SD373-07Cultural Identity

SD373 Cultural Identity 4 May 2007

2007-05-07T20:02:00.000-07:00

Round-up: a story with no end

(References-羅永生﹕〈邁向具主體性的本土性？〉)

1. From Identity to Subjectivity:
-If subjectivity means self-awareness, agency, autonomy, and self-determinedness, identity ≠ subjectivity
- Identity can be something very passive, not self-reflective, or even oppressive (e.g. national identity)
- Identity matters, but identity by itself is not enough  subjectivity
-Modernity, subjectivity and locality

2. Final essay consultation

SD373 Cultural Identity 27 April 2007

2007-04-29T09:57:00.000-07:00

Global and Local

(References- Arjun Appadurai, Modernity at Large: Cultural Dimensions of Globalization, Minneapolis & London: University of Minneapolis Press, 1996; David Harvey, The condition of postmodernity : an enquiry into the origins of cultural change, Oxford, England : Blackwell, 1989)

1. Globalization – One World or Many Worlds? :
-During the 1990’s, dominant understandings of globalization were framed in economic terms. This reflected the importance of global corporations, the role of the finance industries, and the new forms of communication and IT integrating them. This dominant view regarded the increasing integration of the world economy as leading to a convergence of societies. This view implied that the emergence and triumph of globalization involved a universal, western model of social and economic organization.

-Such perspective perpetuates a view of the global as constituted by an active, dominant centre, and defensive or subordinate reactions (fundamentalist groups or countries) forced to defend themselves against a process originated from outside. From this understanding of globalization, there is only one model for globalization, “the west” or “capitalism”, which remains within the old paradigm of modernization, understood as the universalization of a dominant social model. According this view, there is not only one sources of globalization, there is also only one process of globalization, and it travels in uni-direction (Westother regions)

-At the same time, globalization also involves cultural processes. And one of these processes involves the view that understanding globalization as an extension of abstract space and homogenous time to the globe as a whole, where space is understood as continuous in all directions (regarded the globe as a functional whole), and society/globe is understood as “a whole consisting of the simultaneous happening of all the myriad events that marks the lives of its members at that moment” (Charles Taylor). In short, according to this view, the globe is regarded as “one world”. (homogenous identity?)

-Question: but does this account of “one world” able to make sense of the increasingly complex reality?

2. Disjuncture and Difference in the Global Cultural Economy :

-But as what the prominent Indian American anthropologist Appadurai argues: “the new global cultural economy has to be seen as a complex, overlapping, disjunctive order that cannot any longer be understood in terms of existing centre- periphery model.” And “the central problem of today’s global interactions is the tension between cultural homogenization and cultural heterogenization.”

-“Most often, the homogenization argument subspeciates into either an argument about Americanization or an argument about commoditization, and very often, the two arguments are closely related.” (Douglas Kellner, ‘Theorizing/Resisting McDonaldization: A Multiperspectivist Approach,’ http://www.gseis.ucla.edu/faculty/kellner/Illumina%20Folder/kell30.htm
) “What these arguments fail to consider is that at least as rapidly as forces from various metropolises are brought into new societies they tend to become indigenized in one or other way: this is true of music and housing styles as much as it is true of science and terrorism, spectacle and constitutions.” (examples: http://www.youtube.com/watch?v=PS_XmtSFQoU&mode=related&search=
http://www.youtube.com/watch?v=7Et7GRWqAkY&mode=related&search=) At the same time, “it is worth noticing that for the people of Irian Jaya,… and Russianization for the people of Soviet Armenia and the Baltic republics.”

-Remark: beside of the economic and institutional, there is “something critical and new in global cultural processes: the imagination as a social practice.” “…the imagination become an organized field of social practices, a form of work (in the sense of both labour and culturally organized practice), and a form of negotiation between sites of agency (individuals) and globally defined fields of possibility.” “The imagination is now central to all forms of agency, is itself a social fact, and is the key component of the new global order.”

-“The complexity of the current global economy has to do with certain fundamental disjunctures between economy, culture and politics.” And Appadurai “proposes that an elementary framework for exploring such disjunctures is to look at the relationship among five dimensions of global cultural flows that can be termed (a) ethnoscapes, (b) technoscapes, (c) mediascapes, (d) fiancescapes, (e) ideoscapes.” ( the suffix “-scape” points to the fluid, irregular shapes of these landscapes, shapes that characterize international capital as well as they do international clothing style. These terms also indicate that these are not objectively given relations, that they are deeply perspectival constructs, inflected by the historical, linguistic, and political situatedness of different sort of actors: nation-state, multinationals, diasporic communities, as well as subnational groupings and movements, and even intimate face-to-face groups)

-These landscapes are the building blocks of what Appadurai would like to call “imagined worlds”, “that is, the multiple worlds that are constituted by the historically situated imaginations of persons and groups spread around the globe. An important fact of the world we live in today is that many persons on the globe live in such imagined worlds…and thus are to contest and sometimes even subvert the imagined worlds of the official mind and of the entrepreneurial mentality that surround them.”

(a) Ethnoscapes: “the landscape of persons who constitute the shifting world in which we live: tourists, immigrants, refugees, exiles, guest workers, and other moving groups and individuals constitute an essential feature of the world and appear to affect the politics of (and between) nations to hitherto unprecedented degree.” The warp of stabilities of communities and networks of kinship, friendship, work, birth, residence and etc “is everywhere shot through with the woof of human motion , as more persons and groups deal with the realities of having to move or the fantasies of wanting to move”(that now function on larger scales)
e.g.《人民公廁》

(b) Technoscapes: “the global configuration, also ever fluid, of technology and the fact that technology, both high and low, both mechanical and informational, now moves at high speeds across various kinds of previously impervious boundaries.” “The odd distribution of technologies, and thus the peculiarities of these technoscapes, are increasingly driven not by any obvious economies of scale, of political control, or of market rationality but by increasingly complex relationships among money flows, political possibilities, and the availability of un- and highly skilled labour.”

(c) Fiancescapes: “the disposition of global capital is now a more mysterious, rapid, and difficult landscape to follow than ever before, as currency markets, national stock exchanges, and commodity speculations move megamonies through national turnstiles at blinding speed”, “but the critical point is that the global relationship among ethnoscapes, technoscapes, and fiancescapes is deeply disjunctive and profoundly unpredictable because each of theselandscapes is subject to its own constraints and incentives…at the same time as each acts as a constraint and a parameter for movements in the others.”
e.g.《斷背山》、《英雄》、《無間道》+《無間道風雲》

(Mediascapes and ideoscapes: closely related landscapes of image)

(d) Mediascapes: “refer both to the distribution of the electronic capabilities to produce and disseminate information (newspapers, magazines, television stations, and film-production), which are now available to a growing number of private and public interests throughout the world, and to the images of the world created by theses media.” ”What is most important about these mediascapes is that they provide…large and complex repertoires of images, narratives, and ethnoscapes to viewers throughout the world, in which the world of commodities and the world of news and politics are profoundly mixed.” “The lines between the realistic and the fictional landscapes they see are blurred, so that the farther away these audiences are from the direct experiences of metropolitan life, the more likely they are to construct imagined worlds…”

(e) Ideoscapes: they are also concatenation of images, “but they are often directly political and frequently have to do with the ideologies of states and the counter-ideologies of movements explicitly oriented to capturing state power or piece of it. These ideoscapes are composed of elements of the Enlightenment worldview, which consists of a chain of ideas, terms, and images, including freedom, welfare, rights, sovereignty, representation, abd the master term democracy…the diaspora of these terms and images across the world…has loosened the internal coherence that held them together in a Euro-American master narrative and provided instead a loosely structured synopticon of politics, in which different nation-states…have organized their political cultures around different keywords”

-The above is a tentative formulation about the conditions under which current global flows occurs: they occur in and through the growing disjunctures among ethnoscapes, technoscapes, mediascapes, fiancescapes, and ideoscapes. Several points to be noted:

-“people, machinery, money, images, and ideas now follow increasingly non-isomorphic paths…but the sheer speed, scale, and volumes of each of these flows are now so great that the disjunctures have become central to the politics of global culture.” (e.g. Japanese’s hospitality to idea vs. closed to immigration)

-“Deterritorialization, in general, is one of the central forces of modern world because of brings labouring populations into the lower-class sectors and spaces of relatively wealthy societies, while sometimes creating exaggerated and intensified senses of criticism or attachment to politics in the home state.”( e.g. Islamic and Hindu global fundamentalism )

-“At the same time, deterritorialization creates new markets for film companies, art impresarios, and travel agencies, which thrive on the need of the deterritorialized population for contact with its homeland…these invented domelands, which constitute the mediascapes of deterritorialized groups, can often become sufficiently fantastic and one-sided that they provided the material for new ideoscapes in which ethnic conflicts can begin to erupt.” (e.g. 海外保釣運動)

-Nation-state: “States find themselves pressed to stay open by the forces of media, technology, and travel that have fuelled consumerism throughout the world and have increased the craving, even in the non-Western world, for new commodities and spectacles.” (e.g. 中國入世、03SARS事件、08奥運) “On the other hand, these very craving can become caught up in new ethniscapes, mediascape, and, eventually, ideoscapes, such as democracy in China, that the state cannot tolerate as threats to its own control over ideas of nationhood and peoplehood.”(e.g. 64事件、河南愛滋村)

-“the central paradox of ethnic politics in today’s world is that primordia (whether of language or skin colour or neighbourhood or kinship) is globalized. ” These sentiments “have become spread over vast and irregular spaces as groups move yet stay linked to one another through sophisticated media capabilities.” “the disjunctive and unstable interplay of commerce, media, national policies, and consumer fantasies, ethnicity, once a genie contained in the bottle of some sort of locality…has now become a global force, forever slipping in and through the cracks between states and borders.”

-“The globalization of culture is not the same as its homogenization, but globalization involves the use of a variety of instruments of homogenization (armaments, advertising techniques, language hegemonies, and clothing styles) that are absorbed into local political and cultural economies, only to be repatriated as heterogeneous dialogues of national sovereignty, free enterprise, and fundamentalism in which the state plays an increasingly delicate role: too much openness to global flows, and the nation-state is threaten by revolt…too little, and the state exits the international stage…”(e.g. PRC 廣告) “the state become the arbitrageur of this form of repatriation of difference (in the form of goods, signs, slogans, and styles). But this repatriation or export of designs and commodities of difference continuously exacerbates the internal politics of majoritarianism and homogenization…” (e.g. Nationalism in PRC )

《中國可以說不》(1996年): 宋強、張藏藏、喬邊、古清生、湯正宇

-“Thus the central feature of global culture today is the politics of the mutual effort of sameness and difference to cannibalize one another.”

-“How do small groups, especially families, the classical loci of scialization, deal these new global realities as they seek to reproduce themselves?” (cultural and identity reproduction)

-“the sort of trangenerational stability of knowledge that was presupposed in most theories of enculturation can no longer be assumed.” “As families move to new locations, or as children move before older generations, or s grown sons and daughters return from time spent in strange parts of the world, family relationships can become volatile.”

-“What is new is that this is a world in which both points of departure and points of arrival are in cultural flux, and thus the search for steady points of reference, as critical life choices are made, can be very difficult.”

-“culture becomes less what Pierre Bourdieu would have called a habitus ( a tacit realm of reproducible practices and disposition) and more an arena for conscious choice, justification, and representation, the latter often to multiple and spatially dislocated audiences.”

-“At larger levels of organization, there can be many forms of cultural politics within displaced population…., all which are inflected in important ways by media (and the mediscapes and ideoscapes they offer).”

-“In short, deterritorialized communities and displaced populations, however much they may enjoy the fruits of new kinds of earning and new dispositions of capital and technology, have to play out the desires and fantasies of these new ethnoscapes, while striving to reproduce the family-as-microcosm of culture.”

3. The Cultural Production of Locality:

-“Put simply, the task of producing locality (as a structure of feeling, a property of social life, and an ideology of situated community) is increasingly a struggle.”

-“The three factors that most directly affect the production of locality in the world of the present – the nation-state, diasporic flows, and electronic and virtual communities- are themselves articulated in variable, puzzling, sometimes contradictory ways that depend on the cultural, class, historical and ecological setting within which they come together. In part, this variability is itself a product of the way that todays’ ethnoscapes interact irregularly with finance, media, and technological imaginaries.”

“The problems of cultural reproduction in a globalized world are only partly describable in terms of problems of race and class, gender and power, although they are surely crucially involved. An even more fundamental fact is that the production of locality- always, as I have argued, a fragile and difficult achievement-is more than ever shot through with contradictions, destabilized by human motion, and displaced by the formation of new kinds of virtual neighbourhoods.”

20 April 2007 Cultural Identity in Making

2007-04-22T08:03:00.000-07:00

Place: Cultural Identity in Making

1. Place and Identity:
(Reference- Tim Cresswell, Place: A Short Introduction; Dolores Hayden, The Power of Place: Urban Landscapes as Public History)

-Place: all spaces that people have made meaningful; all spaces people are attached to in one way or another. Space is meaningful location.

-Three fundamental aspects of place as a “meaningful location” (John Agnew):

a. location: fixed objective co-ordinates on the Earth’s surface;
b. locale: material setting for social relations, actual shape of place within which people conduct their lives as individuals, the concrete/material form of a place. Places are material things.
c. Sense of place: subjective and emotional attachment people have to place, the feeling of “to be there”.

-Space vs. Place: space is a more abstract concept than place. Spaces have areas and volumes. Space have been seen in distinction to place as realm without meaning. When humans invest meaning in a portion of space and then become attached to it in some way it becomes a place.

-Place vs. Landscape: landscape referred to a portion of the Earth’s surface that can be viewed from one spot. In most definitions of landscape the viewer is outside of it, and this is the primary way in which it differs from place. Places are very much things to be inside of it. As a viewer, we do not live in landscapes, we look at them, and we only live in a place as an inhabitant.

-Place as a Way of Understanding: place is not just a thing in the world but a way of understanding the world. Place is a way of seeing, knowing and understanding the world. When we look at the world as a world of places, we see attachments and connections between people and place, and we see worlds of meaning and experience.

-Production of Place: places are not finished products; instead, they are very much in process. Places are created by cultural practices such as literature, film and music (in short, representation), but most places are more often the product of everyday practices.

“I brought a picture with a frame and put it on the wall. Prior to this, all four walls were bare. I did this without telling them because I thought that since I paid for this room, I should be allowed to do something about it. So I arranged the room, put furniture and TV (the way I wanted them). I would leave the door open so that they (my employers) could see what’s in my room, that it’s not dull anymore.” (Mhay’s words (a Filipina contract worker in Vancouver), quoted by Geraldine Pratt)

-Places are never finished but produced through the repetition of seemingly mundane activities on a daily basis (order of everyday life).

-Everyday life appears to be a personal thing, but it is also social. People often acquire a sense of place in a particular community, and in turn people are connected (or believe themselves to be connected) through the sense of place; consequentially, a particular cultural identity is constituted.

-But places are also sites of contestation. Thus, the question concerning place is a political question. While people fight for places, they construct and maintain places as well.

-Henri Lefebvre, the French philosopher argues that every society has shaped a unique social space that meets its intertwined requirements for economic production and social reproduction. Lefebvre suggests that the production of space is essential to the inner workings of the political economy.

-Lefebvre emphasized the importance of space for shaping social reproduction. One of the consistent ways to limit the economic and political rights of groups has been to constrain social reproduction by limiting access to space.

-Examples:

Exclusion of Japaness Americans from a residential neighbourhood in Hollywood, California

Male and female students sitting separately at a lecture on physics, University of Michigan School, late 1880s

Cognitive maps of Los Angeles as perceived by predominantly Anglo American residents of Westwood, predominantly African American residents of Avalon, predominantly Latino American residents of Boyle Heights (The Visual Environment of Los Angeles, Los Angeles Department of City Planning, April 1971, pp.9-10)

-「職工盟帶過天水圍街坊”出城”，發覺她們連幾條主要隧道的名字都不知道。在文化認同上，她們只是一個” 天水圍人”，不是”香港人”」(陳惜姿﹕《天水圍12師奶》，頁159)

-Questions: how cultural identity and cultural politics of identity are constructed and shaped through the creation of meanings in place? Is it possible to intervene the cultural politics of identity through the production and technology of place?Through the preservation or constitution of social/public memories.

