Research Projects

Empirical corpus-based studies have demonstrated many positive outcomes in learners’ development of various language skills. However, frontline language teachers in primary and secondary schools are unfamiliar with corpus technology, mainly due to the lack of technological, pedagogical and content knowledge (TPACK) training in corpus technology. To address this knowledge gap, we have recently developed a corpus-based language pedagogy (CBLP) that blends language pedagogy with corpus technology. This proposal aims to frame training in corpus technology for student teachers within the TPACK framework to foster CBLP for effective teaching using corpus technology. This research will also provide a theoretical model by investigating how student teachers in Hong Kong and Mainland China receive TPACK training in corpus technology, and how this can influence their self-efficacies for independent language learning and teaching.

This project seeks to investigate the relationship between tongue movement and tone in speech production – two parts of articulation formerly considered independent from each other. We look at consonant-vowel coordination in Cantonese and Mandarin, two languages with respectively six and four lexical tones, under different tone and speech rate conditions. Both acoustic (formant) and articulatory (high temporal resolution ultrasound tongue imaging) data will be collected for analysis, followed by analysis-by-synthesis using VocalTractLab. Our findings will shed new lights on (i) our understanding of speech production, (ii) individual differences in articulatory control, and demonstrate (iii) the use of articulatory synthesis as a convenient tool for hypothesis-testing in articulation research.

J. M. Synge (1871-1909) was a critically acclaimed man of letters in twentieth-century Irish literature and is most remembered for his plays, such as The Playboy of the Western World (1907) and Riders to the Sea (1904). This year is the 150th anniversary of the dramatist’s work, which has been said to “demonstrate the importance of wildness, resistance and imagination” while simultaneously attracting controversy due to his unconventional depiction of nationhood and women. Compared to other Celtic Revivalists such as William Butler Yeats, Synge and his plays are not well known in the Greater China Area despite his fame in Europe and America. However, the fact that nine translators in China and Taiwan have translated Synge’s plays into Chinese since the 1920s is evidence of a degree of popularity. Though impressive, these translations have not been thoroughly vetted, researched, and critiqued. In this project, I seek to meticulously investigate those Chinese interpretations of Synge’s plays by all nine writers and scholars from China and Taiwan: Guo Moruo (郭沫若), Xu Xuxuan (徐序瑄), Tian Han (田漢), Peng Ching-hsi (彭鏡禧), Ma Ching-chao (馬清照), Chen Ge (陳戈), Tsai Chin-sung (蔡進松), Chang Tsung-chi (張崇旂), and Hsieh Chih-hsien (謝志賢). To further understand the Sinophonic adoption of Synge’s work, my project studies two dramatic performances of his The Playboy of the Western World. The first of which was staged in Beijing in 2006 and second in Taipei in 2016. My plan is to pursue a diachronic, chronologically ordered, study of the translation and staging of Synge’s plays in the Greater China Area, with a view to addressing a number of critical issues at the time they were transposed for a Chinese-speaking world: the nature and pattern of intercultural translation, the mutuality of western impact and Chinese agency, the problem of the domestication and exoticization of the ancestral literary artifact, the manipulating intervention of ideological imperatives, and the linguistic question of translatability. To draw a complete and holistic picture of how Synge’s work was received and understood, in addition to analyzing the nine Chinese translations and parsing the two performances, my study will canvass and examine a host of other materials, which will include academic articles and theses as well as newspaper and magazine articles. Vertically, my research contributes to a deeper understanding of the translation, reception, and impact of Synge’s plays in the Greater China Area. Horizontally, my work sheds light on the meanings and implications of the translations of his work as an integral part of the modern Chinese project of cultural engagement with the West. 

