several grammatical researchers give cohesive devices different definitions and categories in the perspective of pure linguistics, yet little is known about the Chinese learners' acquisition situations of cohesive devices in the field of Teaching Chinese as a Foreign Language (TCFL). Combined with these definitions and pedagogical theories, the acquisition situations of four grammatical features of cohesive devices and eleven logical relations are discussed in this thesis. This thesis expects that through discovering different features of cohesive devices among different student levels, educators of Chinese will gain a more comprehensive understanding of the acquisition orders and features of conjunctive devices. In this study, I examine the teaching orders of cohesive devices in selected textbooks from first-year Chinese through fourth-year Chinese. Three groups of students were required to complete two essays based on the same topics and prompts. Twenty-eight valid writing samples are examined in total, including ten writing samples from fourth-year students, another ten from third-year students, and eight from second-year students. The results show that there are no obvious differences among the three levels of students in their use of certain grammatical features and logical relations of cohesive devices. Students in these three levels have difficulty understanding how to connect paragraphs together fluently and accurately in their compositions. Pedagogical implications include some suggestions about designing instructional writing assignments in order to give more clearly pedagogical instructions for teaching cohesive devices. In addition, comprehensible directions that explain which logical relations should be taught every academic year are proposed.
ContributorsHan, Jining (Author) / Spring, Madeline K (Thesis advisor) / Ling, Xiaoqiao (Committee member) / Oh, Young (Committee member) / Arizona State University (Publisher)
Created2013
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Description
Stories concerning Minamoto no Yoshitsune, one of Japan's best known and most tragic heroes, are numerous and varied. From his birth to his death, nearly every episode of Yoshitsune's life has been retold in war tales, histories, and plays. One of the major and most influential retellings of the Yoshitsune

Stories concerning Minamoto no Yoshitsune, one of Japan's best known and most tragic heroes, are numerous and varied. From his birth to his death, nearly every episode of Yoshitsune's life has been retold in war tales, histories, and plays. One of the major and most influential retellings of the Yoshitsune legend is found in Gikeiki, a text from the fifteenth century. This study looks at the early period of the legend and specifically focuses on the Kibune episode, when Yoshitsune lived and trained at Kurama Temple. It provides a new translation of the episode as told in Gikeiki and discusses the different portrayals of Yoshitsune within the Gikeiki textual lineage and in previous and subsequent works of literature. The thesis also takes a brief look at the development of Gikeiki texts; it shows the malleability of the Yoshitsune legend and the Gikeiki text and discusses the implications that this malleability has on our understanding of the place of Gikeiki and the legend of Yoshitsune within the medieval Japanese cultural consciousness.
ContributorsMerrill, Edward (Author) / Creamer, John (Thesis advisor) / Ling, Xiaoqiao (Committee member) / Zuo, Yu (Committee member) / Arizona State University (Publisher)
Created2014
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This thesis examines the play Qian Dayin zhichong Xie Tianxiang, written by the Yuan dynasty (1271-1368) playwright Guan Hanqing (c.1225-1302). The first chapter of this paper provides brief background information about northern style Yuan drama (zaju) as well as a plot summary and notes about the analysis and translation. Through

This thesis examines the play Qian Dayin zhichong Xie Tianxiang, written by the Yuan dynasty (1271-1368) playwright Guan Hanqing (c.1225-1302). The first chapter of this paper provides brief background information about northern style Yuan drama (zaju) as well as a plot summary and notes about the analysis and translation. Through a close reading of the play, I hope to illustrate how the play's complicated ending and lack of complete resolution reveals why it has received relatively little attention from scholars who have previously discussed other strong, intelligent female characters in Guan Hanqing's plays. The second chapter of this thesis includes translation of the play that is comprised of a wedge preceding the four acts. Before each act of the play is a critical introduction and analysis of the act to follow. Although many of Guan Hanqing's plays have been translated into English, this play has never been translated.
ContributorsByrnes, Kelli (Author) / West, Stephen H. (Thesis advisor) / Zou, Yu (Committee member) / Ling, Xiaoqiao (Committee member) / Arizona State University (Publisher)
Created2011
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Description
Yuan Mei 袁枚 (1716-97) is often thought of as a rebellious figure within the eighteenth-century intellectual and literary landscape. His perceived rejection of nearly all aspects of Confucian values was so extreme that he was even dubbed a "sinner against the teachings of Confucius." This thesis examines six stories within