-One of the ways in which memories are constituted is through the production of place. Monuments, museums, the preservation of particular buildings and the promotion of whole urban neighbourhoods as “heritage zones” are all examples of the placing of memory. The very materiality of a place suggests that memory is inscribed in the landscape as public memory. Place is the realm of history-in-place.

2. Vietnam Veteran's Memorial(1982) by Maya Ying Lin (林瓔):
(Reference- Maya Ying Lin, Boundaries; Freida Lee Mock, Maya Lin - A Strong Clear Vision (DVD, 1995))

- Although administered under National Parks Service of the Federal Government, VVM was built in 1982 through the impetus of a group of Vietnam Veterans, who raised the funds and negotiated for a site on the National Mall in Washington.

-Situated on the grassy slope of the Constitutional Gardens nears the Lincoln Memorial, the memorial consists of two polished black walls of granite set into the earth at an angle of 125 degrees. The walls form an extended V almost 500 feet in length, tapering in both directions from a height of approximately ten feet at the central hinge. These walls inscribed with 58132 names of men and women who died in the war. The framing dates of 1959 and 1975 are the only dates listed on the wall; the names are listed alphabetically within each “casualty day”, though those dates are not noted.

-Virtually all of the national memorials and monuments in Washington are made of white stone and are constructed to be seen from a distance. In contrast, the VVM cuts into the sloping earth: it is not visible until one is almost upon it. The walls reflect the Washington Monument and the face of the Lincoln Memorial, but they are not visible from the base of either of those structures.

-Before it was built, the memorial was seen by many veterans and critics of modernism as yet another abstract modernist work that the public would find difficult to interpret. But they simply ignored fundamental aspects of this wall. It is not simply a flat, black, abstract wall: it is a wall inscribed with names. When the public visits this memorial, they do not go to see long walls cut into earth but to see the names of those whole lives were lost in the war. Hence, to call this a modernist work is to privilege a formalist reading of its design and to negate its commemorative and textual functions. While modernism in sculpture has been defined as a kind of “site-less-ness,” the memorial is specially situated within the national context of the Mall: the black walls mirror not only the faces of viewers but also the Washington obelisk, thus forming a pastiche of monuments.

-Before it was built, the design of the memorial was under attack not only because of its modernist aesthetics but because it violated implicit taboos about the remembrance of wars. When its design was first unveiled, it was condemned as a highly political statement, a monument to defeat. One Veteran of VVMF read it black walls as evoking “shame, sorrow, degradation of all races”; others perceived its refusal to rise above the earth as indicative of defeat.

-The primary aspect of the memorial that is responsible for the accusation that it does not appropriately remember war is its antiphallic presence. By “antiphallic”I do not mean to imply that the memorial is somehow a passive or feminine form but rather that it opposes the codes of vertical monuments symbolizing power and honour. The memorial does not stand erect above the earth, it is continuous with the earth. The shape of V has been interpreted as V for Vietnam, victim, victory, veteran, violate, valor. Yet, one also finds here a subtext in which the memorial implicitly evokes castration. The V has been read as a female V, reminding us that a “gash”is not only a wound but slang for the female genitals. To its critics it symbolizes the open, castrated wound of this country’s venture into an unsuccessful war.

-At the time the designer of the memorial was chosen anonymously by a group of eight male experts, Maya Lin was a twenty-one-year-old undergraduate at Yale University. She was not only young and incredential, but Chinese-American and, most importantly, female. Eventually, Lin was defined not as American but as “other”. The otherness became an issue not only in the way she was perceived in the media and by some of the veterans, it became a critical issue of whether or not that otherness had informed the design itself

-Trouble between Maya Lin and the veterans began almost immediately. The initial response to Lin’s design was so divided that it eventually became clear to the veterans of the MF that they had either to compromise or to postpone the project. At the end, a plan was devised to erect an alternative statue and flag close to the walls of the memorial, and realist sculptor Frederick Hart was chosen to design it. It was erected in 1984, consists of 3 solders – one black and two white – standing and looking in the general direction of the wall.

- The Name: the chronological listing of names on the VVM provides it with a narrative framework. Read chronologically, the names chart the story of the war. As the names listed alphabetically within a casualty day swells, the intensity of the war is told.

-The incommunicability of the experience of the Vietnam War has been a primary narrative in the Vietnam veterans’discourse. It was precisely this incommunicability that rendered the construction of the VVM necessary. It was due to the fact that, the veterans had been invisible and without voice before the VVM’s construction and the subsequent interest in discussion of the war. Unlike WWII veterans, Vietnam veterans did not arrive home en masse for a celebration but one by one, without any welcome. They were marginalized in the society.

-Within the veterans’ community another group is struggling against an imposed silence: the women veterans. Upon their return, these women were not only subject to the same difficulties as the veterans but were also excluded from the veteran community. Thus, several of these women raised funds to place an intentionally apolitical statue of a woman near the VVM. In August 1990, a design competition for the memorial, to be located just south of the wall, was announced. It’s Hart’s statue that the absence of women so visible make them initiate the project.

- The VVM has been the subject of an extraordinary outpouring of sentiment since it was built. It is presently the most visited site on the Washington Mall. The memorial has taken on all of the trappings of a religious shrine – people bring personal artefacts to leave at the wall as offering. This rush to embrace the memorial as a cultural symbol reveals not only the relief of voicing a history that has been taboo but also a desire to re-inscribe that history. To the veterans, the wall is an atonement for their treatment since the war; to the families and friends of those who died, it is an official recognition of their sorrow and an opportunity to express a grief that was not previously sanctioned; to the others, it is either a profound antiwar statement or an opportunity to rewrite the history of the war to make it fit more neatly into the master narrative of American imperialism. The Memorial’s popularity must thus be seen as an integral component of the recently emerged Vietnam War nostalgia industry. (it transform guilt into duty and pride)

-As the healing process of the Vietnam War is transformed into spectacle and commodity, a complex nostalgia industry has grown.

- The National Park Service is now compiling an archive of the materials left at VVM. Originally, the Park Service classified the objects as “lost and found”. Later, it realized that the objects had been left intentionally, and they began to save them. The objects thus moved from the cultural status of being “lost”to historical artefacts.

- The subject of memorial is not limited to Vietnam War, the objects related to issues such as AIDS, homosexual, Gulf War had also been left at VVM.

proudly support hkiff– 淺談電影節的冠名贊助

2007-04-08T01:34:00.000-07:00

見獨立媒體：http://www.inmediahk.net/public/article?item_id=206444

Lecture 9:Notes on: “Invention of tradition”, “imagined communities” (nationalism in making)

2007-04-08T01:26:00.000-07:00

Lecture VIII 30.03.07

Notes on: “Invention of tradition”, “imagined communities” (nationalism in making)

By Leung Po-shan

Indicative text:
Eric Hobsbawm & Terence Ranger, The Invention of Tradition (1983).
Benedict Anderson, Imagined Communities (1991).
John Hutchinson & Anthony D. Smith, Nationalism (1994).

Further reading:
Wu Hung, “Tiananmen Square: A political history of monuments”, Representations, no. 35, 1991, pp.84-117.
---. “The Hong Kong Clock-Public Time-telling and political time/space”, Public Culture, vol. 9 noo.3 Spring 1997, pp.329-354.

Nation in films:
Triumph des Willens = Triumph of the will

AV DVD-Video DD253.T74 DVD

__________________.

Introduction

We could hardly identify a person without acknowledging his/ her nationality, as if we could not do so without know his/ her gender. Gender and territorial are the fundamental of all , while classes , religious and ethnic are believed to be cross border, and a stronger collectivity, respectively.

“[… ] Nation: it is an imagined political community – and imagined as both inherently limited and sovereign.” (Anderson p.15)
“Nationalism is not the awakening of nations to self-consciousness: it invents nations where they do not exist.” (Quote from Gellner / Anderson p.15)

(think of the lyrics in 汪明荃勇敢的中國人：做個勇敢中國人熱血灌醒中國魂我萬眾一心那懼犧牲衝開黑暗)
(also, public and public space- which constitute the other? Further discussion on Tinannmin Square)

Four historians’ studies on nationalism:

Eric Hobsbawm
Benedict Anderson
Anthony D. Smith
Ernest Gellner

Eric Hobsbawm: Invention of tradition:
- Investigation to the rise of nationalism as a “secular religion”
- Nation-State as a project of modernity (autonomous in philosophical sense and homogenization in social sense)
- Nationalism is a cultural project: language, schooling, festival & rituals, i.e. tradition invented by the elites to legitimate their power in the age of revolution and democratization

Formation of tradition:
“’Traditions’ which appear or claim to be old are often quite recent in origin and sometimes invented.” (p.1)

“[…] a set of practices, normally governed by overtly or tacitly accepted rules and of a ritual or symbolic nature by repetition, which automatically implies continuity with the past. In fact, where possible, they normally attempt to establish continuity with a suitable historic past. […] the peculiarity of ‘invented’ traditions is that the continuity with it is largely factitious. […] It is the contrast between the constant change and innovation of the modern world and the attempt to structure at least some parts of social life within it as unchanging and invariant, that makes the ‘invention of tradition’ so interesting for historians of the past two centuries.”

e.g. British parliament in Gothic architectural style (pp.1-2)

Relation to ‘custom’:

“Custom in traditional societies has the double function of motor and fly-wheel. It does not preclude innovation that it must appear compatible or even identical with precedent imposes substantial limitation on it. What is does is to give desired change (or resistance to innovation) the sanction of precedent, social continuity and natural law as expressed in history.” > custom is variant;

e.g. custom is the judge while tradition is the wig & robe, the ritualized practices (p.2-3)

Relation to convention or routine:

- “not significant ritual or symbolic function” technical repetition to ease industrial standardization that require invariance ; is non-ideological (p.3)

- very often convention and tradition are in conversion (p.4)

e.g. hard-hats is practical convention while hunting pink is not

Construction of invented tradition:

- process of formalization & ritualization with reference to the past by repetition

- at the time when “ a rapid transformation of society weakens or destroys the social patterns for which ‘old’ traditions had been designed, producing new ones to which they were not applicable, or when such old traditions and their institutional carries and promulgators no longer prove sufficiently adaptable and flexible, or are otherwise, eliminated. ” (p.4-5) (think of 打醮and charity)

- ritual complex: festival pavilions, structure for the display of flags, temples for offerings, processions, bell-ringing, tableaux, gun-salutes, government delegations in honour of the festival, dinners, toasts and oratory. (p.6)

- for political institutions, ideological movements & groups including nationalism, “were so unprecedented that even historic continuity had to be invented […] by semi-fiction or by forgery & new symbols including national anthem, national flag, personification of the nation in symbol or image (p.7)

- Old tradition not used because and in need of invented traditions because “liberal ideology failed to provide for the social and authority ties taken for granted in earlier societies, and created voids which might have to be filled by invented practices.” (p.8) This is especially the situation of believers of Enlightenment, including liberals, socialists, and communists because of the irrationalism in old traditions.

- Tradition is thus invented to segregate classes, or foster superiority of elites in a society that all members are equal de facto. Middle class is thus here the target of assimilation. (p.10)

- Old tradition were specific and strongly binding social practices; while invented practices tended to be quite unspecific and vague as to the values, rights and obligations of the group membership, thus sometimes the practices symbolizing it were virtually compulsory (p.10-11) (they are empty signifiers and arbitrary) The significance lay precisely in their undefined universality. e.g. standing up for national anthem, flag ritual & emblem

- New traditions often occupy small part of the space left by the secular decline of both old tradition and custom; the past becomes increasingly less relevant as a model or precedent for most form of human behaviour and their private life. (p.11)/ However this generalization does not apply in the field of public life of the citizen. There is no weakening especially in occasion involving bodies of men in the public service or in association with the state. People are reminded their citizenship with the presence of symbols and semi-ritual. (p.12)

- Further explanation on “secular religion”:

Invention of tradition by liberal constitutional institutions and liberal ideology, i.e. the middle class, re-discover the irrational elements in maintaining social fabric & order. (Enlightenment is “over-examination” of the intellectuality of the mankind.) Nationalism becomes a “civic religion” (p.268)

General observation since the industrial revolution (p.9):

i. establishing or symbolizing social cohesion or the member of groups, real or artificial communities; (prevalent)

ii. establishing or legitimizing institutions, status or relations of authority; (devised)

iii. those whose main purpose was socialization, the inculcation of beliefs, value systems and conventions of behaviour. (devised)
___________.

Benedict Anderson, “Imagined Communities” – in accord with Anderson that nation is an artefact.

- 1. objective modernity and the subjective antiquity on nationalism; 2. formal universality of nationality as socio-cultural concept

- ‘imagined (political) community’ – community larger than face-to-face contact

- nation is limited on territory (sovereign) and population (citizen); while legitimacy of the divinely-ordained, hierarchical dynastic realm is destroyed. (p. 16)

- community: nation is conceived as a deep, horizontal comradeship. (p. 16)

- Condition lost their ground: i. script language access to ontological truth, language was inseparable from that truth; ii. Belief in society is naturally organized around high centre, e.g. monarchs rule by cosmological dispensation; iii. Temporality in which cosmology and history was indistinguishable. (p. 40)

- *** coalition between Protestantism and print-capitalism, hitherto seed the ground for politico-religious purpose. Vernacular administration by monarchs fostered the erosion of the sacred imagined community. That was ‘state’, not ‘national’, languages; in administration made vernacular language prevailed. (Norman, Latin, French and early English). While there was an interaction between a system of production and productive relations (capitalism), a technology of communications (print), and the fatality of human linguistic diversity. It was an interplay between fatality, technology and capitalism.

- Print language: i. unified fields of exchange and communications below Latin and above the spoken vernaculars; ii. New fixity to language, give a permanent form to language, it is no longer subject to individualization ; iii. Language of power replaced administrative vernaculars. (dialects suppressed)

Dynastic Realm (p.25-28)
“Its legitimacy derives from divinity, not from populations, who after all, are subjects, not citizens. In the modern state conception, state sovereignty is fully, flatly, and evenly operative over each square centimetre of a legally demarcated territory. But in the older imagining, where states were defined by centres, borders were porous and indistinct, and sovereignties faded imperceptibly into one another.”

(~ Monarchical states and marriage)

Apprehensions of time:
- Messianic time (Benjamin): “a simultaneity of part and future in an instantaneous present.” (p.30)
- “Homogeneous time”- time has lost its seasonal as well as religious meaning (p.31)
- Novel & newspaper :
“The idea of a sociological organism moving calendarically through homogeneous, empty time is a precise analogue of the idea of the nation, which also is conceived as a solid community moving steadily down (or up) history.” (p.30)
“The significance of this mass ceremony- Hegel observed that newspapers serve modern man as a substitute for morning prayers – is paradoxical. It is performed in silent privacy, in the lair of the skull. Yet each simultaneously by thousands (or millions) of others of whose existence he is confident, yet of whose identity he has not the slightest notion.” (p.39)

(37-39)

Secular Religion & irrationalism (Anderson p.19)

“[…] in western Europe the eighteenth century marks not only the dawn of the age of nationalism but the dusk of religious modes of thought […] Disintegration of paradise: nothing makes fatality more arbitrary. Absurdity of salvation: nothing makes another style of continuity more necessary. What then was required was a secular transformation of fatality into continuity, contingency into meaning. […] If nation-states are widely conceded to be ‘new’ and ‘historical’, the nations to which they give political expression, glide into a limitless future.” (p.19)

( ~ distinction between myth and history)

“Nor am I suggesting that somehow nationalism historically ‘supersedes’ religion. What I am proposing that somehow nationalism has to be understood by aligning it, not with self-consciously held political ideologies, but with the large cultural systems that preceded it, out of which – as well as against which- it came into being.” (p.19)

(~ Also see most of the heroic statuary standing in public square are in fact, victory or victim of violence. Death and immortality are tightly connected to nation. (The Violence of Public Art: Do the Right Thing / W. J. T. Mitchell))

________.

Gellner – "Nationalism and high culture":

Secular religion – p.65

High and low culture – p. 65-66

________.

Hobsbwam’s concluding chapter: Mass-Producing Traditions: Europe, 1870-1914

Case of France:

Third Republic emphasis the recent past of the nation, nothing before 1789. e.g. Bastille Day, Marianne tricolor flag (liberty, equality & fraternity) and technological progress e.g. Eiffel Tower and expo, global conquest through colony.

