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張愛玲小説的音樂性與音樂元素研究
Get PDF音樂結構隨著歷史的流變複雜化，由單聲到中世紀歐洲的多聲對位結構，衍生出諸多音樂理論。20世紀巴赫金（Mikhail Bakhtin）的《陀思妥耶夫斯基詩學問題》進一步跨界延伸，討論了音樂與小說之間的媒介間性（Intermediality），開拓了新的研究空間。
本文以張愛玲小說作品為研究對象，分析其在結構與肌理上和中西方音樂的互通。結構層面是研究這一維度的重心，於小說和音樂而言是骨架，深藏於表面之下，是作品內在組織的基礎。宏觀來看，張愛玲的小說受到了西方的音樂技巧和結構影響，〈第一爐香〉和〈金鎖記〉有機地契合了古典音樂的卡農式結構，而短節奏與長節奏的運用形成〈封鎖〉的瞬間和〈傾城之戀〉的皺褶式敘述節奏。
肌理與結構相互依存，是小說表面的紋理與質地，供讀者去觸摸感受。張愛玲小說的文字間浮現了各種中國民族調性樂聲，不乏吹、彈、拉、打的例子：〈傾城之戀〉的胡琴、《半生緣》的琵琶、《怨女》的嗩吶和鑼鼓等等，行文間以這些符號來塑造蒼涼基調
Lingnan Gardeners Newsletter (No. 67) = 彩園通訊 (第67期)
Get PDFhttps://commons.ln.edu.hk/ln_gardeners_newsletter/1067/thumbnail.jp
Stakeholder analysis and value creation process in the innovation ecosystem model : a study of the gerontechnology ecosystem in Hong Kong
No full textHong Kong is experiencing rapid demographic ageing, similar to or ahead of many countries in Asia. In response to the many issues accompanying an ageing population, the Hong Kong SAR Government (HKSARG) has introduced an emphasis on gerontechnology, which is a combination of services and support for the care of older persons, incorporating and deploying technological advancement. From 2018, the HKSARG also proposed a HK$1 billion Innovation and Technology Fund to support the adaptation and adoption of gerontechnology in eldercare sectors. However, one of the main challenges in this sphere is an insufficient collaboration between different stakeholders. It is arguably essential to develop opportunities and capabilities by creating a gerontechnology ecosystem to enable different stakeholders to effectively participate in gerontechnology and help Hong Kong society to overcome challenges related to population ageing (OHKF, 2021).
The HKSARG and policymakers in the Hong Kong context always play a crucial role in developing strategies and directions for gerontechnology development. However, to plan sustainable development of gerontechnology, it is essential to study the complex concepts of the different stakeholders engaged in the gerontechnology ecosystem through research-based analysis. It is also important to review how the interaction and exchange create value among stakeholders, which is also essential in decision-making and actions. Furthermore, value co-creation may also lead to a more beneficial development of gerontechnology, or more generally, in the field, which could become a strategy for successful ecosystem development.
Developing value creation and stakeholder collaboration in the gerontechnology ecosystem is probably the key to the future direction (OHKF, 2021). Collaboration and construction of the ecosystem of eldercare are increasingly important (Chen, 2020) as to address the challenges and complexities of the growing ageing population. However, how stakeholder engagement and the concept of value creation benefit or interact within this ecosystem development are yet to be considered or answered appropriately with research-based evidence in this field. The current stage of discussion is mainly focused on the supply and demand side development, which has been based on the traditional value co-creation approach. Therefore, the primary goal of this study is to have a comprehensive review of the ecosystem development by analysis of the stakeholders’ engagement and value creation process between stakeholders in the whole ecosystem.
This study provides a review of Hong Kong gerontechnology, using the model of the innovation ecosystem. It has adopted a qualitative approach, using an in-depth interview with sketching work so as to understand the stakeholders and value creation progress in the gerontechnology ecosystem. The purposive sampling in this research reached out to a total of 30 interviewees whose roles have been identified as stakeholders in the gerontechnology ecosystem. Different stakeholders have been performed into four different roles, including Leadership, Direct Value Creation, Value Support and Entrepreneur Ecosystem, which help identify possible positions between the organization and stakeholders for fostering collaboration and contributing to ecosystem development. In addition, the four stages of value co-creation, including (i) co-experience; (ii) co-definition; (iii) co-elevation, and (iv) co-development/ co-evolution, supported the explanation of the practice of the interactive relationships among stakeholders and achieved a sustainable innovation ecosystem.
