Having analysed the most common English errors made in over 600 academic papers written by Chinese undergraduates, postgraduates, and researchers, Steve Hart has written an essential, practical guide specifically for the native Chinese speaker on how to write good academic English. English Exposed: Common Mistakes Made by Chinese Speakers is divided into three main sections. The first section examines errors made with verbs, nouns, prepositions, and other grammatical classes of words. The second section focuses on problems of word choice. In addition to helping the reader find the right word, it provides instruction for selecting the right style too. The third section covers a variety of other areas essential for the academic writer, such as using punctuation, adding appropriate references, referring to tables and figures, and selecting among various English date and time phrases. Using English Exposed will allow a writer to produce material where content and ideas—not language mistakes—speak the loudest.
創造力是社會和經濟發展的發動機。在法律制度中,版權制度和創造力特別是與文化創意產業相關的創造力關係最密切,但只有顧及各方利益的平衡版權制度才能夠促進創造力。因此,我們必須經常審視現存的版權制度是否能夠反映現實各方的利益及需要,尤其是在互聯網環境下社會對創造的需要。 《版權、網絡和權利平衡》圍繞互聯網環境下版權的合理使用、使用者的權利和地位、權利的濫用和平衡、網絡侵權盜版與網絡服務商的責任等角度,探討中國大陸、香港、台灣版權制度在這些方面的立法和司法改革,進而探究在互聯網環境下版權如何能夠達到最佳平衡,並更大限度激發社會的創造力。本書共八章,分載兩個部分。第一部分探討版權的平衡、濫用與合理使用;第二部分側重探討網絡侵權與責任認定。
Tracing China’s journey began from exploring rural revolution and reconstitutions of community in South China. Spanning decades of rural-urban divide, it finally uncovers China’s global reach and Hong Kong’s cross-border dynamics. Helen Siu traverses physical and cultural landscapes to examine political tumults transforming into everyday lives, and fathom the depths of human drama amid China’s frenetic momentum toward modernity. Highlighting complicity, Siu portrays how villagers, urbanites, cadres, entrepreneurs, and intellectuals—laden with historical baggage—venture forward. But have they victimized themselves in the process? This essay collection, informed by critical social theories and shaped by careful scrutiny of fieldwork and archival texts, is woven by key historical/anthropological themes—culture, history, power, place-making, and identity formation. Siu stresses process and contingency and argues that culture and society are constructed through human actions with nuanced meanings, moral imagination, and contested interests. Challenging the notion that social/political changes are mere linear historical progressions, she traces layers of the past in present realities.
Most people suppose that the whole world knows what it is to love; that romantic love is universal, quintessentially human. Such a supposition has to be able to meet three challenges. It has to justify its underlying assumption that all cultures mean the same thing by the word ‘love’ regardless of language. It has to engage with the scholarly debate on whether or not romantic love was invented in Europe and is uniquely Western. And it must be able to explain why early twentieth-century Chinese writers claimed that they had never known true love, or love by modern Western standards. By addressing these three challenges through a literary, historical, philosophical, biographical and above all comparative approach, this highly original work shows how love’s profile in China shifted with the rejection of arranged marriages and concubinage in favour of free individual choice, monogamy and a Western model of romantic love.
