Past Events 2018-19

Winds, Dreams, Theater: A Genealogy of Emotion-Realms through the Lens of The Peony Pavilion

Research Seminar Hosted by the School of Chinese & Department of Comparative Literature, HKU

Winds, Dreams, Theater: A Genealogy of Emotion-Realms through the Lens of The Peony Pavilion

Dr Ling Hon Lam
The University of California, Berkeley

Venue: Room 730, Run Run Shaw Tower, Centennial Campus, HKU
Time: 4:30pm, Monday, 21 May, 2018

Abstract: Emotion takes place. Rather than an inner state of mind in response to the outside world, emotion per se is spatial, at turns embedding us from without, transporting us somewhere else, or putting us ahead of ourselves. I give a revisionist history of emotions in Chinese literature and culture centered on the idea of emotion as space, which the Chinese call “emotion-realm” (qingjing). If The Peony Pavilion (Mudan ting, 1598) is the romantic play par excellence in early modern China, it is not because, as many assume, it celebrates emotion as the innermost essence of an liberated individual. Rather, it is because the play eloquently encapsulates the three major historical regimes of the spatiality of emotion—namely, winds, dreamscapes, and theatricality. As a capsule of these various regimes, The Peony Pavilion has deployed them in an anachronistic juxtaposition, obliterating their timeline and structural differences. My reading of the play is therefore an archaeological one, sorting out the layers of sedimentation, through which we can glimpse into the subtle transformation of Chinese theater and subject formation—of which the transfiguration of the dream and the rise of the media environment are telling symptoms—as an aspect of the genealogy of emotion-realms.

Ling Hon Lam is assistant professor in the Department of East Asian Languages and Cultures at the University of California, Berkeley. His research and teaching interests cover premodern drama and fiction, women’s writing, sex and gender, history of sentiments, nineteenth- and twentieth-century media culture, and critical theories. His publications include “The Matriarch’s Private Ears: Performance, Reading, Censorship, and the Fabrication of Interiority in The Story of the Stone” (HJAS 65.2), “Reading off the Screen: Toward Cinematic Il-literacy in Late 1950s Chinese Opera Film” (Opera Quarterly 26.2-3), and “A Case of the Chinese (Dis)order? The Haoqiu zhuanand the Competing Forms of Knowledge in European and Japanese Readings” (Asian Publishing and Society 3). He is the author of The Spatiality of Emotion in Early Modern China: From Dreamscapes to Theatricality (New York: Columbia University Press, 2018).

All Welcome


Poster:
http://web.chinese.hku.hk/poster/20180521.pdf
http://www.hku.hk/chinese

卜彌格與歐洲專業漢學的興起- -兼論卜彌格與雷慕莎的學術連接

香港大學傑出中國訪問學者計劃 HKU Distinguished Chinese Scholars Scheme
香港大學中文學院公開講座 School of Chinese Public Lecture

卜彌格與歐洲專業漢學的興起
–兼論卜彌格與雷慕莎的學術連接

Michel Boym and the Rise of Professional Sinology in Europe, and the Academic Heritage from Michel Boym to Abel-Rémusat

張西平 教授
北京外國語大學

2018年5月2日下午4: 30 – 6: 30

香港大學百周年校園逸夫教學樓730室

講座摘要:西方漢學的發展經歷了三個階段,即遊記漢學、傳教士漢學和專業漢學,而傳教士漢學是令人矚目的關鍵階段。本講座闡釋明清之際波蘭來華傳教士卜彌格(Michel Boym, 1612-1659)的漢學成就,以及他對推動歐洲早期漢學的建立所作的學術貢獻。通過梳理和分析傳教士漢學與專業漢學的學術聯結,集中呈現中國文化早期在歐洲傳播的歷史畫面。

講者簡介:張西平現為北京外國語大學教授、博導;中國文化走出去協同創新中心主任,首席專家;北京外國語大學比較文明與人文交流高等研究院院長;國際中國文化研究院榮譽院長;《國際漢學》主編;國際儒學聯合會副會長;世界漢語教育史國際研究會會長;國際中國文化研究會會長;中國宗教學會和中國比較文學學會理事;國務院有突出貢獻的專家,享受政府特殊津貼。
張教授長期以現代西方文化,1500至1800年的中西文化交流史、西方漢學史和中國基督教史為主要研究領域,已出版了11部專著並在學術核心期刊上發表一百餘篇論文。目前正在從事中西文化交流史、西方早期漢學研究與中國文化海外傳播研究。承擔國家社科基金重大專案《梵蒂岡圖書館藏明天天主教文獻整理研究》,教育部重大攻關專案《20世紀中國古代文化在域外的傳播與影響》等。

Poster
http://web.chinese.hku.hk/poster/20180502.pdf

http://www.hku.hk/chinese

清代歐式氣象儀器及其工藝原理的引入與傳播

2017/2018 School of Chinese Public Lecture Series

清代歐式氣象儀器及其工藝原理的引入與傳播
The Introduction and Spread of European Meteorological
Instruments and Its Technological Principles in Qing China

施威博士Dr. Shi Wei

April 26 (Thursday), 2018, 4:30-6pm, Room 730, Run Run Shaw Tower

Language: Putonghua

在氣象技術體系中,氣象儀器無疑是最主要的技術形態之一。17世紀初,歐洲興起了氣象觀測的“製器革命”,推動氣象事業進入近代化階段,中西技術差距自此形成並逐漸擴大。鴉片戰爭以後,隨著外國氣象臺在華的陸續建立以及氣象觀測與預報工作的深入開展,歐式氣象儀器引進呈現規模化、系統化與精密化等特徵,其技術工藝和原理也得以廣泛傳播。基於以上背景,本講以清代為中心,對歐式氣象儀器及其工藝原理傳入的階段、特點、效應等進行闡述。

In the system of meteorological technology, the meteorological instrument is undoubtedly one of the most important forms of technology. At the beginning of the seventeenth century, the rise of the “revolution of instrument making” for meteorological observations in Europe promoted the modernization of the meteorological industry and gradually formed and expanded a technological gap between China and the West. After the Opium War, with the establishment of meteorological observatories by foreigners in China and the improvement of meteorological observation and forecasting, the introduction of European meteorological instruments was characterized by scale, systematization and precision, and their technological craftsmanship and principles were also widely disseminated. Based on the above background, this talk will focus on the stages, features and effects etc. of the introduction of European meteorological instruments and their technological craftsmanship.

