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Icons, Culture and Collective Identity of Postwar Hong Kong
Intercultural Communication Studies XXII: 1 (2013) R. MAK & C. CHAN Icons, Culture and Collective Identity of Postwar Hong Kong Ricardo K. S. MAK & Catherine S. CHAN Hong Kong Baptist University, Hong Kong S.A.R., China Abstract: Icons, which take the form of images, artifacts, landmarks, or fictional figures, represent mounds of meaning stuck in the collective unconsciousness of different communities. Icons are shortcuts to values, identity or feelings that their users collectively share and treasure. Through the concrete identification and analysis of icons of post-war Hong Kong, this paper attempts to highlight not only Hong Kong people’s changing collective needs and mental or material hunger, but also their continuous search for identity. Keywords: Icons, Hong Kong, Hong Kong Chinese, 1997, values, identity, lifestyle, business, popular culture, fusion, hybridity, colonialism, economic takeoff, consumerism, show business 1. Introduction: Telling Hong Kong’s Story through Icons It seems easy to tell the story of post-war Hong Kong. If merely delineating the sky-high synopsis of the city, the ups and downs, high highs and low lows are at once evidently remarkable: a collective struggle for survival in the post-war years, tremendous social instability in the 1960s, industrial take-off in the 1970s, a growth in economic confidence and cultural arrogance in the 1980s and a rich cultural upheaval in search of locality before the handover. The early 21st century might as well sum up the development of Hong Kong, whose history is long yet surprisingly short- propelled by capitalism, gnawing away at globalization and living off its elastic schizophrenia. -
Radio Television Hong Kong
RADIO TELEVISION HONG KONG PERFORMANCE PLEDGE This leaflet summarizes the services provided by Radio Television Hong Kong (RTHK) and the standards you can expect. It also explains the steps you can take if you have a comment or a complaint. 1. Hong Kong's Public Broadcaster RTHK is the sole public broadcaster in the HKSAR. Its primary obligation is to serve all audiences - including special interest groups - by providing diversified radio, television and internet services that are distinctive and of high quality, in news and current affairs, arts, culture and education. RTHK is editorially independent and its productions are guided by professional standards set out in the RTHK Producers’ Guidelines. Our Vision To be a leading public broadcaster in the new media environment Our Mission To inform, educate and entertain our audiences through multi-media programming To provide timely, impartial coverage of local and global events and issues To deliver programming which contributes to the openness and cultural diversity of Hong Kong To provide a platform for free and unfettered expression of views To serve a broad spectrum of audiences and cater to the needs of minority interest groups 2. Corporate Initiatives In 2010-11, RTHK will continue to enhance participation by stakeholders and the general public with a view to strengthening transparency and accountability; maximize return on government funding by further enhancing cost efficiency and productivity; continue to ensure staff handle public funds in a prudent and cost-effective manner; actively explore opportunities in generating revenue for the government from RTHK programmes and contents; provide media coverage and produce special radio, television programmes and related web content for Legislative Council By-Elections 2010, Shanghai Expo 2010, 2010 Asian Games in Guangzhou and World Cup in South Africa; and carry out the preparatory work for launching the new digital audio broadcasting and digital terrestrial television services to achieve its mission as the public service broadcaster. -
Cantonese Vs. Mandarin: a Summary