Less favor gigantic statuary (for the monarchy has left enough) but emphasis on “democracy”, civilian figure and local patriotism.

Case of

Germany

(Bismarck & Wilhelm II):

- continuity from the Prussia

- conquest of cultural, political and military supremacy esp. Franco-German war

e.g. large masonry, architects and sculptors becomes engineer of imagination; Reichstage (http://en.wikipedia.org/wiki/Image:Reichstag_mit_Wiese2.jpg )

Fig: Beschreibung: Reichstagsgebäude in Berlin mit Wiese

Quelle: selbst fotografiert von Johann H. Addicks

Lizenz: unter PD gestellt von Johann H. Addicks

Entstehungsdatum: Juni 2005

Fig: Golden Jubilee 2002 crowd outside the Buckingham Palace

Both monarchy and parliament states “relied on exploiting the royal person, with or without dynastic ancestors, on elaborate ritual occasions with associated propagandist activities and a wide participation of the people […] both make the ruler the focus of his people’s or people’s unity, symbolic representation of the entire past and continuity with a changing present. Yet the innovations were perhaps more deliberate and systematic where, as in Britain, the revival of royal ritualism was seen as a necessary counterweight to the dangers of popular democracy.” (p.282) “Glory and greatness, wealth and power, could be symbolically shared by the poor through royalty and its rituals. The greater the power [of the bourgeois], the less attractive […]” (p.283)

________.

More: Identity building in pubic/ private space:

Example- film: Do the right thing.

Lecture 6: Cultural Identity/ Identities of Hong Kong

2007-03-15T20:35:00.000-07:00

9 Mar, 2007

Cultural Identity/ Identities of Hong Kong

-Who are Hong Kong people? (香港人相)

--> Who are Hong Kong people? (在香港境內居住?在香港出世?有身份証/居港權? 有相同文化? 有相類似的生活習慣?行為模式?思想?價值?都對香港有歸屬感?有認同?)

--> Who are counted / represented as Hong Kong people? (1:99 電影行動 - 香港必勝- http://www.isd.gov.hk/chi/tvapi/movie5_c.html, 1:99 電影行動 - 2003春天...的回憶- http://www.isd.gov.hk/chi/tvapi/movie10_c.html )

*Being Hong Kong people <--> represented / recognized as Hong Kong people (e.g.居港權事件)

-Identity and Difference差異 (Race/ethnicity, Class, Gender)

--> Identity --> difference --> distinction區別

--> Why identity? Why difference/distinction區別?

--> Identity/difference/distinction --> Categorization

--> Why categorization? 人類為了其特定目的而根據某些較為凸顯的特徵所建構出來的文化/知識體系

-->aims?

-實用

-區別/ categorization一旦發生-->類別間的差異變得更加明顯，類別內的差異反而變少(或被認為不那麼重要) à 群體內凝聚力增強，排斥群體以外的群體 (1:99 電影行動 - 狂想曲 http://www.isd.gov.hk/chi/tvapi/movie1_c.html )

-類別間的關係﹕權力關係(控制、控制感) --> 定型、偏見

--> Other/ difference:

- differenc/文化研究煎釀三寶 (Race/ethnicity, Class, and Gender)

*Race/ethnicity﹕

e.g. 台灣的CASE﹕日本人VS. 汉人/中國人(日據時期)--> 外省人VS. 本省人(49年後) --> 中國人VS. 台灣人(80年代後) (吳其諺﹕〈分類﹕差異和區別〉)

e.g.香港的CASE﹕中國人VS. 香港人-英國人VS中國人>香港人 --> 中國人VS.香港人(70年代後) --> 中國人VS.香港人(97後，但開始再國族?)

* Class﹕e.g. 居港權事件，朗朗

* Gender﹕e.g. 伏明霞

-Different race/ethnicity, class, and gender positions--> 不同區別/ categorization/ identity﹕

e.g. ”香港歷史的實際開端是在1841年英國人到來的時候” (Endacott, A History of Hong Kong(1973))

e.g.香港核心價值2004 (http://www.hkcorevalues.net/ )

e.g.陳果﹕[榴槤飄飄A 6:40]

--> Multiple identity(in terms of space and time)/ Ever changing identity

--> Identity or identities?

--> multiple differences--> construction of cultural identity--> complex identity

-->Cultural identity/ representation of cultural identity--> politics of cultural negotiation

-Between Identities: Case﹕馬傑偉-〈九七後香港冒升的國族身份〉

-->研究方法﹕1996(769)，1997(302)，1998(527)，1999(533)，2002(500)隨機樣本

*電話訪問﹕問卷

*問卷﹕(一)通過對22種普遍價值的評價，比較香港人對自己與大陸人形象之間的認知差距。1999及2002年加入有關現代民主價值的選項。(二)探查被訪者對媒體呈現的文化與國族符號(長城、解放軍、公安、國旗、人民大會堂、特區區旗等)的情緒反應 (自豪、親切、抗拒)

*2002年，有14位被邀進行深入訪談

-->Self/identity needs Other as its counterpart --> ever changing self/identity

-->大部分香港人都是早年來自大陸的移民或其後代，自60、70年代香港人開始從心理上將自己與大陸人區分開來，”香港人”與”大陸人”之間的認知差距成為了衡量本土文化身份的重要指標。

-->但不少研究指出，香港人一般具有文化認同的雙重性﹕既是”香港人”，又是”中國人”(表一)，但”香港人”對自己與”大陸人” 形象之間的認知差距，仍然是”香港人”確認自我身份的重要標準。隨著97年後再國族，這認知差距及其內函有沒有/有啥改變?

-->問卷第1部分列出16項(1999年及2002年為22項)不同價值。同一項價值，受訪者被問及對各項價值描述分別與”香港人”和”大陸人”之間的對應性之同意程度(1代表非常同意，2代表同意，3代中立，4代表不同意，5代表非常不同意à高於3 代表正面評價，低於3 代表負面評價)。

*普遍而言，受訪者對香港人本土身份之評價傾向正面。相對而言，香港人對大陸人之評價則傾向負面，例如就自律、敢言、崇尚自由、西化等而言，大陸人都比較遜色。

*直到2002年，香港人仍然拥有相對清晰的本土身份，但”香港人”和”大陸人”之間的身份距離正在縮小，二者認知差距的內函亦所有改變。

*問卷第1部分所列出的價值，可分為三個向度﹕(一)一般社群價值(有道德、友善、文明、謙虛、樂觀、自律、富同情心、具容忍力) – 表二; (二)資本主義啇業社會價值(上進、易於适應環境、醒目、實際) – 表三; (三)現代民主價值(敢言、西化、獨立思考、崇尚自由、思想開放、重視私隐、重視平等機會、重視言論自由、重視新聞自由、愛國)。

*1996年，就一般社群價值而言，香港人對自己以及大陸人的評價雖然有差距，但不明顯。就資本主義啇業社會價值而言，二者差距則十分清楚，顯示受訪者認為就資本主義啇業社會價值是香港人性格的主軸。就現代民主價值而言，差距亦十分清楚，受訪者認為香港人一般比大陸人敢言、西化。

*2002年之前調查顯示香港人相信其與大陸人的差異主要源於資本主義啇業社會價值，但2002年之前調查發現，資本主義啇業社會價值的”內地與香港差異”正在縮小(或與中國經濟市場的發展和” 內地與香港經濟融合”論述的被強調有關)。

*1999年及2002年加入數項有關現代民主價值的新項目(因為在90年代香港去殖民化與再中國化的過程中，香港人對民主改革愈來愈關注?)。就2002年調查顯示，資本主義啇業社會價值的”內地與香港差異”雖然有縮小跡象，但建基於現代民主價值的”內地與香港差異”則相對顯著，這意味著”經濟因素”不再成為有效地區分內地與香港的指標，取而代之的，是現代民主價值的”內地與香港差異”。

Ref:On collective memory and urban planning

2007-03-14T21:15:00.001-07:00

E-magazine: Cultural Studies@Lingnan

The 4^th Volume of “Cultural Studies@Lingnan” is issued.

Please feel free to visit: http://www.ln.edu.hk/mcsln/

文化研究@嶺南 第四期 2007年3月

本期文章

專題 : 還政於民的日常生活政治

文化評論：

文化保育、發展與可持續發展

古蹟保育，豈能只顧懷舊

美利樓的懷舊與殖民空間

關鍵詞彙 ：記憶

人物專訪：本土工程人 ── 陳景輝專訪

……更多，請到 www.ln.edu.hk/mcsln

SD373 Cultural Identity Outline (revised)

2007-03-02T02:41:00.000-08:00

Subject Title: Cultural Identity
Subject Code: SD373
Number of Credits: 3
Year / Semester of Study: Year 2 / Semester 2
Subject Co-ordinator: SIU King Chung
Lecturers: LEUNG Po-shan, Anthony (leungpo@gmail.com )
CHENG Wai-pang (tinywest@gmail.com)
Class room: A104K
Discussion blog: http://sd373-07.blogspot.com/
Pre-requisites: Completed at least one DCT subject
Co-requisites: Nil

Teaching / Learning Activities and Hours Assigned:
6:30-8:30 lecture 8:30 -9:30 tutorial

Teaching & Learning Activities Hours/Week No. of Weeks Time-tabled Hours
Lecture 2 7 14
Presentation 2 7 14
Tutorial 1 14 14
Total Time-tabled Hours 42

Method of Assessment:
Students will be evaluated through tutorial (30%), as well as a final essay (50%) that identifies relevant arguments and offers reflections towards the issues of cultural identity. Quality of class participation, and students’ understanding towards relevant theoretical literature and local phenomenon are assessed in various preliminary research assignments (20%) leading towards their final essay.

Role and Purpose:
This subject deals with the problems of cultural identity in the midst of universal cultural hybridisation and globalisation. The focus is on the imagined “membership” in community formations and the outward signs of the participation, especially the new challenge of cultural economy. Students will discover processes of objects and images appropriation may become means for identity representation and differentiation. Forms of cultural rhetoric are, therefore, explored and analysed with reference to the underpinned values, beliefs and power relations. Special references will be directed to the Hong Kong context

Learning Outcomes:
On successfully completing the subject, students will able to:

l examine and comment upon the problems of cultural identity in the midst of universal cultural hybridization, globalization and localization;
l comprehend theoretical texts and make arguments against the different forms of cultural rhetoric as appear in the scholarly debates;
l make connections with learnt theories and explore critical issues in relation to, say, “the cultural others”, “spaces of identity”, “cultural representation”, etc. in our contemporary world;
l identify and analyze the underpinnings (e.g. values, beliefs and power relations) behind the outward signs of cultural representation or the imagined “membership” of certain communities;
l interpret how the processes of objects and images appropriation, (i.e. the processes of design) may become means for identity representation and differentiation;
l research and select local examples in explaining the above understanding through writings, presentations and seminars.
l continue to develop cultural sensitivity in societies of multicultural characters by augmenting knowledge of our own and others’ cultures;
l appreciate the diversity in our society and the world in which we lived and combat stereotype, prejudice and discrimination;
l perform more acute observations and make decision appropriately by making reference to necessary social and cultural conditions in real life settings.

Indicative Content:

Basic Concepts:
- culture, identity and cultural politics

Cultural Manifestations
- representation and art
- cultural intermediary
- visual & material culture

Cultural Economy
- basic concepts: identification, representation, production, consumption, regulation
- cultural industry and its critique

Cultural Identity of Hong Kong
- Hong Kong cultural identity- why matters?
- Hong Kong art and its Chineseness
- Culture of everyday life: tourism and shopping mall
- Hong Kong Culture in a space of disappearance
- Cultural identity/ identities of Hong Kong

Topics in cultural identity
- Politics of cultural identity: self, other, community
- Cultural Memories, Histories and Formation of Culture
- Cultural imaginings: Cultural Identity in Making

Global and Local
- urban spectacle, cosmopolitanism, regional identity and globalization (TW)

Round-up: a story with no end
From Identity to Subjectivity

Teaching/Learning Approach:
Weekly lecture and tutorial, complemented by students’ presentation; each student is required to apply learnt concepts in thinking, researching and writing about a selected cultural issue from the Hong Kong context. There will be an interim group research project, from which students are required to arrange a formal presentation and derive their own topics for their final essays.

Assignments:
1.Reading Tutorial(30%):
Form into groups of 3 to 4 students and present assigned readings with no more than 2 pages of reading notes (no powerpoint is needed).

2.Preliminary study(20%):
Prepare an interim group research project, from which students are required to arrange a formal presentation.

3.Final essay(50%):
Identify a cultural issue, conduct a research with the learnt concepts and theories, then produce an essay in English; word amount unlimited. Deadline: one week after term end.

Content
19 Jan
Lecture: Introduction (LP)
26 Jan
L: Cultural Manifestations (LP)
2 Feb
L: Cultural Economy I (LP)
T: Kathryn Woodward ed., “Introduction”, Identity and Difference, Sage: 1997, pp.8-19.
Simon During, “Going global”, Cultural Studies: A Critical Introduction, London: Routledge, pp.5-13.
9 Feb
L: Cultural Economy II (LP)
T: John Fiske, “Communication, Meaning and Signs”, Introduction to Communication Studies, London & New York: Routledge, 1990, pp.39-63.
16 Feb
Cultural Identity of Hong Kong (LP)
Representation of Hong Kong I
T: *Special task of the tutorial: Please illustrate the “cultural circuit” model with the case of Chinese cinema.
du Gay, Paul ed. (1997): “Introduction”, Production of Culture/Cultures of Production, London/Thousand Oaks/New Delhi: SAGE Publications, pp. 1-10.
du Gay, Paul ed. (1997): “Designing the Walkman: Articulating Production and Consumption”,Doing Cultural Studies: the story of the Sony walkman, London/Thousand Oaks/New Delhi: SAGE Publications, pp.62-74. (reserved- HM621 .D64 1997 )
徐百柯：「导演贾樟柯称商业大片像细菌破坏社会基本原则」，載《中國青年報》，2007年01月10日02:18。
http://news.qq.com/a/20070110/000353.htm
23 Feb
No Class
2 Mar
Cultural Identity of Hong Kong (LP)
Visualizing Hong Kong II
T: Abbas, Ackbar., Culture in a Space of Disappearance, Hong Kong: Culture and the Politics of Disappearance, Hong Kong University Press, pp.1-15.
9 Mar
Cultural identity/ identities of Hong Kong (TW)
T: Sung Hung-mui, “Heterotopologies: South Asians in Media and Spatial Representations”, from Approaching South Asians in Hong Kong (M. Phil thesis), Lingnan University, 2005, pp. 119-133.
16 Mar
Presentation: preliminary study (students)
23 Mar
Presentation: preliminary study (students)
30 Mar
Topics in cultural identity (LP)
Invention of tradition
T: 羅永生：「後殖民評論與文化政治」，Pun Ngai & Yee Lai-man, Narrating Hong Kong Culture and Identity, Hong Kong: Oxford University Press, 2003, pp.95-112.
13 Apr
Topics in cultural identity (LP)
Invention of Tradition (museum and tourism)
T: John Urry, “Introduction”, The Tourist Gaze, Leisure and Travel in Contemporary Societies, London, Thousand Oaks, New Delhi: Sage Publications, 1990.
20 April
Topics in cultural identity (TW)
Cultural Identity in Making
T: Dolores Hayden, The Power of Place : urban landscapes as public history, Cambridge, Massachusetts & London, England: MIT Press, 1995, pp.44-78. (F869.L857 H39 1995)
27 April
Global and Local (TW)
Regional identity and globalization
T: Stuart Hall, “The Local and the Global: Globalization and Ethnicity”, Dangerous Liaisons: Gender, Nation, and Postcolonial Perspectives, Anne McClintock & al. (ed.), Minneapolis & London: University of Minneapolis Press, pp.173-187.
5 May
L: Round-up: a story with no end (TW & LP)
T: Final essay consultation

