Artigos de revistas sobre o tema "Hong Kong essays (Chinese)"
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Shaoyang, Lin. "Hong Kong in the Midst of Colonialism, Collaborative and Critical Nationalism from 1925 to 1930". China Report 54, n.º 1 (2 de janeiro de 2018): 25–47. http://dx.doi.org/10.1177/0009445517744409.
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In the late 1920s, cultural nationalism in Hong Kong was imbedded in Confucianism, having been disappointed with the New Culture Movement and Chinese revolutionary nationalism.1 It also inspired British collaborative colonialism. This study attempts to explain the link between Hong Kong and the Confucius Revering Movement by analysing the essays on Hong Kong of Lu Xun (1881–1936), the father of modern Chinese literature and one of the most important revolutionary thinkers in modern China. The Confucius Revering Movement, which extended from mainland China to the Southeast Asian Chinese community and then to Hong Kong, formed a highly interrelated network of Chinese cultural nationalism associated with Confucianism. However, the movements in these three places had different cultural and political roles in keeping with their own contexts. Collaborative colonialism’s interference with the Confucius Revering Movement is one way to understand Lu Xun’s critical reading of Hong Kong. That is, Hong Kong’s Confucius Revering Movement was seen as an endeavour of the colonial authorities to co-opt Confucianism in order to deal with influences from China. This article argues that Hong Kong’s Confucius Revering Movement should be regarded as one of the main perspectives through which to understand Hong Kong’s educational, cultural and political histories from the 1920s to the late 1960s. Lu Xun enables us to see several links. The first link is the one connecting the Confucius Revering Movement in Mainland China, Hong Kong and the Chinese community in Southeast Asia. This leads to the second link, that is, Lim Boen Keng (Lin Wenqing), the leading figure of the Confucius Revering Movement in the Southeast Asian Chinese community who later became the President of Amoy University, where Lu Xun had taught before his first visit to Hong Kong. The third link is the skilful colonial administrator Sir Cecil Clementi, who came to British Malaya in February 1930 to become Governor after being the Governor of Hong Kong. We can observe a network of Chinese critical/resistant and collaborative nationalism from these links.
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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 dezembro 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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Song, Chris. ""The City’s Charms and Challenges" by P K Leung (translation)". Writing Chinese: A Journal of Contemporary Sinophone Literature 2, n.º 1 (9 de janeiro de 2024): 149–52. http://dx.doi.org/10.22599/wcj.56.
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In this essay “The City’s Charms and Challenges” 城巿的诱惑·城市的挑战' by P K Leung (alias Ye Si 也斯) published in Zhong Hua Du Shu Bao (《 中华读书报》) in 2013, Leung traces his own journey as he -- just like many other Chinese families -- moved with his family from Guangdong to Hong Kong in 1949, where he grew up, lived and taught, becoming one of the best-known Hong Kong writers. In the essay, he also mapped out the early beginnings of Hong Kong literature, its intrinsic roots in Chinese literature, and how it has thrived amidst the socio-cultural and historical changes in Hong Kong in the last few decades. In charting the locality of places, the difference between the urban and the rural living in Hong Kong, Leung highlights the importance to acknowledge the complex layers and dimensions of Hong Kong literature, where both Chinese and English languages and different cultures intersect.
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Chu, Yiu-Wai. "Introduction: Mediating borders: New boundaries for Hong Kong studies". Global Media and China 5, n.º 2 (junho de 2020): 103–8. http://dx.doi.org/10.1177/2059436420927647.
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There are myriad methods and tactics to study and examine Hong Kong as a former crown colony and a current Chinese special administrative region. Using the idea of border as a critical tool as well as the subject of critique, this special issue highlights and addresses a political and historical fact that the bordering, debordering and transbordering of Hong Kong, as long taken-for-granted through the media, has never been a fixed and stable boundary. If political binarism and cultural parochialism have walled up Hong Kong cultures from national or transnational transformations, the essays in this special issue seek to initiate new discussions and revisit old discovery of Hong Kong amid the ebb and flow of nationality, transnationality and globality. They respond to cross-border ventures in various ways, offering different views and engaging with one another as to shed light on how the changing borderscape might have impacts on the future development of Hong Kong culture.
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Pan, Chienwei. "Drifting in the World Literary Space". Archiv orientální 89, n.º 2 (30 de setembro de 2021): 389–411. http://dx.doi.org/10.47979/aror.j.89.2.389-411.
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For Hong Kong poet Leung Ping-Kwan (penname: Ye Si, 1949-2013), travel allows him to visit literary capitals, in which his works are translated into local languages. Without regarding himself as merely a Hong Kong writer, Leung intentionally reminisces about his travel accounts in these literary centers, accentuating how his life is permeated by European traditions. This essay examines the trope of travel in Leung Ping-Kwan’s poems along with his prose essays, focusing on the dialectical thinking of centers and peripheries. I contend that the idea of travel points to the poet’s personal experiences as well as his literary endeavors while embarking on his poetic journeys. I adopt the notion of “self-exile” to describe the moment when Leung stays away from his native land and ponders on how Hong Kong Literature – the so-called “small literature” – can raise its visibility if it is presented in the international literary scene. Specifically, he draws several routes to the literary centers, Paris and Berlin in particular. And without simply being assimilated into the dominant literary culture, Leung usually writes in Chinese and tactically inserts the images of Hong Kong while illustrating the European urban imageries.
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Hudson, Dale. "Modernity as Crisis: Goeng Si and Vampires in Hong Kong Cinema (translation into Russian)". Corpus Mundi 2, n.º 4 (27 de dezembro de 2021): 112–42. http://dx.doi.org/10.46539/cmj.v2i4.55.
