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Booktalk at Library : Barriers down : how American power and free-flow policies shaped global media
No full textProf. LEMBERG introduced her book “Barriers Down: How American Power and Free-Flow Policies Shaped Global Media” and shared her insight with us.https://commons.ln.edu.hk/video_photos/1166/thumbnail.jp
3rd Online Mini-symposium CAAC2021 : On anti-Black and anti-Chinese sentiments
No full texthttps://commons.ln.edu.hk/video_photos/1170/thumbnail.jp
A critical discourse analysis of Trump’s political speeches on immigration
No full textThe topic of immigration has always been a crucial part in defining American politics considering how America is founded. The American society is also polarized by the different perceptions of immigration and immigrants. To understand how immigrants have influenced American society, it is necessary to examine how they are seen as minorities by the head of state. This research project aims at discovering the ideologies behind Trump’s political speeches regarding the topic of immigration. In this project, the 3-dimensional framework by Fairclough will be used to analyze the choice of words and phrases, verb patterns, rhetorical style and themes mentioned by Trump. A contrast of Trump’s description of the “Us” and “Them” provides the idea of what a “true American” is to him
Exploration of womanist issues in the poetry of Gwendolyn Brooks and Maya Angelou : a comparative analysis
No full textThis essay looks at the works of two African American female poets who have a different outlook and approach on writing about most issues. The language including tone, voice, rhythm, sensory engagement, and dialect is analyses to compare their approaches. Additionally, the essay also examines how the two poets handle some common African American and feminist literary themes
Q&A session on Fintech innovation in the digital era
No full textThe Q&A session is moderated by Prof. Liping LIANG, Lingnan University
從英語到粵語 : 論《小婦人》的在地化及其原因
Get PDF露意莎・梅・奧爾科特（Louisa May Alcott, 1832-1888）所著的美國小說《小婦人》（Little Women）於1869年正式面世，出版後廣受讀者喜愛，更被收入世界經典名著中。著作其後在1917年首度改編成同名默片電影，及後多次搬上大銀幕，其中較為人熟悉是1933年由喬治．丘克（George Cukor）執導的有聲電影。其後，首部彩色電影在16年後由梅爾文・勒羅伊（Mervyn LeRoy）執導。距離原著出版約一個世紀後，香港首部改編《小婦人》的粵語片在1957年由華僑電影企業公司出品，電影由吳回執導、程剛編劇，為公司一周年紀念作。
一九五O年代的香港影業蓬勃發展，取材多元，基於市場需求及當時的政治與文化環境，跨文化改編的電影恆河沙數，《小婦人》便屬一例。有論者認為改編電影的藍本不限於原著小說，更包括外國的改編電影。當作品經歷從某地改編到某地，作品的時代特色、文化背景、人文日常等必然與新地不盡相同，由此編導在接受和重新詮釋外國的文學作品時，便需要將作品「在地化（localization）」，以貼合當地人文特性。過去亦有不少關於改編作品的研究，例如電影研究者易以聞就曾探討《小婦人》由美國到香港電影的改編過程，分析原著與本地文化的融合和呈現。然而有關研究多探討香港電影如何改編原著，較少論述有關改動中在地化與當代語境的關係。
有見外國原著小說《小婦人》具代表性，而且由世界文學的文本到粵語改編電影，亦屬跨文化改編的典型例子。本文遂以前人研究為基礎，開展有關跨文化改編與在地化的討論，除探討文本與改編電影的異同，亦會結合五十年代香港環境，分析粵語改編電影在佈局、主題、人物和結局上的改編如何體現在地化，並推測當代語境與作品在地化的關係
Chinese art and its social space: Displaying painting and calligraphy at expositions and disaster relief exhibitions in the early 20th century
No full textDuring the late 1900s and 1910s, exhibitions of Chinese painting and calligraphy in parks or public gardens became increasingly popular in the social life of urban China. These exhibitions, usually combined with other social gatherings or events, opened new spaces for traditional-style artists and collectors to connect with the public and the society. This paper seeks to bring up these understudied forms of exhibitions into scholarly attention with two case studies: the Zhongguo Jinshi shuhua saihui (Exposition of Chinese Painting, Calligraphy and Antiquity) held in Shanghai in February and November, 1909 and the exhibition accompanied the Zhuzhen youyi hui (disaster relief fundraising fair) in Beijing Central Park in 1917. It asks: what were the purposes and driving forces of the organizers and the collectors for showing their private collections in public? What were the social and cultural agents that opened these new spaces for viewing Chinese paintings in public? How did the new experience of exhibition affect the public perception of Chinese art objects and art and cultural practices in early-20th century China? By investigating these questions, this paper argues that these early modes of exhibitions, co-produced by preexisted local networks of cultural elites as well as transnational actors, served as both physical and virtual spheres where the cultural identities and values were produced, performed, and consolidated. The early experience of organizing exhibitions and engaging in public affairs via art also empowered traditionalist artists to become the pioneers in staging Chinese culture in the international arena, such as the Sino-Japanese Joint Art Exhibitions in the 1920s