The study provides a new perspective via its use of the innovation ecosystem to explain gerontechnology development, and identifies interconnections within stakeholder ecosystem development, especially from the perspective of the concept of value co-creation. For developing gerontechnology in Hong Kong, this research provides valuable insights to (i) better understand the role of the stakeholders within the ecosystem and (ii) promote gerontechnology development in Hong Kong contexts. The findings from this study also bring practical suggestions the government can work with different stakeholders to promote achieving social goods through collective actions
俞樾《諸子平議‧管子》補正
Get PDF德清俞樾（1821－1907）， 字蔭甫，號曲園，晚清樸學大家，徐世昌（1855－1939）《清儒學案‧曲園學案》曰：“曲園之學，以高郵王氏爲宗。發明故訓，是正文字而務爲廣博，旁及百家，著述閎富，同、光之間，蔚然爲東南大師。” 《諸子平議》一書，是俞樾的代表作，可說是子學訓釋的鉅著。此書仿效王念孫（1744－1832）《讀書雜志》而補其未及，識力之精，涉獵之廣，爲《雜志》之後，從事子學者不可或缺的典籍。然而，智者千慮，容或有失，今就俞氏《諸子平議‧管子》十四則，詳加探討，審視俞說之瑕瑜，並作補正，祈能為其中問題提供較為清晰的解說。
Yu Yue (1821–1907), courtesy name Yinfu, hao Quyuan, was a prominent philologist in the late Qing dynasty. His representative work Zhuzi pingyi (Commentaries on Pre-Qin Masters) is a masterpiece of Chinese philology. This paper investigates his commentaries in “Guanzi” in Zhuzi pingyi by discussing fourteen examples in detail and rectifies specific existing philological issues therein
劇作家角色之扮演 : 賈仲明增補《錄鬼簿》“凌波仙”散曲挽詞研究
Get PDF通過分析賈仲明增補《錄鬼簿》“凌波仙”散曲挽詞，本文旨在研究散曲如何對文學創作隱含的社會契約引起變化，尤其文本如何成為作者概念與社會身份之間互相協調的結果。長期以來，學界把賈仲明增補的挽詞當做研究劇作家個人生平的可靠信息來源，本文對這一做法提出質疑，認為這些挽詞整體來看其實寫的是賈仲明為劇作家社會角色建構出的一系列人格。作家概念在高雅文學體裁中佔據中心地位，可在賈仲明的散曲挽詞裡，雖然一個個都標註好了關漢卿、王實甫等姓名，卻降格為面目模糊並且可以輕易替換的人體模型。賈仲明這麼做的目的是為了凸顯在他的視角下設計出的劇作家社會角色。他構建出的劇作家角色既帶有都市商業劇場的痕跡，也反映了國家和精英價值的影響。因此，本文認為，賈仲明增補散曲輓詞的真正價值在於幫助我們更好地了解他所處的時代背景下劇作家的生存狀況。此外，恰當地解讀賈仲明輓詞也有助於我們進一步理解散曲文體的表演性。
This paper investigates the issue of how sanqu composition modifies the social contract of poetic composition in how a text mediated between authorship and social identity through a close analysis of Jia Zhongming’s 賈仲明 (fl. 1343–1422) sanqu songs written in the supplement to The Register of Ghosts (Lu gui bu 錄鬼簿). This paper challenges the conventional reading of Jia’s songs as reliable sources of biographical information on individual playwright to whom those songs are dedicated. It argues instead that they, if read together as a whole, represent a catalogue of various personae Jia constructs for the social role of playwright. The authorial figure that has played a central role in more polite poetic genres is reduced into a faceless and easily replaceable mannequin with a name-tag on it—be it Guan Hanqing, Wang Shifu, or any other name—in Jia’s sanqu songs, only to foreground the costume of the playwright’s social role from his particular perspective. The role Jia Zhongming constructs for playwright displays imprints of urban commercial theater as well as influence of the state and elite values. Therefore, the true value of Jia’s songs lies in that they help us better understand the condition of playwrights in Jia’s time. Moreover, a proper interpretation of Jia’s songs also helps us better understand the performativeness of sanqu as a genre
Talks on Happiness | 快樂講 : 何解快樂斷咗線
No full text圖書館有幸邀請到嶺南大學校牧處的劉思航牧師及陳瑞敏姊妹於4月26日蒞臨分享他們對快樂的見解。/= / \u3e是次活動同時於網上進行直播，詳情於圖書館Facebook及Instagram專頁公布。
何解快樂斷咗線
人人都想寫好自己故事，有誰不想過得精彩快樂？/= / \u3e但如果某日起你的篇章再難記載，快樂不再？/= / \u3e以為寫好自己故事就夠，事實上原來故事也被世界改寫。/= / \u3e最後會是你和他她它的故事，還有未見的故事。/= / \u3e或許不是終章，to be continued…
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Rising of non-continental actors in Africa : comparison of China\u27s and Turkey\u27s approaches to the continent