施威博士,現為南京信息工程大學副教授、香港大學中文學院客座助理教授,兼任南京信息工程大學高層次專家聯絡辦公室執行主任、南京信息工程大學氣候與環境治理研究院特邀研究員、中國工業考古與工業遺產保護研究會理事、中國科技史學會科技史教學專業委員會理事、江蘇省農史學會理事等。主要從事氣象科技史、科學傳播與科學教育、科學與文化等領域的教學和研究。發表學術論文50餘篇,出版專著3部,主持國家社科基金專案等省部級以上科研項目6項。

Dr. Shi is Associate Professor of Nanjing University of Information Science & Technology and Visiting Assistant Professor of the School of Chinese, University of Hong Kong. He is also Executive Director of High Level Experts Liaison Office and Guest Researcher at the Research Institute of Climate and Environmental Governance of Nanjing University of Information Science & Technology and serves at the boards of the Society of China Industrial Archaeology and Industrial Heritage Protection, the Professional Committee for Education of History of Science under the Chinese Society for the History of Science and Technology, and the Society of Jiangsu Agriculture History. He teaches and studies mainly meteorological history, the transmission and education of science, and science and culture. He has published over 50 journal articles and three books, and hosted six provincial and above research projects sponsored by National Social Science Fund etc.

ALL ARE WELCOME!

http://www.hku.hk/chinese

Censorship, Morality, and Cultural Policy under Xi Jinping

2017/2018 School of Chinese Public Lecture Series

Censorship, Morality, and Cultural Policy under Xi Jinping

Michel Hockx (University of Notre Dame)

May 10 (Thursday); 11am–12:15pm
Room 730, Run Run Shaw Tower
Language: English

In October 2014, Chinese leader Xi Jinping held a widely publicized meeting with representatives of literary and artistic circles. A year later the full text of his speech at the meeting was published and became the foundation of PRC cultural policy. Western observers were quick to point out analogies between Xi’s meeting and the Yan’an forum of 1942, when Mao Zedong laid down the rules of art for the socialist period. Others opined that Xi’s speech had heralded a return to the policies of the Cultural Revolution. Yet a closer analysis of Xi’s text shows that he used his speech to reiterate and solidify a moralistic view of literature and art that has been the consensus in government circles since the start of the reform period in 1978. According to this consensus, cultural work is significant because it spreads the positive values of “truth, goodness, and beauty”—a triad well-known from the history of European philosophy and often used to build moralistic value systems. Xi Jinping and his speech writers awkwardly combine this traditional European view of the nature of art with a call for greater adherence to native Chinese traditions, and for patriotism.

This talk will trace the history of the triad “truth, goodness, and beauty” in modern Chinese cultural discourse and look in detail at its application in the formulation of cultural policy since 2014. It also looks at the effect of the discourse on cultural production and the shifting levels of tolerance for deviation from prescribed moral standards.

Michel Hockx is Professor of Chinese literature and director of the Liu Institute for Asia and Asian Studies at the University of Notre Dame. He has published widely on modern Chinese literary communities, their practices and their values, their printed and digital publications, and their relationship to the state. His monograph Internet Literature in China (Columbia UP, 2015) was listed by Choice magazine as one of the “Top 25 Outstanding Academic Titles of 2015.”

ALL ARE WELCOME!

http://www.hku.hk/chinese

蘇童紅粉小說的審醜藝術
On the Aesthetics of the Ugly in Su Tong’s Novel on Female

2017/2018 School of Chinese Research Students Seminar

蘇童紅粉小說的審醜藝術
On the Aesthetics of the Ugly in Su Tong’s Novel on Female

辜雨瑤 KU Yu Yiu

April 27, 2018 (Friday), 5:30-6:45pm
Room 730, Run Run Shaw Tower, Centennial Campus
Language: Putonghua

中國文人寫“醜”自古有之,但“醜”多作為“美”的陪襯而存在,未嘗成為一個獨立的藝術範疇。直至八十年代,中國較寬鬆的文藝環境孕育了文學“審醜”潮流,“醜”得以在文藝作品中大行其道。內容的血腥、病態,形式語言的奇譎、晦澀,成了文壇一道醜陋的風景線。八十年代崛起的作家蘇童(1963-)亦同樣有意識地在作品中描寫陰暗糜爛的環境、殘酷畸形的社會、人性異化扭曲等世間醜陋面。誠如美有千姿百態,不同作家表現的“醜”也有所不同。相較部分作家不惜把一切醜陋纖毫畢現,蘇童的審醜追求則較為節制,他不恣意渲染放大,而多是輕描淡寫,不使人作噁,而使人不寒而慄。其中,蜚聲文壇的“紅粉系列”小說(<妻妾成群>、<紅粉>、<婦女生活>、<另一種婦女生活>),可謂蘇童“審醜”代表作。小說以女性為主角,細膩地呈現了在新舊交錯的年代裡,女性生存的困境,以及女性自身醜陋的一面。作為男性作家,蘇童能擺脫男權意識下對女性詩化的臆想,以中性的視角摹寫女性、難能可貴。這次報告,在釐清何謂“審醜”後,重點分析蘇童如何在他的女性系列小說中建構屬於自己的審醜藝術。

