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  • Reviewed by Yip Ka-che
    香港研究. 2024, 4(1): 105-108.
  • Charmaine H. Lam
    香港研究. 2024, 4(1): 1-15.
    This analysis pursues a transnational and spatial approach to the history of Victoria Park to examine the construction and experience of space within Victoria Park in Hong Kong. It applies Henri Lefebvre's categories of spatial analysis to facilitate an examination of how British and local Chinese meanings and experiences of space collided to create an arena of contested power within the spatial practices of the park. These resulting tensions provide an understanding of the larger tensions within Hong Kong's colonial order that points to the importance of recognizing local contributions to urban development and space in colonial histories.This framework provides an equal focus on the roles of the colonial government and the local Chinese working classes in shaping the use and meaning of Victoria Park and, thus, the urban landscape of colonial Hong Kong. Such a focus presents an intervention for a group that has been much overlooked both within Hong Kong's colonial history and within the broader field of imperial urban history.
  • Reviewed by Matthew Hurst
    香港研究. 2023, 3(2): 7.
  • 書評人:譚詠瑜
    香港研究. 2023, 3(2): 6.
  • Michael O’Sullivan
    香港研究. 2019, 2(1): 6.
  • Reviewed by Hercules Chu Kok-yin
    香港研究. 2024, 4(1): 108-110.
  • Reviewed by Mitchell Ma and Mira Chow
    香港研究. 2021, 3(1): 9.
  • Reviewed by Kwok Chi
    香港研究. 2019, 2(1): 9.
  • Charles Lam, Raymond Pai
    香港研究. 2024, 4(1): 83-103.
    This article discusses how humor contributes as a resource to the teaching of Hong Kong, both in the context of Cantonese language learners across the globe and for a wider audience who are interested in social and identity issues in “homeland” Hong Kong. We argue that humor is an effective resource in teaching Hong Kong since humorous texts in the broad sense are often nuanced and multi-layered, which are important qualities that match Hong Kong's (in)famous plurality and hybridity. Drawing on Shih Shu-mei's decentralized and pluricentric concept of Sinophone studies, this article argues that humorous texts help learners better appreciate the diversity and dynamicity in Hong Kong culture and Cantonese. In the context of heritage language learners, we show that humor and parody are excellent vehicles to allow students to connect with the target language in their own style, rather than tracing back to certain stereotypical yet imaginary roots of “homeland” that go against the psychological ownership of students' learning. In the Asian (“homeland”) context, we illustrate the importance of comedy studies through a course in a popular education setting outside of universities. Through the course on humor studies and the stress on Cantonese language, aspects related to the Hong Kong identity are introduced while covering various topics, such as popular culture, parody, and the negotiation of the Hong Kong identity. This article shows how humor engages with the audience and enables dialogues and discussions on the otherwise divisive and abstract topic of identity, even in the local “homeland” context, in which speakers assume a relatively stable and homogeneous identity. We stress that learners' active engagement can be leveraged by the incorporation of both consumption and production (also known as “prosumption”) of humorous content and learning materials that suit their own learning style and motivation, which is particularly significant for adult learners.
  • 香港研究. 2024, 4(2): 7.
  • Vennes Cheng
    香港研究. 2023, 3(2): 2.
    This article aims to mediate the fleeting notion of the border of Hong Kong through the lens of contemporary art, the participatory creativity during recent social movements. The subjectivity of Hong Kong, its people often underpins social movements in Hong Kong after 1997, in the past two decades is negotiated in the forms of confrontation, contention on geopolitical, nationalistic, ethnic borders between Hong Kong, the Mainland. The social unrests indicate that nationality, ethnicity may not be the prevailing attribution for devising one’s attachment to a place. The notion of identity, its boundaries are complex orchestrations that involve confounding subjective, variable aspects of humanity, such as emotion, psychological attachment. In this sense, the notion of border is a transient one, whereby Hongkongness is constantly manifested. The works of three Hong Kong artists—Samson Young, Luke Ching, Tang Kwok-hin—illustrate, mediate both the fluidity of multiple assemblages on the boundaries of Hong Kong SAR, the trans-border correlations between Hong Kong, Taiwan. The participatory creativity, namely the Lennon Wall, diverse creativity once spread across the city during the 2014, 2019 protests, also allegorize the diverse, mutated boundaries of individuals that comprise the subjectivity of Hong Kong.