No consensus has been achieved on when literary modernism began in Hong Kong. Some critics trace the beginning of Hong Kong modernism to the 1950s, while others argue that its roots lie further back. While it is difficult to determine beginning of Hong Kong modernism with precision, it is an indisputable fact that the publication of Wenyi Xinchao [Literary New Wave] in the 1950s by Ma Lang (a.k.a. Ma Boliang), who served as a poet-cum-editor of the magazine, was crucial for the later development of Hong Kong modernism. The relationship between the magazine and modernism has been the focal point for much discussion since then. However, to what extent did the magazine devote to promoting modernism is controversial. For example, while Ma Lang claimed that the magazine was meant to advocate modernism in Hong Kong in the 1950s, a major and regular contributor to the magazine, Lee Wai-Ling, thought otherwise. In the seventh issue of the magazine, Lee remarks that whether the much-used term “modernism” should be considered a catch-all term is still a question that has yet to be answered. Despite the fact that no consensus has been reached about the relationship between the magazine and modernism, it is a common belief that the magazine has had a potent influence on the later development of Hong Kong modernism. Therefore, rather than following along with the current discussion, this proposed project will focus on the following question: What are the elements of modernism to be found in the magazine? Among previous studies it should be noted that only a few have actually investigated the characteristics of modernism. In addition, the recent development of Western modernist discourse has not been taken into account. This project aims to bridge this research gap by examining all fifteen issues of the magazine. Two distinctive features of Hong Kong modernism observed in the magazine will be discussed in detail. This study argues that the transformative political stance of the magazine, from nationalism to localism over the years, and its localized Chinese lyrical tradition are in fact a progressive and future-oriented force in the development of Hong Kong modernism. Upon reconsidering the characteristics of modernism found in the magazine, this project will help conceptualize the distinctive features of early Hong Kong modernism.

Representation is a key concept to cultural studies. Who can be on TV? Do they represent diversity or stereotypes? Why? What will be the consequences? These are questions of aesthetics and politics. This study aims to write a critical history of representation of Chinese mainlanders in Hong Kong TV dramas (HDs, hereafter). From the lazy and imprisoned Ah Chian（阿燦, 《網中人》1979）, to the well-educated and conniving Tian Mi (田蜜, 《不懂撒嬌的女人》2017), mainlander images have become more and more complicated, contingent, and contradictory. This representation has a symbolic power that has contributed to the public imaginations and to practices of Mainland-Hong Kong relations, as well as the Hong Kong identity. Ma (1999) and Gunn (2006) have found a dualism in several pre-1997 HDs: barbarian/civilized, other/us, mainlander/HongKonger, which contributes to constructing a Hong Kong identity. They are illuminating because this dualism continues to appear in post-1997 HDs; but they have not criticized the dark side of it: discrimination and symbolic violence. 

The refugee crisis of the 21st century is one of the most challenging the globe has faced; today more than an estimated 68 million people are displaced from their homes. Postcolonial and diaspora studies have been slow to respond to the need to reconceptualize theories of migration in the context of the new age of migration. The traditional articulations of diasporic identity formation are lacking in theorizing refugee identities characterized by statelessness, violence and precarity. The kinds of transnational affiliations that foster diasporic identity formations are often absent in the case of refugees on the move as are the engendering of hybrid and cosmopolitan identities so celebrated in diaspora studies

Internationalisation is gaining in popularity in higher education. Bilingual programmes where a second language is used as the medium of instruction have thus become increasingly popular. Content and language integrated learning (CLIL) with both content and language having an integrated curricular role is one such programme. There has been fruitful research on CLIL in various contexts in primary and secondary education. However, how to integrate target language support (eg English) with content teaching at university has not featured prominently in research literature. The study will investigate the impact of CLIL on university students’ content and language development in English-medium nursing education. The CLIL pedagogy in the study will draw upon recent theoretical development of translanguaging and trans-semiotising. Results of the study will inform bilingual university education, nursing education and theory and practice of translanguaging and trans-semiotising.

Su Shi is arguably one of imperial China’s most prominent drivers of the trend of amalgamating literature, art and religion, where his contributions have a special place in the history of the wider Sinosphere. Su was demoted and sent into exile in Huangzhou, and it can be argued that during this low period, his attempt to seek solace in tathāgatagarbha thought had a substantial impact on his literary and artistic works. But this Buddhist influence on Su’s compositions has been not sufficiently discussed among the many Song and Qing dynasty periods Chinese criticisms of his work, perhaps in part due to their authors’ strong affiliations with Confucianism. A different perspective of these works, however, can be found in a commentary written in Chinese by the poet-monk Banri Shūkyū, who flourished in Japan during the Muromachi period. Banri’s alternative perspective, presented in his Tenka haku (The Brightest of the World), was informed by his training as a Japanese Zen monk, scholar and poet, his exposure to different traditions of exegesis and training in art and literature, and personal experiences that in some ways echoed with those of Su Shi, including Banri’s experiencing regret and dejection at being compelled, when middle-aged, to renounce his vows and return to lay life.