Chinese literati have included “the ugly” in their writing since the ancient times, but it has often served as an accompany of “beauty”—the Ugly has not evolved into an independent aesthetic category all along until the 1980s: the comparatively freer literary environment in China then gave rise to the literary trend of the aesthetics of the Ugly, making ugliness a popular theme in literary texts. The blood and gore and morbidity of the plots and the peculiar language have formed a hideous literary landscape and burst upon the literary circles. Su Tung (1963- ), a writer who emerged in the 1980s, also incorporates worldly ugliness in his works, consciously depicting shoddy environment, degenerate and ruthless society, as well as distorted and denatured humanity. Just as beauty can have millions of manifestations in literature, the representation of the Ugly differs among writers. There are some writers who go after every minute detail of ugliness, whereas more subtlety can be found in Su Tong’s pursuit of the aesthetics of ugliness. He does not play with exaggerations or obsess over lurid details to nauseate people; his light touch for the Ugly sends a shudder down people’s spine all the same. His renowned “Hongfen xilie” (“Red Faces”/”Blushes” series) novels, including Wives and Concubines (Qiqie chengqun)Blushes (Hongfen)Women’s Life (Funü shenghuo), and Another Kind of Women’s Life (Lingyizhong funü shenghuo), could be said to be Su Tong’s signature works that explore the theme of ugliness. The female protagonists in Su Tung’ novels represent the struggle of women in the era where ideas new and old, traditional and modern collide; his characterisation also reveals the ugliness of the female. Albeit himself being a male writer, Su Tong managed to turn away from the literary tradition’s patriarchal poeticizing of females. His adoption of a neutral point of view in writing the female is exemplary. This presentation will first clarify what “the aesthetics of ugliness” means and then focus on how Su Tong constructs his own aesthetics of ugliness in his series of novels depicting female.

ALL ARE WELCOME!

http://www.hku.hk/chinese

作為全亞洲的垃圾堆的《上海》:新感覺主義書寫,殖民都市,與環境啟示
Shanghai as “the Rubbish Heap of All Asia”: New Sensationalist Writing, Colonial Metropolis, and Environmental Apocalypse

2017/2018 School of Chinese Research Students Seminar

作為全亞洲的垃圾堆的《上海》:新感覺主義書寫,殖民都市,與環境啟示
Shanghai as “the Rubbish Heap of All Asia”: New Sensationalist Writing, Colonial Metropolis, and Environmental Apocalypse

張墨兮 Zhang Moxi

April 20, 2018 (Friday), 5:30-6:45pm
Room 730, Run Run Shaw Tower, Centennial Campus
Language: English

1928年,在上海訪問一個月後,橫光利一回東京發表了一系列針對寫作中的語言與形式的新感覺主義文學理論,繼而創作了《上海》作為他的首部長篇小說和最後一部新感覺主義書寫實踐。本報告將《上海》置入橫光的文學理論語境中閱讀,聚焦於書寫與空間的關係。在《上海》中,這一關係因小說人物在殖民都市的旅行而成為可能。區別於慣常的旅行書寫範式,《上海》揭示了一種主體性,它既不佔據“帝國之眼”的位置,也不佔據被放逐的他者的位置。準確的說,這一主體性與空間相互作用,而空間則被呈現為一種城市奇觀。通過將環境作為一個維度置入空間,本報告以生態批評的關懷,關注文本內(如廢棄物)以及文本外(如地震)的非人力結構的喻體。我將論證,在《上海》中,可追溯出後殖民生態暴力的殖民遺產。於此,橫光不僅展示了它與現代性的關係,同時提供了他對現代性的批判。

After his one-month stay in Shanghai in 1928, Yokomitsu Riichi went back to Tokyo and published a series of his New Sensationalist literary theories on language and style in writing. He then wrote Shanghai as his first novel and last practice of New Sensationalist writing. This presentation reads Shanghai in the context of Yokomitsu’s literary theories, focusing on the relationship between writing and space. In Shanghai, the relationship is enabled through the novel’s various characters traveling in the colonial metropolis. Distinct from the conventional paradigms of travel writing, Shanghai reveals a subjectivity that does not take the position either of the “imperial eyes” or of an exiled other. Rather, the subjectivity is interactive with the space presented as a spectacle of urban environment. By bringing environment as a dimension into space, this presentation attends to tropes of non-human agencies both in the text (e.g., waste) and beyond the text (e.g., earthquake) with concerns of ecocriticism. I argue that one can trace inShanghai the colonial legacy of postcolonial ecoviolence, where Yokomitsu both shows its relation to modernity and offers his critique of modernity.

ALL ARE WELCOME

http://www.hku.hk/chinese

One Tree Three Lives
《三生三世聶華苓》暨座談會

One Tree Three Lives
《三生三世聶華苓》暨座談會

Date 日期: 20 Apr 2018

Time 時間: 7:00pm – 9:30pm
7:00pm-8:40pm (Screening, Mandarin/Cantonese)
影片放映(普通話、粵語/配有中、英文字幕)
8:40pm-9:30pm (Dialogue in Mandarin)
映後座談(普通話)

Venue 地點:
Rayson Huang Theatre, HKU
香港大學黃麗松講堂

Speaker(s) 講師:
Ms.Angie Chen, Director
陳安琪(導演)
Mr. Liu Waitong, poet, writer and photographer
廖偉棠(詩人、作家、攝影家)

Moderator 主持:
Dr Lin Pei-yin,Associate Professor, HKU
林姵吟博士(香港大學中文學院副教授)

報名方式:
For HKU students and staff
https://hkuems1.hku.hk/hkuems/ec_regform.aspx?ueid=55756

For alumni and public
https://hkuems1.hku.hk/hkuems/ec_regform.aspx?guest=Y&ueid=55757

Summary 內容:
她家的客廳,是世界華人作家的沙龍;她一生的故事,是一次20世紀的文學壯遊;她對伴侶的摯愛,是跨越三生三世的生死不渝。

她形容自己是一棵樹,「根在大陸,幹在台灣,枝葉在愛荷華」。她一生飄盪,卻以自己的所能,提供全世界上千位作家們一段溫暖的歸屬。白先勇、鍾玲、林懷民、蔣勳,以及諾貝爾文學獎得主莫言、畢飛宇、香港作家李怡、董啟章、潘耀明、鄧小樺、潘國靈都曾是她家客廳的座上賓。

她是創辦「國際寫作計劃」(IWP),被稱作「世界文學組織之母」的聶華苓,20世紀華人文學藝壇最重要的推手。

One Tree Three Lives is an intimate film on the novelist Hualing Nieh Engle, who has been a major influence on generations of writers in the Chinese Diaspora, and beyond.
The film reveals a woman of unusual charisma, integrity and determination, and a person in continual exile. Interviews with 26 writers such as Mo Yin and Pai Hsien-yung present a lively variety of views and anecdotes.