  • Lorraine Lau
    香港研究. 2024, 4(1): 37-56.
    A Hong Kong-born biracial poet based in the United Kingdom since childhood, Sarah Howe explores in her debut collection, Loop of Jade (2015), the complexities of Hong Kong through the lens of diaspora. This article examines Howe's representations of language and silence in relation to writing Hong Kong as a third space between dominant cultural forces. I will explore self-writing as a mode of cultural production that, through the process of hybridization, frequently challenges the boundaries of hierarchical binaries. Writing in English, Howe employs her limited knowledge of the Chinese language to weave a diasporic family narrative that is defined through its fragmentation and ambiguity. Framing her mother's childhood stories as a vehicle for understanding her family history in Hong Kong, Howe establishes a connection between her mother's reticent storytelling and her loss of access to her “mother tongue,” her mother's native language. Adjacent to her exploration of language, her visualization of silences through poetic form underscores the marginality of self-writing in diaspora while also questioning the assumed truthfulness of family history and, by extension, the history of “home.” With a focus on the dynamics between motherhood and mother tongue, as well as language and silence, in Loop of Jade's family narratives, I will argue for a reading of Howe's poetry as the formation of a Hong Kong diasporic identity that draws on hybridity and marginality. Howe's experimentation with language, genre, and poetic form articulates a Hong Kong identity that is not “pure” but rather rooted in the incommensurability of differences.
  • The Editors
    香港研究. 2023, 3(2): 1.
  • 何曉瞳
    香港研究. 2021, 3(1): 2.
    2014年,香港著名當代女作家黃碧雲出版了長篇小說《微喜 重行》,以獻給哥哥的遺書為名,對人生與創作階段進行了 整理與總結,重寫以重行。黃碧雲將小說定義為「懺悔錄」,並視自己為「告解」的人。本文認為,它除了是一部私我的「傷痕文學」,也是屬於作者與主人公的「香港故事」。在半自傳式的回憶框架裡,「我」藉著一次蒐集家族記憶的旅程,除了追溯本源和思索個人生命意義外,亦展現了作者對香港和個人身分定位的想像、省思與關懷。
  • Stephanie Studzinski
    香港研究. 2023, 3(2): 3.
    In a contemporary iteration of the world-as-text paradigm, one of the newer, most tangible theoretical turns is referred to as material ecocriticism. What material ecocriticism offers is another way of conceptualizing, “reading” cities like Hong Kong, thinking through the dynamic feedback loops that intertwine street art, literally as “storied matter, ”, neighborhoods, as place-based storied communities. Reading street art as storied matter offers new explorative ways of utilizing the lens of street art to read the ideation, creation of a neighborhood’s history, present, futurity. This article considers my own work creating a mural in Wan Chai as a study in the practicalities of such an approach.
  • Yeung Yang
    香港研究. 2023, 3(2): 4.
    This article addresses the relation between the political environment during, immediately after the2019pro- democracy movement, two Hong Kong artists’ situated responses, experiences. As the movement forges its strength in the name of unity of citizenship provisionally formed, it risks failing to recognize artists’ lateral engagement with it. The movement demands that participants forgo specificities of identity as it prioritizes a unified citizenship antagonistic to the ruling power. Artists face the dilemma of having the capacity to contribute to the movement by creative, non-antagonistic means, but not having the discursive space to actualize this capacity. This article proposes that Charles Taylor’s politics of recognition is productive for understanding such contentions. It raises the question of whether forfeiting differences that constitute the value of particular cultural groups is a price the sustainability of democratic values can pay for. The works of Sharon Lee Cheuk-wun, Lau Wai demonstrate that a creative space for experimenting with what ruling power is, what it does to citizens, is as important as a space for contesting against it. Their works can be interpreted as associating with Roland Barthes’ figure of the Neutral, at once a figure of experimental thought, a dwelling for playfulness, an open, atopic space without location or ownership for multiple modes of engagement with meaning-making processes(an ethics).
  • 卓嘉健
    香港研究. 2023, 3(2): 5.
