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Title Singapore English on Stage Author Robert Yeo Source English
Title Singapore English on stage Author Robert Yeo Source English in Southeast Asia Conference (1996), National Institute of Education, Singapore, 21 - 23 November 1996 This document may be used for private study or research purpose only. This document or any part of it may not be duplicated and/or distributed without permission of the copyright owner. The Singapore Copyright Act applies to the use of this document. Singapore English on stage which is unrecog come up with ho' Robert Yeo writers. National Institute of Education, Singapore Problems in the My focus is the English language theatre in Singapore from the early sixties to The attempt to fn the present, and television in the nineties. My contention is that English as a successful when t medium for writing for the stage was accepted around the mid-eighties, nearly a English as their d full decade before it was accepted on television. The reference to TV is are less educated minimal, and confmed only to the next paragraph but it serves a useful one of the speech comparative purpose. Lim Chor Pee wrc Mimi Fan (prodU< Contrast between stage and TV 1964). In both, he Acceptance by whom, it will be asked? My answer is, frrstly by serious critics English educated. and secondly, by audiences and viewers. The reasons for the time lag in acceptance between stage and TV is that stage language did not suffer too much Baram Vel) from official (ie governmental) regulation (ll, but TV language was over soon regulated. This has to do with governmental perception and control of the two Tony Wha modes of expression. -
The Sun in Her Eyes: Writing in English by Singapore Women
Kunapipi Volume 16 Issue 1 Article 105 1994 The Sun in Her Eyes: Writing in English by Singapore Women Koh Tai Ann Follow this and additional works at: https://ro.uow.edu.au/kunapipi Part of the Arts and Humanities Commons Recommended Citation Ann, Koh Tai, The Sun in Her Eyes: Writing in English by Singapore Women, Kunapipi, 16(1), 1994. Available at:https://ro.uow.edu.au/kunapipi/vol16/iss1/105 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] The Sun in Her Eyes: Writing in English by Singapore Women Abstract Singapore writing in English goes back a mere forty-five years, and the work of the women writers is of even more recent provenance.1 From the forties to the mid-sixties, anglophone literary works were mostly by male authors as far fewer women than men in Singapore had formal education (let alone an education in English, the language of government and of professional advancement and when during the colonial and immediately post-colonial days primary education was not universal even for males). Furthermore, it was tertiary education which played a crucial, enabling role in literary production for it was not till after the post-war establishment of the University of Malaya in Singapore in 1948 and the appearance of undergraduate magazines that local literary work began to be published in earnest. It followed also that the first anthologies of these early poems and short stories were produced and sponsored, too, by -
Li Ling Ngan
Beyond Cantonese: Articulation, Narrative and Memory in Contemporary Sinophone Hong Kong, Singaporean and Malaysian Literature by Li Ling Ngan A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts Department of East Asian Studies University of Alberta © Li Ling Ngan, 2019 Abstract This thesis examines Cantonese in Sinophone literature, and the time- and place- specific memories of Cantonese speaking communities in Hong Kong, Singapore, and Malaysia after the year 2000. Focusing on the literary works by Wong Bik-wan (1961-), Yeng Pway Ngon (1947-) and Li Zishu (1971-), this research demonstrates how these three writers use Cantonese as a conduit to evoke specific memories in order to reflect their current identity. Cantonese narratives generate uniquely Sinophone critique in and of their respective places. This thesis begins by examining Cantonese literature through the methodological frameworks of Sinophone studies and memory studies. Chapter One focuses on Hong Kong writer Wong Bik-wan’s work Children of Darkness and analyzes how vulgar Cantonese connects with