Research Projects

Engaging students in art criticism and art making activities is the major work of visual arts teachers. With access to the free online resources provided by art museum websites and image-based electronic databases, teachers are now in a better position to make use of artworks in planning and delivering their curriculum. The following questions arise: Can art teachers assume the role of art museum curators and construct an online exhibition to facilitate student learning? How should teachers be prepared to adopt such a ‘teacher-curator’ pedagogy? Can the thematic approach and presentation of exhibitions broaden students’ horizons in considering artworks? Will learning through virtual exhibitions increase students’ motivation to learn and improve their skills in using online resources? What will be the effectiveness and impact of this way of conceptualising, organising and constructing visual arts learning opportunities? The aim of the proposed study is to answer the above questions using a design-based research. Three primary and three secondary school teachers and their students (about 165) will be invited to participate. The first phase of the study will focus on the training of teacher participants in the teacher-curator pedagogy. The second phase is the implementation stage. With the support of the investigator, the teacher participants will develop two virtual exhibitions and relevant face-to-face, museum visit and online learning activities. The third phase is the evaluation stage. Data on the impact and effectiveness of the teacher-curator pedagogy will be collected through student and teacher questionnaires and interviews. The study will be conducted in the particular cultural context of Hong Kong. Museum+, the new museum of visual culture, is scheduled to open in 2020, and the renovated Hong Kong Museum of Art will re-open in late 2019. Besides having state-of-the-art facilities, we would like to see members of our society become regular museum visitors and be culturally literate. By actively using artworks from museums to teach, the study will help to build up a critical audience for the cultural establishments in Hong Kong in the long term. Through the formulation of exhibition themes, the selection of connected artworks and the design of relevant learning activities, the study will enhance the autonomy and capacity of teachers. With a focus on using digital technology, the results of the study will contribute to developing an effective pedagogical practice in general and one that promotes online learning in visual arts in particular.

From Qingli to Xiling and Yuanfeng (1041-1085), the political and literary reforms happened almost simultaneously. How to explain this phenomenon? The most prominent Wenren of Northern Song were not only literary figures, but also thought leaders of that time. In an era of changes, how did they pass on Siwen through a more comprehensive form of Wen based on their philosophies and set a model for the world? In response to these questions, this research is aims to probe the connections between ‘Wen-Dao’, ‘imperial edicts’, and ‘etiquette’ in the Northern Song Dynasty.

In Hong Kong, multilingualism is prevalent, where citizens have Cantonese as their first language (L1), Mandarin and English as their second (L2) or third language (L3). Previous studies pointed out that the language acquisition of a multilingual is nonlinear and dynamic (Jessner, 2008), and L3 speakers possess a greater repertoire than L2 speakers in terms of cognitive flexibility, phonetic-phonological articulatory, perceptual knowledge and language-learning awareness that helps L3 learners better acquire a new language (Gut, 2009). Regarding the complexity of language teaching and acquisition, this project aims to examine the interaction amongst L1, L2, and L3 and provide in-depth insights for language teachers and learners in Hong Kong and researchers worldwide.

Most research of early Chinese glass has focused on the issues of origin and considered this medium primarily as an evidence of China’s contacts with outside civilisations. This research, on the contrary, will explore the subject of glass in "Chinese form", which is generally agreed was locally manufactured. Because of the ostensive resemblance, many glass objects unearthed in Han burial sites have been confused with stone or ceramic materials, and some even have been mistaken for jade in archaeological reports. Therefore, this project will first cautiously investigate the feature descriptions and documentation of the relevant items in the reports and conduct firsthand study of the objects. A rigorous re-examination of the information will bring the glass pieces that have been disregarded and excluded in previous studies into the research. Because of its similarity to jade, glass had been generally perceived as a less precious substitute material for jade in ancient China. But judging by recently discovered glass pieces, the use of glass during the Han period, particularly in burials, was not that simple and did not necessarily follow that logic. By relying on archaeological material and reports of scientific analyses, and adopting the interdisciplinary approach of art historical stylistic analyses and contextual material studies, this research will address the importance of glass in Han burial rituals. It may illuminate the role of glass in contemporaneous perceptions of immortality, and will review the hierarchy of material in the ritual context.