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This article is a translation of a chapter from the collective monograph Draculas, vampires, and other undead forms: essays on gender, race, and culture, edited by John Edgar Browning and Caroline Joan (Kay) Picart (2009, Scarecrow Press). The author analyzes the question of how Hong Kong cinema responds to the complex situation of Hong Kong's transition from its status as a British territory on loan to a special territory with extended autonomy within the PRC. As a marker pointing to the crisis development of this process, the Chinese people's particular ideas about the so-called “goeng si” (“jumping corpses”) were chosen. These revived corpses move in a peculiar jumping way, due to which they received this name. According to the author, in the images of these creatures, as well as in the cinematic vampires that have become an integral part of films made by Hong Kong studios, all the contradictions of the cultural and political situation in Hong Kong are manifested as in a mirror. Despite the fact that Hong Kong was able to actively oppose the global cinema represented by Hollywood, it had to adjust to the global cinematic trends in which vampires played an important role. All of this led to a certain hybridity of images that combined both Western and Chinese traits.
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KEVIN HO, CHUNG-HIN, e HEI-HANG HAYES TANG. "Building Houses by the Rootless People: Youth, Identities, and Education in Hong Kong". Harvard Educational Review 90, n.º 2 (1 de junho de 2020): 282–94. http://dx.doi.org/10.17763/1943-5045-90.2.282.
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In this essay, Chung-Hin Kevin Ho, a history education university student in Hong Kong, narrates his search for civic identity. Composed through a process of critical and reflective dialogue with Hayes Tang, the essay describes the tension between Chung-Hin’s Chinese ethnic and cultural identity and the democratic values held by Hong Kongers. As a student, he and his peers had to navigate these competing conceptions of identity in their coursework and examinations. The youth of Hong Kong, including Chung-Hin, have protested against the Chinese government, and have fought to protect the values of Hong Kong. As a future educator, Chung-Hin has advice for the government administrations of both Hong Kong and China: work with Hong Kongers to help them “build their own house.” Chung-Hin argues that if Hong Kong is to become closer to China, it cannot be done through force or propaganda. Further, Chung-Hin contends that education initiatives that change the history curriculum of Hong Kong schools is not enough to bring the youth of the city to heel. Chung-Hin’s experiences, and his own understanding of history education in Hong Kong, have helped him see that the values of Hong Kongers need to be respected if there is any hope of gaining their trust and acceptance. In this timely essay, Chung-Hin highlights how government policies and historical legacies have shaped his personal experience and educational trajectory in Hong Kong, as well as the other students who are a part of the largest youth protest movement in recent memory.
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Marchetti, Gina. "Chinese Film Studies Online: Technological Innovations, Pedagogical Challenges, and Teaching Chinese-Language Cinema in the Digital Age". Journal of Chinese Film Studies 1, n.º 1 (12 de março de 2021): 135–52. http://dx.doi.org/10.1515/jcfs-2021-0007.
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Abstract Because of the impact of the COVID-19 pandemic on higher education, online initiatives have moved from the periphery to the very heart of teaching and learning across disciplines. However, the profession has just begun to consider the full impact these new technologies have on the way we research and teach Chinese-language cinema. Using the Massive Open Online Course (MOOC) and University of Hong Kong Common Core campus-based course, Hong Kong Cinema through a Global Lens, as my principal case study, I explore some of the ways in which the digital revolution has transformed research on and teaching about Hong Kong film. From surveying the types of material available for research to exploring the differences between MOOCs and flipped classrooms, this essay considers the positive implications and potential drawbacks of these new technologies in global, regional, and local educational contexts.
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Tse, Priscilla. "“One Opera, Two Nationalisms”: Negotiating Hong Kong Identity and Chinese Nationalism in Cantonese Opera". Asian Theatre Journal 40, n.º 2 (setembro de 2023): 381–402. http://dx.doi.org/10.1353/atj.2023.a912921.
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Abstract: While scholarly attention on nationalism of recent Hong Kong sheds light mostly on social movements, social media, and cinema, the performative role of yueju (Cantonese opera), as a Chinese vernacular theatre, in post-1997 Hong Kong is often neglected. This case study examines how different ideologies, political consciousness, and cultural ideals come into conflict and are mediated within the Cantonese opera circle since the 2014 Umbrella Movement. By investigating both the top-down and bottom-up approaches of propaganda as well as the potential of performing the opera as pro-democracy activism, this essay interrogates the dynamics between the hegemonic Chinese nationalism and the rising political consciousness of seeing Hong Kong as a separate entity.
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Han, Song (Abel), e Yu (Heidi) Huang. "“Republic of Southern Sinophone Literature” and Its Memorandum". Journal of World Literature 4, n.º 4 (6 de dezembro de 2019): 488–507. http://dx.doi.org/10.1163/24056480-00404003.
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Abstract This essay reexamines two Sinophone literary uchronias, i.e. Malaysian Chinese (Mahua) author Ng Kim Chew’s dystopian account of the People’s Republic of Nanyang, and Hong Kong writer Dung Kai-cheung’s fabrication of the history of a disappeared street in Hong Kong. As representative pieces of Sinophone literature, these two literary uchronias not only rewrite the authors’ local histories but also bring together a critical examination of the geo-political conditions in the Sinophone sphere. Reflecting on the spatialized and materialist models of world literature studies, this essay aims to investigate the Hong Kong-Mahua link in terms of their world-making power.
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Cheang, Kai. "Queering “The Children's Movement”". GLQ: A Journal of Lesbian and Gay Studies 27, n.º 4 (1 de outubro de 2021): 629–54. http://dx.doi.org/10.1215/10642684-9316882.
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Abstract This essay argues that the queer figure of the child that crops up curiously in (post–)Umbrella Movement Hong Kong is a defining political signifier for characterizing the city's youthful protesters and imagining alternative futures for Hong Kong. In many mainland Chinese media outlets, the youthfulness of the Hong Kong demonstrators is often emphasized to critique their fixation on the Western ideology of democracy. For the young resisters and their sympathizers, childishness connotes a different script of identity: it entails a narrative of temporal suspension in the face of assimilation into a Chinese homogeneity. By, for example, comparing the political star Joshua Wong to Peter Pan, who refuses to grow up, or by assigning uniform-wearing grade-school students the role of “the keepers of the Umbrella Movement,” prodemocratic cultural narratives keep alive the possibility of a political alterity that resists the neoliberal, temporal mandates of Hong Kong's government and mainland China. Theorizing that possibility in the context of temporal, queer, children's, and postcolonial studies, this essay contends that the future of resistance in Hong Kong will follow a lateral horizon, a sideways course that will put minor dissenters into new and nonheteropatriarchal relations with the existing order of the city.