    本文以香港錫克家庭回訪印度為例,探討回鄉探親這類活動, 如何反映香港印度人與他們故鄉之間的跨國聯繫,以及他們 如何運用這種聯繫去維持本身的宗教信仰及進行各項經濟活 動。根據筆者自 2005 年在香港錫克教廟長期持續的田野調 查,以及伴隨香港錫克家庭到印度旁遮普邦的探訪,本文考 察香港錫克人回印探親對當地錫克家族跨國網路整合及本地 日常活動的影響。以參與觀察所得的資料為基礎,本文分析 香港錫克家庭回訪印度這一行為背後一系列的歷史及社會文 化因素,並藉此展望在回鄉探親中展現的跨國聯繫,在全球 疫情漸緩之後或會發生的轉變。
  • Chew Ming-tak Matthew
    香港研究. 2021, 3(1): 1.
    This study aims to analyze and demonstrate the translocalism of Hong Kong popular culture through uncovering the sociopolitically alternative characteristics of an Internet meme that traveled across Hong Kong and China. In the theoretical sections, I explain how the culture-based concept of “translocalism” differs from the geography-based concept of “translocality,” review current studies that discuss the translocal characteristics of Hong Kong popular culture, introduce relevant international studies of Internet memes, critique current studies of Hong Kong memes, and provide an overview to the context of translocal meme-making across Hong Kong and China. In my empirical analysis, I examine a very popular Internet meme named “sorry, being wealthy really lets one get away with anything,” originally invented by Hong Kong netizens in 2014 and widely used and popularized in China in 2017 and 2018. Since 2018, Hong Kong netizens accepted the Chinese enhancement and used it broadly in Hong Kong’s social media. This meme illustrates how an originally Hong Kong-based cultural item successfully traveled across borders without the help of established institutions or groups, how Chinese co-creators contributed to enriching its usage and meaning significantly, and how the meme’s critical social value was enhanced with translocal co- creation. This study’s data were primarily collected from online sources and secondarily from informal interviews with meme-users. I traced numerous instances of the use of this meme to find out how netizens used and developed it between 2014 and 2019.
  • Evelyn Wan
    香港研究. 2019, 2(1): 2.
    This paper maps the spectral temporalities of Hong Kong in the wakes of the official opening of the high-speed rail link in West Kowloon. Probing the spectral figurations of time in the city through Jacques Derrida’s spectrality discourse, the paper connects spectrality with the method of “deep mapping” as proposed by Mike Pearson and Michael Shanks in Theatre/Archaeology (2005). This method aligns the poetic with the discursive, the fictional and the historical in order to set up an alternative archive of a locale with narratives that traverse and overlay the past, the present, and the future. I consider the notion of time through the act of “counting down” to 1997 and to 2047, and center this deep map on the site of West Kowloon. The reflection is placed in the context of the high-speed rail link, Wong Kar-wai’s train to 2046, a censored, or “disappeared” artwork originally presented on the International Commerce Centre (ICC) by Sampson Wong Yu-hin and Jason Lam Chi-fai “Our 60-Second Friendship Begins Now / Countdown Machine” (2016), and the West Kowloon Cultural District.
  • 李祖喬
    香港研究. 2019, 2(1): 3.
  • Vincent Ho, Novem Ho Tsz-wing
    香港研究. 2024, 4(1): 17-35.
    This article presents an alternative perspective to the prevailing view that the Hong Kong Zoological and Botanical Gardens were established solely through negotiations between colonial authorities and the Hong Kong government. We argue that the role of the imperial botanical network should also be considered. The network facilitated the explorations, imaginations, and connections of botanists in Hong Kong from the British occupation to the establishment of the gardens, revealing their contribution to Hong Kong's significance in the field of imperial botany. Through exploring the people and events surrounding the gardens' establishment, the article offers a unique perspective on revealing Hong Kong's early colonial period.
  • Guilherme Augusto Laidens Feistauer, Elaine wisbey
    香港研究. 2024, 4(1): 57-82.