本書從歷史學、傳播學、廣告學、藝術史、政治宣傳等跨學科研究的視角出發,以報刊雜誌廣告和月份牌廣告畫等視覺圖像為分析對象,集中討論近代中國(包括上海、台灣和舊滿洲)廣告文化的特色,以及日本廣告對近代中國商業文化的影響。主要內容包括:報刊廣告的文化翻譯問題;廣告與商業競爭;南京路四大百貨公司的廣告媒體功能;外來廣告技術的接受和本地化;上海和大阪印刷業的人才交流;女性作為「現代性」的文化符號;以及中國社會主義的政治宣傳藝術。本書有助我們理解商業視覺藝術怎樣創造「東亞現代性」、如何與「殖民主義」和「社會主義」相結合,又如何在地區交流中形成等問題,並提供了嶄新的視點和研究方法。本書不僅以研究中國商業史、廣告史、藝術史、傳播學及中日文化交流史的學者為對象,也可作為本科與研究生課程的教材,而且對從事亞洲研究、女性研究、市場營銷、創意產業、流行文化、都市文化、消費文化和商業文化研究的學者和學生,以至有意了解近代中國社會文化的普羅讀者亦有所助益。
本書是首部關於中國的拉拉(女同性戀、雙性戀及跨性別)社群與政治的民族志研究。在多年田野調查的基礎上,本書集中討論上海的拉拉們如何在一個否定女性性自主權的文化中自處,以及在同性慾望與強調家庭和諧及強迫婚姻之間掙扎。作者解讀了包括「華人寬容傳統」在內的中式恐同話語,揭示異性戀正統主義如何將其要求強加於同志主體之上。作者將「公共正確政治」視為一種新的同志實踐,在中國式管控下,建立同志的生存策略和自我認同。本書結合了作者自身的酷兒經歷和堅實的研究成果,詳盡刻劃當今中國都市的女同志社群與政治的現狀,為關於同性關係、恐同、出櫃政治及性管治的全球探討和辯論作出了寶貴貢獻。
The widely acclaimed films of Wong Kar-wai are characterized by their sumptuous yet complex visual and sonic style. This study of Wong's filmmaking techniques uses a poetics approach to examine how form, music, narration, characterization, genre, and other artistic elements work together to produce certain effects on audiences. Bettinson argues that Wong's films are permeated by an aesthetic of sensuousness and "disturbance" achieved through techniques such as narrative interruptions, facial masking, opaque cuts, and other complex strategies. The effect is to jolt the viewer out of complete aesthetic absorption. Each of the chapters focuses on a single aspect of Wong's filmmaking. The book also discusses Wong's influence on other filmmakers in Hong Kong and around the world. The Sensuous Cinema of Wong Kar-wai will appeal to all who are interested in authorship and aesthetics in film studies, to scholars in Asian studies, media and cultural studies, and to anyone with an interest in Hong Kong cinema in general, and Wong's films in particular.
Transnational Representations focuses on a neglected period in Taiwan film scholarship: the golden age of the 1960s and 1970s, which saw innovations in plot, theme and genre as directors highlighted the complexities of Taiwan's position in the world. Combining a concise overview of Taiwan film history with analysis of representative Taiwan films, the book reveals the internal and external struggles Taiwan experienced in its search for global identity. This cross-disciplinary study adopts a transnational approach which presents Taiwan's film industry as one that is intertwined with that of mainland China, challenging previous accounts that present the two industries as parallel yet separate. The book also offers productive comparisons between Taiwan films and contemporary films elsewhere representing the politics of migration, and between the antecedents of new cinema movements and Taiwan New Cinema of the 1980s.
我們該如何詮釋中國共產黨出人意料的革命軌跡?為什麼中國共產黨會走上與俄國模式大相逕庭的道路?裴宜理教授認為,箇中原因在於中國共產黨從革命起義到奪取政權及之後的各階段中創新地發展和部署文化資源。毛澤東、他的同志們以及其繼任者通過精巧地運用「文化置位」和「文化操控」建立其獨有的政治形態,使人們逐漸接受那曾經陌生的共產主義體系,成為熟悉的「中國特點」。在革命初期,毛澤東和黨的早期領導人曾在安源煤礦發動過一次影響深遠的工人運動,裴宜理教授以此地為案例進行分析。安源曾被認為是「中國的小莫斯科」,其所象徵的獨特的中國革命傳統逐漸成為中國語境下「政治正確」的試金石。在當代中國學界為尋求嶄新的政治前景而就其過往的革命歷史進行爭論時,裴宜理教授對充滿爭議的中國革命傳統之意涵進行了深入分析。