Yuan Mei 袁枚 (1716-97) is often thought of as a rebellious figure within the eighteenth-century intellectual and literary landscape. His perceived rejection of nearly all aspects of Confucian values was so extreme that he was even dubbed a "sinner against the teachings of Confucius." This thesis examines six stories within Yuan Mei's Zi buyu 子不語 (What Confucius Did Not Talk About) and, through close reading, shows how Yuan Mei utilizes each foreign group's physical traits and their ability to verbally and/or ethically communicate with the Chinese protagonist, in order to reflect their adherence to Confucian values and acceptance of Chinese imperial authority to arrange them along a spectrum of humanness that reflects the Chinese-foreign distinction. Furthermore, by examining each story in their historical and literary contexts, it is discovered that nearly every foreign group portrayed in Zi buyu is based on historical groups that actually existed on the periphery of the Qing empire, and that the different degrees of foreignness of each subject reflect each historical foreign group's acquiescence to or rebellion against the imperial authority of the Qing empire. Contrary to commonly held opinions, Yuan Mei's negotiation of foreignness demonstrates his own deep subscription to Confucian ethics and adherence to imperial order.
ContributorsCampos, Miles (Author) / Ling, Xiaoqiao (Thesis advisor) / Oh, Young Kyun (Committee member) / West, Stephen H. (Committee member) / Arizona State University (Publisher)
Created2012
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Description
Li He (790-816), an outstanding poet full of literary talent in

classical Chinese poem history, his poignant words, incredible literary construction, nether artistic conception and nuanced peculiar poem style owned him the reputation of “ghostly, demonic genius” 鬼才. Scholars demonstrated that his ghostly and demonic style has much to do with

Li He (790-816), an outstanding poet full of literary talent in

classical Chinese poem history, his poignant words, incredible literary construction, nether artistic conception and nuanced peculiar poem style owned him the reputation of “ghostly, demonic genius” 鬼才. Scholars demonstrated that his ghostly and demonic style has much to do with the special imagery and allusion in his poetry. However, this kind of ghostly appeal of literature exactly have much to do with the large quantity of sensory vocabulary that the poet is expert in using in his poems, which evokes resonance from the readers/audiences. Li He fuses visual, auditory, olfactory, gustatory and tactile sensation in his poems, building up his special writing style, evoking and creating a sensorial space for readers. The thesis concentrates on analyzing the sensory vocabulary in Li He’s poetry, sonic depiction in particular, which are rarely discussed before, based on which making further conclusion about the artistic conception and the special style of Li He’s poetry.
ContributorsWen, Yu (Author) / West, Stephen H. (Thesis advisor) / Ling, Xiaoqiao (Committee member) / Oh, Young Kyun (Committee member) / Arizona State University (Publisher)
Created2015
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This dissertation uncovers the contemporary impressions of Song cities represented in Song narratives and their accounts of the interplay between people and urban environments. It links these narratives to urban and societal changes in Hangzhou 杭州 (Lin’an 臨安) during the Song dynasty, cross-referencing both literary creations and historical accounts through