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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 dezembro 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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Loong-Yu, Au. "The historical significance of the 2019 Hong Kong revolt". Soundings 79, n.º 79 (1 de novembro de 2021): 37–50. http://dx.doi.org/10.3898/soun.79.03.2021.
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This essay discusses why the Hong Kong 2019 revolt means so much for future democratic movements despite its tragic defeat and its weaknesses. This was a massive democratic movement, with entirely legitimate demands: the dropping of an extradition bill which could legalise Beijing's attempts to prosecute Hong Kong citizens under the Mainland legal system; and the honouring of its commitment of granting universal suffrage to the Hong Kong people. This massive movement naturally brought with it multiple tendencies and contradictions. Taking advantage of the absence of a left labour movement, and a young generation who were newcomers to politics, right-wing and anti-Chinese voices became more vocal than their organisational strength might have indicated - though not strong enough to alter the fundamental character of this revolt as a democratic movement. In the last analysis, however, the balance of forces means that Hong Kong has little chance of preserving its liberty unless the Mainland situation begins to change. Success will ultimately depend on a united front between democratic forces in the Mainland and Hong Kong, an issue which the 2019 r evolt has not thought sufficiently about. However, the 2019 revolt, which helped to consolidate democratic consciousness among millions in Hong Kong, itself constitutes a new starting point for the future of democratic struggle, both in the Mainland and in Hong Kong.
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Curry, Ramona. "Benjamin Brodsky (1877-1960): The Trans-Pacific American Film Entrepreneur – Part One, Making A Trip Thru China". Journal of American-East Asian Relations 18, n.º 1 (2011): 58–94. http://dx.doi.org/10.1163/187656111x582090.
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AbstractAuthoritative statements have long credited the elusive American immigrant entrepreneur Benjamin Brodsky (1877-1960) with founding film production companies in Shanghai and Hong Kong as early as 1909 and initiating filmmaking collaborations with local Chinese. Yet those histories prove on close examination to consist mostly of sketchy assertions offered without clear evidence. This essay draws on original archival research and recent work of scholars in Hong Kong, Europe, and Japan to reframe the historical narrative, dating most developments a few years later while revealing fresh aspects of Brodsky's trans-Pacific operations and high-level Chinese involvement. The new findings have intriguing implications for our understanding of early twentieth-century trans-Pacific cultural associations as well as Chinese cinema. Part One of this article reconstructs Brodsky's early career and reveals new evidence of his interactions with Chinese returned students and government officials, with a focus on the production in China of Brodsky's feature-length travel documentary A Trip Thru China (1916).
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Ellis, James W. "Hong Kong’s Elusive Identity: Searching in the Past, Present, and Future". Asian Culture and History 10, n.º 2 (31 de agosto de 2018): 90. http://dx.doi.org/10.5539/ach.v10n2p90.
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Hong Kong is adrift between its British colonial past and its upcoming political reunification with the ancestral Chinese motherland. Hong Kong has endured a prolonged identity crisis in recent years, as it struggles to reconcile conflicts between its transnational worldview and the cultural identity, or Chineseness, of its majority population. A growing wave of nostalgia for the colonial era has frustrated Beijing’s efforts to win the hearts and minds of Hongkongers. This essay analyzes how Hong Kong’s distinctive local character is reflected in several socio-cultural arenas: the heritage industry, filmmaking, efforts to preserve historic structures and intangible heritage, public education, and tourism. With reunification on the horizon, Hongkongers want to assert an independent cultural identity but still seem to exist at the “intersection of different spaces”.
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Wong, Yee Kwan. "(Un)translatable Identities: Dialogic Monolingualism in Wong Bik-wan’s ‘Nausea’ ". Writing Chinese: A Journal of Contemporary Sinophone Literature 2, n.º 1 (20 de dezembro de 2023): 106–22. http://dx.doi.org/10.22599/wcj.46.
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Colonial Hong Kong (1842-1997) was a multilingual, multicultural ‘migrant society’, and its identity is complex and intersectional. Based on a close reading of Wong Bik-wan’s ‘Nausea’ (1994), this essay discusses how characters from drastically different backgrounds encounter one another in the multicultural space of Hong Kong. These two characters, a Black-Asian biracial woman and a native Hong Kong Chinese man suffered various forms of oppression, geographical dislocation, and political alienation in the postcolonial world. This created a mysterious bond between them, and as the narrative unfolds, the male character gradually contracted the woman’s disease of nausea. A dialogism of empathy emerged, as the characters experience each other’s trauma intersubjectively. At the same time, ‘Nausea’ simultaneously dialogs with Jean-Paul Sartre’s La Nausée (1938) through possessing the voice of the Sartean hero while also injecting the voices of a female character/author. This results in a literary double-voicedness, which in turn animates the text’s own deterritorialization and puts Hong Kong literature in dialog with a wider literary discourse of existentialism. Ultimately, the dynamic processes of sense-making and emotive exchanges in ‘Nausea’ resembles ‘untranslation’, defined as the interminable process of translation between incommensurable languages.
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ZHANG, JUAN, CATHERINE McBRIDE-CHANG, RICHARD K. WAGNER e SHINGFONG CHAN. "Uniqueness and overlap: Characteristics and longitudinal correlates of native Chinese children's writing in English as a foreign language". Bilingualism: Language and Cognition 17, n.º 2 (30 de maio de 2013): 347–63. http://dx.doi.org/10.1017/s1366728913000163.