During two prosperous periods in the Qing Dynasty, the Qianlong and Jiaqing, textual research was prevalent, and textual-research poetry became a widely popular art. The trend of writing textual research poetry arose, and such a trend was sustained for about one hundred years. This kind of poem was based on the textual-research of various cultural relics, which emphasized the selection of materials. Such poems were mostly written in ancient poetry or song style. Scholars of poetry history and criticism often criticized this act of "academic-stuffed poetry," believing that it damaged the image and lyrical characteristics of poetry. Such acts of treating poetry had always been rejected, and such rejection worried those who practised it in such a way that it eventually disappeared in the history of poetry. However, for such a kind of poetry that can flourish for a hundred years, it must have been sustained by various conditions. The grand narrative of poetry history alone cannot reflect its real value. After all, textual-research poetry was considered as cross-genre (Li-E and Hang Shi-jun of Zhejiang school, Weng Fang-gang of Jili school, Yuan Mei and Yang Fang-can of Xingling school), cross-regional (Beijing, Guangzhou, Hangzhou, etc.), cross-class (famous officials such as Wang Chang and Ji Yun, scholars such as Gui Fu and Huang Yi, commoner writers such as Huang Jingren, etc.). The poetry was widely known and distributed. Moreover, textual-research poetry appeared in the Qian-Jia period when the material culture was vibrant, where different "things/objects" contained different meanings in textual-research poems and literary circles. Aimed at examining the relationship between objects, humans, and literature, a new understanding of the value of poetry produced in the Qing Dynasty will become apparent after various research perspectives with specific case studies in this proposed study are completed.

Two problems have remained unresolved in speech prosody research. The first one is that there are numerous rival theories that have coexisted for decades -- supporters for one do not necessarily understand the others well. The second one is that in the absence of a universally accepted framework, field linguists working with a new language could propose prosodic analyses not otherwise satisfactory to fellow researchers, in part also due to field-related practical challenges compared with lab settings. Computational modelling can be a useful tool for addressing these problems. This project seeks to promote computational modeling of fundamental frequency as a tool for (i) theory comparison and (ii) hypothesis testing and analysis *for field linguists*. Here we specifically target linguists without background in computer science or statistics.

Writing from sources is an important academic literacy skill essential for university students to succeed in academia. Nonetheless, because it involves a set of complex cognitive, metacognitive, and self-regulatory processes and strategies, it is extremely challenging. Existing research primarily focused on the cognitive processes of sourcebased writing, adopting qualitative and case-study based methods. While the research generated a nuanced understanding of the intricate mental struggles and issues during the reading-to-write process, it did not investigate the contextual and behavioural aspects of the process, such as the regulation of time, environment and motivation. There is also a paucity of research adopting quantitative means to connect important antecedent, process and outcome variables to generate a comprehensive picture with sufficient clarify to guide practice and further research. The proposed study will attempt to address the above gaps in the literature.