At the turn of the twentieth century technologies and media of sound recording entered music classrooms and became an integral part of music learning. What then existed was often called “the teaching of singing,” classrooms where students sung along to teacher- played piano accompaniment. What emerged was “music appreciation”—as teachers used recordings to teach great works like literature, shared music from distant places, and a variety of other ways to teach about music. Building on work in the field of sound studies, the present proposal will provide an historical account of the creation and emergence of music appreciation as pedagogy built around media of sound recording from approximately 1900-1950. This study addresses the understanding of how music learning is connected to various media of sound recording in ways that impact what is taught and how it is taught, working within theoretical approaches from the field of sound studies (Pinch & Bijsterveld, 2012; Sterne, 2012a). Sound studies is a newly emerged interdisciplinary approach to the study of sound in human contexts, typically combining disciplines such as history, philosophy, and science and technology studies. In particular, this study characterizes media not only as the gadgets, but as larger mediated networks of recurring relations between people, practices, institutions, and technologies that come to be understood as a medium through recurrent patterns of usage. For instance, the actual medium of radio is a network that includes producers, artists, technicians, broadcast standards, advertisers, and so on. Because the radio medium involves these various aspects, media theorists note plasticity as the medium evolves, and especially as a medium first emerges, just as radio now includes satellite and various connections through the internet. This project is comprised a set of case studies, each of which examines the ways that various media of sound recording were incorporated into the teaching and learning of music. Following previous research, particular attention will be paid to the emergence of specific pedagogic approaches that emerged in concert with media of sound recording. The cases will combine historical data, changing pedagogic practices, along with theoretical implications to establish the recurring patterns and interactions between people, practices, institutions and technologies as wants, needs, values and practices adapted to sound recordings. Cases will include changes to textbooks, the Music Memory competitions in the USA, and the NBC Music Appreciation Hour, along with the connections to the larger network of media and technology.

In the years surrounding the second World War from the 1930s-50s, numerous new theatres opened in different districts across Hong Kong including Majestic Theatre (1928 in Jordan), Cathay Theatre (1939 in Wanchai), Capitol Theatre (1952 in Causeway Bay), etc. These buildings indicated a flourishing of entertainment businesses in Hong Kong and the high demand of this form of leisure from the local society. Interestingly, most of these theatre buildings were built in the Art Deco architectural style. Most of these theatres are now demolished or abandoned, but a socio-history of entertainment and theatre buildings in Hong Kong are missing in academia and there is a need of repositioning in the field. This research argues that Art Deco, a modern architectural style, can be understood as a form of entertainment and demonstration of resistance of the colonized in early twentieth century Hong Kong. The study also aims at demonstrating that these theatre buildings are not passive objects, but rather subjects that are able to consume the dominating culture to ‘self-fashion’ and ‘self-represent’, in using postcolonial theoretical terms. Previous research has been done on Chinese cinema operators and cinema business in Hong Kong in the early twentieth century, but little research has been conducted to link the architecture or socio-cultural landscape of Hong Kong cinema to postcolonial theories. This project will envision a three-tiered impact. First, the research will reveal the ways in which the patron, architect and the audience of the theatre buildings interacted with each other in laying the foundation of modern cinema and public entertainment history in Hong Kong. Second, based on archival research and visual ethnography, the research will adopt postcolonial theory to analyse and problematize the architectures, and investigate the ways that they ‘self-fashion’ and ‘self-represent’ different identities. Third, on top of formulating a database on Art Deco theatres, the research will propose ways of strengthening the conservation policy for the remaining few surviving Art Deco theatres in Hong Kong. The project will ultimately examine the reach of Art Deco into everyday life of Hong Kong in the form of architecture and cinema, critique the dynamics between the dominated-subjugated in colonial Hong Kong, and offer a new way to conserve architectural heritage through emphasizing its aesthetic and socio-cultural implications.

Effective learning of second language (L2) vocabulary hinges on the learners’ ability to self-regulate their learning. However, little research interest has been shown in how students self-regulate when they are left on their own to explore L2 vocabulary learning mediated by mobile technologies. In this research, a self-regulated and personalised (SRP) vocabulary learning approach is developed and its effectiveness measured. This research aims to help students develop a heightened capacity for self-regulation to learn L2 vocabulary with mobile technologies more efficiently and effectively. This research adopts a mixed-method design. An experimental design is adopted to find out to what extent students can learn L2 vocabulary using the SRP approach in a mobile technology-mediated environment via a self-directed intervention for one semester. In addition, a multi-case study will be conducted to provide qualitative evidence to verify whether the self-directed SRP approach can lead to a heightened capacity for self-regulation.

