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  • 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.
  • Reviewed by Yip Ka-che
    香港研究. 2024, 4(1): 105-108.
  • Michael O’Sullivan
    香港研究. 2019, 2(1): 6.
  • Reviewed by Mitchell Ma and Mira Chow
    香港研究. 2021, 3(1): 9.
  • 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.
  • 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。
  • 李祖喬
    香港研究. 2019, 2(1): 3.
  • 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.
  • Reviewed by Matthew Hurst
    香港研究. 2023, 3(2): 7.
  • Heidi Yu Huang
    香港研究. 2026, 5(1): 2. https://doi.org/10.65961/hks-2026-5-002
    This article presents a historical and literary analysis of a seminal work in Hong Kong literature, The Drunkard, by the iconic and versatile writer Liu Yichang (1918–2018). It begins by investigating how Liu’s diasporic dislocation informed his fusion of stylistic elements, linking existential crisis to the emergence of hybrid literary forms in Cold War Hong Kong. It also considers the impact of Cold War cultural influences—British colonial, American, and Chinese—on Hong Kong’s literary landscape and their role in enabling Liu’s experimental hybridity. Furthermore, it examines the ways in which diverse traditions, including European modernism, Shanghai Neo-Sensationalism, Classical Chinese literature, and Nanyang multiculturalism, are manifested in The Drunkard through specific formal devices rather than as mere cultural references. Finally, the article addresses how Liu’s editorial practices contributed to an engagement with modernism, shaping his creative output and the evolution of Hong Kong modernist literature. It argues that both the creation and content of The Drunkard exemplify a form of “hybrid modernism”—a distinctive cultural response to the complexities of modernity and coloniality in Cold War Hong Kong.
  • 香港研究. 2024, 4(2): 7.
  • Christian Nathen Ng
    香港研究. 2024, 4(2): 1.
    This article aims at investigating local developmental trajectories of Pentecostalism, a rapidly growing Christian movement with an emphasis on the ecstatic religious experiences of the Holy Spirit and practices of spiritual gifts, since the late twentieth century and the phenomena of its recent socio- political engagements in Hong Kong. However, it has received insufficient academic attention. The research question of this article is: how have different Pentecostal churches and Christians interacted with the socio- political sphere in today’s Hong Kong? This article argues that in today’s Hong Kong, Pentecostal communities have been phenomenally and theologically kaleidoscopic in their socio-political engagements, in which no single Pentecostal theory can fully depict and interpret their complex realities. An analysis of Pentecostalism and its socio-political dynamics in context needs to take the local context into consideration.
  • 香港研究. 2021, 3(1): 13.
  • Reviewed by Hercules Chu Kok-yin
    香港研究. 2024, 4(1): 108-110.
  • Shui Kau Chiu
    香港研究. 2024, 4(2): 3.
    The Hong Kong government has administered new public management in the public sector to address the impact of the 1997 Asian financial crisis. Guided by the principles of efficiency, effectiveness, and economy, the Government re-examined its expenditures across different sectors. Higher education encountered financial strain after the Government adjusted its funding for education. Meanwhile, many young people were unemployed or failed to pursue further studies. The Government thus launched Project Yi Jin in 2000, authorizing qualified higher education providers to offer an unprecedented and self-financed study path for young people to meet their educational needs. Despite the project’s implementation spanning over two decades, studies focusing on it were outdated and inadequate. Therefore, we proposed a study to revisit the project in the aforementioned context, aiming to bridge the academic gaps. This article argued that by offering young people hope for their futures, the project has enhanced society, especially young people, to respect law and order. The project has also helped higher education to survive and exercise its function by alleviating the financial stress attributed to new public management in the public sector. This article will become one of the significant references for higher education and education policymakers, particularly regarding sustainability and governance.
  • Oscar Man
    香港研究. 2024, 4(2): 4.