The shakuhachi (尺八), a bamboo flute now considered one of Japan’s representative instruments, came from China in its primitive form in the 8th century (Malm, 2000; Wade, 2005). The Chinese original called the chiba (尺八) has almost disappeared in its birth place, even though other vertical flutes, such as the xiao with a closed mouthpiece and the dong xiao (nan xiao) with a notched mouthpiece, are still popular there (Thrasher, 2008). In the last decade, however, there has been a “revival” of the shakuhachi in China, and an increasing number of Chinese shakuhachi players, teachers, and instrument makers actively offer lessons and concerts. The International Shakuhachi Festival is a quadrennial event that has previously been held in New York, Boulder, Sydney, Kyoto, and London. The next will be in Chaozhou in 2022. Underlying the newly emerging popularity of the shakuhachi in China is a shared narrative among Chinese practitioners: Originating in the Tang dynasty, the shakuhachi has finally returned to its birthplace and is regaining its authenticity as a Chinese instrument. With a sense of nostalgia for the past and responsibility for the future, leading Chinese shakuhachi players are promoting the shakuhachi as a Chinese instrument. The shakuhachi is widely practiced and appreciated outside Japan (Keister, 2004; Matsunobu, 2011; Strothers, 2010). The presence of non-Japanese practitioners is evident in today’s thriving international shakuhachi scene (Smith, 2008). With an expansion of international adherents and the rise of multilingual spaces, the shakuhachi has seen changing boundaries of membership and changing notions of musical identity and musical ownership (Matsunobu, 2009). Previous studies on the internationalization of the shakuhachi have focused predominantly on Westerners’ take up of shakuhachi music and their inclination towards individualized, decontextualized approaches to shakuhachi music (Keister, 2004; Matsunobu, 2009, 2011, 2013). However, little is known about Chinese approaches to shakuhachi music. Compared to Western practitioners, Chinese shakuhachi practitioners have a strong sense of musical identity rooted in Chinese culture. This ethnomusicological study, based on the author’s previous studies of the lived experiences of shakuhachi practitioners in Japan and North America (Matsunobu, 2009, 2011, 2013, 2015), aims to elucidate how the shakuhachi and its music are being taken up, localized, and appropriated in the Chinese context.

A growing body of literature has discovered that the potential of feedback to enhance learning rests upon student feedback literacy. Despite being acknowledged as significant, empirical research on student feedback literacy, especially in L2 writing, is underexplored. Adopting a case study design spanning one academic year, the present study seeks to examine elementary students’ development of student feedback literacy through the use of writing portfolios; how, and to what extent such development of student feedback literacy may influence text revisions and writing improvement; and what the factors are that influence the development of student feedback literacy. The study will contribute to the limited literature on the development of student feedback literacy with the potential to offer pedagogical implications for enhancing students’ feedback literacy, which in turn will encourage greater learner agency and improvement in writing. 

“Wig: The Global History of a Cold War Commodity, 1958-1979,” examines Asia’s “miraculous” economic growth under the US Cold War umbrella by tracing the “life” of a strange commodity: the human-hair and synthetic-fiber wig. In the 1960s-70s, wigs became a key Cold War commodity in Asia: the #2 export in South Korea, employing over 40,000 people; the #4 export in Hong Kong, employing 30,000; and a state-supported industry in India and Singapore. By the 1970s, when 40% of US women wore wigs or hairpieces, the wig was a US$1 billion global industry, dominated by Asian wigmakers and Korean-American wig retailers. But while no one intended for wigs to fuel Asian industrialization and globalization, the rise of wigs was not an accident. The wig became a Cold War commodity in 1965, when the US extended its 1950 trade embargo against China to include communist “Asiatic” hair – cutting off China’s US$10 million hair trade to punish its escalation of the Vietnam War. This seemingly minor intervention had major consequences: by restricting trade in communist hair, the embargo devastated Hong Kong’s wig industry (which relied on Chinese hair) and jumpstarted South Korea’s industry (since the ROK harvested its own “anti-communist” hair). And as Asian wigmakers scrambled to find new, ideologically acceptable hair sources, they produced a complex map of the Cold War Asia-Pacific: hair was smuggled from China to Hong Kong through Indonesia, and flown from non-aligned India to US-allied South Korea. Wigs thus reveal how Asian export-led industrialization took shape under and beyond US Cold War influence. This project introduces global and interdisciplinary approaches to studying Cold War history. By examining how wigs moved, we understand Asian growth differently: seeing how Asia’s industrialization was shaped not only by Cold War politico-economics but also by ordinary people, from bureaucrats and factory workers to hair peddlers and wig-wearers. The project thus makes a methodological intervention in two growing fields of history, the history of capitalism and global history, by combining “top down” (diplomatic history, political history, economic history) and “bottom up” (social history, labor history, material culture) approaches, producing a thick, transnational approach to global history. “Wig” will yield a book proposal, conference presentations, a journal article, and a complete book draft. To create impact beyond academia, project findings will be used to produce multilingual global history teaching materials, which will be disseminated locally and through a web site for educators around the world.