General References:
梁文道: “寶貝總是國家的話、眼睛卻是我們的”信報1998年3月4日。
周蕾：《寫在家國以外》：香港：牛津大學出版社 1995。
梁秉鈞：《雅俗文化之間的文化評論》，載於黃淑嫻編：《香港文化多面睇》，香港：香港藝術中心1997.p.p.3 - 21
馬傑偉：《電視與文化認同》，香港：突破出版社，1996年。
陳清僑編：《文化想像與意識形態》，香港：牛津大學出版社1997。
也斯：「文化身份的探索 : 東西視藝」，《香港文化》，香港藝術中心1995.
洛楓：「歷史的記憶與失憶」，載於《世紀末城市》，香港：牛津大學出版社，1995年，頁60 – 75。
Ackbar Abbas (1997) Hong Kong: Culture and the Politics of Disappearance. Hong Kong University Press.
Appadurai, Arjun (1988) "How to make a National Cuisine: Cookbooks in Contemporary India". Comparative Study of Society and History 30(1): 3-24.
Bennett, Tony, Culture: A Reformer’s Science, London: Sage, 1998.
Cheung, Sydney (1996) "Cultural Tourism and Hong Kong Identity", Working Paper no. 4. Department of Anthropology, CUHK 1996 p.p.1 - 21
Ecker, David. (1990) "Cultural Identity, Artistic Empowerment, and the Future of Art in the Schools," Art Education. January/February 1990.
Evans, Grant.& Tam. Maria. (eds.) (1997) Hong Kong: The Anthropology of a Chinese Metropolis. Curzon.
Hall, Stuart et al. (eds.) (1992) "Identity in Question", Modernity and Its Futures. Polity Press & The Open University. p.p. 274-280.
Hall, Stuart et al. (eds.) (1992) "National Cultures as 'Imagined Communities' " Modernity and Its Futures. Polity Press & The Open University. p.p. 291-299
Stanley, Nick & Siu, King Chung (1995) "Representing the Past as the Future: The Shenzhen Chinese Folk Culture Villages and the Marketing of Chinese Identity." Journal of Museum Ethnography, no. 7, 1995.
Woodward, Kathryn (1997) "Why does the Concepts of Identity Matters" in Woodward, Kathryn (ed.) (1997) Culture, Media and Identities: Identity and Difference. SAGE.

Special Topics (you may select from the followings to start off your essay):
On Cultural Economy:
du Gay, Paul ed. (1997): “Introduction”, Production of Culture/Cultures of Production, London/Thousand Oaks/New Delhi: SAGE Publications, pp. 1-10.
du Gay, Paul ed. (1997): Doing Cultural Studies: the story of the Sony walkman, London/Thousand Oaks/New Delhi: SAGE Publications. (reserved- HM621 .D64 1997 )

On Hong Kong:
Oscar Ho, “Hong Kong: A curatorial journey for an identity”, Art Journal, Winter 1998, pp. 39-42.
Mathew Turner, “Building on Appearance”, Hong Kong Four-cast, Hong Kong: University Museum and Art Gallery, the University of Hong Kong, 2005, pp.6-7.
David Faure, “Introduction”, David Faure ed., Hong Kong: A Reader in Social History, Hong Kong: Oxford University Press, 2003, pp.xiii-xxx.
Abbas, Ackbar., Culture in a Space of Disappearance, Hong Kong: Culture and the Politics of Disappearance, Hong Kong University Press, pp.1-15.
*Matthew Turner, “60/90s Dissolving the People”, Matthew Turner & Irene Ngan ed., Hong Kong Sixties Designing Identity, Hong Kong: Hong Kong Art Centre, pp.13-34. (Do read the English version for it is the original writing of the author)
Clarke,. David (1996) "Between East and West: Negotiation With Tradition and Modernity in Hong Kong Art" in Art and Place: Essays on Art from a Hong Kong Perspective. The Hong Kong University Press.
羅永生：「後殖民評論與文化政治」，Pun Ngai & Yee Lai-man, Narrating Hong Kong Culture and Identity, Hong Kong: Oxford University Press, 2003, pp.95-112

On nationalism & post-colonial studies:
Anthony Giddens, ‘Introduction’, Modernity and Self-Identity: Self and Society in the Late Modern Age, Cambridge, Polity Press, 1991, pp.1-9. (On modernity and identity)
Eric Hobsbawm & Terence Ranger, “Introduction: The Invention of Tradition,”, The Invention of Tradition, Cambridge: Cambridge University Press, 1983. (1996 edition pp. 1-15.)
香港嶺南學院翻譯系文化/社會研究譯叢編委會編：《解殖與民族主義》，香港：牛津大學出版社，1998年。
廖炳惠：「後殖民研究的問題及前景」，《當代》，1997年9月1日，第121期，頁48-61。

On museum, monumentality and tourism:
Tony Bennett, “The Formation of The Museum”, The Birth of the Museum, History, Theory, Politics, London & New York: Routledge, 1995, pp.17-58.
James Clifford, “Histories of the Tribal and the Modern” & “On collecting art and culture”, in Predicament of Culture: Twentieth- Century Ethnography, Literature and Art, Cambridge: Harvard University Press, 1988, pp. 189-214 & pp. 215-252.
Three cases:
Wu Hung, “Tiananmen Square: A political history of monuments”, Representations, no.35, Summer 1991, pp.84-117.
Wu Hung, “The Hong Kong Clock- Public Time-telling and Political Time/Space”, Public Culture, vol. 9 no.3, Spring 1997, pp.329-354.
Marita Sturken, “The Wall, the screen, and the Image: The Vietnam Veterans Memorial”, Representations, no.35, Summer 1991, pp.118-141.
John Urry, The Tourist Gaze, Leisure and Travel in Contemporary Societies, London, Thousand Oaks, New Delhi: Sage Publications, 1990.

On visual culture
呂紹理著﹕《展示臺灣：權力、空間與殖民統治的形象表述》，台北﹕麥田出版社，2005年。
彭麗君著﹕〈城市觀光-香港旅遊業的視覺論述〉，宋耕編著﹕《全球化與中國性﹕當代文化的後殖民解讀》，香港大學出版社，2006年，頁233-245。
Jonathan Crary, Suspensions of Perception: Attention, Spectacle, and Modern Culture, Cambridge, Massachusetts & London, England: MIT Press, 2000.

On Shopping Mall
Meaghan Morris, “Things to do with Shopping Centres”, The Cultural Studies Readers, Simon During (ed.), London and New York: Routledge, 1993, pp.295-319.
John Fiske, “Shopping for Pleasure: Malls, Power, and Resistance”, The Consumer Society Reader, Juliet B. Schor and al. (ed.), New York: The New Press, pp. 306-328.

On global and local
David Harvey, The condition of postmodernity : an enquiry into the origins of cultural change, Oxford, England : Blackwell, 1989.
Arjun Appadurai, Modernity at Large: Cultural Dimensions of Globalization, Minneapolis & London: University of Minneapolis Press, 1996.

Essay sample

2007-02-19T07:48:00.000-08:00

Dear class,
Pls note it is just an example. You should write in English.

Happy new year of the Pig!
豬年行好運新年讀多兩篇文！

Leungpo

CUS 501 Perspectives in Cultural Studies (Assignment I & Reading Report)

散論文化研究在香港─一條漫長的回頭路？

梁寶山

作為一篇期中論文並有關文化研究的初探，日來拉雜的讀了幾篇文章。所以本文擬從導修的辯題「香港是否文化沙漠」入手，看看文化研究在香港的處境，提供更多的問題，作為我修讀這門課的努力目標。

則一： 香港是否文化沙漠？

本課的導修，馬國明老師引用民政事務局局長何志平反駁「香港是文化沙漠」[1]的言論作為切入點討論。何志平的論點，是香港的文化建設以國際水平來說，質量上絕不落伍，所以香港不是文化沙漠(又或是倒過來說，只要西九龍文娛藝術局建成了，香港使可一雪「文化沙漠」之恥，以支持政府的西九大計)。作為負責文化範疇的官員，把文化的硬件建設等同一個地方的文化發展指標，簡直不值一駁。不過再讀李歐梵前陣子以文化研究代言人的語氣在《明報》「世紀版」上發表的「文化研究面面觀」，卻更覺何局長這種概念混淆，原來不是事出無因。

文化研究背負着戰後新左派的歷史使命，開山祖師均致力拓闊「文化」的定義，拉長政治戰線。例如最常引用並最廣義的兩個說法，是Raymond Williams的「whole form of our common life」與T.S. Eliot的「a whole way of life」。這兩個無所不包的定義，其基調就是衝着高雅文化、精緻藝術，並精英份子對文化的壟斷而來的，有着時代和歷史上的針對性。文化研究雖然把普及文化納入成為研究對象，但卻不把研究對象局限在流行/普及文化之上。如果要給文化研究一個定義，實在不應從學科的研究對象着手，而應當從「為什麼要搞文化研究」的委諾(commitment)入手，特別是如何為主流文化中弱勢群體(無論是性別、階級及種族上的)發聲，提供理論的武器作為抗爭的工具[2]。文化研究要延續馬克斯主義的傳統，要求學術能時刻與當下的社會文化情狀扣連，成為一門「介入的學科」(an engaged study of culture) [3]。所以在這個意義上，文化研究是兩條腿走路，不應該只是搭建象牙塔，它的實踐範圍應該是社會，並且還有着「鋤強扶弱」的意味。

在「文化研究面面觀」一文中，李歐梵對在香港搞文研究的前景有以下一番樂觀的見解：

「……我個人認為香港反而是文化研究的最佳場所，非但因為香港文化一向就是雅俗不分、商品掛帥，而且人民日常生活本來就是『通俗』的，也無所謂『主流』和『反主流』，而只有所謂『另類』，因此香港文化所能提供的研究空間也較美國更大。」[4]

李歐梵的論點，容易令人只從研究對象入手，認為通俗文化的發達興旺，能為研究大開方便之門。所謂沒有主流，是忽視了在香港的政治和社會現實─中心的論述是什麼？(國家-民族主義？經濟主導？發展主義？)而需要扶助的邊緣論述是什麼？(地區/城市-後殖民？人文關懷？環保關懷？)

雖然李歐梵也有提出「實踐」的難題：

「香港的現實對文化研究的要求就是一種『文化實踐』，而非象牙塔的高談闊論。然而香港的現實也呈現了另一個危機。一般人都為了『搵錢』和消費而忘了做人的意義和人文的思考，更無暇作社會批評；民間的知識份子少得可憐，而政府的高官仍然一味經濟掛帥，不談也不懂文化。」[5]

如果我們沿着「a whole way of life」的思路設想，李歐梵說到這裡似乎又忘了「搵錢」和「消費」正是香港文化的最重要面相，並使之與文化劃成對立的範疇。這種概念錯位，連繫到有關「香港是否文化沙漠」的辯題上去，容易使人把問題的複雜性簡化成一對雙重的誤解：因為文化的定義也包括普及文化，所以香港不是文化沙漠；而因為香港普及文化發達，所以在香港搞文化研究便滿有希望。(事實上導修討論裡不少同學就是持這種見解)這個誤會的危險之處，是容易使人矯枉過正，把「高雅文化」排除在研究範圍之外。李歐梵在此，更是把自己安置在文化的一邊，與對岸的仲商主義假想敵對着幹，而未能把香港人的「搵錢」和「消費」活動也一併納入到文化研究的範圍裡去加以研究。

從李歐梵文論的推論過程裡，我們看見把消費與文化對立起來的說法：

「在寫過多篇有關「西九龍」的文章之後，我仍然要問：文化在哪裡？ [……]即使落成後，可以演出的還不是像《仙樂飄飄處處聞》式的歌舞劇或歌星演唱會？難道這就是文化？不如直稱娛樂算了，文娛區也可改為為「豪娛」區[……]」

「我曾多次指出：香港的問題就在於把文化只看作娛樂消費，而不顧其他。反觀其他世界大小都市，政府如以文化建設作為旗號，必先以一種「核心」文化建設為出發點，再作其他配套：畢爾堡（Bilbao）先蓋古根漢藝術館；上海也先建新的博物館，再建歌劇院……」[6]

於是文章讀來，變成了城市在文化建設上優勝劣拙的印象式文化比較(城市漫遊者？)，效果只是炫耀了作者的交遊廣闊和文化資本(cultural capital)，強化的仍是一種對文化的精英主義觀，接近於Matthew Arnold進路，優勝劣敗的Kurlturkritik (“the best which has been thought and said in the world.”[7])。這種對自身欠缺反省(reflectivity)的書寫，更像一個國際知識份子(Spivak所批評的「international intelligentsia」)的牢騷多於一個文化研究學者應有的態度。

無論文化研究能否在香港成為顯學，我反倒認同馬國明另一篇回應黎健強「藝評的荒蕪」一文的論點[8]。他指出評論應是「無盡的扣連」(infinite connectedness) ，知識份子走出象牙塔與社會進行扣連，我認為評論正是應該先行的第一步。

_______________

則二：

文化研究的體─用兩面

文化研究一方面繼承了Gramsci 與Althussur對有機知識份子(organic intellectuals)與其對體制及霸權的關係的戒心，面對的抉擇是要不就在體制以外投閒置散，否則就在體制內勇往直前、出賣靈魂。在這個關節眼上，Tony Bennett 和Stuart Hall均認為這是另一種無謂的對立[9]。文化研究要成為一種介入的學科，高等教學與文化政策遂成為最「就手」的試驗場。Bennett對「只講不做」的文化批判特別不耐煩，事實上，這些知識份子每日所從事的教學與寫作，已經是一種生產活動[10]。Bennet更呼籲大家應該放開懷抱，因為這是一項改革者的科學(Reformer’s science)，訓練的是文化技工- 智識工人 (cultural technician- intellectual worker)，知識份子是一份工作(job)；文化研究如果不能化解與建制的對立，繼續自我陶醉在這種自我感覺良好的身份當中，只會變成與幻想的社會運動(phantom social movement)與斷估政治(appraised politics)，知識份子不能不參與國家意識形態機器的運作[11]。Bennett更舉Raymond William在英國藝術局的工作為例，說明知識份子能作的建樹。至於高等教育工作方面，陳清橋引用了Bill Reading在The University Ruins(1996)的說法，認為這些按月資薪的知識份子在開展工作之前，不能不承認的可怕現實，是大學已成為一個廢墟(ruined institution)[12]。這個提法實在比空談大學理念來得更有建設性─無論這個門檻是把問題放得更高還是更低。要面對大學變成體制化的實用主義場所、專業主義的溫床，文化研究的科際綜合特性、和創發異議的能力，正好與Edward Said 提出的業餘主義暗合[13]。

而放在香港的「具體情況」，陳清橋認為文化研究的「興起」，與九七政權轉移關係密切。作為一個藝術本科學生，我的經歷是關於香港人文化身份的探索始自九十年代初，是從文學與電影開始，並逐漸蔓延到視覺藝術上，最後成為學院為原有學科所不容的跨學科共同關注。所以如果更大膽地說，這個時期的文化研究就是香港文化研究。陳清橋認為這股風氣的重要性，是打破了學界只停留在「知識的再生產」層面，試驗了某些香港現象的可能性、找出這個社群身分和處境為目標[14]。換句話說，文化研究是以規範性(normative)之姿[15]「及時」出現。

