Faculty of Arts and Social Sciences
Faculty Profiles

National University of Singapore
10 Kent Ridge Crescent, Singapore 119260

Office: AS7/03-05
Email: chsyss@nus.edu.sg
Tel: 6516-3906
Fax: 6779-4167
Homepage: http://profile.nus.edu.sg/fass/chsyss/
| Brief Introduction | Teaching Areas | Current Research | Research Interests | Publications | Conference/Workshop Organization

Brief Introduction Top


1985-92     Department of East Asian Studies Doctor of Philosophy, Princeton University
                         Major field: Chinese Drama & Chinese Poetics
                         Minor fields: Chinese Fiction; Yuan Ming History
                         Dissertation: “A Critical Study of Han-tan Chi”
1988          Department of East Asian Studies Master of Arts, Princeton University
1982-86     Department of Chinese Ph.D. candidate, University of Hong Kong
1979-82     Department of Chinese Master of Philosophy, University of Hong Kong
1976-79     Department of Chinese Bachelor of Arts, University of Hong Kong

Teaching Areas Top

1. Classical Chinese literature
2. Traditional Chinese Drama
3. Print culture and Chinese literature
4. Graduate Research Seminar
5. Singapore Studies: Everyday Life of Chinese Singaporean

Current Research Top

    1. Soundscape and Sensation: Aural experience in late Ming drama
    2. History of Chinese opera in Singapore, 1887-1960
    3. Social history of Cantonese Opera: Institution and Network, 1900-1960
    4. Gramophone Industry of Cantonese Opera, 1900-1960
    5. Chinese dialect cinema, 1930-1960
    6. Annals of Chinese Opera: Hong Kong Volume

Research Interests Top

1.Traditional Chinese drama in the 16th and 17th centuries
2. Gramophone Industry of Cantonese music                                                                                                       3.  Chinese opera in Singapore/Malaysia (1880-1965)
4.Cultural history of Cantonese opera/music (1900-1950)
5.Print culture and Chinese literature
6. Taiping Theatre of Hong Kong: Artefacts and Documents 

Publications Top


  • 1.      Anthropology of Chinese Drama: Ritual, Theatre and Community.   戲曲人類學初探:儀式、劇場和社群   Taipei: Rye Field Publishing Company 麥田出版社, 1997.   Reprinted in 2003 by the Guangxi Shifandaxue Press 廣西師範大學出版社


    2.        Cantonese Opera from the Gramophone: A Cultural History (1903-1953).  粵韻留聲:唱片工業與廣東曲藝 1903-1953(Hong Kong: Institute for the Research of Humanities, Chinese University of Hong Kong, Cosmos Press, 2006).


    3.        From Opera Boat to Silver Screen: Visual and Sonic Culture of Cantonese Opera  尋覓粵劇聲影:從紅船到水銀燈 (Hong Kong: Oxford University Press, 2012).



  • 1.        “Between Plum Blossom Village and King’s Road: the Geography of Amoy Movie of Hong Kong,” 告別桃花鄉,步向英皇道:香港廈語片的地理表述 May Ng (ed), Exploring Amoy-dialect Cinema of Hong Kong 香港廈語電影訪縱 (Hong Kong: Hong Kong Film Archive, 2012), pp. 76-87.


    2.        “Reforming Cantonese Cinema and Cantonese Opera of Hong Kong in the 1950s: Between ‘The Union Film’ and ‘Xianfengming Troupe’” 在“中聯”和“仙鳳鳴”之間:五十年代香港電影和粵劇的改革工程, Grace Ng (ed), One for All: The Union Film Spirit 我為人人:中聯的時代印記 (Hong Kong: Hong Kong Film Archive, 2011), pp. 36-47.


    3.        “A Journey of the Returning Soul: Tang Xianzu, Bai Xuexian, and Bai Xianyong”, “還魂之旅”:湯顯祖、白雪仙、白先勇 Hua Wei (ed) , Kunqu: Chun San Er yue tian 昆曲-春三二月天 (Kun Opera: The Second and Third Month of Spring) (Shanghai: Shanghai Guji Chubanshe, 2009) , pp. 516-530.