Redressing Atrocities: Forms of Reconciliation in Postcolonial Southeast Asian Literature This project offers a critical exposition of reconciliation in postcolonial Southeast Asian literature in English. It considers how literary forms are used as a medium to explore reparative possibilities for past and present conflicts in Southeast Asia. How might we read Anglophone Southeast Asian literature and critically frame the apparent lure of reconciliation for postcolonial Southeast Asia? How do these texts register reparative desires in their literary strategies, narrative shapes, and formal structures? What aesthetic, ethical, and epistemological roles do literary imaginations perform in present-day conflict-ridden spaces around the world? Though reconciliation assumes a prominent status in public discourses and transitional justice mechanisms such as Truth and Reconciliation Commissions globally, it has yet to attain sustained discussion in the literary humanities. This is particularly so in postcolonial critical discourses which have often stressed the ethical value of resistance and viewed reconciliation with suspicion. While some postcolonial scholars have begun to examine the complexity of reconciliation in recent years, they have hitherto tended to overlook the remedial potential of English-language Southeast Asian narratives. As a first attempt to address these critical lacunae, this proposed ECS project seeks to reclaim the vocabulary of reconciliation for postcolonial studies and shift the field’s geographical ambit from the dominant sites of Canada, South Africa, Australia to the often neglected Southeast Asia. In particular, the project examines a corpus of Anglophone Southeast Asian literature on four conflicts: Tan Twan Eng’s novel on the Japanese occupation of Malaya, Viet Thanh Nguyen’s short story collection on the war in Vietnam, Vaddey Ratner’s literary memoir on the Cambodian genocide, and the recent poetry on the Rohingya crisis. This proposed project argues that by addressing atrocities and their aftermaths, the selected postcolonial Southeast Asian texts thematically and formally register an ethics of reconciliation. Such literary expressions seek to redress injustices and repair injured communities within and beyond Southeast Asia, despite the acknowledged enormity, if not impossibility, of the task. Contrary to its often reductive representation in governmental policies and legal avenues, reconciliation as articulated in the selected aesthetic forms captures the paradoxes, partiality, and cultural-historical embeddedness of reparative work. All four cases consider the possibility of reconciliation and the countervailing prospect of irreconcilability. Overall, this project demonstrates that Anglophone Southeast Asian literature makes an important contribution to rethinking reconciliation outside bureaucratic and legal-judicial domains.

Renowned for his work on the dictionary Shuowen Jiezi, Qing philologist Zhu Junsheng (1788—1858) is also author of Liushisi Gua Jingjie, a work generally viewed as a repository of existing interpretations without scholarly innovation and thus largely overlooked. However, to gauge its worth simply on the format presented is to conclude on bias rather than evidence. In fact, on top of being transmissive in nature, Zhu’s work is pivotal and innovative in many ways. It is proposed that the following two areas of Jingjie’s significance will be uncovered: (1)While Jingjie does incorporate a wealth of existing interpretations, Zhu would often present an abridged or restructured extraction, to which his own views are provided. Zhu is also keen on making historical references alongside his interpretations. His historiographical acumen reflects mid-Qing intellectual scholarship, invoking new understandings on astronomy and geography to support his theses, which in turn makes a fresh contribution to classical exegesis. The criticism that Jingjie is “with a clear lack of a critical eye” is an imbalanced assessment. Only through thoroughly understanding how Zhu accepts past scholarship and makes transformative innovations can we observe how new life is breathed into the Chinese classics that has seen continued reinvigoration throughout the ages. (2)It is indisputable that Zhu’s Shuowen Tongxun Dingsheng is his philological magnum opus. However, in evaluating the extent of his achievements, scholars often overlook the philological evidence presented in his other works. It must be acknowledged that Shuowen Jiezi is an analytical dictionary and Zhu’s work on it strives to examine each character’s basic (or definitive) meaning. Whereas the goal of Jingjie is interpret Zhou Yi and its philological exegeses serve such a purpose. It is therefore not surprising to see competing glosses between Zhu’s two works. Only through a systematic examination of Zhu’s philological evidence from Jingjie in contrast with that of Shuowen Tongxun Dingsheng can we observe how his preparatory work for the latter has informed the formation of his understanding of Zhou Yi, and more importantly, how Zhu applies his philological expertise in the interpretive and extended meanings of individual characters found in the Chinese classics. The research output would be pioneering in its evaluation of Zhu’s philological and linguistic achievements outside of the singular source thoroughly examined by other scholars.