但在文化研究「來勢汹汹」的同時，我們似乎也要轉身看看故事的另一種可能性。在整個新左思潮和學運的影響之下，傳統學科在方法論與研究對象的變革同樣是翻天覆地的。例如歷史學裡的新史學打開了社會史的另一種可能(例如E.P. Thompson 提出的「history from below」)、婦女史在研究對象上的開拓、因應上述轉變興起的口述史方法等等(包括科大衛提倡的「人類學與歷史結婚」)。而傳統的藝術史，亦繼Arnold Hausar 的「藝術社會史」之後開出Rosalind Krauss、T.J. Clark、Jonathan Harris甚至近年Hal Foster等一路的「新藝術史」，均從藝術的生產過程與語境出發，並進行意識形態批判；還有Linda Nochlin、Rozika Parker、Griselda Pollock、Lucy Lippard等，也是「靠左走」的女性主義藝術史；像《October》與《Third Text》等學術期刊成為新藝術史的陣地……翻開任何一本以上的著作，我們可以看到大量同樣適用於文化研究的詞彙、概念……學科與學科之間的取長補短趨勢，與文化研究等量齊觀，還趨生出新的學科整合，例如視覺文化研究。如果學科原有科訓(discipline)分野有朝一日被跨學科的趨勢磨平，到時，文化研究還有沒有不同的科際可以給我們綜合？[16]

這個問題，在香港是否言之過早？以英美的經驗作為借鑑，During作出特別的提醒，認為文化研究與傳統人文學科此消彼長的關係，只是局限在整個國際大學版圖上的邊緣位置。大學之中的老字號(Ivy college)，其傳統的人文學科還是不為所動，其功能仍在為社會精英份子培殖文化資本─於是文化研究的「得勢」其實來得非常弔詭，它可能只是新自由主義國策和大學公司化的副產品。更有論者認為文化研究向其他學科的靠攏只是一廂情願，一旦離開了人文學科的保護罩，在其他應世(worldly)的學科之間根本就沒有能夠一展所長的餘地[17]。如果以這種邏輯回看香港的情況，文化研究的前途無寧是黯淡的：文學院在兩所老牌大學(中文大學和香港大學)裡被邊緣化(削資與合併、削減教席、甚至港大文學院各科合併)，但文化研究非但沒有成為顯學，反而只能夠在最排名榜末的嶺南大學滋長。而在整個國際(大學市場)的版圖上，香港的地位根本就微乎其微。而如果我們要替香港的文化研究找一點建樹的話，教育改革大力推銷的「通識教育」，或許會是人文學科包着浪漫理想[18]在垂死爭扎以後，迎合着創意經濟而改頭換面的再生？

____________________

則三 救港的想象差落？

「如果你說這個問題並不屬於你這門學科的討論範疇，那麼好吧！請你給我介紹那些可以處理這個問題的專家，要不然的話，就請你自己走出學科的範疇，去尋找應付的辦法。」[19]

“To travel to these other regions though- to law offices, media institutions, government bureaus, corporations, advertising agencies- is to make a sobering discovery: They are already replete with their own intellectuals. And they are just look up and say, ‘Well, what exactly is it that you can do for us?’”[20]

從藝術創作到藝術寫作，從藝術批評到藝術史，現下又走到文化研究的懷抱去了。我這近十年來的努力總像是圍着不同的學科打轉，以為找着了，最後還是無處為家(“cultural studies is a homeless discipline”)。陳清橋認為「與其為香港的歷史建構或香港人的身份認同過程作出規範性的界定，倒不如去描繪種種史因素、社會關係、文化產物及存制度等等之間的關係及其所經歷的轉變。最終的目的，顯然是要為我們的文化教育的未來，打好一定的批判性基礎。」[21]也許是傳統科訓的遺毒使然，在打好這個批判性基礎的同時，總覺是「心裡沒底」(或是心裡有鬼？)。寫這篇文章之時，不無湊巧的有兩件事情正衝着我的懷疑而來。一是三聯出版社剛為國內藝術史學者朱琦出版了一冊《香港美術史》[22]的大部頭，由外銷畫講到林風眠，為香港藝術作分期。與此同時，香港被西九撩起的一股文化興緻，已隨着曾特首上場而回打回一盤真金白銀的生意的原形，還夾帶着幾分令小市民望塵莫及的政治陰謀色彩。當藝術史以宏大敘事的「大石壓死蟹」之姿來為香港文化定調，文化研究的批判基礎就能以四兩撥千斤的方式起動？而「文化人」曾經因為「文娛」[23]二字而興起的亢奮，曾經展開的戰線(「西九龍民間聯席」)，從未真正開戰卻己經荒廢。可以想見的未來，是各種以諮詢小組和委員會，以專業之名展開。文化研究的跨學科理想，與知識份子的業娛主義，除非是戴上專業的面具，否則便難以參與(或隱身)其中。從專業的桎梏出走，我們走的，到底會否只是一條漫長的回頭路？(5400字)

__________

參考書目：

During, Simon (2005) “Going global”, Cultural Studies: A Critical Introduction, London, Routledge, pp.5-37.

Mulhen, Francis (2000), “Introduction”, Culture/ Metaculture, London: Routledge, pp.xiii-xxi

Bennett, Tony (1998) Culture: A Reformer’s Science, London, Thousand Oaks, New Delhi: Sage.

[1] 民政事務局局長何志平曾再三引用「文化沙漠」的說法作為論點，包括2005年1月25日在油尖旺區議會上的發言，1月31日在香港電台節「與司局長對話」節目、及最近一次在2005年10月8日〈香港家書〉。有趣的是何局長對「香港是否文化沙漠」的說法前言不對後語。較詳盡的分析可參黎建強：〈迷人的沙漠〉(2005年2月8日刊《獨立媒體》http://www.inmediahk.net/public/article?item_id=13363&group_id=43)，並楊穎宇博士「『沙漠』的起源和反思」(2004年12月8日刊《成報》http://www.singpao.com/20041208/local/646966.html )。

[2] 此比喻轉引自陳雲。

[3] “[…] a will to interpret the culture within the protocols of academic knowledge […] as well as a (political) drive to connect with everyday life as lived outside the academy, and especially as lived by those with relatively little power or status.” (During 2005) pp.8-9.

[4] 李歐梵：〈文化研究面面觀〉，《明報》2005年7月2日。

[5] 同上。

[6]李歐梵：〈香港、西九，文化在哪裡？〉，《蘋果日報》2005年10月15日。

[7] Mulhern (2000), p. XVI.

[8] 馬國明：〈評論─無盡的連繫〉，《信報》2002年8月16日。

[9] “[…] I don’t propose the organic intellectual as the source of another grand metannarrative or as producing the theory for the movement from outside. Nevertheless, I hold on to the notion of the organic intellectual because I think it puts a shadow across intellectual work. If it’s done with the realization of the worldliness of our object and of our own situation […] We don’t always be able to control the ways in which that’s appropriated or the political conditions in which it’s appropriated, but we need to work as if our work would be better if we could; we need to work with the pressure of the behind us.” Stuart Hall (1992), pp.288-289.

[10] Bennett (1998), p.6

[11] [ibld] p.20

[12] 陳清橋：〈在廢墟中築造文化研究─並論當代大學教育頹敗形式與意義〉，《E+E》，總第六期，2003年春/夏，頁10-22。

[13] 有關Edward Said的知識份子論，已作另文詳述：〈知識份子之不可能〉，載《模達紀事》，2005年3月 ( http://motat.blogspot.com/2005_03_01_motat_archive.html )。

[14] 陳清橋(2003)，頁17。

[15] 此處援用Bennett (1998)在 “Culture: A reformer’s science” (pp.87-106)一章裡認為「文化根本就不是一種自然生成的現實(駁斥Bauman認為文化是 “reality in its own right and beyond control”)「文化」這個概念本身就是為著改革的目的要而被提出來的。無論其背後的意識形態是殖民主義的文化進步論(Matthew Arnold, Edward Burnett Tylor)，還是反殖的文化多元主義(Raymond Williams)，兩者均指向需要改造的意思。所以Bennett認為「文化」是一個規範性(normative)概念。

[16] During 甚至提出 “all disciplines are interdisciplines” ，見During (2005) p.10

[17] 此處取Tony Bennett 引用Ian Hunter的說法 “[cultural studies] is still caught up in the slipstream of aesthetic critique, cultural studies might have relatively little to offer once it goes beyond the comforting illusions of the typical arts faculty to concern itself with other cultural regions.” Bennett (1998) p.34.這個批評雖然尖刻，但也是非常的現實。

[18] Hunter 的批評是 “Romanticisim ideal renewal”，轉引自Bennett (1998), p.25.

[19] Raymond Williams的說法，轉引自陳清橋(2002)，頁20。

[20] Hunter, 1992:372；轉引自Bennett，同註15。

[21] 陳清橋(2002年)，頁17。

[22] 朱琦：《香港美術史》，香港：三聯書店，2005年。

[23] 「文娛」二字在香港政府的概念裡是多變而歧異的，在港英時代，它更多被視為recreation的中譯，衍義是有益身心的消閒節目、對閒娛生活(leisure life)的簡接管治。而西九龍文娛藝術區-West Kowloon Cultural District─在中英文上的不對等，我認為可以作為特區年代，文化政策逐漸過渡到為文化旅遊與創意經濟服務的大前題下，舊有思維未能完全蛻變的痕跡。

Class 5: Hong Kong Cultural Identity: Visualizing Hong Kong

2007-02-15T01:36:00.000-08:00

圖：蔡元培

給理工同學按：

這個學期臨危受命開這課Cultural Identity正一倒瀉蘿蟹，借課室實驗教學相長，難保一定成功，多謝各位多多包涵，也原諒我公器私，一稿兩投。藝術是我老本行，下附講義為「Cultural Identity of Hong Kong」兩課之講稿，大家可先睹為快。

漂流教室之大學通識(附講稿)

講完第一堂「天堂與地獄：香港藝術的城市觀察」，腳步浮浮接近虛脫。

為了對着「中國人」無理由講英文的卑微願望，甘犯趕客之大險，完成了我在高尚學府的漂流教室生涯以來，第一次爛尾普通話授課的創舉。未至於語無倫次，但無法妙語聯珠。算是對得起自己，卻對不起來撐場旁聽梁款和劉建華。面對中國「大陸」當代藝術在國際舞台炙手可熱，兼文化搭台經濟唱戲的政經轉向，香港藝術註定早夭。前陣子在蔡仞姿的座談會上我還說「沒有人理會香港藝術，我們為什麼要可惜？」的風涼話。誰知聽到通識課可能會有內地生選修，還是覺得自己有責任要為香港說明什麼，膽粗粗以他人的話語建立自己的主體性。作為時薪制漂流教師，無辦工室、無圖書証，每個學期由零備課教完即棄。咁辛苦有時真係唔知為左咩野。

還債喪教此其一，看到學生心領神會兩眼發光，我不能否認會有如置身舞台的飄然感覺。講到口嗅都係果句：如果你仍然相信藝術係「美育代宗教」以處理世界去魅之後的價值問題，我會恭喜你，因為你睇藝術還有樂趣！然而如果你望清楚今日香港英文+藝術等如進入上流社會入場卷(還是消極地避免跌入下流社會的保證金？)，而呢項偉大工程由幼稚園都要睇portfolio開始─因此知道所謂藝術知識是一念天堂一念地獄─搞得好可以令人扶搖直上，搞得不好用錯左嚟動員人民─就總算是我這種在學院邊緣讀壞書之類積一點陰德。今個學期連開三科足料講座，從「藝術欣賞」到「文化身份」與「文化經濟」，藝術學與文化研究 cross-over未知能否開花結果。但從西九爭議、填海、到地產發展都向藝術界招兵買馬(信和「伙炭」)，以藝術「省」靚城市品牌、與地產發展助紂為虐，藝術(家)變成城市士紳化過程中身先士卒的先頭部隊(石硤尾創意藝術中心、市建局荗蘿街項目、藍屋趕走居民的文化旅遊計劃……)、或保育隊伍的友好聯盟（域多利監獄美術館）大量思想工作等住你做。而日後大家就是自身難保（被士紳化趕出城市），也是甘心陪跑，也不致死得不明不白。

要從書面上的政治(representation politics-包括所謂的「集體回憶」)到實戰的空間政治(游擊與規劃)，長路漫漫。尋晚聽鄧小樺主持的「思潮作動」，給劉建華一言驚醒，希望他不嫌我對香港藝術的論述剖析太過有行動傾向。以往以「消失政治」告一段落的香港藝術，在後七一與後天星時代實在應打破咒詛，從身在本土現身(Mathew Turner在「香港觀記」裡語“politics of appearance”)，咬住唔放。在藝術的小圈子裡消解政治符號的有效性實在太過小兒科（大家膽唔拒絕國際藝壇的誘惑？新Para/Site的Tobias 式畫廊政治實在令人無奈！http://www.goethe.de/ins/id/lp/prj/mfc/par/ber/enindex.htm / http://www.inmediahk.net/public/article?item_id=182437&group_id=59 ）。再係咁樣落去，面對以視覺主導的文化經濟（樓盤廣告的歐洲皇室氣派與嚴密保安最為經典），將會取代城市規劃的社群需要，全面靠攏發展主義的國際想像；與此同時，「本土」（無論是愛德華風格的天星碼頭、抑或無廟的廟會與無風帆船……），亦只能是給隨意挪用的活動佈景。可喜的是攝影已有起色（見昨日《信報》黎健強兄「一月攝影紀事」 http://www.inmediahk.net/public/article?item_id=193608&group_id=59 ）。各項「本土」行動，能否架接主體建構，還看下周「零座標的疆域」 http://mmkroc.blogspot.com/ ，二、三用在深水埗陸續有來的文化行動。

下附昨日講堂提網兼近期行動日誌。原諒我身體疲憊精神亢奮，中英夾雜語無倫次；兼一雞兩味不同大學講又講：

第一節2月7日：
香港藝術的文化身份（因為講得唔夠好，其實好想搵機會再講）
1. 點解大家要學藝術？

- Bourdieu: “cultural capital”

- Tony Bennett: culture as technique of governance

2. Representation of Hong Kong (in Hong Kong Art):

Hong Kong, awaiting to be represented:

“What an apt intellecutalisation this disappearance of the real presented to a society fixated on un-real estate values, ephemeral fashions, simulated digital entertainment and dot.com bubbles […] if the territory were not so much a place as a space of transit for migrants then both London, inured to picturing China as adamantine, and Beijing were free to concentrate on technicalities.”

(Mathew Turner, “Building on Appearance”, Hong Kong Four-cast, Hong Kong: University Museum and Art Gallery, the University of Hong Kong, 2005, pp.6-7.)

e.g. 帆船、美利樓、無廟的廟會 (vs. 紫禁城Starbucks)

Four discourses on HK cultural identity (not necessary in chronological order):

I. East/ West: binary opposition:

王無邪：「香港藝術就建立在東西文化不同的各匯合點上，一些畫家企圖將東方的詩境或哲學滲透作品之內。在水墨上，一些畫家將傳統的山水帶入現代的空間，另一些嘗試以墨與色彩探求新的可能性。在雕塑中，一些追尋遠古世界的肅穆、原始之情……有些作品很東方，有些很西方，大部份則介乎兩極之間。驟眼看來，香港藝術似乎過於繁雜，但東西方意念不同方式不同度的交混，正是香港藝術風格的特點所在。」(《當代香港藝術展》，1972年。)

e.g. modern ink movement (neglecting social political upheaval in the 1960s)

ref: 梁寶山：「中國文化的幽靈─論《當代香港藝術2000》」，黎健強梁寶山編：《從跨越過渡千禧─七人視藝評論自選集》，香港：香港藝術中心，2001年，158-161頁。

II. Transnational urban imaginations:

Magic at Street Level(臨街的觀照)- curatorial theme on China-Hong Kong Exhibition Site, the 49^th Venice Biennial 2001:

“Hong Kong’s experimental art is perhaps the most marginalized among Chinese societies, lacking both audience and market, and bearing little influence on society. […] Instead of adopting loud pedagogic positions, they are low-keyed, and tend to be more interested in excavating kernels of individuality hidden in daily experience. Instead of seeking subversion, artists attempt to encode sparks of humanity within anonymous street life and established ways. Through humor, irony or secret pathos artists have found ways of intervening in the swift urban life that seeks to engulf us.”

(CHANG Tsong-zung, “Magic at Street Level” (exhibition catalogue), pp.12-15.)

( Q: de-politicalization of spatial politics in the city or de Certeau, “Walking in the City” in Practice of Everyday Life )

e.g.張志強「住好啲」甘志強朱興華白雙全 (art about politics or political art?)