    At one point considered to have been the most densely populated place on earth, nearly thirty years after its demolition, Hong Kong's Walled City of Kowloon continues to be a topic of significant cultural memorialization and lively academic discussion. Yet despite the researchers' best efforts, its origin and early history continue to be riddled with fundamental inaccuracies. Tracing back to key primary sources, this article upholds that the Walled City was selectively built by the Chinese on empty government land between late 1846 and 1847, systematically arguing that it was therefore not an architectural palimpsest with an undue “centuries-old” history. Seeking to bring clarity as to “why” predominant academic discourses to date have differed, the article scrutinizes two of the most influential published narratives on the topic by Elizabeth Sinn and Julia Wilkinson, demonstrating how a fundamental lack of integration of key primary sources has resulted in the current state of knowledge. Closely aligned with and committed to efforts to decolonize the historical record, the article also proposes that such sources should be made more accessible for proper study, in the hope that narratives about the Walled City's origin and early history take account of the perspectives of those who built it.
  • Tammy Ho, Michael O’Sullivan, Eddie Tay, Michael Tsang
    香港研究. 2019, 2(1): 1.
  • Kieran Allen
    香港研究. 2019, 2(1): 8.
  • Reviewed by Charles Fung Chi-keung
    香港研究. 2021, 3(1): 6.
  • Reviewed by Sarah Lee Sze-wah
    香港研究. 2021, 3(1): 7.
  • 朱維理
    香港研究. 2018, 1(2): 160-170.
    本文討論1945至1975年期間港英政府的管制﹑社會的道德恐慌舆香港漫畫題材轉變的關係。本文運用用Stanley Cohen的道德恐慌理論,比较1970年前後港英政府不干預的態度,以及它1970年代初立法管制的論述和行動如何掀起社會輿論指责色情和武打漫畫敗壞社會風氣,以及標籤這些刊物为不良通俗文化,從而說明媒體自身不足以建媾社會對漫畫的道德恐慌,以及政府的管制促使香港漫畫家改變武打漫畫的主题和風格。
  • Gwendolyn Gong, John H. Powers
    香港研究. 2021, 3(1): 3.
    Two Hong Kong professors reveal how their understanding of the term “retirement” has taken on an unexpected, meaningful, and rewarding definition.
  • Reviewed by Cheang Kai-hang
    香港研究. 2021, 3(1): 4.
  • 香港研究. 2023, 3(2): 8.
  • Reviewed by Ann Gillian Chu
    香港研究. 2021, 3(1): 5.
  • Carlos Rojas
    香港研究. 2018, 1(1): 100-115.
    This essay uses an analysis of Fruit Chan’s 2016 film Kill Time to reflect on the legacy of the Handover, and on the significance of its upcoming twentieth—and, later, fiftieth—anniversaries. Although Chan’s film is set in contemporary Beijing, is based on a novel by a ainland Chinese author, and at first glance appears to have little to do with Hong Kong, this essay argues that if we look beyond the film’s surface narrative, we find that the work explores a set of concerns relevant to the Handover and its legacies. Of particular interest is the sense of anticipation and anxiety that the Handover has generated, as well as the sense of potentiality and foreboding contained in the 1984 Sino-British Joint Declaration’s guarantee that Hong Kong would enjoy a post-Handover moratorium of “fifty years without change.”
  • Samson Yuen and Edmund W. Cheng
    香港研究. 2018, 1(1): 7-25.
    Despite sustaining enviable economic growth after its Handover to China, Hong Kong has witnessed an increasingly contentious society where citizens have continued to protest for their political freedoms. This article is an attempt to rethink the ways of studying popular contention in a subnational, hybrid context, focusing on the case of Hong Kong. How has Hong Kong’s long trajectory of popular protests, despite not being able to bring about institutional changes, reshaped the dynamics and contours of political participation? Departing from what we will identify as the structural– functionalist and neo-institutionalist approaches, we propose to deploy a bottom–up, movement-oriented approach—what we call the “movement field” approach—to identify how state, non-state and quasi-state actors interact to operate between different issues of activism, adopt various contentious practices, and transcend established boundaries of contention. We aim to identify new analytical levers for revealing the neglected dimensions of the city’s contentious politics and for identifying the interplay between their changes and continuities. Our aim is to reveal the impetus and mechanisms for social-political changes in an open society dictated by increasingly authoritarian protocols, and to offer new conceptual and methodological directions that might yield a more profound and nuanced understanding of contentious politics both in and beyond Hong Kong.
  • Nicholas Gordon
    香港研究. 2018, 1(1): 26-40.
