Fong Yim Fun Distinguished Lecture in Chinese Cultural Studies

芳艷芬 傑出中國文化研究講座

The Kwan Fong Cultural Research and Development Programme (KFCRD), of Lingnan University has initiated a high-profile annual lecture entitled, “The Fong Yim Fun Distinguished Lecture in Chinese Cultural Studies”.


Chinese Cultural Studies has been growing rapidly and gaining international recognition. At the same time, Chinese achievements in cinema, performing and visual arts, music, new media, digital culture, literature and cultural philosophy been gaining critical acclaim in the international community.

In response to this rapid and far-reaching development, and in honour of our donor, the Cantonese opera singer Fong Yim Fun, the KFCRD offers this annual Distinguished Lecture as a platform for a leading scholar to present an original contribution to the understanding of some aspect of Chinese cultural life.


Fong Yim Fun Distinguished Lecture in Chinese Cultural Studies 2007 by Prof. Chang Hsiao-hung of National Taiwan University


Fong Yim Fun Distinguished Lecture in Chinese Cultural Studies 2006 by Prof. Wang Xiaoming of Shanghai University



Fong Yim Fun Distinguished Lecture in Chinese Cultural Studies 2007

The 2007 Fong Yim Fun Distinguished lecture was delivered on March 9 by the award-winning literary scholar, writer and fashion expert, Prof. Chang Hsiao-hung of National Taiwan University.

Date: 9 March 2007 (Friday)

Time : 5:30 p.m. -7:00 p.m.

Venue: Lam Woo Lecture Theatre (MBG 06), Main Building, Lingnan University

Language: In Putonghua

Online Video



講座摘要 Abstract:

Fashion, Body and the Shame of Modernity

Hsiao-hung Chang

In the contemporary studies of affect and emotion, shame has been taken as a relational and interactive mode of surface and sur-facing which is not only enacted through face-to-face contact but also involved with biological and psychological reactions on the bodily surface. This talk attempts to take the cross-linguistic pun of “ shame/modernity ” as a point of departure to explore the theorization of shame as surface/surface as shame in the studies of Chinese modernity. It will trace how fashion has created a traumatic surface in the formation of Chinese nationalist/modern body and how it has opened up various eruptions of bodily symptoms during the past century and reappears at the turn of this century as “ the return of the repressed. ”

In light of the turbulent history of modern China, the change of sartorial styles functions as an over-determined sign of nation-building when the constant inter-cultural and cross-gender dressing creates an im-possibility of novelty, disorder and chaos. The forced incorporation of the Western style entails a radical body (de)formation of the Chinese modern subject. No matter it is Western clothing dressed in the Chinese way or vice versa, or clothing worn inside/out or outside/in, and no matter it is cheongsam or Sun Yat-sen suit, the uncanny and hybrid fashion of Chinese modernity presents vividly the contingent signifying system of nation-building with re-deployed power relationship of gender and class. When the man ’ s wear has changed from the traditional “ loose ” robe to the “ fit ” Western suit, what would be the connection between the “ cut ” of the suit and the “ cut ” of the wound, the “ limitation ” of modernity and the “ shame ” of modernity? When the female cheongsam has changed from the flat surface of ornament to “ hide ” to the three-dimensional design to “ reveal ” the body shape, what would be the connection between the modernity of “ the curve ” and the modernity of “ shame ” ? In the concluding part of the talk, two contemporary case studies — the global trend of China chic and the summit fashion show of APEC-- will be examined to foreground the intricate implication of (post)colonial corporeal memory, retro politics and cultural affect.


時尚.身體. Shame 代性


當代有關情感理論的研究,十分強調恥辱作為一種表面的運作模式,不僅由面對面的接觸所啟動,更涉及身體表面的生理與心理反應。本次講演便是企圖以「現代性」與「 Shame 代性」的跨語言雙關語作為出發點,以 「恥辱作為表面」/「表面作為恥辱」的理論架構,切入當前有關「中國現代性」的研究,探討服飾變遷如何成為近現代中國的「創傷表面」與當代中國的「壓抑回返」,以及此百年時尚變遷所引發的各種「身體徵候」。

從中國近現代風雨飄搖的歷史觀之,時尚作為一種「多重決定」的國族符號,不論是中衣西穿、西衣中穿、男服女穿、女服男穿、內衣外穿、外衣內穿所呈現的鬼魅性,或是旗袍、中山裝所展示的雜種性,皆涉及國族建構表意系統的浮動不確定性,以及其所牽動的性別與階級權力重組。當適身合體的男性西裝,取代了寬袖大袍的傳統服裝,那西裝的「剪裁」如何成為現代性的「傷口」,西裝的「限代性」(侷限身體四肢的自由活動)如何成為「 shame 代性」的身體展現?而女性旗袍的演變過程,由原本強調平面裝飾的傳統服飾,轉變為凸顯身體曲線的現代穿著,那這種「線代性」(身體曲線的展露)又與歷史創傷的「 shame 代性」有何關連?而講演的最後,將以當前全球時尚舞台的「中國風」與全球帝國政治經濟體APEC非正式領袖高峰會的「時裝秀」為兩個主要的分析案例,來說明為何這百年來的「 shame 代性表面」,並未隨著剪辮髮、解纏足、改裝異服而徹底解決,以凸顯糾葛在當代流行時尚中的後殖民身體記憶、懷舊政治與文化情感。