Hualing Nieh Engle calls herself a tree, with roots in China, the trunk in Taiwan, and the many leaves in Iowa, USA. Born and raised in wartime China, she left Wuhan in 1949 for peace in Taipei, and then left for love in 1964 to the United States. She is the author of 24 books of fiction and non-fiction, which have been translated into various languages. Perhaps more importantly, she initiated the prestigious International Writing Program at the University of Iowa with her poet-husband Paul Engle – a world-renowned platform for writers since 1967, for which they were nominated for the Nobel Peace Prize in 1976.

Bio of Speakers座談嘉賓:
陳安琪,香港導演。曾執導《愛情謎語》、《花街時代》、《窺情》等劇情長片,後因覺得自己的電影創作題材與香港商業社會環境不太吻合,80年代後,陳安琪便刻意與拍攝劇情片保持距離,20年來她轉戰廣告界,並拿下多項國際廣告大獎。2008年,陳安琪導演的紀錄片《愛與狗同行》獲得第45屆臺灣金馬獎“最佳紀錄片”提名。2012年,紀錄影片《三生三世聶華苓》獲香港電影評論學會選為「2012年度推薦電影」,並獲第十三屆華語電影傳媒大獎提名最佳電影及最佳導演。最新制作的紀錄片《水底行走的人》藉導演與畫家黃仁逵互動過程以看其人性,獲2017日惹國際紀錄片影展最佳紀錄片,並於2018年3月香港國際電影節上映。

Angie Chen has been making films since 1979. She was born in Shanghai, brought up in Hong Kong and Taiwan, received her MFA from UCLA, and lived in America for over more than a decade. Her first documentary, Der Besuch (The Visit, 1981), was about her father, and was filmed in Germany before her return to Hong Kong. After graduating, she returned to Hong Kong in the 1980s and directed several feature films followed, namely Maybe It’s Love (1984), My Name Ain’t Suzie (1985), and Chaos By Design (1988), before she became disillusioned with the possibilities of creating original and interesting work within the territory’s commercial industry. She turned to making commercials and publicity shorts before re-emerging as a documentary filmmaker nearly two decades after the release of her last commercial feature, with the intimate portrait This Darling Life (2008), the acclaimed biographical work on the novelist Hualing Nieh Engle, One Tree Three Lives (2012) and the latest lively documentary about the artist Yank Wong, I’ve Got the Blues (2017). This Darling Life nominated Best Documentary in the Taiwan Golden Horse Awards; One Tree Three Lives world premiered in the 2012 Hong Kong International Film Festival, and Asia-premiere in the 2012 Taipei Film Festival; and I’ve Got the Blues has won Best Feature Documentary (FFD) in 2017.

廖偉棠,詩人、作家、攝影家。曾獲香港青年文學獎、香港中文文學獎、台灣中國時報文學獎、聯合報文學獎及香港文學雙年獎等,香港藝術發展獎2012年年度作家,電台節目《和你說說詩》及電視台文學節目《文學放得開》主持人。曾於中港台出版詩集《八尺雪意》、《半簿鬼語》、《春盞》、《櫻桃與金剛》等十餘種,散文集《衣錦夜行》、《尋找倉央嘉措》、《有情枝》,小說集《十八條小巷的戰爭遊戲》等。

Liu Waitong is a poet, writer and photographer. He was born in Guangdong in 1975 and moved to Hong Kong in 1997. He has been awarded several literary prizes in Hong Kong and Taiwan, including the China Times Literary Award, the United Daily News Award, and the Hong Kong Arts Development Award for Best Artist (Literature).

林姵吟博士,現當代文學副教授,2012年開始在中文學院執教,此前曾在英國劍橋大學,倫敦大學,和新加坡國立大學任教,也曾任哈佛大學燕京學社訪問學者(2015-2016)及倫敦大學亞非學院博士後研究員。著有多篇關於現當代中文文學(尤其是台灣文學)的中、英文論文,也翻譯過數篇短篇小說,近期代表作為Colonial Taiwan: Negotiating Identities and Modernity through Literature (Brill, 2017)。

Dr Lin Pei-yin joined the School of Chinese, HKU in 2012. Prior to HKU, she was Lecturer in the Department of East Asian Studies, Cambridge, an assistant professor in the department of Chinese Studies of the National University of Singapore, and a part-time teacher and post-doctorate research fellow in modern Chinese literature at SOAS, University of London. She was a Harvard Yenching Visiting Scholar in 2015-2016. She has published widely on modern Chinese literature, with a focus on Taiwan. Her latest publication is Colonial Taiwan: Negotiating Identities and Modernity through Literature (Brill, 2017).

