Gotowe bibliografie tematyczne / Hong Kong fiction

Gotowa bibliografia na temat „Hong Kong fiction”

Autor: Grafiati
Data publikacji: 25 lipca 2024
Data aktualizacji: 31 lipca 2024

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Artykuły w czasopismach na temat "Hong Kong fiction"

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WU, Meng. "Fanning Out Possibilities: Dung Kai-cheung and the Multiplicities of Time". Modern Chinese Literature and Culture 34, nr 2 (grudzień 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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Marchetti, Gina. "Documentary and democracy: An interview with Evans Chan". Asian Cinema 33, nr 2 (1.10.2022): 257–75. http://dx.doi.org/10.1386/ac_00059_7.

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Gina Marchetti’s interview with NewYork-based Hong Kong independent filmmaker Evans Chan took place after Chan had said goodbye to his former home and to nearly three decades of filmmaking in the city, following the introduction of Hong Kong’s National Security Law in 2020. Her interview focuses on Chan’s non-fiction filmmaking, particularly his recent films dealing with Hong Kong’s two protest movements of 2014 and 2019, namely Raise the Umbrellas 撐傘 () and We Have Boots 我們有雨靴 (). While the latter part of the interview concerns Chan’s thoughts on the relationship between documentaries and democracy, it also explores the signature aesthetics of his films and an underlying ‘story of Hong Kong’, which the interviewer sees as a consistent thread running through his fiction and non-fiction filmography. A wide range of cinematic, literary, sociopolitical and philosophical influences in his work emerge in the course of this in-depth interview with the filmmaker.
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Sia, Tiffany. "New Territories". Film Quarterly 76, nr 4 (2023): 9–21. http://dx.doi.org/10.1525/fq.2023.76.4.9.

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What is the “Hong Kong” cathected through film, both past and present? The central project shared by parallel visions of Hong Kong––former and contemporary, narrative fiction and nonfiction documentary, commercial and independent––is that of how to encounter and (re)vivify the past through cinema. But how is it possible to move toward the past, especially the recent past, without a nostalgia tinged by sentimentality or an inherent longing for a fantasy of the past? Chan Tze-woon’s Blue Island offers up a unique challenge to Hong Kong cinema, contesting the former tropes of the sentimental and all its nostalgic reckonings with the past. In theorizing towards a new Hong Kong cinema, this article examines the legacy of its golden age against emerging counterpublics––fugitive, exilic and postnational––that profoundly reshape Hong Kong cinema today within and beyond the local.
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Yeung, Jessica Siu-yin. "Hong Kong Literature and the Taiwanese Encounter: Literary Magazines, Popular Literature and Shih Shu-Ching's Hong Kong Stories". Cultural History 12, nr 2 (październik 2023): 224–50. http://dx.doi.org/10.3366/cult.2023.0288.

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This article examines the ways literary adaptations between Hong Kong and Taiwanese writers shape literary cultures in both places during the Cold War period. The 1950s and 1960s were the time when Hong Kong and Taiwan literary cultures were starting to thrive. An influx of literati into both places collaborated with each other and the locals to experiment with literary forms in literary magazines. The 1950s and 1960s were also the time when Hong Kong and Taiwan cinema experienced the first waves of adapting literary works into film in the postwar period. After the literary magazine culture dwindled in the 1970s, a new generation of writers in both places emerged. In Hong Kong, these new writers may not be native, but they take Hong Kong as their main subject in their writings. The Taiwanese writer Shih Shu-ching is one of them. In studying Hong Kong-Taiwan literary adaptation histories, one may easily overlook the adaptation from fiction to screenplay, as in Shih and the Taiwanese playwright Wang Chi-mei's case. By understanding the literary relationship between Hong Kong and Taiwan in the Cold War, together with their adaptation histories, we can acquire a clearer sense of how these literary cultures developed.
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Shen, Shuang. "Popular Literature in the Inter-imperial Space of Hong Kong and Singapore/Malaya". Prism 19, nr 2 (1.09.2022): 301–18. http://dx.doi.org/10.1215/25783491-9966657.