Hsiao-hung Chang is professor of Foreign Languages and Literature at National Taiwan University. Her books include Postmodern Woman: Power, Desire and Gender Performance (1993), Narcissistic Woman (1995), Gender Crossing: Feminist Literary Theory and Criticism (1995), Queer Desire: Mapping Gender and Sexuality (1996), Sexual Imperialism (1998), Erotic Micropolitics (1999), Queer Family Romance (2000), Absolutely Clothes-Crazy (2001), Encountering a Wolf in the Department Store (2002), Structures of Feeling (2005), and Skin Deep (2005).

張小虹,台大外文系畢業,美國密西根大學英美文學博士,現任台大外文系教授。著有《後現代女人:權力、慾望與性別表演》(1993) 、《性別越界:女性主義文學理論與批評》(1995) 、《自戀女人》(1996) 、《慾望新地圖:性別同志學》(1996) 、《性帝國主義》(1998) 、《情慾微物論》(1999) 、《怪胎家庭羅曼史》(2000) 、《絕對衣性戀》(2001) 、《在百貨公司遇見狼》(2002) 、《感覺結構》(2005 )、《膚淺》(2005 )等書。




Fong Yim Fun Distinguished Lecture in Chinese Cultural Studies 2006
中國的新意識形態國家機器 ── 以上海的房地產市場及廣告為例

China’s New State Ideological Apparatus: The Case of Shanghai Real Estate Market

講者: 王曉明教授 Speaker: Prof Wang Xiaoming
日期: 二零零六年二月十七日(星期五)
Date: Friday, 17 February 2006
時間: 下午五時半至七時
Time: 5:30pm-7:00pm


Language: Putonghua

地點: 嶺南大學主樓林護演講廳(MBG06)

Venue: Lam Woo Lecture Theatre (MBG06)
Main Building, Lingnan University



講座摘要 Abstract:

中國的新意識形態國家機器 ── 以上海的房地產市場及廣告為例

China ’s New State Ideological Apparatus: The Case of Shanghai Real Estate

當毛式的舊官方意識形態基本退出社會生活以後,如何有效地創造一種新的主流意識形態,以一套對二十年社會巨變的令人滿意的解釋,說服公眾接受現實,就成為 1990 年代至今持續刺激著整個社會 —— 不僅僅是文化 —— 再生產的一個關鍵因素。這個新的意識形態無法再用生產毛式官方意識形態的方法來製造。 它必須要將自己的主要基礎,建立在個人日常的物質生活方式上面;它勢必要向經濟活動借力,甚至直接創造能吸引社會強勢力量持續介入的經濟價值;它還必須發展出一種雙面的功能:既滿足公眾發洩對現實之不滿的需求,又引導他們最後回到向現實妥協、接受政府管制的軌道中來。

也就是說, 1990 年代以來的社會現實所需求的,不僅是一個新的主流意識形態,更首先是一種新的生產意識形態的社會機制,借用阿爾都塞的概念,一種新的 “ 意識形態國家機器 ” 。在上海, 1990 年代初快速成形的住宅房地產市場及其廣告業,就是這樣一個新的意識形態國家機器。它能同時滿足上述三種新的意識形態生產的基本條件。它一誕生就具有兩面:一個特別的高度意識形態化的市場,一個特別的市場化的意識形態生產和傳播機器。

As the old, state-authorized Maoist ideology fades from contemporary social life, a persistent challenge for China is to produce a new dominant ideology capable of giving a convincing account of the huge social changes people have experienced in the last two decades. At stake here is an effective way for the public to accept these changes as part of the current social order. Underscoring this challenge is the very impetus behind the mechanism of social and cultural reproduction since the 1990s.

No new ideology can run again in the Maoist mode. Rather, it must build its foundation on the everyday realities and material-based lifestyle of ordinary individuals. Given the momentum for social change provided by the whole range of economic activities today, any ideology can assume dominance only by tapping into, and indeed by channeling, all existing social forces to ensure the continuous generation of economic values. Paradoxical as this may seem, the new ideology must allow people to release their grievances against the changing social reality, while paving a way for them to compromise with that very same reality and accept governmental regulation accordingly.

In other words, since the 1990s social realities have called not only for a new ruling ideology, but also for a new social machinery through which ideological dominance can take effect. The rapid growth of the real-estate market and advertising in Shanghai provides a case for understanding this rapidly expanding new apparatus, conditioned as it is on the one hand by a market that is highly ideologized, and on the other by a state machinery in which ideological reproduction is uniquely market-driven.