English is stress-timed while Chinese is syllable-timed, which makes English word stress placement difficult for Chinese learners of English. This project aims to develop assessment tasks to identify Chinese learners’ difficulties in English word stress placement in perception and production, design training programmes to examine whether word stress can be acquired systematically, and conduct a teaching experiment to evaluate the effectiveness of the training programmes in facilitating the learning of word stress. This project will generate substantial impact in both theory and practice.

Since the return of Hong Kong’s sovereignty to China in 1997, Cantonese opera has been included in the SAR's school music curriculum. Recently, the People’s Government of Guangdong Province (2017) issued an ordinance to promote the transmission of the traditional music genre through all channels, including school education. Cantonese opera has been officially included in the policy agenda of both Hong Kong and mainland China, to preserve it and to promote cultural education in schools. Hong Kong people have been facing a challenge of identities. The initiative to develop Moral and National Education as compulsory subjects in schools in 2012 was opposed by younger generations. This was one of the reasons for the protest event “Occupy Central”. At present in the Hong Kong community, there appears to be conflict between younger generations striving for their “Hongkongese” identity, and another group that embraces and defends their Chinese national identity. A broad-based concept of national education has been proposed, which is a comprehensive model that should include national, political, social and cultural identity. As Cantonese opera is an art form replete with Chinese cultural elements, and thus suitable for promoting Chinese cultural identity, this study aims: 1) to investigate the current state regarding teaching and learning Cantonese opera in the schools of Hong Kong and Guangzhou, 2) to examine the extent to which variables such as teachers’ musical preference and teacher education in Hong Kong and Guangzhou may contribute to the teaching of Cantonese opera in music classes; and 3) to examine the extent to which learning Cantonese opera in schools may contribute to the development of Chinese cultural identity in students. Based on the Social Identity Theory, this study is in two phases employing a sequential explanatory mixed-method design. Phase I will be a questionnaire survey to investigate the current ways in which Cantonese opera is taught in schools. A hardcopy/online questionnaire will be designed and disseminated to all primary and secondary schools in Hong Kong and Guangzhou for music teachers. Phase II is a multiple-case study in which eight schools from both cities will be involved. Researchers will observe the classes over three months in each school and interview teachers and students for feedback and reflection on students’ development of Chinese cultural identity. This study will reflect the current situation in terms of teaching and learning of the genre, which will provide insights for future development.

This project seeks to investigate how student teachers are prepared to teach CT in a pre-service language teacher education programme in Hong Kong. Adopting an ethnographic case study design and informed by an ecological perspective on teacher education, the project will explore how student teachers learn to teach CT in relation to their programme coverage, coherence and applicability. The project will also draw on multiple perspectives from language teacher educators and programme leaders/coordinators to discover how CT is integrated with their situated teacher education curricula. Such an ethnographic design not only can contribute to our understanding of CT, but can also generate insights into the dynamic, complex process of teacher learning across different sites, influenced by a range of institutional and socio-cultural factors.

This project responds to the need for research into the teaching of English to young learners (TEYL), defined as children between the ages of 5-12. Despite the significant increase in popularity of TEYL globally, including mainland China, our knowledge of how TEYL is implemented, the attitudes of teachers, and the challenges they face is scant. This project, therefore, addresses this gap in our understanding of English language teaching and learning by exploring the experiences of one group of primary school English teachers in mainland China. A particular contribution of this project is to examine the experiences and perceptions of teachers of English to young learners using the theoretical lens of teacher identity. The results of this project will be of interest to policy makers, teacher educators, school authorities, researchers, and teachers of young learners themselves, both in mainland China and analogous educational settings worldwide.

This oral history project aims to document the voices of Hong Kong leftist film workers who were active from 1949 to 1966 and to utilize their voices to reconstruct Cold War Hong Kong history. The principal investigator adopts the common usage of the term “leftist” during this era, defining leftist film workers as those who worked for the three major leftist film studios and the sole distributor of films made in the People’s Republic of China (PRC). Until the mid-1960s, leftists controlled a significant share of the Hong Kong film market, produced popular movies and exported their productions and PRC-made films to other Chinese communities

This study aims to investigate the cognitive factors of word reading in CSL and native Chinese-speaking learners.

