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Artículos de revistas sobre el tema "Chinese fiction – Hong Kong"

Autor: Grafiati

Publicado: 25 de julio de 2024

Última modificación: 31 de julio de 2024

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1

WU, Meng. "Fanning Out Possibilities: Dung Kai-cheung and the Multiplicities of Time". Modern Chinese Literature and Culture 34, n.º 2 (diciembre de 2022): 420–44. http://dx.doi.org/10.3366/mclc.2022.0020.

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Hong Kong has brought to world literature some of the most prolific and best-loved fiction writers in modern Chinese history. Dung Kai-cheung is one of them — a Hong Kong-based writer who has found the city to be a constant source of inspiration. This article discusses the significance of multiplicity in Dung’s fictional representation of Hong Kong (“the V-City”), focusing on his 2007 novel Histories of Time: The Luster of Mute Porcelain. In this novel, Dung explores the narrative possibility of perceiving Hong Kong as a multi-historical space through the lens of multiplying temporalities. I have coined the term “V-shaped time” to refer to this multiplication of characters and archaeology of ideas. Time, in Dung’s work, fans out with multiple possibilities of individual and collective experiences in history, with mirrored Vs resembling an hourglass. In this stratified narrative, characters create their fictional selves in their own writing. Identifying the creative self as a literary architect, Dung’s fictional writing challenges the reader to rethink a local history that has been marginalized in the linear narrative of colonial modernity.

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2

Yung, Faye Dorcas. "The Silencing of Children's Literature Publishing in Hong Kong". International Research in Children's Literature 13, Supplement (julio de 2020): 159–74. http://dx.doi.org/10.3366/ircl.2020.0344.

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Children's literature publishing in Hong Kong is supposed to enjoy the freedom of a free market economy and legal autonomy. However, the market structure and the titles available in the market dominated by imported titles reveal that children's books published in Hong Kong have little room to feature the local voice. The market conditions are tough and publishers are incentivised to publish for the larger Sinosphere market. As a result, Cantonese is absent in imported texts annotated with either Mandarin phonetics ruby characters in Hanyu Pinyin or Zhuyin symbols. Non-fiction picturebooks feature a version of history that is biased towards the Chinese Communist Party political rhetoric. Hong Kong subjectivity thus struggles to find space to be represented; usually it is found in publications by smaller independent publishers.

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3

Lashin, Roman. "     Hong Kong Scholar’s Troubled Identity in Dorothy Tse’s <em>Owlish</em>". Writing Chinese: A Journal of Contemporary Sinophone Literature 2, n.º 1 (20 de diciembre de 2023): 16–33. http://dx.doi.org/10.22599/wcj.42.

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Owlish is a part-realist part-surreal tale of a disgruntled professor in Hong Kong’s fictional double Nevers who unexpectedly falls in love with a ballerina doll. The novel’s plot unfolds against the backdrop of the growing pressure on Hong Kong’s freedoms and its very identity resulting in protests – events concealed by the veil of Dorothy Tse’s inventive language but still unmistakably discernable. This essay approaches Owlish as an academic novel i.e. literary work concerned with university professors and the vicissitudes of their lives within and outside the campus walls. The novel's protagonist, Professor Q, appears to be a brilliant cosmopolitan intellectual on the surface. Yet, deep down, he grapples with conflicting identities, mirroring the predicaments faced by Hong Kong itself. This essay’s focus lies in examining the portrayal of scholar in Owlish and comparing it to those depicted by the PRC and Sinophone writers. By doing so, the essay traces the different traits that construct Hong Kong scholar’s troubled identity, for instance, traditional Chinese literatus, renaissance-esque free-spirited thinker, and overloaded contemporary academic. Elaine Showalter observes that the best works of the academic fiction genre are not merely literary accounts of academic routine but boldly play with the genre itself and comment on pressing contemporary issues. Accordingly, the essay’s primary emphasis is on how Hong Kong professor’s identity crisis reflects the precarious state of the city’s intellectual sphere and what the outcome Tse warns against in her academic narrative.

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4

Chen, Jack W. "Love and Women in Early Chinese Fiction. By Daniel Hsieh. Hong Kong: Chinese University of Hong Kong Press, 2008. 331 pp. $39.00 (cloth)." Journal of Asian Studies 68, n.º 1 (27 de enero de 2009): 268–70. http://dx.doi.org/10.1017/s0021911809000242.

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5

Jayawickrama, Sharanya. "Metonymic Figures: Cultural Representations of Foreign Domestic Helpers and Discourses of Diversity in Hong Kong". Cultural Diversity in China 3, n.º 1 (26 de junio de 2018): 1–16. http://dx.doi.org/10.1515/cdc-2017-0006.

