Interference Cancellation Using Space-Time Processing and Precoding Design

Malaysian Cinema in the New Millennium offers a new approach to the study of multiculturalism in cinema by analysing how a new wave of filmmakers champion cultural diversity using cosmopolitan themes. Adrian Lee offers a new inquiry of Malaysian cinema that examines how the ‘Malaysian Digital Indies’ (MDI) have in recent years repositioned Malaysian cinema within the global arena. The book shines a new light on how politics and socioeconomics have influenced new forms and genres of the post-2000s generation of filmmakers, and provides a clear picture of the interactions between commercial cinema and politics and socioeconomics in the first two decades of the new millennium. It also assesses how the MDI movement was successful in creating a transnational cinema by displacing and deterritorialising itself from the context of the national, and illustrates how MDI functions as a site for questioning and proposing a new national identity in the era of advanced global capitalism and new Isla

It is written from an objective, external viewpoint and paints a colourful and lively picture of Sanguinetti in a voice that could almost be his own. Using Sanguinetti' s life experiences, the biographer touches on various historical events, including the Mau Mau revolution in Kenya and the 1957 riots in Hong Kong, and details the social and political problems of the times, such as lingering colonialism, class structure issues, and human rights violations, among others. These glimpses of history through Sanguinetti' s eyes are accessible, thought-provoking, and truly representative of the man himself.Offering a well-rounded image of the eccentric subject, this book fulfils Sanguinetti' s common response to questions about both his personal and professional life — “ more when I know you better” . It will undoubtedly be of interest to those who knew Sanguinetti as well as legal professionals, young barristers, and readers with an interest in post-war history in Gibraltar, Kenya, and espe

封面故事 《跨時代的靈感之光》 黎明來臨前總有段漫漫黑夜， 從另一個角度而言， 彷彿無止無盡的黯淡時光，也恰似美好年代的鋪墊。 關於這一點，藝術、建築、時尚等各領域， 風起雲湧的1932年，可說是絕佳見證。 054 解構CHANEL 1932頂級珠寶系列裡的時代思潮 專訪設計師顏伯駿 060 從CHANEL 1932頂級珠寶系列看身體解放與精神自由 專訪舞蹈家葉名樺 066 從珠寶設計到藝術創作，看見符號的連結與鬆動 專訪藝術家何采柔 目錄 008 FROM THE EDITOR 因音樂而起的製作插曲 010 NEWS EXPRESS 本月新鮮話題 022 GLOBAL 聚焦全球趨勢亮點 030 PEOPLE 大玩聲光，感受空間 專訪大聲光電發起人姚仲涵 038 BIZ INSIGHT 落日飛車如何走向國際市場？海外巡演和國際合作幕後 114 DESIGN 裸視3D動畫構築的城市新風景 專訪韓國d'strict、日本Omnibus Japan設計團隊 122 DESIGN 與世界共好的建築設計 專訪MASS Design Group共同創辦人Michael Murphy 128 DESIGN 將數據洪流化作詩意宇宙 專訪Ouchhh 創辦人Ferdi Alici 134 CULTURE 下一個劇場會是什麼模樣？專訪小事製作藝術總監楊乃璇 140 CULTURE 老建築，新生命？文資如何華麗轉身 專訪文史工作者凌宗魁 152 VIVA GOURMET 以我們的島嶼視角書寫菜單 072 STYLE《時尚裡的時間》 時尚的「時」本身就有時間、時代的含義，因此若說什麼是貫穿時尚產業的要素，其中之一便是同樣貫穿我們人生的「時間」。時間追著時尚跑， 時尚追著商業之流以及人們對美的嚮往跑，也因此洞察先機的趨勢分析變得無比重要，全球時尚潮流趨勢預測機構Fashion Snoops 遠見總監Hallie Spradlin 將解析AI 如何影響流行趨勢，並探索後疫情時代下時尚產業的變化。而時光的推移創造了流行、歷史與風格，風格之中區分了經典與潮流， 高級訂製西裝店The Anthology Taiwan 主理人Willy、台灣服裝品牌oqLiq 設計師洪琪與林家豪將帶你體會經典

Initially based on a comparative study of Chinese and Euro-American art theory in the 18th and 19th centuries, this book examines how both cultures looked at their own past and their outside, i.e. what was construed as not belonging to their own cultural sphere, and how they devised new ways of adapting them into evolving cultural constructs. While the 17th century was still a time when the epistemological backgrounds of both civilizations were so profoundly different that nearly no dialogue was possible, the 18th century saw the emergence in both places of profound changes that would get them close enough to create the conditions for the beginning of a conversation. First quite superficial and taking shape mostly in the decorative arts, this process of rapprochement, while remaining chaotic and unpredictable, led to wider and more profound zones of contact throughout the late 19th and 20th centuries. Through the reinterpretations of each other’s cultural creations, these zones of con

