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Emplacing capital : import anxieties and profit politics in Nigerian south-south commerce
No full textThis talk examines how south-south circular migrations are transforming Nigerian markets. Based on ethnographic research amongst transnational Nigerian businessmen between Asia and Africa, this talk focuses on the politicization of Nigerian transnational commercial space and its relation to ongoing postcolonial political anxieties surrounding Igbo ethno-regional identity and national economic sovereignty
Q&A session on ethnographies of mobility
No full textVivian Chenxue Lu, from the Fordham University, Derek Sheridan, from the Institute of Ethnology, Academia Sinica, and Mingwei Huang, from the Dartmouth College, had a fascinating conversation on the implications of the ethnographies of mobility. After their presentations, the speakers shared comments and their questions, as well as responded to questions from audiences. The session is moderated by Cheryl Schmitz, from the Max Planck Institute for the History of Science, Berlin
淺談屈原《天問》中屈原對儒家天命觀的批判吸收
Get PDF選題意義：《天問》一章對於整個楚辭研究來說都是難解的一个章节，關於對《天問》篇章的研究，學者們的成果更加集中在對於其中字句、史料的勘校和疏證，以及對於其中出現的單個的民俗、哲學、宗教文化的單獨討論。對於其中蘊含屈原的思想來源以及蘊含著對於天命政治的懷疑並未有過多的關注。
本文研究方法：通過典籍和文物兩相印證，首先討論屈原吸收儒家學說的可能性，其次討論夏、商、周三代以來的天命觀的發展與演變，以及先秦儒家對於天命觀的吸收與改造，通過屈原提出的若干歷史問題，在儒家典籍中找出同樣對歷史中出現的個例問題的回答，在研究過程中發現對於一些不同於先秦儒家天命觀的具體問題，與屈原在《天問》中的討論進行對比，找出屈原對天命觀的懷疑。同時也發現，儒家提出的在天命觀為基礎上的執政觀念被屈原吸收成為屈原對於楚國政事的解決方式
Strategies of curating and collecting in the age of new museum ethics
No full textCalls for cultural diversity, postcolonial museology, and the decolonization of art institutions are the hallmarks of a changed social development that is massively challenging the museum\u27s monopoly on sovereignty, and increasingly impacting collecting works of art and curating of exhibitions. These developments of upheaval are intensified by a consumer-oriented event culture, which has discovered the museum as a playground, as well as by the increasing dependence of museums on the latest technological developments. The current situation of the pandemic exacerbates the problems, so that the following questions arise: What consequences do these changed parameters have for curating exhibitions and for collecting works of art? To what extent are curators forced to submit to the rampant and often counterproductive political correctness in their work? Or, to put it another way: What opportunities do the new upheavals offer for an exhibition and collection policy that is marked by a New Museum Ethics? Which guiding models and strategies can be developed for exhibitions in the 21st century?
Using the example of the various curatorial strategies that have been developed for the exhibitions (1.) The Age of Experience (Hong Kong 2015, Vienna 2016), (2.) Tobias Klein. Metamorphosis or Confrontation (Hong Kong 2020) and (3.) Future Memories. Utopia Dystopia Nature (Hong Kong 2021), I would like to explain how the different elements of an exhibition were brought together with the curator\u27s objectives to create a rich spectrum of experiences for participatory visitors and to meet the new demands of the 21st century
Image-mediated online engagement: Instagram page as an engagement tool for the Hong Kong Museum of Art and M+ in a post-pandemic context
No full textlnstagram (IG), as a popular social media, becomes an important digital marketing tool for museums to communicate with the public. Visitors like sharing photos of artworks and selfies on lnstagram after visiting cultural venues to illustrate their artistic self-image and aesthetic taste. Such a trend urged museums to review their photo-taking policy, or even include instagramable as a consideration in exhibition designs, in order to attract more attention from the public. Developing lnstagram strategy becomes a must for museums.
In early 2020, the outbreak of COVID-19 sped up the digitization progress of museums. During the unexpected closing periods, online channels may become the only means for museums to keep connection with the public. The use of social media is a rapidly emerging topic in museum marketing. However, there is a research gap in how art museums in Asia select images for IG. Considering the above, this research paper will adopt quantitative and qualitative approaches to investigate the content strategy of museums, especially during the pandemic. The research presents case studies of the two leading art museums in Hong Kong, namely the Hong Kong Museum of Art and M+. Firstly, we will use the Four Models of Public Relations (Grunig & Hunt, 1984) and the model of sites, modalities and methods for interpreting visual materials (Rose, 2001) to analyze the posts and images. Secondly, we will examine audience engagement from a statistical perspective. The findings of this study will fill the gap and provide insights into the effective use of museum IG for educational and promotional purposes
Curating the ‘South’: Reflections on recent exhibitions at state-run museums in Taiwan
No full textSouth as Turn, The Secret South ─ these are titles of recent events at art museums in Taiwan, as the art scene shifts towards investigations into indigenous histories, critiques of neoliberalism, and attempts to form alliances with the South in visual art. Behind this Southbound approach is an attempt to connect with global postcolonial discourses, born out of the frustration of defining the local. Postcolonial authenticity plays a huge role in endorsing the landscape of the plural forms of modernism in post-1989 institutional agendas, particularly at major neoliberal museums such as the Tate, MoMA, and most Biennales. The difficulties in defining the postcolonial condition form a major obstacle in translating contemporary Taiwanese art to the international art scene, as diverse colonial powers come into play: various Western powers, Japanese colonialism, and China-centrism.