主辦:香港大學中文學院、晨曦青少年文教基金會
協辦:香港大學通識教育部、香港文學生活館、文藝復興基金會

http://www.hku.hk/chinese

香港大學中文學院學術期刊《大學海》徵稿啟事

《大學海》
學術論文徵集

Submission to Eruditus

《大學海》(Eruditus)為香港大學中文學院學術期刊,現誠邀同學投稿。

  • 投稿資格︰投稿人須為香港大學在讀本科生,所屬院系不拘,但須曾經或現正修讀《香港大學中文學院課程手冊》「A組︰中國語言文學」範疇其中一個或以上科目。
  • 內容︰來稿須為中國語言、文學、文化研究範疇之中文學術論文。如學科論文習作取得優異成績,歡迎修訂後投稿。
  • 字數︰5,000至7,000,包括注釋及標點符號。
  • 格式︰來稿格式必須參照本刊稿例(見http://www.chinese.hku.hk/main/journals/eruditus)。
  • 作者資料︰來稿請注明姓名、大學編號、就讀學位課程名稱、年級、聯絡電話及電郵地址。

截稿日期︰2018年5月2日(星期二)
投稿及聯絡︰eruditus.submission@hku.hk


 

Identities and Passions
A Roundtable Discussion on Recent Research in Chinese Gender and Sexuality

Identities and Passions
A Roundtable Discussion on Recent Research
in Chinese Gender and Sexuality

Time: 9:15am -12:30pm, March 29, 2018
Venue: 436 Run Run Shaw Tower, Centennial Campus, The University of Hong Kong

In recent years an increasing number of disciplines have been engaged in  the study of Chinese gender and sexuality, producing fresh materials and  innovative insights. While we are gaining a better understanding of the  processes by which Chinese men and women were shaped as gendered  and sexual beings, we are also uncovering new issues and questions that  seem China-specific, and some that need interdisciplinary efforts to  unravel and solve. In this international symposium, we have invited some  of the most active scholars working in the humanities and social sciences  to reflect on current directions and challenges in the study of Chinese  gender and sexuality.

Featuring:
Louise Edwards, School of Humanities and Languages, The University of  New South Wales; Kam Louie, Honorary Professor, School of Chinese,  HKU; Chris Berry, Film Studies Department, King’s College, London;  Clara W. Ho, Department of History, HKBU; Gina Marchetti, School of  Humanities, HKU; Wu Cuncun, School of Chinese, HKU; Geng Song,  School of Chinese, HKU; Travis Kong, Department of Sociology, HKU;  Binbin Yang, School of Chinese, HKU; Pei-yin Lin, School of Chinese,  HKU; Haomin Gong, Department of Chinese, Lingnan University; Yun Zhang, Division of Humanities, HKUST; Dong Miao, School of Chinese,  HKU; Yue Gu, School of Chinese, HKU

All Welcome
Poster:

川藏九寨黃龍文化之旅
Sichuan, Tibetan areas, Jiuzhaigou & Huanglong Valley Cultural Exchange Program

Under the sponsorship of the HKU-China 1000 Exchange Scheme and Tinkaping Foundation, an exchange event organized by the School of Chinese for undergraduate and postgraduate students will take place during summer holiday of 2018. Further details are available in the following call for applications.

香港大學中文學院主辦
川流不息、古蜀文明——「川藏九寨黃龍文化之旅」
學生招募
港大中文學院主辦,四川大學協辦之「川流不息、古蜀文明——川藏九寨黃龍文化之旅」旨在善用暑假,由中文學院老師帶領同學前赴川大學習,然後深入川蜀藏區,考察川流不息的古蜀文明、探索多元和諧的藏區文化。

旅程歷遍:康巴藏區、康定草原、木格措高地;途徑甘孜阿壩二州,居丹巴藏寨,宿若爾蓋草原;訪藏傳古寺、花湖紅原,登臨九寨及黃龍勝境。

日期:2018年5月31-6月10日(11天)
對象:全日制學生(本科優先、研究生皆可)曾修讀中文學院課程者優先
費用:期間食宿/參觀/學習/交通/門票費用全免。機票自費(約$3200),額外津貼可供申請(校方約$1100;中文學院約$1000),獲批者估計11天約$1100。請確保持有有效旅遊證件(回鄉卡、簽證)
名額:名額非常有限,先展開首輪招生,額滿則不作次輪收生。港大川大籌委會老師會進行甄選並有最終決定權。
報名及通知:填妥網上報名表,結果會在4月中旬以電郵或電話形式告知。
首輪截止報名日期: 2018年4月14日(星期六)
查詢:中文學院體驗學習及交流計劃總監廖舜禧(百週年校園B702室 電話:39175204電郵:hayliu@hku.hk

2018 年港大 – 暨大暑期交流項目
HKU – JNU Summer Exchange Programme

2018 HKU – JNU Summer Exchange Programme
2018 年港大 – 暨大暑期交流項目

Lingnan Culture Seminar Series for Bay Area University Students
粵港澳大學生“嶺南文化”高級研修班

主辦:香港大學中文學院、暨南大學港澳歷史文化研究中心
日期:2018年5月27日至6月1日(包括兩日往返、四日交流)
地點:暨南大學(石牌、番禺校區)
對象:港大本科生,年級、專業不限,優先考慮香港本地學生
方式:四次講座;廣州、佛山及周邊地區參觀考察
語言:普通話、廣東話
費用:學生只需自付香港至深圳灣口岸車費(往返約100HK$),暨大負擔食宿及參觀費用。
聯絡諮詢:hku-jinan@hku.hk

2018年3月31日報名截止 名額有限,欲報從速!

Poster:
http://web.chinese.hku.hk/poster/2018hku_jinan.pdf

Website:
http://www.hku.hk/chinese

Ancestral Halls as Institutions in Late Imperial China

2017/2018 School of Chinese Public Lecture Series

Ancestral Halls as Institutions in Late Imperial China

Joseph P. McDermott (Emeritus Reader in Chinese History, U of Cambridge)

March 6, 2018 (Tuesday) 4:30pm-6:00pm
Room 730, Run Run Shaw Tower
Language: English

The ancestral hall is commonly thought of as a place where descendants worship their ancestors, and so it has long been considered an integrative and inclusive institution encompassing an entire lineage or branch. This talk questions that understanding, preferring to see that at least in some parts of south China during the Ming and Qing dynasties ancestral halls were erected to redistribute power within the lineage, often in line with wealth and power already acquired outside of the village, and thus were actually very divisive institutions. Two keys to gaining this insight are the financing of the hall’s construction and the hall’s subsequent role as a credit-granting institution in a society with very limited “banking facilities.” To that extent, the growth of the ancestral hall as a key institution of lineage life in south China from the sixteenth century onward is a sign of the commercialization of a descent group institution along lines imagined by neither pre-Ming advocates of this central institution in neo-Confucian reforms nor modern scholars focussed primarily on what such advocates wrote about institutions as opposed to what Chinese actually did with them.