Initially based on a comparative study of Chinese and Euro-American art theory in the 18th and 19th centuries, this book examines how both cultures looked at their own past and their outside, i.e. what was construed as not belonging to their own cultural sphere, and how they devised new ways of adapting them into evolving cultural constructs. While the 17th century was still a time when the epistemological backgrounds of both civilizations were so profoundly different that nearly no dialogue was possible, the 18th century saw the emergence in both places of profound changes that would get them close enough to create the conditions for the beginning of a conversation. First quite superficial and taking shape mostly in the decorative arts, this process of rapprochement, while remaining chaotic and unpredictable, led to wider and more profound zones of contact throughout the late 19th and 20th centuries. Through the reinterpretations of each other’s cultural creations, these zones of con

內容簡介 ˙The learning goals that center on the thematic units are set in accordance with the language proficiency levels, established by the ACTFL ˙To Comply with the pedagogical principle of backward design to establish the teaching/learning goals for the intermediate learner of Chinese ˙Integrates into its thematic contents the ACTFL-defined, three mores of language uses as well the 5C concepts ˙Assist the learner to achieve holistic progress and to cultivate specific linguistic abilities of Chinese ˙The selecting of keywords/phrases in thetextbooks is greatly in line with vocabulary levels defined by the HSK and by the TOCFL. The regional difference in language uses between the two sides of theTaiwan Strait are also meticulously annotated in the textbooks In recent years, the background of learners has become diversified, and the number of self-study students of elementary Chinese is also increasing. On the pedagogical front, however, learning materials, found to be biased towards s

Masculinity, fast-changing and regularly declared to be in the throes of crisis, is attracting more popular and scholarly debate in China than ever before. At the same time, Chinese literature since 1989 has been characterized as brimming with countercultural ‘attitude’. This book probes the link between literary rebellion and manhood in China, showing how male writers, as they critique the outcomes of decades of market reform, also ask the same question: how best to be a man in the new postsocialist order? In this first full-length discussion of masculinity in post-1989 Chinese literature, Pamela Hunt offers a detailed analysis of four contemporary authors in particular: Zhu Wen, Feng Tang, Xu Zechen, and Han Han. In a series of insightful readings, she explores how all four writers show the same preoccupation with the figure of the man on the edges of society. Drawing on longstanding Chinese and global models of maverick and marginal masculinity, and responding to a desire to retain

Sir Robert Ho Tung (1862–1954) is a compelling figure in Hong Kong history. He is regularly portrayed as the colony’s greatest philanthropist and wealthiest man of his day, the first Chinese to live on the Peak, and, at the end of his life, the ‘Grand Old Man of Hongkong’. The illegitimate son of a Chinese mother and European father, he was highly sensitive about his mixed heritage though he consistently made the most of his fate. He was a man perfectly in tune with his place and time, his success driven as much by his entrepreneurial talents as by his being Eurasian. This book shows him in all his immense variety—clerk with the Imperial Maritime Customs, chief compradore of Jardine Matheson, financial wizard, husband and lover, patriarch of a large family of five sons and eight daughters, loyal British subject but also, paradoxically, Chinese patriot. China’s president Yuan Shikai awarded him the Order of the Excellent Crop, and King George V knighted him. May Holdsworth’s thoughtful

Tripitaka and his three disciples, Monkey, Pigsy, and Sandy, were chosen to undertake a pilgrimage to India, during which they came across all sorts of dangers and difficulties. This time, the Flaming Mountain blocked their way, and they needed a little help from the Princess Iron Fan and Bull Demon, well, parents of the Red Boy, who wanted to eat up Tripitaka and was just defeated by Monkey. Things never go smooth for them! My Favourite Chinese Stories is a collection of three Chinese stories specially selected and retold in English for young readers. The first story is from Chinese mythology, while the other two are from classical Chinese literature. They are widely known to the Chinese people, and reflect, in varying degrees, some of the essential characteristics of Chinese culture. Each story is accompanied by beautiful full-colour illustrations drawn by Lo King-man as well as audio narration by the author Pamela Youde.

