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This project explores Indigenous Futurisms written by Indigenous women from North America in the early 21st century. The stories were analyzed as resistance literature to the historical violence resulting in the literal and literary invisibility of Indigenous women. Each story focuses on an Indigenous woman protagonist, reflecting the subjectivity of the author. The characters define themselves on their own terms and offer positive, transformative, multifaceted self-representations. The intent is for readers, specifically Indigenous women readers, to see these stories as mirrors that reflect empathy, connection, and empowerment.

This project explores Indigenous Futurisms written by Indigenous women from North America in the early 21st century. The stories were analyzed as resistance literature to the historical violence resulting in the literal and literary invisibility of Indigenous women. Each story focuses on an Indigenous woman protagonist, reflecting the subjectivity of the author. The characters define themselves on their own terms and offer positive, transformative, multifaceted self-representations. The intent is for readers, specifically Indigenous women readers, to see these stories as mirrors that reflect empathy, connection, and empowerment.

This project explores Indigenous Futurisms written by Indigenous women from North America in the early 21st century. The stories were analyzed as resistance literature to the historical violence resulting in the literal and literary invisibility of Indigenous women. Each story focuses on an Indigenous woman protagonist, reflecting the subjectivity of the author. The characters define themselves on their own terms and offer positive, transformative, multifaceted self-representations. The intent is for readers, specifically Indigenous women readers, to see these stories as mirrors that reflect empathy, connection, and empowerment.

This project explores Indigenous Futurisms written by Indigenous women from North America in the early 21st century. The stories were analyzed as resistance literature to the historical violence resulting in the literal and literary invisibility of Indigenous women. Each story focuses on an Indigenous woman protagonist, reflecting the subjectivity of the author. The characters define themselves on their own terms and offer positive, transformative, multifaceted self-representations. The intent is for readers, specifically Indigenous women readers, to see these stories as mirrors that reflect empathy, connection, and empowerment.

This project explores Indigenous Futurisms written by Indigenous women from North America in the early 21st century. The stories were analyzed as resistance literature to the historical violence resulting in the literal and literary invisibility of Indigenous women. Each story focuses on an Indigenous woman protagonist, reflecting the subjectivity of the author. The characters define themselves on their own terms and offer positive, transformative, multifaceted self-representations. The intent is for readers, specifically Indigenous women readers, to see these stories as mirrors that reflect empathy, connection, and empowerment.

This project explores Indigenous Futurisms written by Indigenous women from North America in the early 21st century. The stories were analyzed as resistance literature to the historical violence resulting in the literal and literary invisibility of Indigenous women. Each story focuses on an Indigenous woman protagonist, reflecting the subjectivity of the author. The characters define themselves on their own terms and offer positive, transformative, multifaceted self-representations. The intent is for readers, specifically Indigenous women readers, to see these stories as mirrors that reflect empathy, connection, and empowerment.

This project explores Indigenous Futurisms written by Indigenous women from North America in the early 21st century. The stories were analyzed as resistance literature to the historical violence resulting in the literal and literary invisibility of Indigenous women. Each story focuses on an Indigenous woman protagonist, reflecting the subjectivity of the author. The characters define themselves on their own terms and offer positive, transformative, multifaceted self-representations. The intent is for readers, specifically Indigenous women readers, to see these stories as mirrors that reflect empathy, connection, and empowerment.

This project explores Indigenous Futurisms written by Indigenous women from North America in the early 21st century. The stories were analyzed as resistance literature to the historical violence resulting in the literal and literary invisibility of Indigenous women. Each story focuses on an Indigenous woman protagonist, reflecting the subjectivity of the author. The characters define themselves on their own terms and offer positive, transformative, multifaceted self-representations. The intent is for readers, specifically Indigenous women readers, to see these stories as mirrors that reflect empathy, connection, and empowerment.

This project explores Indigenous Futurisms written by Indigenous women from North America in the early 21st century. The stories were analyzed as resistance literature to the historical violence resulting in the literal and literary invisibility of Indigenous women. Each story focuses on an Indigenous woman protagonist, reflecting the subjectivity of the author. The characters define themselves on their own terms and offer positive, transformative, multifaceted self-representations. The intent is for readers, specifically Indigenous women readers, to see these stories as mirrors that reflect empathy, connection, and empowerment.

This project explores Indigenous Futurisms written by Indigenous women from North America in the early 21st century. The stories were analyzed as resistance literature to the historical violence resulting in the literal and literary invisibility of Indigenous women. Each story focuses on an Indigenous woman protagonist, reflecting the subjectivity of the author. The characters define themselves on their own terms and offer positive, transformative, multifaceted self-representations. The intent is for readers, specifically Indigenous women readers, to see these stories as mirrors that reflect empathy, connection, and empowerment.

