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Ng Chin Pang. ; Thesis (M.Div.)--Chinese University of Hong Kong, 2000. ; Includes bibliographical references (leaves 85-91). ; Abstracts in English and Chinese. ; Acknowledgments --- p.i ; Abstract --- p.iii ; Chapter Chapter1 --- Introduction --- p.1 ; Chapter Chapter2 --- Theories on Sex and the Emergence of Sexual Identity --- p.4 ; Chapter 2.1 --- "Origins and Development on the Concept of Sex in the ""Western"" World" ; Chapter 2.1.1 --- Augustine's Notion on Sexual Desire ; Chapter 2.1.2 --- Protestant Theology of Sex ; Chapter 2.1.3 --- "Emergence of ""Western"" Sexual Identity" ; Chapter 2.2 --- The Concept of Sexual Desire in China ; Chapter 2.2.1 --- The Discourse of Sexual Desire in Late Imperial China ; Chapter 2.2.2 --- Transformation of Sexual Identity in Modern China: Male Homosexuality as the Verdict ; Chapter Chapter3 --- Queer Theory- a Post-colonial Perspective --- p.38 ; Chapter 3.1 --- Postcolonial Theory as a source of Theology Discourse ; Chapter 3.1.1 --- From Colonialism to Post-colonialism ; Chapter 3.1.2 --- Building a Hybridized Sexual Ethics ; Chapter 3.2 --- Queer Theory as a Source of Theology Discourse ; Chapter 3.2.1 --- Queer Theory and Queer Politics ; Chapter 3.2.2 --- Queering the Socially Constructed Sexual Identities ; Chapter Chapter4 --- A Post-colonial Sexual Theology --- p.59 ; Chapter 4.1 --- The Modes of Discourse ; Chapter 4.1.1 --- Transgressive Metaphors ; Chapter 4.1.2 --- Hybrid Sexual Theologies ; Chapter 4.2 --- A New Framework about Sexual Desire ; Chapter 4.2.1 --- Building our Relations in Erotic Desire ; Chapter 4.2.2 --- Beyond Sexuality and Spirituality Dichotomy ; Chapter 4.3 --- Conclusion: Building an Inclusive Community ; Bibliography --- p.85

"耽美"来源于日本,是以女性读者群为主要受众、描写男性与男性之间浪漫关系或性关系的文学或艺术作品,也被称为BL(Boy's Love)。喜爱耽美的女性爱好者被称为"腐女"。耽美文化自1990 年代后期随着日本流行文化进入中国,至今已在中国网络空间中逐渐发展成为一个主要由女性网民所组成的,包含文本创作、阅读与交流的文化圈。与此同时,耽美文化的流行亦引发了中国当下种种对性与性别问题的思考。 ; 本研究将耽美文化解译为"女性幻想男男之爱"的欲望结构,从精神分析幻想理论与酷儿理论的视角来考察中国网络中的耽美文化现象。论文所围绕的一个问题是,耽美文化与中国社会文化中的性/别话语产生了怎样的关系,以及如何从腐女的耽美幻想中搭建起与现实性/别政治的联系。研究首先分析了两类网络耽美小说文本,分别来看它们与1990年代以后的"男同性恋"身份话语,和2000年代以后对"中国古典文化"想象之间的吸收、挪用与再创造;其次以网络腐女圈的论坛讨论与配对狂欢为对象,研究网络耽美式恶搞对官方媒体、主流男性形象和异性恋规范的权威所潜在的颠覆性;最后以2011年一桩"腐女被抓案"新闻报道为契机,来观察耽美文化与网络淫秽色情审查的纠葛、冲突与可能的出路。 ; 欲望幻想的流动性决定着它边界的模糊与开放,以及它承载、影响乃至侵扰"现实"秩序的功能。因此,作为一种女性的男性同性情欲幻想,本研究视耽美文化最引人注目的地方不在于其本身的出现与流行程度,而在于它与各种性/别话语的相互建构与矛盾冲突。此外,在对幻想文本、网络话语以及腐女群体的调查中,本研究也期待探索某种"酷儿"政治在中国网络文化中生产的可能性。 ; Boy's love (BL in short; danmei in Chinese) is a Japanese term for female-oriented fictional media, which focuses on love, sex and romance between beautiful androgynous boys or young men. Apart from the gay self-representations, BL is a genre of male homoeroticism by and for mostly heterosexual women. In China, the BL fans call themselves "Fu Nu", which means "rotten girl", to describe their enthusiasm for fantasizing male homosexuality. BL originated from Japanese amine, comic and game youth culture, and has since become a transnational phenomenon all over the world with a global fan base. As such, the phenomenon of boy's love had already aroused a lot of discussions in relation to ideologies of gender and sexuality from different cultural and social perspectives. BL fandom in China's culture context with its "Chinese characteristics" also deserves particular attention, when it opens up a fantastic space for Chinese woman to practice their sexuality beyond non-heterosexual norms. ; However there is limited work that considers the queer sexuality of female BL fans in China, in relation to the queer texts and queer discourses they create. There is also little research that explores the capacity of boy's love netizens to resist the on-going internet surveillance by the Chinese government of information deemed 'sexually inappropriate' ...