More Than 1001 Days and Nights of Hong Kong Internment is the wartime journal of Sir Chaloner Grenville Alabaster, former attorney-general of Hong Kong and one of the three highest-ranking British officials during the Japanese occupation. He was imprisoned by the Japanese at the Stanley Internment Camp from 1941 to 1945. During his internment, he managed to keep a diary of his life in the camp in small notebooks and hid them until his release in 1945. He then wrote his wartime journal on the basis of these notes. The journal records his day-to-day experiences of the fall of Hong Kong, his time at Stanley, and his eventual release. Some of the most fascinating extracts cover the three months immediately after the fall of Hong Kong and when Alabaster and his colleagues were imprisoned in Prince’s Building in Central and before they were sent to the camp, a period little covered in previous publications. Hence, the book is an important primary source for understanding the daily operation

A Sketch of Truth Theory The Truth Theory refers to a natural attribute which all things embody during cosmic movement. And which features the inherent quality of the universe, that is, the attraction between Yin and Yun, the negative cosmic gas and the positive cosmic gas. It is the natural and scientific reality of the universe. The appearance of this theory will completely shatter the barriers that have hindered human understanding of life and all things in the universe for thousands of years. It will put an end to the idealism-materialism dichotomous outlook on the world and completely terminate the theism-atheism dualistic religious concept that people have disputed for thousands of years. It will enable humankind on Earth to see the universe in the true, clear-minded and correct manner for the first time. It will enable humankind to explain mysterious cosmic phenomena with our acquired part of scientific knowledge about the universe in a deep and complete manner for the first

Mementoes of HMS Tamar abound in Hong Kong, but what is really known about this troopship and her role in the maintenance of British imperial rule? Using logbooks, newspapers, and numerous other sources, this book pieces together the multifaceted and largely unknown history of the Tamar . From her launch into service to her roles as a hospital, theatre stage, and transport for military personnel, the Tamar carried not just people, but also their mundane dreams and ambitions— for friends, families, and staying alive. Any ideas or concerns about sustaining the empire seldom featured in their minds at all, but it was this empire that the Tamar served for seventy-nine years, steaming the equivalent of thirty-two times around the Earth and transporting tens of thousands of people to what would seem to them another world. In this engaging narrative, the Tamar’s exploits and the experiences of her crew and passengers parallel those of the British Empire and its subjects, bringing to life t

馬文海 Wenhai Ma 美籍華裔舞臺設計家、插畫家及作者，曾在多所大學任教，包括Duke, Purdue, UNL, UIUC（美國），中國中央戲劇學院、香港演藝學院及新加坡南洋藝術學院。著有Scene Design Rendering and Media（Focus Publishing，美國）及為多冊兒童繪本插畫，包括Swan's Gift, The Painted Fan, Younger Brother, Older Brother, Red Means Good Fortune以及Monkey King系列（美國、英國及加拿大出版）；也多次為兒童雜誌繪製插畫，包括Apple Seeds, Crickets, Faces, Cobblestone等（美國）。並在美國、中國、香港、新加坡、臺灣、印尼等地為多種戲劇、歌劇、音樂劇設計布景及服裝。其散文曾多次在《中央日報》副刊發表。 《小船兒上的天窗》是作者繼《在這迷人的晚上》（新銳文創，2017年）、《晚風像火燒雲一樣掠過》（釀出版，2018年）、《外婆和「c」》（翻譯／插畫，原著Doris Schneider: Nana and the “c”，秀威少年，2019年）、《有天窗的畫室》（釀出版，2020年）、《天窗外的畫室》（釀出版，2021年）後的另一部小說，為「天窗三部曲」中的第一部。 FB：Wenhai Ma

What does it mean to be queer in a Confucian society in which kinship roles, ties, and ideologies are of such great importance? This book makes sense of queer cultures in China—a country with one of the largest queer populations in the world—and offers an alternative to Euro-American blueprints of queer individual identity. This book contends that kinship relations must be understood as central to any expression of queer selfhood and culture in contemporary cultural production in China. Using a critical approach—“queering Chinese kinship”—Lin Song scrutinizes the relationship between queerness and family relations, and questions Eurocentric queer culture’s frequent assumption of the separation of queerness from blood family. Offering five case studies of queer representations across a range of media genres, this book also challenges the tendency in current scholarship on Chinese and East Asian queerness to understand queer cultures as predominantly counter-mainstream, marginal, and un