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Abstract Foreign Domestic Helpers account for nearly half of Hong Kong’s total ethnic minority population and are therefore integral to any discussion of diversity in the postcolonial, global Chinese city. In Asia, discourses of diversity have evolved from the juncture of complex historical, political, and cultural factors including colonialism, postcoloniality, traditional and precolonial customs and values, religious and spiritual beliefs, as well as Western-derived liberal-democratic discourses of rights and citizenship. “Diversity” has been identified as one of the core values and attributes of the territory by the Hong Kong Government yet it is not a concept that is carefully interrogated and delineated. This essay examines discourses of diversity via analysis of a varied set of cultural representations of Foreign Domestic Helpers, including a television programme and advertisements, a work of short literary fiction, online erotic fiction, social media, as well as an example of multi-media artwork. Taken together, these representative forms provide insight into the cultural imaginary that shapes private and public discourse and perception. Using an approach informed by both cognitive linguistics and postcolonial studies, the essay focuses on metonymic techniques, for example, doubling and substitution to argue that representations of Foreign Domestic Helpers reveal the anxieties, fears, and desires of the dominant culture. The essay shows that the Foreign Domestic Helper becomes a critical figure around whom linked questions of ethnicity, gender, sexuality, and class in the majority ethnic Chinese population of Hong Kong circulate.

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6

LaFleur, Frances y Michael S. Duke. "Worlds of Modern Chinese Fiction: Short Stories and Novellas from the People's Republic, Taiwan, and Hong Kong". World Literature Today 67, n.º 1 (1993): 233. http://dx.doi.org/10.2307/40149034.

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7

Tsoi, Ling Yu. "Translation of Hollywood film titles: Implications of Culture-Specific Items in Greater China". TranscUlturAl: A Journal of Translation and Cultural Studies 14, n.º 1 (22 de septiembre de 2022): 70–96. http://dx.doi.org/10.21992/tc29563.

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In view of the lack of updated analysis on film title translation in Greater China, the present study attempted to investigate translation of culture-specific items in Hollywood film titles among three regions of Greater China: Mainland China, Hong Kong and Taiwan. From 1989 to 2018, a film title database was built, comprising of 2472 source texts and over 7410 target texts. Culture-specific items were identified and classified into five themes, namely toponym; anthroponym and fictional character; forms of entertainment; means of transportation; and social taboos. Analysis was in two tiers: First, translation methods under each theme was compared within target regions. Second, corresponding cultural implications of the three target regions were discussed using the concept of glocalisation. In a translational perspective, adaptation was highly favoured by Hong Kong under film title translation, whereas transliterations and literal translations were preferred by Mainland China. In a cultural perspective, both Mainland China and Hong Kong were found to preserve local cultures via translation. While Mainland China attempted to protect the purity of Chinese language through using transliterations and literal translations, Hong Kong used Cantonese slangs and jargons to replace culture-specific items in source text. Different from the former regions, Taiwan adopted exotic and explicit translation of social taboos. The present research sheds new light on Translation Studies research by analyzing film title translation in a sociocultural perspective, and thus can offer stakeholders in the film industry to appreciate translation in another perspective.

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8

Yuwono, Edi y Stefanny Irawan. "THE MAN AT THE SELF-PAINTED WINDOW". K@ta Kita 5, n.º 1 (18 de julio de 2017): 39–46. http://dx.doi.org/10.9744/katakita.5.1.39-46.

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This creative project is an autobiographical novel that tells the story of Hero Widjaja, a Chinese Indonesian man who embarks on his journey to Hong Kong, Macau, and Mainland China to find his true identity. Having raised in a pretty conservative Chinese Indonesian family background, Hero learns that there is an unfinished business in finding his identity as a Chinese Indonesian man. His parents unconsciously indoctrinate him to identify himself just like Mainland Chinese people. On the other hand, Hero surely does not have Chinese citizenship or even speak Mandarin. One morning, his father offers him a free trip to visit his relatives in Mainland China. Keeping the desire to find his true identity, Hero decides to take the trip and prove it himself whether he is eligible to regard himself as Chinese. I decide to use Erikson’s stages of psychosocial development to identify Hero’s identity crisis. This theory aims to help me create problems and believable characterization for my characters to represent the identity crisis that Chinese Indonesian people may have in real life. As for the genre, I decide to choose biographical novel as the genre of my creative work. I mix my personal family experiences as a Chinese Indonesian man with fictional elements so that I can still catch my readers’ attention from the beginning to the end.

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9

Banh, Jenny. "“I Have an Accent in Every Language I Speak!”: Shadow History of One Chinese Family’s Multigenerational Transnational Migrations". Genealogy 3, n.º 3 (1 de julio de 2019): 36. http://dx.doi.org/10.3390/genealogy3030036.