Cantonese vs. Mandarin: A summary JMFT October 21, 2015 This short essay is intended to summarise the similarities and differences between Cantonese and Mandarin. 1 Introduction The large geographical area that is referred to as `China'1 is home to many languages and dialects. Most of these languages are related, and fall under the umbrella term Hanyu (¡£), a term which is usually translated as `Chinese' and spoken of as though it were a unified language. In fact, there are hundreds of dialects and varieties of Chinese, which are not mutually intelligible. With 910 million speakers worldwide2, Mandarin is by far the most common dialect of Chinese. `Mandarin' or `guanhua' originally referred to the language of the mandarins, the government bureaucrats who were based in Beijing. This language was based on the Bejing dialect of Chinese. It was promoted by the Qing dynasty (1644{1912) and later the People's Republic (1949{) as the country's lingua franca, as part of efforts by these governments to establish political unity. Mandarin is now used by most people in China and Taiwan. 3 Mandarin itself consists of many subvarities which are not mutually intelligible. Cantonese (Yuetyu (£) is named after the city Canton, whose name is now transliterated as Guangdong. It is spoken in Hong Kong and Macau (with a combined population of around 8 million), and, owing to these cities' former colonial status, by many overseas Chinese. In the rest of China, Cantonese is relatively rare, but it is still sometimes spoken in Guangzhou. 2 History and etymology It is interesting to note that the Cantonese name for Cantonese, Yuetyu, means `language of the Yuet people'. -
Book of Abstract Cantonese Syntax
THE 1ST INTERNATIONAL WORKSHOP ON CANTONESE SYNTAX BOOK OF ABSTRACTS OLOMOUC 2019 THE 1ST INTERNATIONAL WORKSHOP ON CANTONESE SYNTAX BOOK OF ABSTRACTS June 27-28, 2019 Palacký University in Olomouc Sinophone Borderlands – Interaction at the Edges reg. no. CZ.02.1.01/0.0/0.0/16_019/0000791 Excellent research Website: http://sinofon.cz/ Contact: [email protected] The 1st International Workshop on Cantonese Syntax The 1st International Workshop on Cantonese Syntax will be held on 27–28 June, 2019, Palacký University in Olomouc, Czech Republic. It aims to provide a forum for researchers to meet and discuss current development in Cantonese Syntax and to promote the study of Cantonese syntax in Central Europe. 3 Program 14:30–15:00 Relative clauses in Cantonese June 28, 2019 Jiaying Huang (Paris Diderot University) Moderator: Lisa Cheng 09:00–10:00 Verb stranding ellipsis: evidence from Cantonese Lisa Lai-Shen Cheng (Leiden University) 15:00–15:15 COFFEE BREAK June 27, 2019 Moderator: Joanna Sio 15:15–16:15 A Cantonese perspective on the head and the tail of the 09:00–10:00 On the hierarchical structure of Cantonese structure of the verbal domain 10:00–10:15 COFFEE BREAK sentence-final particle Rint Sybesma (Leiden University) Sze-Wing Tang (Chinese University of Hong Kong) 10:15–10:45 Morpho-syntax of non-VO separable compound verbs in Moderator: Joanna Sio Cantonese Moderator: Joanna Sio Sheila S.L. Chan and Lawrence Cheung (both Chinese 16:15–18:00 Reception (Konvikt Garden) University of Hong Kong) 10:00–10:15 COFFEE BREAK Moderator: Rint -
A Cantonese Opera Based on a Midsummer Night's Dream
A Dream in Fantasia — A Cantonese Opera Based on A Midsummer Night's Dream Loretta Ling Yeung, Hong Kong and Augusta, Georgia USA Abstract This review discusses an appropriation of A Midsummer Night's Dream by the Hong Kong Young Talent Cantonese Opera Troupe. While retaining most of Shakespeare's characters and his basic plot structure, the new opera, A Dream in Fantasia, aimed to expand the audience for Cantonese opera. At the same time it proved to be transparently entertaining to its Cantonese audience. A Dream in Fantasia (adapted from William Shakespeare's A Midsummer Night's Dream), with a new script by Keith Lai. Hong Kong Young Talent Cantonese Opera Troupe. Director, Lee Lung. Cast: Lam Tin-Yao