The Centre for Popular Culture in the Humanities at The Education University of Hong Kong is proud to announce that Hong Kong’s first ever One City, One Book initiative will be hosted during the 2018/2019 academic year.
One City One Book Hong Kong （我城我書）is a community reading programme which aims to encourage as many people as possible, to read and discuss a single book at around the same time. Each year students, scholars, and readers of all kinds will focus their attention on one single book. A series of activities related to the chosen book will be held around Hong Kong, including discussions of the book and its themes, along with exhibitions, film screenings, school events, book discussions, author visits, cultural performances, library events, and so forth. The goals of the initiative are to build a sense of community and promote reading, discussion, and civic engagement. To get started, see below for this year’s book!The book chosen for the first ever One City One Book initiative in Hong Kong is The Arrival (2006), a wordless graphic novel by the Chinese Australian graphic novelist Shaun Tan.
Please visit onecityonebook.hk for further details. Should you have any inquiries, please do not hesitate to contact us at email@example.com.
Date: 15-16 June 2018
Venue: The Education University of Hong Kong
This is the inaugural conference of the Modernist Studies in Asia (MSIA) network. This network was established in 2017 to provide a regional hub for scholars of modernist studies within Asia. A central aim of the network is to facilitate a gathering of international modernist scholars on an annual basis and in a variety of Asian universities and contexts. Our first conference is jointly supported by the Department of Literature and Cultural Studies and the Centre for Popular Culture in the Humanities (CPCH) at the Education University of Hong Kong.
Please visit the conference site for further details
Re-Thinking Chinese Language Film History
A Symposium organized by the Centre for Popular Culture in the Humanities at The Education University of Hong Kong
Chinese-language cinema has a long history, almost as long as film itself. The “Re-thinking Chinese-Language Film History” symposium organized by the Centre for Popular Culture in the Humanities at The Education University of Hong Kong, revisits this topic with a wide range of presentations including Cold War era Chinese films, Hong Kong – China film co-productions and Eco-Cinema.
Date : 23 March 2018 (Friday)
Time : 09:45am – 5:30pm*
Venue : Block D2 & D3, Tai Po Campus, The Education University of Hong Kong
Medium : English
*Schedule break down
Panel 1(0945 – 11:45): D2-LP-08
Panel 2(13:45 – 15:15): D3-LP-07
Panel 3(15:30 – 17:30): D2-LP-09
Updated on: 22 Mar 2018
The Centre for Popular Culture in the Humanities would like to thank all speakers, colleagues and audiences for their contribution to the success of the event. Photos and Video footages will be posted online soon. Stay tuned.
The Centre for Popular Culture in the Humanities and the Department of Literature and Cultural Studies at The Education University of Hong Kong is pleased to organize The Third International Conference on Popular Culture and Education, which took place in Hong Kong, July 20th-22nd, 2017.
For details, please visit the conference site: http://cpch.hk/pcec
Image modified from Background vector created by Freepik
Date: December 7-9, 2016
Centre for Popular Culture in the Humanities
Please visit http://cpchnotice.wixsite.com/surveillanceconf for further details.
Date: 27-28 May 2016
Venue: The Hong Kong Institute of Education/The Chinese University of Hong Kong
Dr. Anne Mulhall, University College Dublin
Dr. Eugene O’Brien, Mary Immaculate College, University of Limerick
Guest Poet: Trevor Joyce
In a 2003 Irish Times article, written at the height of the Irish economic boom and concerning the new trend for international publishers to set up shop in Ireland, editor Alison Walsh remarked upon a wider sense of expectation in the publishing world: “There is no great literary movement happening. […] There’s a feeling in the industry that we are waiting to see what happens next.” Few would have anticipated then that such a movement would come from the wreckage of that economic boom. Following a period of prosperity, in 2008 Ireland entered recession, the first country in the Eurozone to do so. Popular unrest and anger followed. In the years since, Irish culture has been coming to terms with that economic downturn. Within literary and artistic domains, the crash has given rise to a range of new voices, and has served to re-shape old ones. Continuities with older periods of Irish cultural resurgence and emergence are central to this new flourishing. Perhaps the idea of “emergence” can itself capture this incipient wave in all its complexity. Emergence describes a process whereby qualitatively new configurations arise from more basic constituent parts. Irish cultural production of the last decade offers one intriguing case study for such a phenomenon, drawing its significance from a shared experience of boom and bust which has prompted multiple forms of aesthetic departure in unforeseen directions. We believe that such developments call for examination. How has new Irish writing been spurred on or bruised by recent historical events? If certain cultural products have not registered these changes, what allows them to remain cloistered? While Ireland is something of a poster girl for economic recovery, how have new forms of expression (both in English and Irish) dealt with the social and cultural anger and angst that accompanies this “recovery”? How have these new works figured a new Ireland, or presented an alternative to the public narrative? And if the idea of a “new Ireland” implies a misplaced unity, where can the cracks be found in this picture? After all, this literary and cultural movement, if we can use such a term, is transnational in nature; these writers and artists are part of an expanding diasporic community and their work resonates with communities experiencing similar transformations.
This conference seeks to explore the parameters of post-crash Irish literature and culture—temporally, geographically and stylistically—from its origins to its influences. We are particularly interested in papers which address the question of emergence, and which take a transnational or comparative approach to the Irish situation.
The Chinese University of Hong Kong
The Hong Kong Institute of Education
Hong Kong Shue Yan University