involuntary autobiographical memory and the relocation of the lost self. Chapter Two looks at Opera Costume by Singaporean writer Yeng Pway Ngon and how losing connection with one’s mother tongue can lose one’s connection with their familial memories. Chapter Three analyzes Malaysian writer Li Zishu’s short story Snapshots of Chow Fu and how quotidian Cantonese simultaneously engenders crisis of memory and the rejection of the duty to remember. These works demonstrate how Cantonese, memory, and identity, are transnationally linked in space and time. This thesis concludes with thinking about the future direction of Cantonese cultural production. -
1. Resource Centre 2. Film Fest Weekend 3. En Bloc, Or Buildings
1. Resource Centre 4. Singapore Girl, or Heritage Deployed 7. Handjob 2. Film Fest Weekend 5. The Vanishing 8. FaceLift 3. En Bloc, or Buildings Must Die 6. SAD 9. Competitions Cities change. People die. Everything you know goes away. ‘But my heart would not bleed poetry. Not a single drop to stain the blueprint of our past’s tomorrow’—poet Boey Kim Cheng asks us, what price for a city that ‘erases the flaws… they plan, they build… they have it all.' Your av- erage life expectancy is 80 years. Look around you—how many buildings will you outlive? You can’t keep the library, the playgrounds, the nameless spaces that you and your friends made your own. Even the old spaces of lore—Bukit Brown, Bidadari, MacRitchie—suddenly loom large. Your mem- ories have no anchors. This landscape doesn’t add up. You can’t believe in the old narrative of progress and constant redevelopment. Not anymore. Resources> MAR NOSTALGIA THE VANISHING, OR TIME GOES AWAY 16 MAR—7 APR After years of neglect, suddenly Everything You Know Goes we worry about our hawker Away Interactive playground designed by Joshua heritage. The question isn’t Comaroff about what we want to save, it’s Accompanied by a series of free storytelling sessions and ticketed workshops for chil- about why. Before the present dren aged 2 to 12 has slipped away, we already A Bout of Nostalgia anticipate loss. Everything is Artist installation by Mary Bernadette Lee becoming a future past. Why 23 MAR do we want to save? What Partners in Grime: Nostalgia and Conservation anxiety and nostalgia drives Panel discussion moderated by Lo Mun Hou these desires? Is nostalgia a form of critique, resistance, or 30 MAR Days of Future Past capitulation in the land of SG50? Film screening of Tan Pin Pin’s In Time to Come with readings curated by Lo Mun Hou and Jason Erik Lundberg Don’t go away> 29 & 30 MAR SAD: The Last Meal Futuristic dining experience conceptualised by Debbie Ding and Ming Tan. -
The Routledge Companion on Architecture, Literature and the City Domestic Digressions
This article was downloaded by: 10.3.98.104 On: 02 Oct 2021 Access details: subscription number Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: 5 Howick Place, London SW1P 1WG, UK The Routledge Companion on Architecture, Literature and The City Jonathan Charley Domestic digressions Publication details https://www.routledgehandbooks.com/doi/10.4324/9781315613154-4 Lilian Chee Published online on: 17 Aug 2018 How to cite :- Lilian Chee. 17 Aug 2018, Domestic digressions from: The Routledge Companion on Architecture, Literature and The City Routledge Accessed on: 02 Oct 2021 https://www.routledgehandbooks.com/doi/10.4324/9781315613154-4 PLEASE SCROLL DOWN FOR DOCUMENT Full terms and conditions of use: https://www.routledgehandbooks.com/legal-notices/terms This Document PDF may be used for research, teaching and private study purposes. Any substantial or systematic reproductions, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The publisher shall not be liable for an loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. 3 Domestic digressions Interrogating Singaporean public housing through its literary forms Lilian Chee With over eighty-two percent of the Singaporean population residing in public housing flats, the setting of the public housing estate is, not unexpectedly, a recurring subject in Singapore’s post-independence literature, the latter produced chiefly after the nation-state’s self-governance in 1965. -
2012-13 Charter Review Report Washington Yu Ying
