Yi-Jia Zhang

This thesis argues that works of yangbanxi (model theatre) are not mere relics of Maoist propaganda but contested battlegrounds where cultural and communicative memory collide and interpenetrate. It addresses a critical gap in yangbanxi studies by examining the overlooked role of their proliferating remakes, which have rarely been analysed as examples of memory politics. Building on Jan Assmann's concept of the 'gloating gap' (2011), I investigate how the Chinese Communist Party's mechanisms of ideological reproduction recalibrate revolutionary memory, and how artists, even under constraint, exercise creative agency. Understanding remakes as palimpsests that retain traces of previous inscriptions while layering new meanings, the thesis explores how revolutionary memory is overwitten rather than replaced. Instead of tracing a linear retreat of state power, I examine how yangbanxi remakes reflect shifting boundaries of permissible expression under varying degrees of Party involvement. This analysis unfolds within a discursive environment shaped by democratic centralism, where dissent may only circulate indirectly (berry, 2004). I begin with early remakes under the state-led assimilation of ethnic minorities into Han Chinese revolutionary culture, focusing on the Uyghur Qizil Chiragh (1975), where language recording and dramaturgical shifts both serve assimilationist aims and enable vernacular resistance. Next, I examine postmillenial commercial remakes, analysing Tsui Hark's The Taking of Tiger Mountain (2014), which grafts class-struggle tropes onto genre hybridity and diasporic framings. Then I turn to non-state performance through Wen Hui's Hong (2016), an avant-garde reinterpretation of The Red Detachment of Women, developed from archival and bodily memory. Through my practice-led interventions, I explore how adaptive performance resists retraumatization through Brechtian and absurdist strategies. Across these sites, I argue that the mnemonic friction between the ideological archetype and its mutable iterations destabilizes Party efforts to sustain a hegemonic narrative and offer insights into how revolutionary histories are remembered, embodied, and contested.

Digital transformation has reshaped corporate strategy, increasing technological complexity and strategic uncertainty. Traditional corporate governance research, which emphasizes monitoring and control, provides limited explanation of how boards influence strategic adaptation in digitally intensive environments. This study develops a conceptual framework linking corporate governance and strategic management through board digital capability. Integrating agency theory, resource dependence theory, and upper echelons theory, the framework identifies three mechanisms—monitoring enhancement, resource provision, and cognitive framing—through which board digital capability shapes strategic adaptability and digital transformation. The study advances propositions suggesting that technologically competent boards improve strategic alignment, innovation orientation, and long-term competitiveness, particularly in high-technology industries. By reconceptualizing boards as strategic enablers rather than purely monitoring bodies, this research bridges governance and strategy scholarship and offers a capability-based perspective on corporate governance in the digital era.

As the younger generation, who like to pursue novelty and excitement, becomes the main consumer and the traditional consumption culture changes in China, the blind box has become a popular product among young people with its uncertain characteristics. Previous studies have mainly explored the role of uncertainty in promotion, while this paper focuses on the role of uncertainty in daily sales of blind box products. Based on the stimulus–organism–response theory, this paper conducted an online questionnaire survey and an empirical analysis in China, which examined the mechanism of the positive impact of uncertainty and the moderating effect of consumption purpose. The results show that uncertainty affects consumers’ purchase intention mainly through affecting their emotional value, which is one dimension of perceived value; consumer purpose also moderates the effect of uncertainty on perceived value, and the effect of perceived value on purchase intention. The results of this study are not only of great significance for understanding the uncertain marketing and blind box products, but also have management implications for enterprises to make use of the uncertain marketing.

The time-scale dynamic equations play an important role in modeling complex dynamical processes. In this paper, the Mei symmetry and new conserved quantities of time-scale Birkhoff’s equations are studied. The definition and criterion of the Mei symmetry of the Birkhoffian system on time scales are given. The conditions and forms of new conserved quantities which are found from the Mei symmetry of the system are derived. As a special case, the Mei symmetry of time-scale Hamilton canonical equations is discussed and new conserved quantities for the Hamiltonian system on time scales are derived. Two examples are given to illustrate the application of results.

This study examines how chief executive officer overconfidence can influence the quantity, quality and direction of corporate innovation using Chinese firms for the period 2009–2016. Our results suggest that overall, CEO overconfidence has a positive impact on firm innovation productivity. Furthermore, this effect is significant for Chinese non-SOEs but not for Chinese SOEs. Specifically, an overconfident CEO can facilitate firm innovation in new technological areas but not in the firm’s existing areas. Additionally, we find that internal controls can regulate the relationship between CEO overconfidence and innovation. Interestingly, when the internal control level is too high or too low, the correlation between CEO overconfidence and innovation productivity is not significant.

"The Voice of the Tang Dynasty," the strong voice of the times, the pride of Tang, Gao Bing in "Poetry is the sound" touted in the "Rhythm pure finish" is a refined aesthetic qualities of Tang poetry, established the Ming Dynasty. " Tang poetry must be "the aesthetic ideal. Ming Tang on the physical tone, trying to implement Sheng Tang wonderful rhyme poems for the rule-based method, resulting in obtaining the fur and missing the spirit of the abuse. If designed as Fengshen on the rise and poetry, the Tang Dynasty dance sound of high performance flow away life Charm, can directly show the reader the feeling and imagination, just like the sound of the air, the flower of the mirror is a difficult to explain in words of rhyme outside the cause, that is charm. The poetry of Prime Tang Dynasty, because of based on both rhythm and spirit, was believed the pure sound of Tang Voice. GAO Bing regarded "pure sound" as the aesthetic characteristic, and set up the artistic ideal of Ming Dynasty, which poems renown in the Prime Dynasty. From the stylistic mode, Ming People interpreted the voice of Prime Tang Dynasty into the poetry rhythm, but it resulted that spirit of poem was lost. From the romantic charm, they emphasized brilliance life spirit of the Prime Tang poetry, and made it to be the artistic state that difficult to arrive