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According to scholar and Professor Wang Gungwu, there are three categories of Chinese overseas documents: formal (archive), practical (print media), and expressive (migrant writings such as poetry). This non-fiction creative essay documents what Edna Bonacich describes as an “middleman minority” family and how we have migrated to four different nation-city states in four generations. Our double minority status in one country where we were discriminated against helped us psychologically survive in another country. My family history ultimately exemplifies the unique position “middleman minority” families have in the countries they migrate to and how the resulting discrimination that often accompanies this position can work as a psychological advantage when going to a new country. We also used our cultural capital to survive in each new country. In particular, this narrative highlights the lasting psychological effects of the transnational migration on future generations. There is a wall of shame, fear, and traumas in my family’s migration story that still pervades today. My family deals with everything with silence, obfuscation, and anger. It has taken me twenty years to recollect a story so my own descendants can know where we came from. Thus, this is a shadow history that will add to the literature on Sino-Southeast Asian migration and remigration out to the United States. Specifically, my family’s migration began with my grandfather leaving Guangdong, China to Saigon, Vietnam (1935), to Hong Kong, (1969) (then a British Colony), and eventually to the United States (1975). This article explains why my family migrated multiple times across multiple generations before eventually ending up in California. Professor Wang urges librarians, archivists, and scholars to document and preserve the Chinese migrants’ expressive desires of migrant experiences and this expressive memoir piece answers that call.

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10

Anderson, Marston. "The Russian Hero in Modern Chinese Fiction. By Mau-sang Ng. SUNY Series in Chinese Philosophy and Culture. Albany: State University of New York Press and Hong Kong: Chinese University Press, 1988. xvi, 332 pp." Journal of Asian Studies 48, n.º 2 (mayo de 1989): 370–72. http://dx.doi.org/10.2307/2057409.

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11

Delazari, Ivan. "Madeleine Thien's Chinese Encyclopedia: Facts, Musics, Sympathies". Genre 54, n.º 2 (1 de julio de 2021): 221–44. http://dx.doi.org/10.1215/00166928-9263078.

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This article explores the “encyclopedic” properties of Madeleine Thien's Do Not Say We Have Nothing (2016), seeking to define the novel as inherently comparative—that is, providing, in Edward Said's words, “a comparative or, better, a contrapuntal perspective” on the world with no need for a second counterpart text to draw cross-literary parallels. Written from a transpacific narratorial stance of a millennial Vancouver-based daughter of Chinese immigrants, the narrative communicates her secondhand knowledge about the traumatic twentieth-century history of the People's Republic of China, accumulated in multiple alternating substories of ordinary individuals’ “practical past” as opposed to official historiography. The article likens Thien's patchwork storytelling to Jorge Luis Borges's apocryphal “Chinese” encyclopedia and novel, to the premodern equation between language and reality discussed in Michel Foucault's “archaeology of knowledge,” to classical Chinese novels as described by Goethe and Franco Moretti, and to J. S. Bach's polyphonic layout of the Goldberg Variations. Constructing sympathetic networks of music and literature, Do Not Say We Have Nothing facilitates readerly immersion, yet its fictional storyworld may not feel universally plausible. Sharing its writer's experience of teaching Thien in Hong Kong, the article suggests that a critique of the novel's Western, nearly Orientalist standpoint with respect to sensitive issues of recent Chinese history does not dismiss the contrapuntal outlook Thien's readers are invited to adopt beyond their experiential backgrounds. Reading Thien, one learns to hear the world's polyphony. That, and not a comprehensive multitude of facts summarizing a national mentality and coherent knowledge about the world, makes Do Not Say We Have Nothing encyclopedic.

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12

Багаутдинова, Гульзада Гадульяновна. "The Frigate Pallada by I. A. Goncharov as a Literary Monument of Artistic Ethnology". ТРАДИЦИОННАЯ КУЛЬТУРА, n.º 5 (10 de diciembre de 2019): 181–88. http://dx.doi.org/10.26158/tk.2019.20.5.015.

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Жанровая природа «Фрегата “Паллада”» И. А. Гончарова сложна и эклектична. Несмотря на ее мозаичность, структура текста отличается четкостью, она выверена и хорошо продумана. В этом произведении повествуется о разных странах, континентах, а также населяющих их народах и этносах. В статье рассматривается одна из глав книги с точки зрения художественно-этнологического дискурса: автор-повествователь описывает нравы, род занятий, этнические особенности китайского народа, но делает это весьма живо, занимательно, эмоционально, т. е. на художественном уровне. Основным композиционным принципом произведения «Фрегат “Паллада”» становится сопоставление: выявляются сходные и отличительные признаки китайского и других этносов (американцев, англичан, русских). Кроме того, показаны и этнические особенности разных групп китайцев (китайцы Шанхая, Гонконга, Сингапура). В результате сопоставительного анализа автор приходит к выводу, что глава «Шанхай» написана большим писателем-беллетристом, не документалистом: Гончаров использует художественные приемы, определившие своеобразие его художественного мира, в том числе и романного (разнообразные ритмообразующие факторы; изящные и тонкие проявления комического начала; «архитектурную» структурированность; четкую и аргументированную авторскую позицию; гуманизм). The genre nature of The Frigate "Pallada" by Ivan Goncharov is complex and eclectic. Despite its mosaic character, the structure of the text looks precise and elaborate. The novel tells about foreign countries, continents, and nations living there. The paper focuses on one chapter of the novel; its artistic ethnology is regarded. The author-narrator depicts customs, occupations, and ethnic peculiarities of the Chinese people in a vivid, amusing, emotional way thus providing an artistic level of the description. The main principle of plot structure is the one of comparison: similar and peculiar features of the Chinese and other nations (Americans, Englishmen, Russians) are defined. Moreover, ethnic peculiarities of various groups among the Chinese are displayed (people of Shanghai, Hong Kong, and Singapore). Summing up the comparative analysis, the author concludes that the chapter entitled Shanghai seems to be written by a belletrist rather than by a documentary writer. Ivan Goncharov resorts to artistic devices typical of his fiction and novels (a variety of rhythm making factors; graceful and subtle manifestations of the comic; architectural structure; author’s viewpoint, well-grounded and precise; humanism)

