The research is intended to provide a comprehensive review of the ‘Hong Kong Literature Archives’ compiled by Lo Wai Luen (Xiao Si) (1939- ), who is acknowledged as 'the most qualified writer on Hong Kong literary history'. There are two main objectives in the study:

1. Providing a historical survey of ‘Lo Wai Luen's Hong Kong Literature Archives’; and
2. Analyzing the most recent relations between Hong Kong and China in the context of Hong Kong literary history since the 1920s.

Combining the two perspectives, we shall be able to learn more about the changing understanding of relations between Hong Kong and China in terms of literary history over the last ten decades, including Hong Kong initiatives in advocating an independent cultural identity. The research will focus on literary history and archives, a field where discourse and concrete documents meet, and will have a wide impact on our understanding of the complex relations between Hong Kong and China as well as Hong Kong literature and its sociopolitical contexts. The actual history of Hong Kong, from British colonialism to Chinese imperialism, will also provide a valuable perspective from which to study how literature is manifested in different political situations. Above all, this research demonstrate the advantages of literary history that is based on archival studies and long term interviews with the most accomplished scholar and archivist of Hong Kong literature. It will also assist scholars to understand the actual meanings, impacts, and specificities of literary history, a long overdue task as well as burgeoning academic area of studies in recent years.

After World War II, the strategic town for the Chinese-language film industry migrated south from Shanghai to Hong Kong; and the Cold War situation changed the film distribution and production model. Since the 1950s, Singapore and Malaysia had replaced Mainland China as the biggest export market for Hong Kong-produced films. To understand the postwar Chinese-language film industry’s funding cycle, production model, and film genre evolution, one cannot ignore the cultural production networks of Hong Kong, Singapore, and Malaysia and the important influence of geopolitics behind the business. This study continues the research in the academic book I will soon publish, Hong Kong Cinema and Singapore: A Cultural Ring between Two Cities. (1950-64), (forthcoming). This study will focus on the early days of the Motion Picture & General Investment Co., Ltd. (MP&GI)—its golden age; from 1955 to 1964, MP&GI produced 152 Mandarin and Cantonese films. The Chairman of MP&GI, Loke Wan Tho, son of the richest man in Singapore and Malaysia, studied history and economics in Europe and had a Western style. In the mid-1950s, Loke imitated the Hollywood studio model by integrating three links—theater, distribution, and production, produced high-quality Chinese-language films in Hong Kong, and distributed to Singapore, Malaysia, North America, and other places. MP&GI, known as the “literati studio,” hired quite a few cultural figures, and MP&GI films were famous for approximating the Hollywood style. Besides Loke’s personal background and European flair, factors of the times and geopolitical changes also dictated MP&GI’s style. In this study, I will continue to explore the effect of the Cold War political environment on the production strategy for MP&GI films, the film genres produced, and the studio’s leading middle-brow filmmaking style. Besides concentrating research on the relationship in film culture between Singapore and Hong Kong, MP&GI’s network would also extend to Taiwan. From a political environment perspective, Hong Kong, Singapore, and Malaysia were once British colonies; in terms of official system, the United Kingdom took charge by including Hong Kong and Singapore within the scope of Southeast Asia, and both places had similar political and economic systems. On funding source, MP&GI can be seen as the paragon for early cross-regional Chinese-language cinema. Due to the Cold War situation, MP&GI was incorporated into the “right” and maintained a close relationship with Taiwan. The emphases of this research plan are MP&GI’s regional network and studio style of focusing on wen-yi films and comedies.

本計劃擬從歷時角度比較原始閩語 (‘PM’) 和上古漢語 (‘OC’) 的音韻系統。所謂「原始閩語」，是指用比較法推訂出來、所有現代閩語方言的共同祖先。閩語的存古性質相當明顯，保留了大量超越中古漢語的成份。學界一般相信它在兩漢時期就已經脫離主流漢語。我們一方面會引用新語料，另一方面會採用比以往更嚴謹的方法，在不假定 PM 和 OC 具體關係的前提下，探索以下幾個 PM 的特徵在 OC 裡的反映，並尋求解釋：(a) 清響音聲母；(b)「弱化聲母」；(c) 「開韻核」及「閉韻核」的分野；(d) 韻尾 *-al。我們也會以修訂過的原始閩語音系作為基準，對上古音擬構的「四元音方案」和「六元音方案」作出檢測。

明代萬曆之後（1573-1644）出現了大量以文學「評點」為特色的儒家經籍新編本，影響最大者，乃是孫鑛（1543-1613）對《書經》《禮記》《春秋左傳》等典籍的評點。傳統的經學史大多忽視這些著作，文學史研究也歸之為「時文之習」而未有深入全面之研究。事實上，此類經書評點本，正是先秦儒家原典在近世中國「再經典化」（re-canonization）的重要一環。晚明文人通過對古籍字法、句法、章法的細緻分析，將其中有別於後世語法之處標舉為「奇古」，以一套實用的審美技術，改變了閲讀經書的方式。此種「創造性的誤讀」，綜合了明代「復古」與「好奇」兩種文學風氣，並藉由經典之權威，為「奇異」的知識興趣建立了合法性。經書評點本通過集評、朱墨套印等方式不斷出版，顯示出精英賞鑑美學與大衆出版文化之交互影響。本計劃希望綜合文學批評、出版網絡、物質文化諸角度，揭示經書評點現象對我們理解明清中國閲讀文化與知識結構的意義。 

荀子乃先秦儒家代表人物，學識淵博，哲學思想影響深邃。後世學者了解荀子學說，唯賴《荀子》一書。然而，《荀子》三十二篇之作者、撰寫年代與地域，歷來未有公論。《荀子》各篇之間內容多有重合，亦廣與先秦兩漢文獻互見。然而學者探究此論題時，未有全盤考慮。本計劃擬結合傳世文獻與出土文獻，全盤排列《荀子》內在與外在之相近文辭、段落、義理等內容，考論《荀子》篇章重合現象，並借助電腦推算篇章年代。傳世先秦兩漢文獻與《荀子》文獻重合情況實遠超固有之認識，有必要詳加鉤稽。至於出土文獻而有相關者，如郭店楚簡、包山楚簡、上海博物館藏戰國楚竹書、睡虎地秦簡、定縣漢簡以及最新發表之清華大學藏戰國楚竹書等，本計劃亦會加以利用及考察。

本研究計劃目的有四：（一）分析《荀子》篇章內在與外在之重合關係；（二）重新考訂《荀子》之成篇及成書狀況；（三）釐清何者為荀子之核心思想？何者為荀門後學發揮師說之辭？（四）重新思考古籍之成書過程。