as Linghu Feng (Demetrius); Doris Kwan as Xiahou Jun (Lysander); Lam Tsz-Ching as Yuwen Piaopiao (Hermia); Cheng Nga-Kei as Murong Xiangxiang (Helena); guest artist Kwok Kai-Fai as Crown Prince Gongyang (Oberon); guest artist Leung Wai-Hong as the Crown Princess (Titania); Hong Wah as the Forest Fairy (Puck); Wong Kit-Ching as Shangguan Chan (Peter Quince); Yuen Seen-Ting as Zhuge Zi (Bottom); Keith Lai as Chanyu Xiong 2 Borrowers and Lenders (Egeus); and Wong Po-Hyun as Queen Xuanyuan (Hippolyta). Tsuen Wan City Hall Auditorium, Hong Kong, 14 December 2013. As I enter the theater at the City Hall of Tsuen Wan, a suburb of Hong Kong, the audience — predominantly elderly people and women — is eagerly waiting to watch A Midsummer Night's Dream in a Cantonese version, entitled A Dream in Fantasia (figure 1).1 At stage right, a small Chinese orchestra is about take us to Fairyland, where four confused young lovers will try to find true love, while a group of villagers prepare a show for the Queen's birthday. -
A Chinese Opera As Rule of Law and Legal Narrative Elaine Y.L
Law Text Culture Volume 18 The Rule of Law and the Cultural Article 3 Imaginary in (Post-)colonial East Asia 2014 Searching the Academy (Soushuyuan搜書院): A Chinese Opera as Rule of Law and Legal Narrative Elaine Y.L. Ho University of Hong Kong Johannes M.M. Chan University of Hong Kong Follow this and additional works at: http://ro.uow.edu.au/ltc Recommended Citation Ho, Elaine Y.L. and Chan, Johannes M.M., Searching the Academy (Soushuyuan搜書院): A Chinese Opera as Rule of Law and Legal Narrative, Law Text Culture, 18, 2014, 6-32. Available at:http://ro.uow.edu.au/ltc/vol18/iss1/3 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Searching the Academy (Soushuyuan搜書院): A Chinese Opera as Rule of Law and Legal Narrative Abstract In earlier scholarship on traditional societies that became colonised, relations between imported legal systems and indigenous customs that had long operated with quasi-legal effect are often studied in terms of conflict and opposition, to show how western or European institutions progressively displaced what existed before their arrival. In her more recent studies of legal pluralism, however, Lauren Benton argues persuasively from many historical examples and cases that indigenous culture and contingent historical situations are major forces that mediate legal development and change. Though acknowledging her debt to Homi Bhabha’s theorising of hybridised subjects and their disruptions of asymmetrical colonial relations, Benton nonetheless critiques Bhabha’s assumption of ‘a preexisting and relatively constant cultural divide’ (Benton and Muth 2000). -
OFFICIAL RECORD of PROCEEDINGS Wednesday, 16
LEGISLATIVE COUNCIL ─ 16 October 2013 483 OFFICIAL RECORD OF PROCEEDINGS Wednesday, 16 October 2013 The Council met at Eleven o'clock MEMBERS PRESENT: THE PRESIDENT THE HONOURABLE JASPER TSANG YOK-SING, G.B.S., J.P. THE HONOURABLE ALBERT HO CHUN-YAN THE HONOURABLE LEE CHEUK-YAN THE HONOURABLE JAMES TO KUN-SUN THE HONOURABLE CHAN KAM-LAM, S.B.S., J.P. THE HONOURABLE LEUNG YIU-CHUNG THE HONOURABLE EMILY LAU WAI-HING, J.P. THE HONOURABLE TAM YIU-CHUNG, G.B.S., J.P. THE HONOURABLE ABRAHAM SHEK LAI-HIM, G.B.S., J.P. THE HONOURABLE TOMMY CHEUNG YU-YAN, S.B.S., J.P. THE HONOURABLE FREDERICK FUNG KIN-KEE, S.B.S., J.P. THE HONOURABLE VINCENT FANG KANG, S.B.S., J.P. THE HONOURABLE WONG KWOK-HING, B.B.S., M.H. 484 LEGISLATIVE COUNCIL ─ 16 October 2013 PROF THE HONOURABLE JOSEPH LEE KOK-LONG, S.B.S., J.P., Ph.D., R.N. THE HONOURABLE JEFFREY LAM KIN-FUNG, G.B.S., J.P. THE HONOURABLE ANDREW LEUNG KWAN-YUEN, G.B.S., J.P. THE HONOURABLE WONG TING-KWONG, S.B.S., J.P. THE HONOURABLE RONNY TONG KA-WAH, S.C. THE HONOURABLE CYD HO SAU-LAN THE HONOURABLE STARRY LEE WAI-KING, J.P. DR THE HONOURABLE LAM TAI-FAI, S.B.S., J.P. THE HONOURABLE CHAN HAK-KAN, J.P. THE HONOURABLE CHAN KIN-POR, B.B.S., J.P. DR THE HONOURABLE PRISCILLA LEUNG MEI-FUN, S.B.S., J.P. DR THE HONOURABLE LEUNG KA-LAU THE HONOURABLE CHEUNG KWOK-CHE THE HONOURABLE WONG KWOK-KIN, B.B.S. -