    This article analyses the experience of “One Country, Two Systems” to flesh out a continuous and divisible understanding of sovereignty. A binary and exclusive concept of sovereignty is too contingent on statehood to describe an international system marked by divided authority. Hong Kong, as a sub-state that legally lacks sovereignty yet has high levels of autonomy and authority over its population, is a unique opportunity to help create a new, more flexible organizing principle for the international system.
    The article focuses on “tests”: instances where Hong Kong’s political process and local authority came into conflict with external factors, be they Chinese objectives or engagement with the international system. The tests fall into three categories, which could be seen as the most salient elements of authority: the ability to enforce legislation inside a defined jurisdiction (i.e. territoriality); the ability to define problems, priorities and solutions (i.e. policy autonomy); and the ability to engage with the international system (i.e. foreign engagement and diplomatic recognition). These tests help determine what elements of Hong Kong’s autonomy (and, by extension, any instance of high, but not complete, autonomy in a sub-state) are the most politically salient.
  • 宋子江
    香港研究. 2018, 1(1): 41-50.
    本文回顧九七回歸後香港詩刊上的詩歌翻譯作品, 從文化翻譯的角度來檢驗詩刊的翻譯實踐與文化身份之間的關係。文化翻譯過程中的不可譯性保證文化的存活。本文指出香港譯者有意識地主動尋求文化翻譯來呈現各種文化特質,而不是在被動地在(後)殖民話語中將它們逼迫出來。這些香港文化的特質都帶有「中間」、「過渡」、「跨越」等特點,它們共同構成了一種翻譯的文化身份。
  • Dorothy Lau
    香港研究. 2018, 1(1): 51-65.
    The post-Handover years of Hong Kong have witnessed an escalating visibility of local celebrities in its political scene. Responding to a society that is clouded by civil unrest and social tension, some famed individuals have readily given their voice on political issues in the media-shaped social environment. This article will study the Hong Kong-based Cantopop singer Denise Ho as a case in point to scrutinize how “performance” is interpreted as strategic and discursive framing of one’s mediated image within the changing celebrity culture of Hong Kong. Rather than a quality that individuals possess or inhabit, this article reconceptualizes celebrity as a process, or a “frame” through which the persona is configured, addressed and negotiated. The article will identify two performative “moments” pertinent, directly or laterally, to the 2014 Umbrella Movement which also marks the pinnacle of Ho’s politically-charged image: first, the arrest of Ho in a police clearance action on December 11, 2014, and second, a free substitute concert held by Ho on June 19, 2016, in place of the one canceled by the French cosmetic company Lancôme. The analysis will delineate two vectors in Ho’s performance—to impress and to express—and will argue that the performance is an outcome of the interplay of multiple forces such as the audience, the media, and the celebrity herself, which works to reconstruct her personality as versatile, dynamic, and impactful. This article will shed light on the vital convergence of celebrities and politics in post-1997 Hong Kong, providing a theoretical discourse for understanding how local public personalities operate at this historical and political juncture.
  • Winnie W. C. Lai
    香港研究. 2018, 1(1): 66-82.
    In protests, music and sound often play a cardinal role in unifying individuals via social performances in which they voice out mutual political demands. During the 79-day Umbrella Movement in Hong Kong in the autumn of 2014, many forms of music and sound that are expected in local protests were heard, including slogan-chanting, booing, and the collective singing of Cantopop songs. However, performances of “Happy Birthday to You” and other “inappropriate” songs—that is, “nonsensical” events—were heard as well. These sonic events first occurred unexpectedly and ironically in the demonstration sites, but were nonetheless grasped and performed as a political act, functioning as nonviolent weapons used to “attack” political opponents. These nonsensical musical acts soon began to make sense or sound meaningful as protesters recontextualized the lighthearted nature of these songs to particular situations in the protest and adapted this paradoxical experience into the idea of 無厘頭 mouleitau, a cultural phenomenon that appears in Hong Kong films and other media platforms to represent a sense of localism. Drawing from insights in musicology, sound studies and critical theory, this article adopts an interdisciplinary approach to study the role of these unexpected sounds in the Umbrella Movement. In particular, this article explores how and why nonsensical musical acts were appropriated and put to political use in the protest space.
  • 香港研究. 2019, 2(1): 10.
  • Reviewed by Pinky Lui Chung-man
    香港研究. 2021, 3(1): 8.
  • Reviewed by Carlos Rojas
    香港研究. 2021, 3(1): 10.