Tsering Woeser and Wang Lixiong are widely regarded as the most lucid, insightful writers on contemporary Tibet. Their reportage on the economic exploitation, environmental degradation, cultural destruction and political subjugation that plague the increasingly Han Chinese-dominated Tibet Autonomous Region (TAR) is as powerful as it is profound, ardent and analytical in equal measure, and not in the least bit ideological.Voices from Tibet assembles essays and reportage in translation that capture many facets of the upheavals wrought by a rising China upon a sacred land and its pious people. With the TAR in a virtual lockdown after the 2008 unrest, this book sheds important light on the simmering frustrations that touched off the unrest and Beijing's relentless control tactics in its wake. The authors also interrogate long-standing assumptions about the Tibetans' political future.Woeser's and Wang's writings represent a rare Chinese view sympathetic to Tibetan causes. Their powerful testimony should resonate in many places confronting threats of cultural subjugation and economic domination by an external power.Having discovered her Tibetan heritage as a young adult, journalist-poet Tsering Woeser (唯色) now occupies a unique position as chronicler of modern Tibetan memory. Her writings are widely regarded as the voice of Tibet. Woeser received the Prince Claus Prize in 2011 for her compelling blend of literary quality and political reportage, as well as the International Women of Courage award by the US Department of State in 2013.World-renowned as a most vocal, vigilant observer of Chinese-Tibetan relations and ethnic minorities issues within China, Wang Lixiong (王力雄) was recognized with the Freedom of Expression Award from the Independent Chinese PEN Association. Wang’s works are widely considered some of the most authoritative and balanced on Tibetan issues by a native Chinese writer.Both are frequent commentators on Radio Free Asia
本書探論清詩「一代正宗」王士禛(漁洋,1634–1711)之成名作〈秋柳詩四首〉及當時諸名家之和作。王氏之〈秋柳詩〉構成清詩創作、詮釋傳統中非常獨特的一個「小傳統」——順治十四年(丁酉,1657)秋,王氏於山東濟南大明湖賦詠〈秋柳詩〉,一時和者數十人,後之和者以百數,王氏之詩名從此鵲起。王氏?後,〈秋柳詩〉的和作仍不絕如縷,直到清末民初尚見蹤影。王氏之原唱及其和作有無「故明之思」,當時後世聚訟不休,迄今仍無定論。明湖「秋柳社詩」及其後續之再創作、詮釋、接受,允為清代文學史上重要事件。本書作者認為,在過去政治託寓的詮釋範式外,〈秋柳詩四首〉的研究尚有更豐富的文化、理論意義。本書於既有研究範式外另闢蹊徑,在詮釋、考證、理論方面均有重要突破,對清代詩學研究有開拓性的意義。
在過去二十多年間,何式凝與曾家達對情慾、親密關係、同性戀、權力,以及身份認同等議題非常關注,並且進行了一系列的研究和發表了有關文章。這些研究報告和文章大部分都是以英文在學術期刊裏發表,但許多研究對象卻是香港的華人,這些議題更與普羅大眾息息相關,所以將這些文章結集成書,以中文出版,期盼能創造更廣闊、包容和開放的討論空間。兩位作者更希望讓精英論述能融入生活世界的討論裏,從而豐富生活世界的體驗,令這種思維在生活世界裏更流通。這本書結集了兩位作者在回望自己曾走過的學術路程中,在不同階段的轉變、調整和反思。本書共分四部分,包括身體、身份認同與權力、多元性關係及慾望。
《課程改革與創新》旨在向準教師、在職教師、教育工作者等介紹有關課程改革與創新的主要概念及實踐知識。本書以簡單易明的語言寫成,期望成為支援教師教育的教科書。除基本理論及概念外,更提供實用的建議,作實施課程的參考。為了幫助教師了解如何把理論化為實踐,本書各章均加入了從學校收集的真實個案,以供讀者參考,並期望藉著個案討論,引發讀者對課程變革的專業反思及批判意識。