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Longitudinal predictors of writing composition in Chinese and English written by the same 153 Hong Kong nine-year-old children were tested, and their production errors within the English essays across ten categories, focusing on punctuation, spelling, and grammar, were compared to errors made by ninety American nine-year-olds writing on the same topic. The correlation between quality of the compositions in Chinese and English was .53. In stepwise regression analyses examining early predictors at ages between five and nine years, tasks of speed or fluency were consistently uniquely associated with Chinese writing composition; measures of English vocabulary knowledge, word reading, or both were consistently uniquely associated with English writing quality. Compared to the American children, Chinese children's writing reflected significantly higher proportions of errors in all grammatical categories but did not differ in punctuation or spelling. Findings underscore both similarities and differences in writing at different levels across languages.
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Cheang, Kai Hang. "Forms of Solidarity and the Self: A Postcolonial Reading of Yuli Riswati's Hong Kong Writing". Feminist Formations 35, n.º 2 (junho de 2023): 29–53. http://dx.doi.org/10.1353/ff.2023.a907920.
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Abstract: This article puts together the seemingly disparate topics of transnational domestic labor and the Hong Kong protests to discuss inter-ethnic and cross-class solidarity. It does so by examining the writing of Yuli Riswati, an Indonesian migrant worker and civic journalist who was deported from Hong Kong in 2019. City-wide civil disobedience in Hong Kong has historically been predicated upon the liberal ideal of suffrage (as in 2014) and an essentialized and Han-centric identity of Hongkonger (as in 2019), both of which have overlooked the needs of ethnic minorities, especially those who are ineligible for citizenship. Building on scholarship in decolonial and intersectional feminism, this essay focuses on Riswati's two short stories, namely "Violet Testimony" (2016) and " 那個傷口依然在我體內 " ("The Wound Is Still Inside Me" 2019) as well as her personal essay, "Some Notes about Hong Kong as My Second Home" (2020), which was featured by the exhibition afterbefore at the Chinatown Soup gallery in New York. This essay argues that Riswati's writing embodies what Gayatri Spivak would call an oppositional transformative: Riswati's stories about political involvement and gender-based domestic violence challenge the traditional history of the international labor movement that has a distinctive masculinist ethos and the typical narrative of Hong Kong protests focused exclusively on the citizenry, a rhetorical move underpinned by the homogenizing assumption that all Hongkongers are Han Chinese. As a former Hong Kong domestic worker, Riswati's textual performatives throw into relief the shared precarity which makes herself and her community relatable to a global audience; thereby, her writing brokers a type of intersubjectivity of the human or a postcolonial humanism that does not rely on a preconceived notion of humanity which shows up in the definition of a nation or a region's citizenry but rather on audience engagement that speaks to her publications' distinctive context and culture.
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dos Santos Queirós, António. "One Country, Two Systems: Understand the Paradox of the Last Hong Kong Crisis". Athens Journal of Philosophy 1, n.º 4 (30 de novembro de 2022): 239–60. http://dx.doi.org/10.30958/ajphil.1-4-4.
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This essay analyses the Historical Evolution of Hong Kong, from the colonial period to the return to China sovereignty in 1997, according to the political philosophy of Socialism with Chinese Characteristics, and the principle “one country, two systems”, which means that Hong Kong is part of China and enjoys a high degree of autonomy, except in foreign and defence policy, as stipulated by the Basic Law of The Hong Kong Administrative Region of the People’s Republic of China. The political system implemented in HKSAR corresponds to the matrix of the People’s Republic of China, but its economic base and legal system remained untouched in essence; an extreme model of liberal capitalism, deregulated and functioning on the margins of international law, with deep social inequalities, millions of new poor (workers and students in a situation of necessity) and a serious problem of access to housing. This essay analyses the political nature of the conflict around the extraction laws, distinguishing internal causes, and external interferences. At least, this essay analyses the system of political representation of HKSAR, the government program to overcome crisis and the new legislation after crisis. Keywords: history, one country, two systems, paradox, HKSAR, fallacies
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Fang, Karen. "Cinema Censorship and Media Citizenship in the Hong Kong Film Ten Years". Surveillance & Society 16, n.º 2 (14 de julho de 2018): 142–57. http://dx.doi.org/10.24908/ss.v16i2.6826.
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Cinema censorship is a relatively unexplored topic in the discipline of surveillance studies. While movies are frequent references throughout the scholarship, such citations tend to be limited to plot and imagery and overlook the ways in which the medium can be subject to state intervention or other forms of censorship and self-censorship. This essay uses the case of the 2015 Hong Kong independent film Ten Years to explore how cinema deserves to be considered alongside other media and communications whose vulnerability to institutional control and monitoring are already widely documented by surveillance studies. The film, which reflects Hong Kong residents’ critique of mounting Chinese power, was the object of an aggressive vilification and repression campaign by the mainland Chinese government. It also spawned a grassroots defense in which audiences and filmmakers mobilized around the film as a symbol and site of civic discourse and political critique. Using the concepts of participatory media and online activism and connecting Ten Years with Hong Kong’s 2014 “Umbrella” protests against Chinese rule, this essay shows how cinema invites the same interventions and interactivity as social media and other digital or communications technologies. Indeed, because Ten Years’ history of populist activism resembles well-known instances of media mobilization such as the Arab Spring and Black Lives Matter, this essay demonstrates not only cinema’s multiple dimensions of relevance for surveillance studies but also uncovers new global spaces whose film history will diversify surveillance studies.
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Ellis, James. "Anglican Indigenization and Contextualization in Colonial Hong Kong: Comparative Case Studies of St. John’s Cathedral and St. Mary’s Church". Mission Studies 36, n.º 2 (10 de julho de 2019): 219–46. http://dx.doi.org/10.1163/15733831-12341650.
