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中國文化與宗教專家學者講論系列 (二)

Abstract The Islamic World, the regions where Muslim communities form the majority, stretches from Southeast Asia to North Africa, encompassing a large number of nations and cultures which have been shaped variously by the one faith they share. This is particularly evident in their music: on the one hand, there is a significant controversy surrounding the permissibility of music in Islam, leading some communities to ban music and musical instruments; yet, at the same time, there are many practices in Islam, such as the call to prayer and the recitation of the Qur’an, that have an undeniably musical quality even though they are not nominally called ‘music’; furthermore, we know that most Muslim communities have their own hugely popular musical traditions that animate different public and private occasions, some of which have even attracted a global following for the spirituality that many perceive in them.   In this lecture, we shall explore the idea of ‘Music in the Islamic World’ through understanding the status of music in Islam, surveying music traditions & instruments in different parts of the Islamic world, and exploring their connections and specificities in terms of both the musical contents as well as the social context where music is made. Audio-visual examples will be supplanted by live performance of musical instruments from the Middle East and Central Asia.

中國文化與宗教專家學者講論系列 (一)

內容簡介： 本演講的出發點是《西廂記》在法國的傳播與接受，從儒蓮、巴贊的戲曲翻譯談起，說明《西廂記》故事如何被十九世紀的歐陸漢學家理解，進而創發出風貌各異的紅娘、鶯鶯與張生等角色類型。本演講也將觸及晚清民初在法國的外交官、留學生，說明他們如何譯介或改編《西廂記》，並與法國文學界激盪出不同模式的文化交流。由此延伸出的議題是熊式一、夏志清等身處英美國家的華人學者，淺析他們如何將《西廂記》置放於知識傳播的脈絡下，讓《西廂記》在二十世紀成為西方讀者認識中國戲曲的重要媒介之一。

Distinguished Lectures on Chinese Culture and Religion (2)

內容簡介： 作為宋遼夏金時期的一個王朝，西夏歷史文化有突出的特色，同時與中原文化有著內在的、緊密的聯繫。西夏參照漢字創制了民族文字西夏文，形成了很多文獻；吸納儒學，尊孔子為文宣帝；提倡漢學，實行科舉，培養人才；借鑒中原王朝法律，編纂法典，保存了最早的少數民族文字《律令》，豐富中華法系；接受中原社會習俗，存留下大批珍貴社會文書；弘揚中原印刷術，發明木活字印刷，有最早的活字印刷實物；尊崇佛教，翻譯中原大藏經，出土了數千卷佛經。西夏同時也吸收了臨近吐蕃、回鶻等民族的文化。西夏文化是中華民族優秀傳統文化的有機組成部分，對中華民族文化做出了重要貢獻。

Distinguished Lectures on Chinese Culture and Religion (1)

內容簡介 中國戲曲源自新石器時代的巫術儀式，經歷漢代百戲、唐代戲弄和北宋雜劇，在北宋末融匯了多種形式的演出藝術、民歌、文人曲子及多種演唱文類，發展成戲曲鼻祖「南戲」。粵劇是清代地方劇種百花齊放的產品，既保留着近乎巫術儀式的《祭白虎》，也承傳着崑曲牌子、秦腔梆子、徽劇二黃、宋明南戲和元雜劇的劇目，堪稱中國戲曲的縮影。本講座概述當代香港粵劇的傳承狀況和中國戲曲的歷史面貌，從中探討粵劇如何保留和發展傳統戲曲的元素。講座將論及粵劇神功戲的演出、《祭白虎》儀式、戲班結構、行當、劇目題材、唱腔特點和傳承。

Specialist Lecture on Chinese History and Culture (9)

The Blank Exam: Crises of Student Labor and Activism in the Late Cultural Revolution Film Juelie This presentation examines the 1976 film Juelie 決裂 (“Breaking with Old Ideas”), a feature film depicting a fictional account of the founding of the Jiangxi Communist Labor University (江西共產主義勞動大學, or “Gongda” for short.) Like workers’ universities, Gongda gained prominence during the Cultural Revolution for its experimental approach to disrupting the divisions of labor that reproduced inequality. First established in 1958, Gongda was founded with the goal of producing new socialist workers. Its students were taught through a curriculum of “part-work, part-study,” and because it was registered as both a university and a production unit, the university supported its operations through the sale of products from its farms and factories.  Through explicit references to the historic role students had played in the Cultural Revolution, the fictional university students of Juelie combined mental and manual labor in a transformation of the student from the elite, bespectacled urban intellectual of the May Fourth era into a diffuse, pluralistic subject position embedded within the socialist project and its productive relations. But the film also responded to the crises raised by student activism during the Cultural Revolution, and this presentation will show how the film ultimately reinscribed student subjectivity within the patriarchal and developmentalist structures of the state.