This dissertation uncovers the contemporary impressions of Song cities represented in Song narratives and their accounts of the interplay between people and urban environments. It links these narratives to urban and societal changes in Hangzhou 杭州 (Lin’an 臨安) during the Song dynasty, cross-referencing both literary creations and historical accounts through a close reading of the surviving corpus of Song narratives, in order to shed light on the cultural landscape and social milieu of Hangzhou. By identifying, reconstructing, and interpreting urban changes throughout the “pre-modernization” transition as well as their embodiments in the narratives, the dissertation links changes to the physical world with the development of Song narratives. In revealing the emerging connection between historical and literary spaces, the dissertation concludes that the transitions of Song cities and urban culture drove these narrative writings during the Song dynasty. Meanwhile, the ideologies and urban culture reflected in these accounts could only have emerged alongside the appearance of a consumption society in Hangzhou. Aiming to expand our understanding of the literary value of Song narratives, the dissertation therefore also considers historical references and concurrent writings in other genres. By elucidating the social, spatial, and historical meanings embedded in a variety of Song narrative accounts, this study details how the Song literary narrative corpus interprets the urban landscapes of the period’s capital city through the private experiences of Song authors. Using a transdisciplinary methodology, it situates the texts within the cultural milieu of Song society and further reveals the connections of these narratives to the transformative process of urbanization in Song society.
ContributorsHan, Ye (Author) / West, Stephen H. (Committee member) / Bokenkamp, Stephen R (Committee member) / Ling, Xiaoqiao (Committee member) / Arizona State University (Publisher)
Created2017
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This dissertation focuses on the corpus of Zang Maoxun’s literary creations in The Collection from the Fubao Hall and investigates his involvement in the cultural activities of the Jinling Poetry Society. Unearthing how Zang and this Society, as self and community, played an instrumental role in creating and sustaining a

This dissertation focuses on the corpus of Zang Maoxun’s literary creations in The Collection from the Fubao Hall and investigates his involvement in the cultural activities of the Jinling Poetry Society. Unearthing how Zang and this Society, as self and community, played an instrumental role in creating and sustaining a network of dramatists and drama critics in the Jiangnan region, a careful review of his poems and prose shows the extent to which text preparation, commentary, and printing were at the center of his communications with his social circle. Moreover, this dissertation unpacks Zang’s contribution to the promotion of dramatic texts through a thorough examination of his ardent editorial work in revising Tang Xianzu’s The Four Dream Plays from the Jade Tea Hall, the epitome of the southern musical drama. By using Zang’s 1618 Diaochong guan edition of his adaptations as a focal point, this dissertation compares it with three late Ming editions of Tang’s plays printed in the dual colors of red-and-black ink. In light of their innovative editorial designs, and the varying evaluations formed in their pages about Zang’s editorial work, this dissertation reveals the importance of Zang’s adaptations in the history of The Four Dream Plays’ textual transmission, as well as the interplay between the tradition of drama criticism and the new technology of multicolor printing and consequent innovation in editorial principles.
ContributorsZhang, Rachel Junlei (Author) / West, Stephen (Thesis advisor) / Oh, Young (Committee member) / Ling, Xiaoqiao (Committee member) / Arizona State University (Publisher)
Created2019
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This thesis examines the use of language and social capital in Internet communities, specifically those communities on the Deep and Dark Web that use both Chinese and English to interact. Using both individual messages and group interactions, I have compared Chinese language patterns with those of English, as well as

This thesis examines the use of language and social capital in Internet communities, specifically those communities on the Deep and Dark Web that use both Chinese and English to interact. Using both individual messages and group interactions, I have compared Chinese language patterns with those of English, as well as situations in which the two languages form a compromise, in this paper dubber "hacker creole". Examples were taken from two marketplaces, one English and one Chinese, two blogs, both Chinese, and eight forums, all of which included both Chinese and English language users. One screenshot came from an English-only forum on the Tor network, for the purpose of comparison. The analysis of language included an exploration of the development of reputations on the anonymous Internet, and how building a reputation, necessary to extended interaction in the Deep Web, leaves true anonymity out of the question for users. In addition, the system by which users build or destroy their own reputations is defined under the term social credit, instead of social capital, according to Professor David Garson's definition of social capital and foundational differences in the structure of the rules of reputation online. In addition, a comparison with modern Internet language and that of classical Chinese fiction author Shi Nai'an set a foundation for the historical precedent for underdog criminals as a society, instead of an offshoot or counterculture to society. The conclusion is one that many dystopian fantasies of the modern world deem almost inevitable. Modern economies are easily on the road to systems based on social credit, currencies that no longer take physical form. This is not necessarily a communist or capitalist situation, by necessity it does not fit into the polarized definitions now used to describe political and economic situations. People leverage their way into privileges and liberties with their reputation, and the compromise of language provides the lever.
ContributorsWalcott, Khyra Amanda (Author) / Oh, Young (Thesis director) / Ling, Xiaoqiao (Committee member) / School of International Letters and Cultures (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
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Modern medicine is a wonderfully complex field of study, with several advances in both its theoretical and practical aspects being made everyday. In light of the pride modern physicians and scientists take in their vast knowledge, it is important to remember how far we have come throughout history. Many civilizations