2012-13 Charter Review Report Washington Yu Ying Public Charter School Fifth Year Review June 17, 2013 DC Public Charter School Board 3333 14th Street, NW, Suite 210 Washington, DC 20010 (202) 328-2660 www.dcpcsb.org 1 TABLE OF CONTENTS RECOMMENDATION ................................................................................................................................. 3 EXECUTIVE SUMMARY ............................................................................................................................ 3 GOALS AND ACADEMIC ACHIEVEMENT EXPECTATIONS .............................................................. 4 COMPLIANCE WITH APPLICABLE LAWS……………………………………………………...........23 FISCAL MANAGEMENT AND ECONOMIC VIABILITY…………………………………….............27 2 RECOMMENDATION The District of Columbia Public Charter School Board’s (“PCSB”) staff recommends Washington Yu Ying Public Charter School (“Washington Yu Ying PCS”) be granted charter continuance based on the school’s overall academic, compliance, and fiscal performance. EXECUTIVE SUMMARY Washington Yu Ying PCS began operating in 2008 under the authority of PCSB and is currently in its fifth year of operation. The school’s mission is to nurture the development of a strong social conscience among tomorrow’s global leaders by fostering excellence in our students’ intellectual, moral, social, emotional and physical development in an engaging, inquiry-driven, Chinese-English dual language immersion environment. Washington Yu Ying PCS is the District of Columbia’s only public Chinese- immersion school. 2012-13 Year Grades 2010-11 PMF 2011-12 PMF Campus Ward Student Opened Served Results Results Enrollment 76.7% Met 7 of 7 Washington (Tier 1) early Yu Ying 5 2008-09 PK4-5 439 childhood PCS Met 6 of 6 early targets childhood targets In its first year, the school operated a pre-kindergarten through first grade class, and has been adding a grade each year ever since, serving pre-kindergarten through fifth grade in 2012-13 and pre-kindergarten through sixth grade in 2013-14. -
Contemporary Literature from Singapore
Contemporary Literature from Singapore Oxford Research Encyclopedia of Literature Contemporary Literature from Singapore Weihsin Gui Subject: English Language Literatures (Other Than American and British), Literary Studies (20th Century Onward), Postcolonial Literature and Studies Online Publication Date: Nov 2017 DOI: 10.1093/acrefore/9780190201098.013.189 Summary and Keywords Page 1 of 42 PRINTED FROM the OXFORD RESEARCH ENCYCLOPEDIA, LITERATURE (literature.oxfordre.com). (c) Oxford University Press USA, 2016. All Rights Reserved. Personal use only; commercial use is strictly prohibited. Please see applicable Privacy Policy and Legal Notice (for details see Privacy Policy). date: 09 January 2018 Contemporary Literature from Singapore Literature in Singapore is written in the country’s four official languages: Chinese, English, Malay, and Tamil. The various literatures flourished in the late 19th and early 20th centuries with the rise of print culture in the British colony, but after independence in 1965, English became emphasized in both the education system and society at large as part of the new government’s attempts to modernize the country. Chinese, Malay, and Tamil were seen as mother tongue languages to provide Singaporeans with cultural ballast while English was regarded as a language for administration, business, and scientific and technological development. Correspondingly, literatures in other languages than English reached a plateau in terms of writerly output and readership during the 1970s and 1980s. However, since 1999, with the state’s implementation of the Renaissance City Plan to revitalize arts and culture in Singapore, there have been various initiatives to increase the visibility of contemporary Singaporean writing both within the country itself and on an international scale. -
Exile and Place in the Poetry of Ee Tiang Hong, Wong Phui Nam and Shirley Geok‑Lin Lim