    In an attempt to de-Westernize film studies, this article first compares the different literary precursors, cultural references, and developments of horror as a film genre in Hong Kong and Hollywood to highlight their difference in cultural provenances. It then illustrates how the film evokes nostalgia for the “golden past” of Hong Kong horror through nostalgia casting and slipshod cinematography and extrapolates how the local spectators’ criticisms of Coffin Homes reflect a cinematic amnesia and detachment from Hong Kong horror as the result of the Westernization and modernization of movie theaters. By inventing a new subgenre called “slipshod horror,” I separate this de- Westernizing local subgenre from other horror-related subgenres, such as B films, exploitation films, and cult films. This distinction highlights its unique combination of cultness, low budget, cultural specificity, genre hybridity, and political awareness. Additionally, I explain how the film employs both cinematic and meta-cinematic techniques to practice a de-Westernizing approach that seeks to problematize, recalibrate, and reimagine the horror genre through a local, non-Westernized perspective.
  • Ann Gillian Chu
    香港研究. 2024, 4(2): 5.
    Public opinion in Hong Kong has been moving toward a narrative that diminishes the value of the humanities both within its society and in the broader context of Mainland China. This influences how theology is understood in Hong Kong. Theological education in Hong Kong often uses Western Enlightenment paradigms, theories, and materials, but what if Hongkongers were to ground their understanding of contextual theology in their experiences? What does it mean to value local theological knowledge in Hong Kong? The practices of Hong Kong’s laity could be important to local theologians’ theorization of Hong Kong theology.
    What do Christian lay people in Hong Kong consider theology to be? In what ways does theology grow out of their lives? Questions like these must be understood and analyzed to enable Hong Kong theology to develop based on the lived theologies of its people, reflecting theological lessons learned from post-Handover socio-politics.
    First, I argue for the public value of theological education in Hong Kong. Second, in a culture where theological education is largely seen as vocational training for ministers, I explore why Hong Kong lay Christians wish to study theology, and I suggest the necessity of lifting local, lay knowledge. Finally, I propose rethinking theological education in a comprehensive, liberal arts style to stimulate the laity’s critical thinking about their faith. Working out one’s theology in community with others is crucial, because it is in communities that the emotional and affective dimensions of religion have their place and where theologies are cross-checked with lived experience.
  • Pit Hok Yau, Tim
    香港研究. 2024, 4(2): 2.
    The Chinese white dolphin is not only the most loved animal in Hong Kong but also the flagship species of the city, mobilized by conservationists to publicize environmental issues and drum up support for the conservation of the species’ habitat. In addition, the cetacean has also been instrumentalized to convey political messages. This article aims to make sense of the social prominence of the Chinese white dolphin in Hong Kong by revisiting the cetacean’s trajectory with the city while examining the efficacy and the potential negative impacts of the symbol in relation to conservation. Historically, public awareness of the species first surged due to the construction plan for Hong Kong International Airport, followed by the 1997 Handover, during which the dolphin was turned into a mascot to call for a more intimate relationship between China and Hong Kong, although some citizens professed their pessimism over the change of sovereignty by reading their misery into the mammal. The two events have offered fecund resources for conservationists to build up the flagship species. However, while citizens show general awareness and concern over the dolphins, the efficacy of the flagship species is low when leveraged against reclamation initiatives. The Chinese white dolphin can also be a double-sided sword for Hong Kong’s conservation, given their absence in specific sites was used to justify various ecologically disruptive development plans. An additional observation is that there has been a resurgence among Hong Kong people to draw parallels to the plights of the cetacean after the political turmoil unveiled in 2019.
  • 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.
  • Reviewed by Kwok Chi
    香港研究. 2019, 2(1): 9.
  • 書評人:譚詠瑜
    香港研究. 2023, 3(2): 6.
  • Tammy Ho, Michael O’Sullivan, Eddie Tay, Michael Tsang
    香港研究. 2019, 2(1): 1.
  • Reviewed by Justin Wu
    香港研究. 2021, 3(1): 12.