There is a gap between the traditional art education model and the needs of contemporary society. The main content of Discipline-based Art Education (DBAE), developed by art educators in the 1980s-90s, has been adopted by the Hong Kong Education Bureau since 1996. The aim of DBAE is to educate students to become an elite in high/fine arts. However, the assumptions in DBAE about art education fail to justify the use of a modernist paradigm for teaching and learning art in the postmodern era. Art educators criticize DBAE’s monotype mode of teaching for producing students who do not have the ability to think critically. Since DBAE celebrates only modern art and culture, it fails to fulfill the needs produced by the rapid changes that take place in contemporary society and in the students’ social lives. It cannot cultivate the higher order thinking or visual literacy skills that students require to appreciate and interpret artworks, and to create meaning about society and themselves. As a new model for art education, art educators claim that Visual Culture Art Education (VCAE) facilitates students’ critical thinking skills and creativity related to their daily, postmodern lives. It critically reflects the complexity of the relationships between students’ social lives, everyday life experiences and the visual images they encounter. The aim of VCAE is to nourish critical, reflective and creative thinking skills to prepare the new generation with the level of visual literacy they need for the 21st century. In the long run, VCAE can provide an educational method that nourishes students’ critical and interpretive abilities to suit the needs of Hong Kong culture. However, we do not know how effective VCAE is and teachers do not know how to use VCAE to teach. A VCAE model is necessary for knowledge transfer, but one has not yet been established. By developing such a model the proposed study will bridge the gap between theory and practice. It will also help to bridge the gaps between students’ learning, their everyday socio-cultural life and the real world. This study will adopt a design-based research methodology, combining quantitative and qualitative approaches, to examine the effectiveness of VCAE and to identify its teaching and learning approaches. Data collection and evaluation methods include pre-test, post-test and delayed post-test evaluations of students’ portfolios, observations, interviews with teachers and students and document analysis. Senior high schools, teachers and their students will be involved in the study.

This project investigates literary fields of Taiwan and Hong Kong in the 1960s. In 1967, Lin Haiyin founded Chun Wenxue literary journal in Taiwan. In the same year, its Hong Kong version was published by Wang Jingxi .Wang also introduced Wen Xing Cong Kan series from Taiwan via his Wen Yi Bookstore. It was owing to Hong Kong version of Wen Xing Cong Kan that Hong Kong readers could get a glimpse of the works of Yin Haiguang, Li Ao, Bo Yang, whose once banned works were difficult to access even in Taiwan.

On the other hand, his poor management led to accusation of not paying royalties to the authors and infringements of copyrights. What Wang created from the mid-1960s to 70s was a complicated case regarding cultural publishing. This project aims to investigate the significance of Wang Jingxi in the dissemination of literature across Hong Kong and Taiwan.

The project regards “written languages” as a combined perspective from Joseph Yau and City Magazine. Through the study of this important local writer and the development of City in 1970s and 80s, it aims to examine the complicated interrelation between written languages and identities and investigate the process of local identity building. We would like to advocate the inclusiveness and open-mindedness of “localness” in Yau and City. It is true that this project places a strong focus on local literature, history and culture. As we know that international approach is very critical in success of our research, we will place Yau and City in the whole picture of international politics and western cultures which are highly influential to Hong Kong during the period concerned.

Art museums are places where students learn from original artworks. Previous scholarship on museum education has placed the emphasis either on visitors’ experiences or on outcomes of learning gained from museum visits. There is a lack of empirical research into group dialogue – the most used education strategy in museums and the most basic component of teaching in classrooms. The proposed study will investigate the group dialogues conducted by teachers with students in museums and classrooms. Three modes of dialogue proposed by Hubard (2015) – predetermined, thematic and open – will be tested with primary school teachers and students. ‘Design-based research’, a method to identify improvements systematically from experiments in learning situations, will be the methodology employed. The study will be conducted in three phases. Phase 1 will involve the preparation of teacher participants for leading group dialogues and curriculum plan development. Ten teachers and about 270 sixth-grade students (age 12) from different primary schools will be invited to participate in the study. Five workshops on effective group dialogue strategy will be conducted for the teacher participants. They will develop two five- to six-week curriculum plans with each incorporating one museum visit. Phase 2 will focus on the implementation of the plans with the support of the investigators and the evaluation of teachers’ and students’ performance in the group dialogue. Data will be obtained from the teachers’ reflections, interviews, observations and video recordings of museum visits and classroom teaching before, during and after the implementation of the plans. Phase 3 will be the data analysis stage. Taking the Hong Kong context into consideration, the results of the study will be used to create a pedagogical model that is theoretically and practically sound. The study is particularly meaningful given the increased emphasis that has been placed on learning art criticism in the new Education Bureau Visual Arts (VA) curriculums. In the revised VA curriculum for primary one to secondary three levels, it is explicitly stated that art making should be learned in connection with art criticism. The study will also be a timely response to the development of the West Kowloon Cultural District. In 2019, the Museum+ will be launched and the Hong Kong Museum of Art will be re-opened after renovation. There will be numerous opportunities for students and members of the public to visit these purpose-built museums. In this connection, an educated audience and refined museum practices are much needed.