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13

Feuchtwang, Stephan. "Book Review: Unstructuring Chinese Society: The Fictions of Colonial Practice and the Changing Realities of ‘Land’ in the New Territories of Hong Kong". Theory, Culture & Society 22, n.º 2 (abril de 2005): 144–45. http://dx.doi.org/10.1177/026327640502200210.

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14

Brandauer, Frederick P. "Chinese Middlebrow Fiction from the Ch'ing and Early Republican Eras. Edited by Liu Ts'un-yan, with the assistance of John Minford. Hong Kong: Chinese University Press, 1984. viii, 372 pp. Notes on Contributors, Notes on Illustrations. $35." Journal of Asian Studies 44, n.º 3 (mayo de 1985): 599–601. http://dx.doi.org/10.2307/2056289.

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15

McDougall, Bonnie S. "Ng Mau-sang: The Russian hero in modern Chinese fiction. (SUNY series in Chinese Philosophy and Culture.) xv, 332 pp. Hong Kong: Chinese University Press; Albany, N.Y.: State University of New York Press, State University of New York Press, 1988. $39.50 (paper $12.95)." Bulletin of the School of Oriental and African Studies 53, n.º 1 (febrero de 1990): 175–77. http://dx.doi.org/10.1017/s0041977x00021807.

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16

Eide, Elisabeth. "Michael S. Duke (ed.): Worlds of modern Chinese fiction: short stories and novellas from the People's Republic, Taiwan and Hong Kong. xiii, 344 pp. Armonk, N.Y. and London: M. E. Sharpe Inc., 1991: $45 (paper $16.95)." Bulletin of the School of Oriental and African Studies 55, n.º 3 (octubre de 1992): 580–81. http://dx.doi.org/10.1017/s0041977x00004122.

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17

Pollard, D. E. "Stephen C. Soong and John Minford (ed.): Tress on the mountain: an anthology of new Chinese Writing. (Renditions Book Series.) 396 pp. Hong Kong: Chinese University Press, 1984. - Michael S. Duke(ed.): Contemporary Chinese literature: an anthology of post-Mao Fiction and poetry. (An expanded version of the Bulletin of Concerned Asian Scholars, Col. 16, No. 3,1984.) 137 pp. New York: M.E.Sharpe, Inc., 1985. - Zhao Zhenkai: Waves. Transl. by Bonnie S. McDougall and Susette Ternet Cooke. 216 pp. Hong Kong: Chinese University Press, 1985." Bulletin of the School of Oriental and African Studies 50, n.º 3 (octubre de 1987): 587. http://dx.doi.org/10.1017/s0041977x00040039.

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18

Shi, Dingxu. "Hong Kong written Chinese". Journal of Asian Pacific Communication 16, n.º 2 (12 de octubre de 2006): 299–318. http://dx.doi.org/10.1075/japc.16.2.09shi.

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Hong Kong written Chinese is the register used in government documents, serious literature and the formal sections of printed media. It is a local variation of Standard Chinese and has many special features in its lexicon, syntax and discourse. These features come from three distinctive sources: English, Cantonese and innovation. The main concern of this paper is which features come from English and how they are adopted. It is shown that Hong Kong written Chinese has a large number of English loan words, both localized and semi-localized ones, and quite a few calque forms from English. Some of its lexical items have undergone semantic shift under the influence of English or Cantonese. The most interesting characteristic of Hong Kong written Chinese is that a number of its words have changed their syntactic behavior due to English influence and a few syntactic structures are apparently adopted from English. This particular form of written Chinese thus provides an excellent case to study the impact of bilingualism and multilingualism on language use and language change induced by language contact.

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19

Zee, Eric. "Chinese (Hong Kong Cantonese)". Journal of the International Phonetic Association 21, n.º 1 (junio de 1991): 46–48. http://dx.doi.org/10.1017/s0025100300006058.

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The style of speech illustrated is that typical of the educated younger generation in Hong Kong. The recording is that of a 22-year-old female university student who has lived all her life in Hong Kong.

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20

Cheung, Siu Keung. "From transnational to Chinese national?" Social Transformations in Chinese Societies 13, n.º 2 (5 de septiembre de 2017): 106–17. http://dx.doi.org/10.1108/stics-04-2017-0009.