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Abstract This article addresses the neglect toward popular literary networks with Hong Kong in the Cold War period by influential Mahua scholars. Aiming to make way for a more robust discourse of cultural politics in tandem with a regional conceptualization of Sinophone cultural production, the article proposes to understand popular forms such as romance fiction as arising from and coconstituting a regional Sinosphere that can only be understood, following Laura Doyle's recent study, as inter-imperial. Offering a reading of the Hong Kong writer Liu Yichang's romantic fiction and immigrant stories, I show how the stories signify a geopolitical reckoning with the Cold War patterning of the world. This perspective offers more ways for us to evaluate how the regional literary field intersected with the Cold War beyond the singular defense of its “literariness.”
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Yung, Faye Dorcas. "The Silencing of Children's Literature Publishing in Hong Kong". International Research in Children's Literature 13, Supplement (lipiec 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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Lashin, Roman. "&nbsp;&nbsp;&nbsp;&nbsp; Hong Kong Scholar’s Troubled Identity in Dorothy Tse’s <em>Owlish</em>". Writing Chinese: A Journal of Contemporary Sinophone Literature 2, nr 1 (20.12.2023): 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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Yee Lin Ho, Elaine. "Women in Exile: Gender and Community in Hong Kong Fiction". Journal of Commonwealth Literature 29, nr 1 (marzec 1994): 29–46. http://dx.doi.org/10.1177/002198949402900104.

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Jayawickrama, Sharanya. "Metonymic Figures: Cultural Representations of Foreign Domestic Helpers and Discourses of Diversity in Hong Kong". Cultural Diversity in China 3, nr 1 (26.06.2018): 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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오계영 i 임춘미. "The Construction of Hong Kong Identity in Xi Xi’s Works of Fiction". Journal of Study on Language and Culture of Korea and China ll, nr 26 (czerwiec 2011): 293–312. http://dx.doi.org/10.16874/jslckc.2011..26.013.

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Rozprawy doktorskie na temat "Hong Kong fiction"

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Lam, Yat-lim, i 林逸濂. "The society of Hong Kong in Lilian Lee's fiction =". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B43208629.

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Lau, Cheung-cheung, i 劉章璋. "A study of Manga and adolescent popular fiction in Hong Kong". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31221142.

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Lau, Cheung-cheung. "A study of Manga and adolescent popular fiction in Hong Kong /". Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20354010.

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Yeung, Mei-yee. "Searching for a cultural identity : Hong Kong fiction from the fifties to the nineties /". Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19605389.

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Ma, Guoming, i 馬國明. "Hong Kong martial art novels: the case of Louis Cha". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B31212566.

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Wong, Yee-ling, i 黃綺玲. "Cyborgs, capitalism, hope: a study of Hong Kong and Hollywood science fiction films". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hub.hku.hk/bib/B50900146.

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Posthuman representations in selected Hollywood and Hong Kong science fiction films show new interconnections in “techno-globalization.” They also exhibit a waning relationship between the “center” and the “margin” of technoculture. This study discusses the relation of technology, humanity, affect, and aesthetics in selective science fiction films produced from 1984 to 2010. The science fiction features were made in the United States and in Hong Kong. They include: The Terminator (1984), Terminator2 (1991), Terminator Salvation (2009), A.I. Artificial Intelligence (2002), I Love Maria (1988), Kung Fu Cyborg (2009) and Future X-Cops (2010). In particular, Kung Fu Cyborg merges the popular genre conventions of martial arts and technoculture, and manifests a different imagination at work wherein Hong Kong’s martial arts cinema stands in the place of a scientific-based Western technoculture absent in Hong Kong science fiction films. This study presents several key critical frames elaborated by scholars of science fiction who have assessed the recurrent themes and figures of science fiction films. The discussion of films identifies the resemblances, the differences, and the competitive dynamic between American science fiction films and Hong Kong action features. The absence of utopian or dystopian figures in posthuman filmic representations in Hong Kong cinema is considered an important difference from Western science fiction films. This thesis examines the figure of the cyborg and argues for the important place of emotions and the power to emote and hope as having a complex relationship to technology, humans and humanness. The compassionate cyborg has temporal and moral dimensions relating to belief and religion in this important genre. Thus, this thesis examines the backdrop for science fiction affect, which is one of oppression and crisis that speaks to the conditions of capitalism and modernity. The affective cyborgs make an important figure in the science fiction films that concern the crisis conditions, the appeal of technology, and the conventions of science fiction genre in commercial cinema.
published_or_final_version
Comparative Literature
Master
Master of Philosophy
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Lu, Pei'er. "Xu shu "jiu qi" : Xianggang xiao shuo zhong de shi jian yu xu shi = Narrating "1997" : time and narrative in Hong Kong novels /". click here to view the fulltext click here to view the abstract and table of contents, 2006. http://net3.hkbu.edu.hk/~libres/cgi-bin/thesisft.pl?pdf=b19843926f.pdf.