III. Politics of disappearance in and before Post-colonial era:

“Rey Chow, in her discourse of cultural criticism, mentions the above concept of Para-site. Perhaps we can borrow if for understanding our Para/Site project even though there are real difference between the two. She indicates that the formation of ‘fields’, originated fro the notion of hegemony, involves the rise to dominance of a group that is able to diffuse its culture to all levels of society. The dominant group will have a well-planned strategy to guard its field. Instead of using a complete and overall strategy, the Para-site takes calculated actions of tactics only at certain time and certain place. Para-site like guerrillas, rely on time instead of space.”

(Warren LEUNG, “Introduction”, Para/Site 1996, Hong Kong: Para/Site Art Space, p.5.)

e.g. Para/Site (Art Space) as a tactic (+ Rey Chow) 梁志和曾德平

(http://www.para-site.org.hk )

IV. Lure of the nation & the international or towards a Politics of appearance?

- “structural difference”: localism under the global umbrella e.g. Stanley WONG’s REDWHITEBLUE

- Lure of the nation: 李照興「細菌論」與由《號外》到《城市畫報》的港式風格轉移（「北進想像」的輪迴？）

- Battle on “collective memory” (「天星」事件，從借來的空間、借來的時間到我們的空間、我們的時間，兼「港獨」疑雲)

- “return of the real” ; “seen through the emptiness of ’disappearance’” :

‘The old saw that Hong Kong was no more than a “temporary site for a transient population”, a line improbably recycled during the Handover, was finally exposed as a grotesque anachronism. When the bubble burst, popular perceptions of place and identity had suffered a sea change. […] People, place, time and colour: it has taken a decade for such themes to appear and for Merlin’s spell of disappearance to be broken.”

(Mathew Turner, “Building on Appearance”, Hong Kong Four-cast, Hong Kong: University Museum and Art Gallery, the University of Hong Kong, 2005, pp.6-7.)

Ref:

周八駿：「全面認識『我們的地方，我們的時間』」，《文匯報》，「文匯論壇─香江透視」，2007年1月9日，A24頁。

陳景輝：從天星保衛運動到本土文化政治

http://www.inmediahk.net/public/article?item_id=181257&group_id=53

鄭淑華：「帶菌者李照興」，《明報》「生活」副刊「什麼人訪問什麼人」專欄，頁D14。

Timeout Beijing http://www.cimgchina.com/

梁寶山：《模達紀事》之「英國之旅中國show」2006年11月。

http://www.inmediahk.net/public/article?item_id=169654&group_id=59

http://www.inmediahk.net/public/article?item_id=170915&group_id=59

More to think:

~ how to get the job done? (how to get a job as an artist?)

~ what we don’t see in representations of Hong Kong? (“others” under the rug, e.g. Pilipino maids in Central)

~ “international” as a highly selective category (other-international e.g.WTO示威現場王浩賢攝影展 http://www.inmediahk.net/public/article?item_id=95959&group_id=14 )

~ “symbolic capital” is transaction in the visuals; from the visuals to the spatial politics (property market monopoly of visual space)

餘下課堂：(解放知識機器，歡迎臨時插隊)

第二節2月14日：上天堂：參觀香港藝術館

4pm-6pm參觀香港藝術館：東西問道—王無邪的藝術

http://www.lcsd.gov.hk/CE/Museum/Arts/chinese/exhibitions/cexhibitions_s_20061001_1.html

(另一團：2月17日周六2-4pm)

(參：Carol Duncan, Civilizing Rituals (1995))

第三節2月28日：講座：香港藝術的製造過程

Production of culture: cases of graffiti & studio

第四節3月7日：落地獄：到舊區行街

文化活動能否活化社區？

(深水埗-行程待定/可能改於3月10日落區)

第五節3月28：總結：藝術作為社會參與：抗爭抑或共謀

(參許煜：「他們注定被犧牲？」

http://www.inmediahk.net/public/article?item_id=192148&group_id=59 & Zukin, The Culture of Cities (1995) “/ 考慮改於3月18日於皇后碼頭上課！)

行動日誌：

「零座標的疆域」

http://mmkroc.blogspot.com/

日期：二ＯＯ七年二月十三日至二月二十四日

地點：香港中文大學邵逸夫堂留足展覽廳 (中大地圖H9)

時間：星期一至五上午十時至下午五時半

「零座標的疆域」回顧.座談會

第一場：全球化時代的身份與觀視

時間：2007年2月13日上午十時至十二時

地點：香港中文大學邵逸夫堂留足展覽廳

主持：何慶基講者：陳愷璜、何乏筆（Fabian Heubel）、李歐梵、彭麗君、潘大謙

第二場：後九七香港藝術的全球本土位格

時間：2007年2月13日下午二時半至四時半

地點：香港中文大學邵逸夫堂留足展覽廳

主持：劉建華邀請嘉賓：參展「零座標的疆域」本地藝術家、陳育強、何翠芬、程展緯

活在西九 http://www.soco.org.hk/117/

3月3日至3月31日(逢周末)/ 桂林街115-119號
*3月10日 2-3pm 何喜華：香港貧窮問題初探
*3月24日 3:30-5pm 吳俊雄：探討何謂本土文化及社區文化，傳統文化的保留與城市急劇發展的拉扯關係

小作業大智慧─深水埗手工業者展覽 http://www.project-see.net/main/ssp_html/UntitledFrameset-4.html
2月2-16日/ 2月26日-3月10日/石硤尾邨第15及16座
*3月3日市區重建公眾論壇

請幫拖！
論壇：從石硤尾創意藝術中心看深水埗社群生活優質化 http://net3.hkbu.edu.hk/~jccac/

日期：3月11日(日) 3-6pm
地點：嶺南同學會小學禮堂 (暫定)

就「賽馬會創意藝術中心」發展項目，與居民一起探討其應有之文化權利，透過工作坊確認居民作為持份者，在文化設施規劃上應如何扮演更積極之角色，以優化居民生活，特別是「中心」的劃過程及營運方式如何照顧區內之文化需要。

Class 3 &4: cultural economy

2007-02-15T01:26:00.000-08:00

SD373 Cultural Identity: Cultural economy:
Culture + Economy= cultural economy?
Two conventional perspectives on ‘culture” and “economy” (Paul du Gay 1997):
1. “’Economy’ and ‘culture’ are absolutely autonomous entities and any merging of them is bound to demean and debase the latter”
“culture”=”high culture” (“the pursuit of particular values – ‘art’, beauty’, ‘authenticity’ and ‘truth’;
2. the economy=the rational pursuit of profit, ‘instrumentalism’
Materialist and economistic traditions
“economy”/”economic base”=>”hard”, “objective”, and deals with “transparent” and “factual” materials=>”true knowledge”
“culture”/”superstructure” (Marxism) =>deals with the ”soft” and less tangible elements of life=> “incapable of generating clear, unambiguous and hence ‘true’ knowledge
> “economy” as an entity depends on a particular mode of representation, a discourse (會計表、財經報價表)
> in search for the “mutual constitutive relationship between culture & economy”

What Cultural Economy is not (Amin and Thrift)
“ is not “simply adding a cultural filigree to what in the end is still held to be an economic core. Neither is it in the business of arguing that there are immanent economic laws that play themselves out in a medium called culture (i.e., that the economy is culturally embedded). Nor is it interested in showing that matters cultural are mobilized for economic gain (e.g., the mobilization of culture for profit).”

“is more than simply analyzing each moment in a production or consumption process, and then seeing how it is culturally inflected and how the cultural inflection affects economic "outcomes." (p.xiv)

The Context of the Emergence of Cultural Economy
1. A profound mistrust on orthodox economics (Amin and Thrift)
(e.g.許寶強筆戰雷鼎鳴 2005年《明報》另刊「獨立媒體」 http://www.inmediahk.net/public/article?item_id=117664&group_id=49 或參許寶強：《資本主義不是什麼》，香港：牛津出版社，2002。)
2. “the sheer diversity of economic organization has become clear in a way that has never been the case before (e.g. Islamic and Buddhist economics)” (Amin and Thrift);
3. “the rise of interdisciplinary work”, particularly the “cultural turn” (Amin and Thrift).
4. Culturalizing the contemporary economic life – “the increase importance of ‘culture’ to doing business in contemporary world” (from macro/globalization to micro/individual work-based identity formation) (du Gay)e.g. Sony, Time Warner, Disney etc. both technology hardware and product software
-“Today, ‘culture’ is a truly global business”
-“The growing aestheticization or ‘fashioning’ of seemingly banal products” (over-design) to stimulate desire
e.g. 班馬牌原子筆
-“The increased influence of the cultural intermediary occupations of advertising, design and marketing”
-The shift from mass production to flexible specialization, make small batches on assembly line possible e.g. coloring
-“The internal life of organizations is also the subject of cultural reconstruction”
e.g. 中港商業文化差異
> two directions in studies CE: production of culture >< culture of production

Our Hong Kong context: lure of the cultural/ creative industry
- vivid popular culture: cultural products are very often mass manufacture (Frankfurt school-Max Horkheimer & Theodro W. Adorno, “The Culture Industry: Enlightment as Mass Deception”)

「拓寬經濟領域 19. 創意產業是知識經濟體系中的重要環節。香港市民的知識智慧、創新思維、創業精神和靈活求變的能力，是發展創意產業的良好基礎。除了加強支柱產業外，我們還將積極推動創意產業，為香港經濟注入新的元素。創意產業是文化藝術創意和商品生產的結合，包括表演藝術、電影電視、出版、藝術品及古董市場、音樂、建築、廣告、數碼娛樂、電腦軟件開發、動畫製作、時裝及產品設計等行業。香港的創意產業已有的一定基礎，存在進一步開發的潛力。民政事務局局長、工商及科技局局長與其他相關的決策局及部門，將會共同研究具體方案，營造有利環境，推動及協助創意行業的發展。」(香港特別行政區政府：《行政長官2003年施政報告》，香港特別行政區政府，2003年1月。)

西九龍文娛藝術區(http://www.hab.gov.hk/wkcd/chi/main_archive.htm )

政府有責任提升經濟發展層次，全力發展高增值產業，香港要大力發展自己的品牌、自己的設計、自己的科研成果，改良創意產業，推動高技術產業，大力擴展金融業，爭取更多優質企業來港上市，爭取國家以香港作為人民幣匯價開放的試點平台，結合國家經濟高速增長，互惠雙贏，將香港經濟推上一個新的台階，令香港更添繁榮。4.我要為香港締造新的優良生活潔淨的食物、清新的空氣、優美的環境、良好的文物保育、低壓力的生活，這一切香港市民都應該享有。

「協造新香港共創好環境」 ─曾蔭權的競選宣言 (2007年2月2日)

> instrumentalism: economicism & developmentalism (
> culture as governmentality: corporate culture, work ethics (&works base identity) and management of leisure
> “itemize” vision of cultural production
> city branding: life-style of cosmopolitan elitists (bourgeoisies)
> “regional” & “national discourse”:香港的創意產業、大中華的文藝復興、亞洲文藝復興 e.g. heritage industry、大長今、吉蒂貓、日本設計

Doing cultural studies: circuit of culture- an analytical framework
(du Gay 1997)

- To analyzing the biography of a cultural artifact : Representation, Identity, Production, Consumption and Regulation.
- How a cultural product “is represented, what social identities are associated with it, how it is produced and consumed, and what mechanism regulate its distribution and use”

1. Representation:
(fig- walkman) thinking otherwise? How do describe such an object?
“existing meanings are extended from something we already know to something new…’the chain of meaning’”;

(fig-p.9) How a product being recognized in our cultural universe & map of meanings?
“smallish stereo-headphone cassette player”(denotation) > “walkman”(connotation) (1979): from language to practice
“the practice of constructing meaning through the use of signs and language.”
William: study of society is study of culture- “communication is process of community” (“signification”)
“associating [the meanings of an object] with different discourses or semantic networks.” (similarities and difference with other objects)
Connotation: “articulated with a number of key themes in the culture of late modernity”:
- youth (crazy, zany, scatty youth), cool, elegant technology, small and powerful, speed, power and masculinity, the discourse of race, gender and sex, generation of its “outlook”; to individuality, activity, leisure, the outdoors, fitness, health, movement, getting-out-and-about, beating boredom of the city life, private listening in public, lonely figure in daily crowd in “practice”.
- “Japanese-ness” (vs. Brithishness & etc.): 80s economic growth in industry replacing the West
- cultural software: popular music & youth culture (Sony produces both means and meanings)
- private listening in public: soundscape was a public collective activity> transportable and mass manufactured, electronic & digital reproduction, easy commodity, highly personal choice
~ deregulation by technology)

2. Identity/Identification:
(fig ad)
Advertisement: matching meaning with subject; create “subject for the product” by stimulating imagination and identification- the idealized self-image
- the same products but many identities
“How various groups and types of people came to be associated with the Walkman.”
“The language of advertising and marketing attempts to create identification between consumer and product.”
“The identity of Sony as a company was continually created and recreated through different representations.”

3. Production and 4. Consumption：
Karl Marx: “Production is …at the same time consumption, and consumption is at the same time production…But at the same time an intermediary movement goes on between the two…Without production, no consumption; …without consumption, no production.”

4. Regulations (de-regulation)
types of regulations: cultural and costume, legal and copy rights, mass media and the public sphere:

Class 4: cultural economy- case of Sony walkman

Re-cap：
- new object entering our universe: representation is making meanings of things; culture is informal social knowledge that 人所共知, that something you don’t have to ask
e.g. what other objects will you associate with MP3?
- ad: as reflection of market reality? Only youth buy Walkman? No. After some time it becomes a signifier of youth > circuit of meaning (flux, formation) and identity is always becoming
 五個環節裡都是culture-making meaning的小宇宙
 Production of culture & culture of production

1. Production:

- What does it signify for you?

- narratives: telling of the story如何敍述成功故事？
Father(s)of Sony walkman:

盛田昭夫 Akio Morita (1921-1999)/ photo: 1967
Also: 井深大 Masaru Ibuka or Yasuo Kuroki, Kozo Ohsone… a collective process with initiate aims to kill boredom
- culture of production: narrative- the story:
1. organization culture- typical Japanese (蒙民偉-電飯煲) from the W- small size/ “cosmopolitan” “foreign” in Japan- technology
2. personification & heroic figure: Akio Morita (personal experience during travel to the US)
“The best way to describe Morita's extraordinary drive is to scan his schedule for the two-month period immediately preceding his stroke. He took trips from his home base in Tokyo to New Jersey, Washington, Chicago, San Francisco, Los Angeles, San Antonio, Dallas, Britain, Barcelona and Paris. During that time he met with Queen Elizabeth II, General Electric chief Jack Welch, future French President Jacques Chirac, Isaac Stern and many other politicians, bureaucrats and business associates. He attended two concerts and a movie; took four trips within Japan; appeared at eight receptions; played nine rounds of golf; was guest of honor at a wedding ceremony; and went to work as usual for 17 days at Sony headquarters. Morita's schedule had been decided on more than a year in advance. Whenever there was a small opening, Morita would immediately and strategically fill it by arranging a meeting with someone he wanted to become acquainted with or catch up with. Unlike so many executives who remove themselves from the rest of the corporate pyramid, he was always in the middle of the action.” (http://www.time.com/time/time100/builder/profile/morita.html )

How Japanese is Sony?
- national hero: “Rise from a war-devastated country to the world’s second largest economy”/ “economic miracle”
- Japaneseness: Japanese company: i. hierarchy; 2. rituals; 3.life long employment; 4. alliance between cartels

“The company that would become Sony was founded on May 7, 1946 by Masaru Ibuka and Akio Morita as the Tokyo Telecommunications Engineering Corporation. The name was later changed to Sony in 1958. According to Sony's website, "The Sony name was created by combining "SONUS," the original Latin for "SONIC," meaning sound, with "SONNY," denoting small size, or a youthful boy. It was chosen for its simple pronunciation that is the same in any language."[6]

 language: “international (business) language ”+ adaptation of a English brand name
 flexibility in a stable Japanese system (挖角、內部調動)
 ~ technology from US and capital from family
 ~ post war military control over technology, military industry turned into civic electronics and issuing of licenses in high cost
 contextx(具體情況具體分析) ：culture of production by intention“Sony operated both as a traditional Japanese company, managing from the bottom up through group consensus, and as an American company from the top down, by delegating responsibility to small design team.” + “borrowing” technology from the US (AT & T US made transistorized electronic components- rights charged $25,000 in 1952) (other cases: Toyota, Nissan)
 ”happy accident”: radio cassette recorder team to radio division – its more by planning with marketing strategy, the rational calculated aspects of mass production (33,000yen to celebrate company anniversary)

~ 香港版本：李嘉誠串塑膠花(潮洲人克勤克儉-獅子山下白手興家> 官商勾結)

Consumption:
Karl Marx
“Production is …at the same time consumption, and consumption is at the same time “production is […] each is directly its own counterpart. But at the same time an intermediary movement goes on between the two. Production furthers consumption by creating material for the latter which otherwise would lack its object. But consumption in its turn furthers production, by providing for the products the individual for whom they are products…Without production, no consumption; …without consumption, no production; since production would then be without a purpose.”