是次研究旨在探討日本變裝流行文化及其對香港受眾和次文化的影響。由1980年代開始,香港深受日本流行文化影響,變裝文化亦不例外。本研究首先概述香港性別論述及酷兒政治,然後沿歷史脈絡追溯變裝在日本的發展歷程,並重點闡述寶塚歌劇團,角色扮演,及最新的男裝文化(女生於一般社交場合穿中性或男性服裝示人)。本論文期望指出日常生活中的變裝習慣,如何有意無意地改變性/別定型及規範,並影響我們對性/別的理解,繼而豐富現有的變裝研究。 ; The purpose of this study is to discuss female cross-dressing practice in popular culture in Japan and its impact on Hong Kong audiences and subcultures. Since Hong Kong is highly influenced by Japanese popular culture since the 1980s, the cross-dressing practice is no exception. This research opens with an outline of the gender discourse and queer politics in Hong Kong. After that, the development of cross-dressing in Japan will be traced, namely the Takarazuka Revue and cosplay. I will then illustrate how they further develop into the new current trend –the dansou practice which refers to the phenomenon of girls wearing male clothing in everyday life as fashion. This thesis aims at demonstrate how the evolving cross-dressing practice in daily life serves as both a conscious and unconscious attempt to redefine genders and bring impact to the gender norm. By exploring the trend, I hope to enrich the current discussion of cross-dressing and show how it affects the understanding of genders and blurs the boundary of sexuality. ; Keywords: Hong Kong, Japan, popular culture, cross-dressing. ; Lam, Wing Nga. ; Thesis M.Phil. Chinese University of Hong Kong 2016. ; Includes bibliographical references (leaves ). ; Abstracts also in Chinese. ; Title from PDF title page (viewed on …). ; Detailed summary in vernacular field only.

台灣自2002年的電影《藍色大門》後,兼以青春成長和同性戀為主題的商業電影相繼出現。從相關電影文本分析可見,這類電影脫離以往媒體再現同性戀者的刻板印象,明朗清新的電影基調亦有別歷年華語同志電影的悲情和政治色彩,對華語同志電影類型作出了翻新。本論文採取導演深入訪談的研究方法,從電影工業及創作角度切入,指出台灣當時已然崩潰的電影工業環境、輔導金制度、同性戀題材不構成籌資困難,以及青春成長電影類型低成本的特性,均是這類華語同志電影特例出現的原因。由於電影強調同性戀和異性戀者的共同性,對同志的再現反而有所局限,本文認為,更恰當的同性戀再現應包含正面肯定性差異的態度。台灣青春同志電影的個案,讓我們了解作者在商業電影創作中注入個性遇到的各種困難,亦提供了認識「後新電影」重尋生存策略的視角,檢示和整理台灣走出新電影運動後長達二十年的低谷的經驗。 ; Blue Gate Crossing (2002) marked the beginning of a series of coming-of-age films that dealt with homosexual subject matter in commercial Taiwanese cinema. Using the method of textual analysis, it is found that the basic tone of these films is light and refreshing, in contrast to the sad and political tone in previous generations of homosexual films. These coming-of-age films formed a new genre of Chinese-language homosexual cinema and a divergence from previous media representation of homosexual stereotypes. By conducting in-depth interviews with directors of these films and dissecting the creative process of production, it is found that the reasons for the appearance of this new genre include the collapse of Taiwanese cinema, the policy of government subsidies, the ease of securing funding and the low cost of producing coming-of-age films. It is also found that by emphasizing the similarities between homosexual and heterosexual relationships, these films created limitations for the representation of homosexuality. A more appropriate representation of homosexuality should include affirmation of sexuality differences.This special case of a coming-of-age homosexual genre reveals the difficulties faced by directors when they tried to add creative elements to commercial cinema, and provides insights into strategies for Post-New Cinema to survive. This study thus stands as an overview of how New Taiwan Cinema rebounded after its 20-year-long trough. ; Detailed summary in vernacular field only. ; 鍾嘉瑩. ; Thesis (M.Phil.) Chinese University of Hong Kong, 2015. ; Includes bibliographical references (leaves 110-116). ; Abstracts in English and Chinese. ...