This is a series of public lectures by the faculty from HKUST to share with the increasingly better educated public in Hong Kong the advanced knowledge in the domain of multidisciplinary humanities, which is for the public, of the public, and by the public. 隨著香港社會專上及持續教育的普及，學術知識越來越成為公眾知情權的重要內容。學術知識貴在創新，但新知自應造福人群。人文學科美於人情，而話語豈宜黌宮獨唱。香港科技大學人文學部因與香港歷史博物館合設科大人文新語講座系列，期與公眾共享文史哲等多元領域的人文學術研究成果。
摘要: 當代田野調查資料所反映的四川方言的分佈格局是：東南流向的岷江把四川方言一分為二：岷江以東以北的「湖廣話」方言和岷江以西以南的「南路話」方言。 通過方言音系調查和語音歷史比較，我們得出與前人不同的結論。 我們認為：前者是明清湖廣移民帶來的方言，後者是元明以前四川本地方言的殘存，四川方言是語言橫向傳播與語言縱向演變兩種方式在不同地域作用的結果。 簡介: 周及徐四川師範大學教授，四川省語言學會副會長，國家語言資源保護工程四川省首席專家。 研究方向：漢語史研究，四川地區漢語方言研究。 有專著《漢語印歐語詞彙比較》（2002），《語言歷史論文集》（2003），《戎夏探源和語言歷史文化研究》（2014）和《岷江流域方音字彙》（2019，合著），以及語言學論文若干篇。
Abstract: This thesis provides a systematic acoustic study of citation tonal systems of Northern Gan by exploring such key tonal dimensions as register(defined by phonation types), pitch height, contour and duration. The “multi-register and four-level” tonal model, which incorporates those dimensions, is employed to transcribe the tonal systems of seven investigated towns, aiming to elaborate the complicated tonal systems. The major findings of the research are: Both modal and non-modal phonation types are found in Xiushui Gan. These non-modal phonation types including breathy, falsetto and fortis facilitate the tonal contrast and affect the evolutionary pathways of the tonal systems. Breathy voice consistently shows up in cìqīng and quanzhuo-onset tones while falsetto or/and fortis variously appear(s) in yīnqù and yīnrù series. The t-test results suggest that there is a preference of acoustic cues in distinguishing modal voice from breathy voice for different tonotypes. Phonetic realizations of PB (merged MC cìqīng and quánzhuó stops) are classified into two types. Hangkou, Bailing, Quanfeng, Daqiao and Zhajin are of type one, whose PB plosives are conditionally realized with a voice lead, neither systematic nor consistent. For PB realized with a voice lag, they are not contrastive with PA (MC quánqīng stops) in terms of aspiration. The other type consists of Xikou and Gangkou, with no PB plosives realized with voice lead, though the VOT distribution shows a tendency of contrast in aspiration between PA and PB, but not consistent either. Neither synchronic prevoicing nor aspiration of the syllable onsets are crucial elements responsible for cìqīng tone splits. The merger of cìqīng and quánzhuó stops is supposed to be induced by breathy phonation caused by mistiming of aspiration and vocal folds vibration in cìqīng syllables. Tonal splits induced by phonation mechanism are found in both lax and checked tones with cìqīng and quánzhuó-onset tones having a lower onset f0 than their modal counterparts, especially in high pitch tones. Tonal splits induced by coda are found in rù tones with historical *-k coda yángrù becoming lax, lengthening, and eventually merging with lax tones. In sum, the various phonation types and coda difference lead to exceedingly complex tonal systems with toneme number varying from ten to sixteen in Xiushui Gan. The research also strongly implies that the tonal systems should be understood in a multi-dimension perspective and the distinctive feature may consist of a bunch of acoustic cues. The phonological system should be treated as a dynamic system instead of a static system and the intra- and inter-individual variants should not be eliminated as they may indicate possible directions of tonal evolution.
Abstract: Tongzhi, a term that describes LGBT+ population in Hong Kong, has built up its politic and identity in Hong Kong since the 1990s, and different related groups have developed from there ever since. Drag queen, a group of male cross-dressing artist in the gay circle, is one of them. They appeared onstage as glamorous women, which are contradict to the super-macho aesthetic in the modern gay scenes. Due to the nature of the groups and the local environment, Hong Kong local drag queens have to devote lots of time, money and efforts to keep performing and maintaining their identities. They are receiving double marginalisation from the gay scenes and society, and having strong devotion of their drag identity. Yet, they do not seem to have strong identity statements towards the public and the LGBT+ community. This study aims to explore the lack of identity struggle among Hong Kong local drag queens through an ethnographic approach. The research started from following a group of local drag queens to observe their performances, rehearsals and daily activities. At the same time, it recorded different drag performance inside Hong Kong, with the supplementary research on foreign drag queens in Hong Kong. The thesis would describe drag queens’ lives as an individual, a stage performer and a member of the Tongzhi/LGBT+ community. I would argue that they have the intention to avoid confrontation, and their performing space are still present to fulfil their identity expression, so they would have less incentive to define themselves and expand their names outside their usual performing area.
Abstract: In this thesis, I test Cinque’s (1999) cartographic theory that grammatical items with the same meaning appear in the same relative position in any natural language. I focus on the sequence of sentence-final particles (SFPs, also geoi3mut6 zo6ci4 句末助詞 or mei5jam1 尾音), words which are normally found at the end of sentences in certain languages and express various meanings, from grammatical time to surprise and annoyance. My data comes largely from Yue Chinese, which is rich in SFPs. Comparing the sequence of SFPs in four Yue varieties (Guangzhou, Hong Kong, and Singapore Cantonese, alongside Tangxia Siyi Yue) with that in other Chinese and non-Chinese languages, I find that in different languages, SFPs with certain meanings can appear in more than one position. Having SFPs similar in meaning appear in different positions does not fit in with the theory that grammatical items are assigned to one position based on the meaning they express. I work out a theoretical explanation for this apparent deviation and propose that SFPs with similar meanings but occupying different positions may in fact belong to different grammatical classes. The label “SFP” would therefore refer to several grammatical classes, instead of just one. To support this theory, I discuss how languages with SFPs borrow these words from each other. I show in the process that borrowing affects SFPs differently if they occupy different positions, even though they may be similar in meaning.