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Hong Kong: Hong Kong Maritime Museum
(Major contributor of 65 entries and co-edited with) Libby Lai-Pik Chan, Nina Lai-Na Wan. The Dragon and the Eagle: American Traders in China, A Century of Trade from 1784 to 1900 花旗飄洋——1784至1900年遠航來華的美國商人, 2 vols. (Catalogue Entries and Essays, 860 pages)2018 •
The exhibition catalogue provides invaluable and informative insights into the early Sino-American history of trade, economy, culture and art. The catalogue is divided into two volumes. Volume One includes about 250 exhibits entries contributed by HKMM curatorial team, Curator of The Metropolitan Museum of Art, Senior Curator of Winterthur Museum, Senior Director of Baker Library, Harvard Business School, Chief Curator of Independence Seaport Museum, Senior Curator of The Kelton Foundation, Director of Martyn Gregory Gallery, Director of Heirloom & Howard, Manager of History & Art of HSBC Archives, and a number of knowledgeable local and U.S.-based scholars and collectors. Volume Two collects twelve academic essays which can be generally summarized into three categories: Essays exploring the origin and development of the early Sino-American trade from multiple perspectives are contributed by Libby Lai-Pik Chan, Assistant Director (Curatorial & Collections) of HKMM, Dane Morrison, Professor of Salem State University, Jonathan Goldstein, Professor of East Asian History at the University of West Georgia, Paul A. Van Dyke, Professor of history at Sun Yat-sen University in Guangzhou, Frederic D. Grant, Jr., expert of business and legal history of trade, as well as Nancy Davis, expert of Sino-American trade and women’s history; Essays revealing the material culture of the Sino-U.S. trade demonstrated through Chinese export artefacts, such as paintings and porcelains, are contributed by independent curator William R. Sargent, Patrick Conner, Director of Martyn Gregory Gallery, John D. Wong, Assistant Professor of the University of Hong Kong, and Angela Howard, Director of Heirloom & Howard; While the rest essays contributed by Ann Uppington, expert of landscape and garden, and Fung Kam Wing, Research Fellow of HKU-Shenzhen Institute of Research and Innovation, illustrates cultural aspect.
2013 •
How did people in the Han (漢) Dynasty project their attachment to and imagination of hometown? What does this “hometown”refer to? These are the two questions which this thesis wants to ask. This thesis especially emphasizes the political context which personal feelings depend on and tries to explore how people in the Han Dynasty removed themselves from the indulgence and restraint of homesickness. How did an individual still keep different ways of emotional expression while sharing the same homesick atmosphere? The exhibition of these differences is called agency in this thesis. Chapter One explores how Liu Bang(劉邦) and Xiang Yu(項羽) felt homesick and their different relations and reactions to“hometown” according to the examples of choosing capital cities. What is involved includes not only emotional aspects but political calculations and rational reasoning. The two’s every decision was to seek for a balance between attachment with hometown and political calculations. In addition, th...