About the Speaker
Joseph P. McDermott has had a career teaching in the US, Japan, and the UK. Having recently retired as Reader in Chinese History at the U. of Cambridge, he presently is Fellow of St John’s College, Cambridge, and Honorary Fellow of the Toyo Bunko, Tokyo. Over the past four decades he has written widely on middle and late imperial Chinese history, at times on Chinese art and thought, but mainly about Chinese social and economic history from the Song to the early Qing. His books include A Social History of the Chinese Book (HKUP, 2006) and the two-volume study of Huizhou Prefecture, The Making of a New Rural Order in South China (Cambridge University Press, 2013 and forthcoming in 2019) , and the volumes he has edited include Art and Power in East Asia (ICU, 1990), State and Court Ritual in China(Cambridge University Press, 1999), and, with Peter Burke, The Book Worlds of East Asia and Europe, 1450-1850 (HKUP, 2016). Most recently, he co-authored a lengthy chapter, “Economic Change in Song China, 960-1279,” for The Cambridge History of China.

ALL ARE WELCOME!

http://www.hku.hk/chinese

對思考的思考:元思考在翻譯學領域的應用及其對翻譯活動的影響
Thinking About Thinking: Meta-awareness in Translation Studies and Its Cognitive Significance

2017/2018 School of Chinese Research Students Seminar

Thinking About Thinking: Meta-awareness in Translation Studies and Its Cognitive Significance
對思考的思考:元思考在翻譯學領域的應用及其對翻譯活動的影響

Li Sen 李森

March 9 (Friday); 5:30-6:45pm
Room 730, Run Run Shaw Tower, Centennial Campus
Language: English

With the advent of Artificial Intelligence comes the question: are we going to be replaced by machines one day and can AI do what we do? As debates rage on over the uniqueness of human expertise, scholars are now looking closely at what makes human knowledge indispensable in light of the rapid growth of AI. In the field of Translation Studies, machine translation has stirred up discussions over the need of human translation in the future. This has incentivized translation scholars to shift focus from traditional textual analysis to psycholinguistic analysis to understand what distinguishes human translation from machine translation on a cognitive level. According to the Encyclopedia of Human Memory, metacognition (hereon referred to as meta-awareness) means the ability to think about thinking and beware of one’s own awareness in humans and still remains a major issue in Artificial Intelligence. As translation is a multistage, cross-linguistic process within “a complex cognitive network of knowledge, abilities and strategies,” it is necessary for translators to regularly assess their own translation strategies and language proficiency to achieve maximum equivalence. Moreover, because domain-specific knowledge is directly correlated with better performance and determines what type of tasks translators can undertake, they are uniquely positioned to constantly update and maintain their sense of expertise. To put it simply, seasoned professionals often think about how to think about translation and know they are experts. This then begs the following questions: how do translators find the best mode of thinking when translating a specific genre and style? Is it a unique human experience? What does a sense of expertise do to their comprehension of the task? Can we apply meta-awareness to machine translation to boost its efficiency? For my project, I am curious to find out if this complex way of thinking can be wielded to establish the unique position of humans as the creator and innovator of language as well as language research, and if this can benefit AI studies in the future. The end goal is to demonstrate how higher-level cognitive processes such as meta-awareness can be applied to translation and how it influences translation activities. In the first part of this research project, I will apply psychoanalysis to the translation of traumatic texts to illustrate how meta-awareness of the psychological rationale behind the specific style in which trauma literature has been written determines whether such a style is translated faithfully. In part two, the application of meta-awareness will be examined under an experimental setting to explain if professional meta-awareness of linguistic and translation ability as induced by a translation task will alter the participants’ comprehension of the same task.

隨著人工智能的到來,人類專業技能的獨特性成為爭論焦點。在翻譯學領域,機器翻譯的出現使人工翻譯的地位岌岌可危。因此,翻譯學者們逐漸把目光從傳統的文本、語言分析轉移至心理語言學分析。從認知的角度來闡釋人工翻譯與機器翻譯之間的差異。根據人類記憶百科的定義,“元思考” 指對思考產生的思考,是一種對思維方式的反思。然而,人工智能在靈活運用元思考的能力上仍存在諸多局限性。由於翻譯是多環節,跨語言的活動,並涉及到一系列複雜的知識結構、能力與技巧。譯者們不得不經常反思自己的翻譯策略,思維模式和語言表達能力,以保證翻譯的 ”信,達,雅,”。不僅如此,因專業知識的多少直接決定翻譯的質量及譯者的工作範圍,譯者們自然會時常更新並保持自己身為某領域、甚至多領域翻譯專家的自我定位。簡單來說,資深的譯者經常反思翻譯時該用什麼技巧、什麼思考方式,並清楚地知道自己具備一定專業能力。這便引發一系列問題:譯者如何在反思翻譯策略時針對不同的風格和體裁來選擇合適的翻譯思維模式?只有人類具備這種反思能力嗎?對於專業能力的自我認知是否會影響譯者對於翻譯文本的理解?我們是否可以將元思考應用到人工智能領域?從如上問題出發,本論文將把元思考的概念作為考證人類知識獨特性的工具,以證實人類在語言發展和語言研究方面的不可替代性,同時解釋元思考在翻譯領域的價值及其對翻譯活動的影響。論文第一部分將從心理分析的角度,以余華的創傷文學為例,分析譯者應如何利用元思考的概念反思自己的翻譯思維模式,在翻譯該體裁時對於其寫作風格及特點背後的心理因素加以分析,以保證該文體譯文的忠實度。第二部分將以實驗的方式,在指定的筆譯及閱讀測試之背景下,闡述譯者作為專家的自我意識如何激發其在翻譯策略及語言能力上的反思和自我評估,以探討這種元思考式的反思、自我評估如何影響譯者對原文的理解。