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Purpose This paper aims to challenge the longstanding cosmopolitan interpretation of Hong Kong, particularly why this global city fails to absorb China equally through its great inclusiveness and flexibility as before. On the contrary, rising tensions, conflicts and resistance could be founded between Hong Kong and China these days. Design/methodology/approach By using Hong Kong cinema as an analytical lens, this paper seeks to throw light on the cinematic landscape of post-1997 Hong Kong and, by implications, the overall destiny of postcolonial Hong Kong under Chinese rule. Findings The postcolonial Hong Kong, although lacking a symmetric status and equal weight, remains an active player with Chinese hegemony that appeals to the newfound market power to consolidate their systemic control on the city. By acting upon itself with the subjectivity and reflexivity from itself, postcolonial Hong Kong takes many actions to do justice that criticizes the political and ideological correctness and challenges the contemporary national authority from one-party rule. Originality/value This paper demonstrates a new in-betweenness in the relation to the making of postcolonial Hong Kong. This paper advances insights into a postcolonial reinvention of the politics of disappearance that remains underexplored.

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Lok, Peter. "Lost in Hong Kong". Social Transformations in Chinese Societies 13, n.º 2 (5 de septiembre de 2017): 149–58. http://dx.doi.org/10.1108/stics-04-2017-0011.

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Purpose The purpose of this paper is to explore how a neo-liberal nationalist discourse of China imagines the spatial identity of the post-1997 Hong Kong with reference to Lost in Hong Kong, a new Chinese middle-class film in 2015 with successful box office sales. Design/methodology/approach Textual analysis with the aid of psychoanalysis, postcolonial studies and semiotics is used to interpret the meaning of the film in this study. The study also utilizes the previous literature reviews about the formation of the Chinese national identity to help analyze the distinct identity of the Chinese middle class today. Findings The discussion pinpoints how the new Chinese middle class as neo-liberal nationalists take Hong Kong as a “bizarre national redemptive space”. While Hong Kong is cinematically constructed as such a national other, this paper argues that the Hong Kong in question stands not for itself but in a form of “reverse hallucination” for pacifying the new Chinese middle class’ trauma under the rapid neo-liberalization of China in the 1990s. Originality/value This paper shows the new of formation of the Chinese nationalist’s discourse, especially the new Chinese middle-class discourse on Hong Kong after 1997.

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Mok, C. C. y C. S. Lau. "Lupus in Hong Kong Chinese". Lupus 12, n.º 9 (1 de septiembre de 2003): 717–22. http://dx.doi.org/10.1191/0961203303lu451xx.

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23

MacDonald-Jankowski, David S. y Pui Chee Wu. "Cementoblastoma in Hong Kong Chinese". Oral Surgery, Oral Medicine, Oral Pathology 73, n.º 6 (junio de 1992): 760–64. http://dx.doi.org/10.1016/0030-4220(92)90024-k.

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Tong, Christopher. "Hong Kong Poets and the Making of a Cosmopolitan Literary Genre". Writing Chinese: A Journal of Contemporary Sinophone Literature 2, n.º 1 (20 de diciembre de 2023): 66–87. http://dx.doi.org/10.22599/wcj.44.

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Hong Kong has always existed on the margins of history. Interestingly, Hong Kong’s liminal status also made it a cosmopolitan space for transcultural exchanges between Chinese and Western worlds throughout the nineteenth and twentieth centuries. Despite its unique position vis-à-vis China and the West, however, Hong Kong has long been dismissed as lacking cultural gravitas. As such, Hong Kong culture finds itself self-consciously confronting a perennial crisis: as the People’s Republic of China gains increasing recognition in the canons of world literature, Hong Kong’s cosmopolitan culture is indirectly side-lined in the process. Meanwhile, Hong Kong literature is routinely underrepresented in the canons of modern Chinese literature. Anthologies of modern Chinese poetry and poetry research, for instance, scarcely include Hong Kong poets, if at all. Given this context, this essay seeks to rearticulate the place of Hong Kong in modern Chinese literary history. More specifically, it traces the emergence of Hong Kong poetry as a cosmopolitan literary genre in the latter half of the twentieth century. The goals are threefold: to historicise the confluence of Chinese and Western literary traditions in the city of Hong Kong; to locate specific intersections of identity, language, and politics in the production of Hong Kong poetry; and to introduce biographical and bibliographical data on notable Hong Kong poets.

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CARROLL, JOHN M. "Colonial Hong Kong as a Cultural-Historical Place". Modern Asian Studies 40, n.º 2 (18 de abril de 2006): 517–43. http://dx.doi.org/10.1017/s0026749x06001958.

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In July 1997, when Hong Kong reverted to Chinese sovereignty, this former British colony became a new kind of place: a Special Administrative Region (SAR) of the People's Republic of China (PRC). In the several years leading up to the 1997 transition, a sudden outpouring of Mainland Chinese scholarship stressed how Hong Kong had been an inalienable part of China since ancient times. Until then, however, Hong Kong had rarely figured in Mainland Chinese scholarship. Indeed, Hong Kong suffered from what Michael Yahuda has called a “peculiar neglect”: administered by the British but claimed by China, it was “a kind of bureaucratic no-man's land.” Only one university in all of China had a research institute dedicated primarily to studying Hong Kong. As part of this new “Hong Kong studies” (Xianggangxue), in 1997 China's national television studio produced two multi-episodic documentaries on Hong Kong: “One Hundred Years of Hong Kong” (Xianggang bainian) and “Hong Kong Vicissitudes” (Xianggang cangsang). The studio also produced two shorter documentaries, “One Hundred Points about Hong Kong” (Xianggang baiti) and “The Story of Hong Kong” (Xianggang de gushi). The “Fragrant Harbor” that PRC historians had generally dismissed as an embarrassing anachronism in a predominantly postcolonial world suddenly found its way into millions of Mainland Chinese homes.