Twenty years after its 1997 handover back to China Hong Kong remains a unique place on the world’s stage. British colonialism has left many enduring marks on Hong Kong identity as well as on its physical landscape. One of the most peculiar, and controversial, is the legacy of the Small House Policy of the New Territories; an agreement reached between the British and the village leaders after it leased the New Territories in 1898. In a city of severe land scarcity, this unusual law grants decedents of ‘original villager’s’ families (mainly Hakka people), upon their 18 birthday, rights to build a maximum three story house of no more than 2100 sqft. With skyrocketing housing prices downtown this has created a boom of these ‘village houses’ being build and sold, mainly to ‘new villagers’ migrating from the city, on lands that once were Hong Kong’s farms and rice paddies. This has led to rapid changes in the visuality of these once traditional villages. The most notable visual change among these communities is the disappearance of traditional Hakka ancestral family homes, which are now scattered throughout a maze of stylistically unrelated modern village houses. The vanishing of these unique homes continues at rapid pace and since commencement of a pilot study in the spring of 2018 at least half a dozen additional ancestral homes, some dating back over a century, have been demolished during the summer. This makes the study of these traditional homes, their visual culture, and how they once formed the backbones of these villages all the more urgent. In order to do so this visually driven study employs both audio and visual methods to seek a more in-depth picture of current village life in North Eastern New Territories, Hong Kong by observing, documenting, collaboratively creating, and jointly analysing the multimedia data captured. This study documents the derelict, intact, restored, in ruin ancestral structures, attempting to trace revitalized elements of traditional Hakka villages via their design, layouts, and relationship with the natural environment. The study looks at how the making and sharing of imagery can foster dialogue and analyse the current state of flux of these villages and their lands to reconsider the ‘place’ they occupy how these changes may affect visual cultural identity and connections with the past.

This project aims to examine the relationship between IDLE and two dimensions of EIL among Hong Kong university students, who are increasingly experiencing diverse accents among users of English through IDLE activities. Drawing on a sequential explanatory mixed-methods research design, data will be collected from 20 ESL/EFL classes at two universities by means of questionnaires (N = 400), open-ended questions (N = 400), semi-structured interviews (n = 40), and stimulated recalls (n = 40). With an interdisciplinary approach drawing from E-learning, sociolinguistics, and TESOL, theoretically this study can help us better understand and further theorize the way in which informal language practice using technology is related to contemporary students’ perceptions of EIL. Pedagogically, the findings will offer practical insights into how English language teachers can better prepare contemporary English learners for cross-cultural interactions in digital or face-to-face milieus.

The prevalent theory traces the origins of Chinese fiction to the Wei and Jin Dynasties and considers the Tang Dynasty the time when they emerged fully fledged. With the advancement of archaeological works in China, this theory is gradually being challenged by excavated works of fiction dated to the Warring States and the Qin and Han periods. However, questions such as what are the stylistic features of early Chinese fiction and how did the fiction genre developed from that of historical writing remain to be answered. The purpose of this project is to focus on Mutienzi zhuan (The Travels of King Mu) to answer the above questions. As the earliest excavated text that survives into the modern age in Chinese history, our research on Mutienzi zhuan involves multiple aspects. We will start with a textual study of the text from a paleographical perspective, then move on to date its contents by comparing the text against documented bronze sources. The third step is to analyze the stylistic features of Mutienzi zhuan by comparing it with selected early fiction from other cultures, such as The Golden Ass, One Thousand and One Nights, and Mesopotamian mythologies, and to investigate the authorship, readership, transmission, and consumption of early Chinese fiction from a social perspective. The last step is to distinguish between the real and imagined geography in the text and reconstruct the transportation geography of King Mu’s travels using a historical geographical approach. It is hoped that this comprehensive research on Mutienzi zhuan will contribute to the study of Chinese paleography, history, geography and literature.