中國文化與宗教傑出學者講座系列 (三)

香港由來與兩地關係   演講主要介紹香港的歷史沿革，香港與内地的歷史文化聯繫，以及香港在中國歷史發展中的獨特地位。   一、古代香港 二、英佔香港 三、香港與辛亥革命 四、香港與抗日戰爭 五、新中國對港政策 六、香港與國家的改革開放 七、兩地情緣

中國文化與宗教傑出學者講座系列 (四)

Cultural Habitus and Religious Doxa:  Theorizing the Confucian-Buddhist Encounter in Late Imperial China The paper explores Confucianism’s interaction with Buddhism in late imperial China by examining the mediating and defining role of the latter, especially its Chan iteration. The fact that Chan, a predominant Sinitic Buddhist sect, exerted enormous influences on the origination and development of Neo-Confucianism is commonly acknowledged and generally well-known. The paper theorizes the fraught relationship between the two religio-philosophical traditions through the intervention of Pierre Bourdieu’s descriptive-analytic ideas of “habitus” (a continuous system of ideational and ideological dispositions constituted historically) and “doxa” (the cultural realities that are taken for granted, consciously or subconsciously), and in the process, it also questions and critiques the much-used theoretical framework of syncretism. The paper argues that Chan, while being branded as a heterodoxy at odds with the Confucian orthodoxy, was in actuality integrally and functionally a part of the Chinese cultural capital. Their respective putative doctrinal certitude in large part relied on their self-identification in terms of each other. At the same time that they sought to negate and denigrate each other, they became mutually reinforced and clarified. 

Specialist Lecture on Chinese History and Culture (8)

The Blank Exam: Crises of Student Labor and Activism in the Late Cultural Revolution Film Juelie This presentation examines the 1976 film Juelie 決裂 (“Breaking with Old Ideas”), a feature film depicting a fictional account of the founding of the Jiangxi Communist Labor University (江西共產主義勞動大學, or “Gongda” for short.) Like workers’ universities, Gongda gained prominence during the Cultural Revolution for its experimental approach to disrupting the divisions of labor that reproduced inequality. First established in 1958, Gongda was founded with the goal of producing new socialist workers. Its students were taught through a curriculum of “part-work, part-study,” and because it was registered as both a university and a production unit, the university supported its operations through the sale of products from its farms and factories.  Through explicit references to the historic role students had played in the Cultural Revolution, the fictional university students of Juelie combined mental and manual labor in a transformation of the student from the elite, bespectacled urban intellectual of the May Fourth era into a diffuse, pluralistic subject position embedded within the socialist project and its productive relations. But the film also responded to the crises raised by student activism during the Cultural Revolution, and this presentation will show how the film ultimately reinscribed student subjectivity within the patriarchal and developmentalist structures of the state.

Specialist Lecture on Chinese History and Culture (7)

‘Lotus Aloft:’ Dunhuang Dance Narratives Historically a frontier metropolis, Dunhuang was a strategic site along the Silk Road in northwestern China, a crossroads of trade, and a locus for religious, cultural, and intellectual influences since the Han dynasty (206 B.C.E.–220 C.E.). The 492 caves at the Mogao cliff near the modern town of Dunhuang have served as temples, sites for performative events, and an archive that consisted of medieval Chinese paintings and Buddhist sutras. Today, the Dunhuang Mogao Caves is among one of the most well-known UNESCO heritage sites along the ancient Silk Road. This lecture presentation introduces the creation of the Dunhuang mural dance genre as a sociocultural phenomenon that emerges through interactions and negotiations among multiple actors and institutions to envision and enact a Chinese vision as well as China’s imaginations of “journeying abroad” from and to the country. This phenomenon is involved in the re-creation of historical memory and identity of China in contemporary moments of contestation and transformation. The lecture examines the semiotics in the present-day imagination of the Silk Road – specifically, staged performances of the Dunhuang dance as an embodied re-interpretation and re-creating of the arts from the Dunhuang.