Modern medicine is a wonderfully complex field of study, with several advances in both its theoretical and practical aspects being made everyday. In light of the pride modern physicians and scientists take in their vast knowledge, it is important to remember how far we have come throughout history. Many civilizations and cultures around the world have made essential contributions to medicine, both great and small, but no one can deny the impact both ancient Chinese and Islamic medical and alchemical practices have had on modern medicine. Qi was the central principle behind Chinese correlative thought, and it was believed to be the one thing that drove human life, as it occurred everywhere. Written texts took an increasingly more prominent role in the transmission of knowledge, and in no time at all, the educated yi ("physician") emerged. Other noteworthy contributions include an early conceptualization of the circulatory system, the development of pharmacies, the establishment of proper medical school systems, and the emergence of a set of standard hygienic practices that would allow people to take responsibility for their own health. The scholars of the Islamic Golden Age, for the most part, seemed to decry the mixing of the occult with science, and therefore sought to draw a clear distinction between alchemy (by limiting its application to the transmutation of metals) and what they deemed "real" science. Notable contributions of Arab-Islamic scientists include the pioneering of a hospital prototype, along with the development of the science of chemistry and the introduction of the experimental laboratory as the birthplace of new scientific knowledge. The important question that has yet to be answered is how extensive the connection was between the Chinese and Arab worlds. Trade was thriving during the medieval period, and so it is not wrong to assume that the exchange of goods would go hand-in-hand with the exchange of knowledge. We may never fully know exactly what happened, but further research on this topic may eventually bring an answer to light.
ContributorsRaban, Miranda Meriam (Author) / Bokenkamp, Stephen (Thesis director) / Ling, Xiaoqiao (Committee member) / Ali, Souad T. (Committee member) / School of Historical, Philosophical and Religious Studies (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
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This project explores the relationship between modern dance and Chinese individual identity from a personal perspective. Modern dance emerged from the West, carrying Western philosophies of individual identity and importance, where the composition of persons defines the group. The Chinese philosophy of the individual, however, has developed in a different

This project explores the relationship between modern dance and Chinese individual identity from a personal perspective. Modern dance emerged from the West, carrying Western philosophies of individual identity and importance, where the composition of persons defines the group. The Chinese philosophy of the individual, however, has developed in a different context where the group defines the persons that constitute it. There is an interesting negotiation of meaning in the convergence of these two perceptions within the art of modern dance in China. A review of literature was conducted on modern dance in China, as well as the formation and development of individual identity in Chinese philosophy and culture. Over the summer of 2013, the author then conducted ethnographic research while attending the Beijing Dance Festival in Beijing, China. Reflections on the research and experiences were further explored through the creation of a dance piece and then compiled in this paper. Primary findings include that there are differences in understandings of time, space, and the use of technology that influence the practice of modern dance in China. Also, though the concept of self-expression is closely tied to Chinese ideas of modern dance, what is seen onstage raises the question of whose self is being expressed. The interaction of Eastern and Western understandings creates a dissonance of meaning.
ContributorsNunn, Jasmine Charis (Author) / Fitzgerald, Mary (Thesis director) / Zou, Yu (Committee member) / Barrett, The Honors College (Contributor) / School of Film, Dance and Theatre (Contributor)
Created2013-12