Eros of International Relations: Self-Feminizing and the Claiming of Postcolonial Chineseness is a distinctive work that explores the much-neglected Chinese perspective in broader international relations theory. Using the concept of “self-feminizing”—adoption of a feminine identity to oblige and achieve mutual caring as a relational strategy—this book argues that postcolonial actors have employed gendered identities in order to survive the squeezing pressure of globalization and nationalism in their own ways. Sovereign actors who have historically claimed to act on behalf of Chineseness have taken advantage of the images of femininity thrust upon them by transnational capitalism, the media, or intellectual thought. Shih illustrates the feminist potential for emancipation through a range of empirical examples, showing that women of various Chinese characteristics, acting on behalf of their nation, city, and corporations, reject the masculinization of their groups of belonging as remedy

The origins of modern Daoism can be traced to the Church of the Heavenly Master (Tianshidao), reputedly established by the formidable Zhang Daoling. In 142 CE, according to Daoist tradition, Zhang was visited by the Lord on High, who named him his vicar on Earth with the title Heavenly Master. The dispensation articulated an eschatological vision of saving initiates—the pure, those destined to become immortals— by enforcing a strict moral code. Under evolving forms, Tianshidao has remained central to Chinese society, and Daoist priests have upheld their spiritual allegiance to Zhang, their now divinized founder. This book tells the story of the longue durée evolution of the Heavenly Master leadership and institution. Later hagiography credits Zhang Daoling’s great-grandson, putatively the fourth Heavenly Master, with settling the family at Longhushan (Dragon and Tiger Mountain); in time his descendants—down to the present contested sixty-fifth Heavenly Master living in Taiwan— made th

The coronavirus pandemic that broke out in 2019 has finally calmed down in China, after the bungling occasioned by the iron hand of lockdown. But beginning in March 2020, the disaster spread abroad, and at present there is no end in sight. In this work, Qin Hui offers a bracing examination of the impact of coronavirus pandemic on political institutions in both China and the West. Deliberating on the contradiction between “human rights” and “human survival,” he contends that China has achieved success in imposing coercive lockdowns to control the virus, but it will be a challenge to prevent the normalization of emergency measures from worsening human right conditions. The West, in contrast, must learn how democracies can efficiently enter a state of emergency and put an end to these measures at the proper time. ---------- “Qin Hui is one of the most original thinkers and commentators active in China today. In this wide-ranging and meticulously researched book he argues that the COVID-1

This is the anecdotal story of Clive Grossman SC and his travels from his birthplace in Hackney in London during the Second World War to what was then Southern Rhodesia. He describes his life in Rhodesia and what later became Zimbabwe, growing up there, schooling, working as a clerk then university in Cape Town, practice at the Bar, his time in the military, and eventually his trip to Hong Kong which resulted in an invitation to work in the Attorney General’s Office and a life thereafter at the Hong Kong Bar.

St. Stephen’s Girls’ College is one of the many schools run under the auspices of the Anglican Church in Hong Kong. Starting as a tiny missionary school for upper-class Chinese girls and their younger brothers, it has evolved into a large establishment, comprising kindergarten, primary and secondary sections, playing its full part in the public sector of education and now serving a complete socio-economic cross-section of the community. As one of the earliest schools for girls in the territory, St. Stephen’s played a significant role in the opening up of educational opportunities for Chinese girls. This book records the history and development of the school and is written for its 90th Anniversary, using much original source material. The author, who was head of the school for over thirty years, has set this history within the educational, social and political context of the times. This book will be of obvious interest to those who have a connection with the school: council members, t

Appropriate for use by students at varying levels of competence, Burmese: A Cultural Approach provides a thorough and systematic introduction to the Burmese writing system in Part One and a series of true-to-life conversations in Part Two. Students with some prior knowledge of the spoken language but little familiarity with the Burmese script can use Part One to solidify their grasp of the Burmese sound system as well as its orthography. Intrepid beginners could also start their study of the language by making use of Part One. Doing so would mean making a slower start at formulating phrases as compared to using a romanization system but learners would gain a firmer foundation for the later—and eventually, faster—development of their speaking and reading skills. The conversations in Part Two are extensively annotated in order to illustrate grammatical patterns, characteristic turns of phrase, and typical habits of social interaction. True to an anthropological approach to language le

本書集結六篇論文（第一、三、四、六篇德文，第二篇西班牙文，第五篇義大利文），本書為因應時代變遷下的教育環境及學生職涯挑戰，在教學方法上所提出新的論述及建構。 This book contains essays by various teachers from different universities and departments with the aim of presenting modern teaching methods for the changed learning and study conditions on the basis of theoretical preliminary considerations. Language teachers at Taiwanese universities often encounter similar difficulties in designing lessons: students’ increasing frustration and lack of motivation. Many students experience a high level of frustration and demotivation; they cannot find future prospects in language studies. Confronted with reality of time-consuming internships, part-time jobs and life, many students become painfully aware that a linguistic degree won’t prepare them for later work or provides career opportunities. In addition, they realize their low language skills and life experiences. Aware of that problem, the language departments have to find new teaching methods and create curricula which