在過去的二十年中，隨著1989 年的革命（以及之後突進的新自由主義經濟政策），信息和通信技術（ICT）的擴散，世界經歷了急劇變化。但高等教育，尤其是英文文學研究有没有根據這一時期的文化、經濟、社會和政治的情況來修正呢？本論文探討從現代主義美學和片面國家論述的小說（英文書寫的），過渡到一個文化和政治驅動並行的後現代形式，及反映一個日益全球化和全球意識的二十一世紀引人注目的問題。通過當代小說的新自由主義全球化的測試 ──或者也被稱為後現代的情况和晚期資本主義的文化邏輯──我們了解世界據稱走向非殖民化只不過掩飾另一種殖民方式，導致葛蘭西的霸權理論效果，使馬克思主義理論的社會力量轉變成促使不同階級的政治權力形式，取決於一個非常關鍵的因素- 共識。, The world has experienced rapid changes in the last twenty years concomitant of the Revolutions of 1989 (and the subsequent onrush of neoliberal economic policies) and the proliferation of Information and Communication Technology (ICT), but has higher ed,and particularly, the study of English literature modified in accordance to the cultural, economic, social, and political circumstances of the period? This thesis explores the compelling question by illustrating the transition of contemporary literary fiction (written in English) from modernist aesthetics and one-sided national discourse into a culturally and politically driven postmodern form to parallel and reflect an increasingly global and globally aware 21st century. Through contemporary fiction’s examination of neoliberal globalization - or perhaps what is also known as the postmodern condition and cultural logic of late capitalism - we come to understand a return of colonization in a world allegedly moving towards decolonization. What results is the Gramscian theory of hegemony, which gives rise to a Marxist theory of the transformation of social forces into forms of political power adequate to different class projects that depends on a very crucial factor - consensus., Detailed summary in vernacular field only., Tchan, Chrystal Ching., "December 2012.", Thesis (M.Phil.)--Chinese University of Hong Kong, 2013., Includes bibliographical references (leaves 105-110)., s also in Chinese., p.i, Table of Contents --- p.ii, Introduction --- p.1, Chapter Chapter One: --- Nationalism and the Decline of Empire --- p.15, Chapter Chapter Two: --- The Reflexive Resurgence of Local and National Formations in Hari Kunzru’s Transmission --- p.42, Chapter Chapter Three: --- Technocapitalizing Spooks in William Gibson’s Spook Country --- p.66, Conclusion --- p.103, Bibliography --- p.105, http://library.cuhk.edu.hk/record=b5549300, Use of this resource is governed by the terms and conditions of the Creative Commons “Attribution-NonCommercial-NoDerivatives 4.0 International” License (http://creativecommons.org/licenses/by-nc-nd/4.0/)

Wong Nga-lai., Thesis (M.Phil.)--Chinese University of Hong Kong, 2001., Includes bibliographical references (leaves 108-112)., s in English and Chinese., Acknowledgements --- p.i, p.ii-v, Introduction, Homosexuality: a sin versus a choice --- p.1 -5, Chapter Chapter One --- Wilde and his sacrifices --- p.6 -38, Chapter Chapter Two --- Forster and his private novel --- p.39 -70, Chapter Chapter Three --- Rechy and his new order --- p.71-104, Conclusion, Still a long way to go --- p.105 -107, Selected Bibliography --- p.108-112, http://library.cuhk.edu.hk/record=b5890775, Use of this resource is governed by the terms and conditions of the Creative Commons “Attribution-NonCommercial-NoDerivatives 4.0 International” License (http://creativecommons.org/licenses/by-nc-nd/4.0/)

Wong Nga-lai., Thesis (M.Phil.)--Chinese University of Hong Kong, 2001., Includes bibliographical references (leaves 108-112)., s in English and Chinese., Acknowledgements --- p.i, p.ii-v, Introduction, Homosexuality: a sin versus a choice --- p.1 -5, Chapter Chapter One --- Wilde and his sacrifices --- p.6 -38, Chapter Chapter Two --- Forster and his private novel --- p.39 -70, Chapter Chapter Three --- Rechy and his new order --- p.71-104, Conclusion, Still a long way to go --- p.105 -107, Selected Bibliography --- p.108-112, http://library.cuhk.edu.hk/record=b5890775, Use of this resource is governed by the terms and conditions of the Creative Commons “Attribution-NonCommercial-NoDerivatives 4.0 International” License (http://creativecommons.org/licenses/by-nc-nd/4.0/)

Young Ada., Thesis (M.Phil.)--Chinese University of Hong Kong, 2000., Includes bibliographical references (leaves 134-139)., s in English and Chinese., p.i, 摘要 --- p.iii, Acknowledgments --- p.v, Introduction, "Crisis Unveiled: ""All that is Positive Melts Away""" --- p.1, Chapter Chapter I --- "Crisis in Interpersonal and Intrapsychic Realms: and ""England, My England""" --- p.17, Chapter Chapter II --- Crisis in Interpersonal and Intrapsychic Realms: Desire and its Perversions in Death in Venice and The Magic Mountain --- p.37, Chapter Chapter III --- "Crisis at the Societal Level: in Women in Love and ""England, My England""" --- p.64, Chapter Chapter IV --- Crisis at the Societal Level: From the Corrosions of Meaning in Life to the Dislocations of Societal Order in Death in Venice and The Magic Mountain --- p.94, Coda, Crisis (Un)ended: The Great War and its Aftermath --- p.122, Notes --- p.129, Works Cited --- p.134, http://library.cuhk.edu.hk/record=b5890328, Use of this resource is governed by the terms and conditions of the Creative Commons “Attribution-NonCommercial-NoDerivatives 4.0 International” License (http://creativecommons.org/licenses/by-nc-nd/4.0/)