Linguistica 75
www.porticolibrerias.es Nº 782 PÓRTICOSemanal Lingüística 75 23 abril 2007 Responsable de la Sección: Pilar Aguirre Dirige: José Miguel Alcrudo Lingüística general: 001 – 069 Latín – Griego – Sánscrito: 070 – 078 Lenguas romances: 079 – 157 Lenguas germánicas: 158 – 203 LINGÜÍSTICA GENERAL 001 Abraham, W. / L. Leisio, eds.: Passivization and Typology. Form and Function 2006 – x + 553 pp. € 150,80 INDICE: W. Abraham: Introduction: passivization and typology. Form vs. function — a confined survey into the research status quo — 1. Functional approaches: A) Active-passive and reflexives: E. Geniušiené: Passives in Lithuanian (in comparison with Russian) — L. Kulikov: Passive and middle in Indo-European: reconstructing the early Vedic passive paradigm — B) Triggers — aspectual, semantic and discourse-pragmatic: case studies: M. Peltomaa: Pragmatic nature of Mandarin passive-like cons- truction — A. Prasithrathsint: Development of the thùuk passive marker in Thai — B. Nolan: The passives of modern Irish — M. Salo: The passive in Erzya Mordvin folklore — J. Toyota / M. Mustafovi: Grammatical voice and tense-aspect in Slavic — L. Leisiö: Passive in Nganasan — C) Actor demotion: A. Sansò: ‘Agent defocusing’ revisited: passive and impersonal constructions in some European languages — B. Wiemer: Relations between actor-demoting devices in Lithuanian: dedicated to E. Geniušiené — D) Grammaticalization in long-term diachrony: M. Cennamo: The rise and grammaticalization paths of Latin fieri and facere as passive auxiliaries — T. Givón: Grammatical relations in passive clauses: a diachronic perspective — 2. Formal approaches: A) Argument structure and case: K. Sasaki / A. Yamazaki: Two types of detransitive constructions in the Hokkaido dialect of Japanese — T. A. Åfarli: Passive and argument structure B. Öztürk: Case-driven agree, EPP and passive in Turkish — K. -
A Hermeneutical Approach of Gender Linguistic Materiality: Semiotic and Structural Categorisation of Gender in Hong Kong Cantonese Julie Abbou, Angela Tse
A Hermeneutical Approach of Gender Linguistic Materiality: Semiotic and Structural Categorisation of Gender in Hong Kong Cantonese Julie Abbou, Angela Tse To cite this version: Julie Abbou, Angela Tse. A Hermeneutical Approach of Gender Linguistic Materiality: Semiotic and Structural Categorisation of Gender in Hong Kong Cantonese. Julie Abbou; Fabienne H. Baider. Gen- der, Language and the Periphery: Grammatical and social gender from the margins, John Benjamins, pp.89-128, 2016, 9789027256690 ; 9789027266835. halshs-01955387 HAL Id: halshs-01955387 https://halshs.archives-ouvertes.fr/halshs-01955387 Submitted on 14 Dec 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. A Hermeneutical Approach of Gender Linguistic Materiality: Semiotic and Structural Categorisation of Gender in Hong Kong Cantonese Julie ABBOU* & Angela TSE** * University of Lorraine ** Hong Kong Polytechnic University Abstract While most of the Cantonese grammar textbooks draw on the assumption that gender is absent in this language, the fact, however, remains that the masculine/feminine relationship – and its consequential social assignation– is indeed expressed in Cantonese. This study explores how and where gender is indexed in the linguistic materiality of Cantonese. To serve such purpose, an interdisciplinary framework is built at the crossroads of linguistics and gender studies towards a hermeneutical re-definition of gender as a semiotic form structuring power relationships. -
Curriculum Vitae Bell Yung Professor of Music University of Pittsburgh (January 2011)