馬文海Wenhai Ma 美籍華裔舞臺設計家，插圖畫家，美國伊利諾大學香檳院University of Illinois at Urbana—Champaign戲劇系終身教授。 畢業於中國中央戲劇學院及美國Carnegie Mellon University，曾任教於美國杜克大學Duke University，內布拉斯加林肯大學University of Nebraska-Lincoln，普度大學Purdue University，香港演藝學院，中國中央戲劇學院及新加坡南洋藝術學院。著有Scene Design Rendering and Media（Focus Publishing, USA）及為多冊兒童繪本繪製插畫，包括Swan’s Gift, The Painted Fan, Younger Brother, Older Brother, Red Means Good Fortune以及Monkey King系列（美國、英國及加拿大出版），並在美國、中國大陸、香港、新加坡、臺灣、印尼等地為多種戲劇、歌劇、音樂劇設計布景及服裝。其散文曾多次在《中央日報》副刊以筆名「小木」發表。

Comfort Women Activism follows the movement championed by pioneer activists in Japan to demonstrate how their activism has kept a critical interpretation of the atrocities against women committed before and during World War II alive. The book shows how the challenges faced by the activists have evolved from the beginning of their uphill battles all the way to contemporary times. They were able to change social attitudes and get their message across. Yet the ambiguous position of post–World War II Japan’s government—which has consistently rejected any sign of guilt over its imperialist past—has kept the activists on their toes. Pivotal and serendipitous turning points have also played a crucial role. In particular, in the early 1990s, the post-Soviet world order assisted in creating the appropriate conditions for the movement to gather transnational support. These conditions have eroded over time; yet due to the activists’ fidelity to survivors, the movement has persisted to this day.

This is a most unusual book. For several decades Xi Xi has been widely known for her award-winning poetry and fiction. This time, she has chosen to write about the teddy bears she began making in 2005, after treatment for cancer, in order to improve the mobility of her right hand. She made the bears herself from scratch, choosing some of her favourite characters from history and legend such as the Taoist philosopher Master Zhuang, the Mongol ruler Genghis Khan, and Beauty and the Beast. She also created exquisite items of clothing for them and wove a series of delightfully witty essays around them, giving her readers fascinating insights into Chinese culture, and into the ways in which Chinese clothing and fashion have evolved through the ages. This is a book for all who love literature and teddy bears.

Leung Ping Kwan brought as much talent and inspiration to the writing of his short stories as he did to his poems. ‘I have drawn on magical realism to explore the absurdity of Hong Kong,’ he wrote of the story ‘See Mun and the Dragon’ (1975) in which we find him using a simple, clipped style. The later story ‘Drowned Souls’ (2007) was written in a more symbolic, lyrical and more complex manner. Although the two stories are separated by over thirty years, and are in many ways so very different, dragons play a prominent part in both. The dragon has always been a fascinating creature, a complex embodiment of the timeless soul of China, symbol of the universal power of the imagination, of the creative energy and transformative possibilities of the Tao. Both of these enchanting stories are anchored in the author’s idea of freedom and liberation.

This is the first collection of essays in English, contributed by well-known experts of Chinese literature as well as scholars of a younger generation, dedicated to the poetry of Du Fu, commonly regarded as the greatest Chinese poet. These essays are engaged in historically nuanced close reading of Du Fu’s poems, both canonical and less known, from new angles and in various contexts, and discuss a series of critical issues, including the local and the imperial; the body politic and the individual body; poetry and geography; perspectives on the complicated relation of religion and literature; materiality and contemporary reception of Du Fu; poetry and visual art; and tradition and modernity. Many of the poems discussed in this book were written in the backwater town of Kuizhou, far from Du Fu’s earlier residence in the capital city Chang’an, at a time when the Tang dynasty was going through devastating social and political disturbances. The authors contend that Du Fu’s isolation from

Promoting All-Round Education for Girls presents the history of Heep Yunn School, one of the oldest girls’ schools in Hong Kong. Amalgamated from two British mission schools founded in the 1880s for destitute girls and daughters of Christian parents, and renamed Heep Yunn School in 1936, the institution has witnessed and responded to the dramatic changes of Hong Kong over the years. By the time of the outbreak of the Second World War, Heep Yunn had expanded to offer a full Chinese middle school course for girls based upon Christian principles of all-round education. The school expanded rapidly after the war and became a bilingual institution to meet the demand for English language education. Eventually English would become the primary medium of instruction soon after the introduction of nine-year universal education in 1978. Heep Yunn strives to provide a full-fledged all-round education in the midst of political and education reforms. The school opted to switch its status from a gove

