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.

本计划拟从历时角度比较原始闽语 (‘PM’) 和上古汉语 (‘OC’) 的音韵系统。所谓“原始闽语”，是指用比较法推订出来、所有现代闽语方言的共同祖先。闽语的存古性质相当明显，保留了大量超越中古汉语的成份。学界一般相信它在两汉时期就已经脱离主流汉语。我们一方面会引用新语料，另一方面会采用比以往更严谨的方法，在不假定 PM 和 OC 具体关系的前提下，探索以下几个 PM 的特征在 OC 里的反映，并寻求解释：(a) 清响音声母；(b)“弱化声母”；(c)“开韵核”及“闭韵核”的分野；(d) 韵尾 *-al。我们也会以修订过的原始闽语音系作为基准，对上古音拟构的“四元音方案”和“六元音方案”作出检测。

明代万历之后（1573-1644）出现了大量以文学“评点”为特色的儒家经籍新编本，影响最大者，乃是孙鑛（1543-1613）对《书经》《礼记》《春秋左传》等典籍的评点。传统的经学史大多忽视这些著作，文学史研究也归之为“时文之习”而未有深入全面之研究。事实上，此类经书评点本，正是先秦儒家原典在近世中国“再经典化”（re-canonization）的重要一环。晚明文人通过对古籍字法、句法、章法的细致分析，将其中有别于后世语法之处标举为“奇古”，以一套实用的审美技术，改变了閲读经书的方式。此种“创造性的误”，综合了明代“复古”与“好奇”两种文学风气，并藉由经典之权威，为“奇异”的知识兴趣建立了合法性。经书评点本通过集评、朱墨套印等方式不断出版，显示出精英赏鉴美学与大衆出版文化之交互影响。本计划希望综合文学批评、出版网络、物质文化诸角度，揭示经书评点现象对我们理解明清中国閲读文化与知识结构的意义。

荀子乃先秦儒家代表人物，学识渊博，哲学思想影响深邃。后世学者了解荀子学说，唯赖《荀子》一书。然而，《荀子》三十二篇之作者、撰写年代与地域，历来未有公论。《荀子》各篇之间内容多有重合，亦广与先秦两汉文献互见。然而学者探究此论题时，未有全盘考虑。本计划拟结合传世文献与出土文献，全盘排列《荀子》内在与外在之相近文辞、段落、义理等内容，考论《荀子》篇章重合现象，并借助电脑推算篇章年代。传世先秦两汉文献与《荀子》文献重合情况实远超固有之认识，有必要详加钩稽。至于出土文献而有相关者，如郭店楚简、包山楚简、上海博物馆藏战国楚竹书、睡虎地秦简、定县汉简以及最新发表之清华大学藏战国楚竹书等，本计划亦会加以利用及考察。

本研究计划目的有四：（一）分析《荀子》篇章内在与外在之重合关系；（二）重新考订《荀子》之成篇及成书状况；（三）厘清何者为荀子之核心思想？何者为荀门后学发挥师说之辞？（四）重新思考古籍之成书过程。