This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. “We are all exiles” : exile and place in the poetry of Ee Tiang Hong, Wong Phui Nam and Shirley Geok‑lin Lim Cheng, Boey Kim 2018 Cheng, B. K. (2018). “We are all exiles” : exile and place in the poetry of Ee Tiang Hong, Wong Phui Nam and Shirley Geok‑lin Lim. Asiatic, 12(2), 23‑45. https://journals.iium.edu.my/asiatic/index.php/AJELL/article/view/1326; https://hdl.handle.net/10356/141898 © 2018 The Author(s) (published by Asiatic). This is an open‑access article distributed under the terms of the Creative Commons Attribution License. Downloaded on 25 Sep 2021 17:49:32 SGT ASIATIC, VOLUME 12, NUMBER 2, DECEMBER 2018 “We are all exiles”: Exile and Place in the Poetry of Ee Tiang Hong, Wong Phui Nam and Shirley Geok-lin Lim Boey Kim Cheng1 Nanyang Technological University, Singapore Article Received: 6 August 2018 Article Accepted: 14 November 2018 Abstract Exile is a dominant theme and trope in the poetry of the pioneer generation of Anglophone Malaysian poets Ee Tiang Hong, Wong Phui Nam and Shirley Geok-lin Lim. This essay traces the roots of exile in these three poets, exploring how the sense of displacement from cultural and political Malay hegemony has shaped their exilic poetics. It tracks the trajectory of their career and work to examine how exile governs their readings of place and belonging, of heritage and home. The essay follows Ee’s and Lim’s emigrant routes and examines how physical separation from their homeland opens up liminal spaces that their poetry negotiates, and foregrounds issues of ethnicity, nationality and diaspora that their post-migration work engages with. -
Boey Kim Cheng and the Poetics of Imagined Transnational Space, Travel and Movement Author(S) Angelia Poon Source Postcolonial Text,5(4), 1-13
Title The “swaying sense of things”: Boey Kim Cheng and the poetics of imagined transnational space, travel and movement Author(s) Angelia Poon Source Postcolonial Text,5(4), 1-13 This document may be used for private study or research purpose only. This document or any part of it may not be duplicated and/or distributed without permission of the copyright owner. The Singapore Copyright Act applies to the use of this document. The published version of the article can be found at Poon, A. (2009). The “swaying sense of things”: Boey Kim Cheng and the poetics of imagined transnational space, travel and movement. Postcolonial Text, 5(4), 1-13. Postcolonial Text, Vol 5, No 4 (2009) The “swaying sense of things”: Boey Kim Cheng and the Poetics of Imagined Transnational Space, Travel, and Movement Angelia Poon National Institute of Education, Nanyang Technological University In his poem, “Kelong”, Singapore-born poet Boey Kim Cheng describes a childhood weekend spent with his father watching fishermen at work on a kelong—an offshore structure built standing over the sea on stilts and part of a traditional method of fishing common in parts of Southeast Asia. In his mind’s eye and memory, the kelong with its “aerial walkways” (19) is a “floating world of water and air” (18); it is a liminal structure neither fully of the land or of water that metaphorically echoes the nature of memory as a series of intensely remembered, suspended moments in time.1 To walk and orientate himself in this floating world, Boey’s persona notes how his young boy’s feet had to get used to the “swaying sense of things” (19). -
Poetic Culture: Contemporary English Poetry
POETIC CULTURE: CONTEMPORARY ENGLISH POETRY IN SINGAPORE POH MIN MEI MAGDALENE NATIONAL UNIVERSITY OF SINGAPORE 2011 POETIC CULTURE: CONTEMPORARY ENGLISH POETRY IN SINGAPORE POH MIN MEI MAGDALENE (B.A. (Hons.), NUS A THESIS SUBMITTED FOR THE DEGREE OF MASTER OF ARTS DEPARTMENT OF ENGLISH LANGUAGE AND LITERATURE NATIONAL UNIVERSITY OF SINGAPORE 2011 Table of Contents 1. Summary 2. List of Figures 3. Chapter 1 Introduction 4. Chapter 2 Approaches to Describing Singapore 5. Chapter 3 Exploring the Intrinsic Factors of Poetry Production 6. Chapter 4 Analysing the Extrinsic Social Factors 7. Chapter 5 Conclusion and the Way Ahead 8. Bibliography 9. Appendix i Summary This thesis explores what I call the cultural anthropology underlying the production of English poetry in Singapore during the last ten years. It uses a questionnaire and interview method to obtain responses from selected poets, and these responses are then compared against existing published materials and critically analysed, with the purpose of explicating, elaborating and articulating the various factors that have led to production of English poetry in Singapore. So far, all the existing academic