No full textThe importance of Africa in international politics is increasing with every passing day. This is mainly due to the economic, political and strategic importance of the continental countries. Especially in the 21st century, many actors have developed various policies to increase their influence in Africa. China and Türkiye, whose visibility and image on the continent have improved positively, are among these actors. When the recently published studies on the Africa policies of non-continental actors are examined, it is inevitable to encounter the significantly increasing influence of the Beijing and Ankara governments. For this reason, it is particularly important to comparatively evaluate how China and Turkey approach African countries. In this respect, it is possible to mention some similarities about the approaches of Turkey and China to Africa. For instance, these two countries adopt a trade and investment-oriented approach in their relations with continental countries. From this point of view, Turkey and China, who separate politics and trade, don\u27t interfere in the internal affairs and sovereignty rights of the African countries. Moreover, Chinese and Turkish statesmen criticize Westerners over their colonial experience in Africa and neocolonial attempts. Being aware of the economic and political importance of the continental countries, Beijing and Ankara governments try also to consolidate their influence in Africa with various soft power elements. Despite all similarities, these countries\u27 different economic and political capacities significantly affect and differentiate their presence in the continent. Therefore, in this study, China\u27s and Turkey\u27s presence in Africa will be examined comparatively in various aspects
Goddess, princess or witch : variation of Hua Mulan in Disney film adaptations
No full textHua Mulan, the heroine of the ancient Chinese literature The Ballad of Mulan, was also the blueprint for Disney’s two adapted films: the animated film Mulan (1998) and the live action Mulan (2020), which both achieved worldwide impact in the context and perspective of Western culture. However, the character of Mulan gradually changed as it was transmitted and accepted in Western society, and her story was reshaped by cross cultural adaptations that reconstructed the plot and values, generating different adaptations in different contexts and art forms. The question of Mulan’s image has been widely debated in cross-cultural and feminist field, with scholars such as Yuan Tian arguing that in their adaptation of The Ballad of Mulan, a historical Chinese legendary text, Disney’s animated film adaptation reflected a misinterpretation of Eastern culture; and Zhuoyi Wang indicated Mulan (2020) is filled with deliberately feminist undertones. However, these articles and perspectives have not adequately addressed the issue of Mulan’s gender identity in the three texts, as a consequence, they lacked an account of the differences in her image positioning in the particular social and cultural contexts of different adaptations.
In this paper, I will interpret and discuss Mulan’s different identities among these texts from the perspective of gender role, with special attention of androgyny theory. Specifically, in my project, I will first describe in detail the androgyny methodology used in the essay, then analyze Mulan’s variation of her images on account of her dissimilated gender functions: goddess, princess and witch, in three texts under this theory, and eventually summarize the obstacles and challenges she has to face as a female gender presence. This essay will demonstrate how Disney fantasy misunderstood the goddess Mulan’s image in the original ballad by forcing the addition of feminist ideologies in its two film adaptations. In conclusion, this project, by closely examining the variation of Mulan’s image, sheds new light on the little recognized issue of how feminist consciousness wasted the potential for thinking more widely about the androgynous figure in the original ballad