 產品如果只是擱着不用，就只是一件沒有意義的東西；只有使用才能使之產生意義
 沒有消費就沒有生產
intermediary movement－articulation
- assumption of young customers who need music anywhere any time: target of production> cheap price by mass production
- Sony fathers / Sony mothers? Innovative male executives on top while female assemblers on the bottom – sexual division of labor (see: 潘藝、Michael Woolf http://www.photomichaelwolf.com/the_real_toy_story/index.html & Cao Fei )
- Naming: Pressman> walkie talkie> walky> Sound-about> Stowaway> “Walkman” is a Japanese made English but well-received
- PR: free to music editors, musician (Berlin and NY Philharmonic Orchestras), news then ad; (反例：搶包山－　體育版還是文化版還是消費版？)/ send out of cassettes as invitation card, visit to Yoyogi Park/ 市場定位
- Market research: Morita said no (“create market by educating and communicating with the public”) but in fact yes in particular: 100 young people> movement to rhythm & sound quality/ music as collective listening activity to private object (two headphone reduced to one) in outdoor public space > adjustment of product (production & consumption)
 contradictory narratives

“Cultural intermediaries”
– how the functions and possibilities selected and represented

Bourdieu:

“increasingly important group of workers who play an active role in promoiting consumption through attaching to products and services particular meanings and ‘lifestyles’ with which consumers will identify. Put simply, they can be defined as people involved in the provision of symbolic goods and services. They are most frequently found in the media, fashion, advertising and design industries. In their symbolic work of making products ‘meaningful’, designers are a key link in our cultural circuit; for, amongst many other things, they articulate production and the world of engineers with the market and consumers ” (p.62)
(~ Richard Florida – “Creative Class”)
- Sony – a design led company, higher important in production, e.g. mini stereo play > walkman > they same product with many different “looks”(700 modles) to enable more lifestyles
- Lifestyles: “combination of responsive design and visual communication with techniques of market segmentation” > niche or target market segment (p.66)　＞life-long loyalty

National characteristics:
- Japanese company
- Miniaturization & simplicity: traditional – perceived as the success behind the economic miracle
 Japanese Industrial Design Association : the idea of industrial design is a outcome of American occupation (p.71)
 Transcultural & hybridization, esp. design as a global category
Going Global:
- shortened technological monopoly
 head office in NY; international warranty; standardization of corporate literature: “Sony is global”
“On March 7, 2005, Sony Corp. announced that Nobuyuki Idei will step down as Chairman and Group CEO and will be replaced by British/American Sir Howard Stringer, current Chairman and CEO of Sony Corporation of America, Corporate Executive Officer, Vice Chairman and COO Sony Entertainment Business Group. Sony's decision to replace Idei with the British Howard Stringer will mark the first time that a foreigner will run a major Japanese electronics firm. Sony Corp. also announced on the same date that current president, Kunitake Ando, will step down and be replaced by Ryoji Chubachi. [8]”

 global-local nexus: assembly lines to other district (radio)
(Russia painting in HK)

 Synergy: synchronization: hard-ware and soft-ware industry (ipod & itunes)

Culture industry:
Horkheimer & Adorno (Dialectic of Enlightenment )

“What Horkheimer and Adorno were doing was connecting the idea of industry to culture to make the point that the growth of cultural production was drawing on methods adopted and used in industrial manufacturing […] the idea of culture industry has undergone something of a shift. From applying the idea of industry to culture, theorists and indeed those involved in the respective companies have been applying the concept of culture to industry. Hence, whilst cultural production is ‘industrial’, so too is industrial manufacturing ‘cultural’. ”(p.81)

- purchase of music and film company: 1989 Columia studio
- culture become highly rely of industry to distribution
～　「陰質工業」e.g. VCR, DVD, PS – distinction by hardware thus by software

Consumption
Two arguments:
1. Frankfurt school, Herbert Marcuse, One Dimensional Man: true needs are based on human biology while wants are infinite, capitalist society is promoting false needs / exchange value taken over use vale of things/ isolation of individuals/ passive consumption + homogenized mass culture (87-89)　e.g. 賣雞蛋買即食麵; Christian cry for “competitor to the voice of God” & inflicting civic mores
2. Jean Baudrillard: meanings does not reside in an object, but how it is used. (p90-91 qoute)

“is forced to represent the individual as a completely passive victim of the system… we are all aware of how consumers resist such a precise injunction, and of how they play with needs, on a keyboard of objects. We know that advertising is not omnipotent and at times produces opposite reactions; and we know that in relation to a single need, objects can be substituted for one another… if we acknowledge that a need is not a need for a particular object as much as it is a need for difference (the desire for social meanings), only them will we understand that satisfaction can never be fulfilled, and consequently that there can never be a definition of needs.”
e.g. 我會做好呢份工

 total difference understanding of shopping e.g. 貪慕虛榮喪買建立主體性？
 subversion: Rey Chow周蕾：「另類聆聽‧迷你音樂─關於革命的另一種問題」

Regulations:
- walkman: privatized pleasure in public space & battle of private hearing

Readings:
On cultural economy:
Amin, Ash and Nigel Thrift (2004): “Introduction,” in Ash Amin and Nigel Thrift eds. The Backwell Cultural Economy Reader, Malden, MA/Oxford/Carlton, Vitoria: Blackwell Publishing, pp.x-xxx.
du Gay, Paul ed. (1997): “Introduction”, Production of Culture/Cultures of Production, London/Thousand Oaks/New Delhi: SAGE Publications, pp. 1-10.
du Gay, Paul ed. (1997): Doing Cultural Studies: the story of the Sony walkman, London/Thousand Oaks/New Delhi: SAGE Publications. (reserved- HM621 .D64 1997 )

Tutorial reading:
*Special task of the tutorial: Please illustrate the “cultural circuit” model with the case of Chinese cinema.
du Gay, Paul ed. (1997): “Introduction”, Production of Culture/Cultures of Production, London/Thousand Oaks/New Delhi: SAGE Publications, pp. 1-10.
du Gay, Paul ed. (1997): “Designing the Walkman: Articulating Production and Consumption”,Doing Cultural Studies: the story of the Sony walkman, London/Thousand Oaks/New Delhi: SAGE Publications, pp.62-74. (reserved- HM621 .D64 1997 )

徐百柯：「导演贾樟柯称商业大片像细菌破坏社会基本原则」，載《中國青年報》，2007年01月10日02:18。
http://news.qq.com/a/20070110/000353.htm

Useful links:
https://www8.georgetown.edu/centers/cndls/applications/posterTool/index.cfm?fuseaction=poster.display&posterID=2330

Reserved books

2007-02-05T00:37:00.000-08:00

1. Title: Representation : cultural representations and signifying practices
Call No.: HM101 .R445 1997

2. Title: Identity and difference
Call No.: BD236 .I34 1997

3. Title: Questions of cultural identity
Call No.: BD236 .Q47 1996

4. Title/Author: Culture / Chris Jenks
Call No.: HM101 .J43 1993

5. Title: Doing cultural studies : the story of the Sony Walkman
Call No.: HM101 .D64 1997

Class II: cultural economy

2007-02-01T07:56:00.000-08:00

Circuit of Culture

Readings:
On cultural economy:
Amin, Ash and Nigel Thrift (2004): “Introduction,” in Ash Amin and Nigel Thrift eds. The Backwell Cultural Economy Reader, Malden, MA/Oxford/Carlton, Vitoria: Blackwell Publishing, pp.x-xxx.
du Gay, Paul ed. (1997): “Introduction”, Production of Culture/Cultures of Production, London/Thousand Oaks/New Delhi: SAGE Publications, pp. 1-10.
du Gay, Paul ed. (1997): Doing Cultural Studies: the story of the Sony walkman, London/Thousand Oaks/New Delhi: SAGE Publications. (reserved- HM621 .D64 1997 )

Tutorial reading:
*Special task of the tutorial: Please illustrate the “cultural circuit” model with the case of Chinese cinema.
du Gay, Paul ed. (1997): “Introduction”, Production of Culture/Cultures of Production, London/Thousand Oaks/New Delhi: SAGE Publications, pp. 1-10.
du Gay, Paul ed. (1997): “Designing the Walkman: Articulating Production and Consumption”,Doing Cultural Studies: the story of the Sony walkman, London/Thousand Oaks/New Delhi: SAGE Publications, pp.62-74. (reserved- HM621 .D64 1997 )
徐百柯：「导演贾樟柯称商业大片像细菌破坏社会基本原则」，載《中國青年報》，2007年01月10日02:18。

Useful links:
https://www8.georgetown.edu/centers/cndls/applications/posterTool/index.cfm?fuseaction=poster.display&posterID=2330

Class II: Basic concept-representation

2007-02-01T04:06:00.000-08:00

Representation (再現/呈現) (Hall: 1997)
Basic concepts of representations
- the production of meaning through language (sign as the basic unit):
1.“to describe or depict it, to call it up in the mind by description or portrayal or imagination.”
2.“to symbolize, stand for, to be a specimen of, or to substitute for.”

system of concepts language (sign)
Things  system of concepts

(~ can we think without language?)

- Three different accounts or theories:
1.Reflective approach: “meaning is thought to lie in the object, person, idea or event in the real world, and language functions like a mirror, to reflect the true meaning as it already exists in the word.”
2. Intentional approach: “it is the speaker, the author, who imposes his or her unique meaning on the world through language.”
*3. Constructionist approach: “things don’t mean: we construct meaning, using representational systems – concepts and signs” (e.g. the language of traffic lights)
(> structuralism)

Ferdinand de Saussure: linguistics
- sign: The signifier: The form (the actual word, image, photo, etc.)
The Signified: Concept in your head with which the form was associated (e.g. sound image)
- arbitrary (determined by cultural & linguistic code; no essential meaning) - meaning marked by difference, e.g. binary opposition”
- language: Langue (the language system, ‘deep structure’)
Parole (speech acts, ‘surface’ of language)
 structuralism: deep structure of language - “language speak us”
~ Saussure is a linguist, social production of meaning is not his major concern

Roland Barthes (semiotics ; post-structurist):
- From language to culture: linguistics to semiotics
-the general approach to the study of signs in culture
e.g.TV dramas: soap opera as a genre; Clothes: dress code

- Primary level of signification:
- “Denotation is the simple, basic, descriptive level, where consensus is wide; and most people would agree on the meaning,
- Connotation - enters “a wider, second kind of code which connects them to broader themes and meanings, linking them with what, we may call the wider semantic fields of our culture; interpret the completed signs in terms of the wider realms of social ideology

- semantics (meaning of words) >< syntactic syntagms (word order & consequence of menings) >< paradigmatic (words actually in speech context)
e.g. It is a pen. He is a man.
- Myth: "Myth Today"

~ semiotics seems to be a ‘close system’ and the subject (human individual) is displaced from the centre
~ interpretative approach to culture: culture as text ( culture as text and study of culture as series acts of interpretations- further, see Clifford Geertz, The Interpretation of Cultures, 1973.)

Foucault: Discourse
- From Language to discourse:
- culture, meaning depend on a larger units
- Discourse as a system of representation:
• “Normally, the term 'discourse' is used as a linguistic concept. It simply means passages of connected writing or speech. …What interested [Foucault] were the rules and practices that produced meaningful statements and regulated discourse in different historical periods.”
• “The same discourse will appear across a range of texts, and as forms of conduct, at a number of different institutional sites within society. 'However, whenever these discursive events 'refer to the same object, share the same style and ... support a strategy... a common institutional, administrative or political drift and pattern' (Cousins and Hussain, 1984, pp. 84-5), then they are said by Foucault to belong to the same discursive formation.”
- “Meaning and meaningful practice is therefore constructed within discourse.”
- Linguistic & extralinguistic:
- Historicizing discourse: discursive practices: “Things meant something and were 'true' only within a specific historical context”
e.g 仆街 / 踢波

- From discourse to power/knowledge
- discourse, power and knowledge (truth), subject
- power determine the meaning, not language: “nothing meaningful outside the discourse”
- practice of meaning: acts > actor> subject (sexuality)
- institutional apparatus & technologies: regulation of conduct (govermentality)

- knowledge & power: make itself truth
- power relations: not single source of power in one direction, but circulation, a productive network (induce pleasure)
e.g. Panopticon

Subject
What is the subject in this painting?
Diego Velasquez, Las Meninas, 1656, Spain
- Representation works as much through what is not shown, as through what is
- Meaning (of the painting), determined by the subject position one subjugate/ subject to (oscillation)
- Sovereign: master of all surveys: subject of and subject in the painting
- subject (主體): subjected to discourse, i.e. the bearer of knowledge (subjugate) or object of knowledge (subject to)/ subject position: personify of power in knowledge

~ “power-knowledge” is not only exercising in our social realm, but on “scientific knowledge” in academia as well as ordinary life
~ Marxist’ class struggle tends to reduce power into a one directional oppression

Class I : Basic Concepts- what is culture

2007-01-26T02:25:00.000-08:00

What is culture (and what is not)?
Raymond Williams (1976), Keywords: a vocabulary of culture and society
- Europe 17th-18th : “human tending direct” & “extension of particular processes to a general process”
- “civilization” /“cultivation”: government as a social process > tradition and nation emphasis non-material (esp industrial) establishment
- modern sense: 1. a general process of intellectual, spiritual and aesthetic development; 2. indicate a particular way of life, whether of a people, a period or a group; 3. works and practices of intellectual and especially artistic activity
- Raymond Williams: “whole form of our common life”; T.S. Eliot: “a whole way of life”

During, “Going global”
“Culture is not a thing or even a system: it’s a set of transactions, process, mutations, practices, technologies, institutions, out of which things and events are produced, to be experienced, lived out and given meaning and value to in different ways within the unsystematic networks of differences and mutations from which they emerged to start with.” (p. 6)
- site of culture: state (e.g.訪故宮林曼麗院長), market, civil society

中文：文化
- 辭海：「文治教化」『聖人之治天下也，先文德而後武力。凡武之興為不服，也文化不改，然後加誅』(漢‧劉向《說苑‧指武》) (另可參：邸永君「文化一詞之由來」 http://www.studytimes.com.cn/txt/2005-07/27/content_5925992.htm )

Mulhern Culture/Metaculture-Familiar: “culture as a storehouse of essentially human or essentially national values.”
-Radical: “the ordinary social, historical world of sense, of “symbolic” or meaning-bearing activity in all its forms.””