ALL ARE WELCOME!

http://www.hku.hk/chinese

文化體驗工作坊
樂在棋中–象棋文化講座及對弈體驗

Under the sponsorship of the Tin Ka Ping Foundation, a workshop on Chinese Chess Culture has been organized by the School of Chinese for full time undergraduate and postgraduate students. Details of this event are available in the following call circular.

樂在中—
象棋文化講座及對弈體驗
學生招募

港大中文學院主辦,田家炳基金贊助之「體驗學習及交流計劃」旨在透過各類深度交流及文化課程讓港大同學認識傳統、體驗文化。過去三年,中文學院「體驗學習及交流計劃辦公室」先後舉辦雲南、川藏、絲路、京滬各項交流,反應正面;文化活動方面涉獵廣泛,有書法、茶道、禪修、古琴、命理等工作坊。
現特邀名家,開辦「象棋文化講座及對弈體驗」。透過專家講解,了解棋藝文化之深邃;與大師對弈,品味步挾風雷、著著玄機之妙趣。

講座:2018年4月6日 (週五 6:30-8:30pm)

對弈體驗:2018年4月13;20;27日(週五6:30-8:30pm)

地點:香港大學本部大樓119室

費用:講座免費;體驗課堂$200(曾參與中文學院體驗學習及交流計劃者優先)

導師:林嘉欣小姐(港隊代表、三屆香港冠軍、亞洲賽季軍[10及16]、世界賽殿軍[09];第11屆「世界象棋錦標賽」獲國際棋聯頒「象棋大師」稱號,為首位得此名號的香港女棋手) 及林小龍老師(香港學界冠軍)

報名: https://form.jotform.me/80221340384446

截止:30/3/2018

名額:名額非常有限,先展開首輪招生,額滿則不作次輪收生。

報名及通知:填妥網上報名表,結果會於4月初以電郵或電話告知。

查詢:中文學院廖舜禧老師(港大百週年校園B702室 電話:39175204電郵:hayliu@hku.hk

民國上海劇場翻譯—以洪深《少奶奶的扇子》為例
Translation for Theatre Performance: Hong Shen’s The Young Mistress’s Fan in the Republican Era

2017/2018 School of Chinese Research Students Seminar

民國上海劇場翻譯—以洪深《少奶奶的扇子》為例
Translation for Theatre Performance:
Hong Shen’s The Young Mistress’s Fan in the Republican Era

李佳偉Li Jiawei

February 9, 2018 (Friday), 5:30-6:45pm
Room 730, Run Run Shaw Tower, Centennial Campus
Language: Putonghua

洪深的《少奶奶的扇子》為上海戲劇協社第六、七次公演劇目,原劇是王爾德的四幕喜劇《溫德米爾夫人的扇子》。該劇分別在上海職工教育館以及夏令配克劇院上演。兩次演出都得到了大眾與學術界的一致好評。《少》的出現是學術界公認的中國話劇正規化的第一座里程碑。《少》的成功,表明當時的新文學若要有所成就,必須滿足當時的劇場話語,同時向兩個向度努力。一方面需要滿足大眾“娛樂性”的要求,另一方面要堅持話劇的“啟蒙性”與“藝術性”。本次報告擬從歷史敘事與文本分析的角度,分析《少》如何符合劇場話語,以期到達對十九世紀二十年代上海劇場翻譯的進一步理解。

The Young Mistress’s Fan was translated from Oscar Wilde’s four-act play Lady Windermere’s Fan by Hong Shen. It premiered in Shanghai Vocational Educational Hall in April 1924 and was restaged in Shanghai Olympic Theatre in the later June. The emergence of The Young Mistress’s Fan was a landmark event as it pioneered the modern drama, the adapted plays as well as the modern performing forms. It also directly led to Hong Shen’s later success as a reputable director, playwright and translator. The main argument of this report is that translator’s power is not hereditary, but gained by recognition from both the practitioners and audiences. This report will investigate the dramaturgical methods Hong Shen adopted in producing The Young Mistress’s Fan. By doing so, I hope to reconstruct how the theatre translators in the 1920s Shanghai empowered themselves.

ALL ARE WELCOME!

http://web.chinese.hku.hk/poster/20180209.pdf

http://www.hku.hk/chinese

本科畢業論文寫作方法談
A Talk on Research and Writing Capstone Dissertation

本科畢業論文寫作方法談
A Talk on Research and Writing Capstone Dissertation

Date: 25/1/2018 (Thursday)
Time: 5:30 pm – 6:30 pm
Venue: Room 730, Run Run Shaw Tower, Centennial Campus
Language: Putonghua/ English

Dr. Emma Yu Zhang 張宇博士 (Society of Fellows in the Humanities)

Abstract:
This talk introduces and highlights the important aspects and skills in doing research and writing undergraduate capstone dissertation, such as how to formulate research questions, how to engage with sources, and how to build a sound argument. It aims to offer a better understanding of the process of writing a capstone dissertation.