  • The Editors
    香港研究. 2023, 3(2): 1.
  • 香港研究. 2019, 2(1): 10.
  • Kieran Allen
    香港研究. 2019, 2(1): 8.
  • Reviewed by Charles Fung Chi-keung
    香港研究. 2021, 3(1): 6.
  • 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.
  • Reviewed by Catherine Li Lanqing
    香港研究. 2024, 4(2): 6.
  • 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.
  • Reviewed by Liz Wan Yuen-yuk
    香港研究. 2018, 1(2): 193-197.
  • 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.
  • Kevin Carrico
    香港研究. 2019, 2(1): 4.
    Four decades after radically reinterpreting global relations of knowledge and power, what can Orientalism tell us about the relationship between Beijing and Hong Kong today? Drawing upon recent studies that critique Said’s exclusive focus on the East-West binary to re-envision Orientalism as one of multiple grammars of identification operating across multiple binaries, this paper expands Said’s knowledge/power framework to analyze academic studies of Hong Kong from today’s metropole, Beijing.
    I examine three examples of Beijing’s Hong Kong-ology, arguing that each constructs and reproduces the People’s Republic of China’s (PRC) colonial mythologies across the Hong Kong-Beijing nexus. The first, a book by Jiang Shigong, argues that the brilliance of One Country, Two Systems proves the superiority of the PRC political system, thereby rendering the maintenance of two systems unnecessary. The second, an article on localism in the official journal of the Chinese Association of Hong Kong and Macau Studies, places Hong Kong on the psychoanalyst’s couch to construct the city as an irrational child in need of guidance from Beijing. And finally, a third article provides this guidance, imposing the Party-state’s hegemonic ideology of economic development as a universal panacea.
    Beijing’s Hong Kong-ology constitutes a closed, self-referential, and self- reproducing system divorced from realities on the ground, presenting predetermined self-glorifying tropes as academic analyses. While fundamentally misrepresenting reality, this nexus of ignorance and power nevertheless has real effects on Beijing-Hong Kong relations, promoting misunderstandings, fostering misguided policies, and thereby further escalating tensions.
  • Roman Lashin
    香港研究. 2026, 5(1): 3. https://doi.org/10.65961/hks-2026-5-003
    Recently, higher learning encountered an unprecedented challenge, namely the proliferation of artificial intelligence in the form of large language models, while continuing to grapple with the divide between humanities and sciences, managerialism within and anti-intellectualism outside universities, as well as attempts to align educational and scholarly practices with the current political agenda. Hong Kong, as an established educational and aspiring tech powerhouse, stands at the forefront of these precarious transformations. Therefore, such an array of issues calls for new approaches in higher education research, while their universal nature calls for practitioners of different disciplines to step up and offer their tools and expertise to education scholars. This article proposes literature as a sensitive, fast-responding source of insights on how higher education in the Sinosphere is changing under pressures such as AI, shifting views of the humanities, new managerial practices, and governmental ukases. While policy reports and institutional studies remain essential, they can be slow or somewhat insensitive to the personal lived experience of university denizens to register the whole gamut of challenges and transformations. Fiction, by contrast, can play the role of a litmus test, anticipating nascent trends and transmitting certain immediate observations of people involved with universities. The first part of this article theorizes literature's potential contributions to higher education research, while the second examines a novel Beloved Wife by Hong Kong's preeminent literary visionary Dung Kai-cheung, reading this work as a rumination on the present and future of liberal arts education and scholarship in the age of scientific progress.
  • Reviewed by Sarah Lee Sze-wah
    香港研究. 2021, 3(1): 7.
  • Reviewed by Chris Chien
    香港研究. 2018, 1(2): 187-192.
  • 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.
  • 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.
  • Reviewed by Pinky Lui Chung-man
    香港研究. 2021, 3(1): 8.
  • Tammy Ho, Michael O’Sullivan, Eddie Tay and Michael Tsang
    香港研究. 2018, 1(2): 119-119.