-Metaculture: reflective, being themselves a part of what they speak of > culture speak of itself, generality of sense-making activity, investigation into social-historical conditions

-Value (European): normative value (Matthew Arnold 1860s): critique- standard marking, the BEST/ humanity (Johann Gottfired von Herder 1774): human-ness, historical relative- “culture-as-national -value”
-Anthropology: ‘a whole way of life’ (T.S. Eliot); learned rather than instinctive behaviour
-Cultural studies: egalitarian ethic – WHY? “revoke the historic privileges of culture with a capital C and vindicate the active meanings and values of the subordinate majority as core elements of a possible alternative order.”> political ! > culture is the object & the subject of discourse, i.e. what I see (decode) and speak/ do (encode)

What is Identity?
During, “Debating Identity”
- self as social being (there is no identity if there is no human society)
- collective >< individual (compromise of oneself, e.g. cigarettes break)
- constant & relational: (ds. instinct, natural born, e.g. gender, race)
- partial: 1.selective external features; 2. multiple identities (e.g.香港人中國人；張惠妹因台獨傾向杭州個唱取消)
- ascribed: meaning of terms determined by others (e.g. nigger/ Negro 鬼佬 queer)
- identification (as a process): dis/connection to ascribed identity> psychic damage (男人婆 / 女人型) ( ~ subject position e.g. 靚女)
> framework of life (happiness/ punishment霸王別姬-男兒郎/女嬌娥/ 中學集體暴力/ 女工) / inherited/ chosen: corporeality
- exclusive: others(左傳‧成公四年「非我族類其心必異」 ); difference & classification (Woodward)

Woodward: Identity and Difference“ […] the signifying practices and symbolic systems through which meanings are produced and which position us as subjects. Representations produce meanings through which we can make sense of our experience of who we are […] what we are and what we can become. Representation as a cultural process establishes individuals and collective identities and symbolic systems provides possible answers to the questions: who am I? ” (p.14)

Woodward , Identity and Difference- signifying practices and symbolic systems through which meanings are produced and which position us as subjects
- through which we can make sense of our experience and of who we are
- identification: imagination of what one “feels like” when occupy a subject position (esp. in advertisement)
- Benedict Anderson -“imagined community” (> nationalism) / Hall: histories and shared past (and re-writing of history), “re-telling of the past […] thus it’s belongs more to the future than to the past” (> social movements)
(pic: )
Hall: Cultural Identity and Diaspora- Colonization: power/ knowledge – dominate discourse (Foucault); pre-empt of history (Fanon)
- Difference & continuity: meanings always in deferral
> “Cultural identities are the points of identification, the unstable points of identification or suture, which are made, within the discourses of history and culture. Not an essence but a positioning.” (pp. 226)

Politics and Power: Who’s afraid cultural studies, who’s afraid of politics? - worldliness, responsibility and interdisciplinary
- “study of culture itself belongs to culture” (During., p.7)
During, “Debating Identity”- identity politics
- 70s American civil movements, feminist, ethnic minorities (African American), sexual minorities…> respect, social visibility, social justice
- norm: white middle class male- subject of the human universe, enlightenment: centre of the Earth (Christianity), bearer of Reason (pic: 中國農民穿西裝褸)
- context: post WWII- decline of European colonial power, industrialization and economic power of women, Holocaust, contraception, suburbanization & subculture in inner city
~ problematic of identity politics: “post-identity”, internal differences, essentialism, exclusivity, over-look of everyday life reality, fragmentation, exploitation
~ contribution: “Hybridity” (Homi Bhabha), “unities in difference” (Stuart Hall) (Robert Young critique: oppositional logic)
~ conclusion: culture is constructed reality

During, “Going global”
“[…] a will to interpret the culture within the protocols of academic knowledge […] as well as a (political) drive to connect with everyday life as lived outside the academy, and especially as lived by those with relatively little power or status.” (pp.8-9)

“engaged study of culture”- “a field of power-relations involving centres and peripheries, status hierarchies, connections to norms that impose repressions or marginalisation. But I also mean a commitment to celebrating or critiquing culture forms, to produce accounts of culture that can be fed back into cultural production and / or to producing new connections between various cultural forms and people in ‘ordinary life’. ”/ it is thus a humanities subject than social science (p.9)(humanistic approach to design, see: Victor Papnaek, “The green imperative: ecology and ethics in design and architecture”, London: Thames & Hudson, 1995)
- being intellectual and critical as well as self-reflective and ordinary-sensible

Readings:
Introduction to class I & II:
*Kathryn Woodward ed., “Introduction”, Identity and Difference, Sage: 1997, pp.8-19. (Textbook-like easy introduction)
* Hall, Stuart (1997b): “The Work of Representation,” in Stuart Hall ed., Representation: Cultural Representations and Signifying Practices, London/Thousand Oaks/New Delhi: SAGE Publications, pp.15-74. (at least, conclusion, pp.61-62)
Francis Mulhern, “Introduction”, Culture/ Metaculture, London: Routledge, 2000, pp. xiii-xxi.
Stuart Hall, “Who Needs ‘Identity’?” and ” “Cultural Identity and Diaspora”, Stuart Hall and Paul du Gay, Questions of Cultural Identity, Thousand Oaks & New Delhi: Sage, pp.1-17, pp. 222-237.
Chris Jenks, “Cultural studies: what is it?”, Culture, London: Routledge, 1993, pp.151-158. (Easy reference on the establishment of the discipline.)
陶東風：《文化研究》，桂林：廣西師範大學出版社，2006年。(Textbook-like easy introduction)

Reading for class III (2Feb) tutorial discussion:
*Kathryn Woodward ed., “Introduction”, Identity and Difference, Sage: 1997, pp.8-19. (Textbook-like easy introduction)
*Simon During, “Going global”, Cultural Studies: A Critical Introduction, London: Routledge, pp.5-13.

Reading for class IV (9Feb)tutorial discussion:
* John Fiske, “Communication, Meaning and Signs”, Introduction to Communication Studies, London & New York: Routledge, 1990, pp.39-63.

Some reading tools:
A good dictionary!
Macey, David, The Penguin Dictionary of Critical Theory, London ; New York : Penguin Books, 2001.
廖炳惠編：《關鍵詞200：文學與批評研究的通用辭彙編》，台北：麥田出版，2003。

*必讀！

SD373 Cultural Identity-outline

2007-01-18T02:52:00.000-08:00

Subject Title: Cultural Identity
Subject Code: SD373
Number of Credits: 3
Year / Semester of Study: Year 2 / Semester 2
Subject Co-ordinator: SIU King Chung
Lecturers: LEUNG Po-shan, Anthony (leungpo@gmail.com )
CHENG Wai-pang (tinywest@gmail.com)
Class room: A104K
Discussion blog: http://sd373-07.blogspot.com/
Pre-requisites: Completed at least one DCT subject
Co-requisites: Nil

Teaching / Learning Activities and Hours Assigned:
6:30-8:30 lecture 8:30 -9:30 tutorial

Teaching & Learning Activities Hours/Week No. of Weeks Time-tabled Hours
Lecture 2 7 14
Presentation 2 7 14
Tutorial 1 14 14
Total Time-tabled Hours 42

Method of Assessment:
Students will be evaluated through tutorial (30%), as well as a final essay (50%) that identifies relevant arguments and offers reflections towards the issues of cultural identity. Quality of class participation, and students’ understanding towards relevant theoretical literature and local phenomenon are assessed in various preliminary research assignments (20%) leading towards their final essay.

Role and Purpose:
This subject deals with the problems of cultural identity in the midst of universal cultural hybridisation and globalisation. The focus is on the imagined “membership” in community formations and the outward signs of the participation, especially the new challenge of cultural economy. Students will discover processes of objects and images appropriation may become means for identity representation and differentiation. Forms of cultural rhetoric are, therefore, explored and analysed with reference to the underpinned values, beliefs and power relations. Special references will be directed to the Hong Kong context

Learning Outcomes:
On successfully completing the subject, students will able to:

 examine and comment upon the problems of cultural identity in the midst of universal cultural hybridization, globalization and localization;
 comprehend theoretical texts and make arguments against the different forms of cultural rhetoric as appear in the scholarly debates;
 make connections with learnt theories and explore critical issues in relation to, say, “the cultural others”, “spaces of identity”, “cultural representation”, etc. in our contemporary world;
 identify and analyze the underpinnings (e.g. values, beliefs and power relations) behind the outward signs of cultural representation or the imagined “membership” of certain communities;
 interpret how the processes of objects and images appropriation, (i.e. the processes of design) may become means for identity representation and differentiation;
 research and select local examples in explaining the above understanding through writings, presentations and seminars.
 continue to develop cultural sensitivity in societies of multicultural characters by augmenting knowledge of our own and others’ cultures;
 appreciate the diversity in our society and the world in which we lived and combat stereotype, prejudice and discrimination;
 perform more acute observations and make decision appropriately by making reference to necessary social and cultural conditions in real life settings.

Indicative Content:

Basic Concepts:
- culture, identity and cultural politics

Cultural Manifestations
- representation and art
- cultural intermediary
-visual & Material Culture

Cultural Economy
- basic concepts: identification, representation, production, consumption, regulation
- cultural industry and its critique

Topics in cultural identity
- Politics of cultural identity: self, other, community
- Cultural Memories, Histories and Formation of Culture
- Cultural imaginings: Cultural Identity in Making

Cultural Identity of Hong Kong
- Hong Kong cultural identity- why matters?
- Hong Kong art and its Chineseness
- Culture of everyday life: tourism and shopping mall
- Hong Kong Culture in a space of disappearance
- Cultural identity/ identities of Hong Kong

Global and Local
- urban spectacle, cosmopolitanism, regional identity and globaliztion (TW)

Round-up: a story with no end
From Identity to Subjectivity

Teaching/Learning Approach:
Weekly lecture and tutorial, complemented by students’ presentation; each student is required to apply learnt concepts in thinking, researching and writing about a selected cultural issue from the Hong Kong context. There will be an interim group research project, from which students are required to arrange a formal presentation and derive their own topics for their final essays.

Assignments:
1.Reading Tutorial(30%):
Form into groups of 3 to 4 students and present assigned readings with no more than 2 pages of reading notes (no powerpoint is needed).

2.Preliminary study(20%):
Prepare an interim group research project, from which students are required to arrange a formal presentation.

3.Final essay(50%):
Identify a cultural issue, conduct a research with the learnt concepts and theories, then produce an essay around 2000 words in English.
Deadline: one week after term end.

Content Reader-student
19 Jan Lecture: Introduction (LP) ---
26 Jan L: Cultural Manifestations (LP)
2 Feb L: Cultural Economy I (LP)
T:
Kathryn Woodward ed., “Introduction”, Identity and Difference, Sage: 1997, pp.8-19.
Simon During, “Going global”, Cultural Studies: A Critical Introduction, London: Routledge, pp.5-13. 1.
Yu Chun Ho Ricky 05726506t
Cheng wing hing Jacky 05525468t
Chow kam hung Calvin 05747919t
Lo chi ping Noel 05711911t

9 Feb L: Cultural Economy II (LP)
T: John Fiske, “Communication, Meaning and Signs”, Introduction to Communication Studies, London & New York: Routledge, 1990, pp.39-63.
Poon shui han Kat 05713770t
Wong pui sze Almaz 05706600t
Woo mei yi Joies 05741915t
Ng pui yan Yan 05500357t
蘇國亮 Husso 05528225t

16 Feb Topics in cultural identity (LP)
T:
Chan ho leung Aaron 05738517t
Tsang yuen han 小嫻 05740052t
Wong ping yan Grace 05747846t
Wong hon hing Hing 05515008t

23 Feb Topics in cultural identity (LP)
T:
Cheng lai kuen Brenda 05500100t
Ku chun ching Ching 05742438t
Wong wai hung Ivan 05707370t
Sek wai hong Hong 05516029t

2 Mar Topics in cultural identity (TW)
T:
Kwok ka man Millet 05722821t
Heung pak yan Patsa 05730488t
陳珮瑜 Fa 05514860t
Hui ka man Kim 05703413t

9 Mar Presentation: preliminary study (students) Tbc
16 Mar Presentation: preliminary study (students) Tbc

23 Mar Cultural Identity of Hong Kong (LP)
T:
梁樂衡 Anthony 05502258t
李詩敏 Vivian 05711554t
李逸思 Celicia 05514718t
譚淑美 Me 05507518t

30 Mar Cultural Identity of Hong Kong (LP)
T:
Cheng man yin Chloey 05737011t
潘嘉業 Tom 05745963t
Lau kwok kei Kei 05721295t
Wong Simon

13 April Cultural Identity of Hong Kong (TW)
T:
沈永強 Johnathan 05528145t
Chu Richard 06507448t
Lok Karen 06746460t
Joey

20 April Global and Local (TW)
T:
Chong pui ying Ivy 05737256t
Cheng an na Arna 05739551t
Yeung ying suen Sharon 05528213t
Cham wai pun Chris 05748688t

27 April L: Round-up: a story with no end (TW & LP)
T: Final project consultation

Indicative References (tentative):
馬傑偉 (1999) 香港記憶。次文化堂。pp.85-134
梁文道: “寶貝總是國家的話、眼睛卻是我們的”信報1998年3月4日。
周蕾 "殖民與殖民之間" 載於寫在家國以外牛津大學出版社 1995.p.p. 91 -118
梁秉鈞“雅俗文化之間的文化評論”載於黃淑嫻編香港文化多面睇香港藝術中心1997.p.p.3 - 21
馬傑偉 (1996) 電視與文化認同。突破出版社。
羅貴祥“肌肉男人與本土文化身份的建構”載於黃淑嫻編香港文化多面睇香港藝術中心1997.p.p.113 - 117
譚萬基“沒有陌生人的世界:佐丹奴的世界地圖”載於陳清僑編文化想像與意識形態牛津大學出版社1997.p.p. 89 - 102
也斯“文化身份的探索 : 東西視藝”香港文化香港藝術中心1995.
洛楓 "歷史的記憶與失憶" 載於世紀末城市牛津大學出版社 1995. p.p.60 - 75.
Ackbar Abbas (1997) Hong Kong: Culture and the Politics of Disappearance. Hong Kong University Press.
Appadurai, Arjun (1988) "How to make a National Cuisine: Cookbooks in Contemporary India". Comparative Study of Society and History 30(1): 3-24
Cheung, Sydney (1996) "Cultural Tourism and Hong Kong Identity", Working Paper no. 4. Department of Anthropology, CUHK 1996 p.p.1 - 21
Chun, Allen (1994) "From Nationalism to Nationalizing: Cultural Imagination and State Formation in Postwar Taiwan" The Australian Journal of Chinese Affairs 31: 49-69
Clarke,. David (1996) "Between East and West: Negotiation With Tradition and Modernity in Hong Kong Art" in Art and Place: Essays on Art from a Hong Kong Perspective. The Hong Kong University Press.
Ecker, David. (1990) "Cultural Identity, Artistic Empowerment, and the Future of Art in the Schools," Art Education. January/February 1990.
Evans, Grant.& Tam. Maria. (eds.) (1997) Hong Kong: The Anthropology of a Chinese Metropolis. Curzon.
Hall, Stuart et al. (eds.) (1992) "Identity in Question" Modernity and Its Futures. Polity Press & The Open University. p.p. 274-280
Hall, Stuart et al. (eds.) (1992) "National Cultures as 'Imagined Communities' " Modernity and Its Futures. Polity Press & The Open University. p.p. 291-299
Handler, Richard (1988) Nationalism and the Politics of Cultural in Quebec. Madison: The University of Wisconsin Press.
Man, Eva K. W. (1996) Experimental Painting and Painting Theories in Colonial Hong Kong 1940-1980: Reflection on Cultural Identity”.(unpublished essay, 1996)
Mathews, Gordon (1997) "Heunggongyahn: On Past Present, and Future of Hong Kong Identity" Bulletin of Concerned Asian Scholars, Vol. 29 No. 3, July-September 1997.
Stanley, Nick & Siu, King Chung (1995) "Representing the Past as the Future: The Shenzhen Chinese Folk Culture Villages and the Marketing of Chinese Identity." Journal of Museum Ethnography, no. 7, 1995.
Turner, Mathews. (1995)“Dissolving the People” in Turner, M. & Ngan I. (eds.) (1995) Hong Kong Sixties: Designing Identity. Hong Kong Arts Centre. . p.p. 13 -34
Williams, Raymond. (1961) “The Analysis of Culture,” The Long Revolution. NY: Columbia University Press. p.p. 41-53
Woodward, Kathryn (1997) "Why does the Concepts of Identity Matters" in Woodward,