scholarly journals Hong Kong as Alternative Sinophone Articulation: Translation and Literary Cartography in Dung Kai-Cheung’S Atlas: The Archaeology of an Imaginary City

2018 ◽  
Vol 2 (1) ◽  
pp. 771-780
Author(s):  
Long Chao
Keyword(s):  
Hong Kong ◽  
Cultural Production ◽  
Mainland China ◽  
Literary Work ◽  
Cultural Discourses ◽  
Literary Cartography ◽  
Important Position

Abstract Following the 2014 Umbrella Movement, Hong Kong society has witnessed a series of fights between social (youth) activists and its Special Administrative Government (SAR). What was at stake really boils down to the issue of Hong Kong’s self-positioning vis-a-vis the rising economic and political strength of Mainland China. This issue is certainly nothing new, given that most cultural discourses in the 1990s, both within and outside Hong Kong, have focused on the city’s postcolonial status after the handover. This article therefore proposes to approach such an issue from the perspective of the Sinophone to bring to light how cultural production in Hong Kong can generate alternative thinking. It considers specifically a literary work by a native Hong Kong writer, namely, Dung Kai-cheung’s Atlas: The Archaeology of an Imaginary City (Atlas), through the lens of translation. By analysing how Dung Kai-cheung engages in three levels of translation to paint a kaleidoscopic image of Hong Kong, this article shows how the concept of Sinophone can inspire, enlighten and even question existing knowledge about Hong Kong’s history and culture. Eventually, Atlas, shown as deprived of a nativist or nationalistic discourse, creates new epistemic possibilities for understanding Hong Kong. As part of the ongoing global Sinophone cultures, Atlas also exemplifies how Hong Kong can be imagined to hold an equally important position vis-a-vis Mainland China.

Ghostly Returns: the Politics of Horror in Hong Kong Cinema

2018 ◽  
Author(s):  
Vivian Lee
Keyword(s):  
Hong Kong ◽  
Collective Memory ◽  
Cultural Politics ◽  
Cultural Production ◽  
Mainland China ◽  
Horror Films ◽  
Foreseeable Future ◽  
Hong Kong Cinema ◽  
New Meanings ◽  
The City

This chapter examines the trend towards Hong Kong-China co-productions, during which Hong Kong horror films have been in decline due to censorship restrictions in Mainland China. While this mega-market direction is likely to continue in the foreseeable future, Hong Kong filmmakers have made fresh attempts to revitalize this popular genre and inject it with new meanings in the changed and changing context of cultural production and cultural politics in the city. Between 2012-2014, several low to medium budget horror films were released. Local audiences responded enthusiastically and many saw these as a sign of the resilience of the local popular culture to counter or at least deflate the hegemony of the Mainland market. This chapter traces the trajectory of Hong Kong horror through the pre- and post-handover decades, situating horror within the evolving discourse of identity and the issues of local histories and collective memory. It also elaborates on the politics of horror as seem from horror films produced and released in the midst of escalating social and political tensions attributable to a popular/populist “anti-China localism”. The chapter further reflects on the cultural politics of delocalization and relocalization in the context of “re-occupying Hong Kong screens.”

Trade Ties between Hong Kong and Mainland China

Asian Survey ◽  
1970 ◽  
Vol 10 (9) ◽  
pp. 820-839
Author(s):  
Patrick Yeung
Keyword(s):  
Hong Kong ◽  
Mainland China

scholarly journals Characterization of a Human H5N1 Influenza A Virus Isolated in 2003

2005 ◽  
Vol 79 (15) ◽  
pp. 9926-9932 ◽  
Author(s):  
Kyoko Shinya ◽  
Masato Hatta ◽  
Shinya Yamada ◽  
Ayato Takada ◽  
Shinji Watanabe ◽  
...  
Keyword(s):  
Hong Kong ◽  
Avian Influenza ◽  
Influenza A Virus ◽  
Influenza A ◽  
Mainland China ◽  
Virus Infections ◽  
Influenza A Viruses ◽  
H5n1 Avian Influenza Virus ◽  
H5n1 Influenza ◽  
Avian Influenza A Virus

ABSTRACT In 2003, H5N1 avian influenza virus infections were diagnosed in two Hong Kong residents who had visited the Fujian province in mainland China, affording us the opportunity to characterize one of the viral isolates, A/Hong Kong/213/03 (HK213; H5N1). In contrast to H5N1 viruses isolated from humans during the 1997 outbreak in Hong Kong, HK213 retained several features of aquatic bird viruses, including the lack of a deletion in the neuraminidase stalk and the absence of additional oligosaccharide chains at the globular head of the hemagglutinin molecule. It demonstrated weak pathogenicity in mice and ferrets but caused lethal infection in chickens. The original isolate failed to produce disease in ducks but became more pathogenic after five passages. Taken together, these findings portray the HK213 isolate as an aquatic avian influenza A virus without the molecular changes associated with the replication of H5N1 avian viruses in land-based poultry such as chickens. This case challenges the view that adaptation to land-based poultry is a prerequisite for the replication of aquatic avian influenza A viruses in humans.

Visual Arts, Representations and Interventions in Contemporary China

2018 ◽  
Keyword(s):  
Urban Space ◽  
Visual Arts ◽  
Cultural Production ◽  
Mainland China ◽  
Social Changes ◽  
Power Structures ◽  
Cultural Activism ◽  
Political Issues ◽  
Wide Range ◽  
The City

This edited volume provides a multifaceted investigation of the dynamic interrelations between visual arts and urbanization in contemporary Mainland China with a focus on unseen representations and urban interventions brought about by the transformations of the urban space and the various problems associated with it. Through a wide range of illuminating case studies, the authors demonstrate how innovative artistic and creative practices initiated by various stakeholders not only raise critical awareness on socio-political issues of Chinese urbanization but also actively reshape the urban living spaces. The formation of new collaborations, agencies, aesthetics and cultural production sites facilitate diverse forms of cultural activism as they challenge the dominant ways of interpreting social changes and encourage civic participation in the production of alternative meanings in and of the city. Their significance lies in their potential to question current values and power structures as well as to foster new subjectivities for disparate individuals and social groups.

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