「只要活在世上，一定會有除了逃跑之外別無他途的時候。與其奮不顧身地往前衝，陷入悽慘的後果，還不如逃跑比較好。 已經打出的文字大可用退格鍵消除。 只要退後一些就好了，只要重來就好了，反正可以再打出新的文字。 如果可以這樣想，人生一定會過得更輕鬆。 因為後退幾步或許就能找到正確的道路，以及安穩的位置。」 ──駒子系列好評第三彈！ ★日本長銷二十餘年， 暖心系日常解謎經典系列！ 【故事簡介】 你知道嗎？不管是怎樣的人，都會有過一兩次「鬼迷心竅」的經驗。沒錯，就連駒子這種離犯罪行為有如地球到仙女座星雲一樣遙遠的人，可能偶爾還是會做出「那種事」──聖誕節的感冒痊癒後，駒子在晴朗的除夕去了趟百貨公司，購物時突然受到某樣東西吸引，還遇上了意想不到的人物……？由出道作《七個孩子》展開的駒子系列第三集，以愛情故事點綴信中謎題的單元式長篇推理小說。 找找看沒寫出來的「故事」吧。這些信件之中不是藏著「謎題」嗎？ 【本書特色】 ●邀請知名繪本作家 鄭潔文 繪製中文版獨家封面插圖。 ●與《七個孩子》《魔法飛行》同世界觀的續作。 ●本書《空白宇宙》包含了兩個中篇故事「SPACE」和「BACK SPACE」，兩者是一體兩面、互為表裡，看完整本書的人一定都能體會這架構的巧妙之處。 ●「SPACE」寫的是人與人之間的「空白」的故事，而「BACK SPACE」應該是從鍵盤上的退格鍵聯想而來的，寫的是選錯道路時再退回去、重新走上正路的故事，這兩者同時也是年輕女性努力追尋「自己應該待的位置」的故事。

Utopia and Utopianism in the Contemporary Chinese Context: Texts, Ideas, Spaces decisively demonstrates the extent to which utopianism has shaped political thought, cultural imaginaries, and social engagement after it was introduced into the Chinese context in the nineteenth century. In fact, pursuit of utopia has often led to action—such as the Chinese Revolution and the Umbrella Movement—and contested consequences. Covering a time span that goes from the late Qing to our days, the authors show that few ideas have been as influencing as utopia, which has compellingly shaped the imaginaries that underpin China’s historical change. Utopianism contributed to the formation of the Chinese state itself—shaping the thought of key figures of the late Qing and early Republican eras such as Kang Youwei and Sun Yat-sen—and outlived the labyrinthine debates of the second half of the twentieth century, both under Mao’s rule and during the post-socialist era. Even in the current times of dystopian

The Politics of Higher Education: The Imperial University in Northern Song China uses the history of the Imperial University of the Northern Song to show the limits of the Song emperors’ powers. At the time, the university played an increasingly dominant role in selecting government officials. This role somehow curtailed the authority of the Song emperors, who did not possess absolute power and, more often than not, found their actions to be constrained by the institution. The nomination mechanism left room for political maneuvering and stakeholders—from emperors to scholar-officials—tried to influence the process. Hence, power struggles among successive emperors trying to assert their imperial authority ensued. Demands for greater autonomy by officials were, for example, unceasing. Chu Ming-kin shows that the road to autocracy was anything but linear. In fact, during the Northern Song dynasty, competition and compromises over diverse agendas constantly altered the political landscape

Proportionality is a German, and thus continental European, concept in public law that is applied by both the Court of Justice of the European Union (CJEU) and the European Court of Human Rights (ECtHR). The principle specifies that measures adopted by executive authorities should not exceed the limits of what is appropriate and necessary in order to achieve legitimate objectives in the interest of the public. Using a functional comparative approach, this book evaluates the extent to which proportionality has been integrated into the English and Hong Kong judicial systems by comparing case law in these courts with that of the CJEU and the ECtHR. The text also reviews the development of proportionality and presents a topical understanding of why its adoption and application have encountered difficulties, particularly regarding socio-economic rights, in some jurisdictions, such as the United Kingdom and Hong Kong. Written by a scholar with experience from both within the Hong Kong judici

