Onejf Undreth Finnual Commencement
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
An Introduction to Cantonpop
An Introduction to Cantonese Pops (Updated version) Dr Helan Yang (Learning and teaching materials for teachers’ reference) Teachers may make reference to the book “Reading Cantonese Songs: The Voice of Hong Kong Through Vicissitudes”《粵語歌曲解讀:蛻變中的香港聲音》 written by Yu Siu Wah and Helan Yang Historical Overview The Origin of Cantonese Pops It is commonly held that Cantonese Pops (known as Cantopop1) emerged in the 50’s, but it is more likely that Cantonese songs with newly composed tunes and lyrics had already come into existence in Hong Kong as early as the 30’s. For example, the song《壽仔去拍 拖》with Cantonese lyrics intercalated with English words featured in an album released by New Moon Records Ltd (新月唱片) in 1930 was already emblematic of Hong Kong culture. The strophic structure of the lyrics and its reflection on life’s reality are similar to that of the ‘Humorous Songs’ (諧趣歌曲) of the 50’s and 60’s. According to Lu Kam (魯金), an expert on Hong Kong folk heritage, the two songs “Sleep Well My Baby”《兒安眠》and “The Miss Who Couldn’t Care Less”《風流小姐》featured in the singer Li Qi Nian’s (李綺 年) album released by New Moon Records in 1935 have new tunes and new lyrics, and can be regarded as the predecessor of Cantonese Pops. The early Cantonese Pops did not have a uniformed nomenclature. The Cantonese albums of the 50’s were released under the various names of ‘Dancing Songs’ (跳舞歌曲), ‘Dancing Cantonese Operatic Songs’ (跳舞粵曲), ‘Cantonese Modern Songs’ (粵語時代 曲), ‘Cantonese Ditties’ (粵語小曲) and ‘Modern Cantonese Operatic Songs’ (時代粵曲). -
2619 Studaff Commencementpr
One Hundred and Sixtieth Annual Commencement 9:30 A.M., FRIDAY, JUNE 22, 2018 Ryan Field Evanston, Illinois 2619_STUDAFF_CommencementProgram_2018_FRONT.indd 1 6/14/18 5:07 PM UNIVERSITY SEAL AND MOTTO Soon after Northwestern University was founded, its Board of Trustees adopted an official corporate seal. This seal, approved on June 26, 1856, consisted of an open book surrounded by rays of light and circled by the words North western University, Evanston, Illinois. Thirty years later Daniel Bonbright, professor of Latin and a member of Northwestern’s original faculty, redesigned the seal, Whatsoever things are true, retaining the book and light rays and adding two quotations. whatsoever things are honest, On the pages of the open book he placed a Greek quotation from the Gospel of John, chapter 1, verse 14, translating to The Word . whatsoever things are just, full of grace and truth. Circling the book are the first three whatsoever things are pure, words, in Latin, of the University motto: Quaecumque sunt vera whatsoever things are lovely, (What soever things are true). The outer border of the seal carries the name of the University and the date of its founding. This seal, whatsoever things are of good report; which remains Northwestern’s official signature, was approved by if there be any virtue, the Board of Trustees on December 5, 1890. and if there be any praise, The full text of the University motto, adopted on June 17, 1890, is think on these things. from the Epistle of Paul the Apostle to the Philippians, chapter 4, verse 8 (King James Version). -
China with a Cut China with a Cut Based on Sixteen Years of Research, This Book Explores Various Music Scenes That Emerged in China in the Mid-1990S
publications series Monographs 3 China with a Cut a Cut with China China with a Cut Based on sixteen years of research, this book explores various music scenes that emerged in China in the mid-1990s. Thanks to illegally imported CDs punched with a cut, the dakou CDs, a sonic world was opened up, inspiring young people to experiment with new sounds Globalisation, Urban Youth and lifestyles. In a context of intense globalisation and commerciali- sation, this book delves into the socio-cultural and political transfor- mations of an alleged rising global power. and Popular Music Jeroen de Kloet is assistant professor at the Department of Media › Jeroen de Kloet Studies of the University of Amsterdam, The Netherlands. Kloet de Jeroen “How does sound become local in the global age? This is the ques- tion posed by Jeroen de Kloet. As much an ethnography of the sub- jectivities articulated to pop music practices as it is an interrogation of the assumptions of sinocentricity, this book constitutes a provoc- ative statement on ‘Chineseness’ at the crossroads of contemporary media, everyday life, and geopolitics.” — Rey Chow, Duke University “Jeroen de Kloet provides a rich and fascinating account of the myriad forms of rock in contemporary China. This book trans- formed my understanding of contemporary Chinese culture – and of rock music beyond Europe and North America.” — David Hesmondhalgh, University of Leeds “An authoritative, scholarly and up-to-date account of an important and fascinating field of popular music which sets a new benchmark in global music studies.” — Tony Mitchell, University of Technology Sydney isbn 978 90 8964 162 5 amsterdam university press www.aup.nl 9 7 8 9 0 8 9 6 4 1 6 2 5 amsterdam university press China with a Cut Publications Series General Editor Paul van der Velde Publications Officer Martina van den Haak Editorial Board Prasenjit Duara (University of Chicago) / Carol Gluck (Columbia University) / Christophe Jaffrelot (Centre d’E´tudes et de Recherches Internationales-Sciences- po) / Victor T. -
Hong Kong Cinema from Colonial Rule to Chinese-Style Socialist Hegemony
Lingnan University Digital Commons @ Lingnan University Theses & Dissertations Department of Cultural Studies 2-11-2015 The progression of political censorship : Hong Kong cinema from colonial rule to Chinese-style socialist hegemony Lai To, Herman YAU Follow this and additional works at: https://commons.ln.edu.hk/cs_etd Part of the Critical and Cultural Studies Commons Recommended Citation Yau, L. T. H. (2015). The progression of political censorship: Hong Kong cinema from colonial rule to Chinese-style socialist hegemony (Doctor's thesis, Lingnan University, Hong Kong). Retrieved from http://commons.ln.edu.hk/cs_etd/24 This Thesis is brought to you for free and open access by the Department of Cultural Studies at Digital Commons @ Lingnan University. It has been accepted for inclusion in Theses & Dissertations by an authorized administrator of Digital Commons @ Lingnan University. Terms of Use The copyright of this thesis is owned by its author. Any reproduction, adaptation, distribution or dissemination of this thesis without express authorization is strictly prohibited. All rights reserved. THE PROGRESSION OF POLITICAL CENSORSHIP: HONG KONG CINEMA FROM COLONIAL RULE TO CHINESE-STYLE SOCIALIST HEGEMONY YAU LAI TO HERMAN PHD LINGNAN UNIVERSITY 2014 THE PROGRESSION OF POLITICAL CENSORSHIP: HONG KONG CINEMA FROM COLONIAL RULE TO CHINESE-STYLE SOCIALIST HEGEMONY by YAU Lai To Herman A thesis submitted in partial fulfillment of the requirements for the Degree of Doctor of Philosophy in Cultural Studies Lingnan University 2014 ABSTRACT The Progression of Political Censorship: Hong Kong Cinema From Colonial Rule to Chinese-Style Socialist Hegemony by YAU Lai To Herman Doctor of Philosophy Censorship is an important cultural regulatory instrument for the government of a society, or even a state.