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Chan, Siu Han. "Chinese Nationality and Coloniality of Hong Kong Student Movement, 1960–1970s". Asian Journal of Social Science 46, n.º 3 (14 de junio de 2018): 330–58. http://dx.doi.org/10.1163/15685314-04603006.

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Abstract The present study investigates the episode of Hong Kong student movement in the 1960s to 1970s inspired by the charismatic idea of the Chinese Nation. Unlike most other cases of nationalist politics in colonial societies, Chinese identity politics in Hong Kong not only failed to challenge fundamentally the legitimacy of the British colonial state. It also did not proselytise Hong Kong people towards Chinese national identification and preoccupy Hong Kong society with the Chinese Question thereafter. Propitious colonial modernisation experience acting upon a diasporic population, which found it hard to establish meaningful rapport with the Chinese Nation, had attributed to the eccentric trajectory of Chinese Nationalism in Hong Kong. Local societal and cultural formations were then the eclectic solution to the ideational paradox of colonial modernity and Chinese Nationality in Hong Kong, which, however, remains problematic on its own, and connects closely with the lingering coloniality observed in this post-colonial society.

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Lee, Sing, Helen F. K. Chiu y Char-Nie Chen. "Anorexia Nervosa in Hong Kong". British Journal of Psychiatry 154, n.º 5 (mayo de 1989): 683–88. http://dx.doi.org/10.1192/bjp.154.5.683.

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Anorexia nervosa is a geographically distinct psychiatric disorder; it is rapidly increasing in incidence in Western countries, while being virtually unreported in China, or in the Chinese community of Hong Kong. This is surprising when the Chinese preoccupation with food and their reported readiness to somatise dysphoria are considered. Three Chinese anorectics born and living in Hong Kong and exhibiting mostly typical clinical features are reported. The rarity of the disorder in the East could be related to protective biological and sociocultural factors specific to the Chinese, and while it may become more common, anorexia nervosa is unlikely to reach Western proportions.

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Tang, Winnie. "(Re) imaginings of Hong Kong: Voices from the Hong Kong Diaspora and Their Children". Journal of Chinese Overseas 10, n.º 1 (14 de abril de 2014): 91–108. http://dx.doi.org/10.1163/17932548-12341275.

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AbstractThis paper explores the (re)imaginings of the past by Chinese Americans and their families who came as part of the Hong Kong Chinese diaspora before 1997. Hong Kong is a locale often described as being conflicted with “the politics of disappearance”, but the Hong Kong Chinese diaspora provides a rich perspective into complex and nuanced tensions between central and peripheral linguistic and cultural imperialistic fields across time. Drawing upon the sociological work of transnational migration and belonging in Hong Kong, this research explores the discourses of Hong Kong émigrés and their young adult and adult children as they discuss their immigration stories, imaginings, and reimaginings of a colonial and post-colonial Hong Kong. The paper focuses on intergenerational conveyance of imagined identities across contexts and languages.

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29

Wang, Qiyu. "The Research on the Hong Kong's Ideological Identity in Days of Being Wild". BCP Education & Psychology 8 (27 de febrero de 2023): 289–94. http://dx.doi.org/10.54691/bcpep.v8i.4342.

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At a time when Hong Kong's ideological identity is diverging from that of mainland China, Days of Being Wild, as a film that profoundly insinuates the problem of Hong Kong's identity, lurks as a root cause and a solution to the problem of resolving the conflict between Hong Kong and mainland China. At present, the ideological research on the film is mainly focused on post-colonial studies, and the value of the film for Hong Kong identity studies is not well understood. This article uses the ideological analysis of the film in John Ford's Young Mr. Lincoln of Cahiers du Cinéma to analyze the background characters and the ideology of the film, identifying two different attitudes to identity in Hong Kong during the same period: the "Hong Kong Chinese" who accepted the handover and the "Hong Kong Chinese" who accepted the handover. The film's ideological analysis reveals two different attitudes towards identity in Hong Kong during the same period: the "Hong Kong Chinese" who accepted the handover and the immigrants who completely abandoned their "Chinese" identity. On this basis, the article proposes film-making suggestions to bridge the rift between mainland China and Hong Kong: rooting in a common cultural context and reducing the export of ideological prejudice.

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30

Kin, Au Chi. "The Academic Role of Hong Kong in the Development of Chinese Culture, 1950s–70s". China Report 54, n.º 1 (28 de diciembre de 2017): 66–80. http://dx.doi.org/10.1177/0009445517744408.