金魯賢是中國最具爭議的宗教領袖之一。他青年時即接受耶穌會教育,後加入耶穌會,1945年獲祝聖為神父,隨赴歐洲深造。1951年,他毅然冒險回到剛成立的中華人民共和國,終與千萬計天主教徒一樣,難以避免被拘判刑的命運,以從事反革命活動及叛國罪判囚二十七年,至1982年始獲釋。出獄後,接受政府邀請出任上海神學院院長,復出任上海主教而事前未獲梵蒂岡任命,天主教友為此議論紛紜。事隔三十年,仍執主教權杖、為中國天主教會頭號人物之一的金魯賢,回溯生平,縷述上世紀中至末葉藉信仰與情操渡過驚濤歲月的經歷。本卷由童年及入學說起,至入耶穌會受嚴格學術及靈修訓練,及於新中國成立之際應命由外國返回內地,入獄,釋放及回到上海,總結了一個大時代中的不凡經歷。
《華人課堂中的教與學:照顧個別學習需要》一書為理解華人課堂中的學習和教學情境提供了基本的起點。本書運用香港、台灣、新加坡和中國內地的最新研究成果,旨在縮小傳統教育心理學和華人師生獨特性之間的差距。本書還用最新研究來闡述這些理論的應用,從而幫助教育專業的師生理解學生成就的多樣性。
本書以中國歷史為背景,完整地向讀者展現了當代中國服裝設計師的發展歷程。書中以中國解放前歷史為開端(1911–1949年),重點講述中國改革開放(自1978年)後服裝設計師的發展。本書將設計師按時代劃分為三代:第一代是成長於改革開放後的首批設計師, 他們出生於1950–1960年代,成名於1990年代;第二代為出生於1960年代末至1970年代的設計師,他們主要成名於1990年代中期直至21 世紀早期;第三代則為出生於1980年代及之後的設計師,這是典型的中國“獨生子女”一代,被媒體稱為“中國新銳設計師”。 本書以服裝設計作品背後的“人物”為重點——而非設計作品本身,以每位設計師的成長經歷為主線:包括他們個人的成長故事、各自的教育背景、職業生涯及建立自有品牌的過程與感悟,讓讀者了解這些經歷如何影響他們的設計思想及觀點。本書適合海內外服裝設計師、服裝歷史與文化研究者及對中國文化與歷史有興趣的讀者閱讀及參考。
香港作為一個國際大都會,匯聚來自不同文化和種族的人士。雖然香港政府近年來致力於多元文化和不同種族之間的和睦共融,並在教育、就業等範疇內向非華語人士提供資助和各種服務,但目前非華語學生在融入香港教育體制、學習中文,以及升讀高等院校方面,仍面臨巨大困難。在非華語學生中文教育這一領域,至今仍缺乏深入和系統性研究。本書正是填補了這一空白。借助於「非華語學生學習中文支援計劃」本書對中文作為第二語言的教與學展開系統性研究,並針對香港非華語學生的切實需要,在中文課程教學理論及實踐的各個層面,深入探討了適合非華語學生的中文課程設置、教材及教法,理解多元文化和跨文化差異,及詮釋語言和文化的關係。本書的研究將有助於前線中文教師提升教學素質,從而使廣大非華語學生的中文技能得以提高,進而增加他們接受高等教育和未來職業發展的機遇。期望本書對少數族裔人士、香港政府政策制訂者、學界人士和其他一些關注少數族裔人士的社會團體以及廣大市民有所裨益。
第二次世界大戰期間的香港故事大都環繞英軍抗敵及在一九四一年聖誕日戰敗的事蹟,但華籍游擊隊在日治時期協助戰俘逃生和營救盟軍飛行員對重挫日軍銳氣所起的重要作用,卻鮮有人提及。這個被忽略的環節正是《東江縱隊》的主題,作者陳瑞璋多次接觸游擊戰參與者,為本書提供了珍貴的資料。 東江縱隊在一九三七年中日爆發全面戰爭後組成。書中敘述了一九四一到四五年間游擊隊的前身及其組成經過和活動,並持續到一九四五年之後,經歷國共內戰和中華人民共和國的成立。東江縱隊領導人在此期間到共產黨勝利後的行事是本書重要而有價值的一部分。本書還對廣東共產黨員與北方幹部之間的摩擦,以及毛澤東所稱的「廣東問題」提供了新的論述。本書為戰時華籍游擊隊在香港作出的貢獻賦予應得的重視,同時梳理出廣東人事轇轕、中日持久戰、共產黨勝利及其早期在中國南方的統治等錯綜複雜的關係。
At the close of the Chinese Civil War, two million Chinese fled from the victorious communist army under Mao Zedong. They fled across a long ocean strait to the island of Taiwan where they waited for almost fifty years, dreaming of their lost homes and relatives left behind, aging and living out their lives as defeated, cursed people. But when both Taiwan and China began to become wealthy, the two sides allowed cautious exchanges. The split families met up again. There was hope, joy, sorrow, and disasters. Yet the losers of the Chinese civil war, who had endured for so long, now found a new reason to persevere: they no longer hated their enemies. In fact, they now wanted to join them.This book draws on oral histories with Kuomintang loyalists in Taiwan to show their painful struggles with family, friends, and relatives back in the mainland, their hopes and disappointments, the effects on a changing society and political situation in Taiwan, and the dynamics of cross-strait relations shared by millions on both sides of the Taiwan strait.
中文是香港主要的溝通語言,不過約百分之五的香港居民並非以中文作為母語。因此,無論是面對生活或學習,他們都遇上一定的困難。可見幫助這些居民學習說、聽、讀和寫中文,是非常重要的。長久以來,香港對於非華語學生的中文教育,在目標、教材、教學法及評估方面都是由個別學校自主處理的,未有一個統一、有效的系統。故各校現時只好憑著自己的經驗及具體情況設計課程。然而通過「大學──學校支援計劃」,香港大學教育學院中文教育研究中心與多間不同的學校合作,共同發展校本課程,並從中找出一些教學法,希望藉以促進對外漢語教學的研究和發展。《非華語學生的中文學與教》正是各協作學校和前線教師的經驗總結,為不同學校建議各種有效的課程、教材設計和教學法。