Bell Yung’s CV 1 Curriculum Vitae Bell Yung Professor of Music University of Pittsburgh (January 2011) Home Address 504 N. Neville St., Pittsburgh, PA 15213 Tel: (412) 681-1643 Office Address Room 206, Music Building University of Pittsburgh, Pittsburgh, PA 15260 Tel: (412) 624-4061; Fax: (412) 624-4186 e-mail: [email protected] Education Ph.D. in Music, Harvard University, 1976 Ph.D. in Physics, Massachusetts Institute of Technology, 1970 B.Sc. in Engineering Physics, University of California, Berkeley, 1964 Piano performance with Kyriana Siloti, 1967-69 Piano pedagogy at Boston University Summer School at Tanglewood, 1967 Performance studies of various instruments in the Javanese gamelan ensemble, particularly on gender barung (metal xylophone) with Pak Djokowaluya, Yogyakarta, summer 1983. Performance studies of various Chinese instruments; in particular qin (seven-string zither) with Masters Tsar Teh-yun of Hong Kong, from 1978 on, and Yao Bingyan of Shanghai, summer of 1980, 81, 82. Academic Employment University of Pittsburgh Professor of Music, 1994 (On leave 1996-98, and on leave half time 98-02) Associate Professor of Music, 1987 Assistant Professor of Music, 1981 University of Hong Kong Kwan Fong Chair in Chinese Music, University of Hong Kong, 1998.2 – 2002.7. Reader in Music, University of Hong Kong, 1996.8-1998.2 (From February 1998 to 2002, I held joint appointments at the University of Pittsburgh and the University of Hong Kong, teaching one term a year at each institution.) University of California at Davis, Visiting Associate -
University of Southampton Research Repository Eprints Soton
University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES Film Studies Hong Kong Cinema Since 1997: The Response of Filmmakers Following the Political Handover from Britain to the People’s Republic of China by Sherry Xiaorui Xu Thesis for the degree of Doctor of Philosophy December 2012 UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF HUMANITIES Film Studies Doctor of Philosophy HONG KONG CINEMA SINCE 1997: THE RESPONSE OF FILMMAKERS FOLLOWING THE POLITICAL HANDOVER FROM BRITAIN TO THE PEOPLE’S REPUBLIC OF CHINA by Sherry Xiaorui Xu This thesis was instigated through a consideration of the views held by many film scholars who predicted that the political handover that took place on the July 1 1997, whereby Hong Kong was returned to the sovereignty of the People’s Republic of China (PRC) from British colonial rule, would result in the “end” of Hong Kong cinema. -
Rendering the Regional
Rendering the Regional Rendering the Regional LOCAL LANGUAGE IN CONTEMPORARY CHINESE MEDIA Edward M.Gunn University of Hawai`i Press Honolulu Publication of this book was aided by the Hull Memorial Publication Fund of Cornell University. ( 2006 University of Hawai`i Press All rights reserved Printed in the United States of America 111009080706654321 Library of Congress Cataloging-in-Publication Data Gunn, Edward M. Rendering the regional : local language in contemporary Chinese media / Edward M. Gunn. p. cm. Includes bibliographical references and index. ISBN 0-8248-2883-6 (alk. paper) 1. Language and cultureÐChina. 2. Language and cultureÐTaiwan. 3. Popular cultureÐChina. 4. Popular cultureÐTaiwan. I. Title. P35.5.C6G86 2005 306.4400951Ðdc22 2005004866 University of Hawai`i Press books are printed on acid-free paper and meet the guidelines for permanence and durability of the Council on Library Resources. Designed by University of Hawai`i Press Production Staff Printed by The Maple-Vail Book Manufacturing Group Contents List of Maps and Illustrations /vi Acknowledgments / vii A Note on Romanizations /ix Introduction / 1 1 (Im)pure Culture in Hong Kong / 17 2 Polyglot Pluralism and Taiwan / 60 3 Guilty Pleasures on the Mainland Stage and in Broadcast Media / 108 4 Inadequacies Explored: Fiction and Film in Mainland China / 157 Conclusion: The Rhetoric of Local Languages / 204 Notes / 211 Sources Cited / 231 Index / 251 ±v± List of Maps and Illustrations Figure 1. Map showing distribution of Sinitic (Han) Languages / 2 Figure 2. Map of locations cited in the text / 6 Figure 3. The Hong Kong ®lm Cageman /42 Figure 4. Illustrated romance and pornography in Hong Kong / 46 Figure 5.