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Abstract The British Empire expanded into East Asia during the early years of the Protestant Mission Movement in China, one of history’s greatest cross-cultural encounters. Anglicans, however, did not accommodate local Chinese culture when they built St. John’s Cathedral in the British Crown Colony of Hong Kong. St. John’s had a prototypical English style and was a gathering place for the colony’s political and social elites, strengthening the new social order. The Cathedral spoke a Western architectural language that local residents could not understand and many saw Christianity as a strange, imposing, foreign religion. As indigenous Chinese Christians assumed leadership of Hong Kong’s Anglican Church, ecclesial architecture took on more Chinese elements, a transition epitomized by St. Mary’s Church, a Chinese Renaissance masterpiece featuring symbols from Taoism, Buddhism, and Chinese folk religions. This essay analyzes the contextualization of Hong Kong’s Anglican architecture, which made Christian concepts more relevant to the indigenous community.
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Bun, Chan Kwok. "A Family Affair: Migration, Dispersal, and the Emergent Identity of the Chinese Cosmopolitan". Diaspora: A Journal of Transnational Studies 6, n.º 2 (setembro de 1997): 195–213. http://dx.doi.org/10.3138/diaspora.6.2.195.
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This essay puts forward two main claims. First, it argues that dispersing the patrilineal Chinese family is, paradoxically, often a rational family decision to preserve the family, a resourceful and resilient way of strengthening it: families split in order to be together translocally. The “astronaut families” of Hong Kong are a model of such dispersion for our time. Second, the essay argues that these spatially dispersed families constitute strategic nodes and linkages of an ever-expanding transnational field within which a new type of Chinese identity is emerging—that of the Chinese cosmopolitan.
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Chang, Joan Chiung-huei. "The Personal Is Political: Revisiting “English” and “Homeland” by Reading Shirley Geok-lin Lim’s Hong Kong Poetry". Translocal Chinese: East Asian Perspectives 13, n.º 2 (21 de janeiro de 2020): 167–81. http://dx.doi.org/10.1163/24522015-01302004.
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In the 1970s, when Carol Hanisch proposes that “the personal is political,” she emphasizes how all personal issues—including challenges, choices, and behaviors—carry their political imports. Therefore, while we examine individual experiences, we can expect to understand the historical and political contexts of the public, and seek for solutions to problems if there is any. In the studies of Oversea Chinese, we observe how Shirley Geok-lin Lim, a Chinese Malaysian who has become naturalized in the United States, represents an untypical diasporic prototype as she is often traveling from one place to another and in an “in-between” position, different from traditional paradigms of settlement or diaspora. This essay focuses the analysis on the usage of English and the concept about homeland to read poetry written by Shirley Lim in Hong Kong, so as to investigate how her personal experience could bespeak the political and cultural identifications for people in Hong Kong.
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Hung, Jason. "Cultural Homelessness, Social Dislocation and Psychosocial Harms: An Overview of Social Mobility in Hong Kong and Mainland China". Asian Social Science 16, n.º 5 (30 de abril de 2020): 1. http://dx.doi.org/10.5539/ass.v16n5p1.
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In order to facilitate collective decision making and breed productivity, it is important to ensure societies operate in a fair and just manner. Chinese literature has a propensity of relying on sociological theories from the modern West, prompting the review essay to address theories of capital, social mobility, cultural preferences and otherwise based on leading western literature. This review essay addresses how an increase in social mobility of those from lower social origins results in cultural homelessness and social dislocation, in relations to the experiences of psychosocial harms. As per western studies, the review essay examines the extent of cultural homelessness, social dislocation and psychosocial harms faced by upwardly mobilising cohorts in Hong Kong and China. To conclude, the essay argues upwardly mobilising cohorts in Hong Kong and China are likely to experience cultural homelessness, and the corresponding cohorts in China face salient problems of social dislocation. The encounters of cultural and social dilemmas are associated with the experiences of psychosocial harms for both populations.
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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, n.º 1 (26 de junho 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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Laliberté, André. "Religious Philanthropy in China, Taiwan and Hong Kong". Asian Journal of Social Science 43, n.º 4 (2015): 435–65. http://dx.doi.org/10.1163/15685314-04304006.
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This essay argues that differences in religious ecologies, between China and the polities of Taiwan and Hong Kong are necessary but insufficient explanations for their different approaches to the reliance on religious actors for the delivery of social services. I discuss briefly two other explanations for the differences in policy outcomes: the legacies of colonial and semi-colonial rule, and the influence of ruling party ideologies, before I shift to an historical neo-institutional approach, which contrasts the path dependency of past policies of usurpation directed by the CCP at religious institutions between 1949 and 1978, and the policies of cooptation adopted in Taiwan and Hong Kong during the same period. I argue that although the Chinese government has affirmed with increasing clarity in recent years its interest in an approach that encourages the cooptation of religious institutions, the previous approach of usurpation has undermined the resources of religious institutions, left many religious actors distrustful of authorities, and continues to influence many constituencies that could oppose the approach of cooptation. To substantiate this argument, the essay proceeds as follows: it first discusses the different strategies available to states as they accumulate symbolic power, underlining the role of religious institutions in that process; then it contrasts the results achieved by religious philanthropy in Taiwan and Hong Kong in the provision of a wide array of services, on the one hand, with the difficulties faced by their counterparts in the delivery of social services in China, on the other; and finally it reviews some of the explanations for the discrepancies observed.
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Hamilton, Robyn. "Overt and Covert Treasures: Essays on the Sources for Chinese Women’s History edited by Clara Wing-Chung Ho. Hong Kong: The Chinese University of Hong Kong Press, 2012. xii + 608 pp. US$65.00 (hardcover)." China Journal 71 (janeiro de 2014): 293–95. http://dx.doi.org/10.1086/674674.
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Liu, Kanglong, Joyce Oiwun Cheung e Nan Zhao. "Learner corpus research in Hong Kong: past, present and future". Corpora 17, Supplement (outubro de 2022): 79–97. http://dx.doi.org/10.3366/cor.2022.0248.