This talk will question the symptom and desire to construct postcolonial authenticity and alterity by analysing the ideologies and approaches of recent curatorial projects that seek to reconfigure art history ─ beginning with the Taiwan Biennale in 2017 and the Asian Biennale in 2019. By looking at the ideologies behind research-based creative and curatorial practices, I dissect the postcolonial struggles in art of the post-martial law period to argue that Han-centrism, new nationalism, and the Cold War have limited Taiwanese understandings of diversity
Negotiating artisanal luxury and Confucius statecraft: The afterlife of Ming official carved lacquer at the Qianlong court
No full textEmbracing an interdisciplinary approach to objects spanning the fields of art history, material culture, and literary studies, this article explores the imperial agency of the Qianlong emperor (r. 1736-95) as well as his rhetorical and artistic strategies through the appropriation of Ming dynasty (1368-1644) carved lacquer in the imperial collection. When the Qing dynasty (1644-1912) overthrew the Ming, the whole Ming palace complex, housing the imperial art collection, passed into the possession of the new rulers. Lothar Ledderose has summarized that every imperial art collection was a lingbao or magical treasure. This generalization, however, when applied to the Qianlong court, needs to be historicized or contextualized - various artifacts presumably served the emperor\u27s different cultural agendas in the sixty years of his long rulership. Through examining Qianlong\u27s discursive, cultural and ritual practices, I will take a departure from Ledderose\u27s generalized framework to delve into the Manchu emperor\u27s negotiation between his active patronage of artisanal luxuries and Confucian discourse about imperial righteousness. In order to explore the legacy of these collectibles and their distinctive role in shaping Qing imperial taste and symbolism, I first scrutinize Ming official carved lacquer along with Qianlong\u27s poems and seals, which reveal their afterlife in 18th century China. Then, I seek to contextualize the ways in which Ming visual designs were transformed and incorporated into Qing palace displays and court festivities. By reconstructing the production, circulation, and use of official works under Qianlong in juxtaposition with their Ming counterparts in light of substantial records from the imperial palace archives, this article demonstrates how those Qing imperial collectibles, initially intended for the Ming Chinese predecessors, served the Manchu way
Welfare stigma needs to be addressed to protect the incomes of Hong Kong older adults
Get PDF• Based on a representative survey of 3,802 Hong Kong older adults, the study finds that the take-up rate of old-age CSSA, higher OALA and normal OALA has significantly improved over the last decade. Nevertheless, between 11% and 14% of eligible Hong Kong older adults for these benefits fail to receive them./= / \u3e/= / \u3e• The perceived insufficiency of the benefits, difficulties in the application procedure, time and effort in searching for information, and transaction costs were significantly associated with the non-take-up of oldage CSSA among eligible recipients. To increase the take-up rate of old-age CSSA further, the benefits stigma related to this scheme must also be reduced./= / \u3e/= / \u3e• The perceived insufficiency of the benefits and transaction costs were found to be significant correlates of non-take-up of higher OALA. In comparison, personal stigma and stigmatization by the public increased nontake-up of higher OALA, but not claim stigma. Transaction costs were the strongest predictor of non-take-up of normal OALA, followed by the application procedure\u27s perceived difficulties. By contrast, the perceived insufficiency of the benefit, information costs, and stigma-related factors were not significantly associated with the non-take-up of normal OALA./= / \u3e/= / \u3e• Despite the recent success in increasing take-up rates, the study proposes various measures to reduce further the stigma and administrative burdens associated with existing cash benefit programmes for Hong Kong older adults
《詞韻選雋》與乾隆時代詞韻編纂思想
Get PDF乾隆朝是詞韻編纂的轉捩期，對於沈謙開創的詞韻編纂範式多有揚棄。應澧所作《詞韻選雋》是體現該時期詞韻韻書編纂思想的重要成果，但尚未爲人關注。今南京圖書館藏《詞韻選雋》抄本或爲應澧原稿本，具有重要的研究價值。在詞韻分部上該書將入聲分爲四部，與今人利用統計學得到的結果只在一個《廣韻》韻部上有出入，體現出作者高超的審音功力。在創作觀念上該書强調詞韻要獨立於詩韻之外；韻目以《廣韻》爲主；不能將詞韻與古詩韻相混淆；審音應以宋人的雅音爲依據，不能兼採鄉音。這些觀念一方面糾正了沈謙的偏失，一方面開戈載之先聲，能够與《學宋齋詞韻》《榕園詞韻》一起代表乾隆時代詞韻家的編纂思想。
The reign of Emperor Qianlong of the Qing dynasty is a pivotal time for the compilation of ci rhymes and the compilers at the time deserted the methods of compilation initiated by Shen Qian. Ying Li’s Ciyun xuanjuan (Selected Ci Rhymes) is an important embodiment of the thoughts of the compilation of ci rhymes at the time, but it has not attracted sufficient scholarly treatments. Of great research value is the copy collected in the Nanjing Library, which is probably Ying Li’s original manuscript. Ciyun xuanjuan’s rhyme section is divided into four parts according to the entering tone. There is only a slight difference between Ciyun xuanjuan and modern statistical results in the rhyme division of Guangyun (Broad Rimes), which reflects the author’s superb ability to distinguish sounds. The author’s emphases include: (1) ci rhymes must be treated independently from poetic rhymes; (2) Guangyun should occupy the central position; (3) Ci rhymes must not be confused with poetic rhymes; (4) The examination of sounds must be based on the elegant sounds of the Song dynasty and should not adopt regional sounds. Ciyun xuanjuan not only corrects Shen Qian’s mistakes, but also parallels with Xuesongzhai ciyun (Ci Rhymes Compiled in the Xuesong Studio) and Rongyuan ciyun (Ci Rhymes Compiled in the Banyan Studio) in representing the ci rhyme scholars’ thoughts of compilation during the reign of Emperor Qianlong of the Qing dynasty