Abstract: This dissertation provides a diachronic account of the tone sandhi of Southern Min Chinese (SM) on the basis of an in-depth investigation of the disyllabic final-prominent tone sandhi of 16 SM dialects. Most of the previous studies on SM tone sandhi adopted a synchronic perspective and put the main focus on the phonological alternations from citation tone to sandhi tone or vice versa. The explanatory power of these alternation-based analyses is rather limited as they all failed to accommodate the diversity of different SM tone sandhi patterns. What’s more, the assumption that SM tone sandhi alternation can be treated as generative process has been seriously challenged in the last two decades. In this dissertation, I present an extensive investigation on the areal variations of the final-prominent tone sandhi of SM, and provide for the first time an explicit and systematic diachronic explanation for these areal variations. 16 SM dialects’ tone sandhi patterns are discussed here and 10 of them are based on acoustic results drawn from first-hand data. I argue here that SM’s sandhi tones (i.e. non-final tones) and citation tones (and final tones as well) have been changing on divergent paths. Generally speaking, the change of non-final tones is reductive in nature: it tends to reduce the pitch excursion of contour tones and neutralize categories, and it is more prone to contextual effect than final tones (and citation tones) do. On the other hand, the change of final tones (and citation tones) can be characterized as a series of chain shifts, which is non-reductive in nature. It is this difference in direction of change that brings about the unnaturalness in the synchronic phonology of SM tone sandhi.
摘要 上世紀五十年代的香港，百廢待舉，同時又生機盎然，其中更培育成就了可說是香港第一個流行文學的黃金年代。這些作品散見於各大報小報日報晚報的副刊和各類雜誌旬報中，也有獨立出版成書，數量頗為驚人。在這些種類數量繁多的流行文學作品中，又以都市言情小說創作為一大主流。所言之情五花八門，包括奇情、艷情，哀情、淒情、危情、俠情等。這些琳琅滿目的言情小說，各有特色，其中某些作家及其作品，更創立了其獨有的言情模式。這些自成一格的作品，充滿作者獨特的審美趣味和取向，而其審美觀及創作方向，又在某程度上反映了當時香港社會及文化狀況。故此，這些言情小說，絶非簡單地以 “鴛鴦蝴蝶” 或 “才子佳人” 可概括而論。是次講座主要介紹幾位當時得令、又文風獨特的言情小說家：怡紅生、傑克、俊人、孟君及鄭慧。這些作家在言情時混入不同的創作技法，有用半文言的，有向中國古典小說借鏡的，有諧/模仿電影内容和敍事方法的，更有融滙西方歌德小說的。這種混雜了中西方傳統與現代的文學文化、影像與文字的創作方式，在在說明了這些經常被貶為公式化的言情小說的豐富性；這種混雜的風格奠下了日後香港文化的特色，同時亦促成了往後數十年香港流行文化的繁榮和興盛。 講者 講者為香港科技大學人文學部哲學碩士及博士。主要研究香港戰前戰後的文學，尤其是三十至五十年代的流行文學—言情小說，並旁及偵探、流行雜誌及小報等。
Student Hostesses: CHAN Wong Mei. CHEUNG Ching Man 2:30pm: Opening Speech: Professor Daisy Yan Du, Division of Humanities, HKUST Welcome Speech: Professor James Lee, Dean of School of Humanities and Social Science, HKUST 3:00-4:30pm: Film Screening Boxman, fictional, 9 minutes, by Zebra Studio Exchange, fictional, 9 minutes, by Dragon Guard Studio Feng Shui Master, fictional, 15 minutes, by Beginner Workshop I am Prison, fictional, 15 minutes, by Psychopaths Studio Estranged, fictional, 17 minutes, by EUCAN Production The Model, fictional, 12 minutes, by UCC Studio The Border, fictional, 10 minutes, by Cashual Production Classmate Zhu, fictional, 10 minutes, by Chips Studio Unveiling Reality: Hong Kong Housing Problem, documentary, 10 minutes, by ACK Studio 4:30-5:00pm: Coffee/Tea break & screening of post-credit scenes 5:00-6:00pm: Award Ceremony comments from international juries presenting awards 6:00pm: Closing Remarks: Dr. Beatrice Chu, Center for Education Innovation, HKUST To watch a promotional trailer of the film festival, please click https://www.youtube.com/watch?v=3f5Yk8sW-sE&feature=youtu.be If you cannot attend the film festival, please watch the films and cast your votes online. Your votes will be counted for the award Best Film by Netizen at the film festival. http://daisyyanduprojects.ust.hk/students-films Bios of International Juries Hailu CHEN Chen Hailu is Associate Professor of Animation in the School of Design at the East China Normal University, Shanghai. She had worked as a key animator and executive director at the Shanghai