Symposium on Phytochemistry. Proceedings of a Meeting Held in September 1961 as part of the Golden Jubilee Congress of the University of Hong Kong. H. R. Arthur

1965 ◽  
Vol 40 (4) ◽  
pp. 408-409
Author(s):  
Trevor Robinson
1995 ◽  
Vol 14 (3) ◽  
pp. 44-60 ◽  
Author(s):  
Vicky W.K. Leung ◽  
Bill Y.P. Lay ◽  
Anne Ketchell ◽  
Cindy Clark ◽  
Robert Harris

2015 ◽  
Vol 7 (2) ◽  
pp. 173-190
Author(s):  
Wah Kit

In this presentation Lee Kit's art installation at the Venice Biennale in 2013 is used as a case study of the ways in which artworks represent and help to construct representations of Hong Kong's challenge to and subversion of an aggressive and powerful rising China. In contrast with the explicit social critique and grandeur of artworks exhibited in the China Pavilion, Lee Kit's art installation - "an impressionistic house" - in the Hong Kong Pavilion appears not only abstract but mundane and even trivial. As the artist was handpicked by the organizer, without any prior public consultation, there has been heated public debate on the extent to which it is representative of Hongkongness. I argue that the apparently trivial and ordinary elements of Lee's work constitute rather than reflect the new generation of Hong Kong art. These elements may also be part of a strategy for negotiating the political identity inescapably imposed on Hong Kong by China. Hong Kong art now has the potential to distance itself from or express skepticism toward the grand narratives presented by China, to paraphrase the writing of art historian David Clarke (1997). I believe part of the aims of the international conference on "Hong Kong as Method" held at the University of Hong Kong in December 2014 is to use the ordinary to destabilize and challenge Hong Kong's taken-for-granted political identity and thereby promote diversity and inter-Asian cultural dynamics.


China Report ◽  
2017 ◽  
Vol 54 (1) ◽  
pp. 66-80
Author(s):  
Au Chi Kin

For many people, ‘Hong Kong is a cultural desert’. However, we find that Hong Kong plays an important academic role and acts as a cultural bridge between China and Western countries, especially when China experiences unstable political, economic, social and cultural situations. The People’s Republic of China was established in 1949. During this time, numerous scholars fled China and selected Hong Kong as a ‘shelter’. Some decided to stay for good, whereas others viewed the territory as a stepping stone. Regardless of their reasons, their academic performance has significantly influenced Hong Kong. Two of the most famous scholars in this period were Luo Xianglin (羅香林 Lo Shan Lin) and Qian Mu (錢穆). Luo taught at the Department of Chinese of the University of Hong Kong. Qian was a faculty member at the New Asia College, which was one of the founding members of the Chinese University of Hong Kong. This study will examine the following issues: (i) why these two scholars selected Hong Kong, (ii) what role they played in the development of tertiary education with regard to Chinese studies in Hong Kong, (iii) how they developed the role of Hong Kong as a haven for the protection of Chinese culture and (iv) how Qian Mu developed New Asia College as a vehicle for spreading the ‘New’ Asian culture in the 1960s.


Sign in / Sign up

Export Citation Format

Share Document