This project examines an underexplored yet fundamental question in second language (L2) research: when acquiring new speech sounds, do L2 learners draw on knowledge of their first language (L1) phonology sound-by-sound or along some continuous dimension such as length?

Taking phonemic length (i.e. short vs. long sounds) as the test case, we will compare native listeners with different L1 backgrounds producing and perceiving length contrasts in non-native language(s). Their relative performance will answer numerous questions about how L1 transfer occurs.

The findings of the study are expected to have both theoretical and pedagogical implications. At the theoretical level, our findings can lead to a definitive conclusion at the ‘feature vs. category’ dialogue in L2 phonological acquisition. In turn, this will benefit learners of languages where length distinctions matter, such as Japanese. In the long run, our findings can also help teachers devise more effective pedagogical strategies.

The study examines the concurrent and prospective effect of executive functions on the integrated writing (IW) task performance in both Chinese (L1) and English (L2).

The study aims to examine the effects of task characteristics and intersubjective on the patterns of interaction in young non-Chinese speaking students in Hong Kong.

The notion of craft has for a long time been closely tied to making objects using materials produced through handmade processes. It has often been seen as activities performed by two different groups of makers: professional artisans; and do-it-yourself (DIY) amateur hobbyists. However, the emergence of new digital fabrication technologies in recent years has brought a significant shift in the maker group and culture. With the new digital means of making objects, theoretically, anyone can customize and produce one’s own goods. The concept has been embodied through the maker movement which refers to a cultural trend that places a high value on making physical things using digital technologies and craft skills. The idea of digital craft has been present for the past two decades. Individual practitioners started producing work with hybrid craft techniques, and proved the potential benefits of digital craft in expanding creativity and appealing to a wider audience. However, examinations of how the new technologies will affect the craft community and modes of production and distribution in the craft industry have been scarce. In response, this research aims to investigate how digital fabrication technologies influence craft practices as part of the maker movement. It also aims to identify challenges and opportunities for professional and amateur makers involved in conventional craft practices. Explorative qualitative studies will be carried out through digital fabrication workshops with twenty local makers. Through participant observation, pre-workshop and post-workshop interviews, and artifact (workshop outcome) analysis, the purpose of the study is to explore how different groups of makers’ practice and value perceptions are changed by the introduction of new digital tools. Additionally, the study will address issues that need to be resolved in both practical and socio-cultural contexts. It is expected that the findings from the study will have implications for the following aspects: It will provide an understanding of the significance of maker culture as socio-cultural practices and as a means to foster creativity and related industries.

十一世紀的黃庭堅（1045-1105）號山谷，是型塑北宋詩歌與禪宗形態、內涵的代表。其《山谷內集》有詩逾七百首，是今人認知山谷詩學、禪學的核心文獻。該集歷來以難解而聞名，註家甚少。自古及今的華人世界內唯宋代任淵（1090？-1164？）曾遍註內集詩，又唯錢鍾書（1910-1998）選註的逾八十首為當代學界山谷詩註的典範。然而，十五世紀室町時代的日本禪僧萬里集九（1428-1507？）曾著書《帳中香》，以漢文遍註內集。萬里獨特的知識背景、闡釋立場與心態，使得該書在詮解旨趣異於華人註家的同時，尤在認識《山谷內集》中詩禪關係的問題上，深具洞察。然此書的存在及其重要性，長期未為學界所熟知。本計劃即將針對萬里集九及其《帳中香》展開首次全面研究。筆者尤其將通過檢視該書以禪解詩的獨特路徑，反思《山谷內集》固有的內典化傾向，進而重新認識黃庭堅所引領的迥異於唐代傳統的宋型詩禪新風。同時，本計劃亦將有助學界重新探索，近古以降的中日兩國在詩禪文化上曾有的互動與共性。

This study aims to investigate how university students understand prevailing political discourses in Hong Kong’s social-political context; investigate the development of citizenship and (re)construction of identity among university students within Hong Kong’ socio-political, cultural and economic discourses; identify the difficulties and challenges students face in their interactions with peers holding different political and ideological views and their coping strategies; and provide theoretical resources and suggest effective university-level measures and individual-level strategies to facilitate students’ whole-person development.