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As a field of research closely connected with second language acquisition, teaching and learning, learner corpus research (lcr) has garnered interest among language teachers and researchers in Hong Kong, where English is one of the two official languages (alongside Chinese) and also one of the chief mediums of instruction in education. In view of this unique situation, this paper provides a comprehensive overview of lcr within different teaching contexts in Hong Kong and identifies some major research trends and issues. Through this survey of the development of lcr in the region, we find that great advances have been made over the past three decades. Specifically, the object of analysis has shifted from cherry-picked, isolated textual features to operationalised parameters such as metadiscourse markers, lexical diversity, and syntactic complexity to study learners’ language output. Despite the progress that has been achieved so far, there remain a number of important questions for lcr in the context of Hong Kong. In particular, some researchers tend to broadly apply the term ‘learner corpus’ even to the language output of expert-level L2 speakers. Yet, whether this group of speakers can be treated as L2 learners, and their language output as a learner corpus, remains contested. In addition, existing learner corpora are also limited in their scope by genre, with the majority being compiled from letters and essay writings. This paper concludes with suggestions on how these limitations can be addressed in future research.
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Lee, Gregory B. "Soul of Chaos: Critical Perspectives on Gao Xingjian. Edited by Kwok-KanTam. [Hong Kong: Chinese University Press, 2001. 345 pp. $38.00. ISBN 962-201-993-5.]". China Quarterly 170 (junho de 2002): 477–502. http://dx.doi.org/10.1017/s0009443902380288.
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Without doubt numerous essays and articles and books about the work of the first literary Nobel prize winner to emanate from China are currently going to press. This is due not only to an acknowledgement of a literary event the Chinese-reading public awaited for a century, but also to the paucity of work so far done on Gao Xingjian in academic circles, especially on Gao the novelist.
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Chan, Shao-yi. "Orientalism Writes Back: Discourses of ‘Chinese’ DissemiNationalism in Transnational Martial Arts Films". International Journal of Taiwan Studies 1, n.º 2 (2 de agosto de 2018): 353–69. http://dx.doi.org/10.1163/24688800-00102006.
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This essay revisits Edward Said’s famous conception of Orientalism and places it against the context of transnational Chinese cinemas, in particular Hong Kong and Taiwan cinemas, to examine how the concept is unpacked and reconstructed in a way that is often described as ‘self-Orientalism’—the self-exoticising of local fabrics to satiate Western consumers. Focusing on three films, Stephen Chow’s Kung Fu Hustle (2004), Ang Lee’s Crouching Tiger, Hidden Dragon (2000), and Hou Hsiao-hsien’s The Assassin (2015), I argue that the act of self-Orientalising, rather than a passive submission to Western spectatorship, has served to rewrite and recode the idea of Chinese nationalism to present an alternative form of nationalism which I call dissemiNationalism and an alternative discourse to the mainland-centric narrative.
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Bloom, Phillip E. "Katharine P. Burnett, Dimensions of Originality: Essays on Seventeenth-Century Chinese Art Theory and Criticism. Hong Kong: Chinese University Press, 2013. Pp. 450. US$60 (cloth)." History of Humanities 3, n.º 2 (setembro de 2018): 425–27. http://dx.doi.org/10.1086/699308.
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Lung (龍歐陽可惠), Grace. "Internalized Oppression in Chinese Australian Christians and Its Mission Impact". Mission Studies 39, n.º 3 (5 de dezembro de 2022): 418–42. http://dx.doi.org/10.1163/15733831-12341866.
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Abstract This paper argues that Chinese Australian Christians have unaddressed wounds of internalized racism and a colonized and colonizing mentality that adversely impacts their evangelistic witness and mission work by elevating Anglo-centric Christianity and subordinating their own ethno-racial status. Drawing on theoretical analyses, the sources of internalized racism and colonial mentality in Chinese Australians are first outlined within their ancestral countries of Hong Kong and Malaysia, and then their host country of Australia. Second, the essay explains how Anglo-centric Christianity impacts Chinese Australian Christians in the academy and then in missions, perpetuating prejudice towards one’s own ethnic group, complicity in racialized systems, as well as elevating Anglo-centric Christian thought as biblically normative. Third, the paper shows how the rise of Asian Christianity could further privilege Anglo-centric theologies at the expense of indigenous and/or Asian theologies. Consequently, internalized racism and a colonial mentality negatively affect the mission endeavours of Chinese Australians, particularly to new Chinese migrants and other people of colour. Finally, proposed ways to combat internalized oppression will be offered so that Chinese Australian Christians and other diasporic Christians living in the West do not perpetuate systems of racial injustice in the name of Christ locally or overseas through mission.
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Cooper, Sarah. "Decolonial gesture and the screening of the botanical artist in Miasma, Plants, Export Paintings (Bo Wang and Pan Lu, 2017)". Alphaville: Journal of Film and Screen Media, n.º 23 (15 de julho de 2022): 93–110. http://dx.doi.org/10.33178/alpha.23.05.
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Bo Wang and Pan Lu’s split-screen video essay Miasma, Plants, Export Paintings (2017) charts the relationship between its titular categories and British imperialism in China, especially the colonial possession of Hong Kong as a result of the Opium Wars in the nineteenth century. It centres on the collecting of plants from China for the Royal Botanic Gardens at Kew, along with their documentation through botanical drawings by local Chinese artists. The video essay shows fleeting glimpses of several anonymous Chinese paintings, revealing in the process the dual sense of screening at the heart of the colonialist enterprise that involved showcasing the art while obscuring the artist. Wang and Lu, in contrast, return attention to the skills of the Chinese artists. Through their own dual vision, they challenge myriad hierarchical colonial images of human-plant relations. Drawing on Vilém Flusser’s work on the gesture of video and combining this with Walter D. Mignolo’s discussion of decolonial gesture, I show how Wang and Lu question through their own artistic gestures the distortions of the colonial gaze evident within dominant western image regimes. In this, their work speaks indirectly to recent writings in the environmental humanities and critical plant studies that valorise more lateral relations between humans and plants.