本次講座旨在介紹本科畢業論文寫作過程中的基本方法,與學生著重探討怎樣提出研究問題,怎樣處理研究資料 ,怎樣形成合理的論點等等,希望能夠讓學生對論文寫作的整個過程有比較清晰的認識。

All are welcome

Poster:
http://web.chinese.hku.hk/poster/20180125.pdf

Powerpoint Download:
http://web.chinese.hku.hk/poster/20180125slide.pdf

中國語言文學研究的新動態與課題
韓國高麗大學暨香港大學國際學術研討會

中國語言文學研究的新動態與課題
韓國高麗大學暨香港大學國際學術研討會

2018年1月26日-27日

香港大學百週年校園逸夫教學樓

All Presentations Will be in Putonghua. All Are Welcome. 普通話進行,歡迎出席聆聽



海報
http://web.chinese.hku.hk/poster/20180126poster.pdf
議程
http://web.chinese.hku.hk/poster/20180126.pdf

http://www.hku.hk/chinese

‬靖康元年太學生上書與政治溝通渠道
Memorials of University Students and Channels of Political Communication in 1126

2017‐2018 School of Chinese Seminar 香港大學中文學院演講

Memorials of University Students and
Channels of Political Communication in 1126‬
靖康元年太學生上書與政治溝通渠道

Dr. Chu Ming Kin

January 19, 2018 (Friday); 4:30-6:00pm
Rm730, Run Run Shaw Tower
Language: English

How did students at the Imperial University (taixue太學) comment on politics in response to political crises incurred by the Jurchen invasion in 1126? Through an analysis of the networks of students who prostrated in front of the imperial palace to express their opinions and a comparison of fourteen memorials submitted by students to the emperor in the first half of 1126, I aim to discuss the extent to which students’ background and social networks relate to their participation in collective actions and diverse political agendas. A close examination of the memorials also reveals that students were highly responsive to the rapidly changing political environment. Such responsiveness, I would argue, owes much to the prevalence of different communication channels that facilitated the circulation of political information among the literati circle.

‪面對女真人入侵所引發的政治危機,太學生在靖康元年如何議論朝政?通過分析‬‬‬參與伏闕上書的太學生之人際網絡,以及比較太學生在靖康元年上半葉向欽宗皇帝呈上的十四通書,本講演探討學生的背景和人際網絡與其參與集體行動及其不同的政治理念有何種程度的關連。在仔細考察十四通太學生上書後,可發現太學生對急劇轉變的政治環境高度敏感。講者認為這種敏感度很大程度歸因於當時盛行的各種傳播渠道,而這些渠道促進了政治信息在士人群體中的傳播。‬

Dr. Chu Ming Kin is Assistant Professor in the School of Chinese, HKU. Before joining the School in 2017, he had been a Research Assistant Professor in The Jao Tsung-I Academy of Sinology at Hong Kong Baptist University, a lecturer in the Department of History at Hong Kong Shue Yan University and a postdoctoral research associate at King’s College London and Leiden University. His research interests include political, educational, institutional, social and cultural history in Middle-period China (Five Dynasties, Song and Yuan) and Chinese historiography.

ALL ARE WELCOME

絲路•敦煌新疆古道行2018

An exchange programme organized by the School of Chinese for undergraduate and postgraduate students will take place during the reading week of March to Silk Road including Dunhuang and Xinjiang. Details of this event are available in the following call circular.

大漠孤煙直
絲路•敦煌新疆古道行
學生招募

中文學院主辦、敦煌研究所協辦之「大漠孤煙直——絲路•敦煌新疆古道行」旨在善用3月的「閱讀交流周」(Reading & Field-trip week),由中文學院老師帶領同學感受壯闊絲路、親炙浩瀚敦煌。

行程先赴敦煌研究所學習;再沿河西走廊至敦煌大漠,登臨嘉峪關、河倉城;考察莫高窟、玉門關,暢遊月牙泉、鳴沙山,感受陽關飛雪、廣漠連天。最後深入新疆烏魯木齊,登天山天池。師生一起共同探索千古漢墓、足踏萬里丹霞。
現邀對絲路文化、敦煌石窟、西域藝術、大漠風光有興趣的同學參與。
日期:2018年2月28至3月9日 (農曆年後及Reading Week 10天)
對象:港大全日制學生(本科生優先、研究生皆可,曾修讀中文學院課程者優先)
費用:期間食宿/參觀/學習/交通費用全免。4程機票/內陸高鐵自費(約$5500)。
校方提供額外津貼(學院$1000及/或校方$2300)以供旅程後申請,獲批者估計10天約$2,200(獲最高資助者)。請確保持有有效旅遊證件(回鄉卡、簽證)。
名額/注意:名額非常有限,先展開首輪招生,額滿不作次輪收生。「港大及敦煌研究所籌委會」負責甄選並有最終決定權,進一步消息會以電郵/電話於1月中旬告知。旅程或與課堂衝突,學生自行調配時間。
截止報名日期: 2018年1月13日(週六)
查詢:中文學院講師及計劃總監廖舜禧(百週年校園B702室  電話:39175204電郵:hayliu@hku.hk)

[ATTENTION] A new course on “Hong Kong Literature (CHIN2172)”

最新通告

Hong Kong Literature (CHIN2172)

(1) Two courses code numbers CHIN 2172 and HKGS 2014 are linked to the course of Hong Kong Literature. However, neither double enrollment nor double counting would be considered for this course. Notwithstanding any preceding or subsequent enrollment into CHIN 2172 or HKGS 2014, you will earn only 6 credits by taking this course.

(2) If you are interested in taking this course for fulfilling course requirements for your major or minor in BA-Chinese Language and Literature or BA&BEd (LangEd)-Chin-Chinese Language, Literature and Culture, you may wish to enroll into CHIN 2172, but not HKGS 2014. For any enquiries, please contact the subject teacher Dr. Leung Shuk Man via email at leungssm@hku.hk on or before noon, 25 January 2018 (Thursday).

Last updated: 2018/01/23


A new course on “Hong Kong Literature (CHIN2172)” will be offered by the School of Chinese in semester 2 starting from 2017-2018.

For course infromation, please click the link here.

http://web.chinese.hku.hk/handbook/chin2172.pdf

http://www.chinese.hku.hk/main/resources/handbook/