…. to imagine a language means to imagine a form of life. ––Ludwig Wittgenstein (Philosophical Investigation, 1953) Whatever specific goal motivated people who study Chinese at first eventually dissolves into the larger Chinese world, and that world—its loves and joys, its stings and frustrations, in any case its incapability of being boring—takes over. This is a fascinating, insightful collection of essays by some of the world’s most renowned China experts, who share personal recollections of their time in China—often beginning in the 1970s, when foreigners were just beginning to navigate the linguistic and cultural terrain of that country—and reflect on what learning Chinese has meant to them in their careers and lives. These ten native English speakers share rare and, at times, humorous and intimate moments, of how learning and speaking Chinese has removed barriers, built rapport, opened doors and sometimes led them down entirely unexpected roads that have changed the course of th

◎作者威皓曾因罹患腦瘤中斷學業，療養後恢復上學，卻發現已忘記原本學習過的文字、數學、繪畫等能力，必須忍著病痛重頭學起。 ◎在媽媽、家人、師長的陪伴下，威皓走過最艱難的時刻，並一步一步向前邁進，他的生命故事與努力精神，值得年輕學子學習。 ◎本書收錄作者的繪畫、新詩、書法等創作，並以中英對照的方式呈現，在作品中可以看到作者對世界的獨特觀察與對自己的期許。 國小三年級考進美術資優班，國小五年級獲得新竹縣美術班組比賽第一名，國小畢業時卻赫然發現腦瘤！……即使備受病痛煎熬，威皓依然突破難關完成學業，並創作出一首首好詩與書法、水彩等多樣作品，展現他純真又高尚的靈魂！ 十二歲就生重病的威皓，無法像正常的小孩跑跳碰，稍有不適即嘔吐，身體的狀況導致情緒起伏劇變，性格、心性如同幼稚園小孩一般，因身心備受煎熬，威皓對人生領悟獨樹一格。在他的詩畫世界裡，我們可以看到許多帶著童真、卻又富含禪意的作品，充滿著創造力，讓人在無限的想像空間裡，自由自在地翱翔。威皓所描繪的世界讓紅麈世界忙茫盲的人們，有個真正的美麗心靈世界可去休養或療傷。 Since the age of twelve, Wei-Hao has been suffering from illness. He could not run around like other children. Since Wei-Hao’s body could not absorb water normally, he always had to bring his bottle with him to take in water, went to the toilet frequently, and vomited easily. Because of his sickness, Wei-Hao became emotional and capricious. However, the suffering gave him a unique view of life. His paintings are full of naivety and at the same time metaphorical meanings. These creative works of paintings and poems leave much space f

Contrary to the general impression that wet markets are smelly, dirty, and slippery, Christine finds that they are actually fun places to walk around and shop. As a French lady, Christine’s learning experience has not been without disappointments, such as being overcharged, given old veggies or pushed to buy more. Nonetheless, in Hong Kong, most sellers are generally very kind. Like in France, vendors remember the preferences of their regular clients. _e kindness of many sellers help her overcome the fear of speaking Cantonese. They even take time to explain to her how to cook this and that. It is the warm atmosphere that she loves most. Christine finds it exciting to discover lots of new foodstuffs such as Chinese yam. She even discovers ingredients, such as lye water, a kind of alkaline solution that is not used in Western countries. Last but not least, this book helps us understand the real French lifestyle which often sounds so “elegant” and sometimes “mysterious” to most people,

UDI（Universal Instructional Design) 通用设计理论是近些年来教学设计领域的新理论，它试图建立一个立体、全方位的教学设计模式，从而满足各种学习风格和各个水平的学习者的需要，最大化每个学生的学习机会。笔者结合多年一线本科生教学的案例设计开发实战经验，选取了比较有代表性的案例进行探讨，并且总结了近些年在美国留学和加拿大访学期间学习到的典型案例，探讨通用设计理念如何在日常教学、科研中实现。

The Assassin tells the story of a swordswoman who refrains from killing. Hou Hsiao-hsien astonishes his audience once again by upsetting almost every convention of the wuxia (martial arts) genre in the film. This collection offers eleven readings, each as original and thought-provoking as the film itself, beginning with one given by the director himself. Contributors analyze the elliptical way of storytelling, Hou’s adaptation of the source text (a tale from the Tang dynasty, also included in this volume), the film’s appropriation of traditional Chinese visual aesthetics, as well as the concept of xia (knight-errant) that is embedded in Confucian, Daoist, and Buddhist worldviews. There are also discussions of the much-celebrated sonic design of The Assassin: the nearly exclusive use of a diegetic film score is a statement on the director’s belief in cinematic reality. Underlying all the chapters is a focus on how Hou reinvents Tang-dynasty China in contemporary culture. The meticulous

Alice’s Adventures in Wonderland is an enormously popular and widely known childhood fantasy of all time. The author tells the story of Alice, a little girl finding herself in Wonderland after falling through a rabbit hole. After tasting some magic cake and drink, she experiences changes in body sizes, which allows her to explore Wonderland and meet various kinds of talking animals and other amazing characters. Are these adventures nothing more than a bizarre dream? Or do they really happen? Let’s get into Wonderland with Alice and find out more!