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King, Michelle T. "Overt and Covert Treasures: Essays on the Sources for Chinese Women's History. Edited by Clara Wing-chung Ho. Hong Kong: The Chinese University Press, 2012. xii, 608 pp. $65.00 (cloth)." Journal of Asian Studies 72, n.º 3 (agosto de 2013): 690–91. http://dx.doi.org/10.1017/s0021911813000697.
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Heep, Prof Hartmut, e Everett James Miller. "East/ West Political Allegories: Franz Kafka’s “A Hunger Artist” and Ye Si’s “Transcendence and the Fax Machine”". International Journal of Language, Literature and Culture 3, n.º 6 (2023): 55–62. http://dx.doi.org/10.22161/ijllc.3.6.8.
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The world is witnessing the devastating consequences of historical injustices, misinformation, and the erosion of democratic institutions. As we navigate through a complex sociopolitical landscape, it becomes essential to recognize the power of allegory in reflecting upon and critiquing our society. One such allegory is Franz Kafka's short story "A Hunger Artist." This story is the perfect shidduch between themes of alienation, modernism, psychology, philosophy, and politics. The authoritarian and repressive nature of the Chinese communist government is the focus of the allegory “Transcendence and the Fax Machine,” by Leung Ping-Kwon, who writes under the pen name Ye Si. In this essay, we will delve into the multidimensional aspects of Kafka's and Si’s work. By placing the stories into a contemporary context of Florida and Hong Kong, we will uncover the inherent societal critique embedded within Kafka's and Si’s narratives.
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Xingxing, Li. "When "Macbeth" Meets Chinese Opera: A Crossroad of Humanity". Multicultural Shakespeare: Translation, Appropriation and Performance 21, n.º 36 (30 de junho de 2020): 55–68. http://dx.doi.org/10.18778/2083-8530.21.04.
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As one of the four Shakespeare’s great tragedies, Macbeth, with its thrilling story line and profound exploration of human nature, has been adapted for plays and movies worldwide. Though Macbeth was introduced to China just before the May 4th Movement in 1919, its characters and plot have attracted the world in the past 100 years. Macbeth was firstly adapted into a folk play Theft of a Nation during the modern play period, to mock Yuan Shikai’s restoration of the monarchy, who was considered as a usurper of Qing dynasty, followed by Li Jianwu’s adaptation Wang Deming, Kun opera Bloody Hands, Taiwanese version of Beijing opera Lust and the City, Hong Kong version of Cantonese opera The Traitor, Macao version of small theater play If I were the King, Anhui opera Psycho, Shaoxing opera General Ma Long, Wu opera Bloody Sword, a monodrama of Sichuan opera Lady Macbeth, and an experimental Kun opera Lady. Therefore, this essay aims to comb the relations among various adaptations of Macbeth, to discover the advantages and disadvantages of different methodologies by examining the spiritual transformations of the main character Macbeth and reinvention of Lady Macbeth, and ultimately to observe acceptance of Chinese public, which might give thoughts to communications of overseas literature in China.
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Xingxing, Li. "When "Macbeth" Meets Chinese Opera: A Crossroad of Humanity". Multicultural Shakespeare: Translation, Appropriation and Performance 21, n.º 36 (30 de junho de 2020): 55–68. http://dx.doi.org/10.18778/2083-8530.21.04.
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As one of the four Shakespeare’s great tragedies, Macbeth, with its thrilling story line and profound exploration of human nature, has been adapted for plays and movies worldwide. Though Macbeth was introduced to China just before the May 4th Movement in 1919, its characters and plot have attracted the world in the past 100 years. Macbeth was firstly adapted into a folk play Theft of a Nation during the modern play period, to mock Yuan Shikai’s restoration of the monarchy, who was considered as a usurper of Qing dynasty, followed by Li Jianwu’s adaptation Wang Deming, Kun opera Bloody Hands, Taiwanese version of Beijing opera Lust and the City, Hong Kong version of Cantonese opera The Traitor, Macao version of small theater play If I were the King, Anhui opera Psycho, Shaoxing opera General Ma Long, Wu opera Bloody Sword, a monodrama of Sichuan opera Lady Macbeth, and an experimental Kun opera Lady. Therefore, this essay aims to comb the relations among various adaptations of Macbeth, to discover the advantages and disadvantages of different methodologies by examining the spiritual transformations of the main character Macbeth and reinvention of Lady Macbeth, and ultimately to observe acceptance of Chinese public, which might give thoughts to communications of overseas literature in China.
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Xueqin, Li. "Are They Shang Inscriptions or Zhou Inscriptions?" Early China 11 (1985): 173–76. http://dx.doi.org/10.1017/s0362502800004016.
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I believe that Professor Edward L. Shaughnessy's review of Professor Wang Yuxin's book XiZhou jiagu tanlun is an important essay, pointing out several problems in the study of the Zhouyuan oracle bones worthy of attention. I intend here to discuss only one of these, the question of whether there are any Shang inscriptions among the Zhouyuan oracle bones.I should first explain that, based on my understanding, this question pertains to only a very small portion of the Zhouyuan oracle bones, actually only four pieces, all of which come from pit H11 at Fengchu in Qishan County. In a conference paper entitled “Once Again on the Western Zhou Oracle Bones” presented to the “International Chinese Paleography Conference” in Hong Kong in 1983, I already pointed out that these four pieces are H11:112, H11:82, H11:84, and H11:1, and also attempted an interpretation of them (see Li 1985).
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Wu, Siqi. "A Reformation Roadmap of Shenzhen: Its Past Success and Vision Beyond". Advances in Economics, Management and Political Sciences 33, n.º 1 (10 de novembro de 2023): 6–12. http://dx.doi.org/10.54254/2754-1169/33/20231619.