Animation Film Studio. Her representative work includes Lotus Lantern (1999), Warrior (2006), and The Magic Aster (2008), which won numerous awards such as Golden Rooster Award, Hundred Flowers Awards, and Huabiao Awards. She also made independent animated films, which won awards at international film festivals. Max HATTLER Max Hattler is an assistant professor in the School of Creative Media at the City University of Hong Kong. He is a media artist working primarily with animation and audiovisual performance. His work explores the relationships between abstraction and figuration, aesthetics and politics, sound and image, precision and improvisation. His short films and video installations have been presented internationally at museums and galleries such as Zhou B Art Center Chicago (2015) and Museum of Contemporary Art Zagreb (2015). He also received numerous awards, such as Cannes Lions (2013) and Visual Music Awards (2010, 2011, 2014). Shiyu Louisa WEI Dr Louisa Wei received her PhD degree in Film Studies from University of Alberta in Canada. She is an associate professor in the School of Creative Media at the City University of Hong Kong. She also works as an independent documentary filmmaker. Two films made by her—Storm under the Sun (2009) and Golden Gate Girls (2014)—have gained international recognition. She has published numerous books, such as Cinema East and West (2014), PreAnimate: A Guide for Independent Animators (2010), and Women’s Film: Dialogues with Chinese and Japanese Female Directors (2009). Hai WEN WEN Hai is a film director, cinematographer and a member of Independent Chinese PEN Center (ICPC). He began to work as an independent filmmaker in 2000. His independent documentary films received many international awards. Floating Dust (2004) won the Georges de Borgard International Prize at the 16th Marseille International Film Festival in 2005; Dream Walking (2005) won the Grand Prix at Cinéma du reel in 2005; We (2008) won the Horizons Special Mention award at Venice Film Festival. Wen Hai also published a book on the recent history of Chinese independent documentary. It is entitled Gaze of Exile-the Testimony of China’s Independent Documentaries (2016). Ci ZHANG ZHANG Ci is an award-winning producer, speaker, writer, and filmmaker. She was one of the five artists featured in Bumming in Beijing: The Last Dreamers (1990), which was widely regarded as the first independent documentary film in post-1989 China. She recently directed and produced a series of documentary films entitled Silicon Valley Chinese. Its first episode, entitled “The Power,” has just won an award at the Davis International Films Festival. She is the CEO of American Lucky Star Films, which is located in California, USA.
Bio of the Filmmaker: Ci ZHANG is an award-winning producer, speaker, writer, and filmmaker. She was one of the five artists featured in Bumming in Beijing: The Last Dreamers (1990), which was widely regarded as the first independent documentary film in post-1989 China. This documentary is currently part of Special Collections at Harvard University library and Stanford's Green Library. Ci Zhang recently directed and produced The Faith in Ailao Mountain (2013), which was played at Stanford's Li Ka Shing Learning and Knowledge Center. It won an award at The World's Independent Film Festival, Chinese American Film Festival (CAFF) and San Francisco International New Concept Film Festival. It has been screened at universities nationwide. Ci Zhang is recently directing and producing a series of documentary movie Silicon Valley Chinese. This documentary spotlights Chinese entrepreneurs and professors in the Silicon Valley, presenting the untold stories of each person's journey to America to pursue dreams that were deemed impossible in China. The first episode "The Power" has just won an award at the Davis International Films Festival.