When Liu Bang, the eponymous protagonist of this novel, set out to conquer all under Heaven, he was already 47 years old. A medium-built, foul-mouthed peasant with a reputation as a ne’er-do-well, a womanizer, and a drunkard, who, though literate, never cared much about literature, he seemed to have a slim chance at success at a time when all the heroes in the realm contended for power and dominance. Against all odds, he defeated his rivals to found the Han dynasty, and quelled the numerous rebellions that challenged his rule. 本書以史實與故事兼容之手法，描述歷史人物劉邦以平民出身，卻能扭轉情勢爭奪天下的經過。 好評推薦 Praises for Heavenly Khan: An engrossing fictionalized history that examines an ingenious and powerful Chinese ruler.--Kirkus Reviews A new historical legend to stand alongside Alexander the Great and Napoleon.--San Francisco Book Review A deftly written and truly riveting work from beginning to end, Heavenly Khan: A Biography of Emperor Tang Taizong is an extraordinary and solidly entertaining story

由德國歷史最悠久的工業設計機構──漢諾瓦工業設計論壇（iF Industrie Forum Design）——舉辦、創立於1953年的iF設計大獎，今次已邁入65屆，能夠年年雲集世界各地優秀的設計師共同慶祝，同時本屆更創下有史以來參賽產品及設計數量最多的一年，主要原因即在於其一貫堅持的「獨立、嚴謹、可靠」評選理念。 不同於展示潮流新品或概念設計的展會，主要用以表彰行業成就、展望產業未來的德國iF設計獎，集產品、建築、室內、包裝等各個設計領域的全球菁英，不僅是世界最大的設計賽事之一，亦早被公認為設計典範與創新的象徵。其七大獎項類別分別為產品（Product Design）、傳達設計（Communication Design）、包裝設計（Packaging Design）、服務設計（Service Design）、專業概念（Professional Concept）、建築設計（Architecture）、室內設計（ Interior Architecture），全面性的深度涉獵，讓設計不再侷限於產品上，而是為社會帶來正面的變革。 德國本次共抱回22座金獎，獨占鰲頭；亞洲國家的設計潛力亦不容小覷，日本以13座位居第二，韓國奪得8座名列季軍。iF評委會主席Fritz Frenkler對此表示：「iF設計大獎的報名數量多年來穩定增長，來自亞洲特別是大中華地區設計者的尤以關鍵，他們既參與了競賽，勇於將作品交予國際評審團評估，也顯示許多亞洲企業都理解到好設計可以為他們帶來的效益。」 今年共有75件金獎作品，其中2組則來自台灣，不僅展現本土設計的深厚實力，更突破科技框架、表露人文溫度，為設計注入一股強力暖流。此書則收錄多項2018年iF金獎產品及室內空間得獎案，希冀給予讀者一個感受驚豔設計的機會，更在閱讀的同時反思設計的真正內涵所在。 本書特色 由德國歷史最悠久的工業設計機構──漢諾瓦工業設計論壇（iF Industrie Forum Design）——舉辦、創立於1953年的iF設計大獎，今次已邁入65屆，能夠年年雲集世界各地優秀的設計師共同慶祝，同時本屆更創下有史以來參賽產品及設計數量最多的一年，主要原因即在於其一貫堅持的「獨立、嚴謹、可靠」評選理念。 不同於展示潮流新品或概念設計的展會，主要用以表彰行業成就、展望產業未來的德國iF設計獎，集產品

Previous collections of photographs illustrating the lost world of Old Hong Kong have tended to focus exclusively on black-and-white images from before the Second World War. In this new collection of photographs from the period 1948-1969, Otto Lam has instead selected a dazzling array of images in glorious full colour, most of them taken by overseas visitors to Hong Kong, including some of the earliest surviving colour views of the city and its environs. These evocative images demonstrate what a vibrant place Hong Kong was during this crucial period in the colony's rapid economic growth and modernisation. This volume, covering a wide range of images from daily life in post-war Hong Kong, comes at a time when a new generation of citizens is taking a greater interest in the rich and largely intangible heritage of their city.