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Chak, Winnie. "The Sixth Try". Chapman University Digital Commons, 2020. https://digitalcommons.chapman.edu/creative_writing_theses/5.

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Yeung, Mei-yee, i 楊美儀. "Searching for a cultural identity: Hong Kong fiction from the fifties to the nineties". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31220216.

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Chow, Chi-shing Jeffrey, i 鄒志誠. "Postcoloniality in Hong Kong Literature: withspecial reference to Xi Xi's and Ye Si's Fiction". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31950541.

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Książki na temat "Hong Kong fiction"

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Coonts, Stephen. Hong Kong. Lon: Orion, 2001.

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Coonts, Stephen. Hong Kong. London: Orion, 2001.

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Coonts, Stephen. Hong Kong. London: Orion, 2001.

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Coonts, Stephen. Hong Kong. New York, NY: St. Martin, 2000.

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Coonts, Stephen. Hong Kong. New York, NY: St. Martin, 2000.

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Coonts, Stephen. Hong Kong. New York, NY: St. Martin, 2000.

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Margaret, Barker. Hong Kong surgeon. London: Mills & Boon, 1986.

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Murphy, Sylvia Ngim. Destiny--Hong Kong. Raleigh: Pentland Press, 1998.

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Villiers, Gérard de. S.A.S: Hong Kong Express. Paris: Editions Gérard de Villiers, 1997.

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Gordons. The Hong Kong affair. San Francisco, CA: Dover Hill Press, 1998.

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Części książek na temat "Hong Kong fiction"

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Todorova, Marija. "Hong Kong Diversity in Anglophone Children’s Fiction". W Cultural Conflict in Hong Kong, 71–86. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-10-7766-1_5.

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Au, C. T. "Reading Colonial Dis-ease/Disease in Hong Kong Modernist Fiction". W New Directions in Literature and Medicine Studies, 267–80. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-51988-7_15.

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Piocos III, Carlos M. "Sexuality, Shame and Subversions in Indonesian Migrant Women’s Fiction". W Gender, Islam and Sexuality in Contemporary Indonesia, 145–68. Singapore: Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-99-5659-3_8.

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AbstractThis contribution examines malu (shame) as an effect of Indonesian women’s migration, illustrating how gendered moral discourses shape the problematic politics of labour migration in the country. It argues that shame not only reinforces several problematic gender and moral discourses imposed on Indonesian migrant women but also heightens their precarious role and place in their home and host countries.This essay probes into the possibilities opened by Indonesian migrant domestic workers themselves as they write, publish and circulate their own stories in Hong Kong, Singapore and Taiwan as part of the emerging cultural production of Sastra Buruh Migran Indonesia, Indonesian Migrant Workers’ Literature. It makes an innovative contribution to this collection by analysing how, in five short fiction anthologies of Indonesian migrant domestic workersin Hong Kong, Singapore and Taiwan, instances of shame and shaming matter in the representation of their daily lives and how they narrate their encounters and practices of queer sexual identities and interracial intimacies in transnational spaces. Through migrant women’s understanding of what counts as malu, I argue that their stories present a more complex negotiation of their precariousness, as they exhibit instances of agencyand mobility that go beyond traditional gender discourses upheld back home.
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Lau, Chun-Kwok. "Epilogue: A Fictional Conversation Between Father and Daughter". W Life and Learning Between Hong Kong and Toronto, 117–21. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-80052-9_9.

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Turnbull, C. Mary. "Hong Kong". W Asia in Western fiction. Manchester University Press, 2017. http://dx.doi.org/10.7765/9781526123534.00013.

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Cunliffe, Tom. "Tracing the Science Fiction Genre in Hong Kong Cinema". W Sino-Enchantment, 128–48. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474460842.003.0007.