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For many people, ‘Hong Kong is a cultural desert’. However, we find that Hong Kong plays an important academic role and acts as a cultural bridge between China and Western countries, especially when China experiences unstable political, economic, social and cultural situations. The People’s Republic of China was established in 1949. During this time, numerous scholars fled China and selected Hong Kong as a ‘shelter’. Some decided to stay for good, whereas others viewed the territory as a stepping stone. Regardless of their reasons, their academic performance has significantly influenced Hong Kong. Two of the most famous scholars in this period were Luo Xianglin (羅香林 Lo Shan Lin) and Qian Mu (錢穆). Luo taught at the Department of Chinese of the University of Hong Kong. Qian was a faculty member at the New Asia College, which was one of the founding members of the Chinese University of Hong Kong. This study will examine the following issues: (i) why these two scholars selected Hong Kong, (ii) what role they played in the development of tertiary education with regard to Chinese studies in Hong Kong, (iii) how they developed the role of Hong Kong as a haven for the protection of Chinese culture and (iv) how Qian Mu developed New Asia College as a vehicle for spreading the ‘New’ Asian culture in the 1960s.

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31

LEUNG, Mee Lee. "Sports Participation For Hong Kong Women And Hong Kong Initiatives". Asian Journal of Physical Education & Recreation 1, n.º 2 (1 de diciembre de 1995): 28–30. http://dx.doi.org/10.24112/ajper.11162.

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LANGUAGE NOTE | Document text in English; abstract also in Chinese.Historically, sports was globally understood within the context of a masculine value system both in the Eastern and Western Societies. The 'Ying' and the 'Yang' stand for female and male in the Chinese culture implied that the female are more fragile and submissive where as the male being more aggressive and stronger. With 90% of the population in Hong Kong being Chinese, the cultural belief in a Chinese society that "Women's place should be in the home" has confined women to attend household chores and child bearing activities. In early 20th century, with the changing role of women in China and especially in Hong Kong, women are more active that they were a decade ago. Women are equal nowadays in a wide range of activities because they are better educated, play a more committed role and live a more active life. Thus, their participation in sports has increased in the past decade both in recreation and in competition. This paper attempts to report on Hong Kong women's participation in major games and also to recommend strategies which can further enhance women's place in sports.歷史上，無論東西方社會，運動廣泛地被視為屬於雄性的項目。正如中國以陰陽來代表女男一樣，女性被認為較順從和脆弱的，而男性則較強壯和具攻擊性。在九成人口都是中國人的香港社會中，「女性應該留在家裡」的觀念曾規限著女性須要處理家務和照顧孩子的責任。踏入20世紀，女性對社會事務的參與也開始積極起來。時至今日，香港的女性在多方面都能跟男性般獲得平等對待。她們不單止得到較佳的敎育機會，在社會的角色也越來越重要。因此，無論在運動比賽及健體活動上，女性的參與比十年前的大為提高。究竟香港女性過去在主要運動競賽上的參與情況和未來女性在運動發展上方針應該如何?這都是本文探討的綱領。

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32

Pang, Ka Wei. "The making of Chinese medicine in Hong Kong". Social Transformations in Chinese Societies 14, n.º 1 (8 de mayo de 2018): 17–28. http://dx.doi.org/10.1108/stics-01-2018-0003.

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Purpose This paper aims to examine the development of Chinese medicine in Hong Kong and argues that Chinese medicine is not a mere healing practice but a discursive practice against its unique institutional context. Design/methodology/approach Reviewing the medical history in the colonial and post-colonial era, this paper delineates the dynamics between Chinese medicine and Western medicine, and the discursive shaping of Chinese medicine in Hong Kong. Findings While Chinese medicine in post-colonial Hong Kong is modernizing itself from a traditional medicine to the scientific Traditional Chinese medicine (TCM), it partakes in the decolonization and nationalization project and is geared towards the standardized TCM. Originality/value This paper proposed a critical cultural perspective in studying the discursive formation of Chinese medicine in Hong Kong.

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33

Tam, Yuk Him. "Colonoscopy in Hong Kong Chinese children". World Journal of Gastroenterology 16, n.º 9 (2010): 1119. http://dx.doi.org/10.3748/wjg.v16.i9.1119.

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34

Cheung, Sin-wan, Pauline Cho y William Douthwaite. "Corneal shape of Hong Kong-Chinese". Ophthalmic and Physiological Optics 20, n.º 2 (marzo de 2000): 119–25. http://dx.doi.org/10.1046/j.1475-1313.2000.00488.x.

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35

Whittall, David. "Chinese Neo authoritarianism and Hong Kong". Journal of East and West Studies 20, n.º 2 (octubre de 1991): 23–34. http://dx.doi.org/10.1080/12265089108449700.

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36

Chen, Gang. "Mainland Chinese Enterprises in Hong Kong". Asian Survey 58, n.º 3 (mayo de 2018): 464–85. http://dx.doi.org/10.1525/as.2018.58.3.464.

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This paper examines the under-researched subject of the political and economic functions of Mainland Chinese enterprises in Hong Kong. The lack of effective cross-border supervision of these offshore state assets has exacerbated the longstanding principal–agent problem, resulting in spillover effects such as high property prices and worsening corporate corruption.