material on contemporary Singaporean poetry has centred on literary analysis, and I hope that my research can act as a useful supplement because it is a kind of literary anthropology and a form of context-building which reviews craft as vocation, profession and cultural practice. In this way, I hope to fill a gap or lack in current academic scholarship, and contribute to building a more holistic understanding of contemporary Singaporean poetry and its production. Twelve prominent local poets were selected, and they belong to the contemporary generation who fall within the same age bracket (20s to 40s, with the exception of Lee Tzu Pheng, who is in her 50s, and has been included to give her opinions as a pioneer poet). -
Contemporary Literature from Singapore
UC Riverside UC Riverside Previously Published Works Title Contemporary Literature from Singapore Permalink https://escholarship.org/uc/item/039050sw Author Gui, Weihsin Publication Date 2017-11-20 DOI 10.1093/acrefore/9780190201098.013.189 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Contemporary Literature from Singapore Oxford Research Encyclopedia of Literature Contemporary Literature from Singapore Weihsin Gui Subject: English Language Literatures (Other Than American and British), Literary Studies (20th Century Onward), Postcolonial Literature and Studies Online Publication Date: Nov 2017 DOI: 10.1093/acrefore/9780190201098.013.189 Summary and Keywords Page 1 of 42 PRINTED FROM the OXFORD RESEARCH ENCYCLOPEDIA, LITERATURE (literature.oxfordre.com). (c) Oxford University Press USA, 2016. All Rights Reserved. Personal use only; commercial use is strictly prohibited. Please see applicable Privacy Policy and Legal Notice (for details see Privacy Policy). Subscriber: UC - Riverside; date: 02 January 2018 Contemporary Literature from Singapore Literature in Singapore is written in the country’s four official languages: Chinese, English, Malay, and Tamil. The various literatures flourished in the late 19th and early 20th centuries with the rise of print culture in the British colony, but after independence in 1965, English became emphasized in both the education system and society at large as part of the new government’s attempts to modernize the country. Chinese, Malay, and Tamil were seen as mother tongue languages to provide Singaporeans with cultural ballast while English was regarded as a language for administration, business, and scientific and technological development. Correspondingly, literatures in other languages than English reached a plateau in terms of writerly output and readership during the 1970s and 1980s. -
The Old Parliament House Limited Annual Report for the Year Ended 31 March 2014
THE OLD PARLIAMENT HOUSE LIMITED ANNUAL REPORT FOR THE YEAR ENDED 31 MARCH 2014 The Old Parliament House Limited (TOPHL) is a company limited by guarantee, incorporated by the National Arts Council on 11 December 2002 in Singapore. It is registered under the Charities Act on 24 February 2003. Charity Registration No: 01658 Unique Entity Number (UEN): 200210647W Registered Address: 1 Old Parliament Lane Singapore 179429 Board of Directors: Gan Christine (Chairman) (appointed on 1 Apr 2014) Chong Yuan Chien (appointed on 14 Apr 2014) Colin Goh (resigned 31 Mar 2014, reappointed on 1 Apr 2014 and resigned on 31 July 2014) Ho Nyuk Choo Deborah Joanne (appointed on 14 Apr 2014) Koh Choon Fah Lee Chor Lin (appointed on 1 Apr 2014) Mok Wei Wei (appointed on 1 Apr 2014) Ong Chao Choon Tan Kim Liang Paul (appointed on 1 Jun 2014) Tham Kwang Hsueh Yvonne Jennie Chua Kheng Yeng (resigned on 1 Apr 2014) Banker: DBS Bank Ltd OCBC Ltd UOB Ltd UBS AG Auditor: Ernst & Young LLP Objective: TOPHL is a full-service arts organization with the key aim of managing art spaces under the purview of the National Arts Council, namely, The Old Parliament House, Goodman Arts Centre and Aliwal Arts Centre. It also manages Sculpture Square, The Little Arts Academy (a dedicated arts and learning space for children between the ages of 4 to 12) and the ARTrium@Old Hill Street Police Station (a performance and exhibition space located in MCCY/MCI building). Funding Sources: TOPHL is financially supported by the Government, public donations, sponsorships, sales of tickets for it programmes and rental income.