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This chapter traces the sporadic historical development of the science fiction genre in Hong Kong cinema and analyses several films made in Hong Kong since 1979, which adopt science fiction elements to negotiate cultural and ideological anxieties related to modernity, coloniality and Chinese nationalism. The films analysed in this chapter blend science fiction motifs, iconography and narratives with other local genres such as wuxia, kung fu, comedy and the undercover cop/agent thriller. This mixing of genres foregrounds Hong Kong cinema’s particular ideological perspective, which sometimes undermines, challenges or embraces the conventions of the science fiction genre. In this experimental stage from the late-1970s to the 1980s, Hong Kong science fiction films reveal the locus of Hong Kong cinema as one that shuttles between the local, national and global, both resisting and welcoming the modernity that the imagination of science fiction offers. This negotiation is a reaction to Hong Kong’s position in-between Chinese nationalism and British colonialism.
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Lo, Kwai-Cheung. "Chapter 7 Tech-Noir: A Sub-Genre May not Exist in Hong Kong Science Fiction Films". W Hong Kong Neo-Noir, 140–56. Edinburgh University Press, 2016. http://dx.doi.org/10.1515/9781474412674-011.

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Tang, Yan. "Ye Si (也斯) (1949–2013)". W Routledge Encyclopedia of Modernism. London: Routledge, 2018. http://dx.doi.org/10.4324/9781135000356-rem2039-1.

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Leung Ping-kwan, MH (pen name: Ye Si) was an influential writer, essayist, and scholar in Hong Kong. He became a freelancer in the 1960s, and later obtained his Bachelor’s degree in English at Hong Kong Baptist University. In 1978, he was admitted to the Department of Comparative Literature at the University of California, San Diego. He completed the doctoral degree in 1984. His dissertation is entitled ‘Aesthetics of Opposition: A Study of the Modernist Generation of Chinese Poets, 1936–1949’. After returning to Hong Kong, he taught in the Department of English Studies and Comparative Literature at the University of Hong Kong. In 1998, he became a professor in the Chinese Department at Lingnan University in Hong Kong. Later on, he worked as the Director of the Centre for Humanities Research at Lingnan University, teaching film, comparative literature, and modernism among other subjects. As a prolific writer and scholar, he has published fiction, poetry, essays, as well as academic works on films, comparative literature, Chinese modernism, and literature in Hong Kong. He died on 5 January 2013.
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Kam, Tan See. "Shanghai and Peking Blues: Fiction as Imagined History". W Tsui Hark's Peking Opera Blues. Hong Kong University Press, 2016. http://dx.doi.org/10.5790/hongkong/9789888208852.003.0004.

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Peking Opera Blues is a mixed-genre film built out of intertextual allusions to other film genres and texts. This enriches the film’s addressivity and is achieved particularly by functioning as a companion piece to Tsui’s 1984 film Shanghai Blues. Both films share narrative devices that mesh historicity and fictionality, creating narratives framed by history imagined into fiction and fiction imagined as history. This may be theorized as a jiegu fengjin mode of social and political criticism (using the past to comment on or lampoon the present). This jiegu fengjin mode of narration in the two Blues films, especially in the context of relating the films’ political relevance to 1980s Hong Kong, is that it yokes together, in metafictional ways, a spatio-temporal imaginary that sutures the past (turbulent times in China) to the present (political uncertainties in contemporary Hong Kong), while simultaneously seeking to engage the future (Hong Kong’s futurity as a special administrative region under Chinese sovereignty after 1997).
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Chu, Yiu-Wai. "(Un)Covering Cosmopolitan Hybridity : Every Great City Deserves a City Magazine". W Hong Kong Pop Culture in the 1980s. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463728669_ch06.

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Among the many popular print media in Hong Kong, City Magazine was considered an outlier that showcased fashion trends, celebrities, talk of the town, and even philosophy and literature. Co-founders Koon-Chung Chan and Peter Dunn, among others, also wrote pop fiction that exhibited a new metropolitan sensibility of the emerging class of yuppies. This chapter considers how this magazine defined the fashionable and cosmopolitan taste of the city throughout the 1980s and beyond. All in all, this chapter uses the magazine as an example to explore Hong Kong’s “cosmopolitan hybridity” – to borrow Allen Chun’s term – in the context of Hong Kong pop cultures in the 1980s.
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