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37

Huang, C. Y., F. L. Chan, Y. L. Yu, E. Woo y D. Chin. "Cerebrovascular disease in Hong Kong Chinese." Stroke 21, n.º 2 (febrero de 1990): 230–35. http://dx.doi.org/10.1161/01.str.21.2.230.

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38

Yu, Y. L., B. R. Hawkins, M. S. M. Ip, V. Wong y E. Woo. "Myasthenia gravis in Hong Kong Chinese". Acta Neurologica Scandinavica 86, n.º 2 (agosto de 1992): 113–19. http://dx.doi.org/10.1111/j.1600-0404.1992.tb05050.x.

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39

Cheung, S. "Corneal shape of Hong Kong-Chinese". Ophthalmic and Physiological Optics 20, n.º 2 (15 de marzo de 2000): 119–25. http://dx.doi.org/10.1016/s0275-5408(99)00045-9.

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40

Chan, Alan H. S. y Alan J. Courtney. "Color associations for Hong Kong Chinese". International Journal of Industrial Ergonomics 28, n.º 3-4 (septiembre de 2001): 165–70. http://dx.doi.org/10.1016/s0169-8141(01)00029-4.

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41

Furnham, Adrian y Michael Bond. "Hong Kong Chinese explanations for wealth". Journal of Economic Psychology 7, n.º 4 (diciembre de 1986): 447–60. http://dx.doi.org/10.1016/0167-4870(86)90033-4.

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42

Ho, W. S. y S. Y. Ying. "Suicidal burns in Hong Kong Chinese". Burns 27, n.º 2 (marzo de 2001): 125–27. http://dx.doi.org/10.1016/s0305-4179(00)00093-0.

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43

Chuang, Richard. "The Chinese Military and Hong Kong". Asian Affairs: An American Review 22, n.º 4 (enero de 1996): 211–23. http://dx.doi.org/10.1080/00927678.1996.9933711.

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44

Wong, Kam C. "Chinese Jurisprudence and Hong Kong Law". China Report 45, n.º 3 (agosto de 2009): 213–39. http://dx.doi.org/10.1177/000944551004500302.

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45

Chou, Kee-Lee. "Hong Kong Chinese Everyday Competence Scale". Clinical Gerontologist 26, n.º 1-2 (17 de marzo de 2003): 43–51. http://dx.doi.org/10.1300/j018v26n01_05.

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46

Lam, Cindy L. K., Martine G. Catarivas, Clarke Munro y Ian J. Lauder. "Self-medication among Hong Kong Chinese". Social Science & Medicine 39, n.º 12 (diciembre de 1994): 1641–47. http://dx.doi.org/10.1016/0277-9536(94)90078-7.

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47

Salili, Farideh y Rumjahn Hoosain. "Hyperactivity among Hong Kong Chinese children". International Journal of Intercultural Relations 9, n.º 2 (enero de 1985): 177–85. http://dx.doi.org/10.1016/0147-1767(85)90006-9.

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48

Liang, Raymond, Peter Choi, David Todd, T. K. Chan, Damon Choy y Faith Ho. "Hodgkin's disease in Hong Kong Chinese". Hematological Oncology 7, n.º 6 (noviembre de 1989): 395–403. http://dx.doi.org/10.1002/hon.2900070602.

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49

Selmer, Jan, Eric S. H. Ling, Lewis S. C. Shiu y Corinna T. de Leon. "Reciprocal adjustment? mainland Chinese managers in Hong Kong vs. Hong Kong Chinese managers on the mainland". Cross Cultural Management: An International Journal 10, n.º 3 (septiembre de 2003): 58–79. http://dx.doi.org/10.1108/13527600310797649.

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50

Ho, Wai-chung. "The political meaning of Hong Kong popular music: a review of sociopolitical relations between Hong Kong and the People's Republic of China since the 1980s". Popular Music 19, n.º 3 (octubre de 2000): 341–53. http://dx.doi.org/10.1017/s0261143000000209.

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IntroductionThe aim of this paper is to analyse shifting themes in the meanings of Hong Kong popular songs relating to ideological and political changes in Hong Kong since the 1989 Tiananmen Square incident (TSI). In particular, the paper examines the relationship between Hong Kong and the People's Republic of China (PRC) concerning the transmission of Hong Kong popular music, and argues that Chinese, Hong Kong and Taiwanese popular musics articulate fluctuating political meanings. Attention will be focused predominantly on the lyrics, but some aspects of the music are also invoked. After highlighting the political and cultural relations between Hong Kong and the PRC, I discuss the social transformations and the struggles for democracy delineated in Chinese popular music during the 1989 TSI. This is followed by an examination of the intensification of the conflict between the PRC and Hong Kong over the dissemination of popular songs carrying democratic messages in Hong Kong. Finally, the paper considers the rise of patriotism and/or nationalism through lyrics rooted in the notion of educating Hong Kong Chinese people into accepting the cultural and political identity of mainland China, and the promotion of popular songs in the official language of the PRC, Putonghua, since the late transitional period.

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