2016 •
摩登伽女的故事歷來都是漢傳佛教警戒男修行者遠離美色誘惑的 典型,她也成為情欲魔女的象徵。民國16 年溥緒(1882-1933)(清逸 居士)創作《摩登伽女曲本》,由京劇名伶尚小雲於北京新明戲院演出, 引起轟動。民國22 年,這個印度來的故事被印度泰戈爾(1861-1941) 創作成歌舞劇《昌達爾姑娘》,再改編為《昌達爾姑娘歌舞劇》搬上劇 場公演,至今仍表演不輟。同時代的二個劇本都能移動傳統視角,正視 摩登伽女自身,卸去僵化的魔女形象,但又各自呼應著自己的文化土壤 與時代關懷,呈現不同主題寓意:一者關注她的情愛與修悟,以色幻悟 道為精神;一者關注她的啟蒙與平等,以實踐平等新生為精神。 在溥緒筆下,摩登伽女具有端莊美麗,專情高潔的形象,有傳統文 學的杜麗娘之傷春幽情、賈寶玉之色空悟道,又有《西遊記》魔考誘惑 的情節。故事關注情愛與修悟,在情愛美色的貪執中,徹悟不淨與如幻, 並輔以平等慈悲之懷。 而泰戈爾的歌舞劇,藉此抒發對印度種姓不平等制度的批判。他筆 下的摩登伽女言語靈動,活潑熱情,從不平等的種姓思惟中被啟蒙新生 後,自我作主,勇敢追愛,這份蘊含「愛」的新生,歸向阿難與佛陀所 象徵的平等慈悲,隱含泰戈爾「在愛中徹悟」的梵愛合一路徑。 就女性視角詮釋的二個路徑「情欲主動」、「速證果位」觀察,溥緒 以專情高潔之主動來詮釋其「情欲主動」,並以消融情欲而得悟,雖然 能呈現她因情而悟,但並無深刻描寫其「速證果位」。泰戈爾則完全沒 有著墨「速證果位」,主力全在「情欲主動」上,這份主動來自平等的 啟蒙,情欲化為自主勇敢去愛,與泰戈爾「梵愛合一」的宗教哲學呼應。 關鍵詞:摩登伽女、阿難、溥緒、泰戈爾、昌達爾姑娘 In Chinese Buddhism, the story of Matangi's daughter has been taken as a warning for male Buddhists to keep away from the temptation of lust, and Matangi's daughter has become a representative of femme fatale. In 1927, Pu Xu (1882-1933, art name Qing Yi Ju Shi) composed a tune of "Matangi's daughter", starred by Shang Xiao-yun and caused a sensation in the Xinming Theater in Beijing. Then in 1933, this Indian story was written as a musical drama "Chandalika" by the respected Indian writer Rabindranath Tagore, and be readapted and played in theaters until now. These two scripts of the same era both change the point of view toward female by facing up to this character and getting rid of the stereotype as a femme fatale. What's more, they reflect to their own cultural soil and contemporary concern, and present two different theme implications: the former focuses on her love and enlightenment, taking enlightenment from form & vision as the essence; the later focuses on h...
2016 •
The purpose of this study, based on the author’s personal experiences of disjuncture in her professional career, is to explore reasons for the employment promotion measures’ failure to improve the career situation of persons with severe disabilities. Drawing upon institutional ethnography, the author portrayed the actors involved in the process, and analyzed factors influencing those actors’ decisions. The aim is to disclose why, even with so many employment promotion measures, persons with disabilities are still trapped in low-paid and low-skilled jobs. The author argued in her analysis that:(1) the government, the education and the professional system promote an image of hard-working citizens and they persuade families with children with disabilities to make decisions meeting this social expectation;(2) due to the lack of and/or the unaffordable social services, those families work hard to follow the arrangement by schools and professionals;(3) the experts and professionals influe...
2013 •
古蹟保存之修復論述中再提出技術這一疑旨結構的主要意義,是為了意圖重新釐清古蹟保存與修復的真義,以及重新建立對於古蹟保存修復技術之實踐主體性的認識。更確切而言,它將指涉古蹟之保存修復論述的技術形構為何?本文認為,古蹟保存修復的論述實踐可說是基於「創新使用」的技術史,涉及的是技術的選擇與使用。概因保存修復技術所面對的處理對象-古蹟,既不是必然存在或生成的事物,亦非其存在或生成是由於自然作用的事物,而是可改變和可製作的事物;這種「實踐-造物」導向的技術本質,旨在製作的反思活動,是一種「造物」與「產生新知識」相結合的過程。這樣的技術建構,關乎的是「知的方法」,而不必然是創造新知識或新事物的方法。是故,與其稱之為技術,或許稱之為「技術產物」更為適當;它就如同古蹟的存在一樣,是特定之社會文化條件的意識形態脈絡下的產物。
2020 •
IJISET - International Journal of Innovative Science, Engineering & Technology, Vol. 09 Issue 01, January 2022
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