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To respond to the calling of Deng Xiaoping in 1992Deng's South Inspection Speech, a large amount of "migrant workers" flowed into Shenzhen resulting in the prosperity of Shenzhen's primary processing. With the migration of people, Shenzhen ushered in a new era. Moreover, as one city of a country, Shenzhen's city functions are not only working as a regular city but also a platform or a window that connects the inland urban to the world and spread Chinese authority, earning a place for Chinese enterprises in the world market. Shenzhen becomes a place of receiving and introducing a new idea from out of the country. By comparing the history of Hong Kong and Shenzhen, this essay tries to explain the tendency of Shenzhen's industrial transformation and talks about the talented people that adapted to the tendency. As Shenzhen's urban function is transforming from processing to creating, Shenzhen needs newcomers who are high-educated and have some ideas about improving the social environment. Differing from the last 20 years, Shenzhen not only needs newcomers to be brave but also needs talented men and women to develop different industries of Shenzhen into the top level all over the world.
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Kornai, János. "Frankenstein's Moral Responsibility". Acta Oeconomica 69, n.º 4 (dezembro de 2019): 485–94. http://dx.doi.org/10.1556/032.2019.69.4.1.
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Editor's Note: This essay paper of Professor Kornai with an unusually provoking title consists of two parts. Part I is the slightly edited, non-abridged version of his writing published as an oped in The Financial Times (FT) on 11 July 2019, the world's leading global business publication (Kornai 2019a). Subsequently, the full text of this paper was published in the Hungarian weekly magazine Élet és Irodalom (Life and Literature; Kornai 2019b), which in turn generated a number of commenting articles published in the same weekly. Still in the month of July, the original essay was translated into Chinese by a Hong Kong newspaper and into Vietnamese. An influential multilingual Chinese newspaper gave an extensive summary of the FT essay (Street 2019). The latter one, according to our best knowledge, was disseminated only on the internet. Part II is the translated and slightly edited version of Kornai's second article, published in September this year on the same topic (Kornai 2019c). In this second essay he responded to his critiques both in Hungary and world-wide. This piece was published in its original form in Hungarian by the previous mentioned Hungarian weekly.1 We, the Editors of Acta Oeconomica, are proud to publish the complete English translation of this second essay first time. We thank for the opportunity given to us by Professor Kornai to publish the Frankenstein-papers in an integrated form, together with all the necessary bibliographic references.
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Stevenson, Mark. "Clara Wing-chung Ho, ed. Overt and Covert Treasures: Essays on the Sources for Chinese Women’s History. Hong Kong: The Chinese University Press, 2012. xii + 608 pp. US$65.00. ISBN 978-962-996-429-0." Nan Nü 15, n.º 2 (2013): 333–36. http://dx.doi.org/10.1163/15685268-0152p0005.
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Hokari, Hiroyuki. "Wenming kangzheng: jindai Zhongguo yu haiwai Huaren lunji 文明抗争: 近代中國與海外華人論集 (variant title: Civilized Protests: Essays on Modern China and the Chinese Diaspora). By Wong Sin-Kiong 黄賢強 ed. Hong Kong: Hong Kong Educational Publishing, 2005. ISBN 13: 9629482150." International Journal of Asian Studies 6, n.º 2 (julho de 2009): 275–78. http://dx.doi.org/10.1017/s1479591409000370.
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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 julho 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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Isay, Gad C. "A Chinese Ethics for the New Century: The Ch’ien Mu Lectures in History and Culture, and Other Essays on Science and Confucian Ethics. By Donald J. Munro (Hong Kong: Chinese University Press, 2005. 158 Pp. + xlv. Hardback, ISBN 962-996-056-7)." Journal of Chinese Philosophy 33, n.º 4 (19 de fevereiro de 2006): 581–86. http://dx.doi.org/10.1163/15406253-03304011.
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LO, Ping Cheung. "家庭作為弱勢人群的首重保障: 儒家倫理與醫療倫理". International Journal of Chinese & Comparative Philosophy of Medicine 11, n.º 2 (1 de janeiro de 2013): 7–30. http://dx.doi.org/10.24112/ijccpm.111534.
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LANGUAGE NOTE | Document text in Chinese; abstract also in English.晚近國際生命倫理學的個人主義色彩仍然甚濃，本文以如何保護醫療弱勢人群（病人）為例，指出國際生命倫理委員會2009年報告書這方面的弊病。文中一方面解釋了儒家倫理學的“家庭共決” 模式，為何應當作為保護醫療弱勢人群的首重保障，另方面也梳理出其它價值體系的相關觀點，發現某些西方學者也有類似看法，只是未為重視。筆者最後以香港公立醫院對終止維持生命治療及預設醫療指示的道德指引為例，說明儒家的家庭共決模式實際如何運作。Individualism is still very much alive in “international” bioethics. Using two documents from the International Bioethics Committee as examples (Proposed Outline for a Report on Respect for Human Vulnerability and Personal Integrity, 2009; Report of the IBC on the Principle of Respect for Human Vulnerability and Personal Integrity, 2011), and focusing on hospital patients as a vulnerable group, this essay points out the pitfalls of individualistic bioethics. Confucianism advocates family co-determination rather than individual self-determination, and this model of decision making can serve as the first bulwark in protecting vulnerable patients. This model of medical decision making is not unique to Chinese culture, but is actually advocated by a small number of Western scholars. This essay also illustrates how family co-determination in medical decisions works using the example of two recent policies introduced in Hong Kong public hospitals, viz., forgoing life-sustaining treatment for the terminally ill and the use of advance directives.DOWNLOAD HISTORY | This article has been downloaded 342 times in Digital Commons before migrating into this platform.
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Shi, Dingxu. "Hong Kong written Chinese". Journal of Asian Pacific Communication 16, n.º 2 (12 de outubro 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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Zee, Eric. "Chinese (Hong Kong Cantonese)". Journal of the International Phonetic Association 21, n.º 1 (junho 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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Cheung, Siu Keung. "From transnational to Chinese national?" Social Transformations in Chinese Societies 13, n.º 2 (5 de setembro 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 setembro 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., e C. S. Lau. "Lupus in Hong Kong Chinese". Lupus 12, n.º 9 (1 de setembro de 2003): 717–22. http://dx.doi.org/10.1191/0961203303lu451xx.
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