王曉明乃上海大學文化研究系教授、系主任,中國當代文化研究中心主任;同時任華東師範大學中文系教授,中國現代文學資料與研究中心委員會主任。 主要從事二十世紀中國文學研究和當代中國都市文化研究,兼及中國近、現代思想史研究。著有《無法直面的人生》 (1993) 、《半張臉的神話》(2001) 和《在思想與文學之間》(2004) 等學術性單行本十三種,另有編著七種,包括曾引起廣泛討論的關於「人文精神」論辯的一系列文章 (1996) 。

Wang Xiaoming is Professor and Chair of the Department of Cultural Studies at Shanghai University, and the Director of its Center for Contemporary Culture Studies. He also holds the professorship in Chinese Literature at East China Normal University, where he serves as the Committee Chair of the Center for Research on Modern Chinese Literature. Wang is the author of thirteen titles of scholarly books including Between Literature and Thought (2004), The Myth of Half-Face (2001) and The Cold Face of Reality: a Biography of Lu Xun (1993), and the editor of seven volumes, including the famous collection of essays that brought about the debate on “the humanistic spirit” (1996).




Fong Yim Fun Distinguished Lecture in Chinese Cultural Studies 2005

Dr. Li Siu-leung discussed The Butterfly Lovers: Meaning by Reinvention and Cultural Appropriation [in Cantonese]

Friday, 18 FEB 2005; 5:30pm-7:00pm; Lam Woo Theatre, Main Building

Online Video


講座摘要 Abstract

梁祝 : 意義創製與文化挪用

The Butterfly Lovers: Meaning by Reinvention and Cultural Appropriation

「梁山伯與祝英台」這個民間故事在過去被不斷的重新創製,其中包括電影、動畫、協奏曲及音樂劇等形式。這篇演講將集中分析這個家傳戶曉的民間傳說如何在中港臺不斷被當時的主導意識形態及邊緣社群所挪用。「梁祝」故事從唐代到今天,連續被重新建構為說教的典範、浪漫愛情神話、同性愛的集體記憶、純文藝意圖的載具、「在地」懷舊的再造想像……,於是「梁祝」成為了一個過程而非成品。這篇演講會把台灣幾個最近期的改編—包括充滿「往事追憶」意味、以「永遠的梁哥哥」淩波復出主演的音樂劇《梁祝四十》(2002) ,大風音樂劇場製作、由流行歌手辛曉琪演出及古典作曲家鍾耀光作曲的《梁祝》(2003),以及迪士尼式動畫電影《梁祝》(2003)—和香港不同版本的舊粵語電影、杜國威的酷異音樂劇(1998-99)、徐克的電影《梁祝》(1994),以及中國大陸不同的戲曲版本和「梁祝小提琴協奏曲」放在一起討論。

This talk examines how the “meaning” of the folktale “Liang Shanbo and Zhu Yingtai” (the Butterfly Lovers) has been reinvented through history from the Tang times (618-907) to the year 2003, crossing forms and genres from Chinese opera through film and animation to the concerto and the stage musical. The talk will analyze how this household tale in the Chinese-speaking world has been appropriated by various dominant ideologies and marginal communities in mainland China, Hong Kong and Taiwan. The “Butterfly Lovers” has been reconstructed as moralistic model, romantic myth, queer collective memory, pure artistic intention, nostalgia for the “local”…so much as that the “Butterfly Lovers” has become a process but not a product. The most recent renditions of this folktale in Taiwan—the collective nostalgic musical play Butterfly Lovers 40’ (2002), the middle-class Butterfly Lovers: Chinese Romantic Musical (2003) starring a leading pop singer with a score by a classical composer, and the Disney-tinted animated film (2003) will be discussed along side Hong Kong’s various old Cantonese film versions, the “queer” musical version (1998-99), Tsui Hark’s film (1994), and the mainland’s Chinese opera versions and the programmatic violin concerto.


講者簡介 Bio

李小良,嶺南大學文化研究系副教授,香港大學文學士及哲學碩士,美國麻州大學安城分校比較文學博士,布朗大學 “喬科夫斯基博士後研究”,曾任教香港科技大學人文學部。出版有英文專著<<中國戲曲的易服>> (Cross-Dressing in Chinese Opera) ) (香港大學出版社,2003), 與王宏志、陳清僑合著《否想香港》(麥田,1997)。

Li Siu Leung is associate professor in the Department of Cultural Studies at Lingnan University. He received his PhD in comparative literature from the University of Massachusetts Amherst and was Joukowsky postdoctoral fellow at Brown University. He taught in the Division of Humanities at the Hong Kong University of Science and Technology before joining Lingnan. He has published on gender and Chinese opera, Hong Kong popular culture and film, and comparative literary studies. His academic publications include Cross-Dressing in Chinese Opera (HKU Press, 2003), Fouxiang Xianggang: lishi, wenhua, weilai" [Hong Kong un-imagined: history, culture, future] (co-authored with Wong Wang-chi and Chan Ching-kiu) (Rye Field, 1997).