    4.        “Yam Kim Fai in the Era of All-Female Troupes: A Critical Study on two Cantonese Opera Artifacts from the Taiping Theatre Collection”, 女班時期的任劍輝: 太平戲院文物資料閱讀扎記, Wong Shiu-hon (ed), Ren Jianhui : (Yam Kim Fai, 1913-1989) : Portrait of a Chinese Opera Performance Prodigy )長天落彩霞——任劍輝的劇藝世  (Hong Kong: Hong Kong Joint Publisher, 2009), vol 1, pp. 136-153.


    5.        “Cantonese Opera Writing and Nationalism: Re-interpreting the Everlasting Zhang Yuqiao, the Most Respectable Courtesan”, 粵劇書寫與民族主義:芳腔名劇《萬世流芳張玉喬》的再詮釋, in Hoyt Tillman (ed) In Pursuit of Culture and History: Essays in Celebrating the 80th Birthday of Professor Yu Ying-shih 文化與歷史的追索:余英時教授八秩壽慶論文集 (Taipei: Lian Jing Chubenshe, 2009), pp. 879-904.


    6.         “Territorialization and the Entertainment Industry of the Shaw Brothers in Southeast Asia”, in Poshek Fu (ed.) China Forever: The Shaw Brothers and Diasporic Cinema (Urbana and Chicago: University of Illinois Press, 2008), pp. 131-153.


    7.        “From Shanghai Pulp to Hong Kong Movie: Universal Publisher and the Huang Ying Stories” 從偵探雜誌到武打電影:“環球出版社”與女飛賊黃鶯 in Jiang Jin (ed.) Popular Culture of the Modern Metropolis (Shanghai: East China Normal University Press, 2007), pp. 323-344.


    8.         “‘Close Encounters of the Third Kind’: Chinese Opera Record and Chinese Opera Study”, 第三類型接觸,第三類型戯曲:戯曲唱片與戯曲研究 in Chen Zishan, Luo Gang (ed), Liwahe ban lun wenxue 麗娃河畔論文學 (Discussing literature at the River Liwa: a collection of essays) (Shanghai: East China Normal University Press, 2006), pp. 328-343.


    9.        “Moving Body: the Interactions between Chinese Opera and Action Cinema,” in Meaghan Morris, Siu-leung Li and Stephen Chan Ching-kiu (eds.), Hong Kong Connections: Transnational Imagination in Action Cinema (Durham: Duke University Press; Hong Kong: Hong Kong University Press, 2005), pp. 21-34.


    10.     The Worships of Patron Deities of Chinese Operas in Singapore,” 新加坡華族戲曲的戲神崇拜, in Mei-rong Lin (ed.), Belief, Ritual and Society: Papers from the Third International Conference on Sinology: Anthropology Section 《信仰、儀式與社會:第三屆國際漢學會議論文集:人類學組》 (Taipei: Institute of Ethnology, Academia Sinica, 2003), pp. 397-426.



  • Shaw: The Empire of Chinese Cinema. (Taipei: Rye Field Publishing Company, 2003). (Co-edited with Liao Kin-feng, Cheuk Pak-tong, Fu Poshek).


  • 1.        “Transnational Dissemination of Chinese Opera in Late Qing: the Case of Cantonese Music Records in San Francisco,”  晚清戯曲的跨國流播:三藩市粵樂唱片個案分析  New Perspectives on Chinese Culture 國學新視野, 4 (December 2011), pp. 71-81.


    2.        “Cantonese Opera Songs and Hong Kong Pleasure Houses of Late Qing”, 晚清香港妓院與廣東曲藝  Lingnan Journal of Chinese Studies 嶺南學報, NS 3 (2006): 339-341.


    3.        “Commodifying Cantonese Music: Qian Guangren and his New Moon Gramophone Company (1926-1936)”.  從業餘樂社到粵樂生産:錢廣仁及其新月留聲機唱片公司 1926-1936, Journal of Oriental Studies 東方文化39:1 (2005): 3-20.


    4.        “Chinese Entertainment, Ethnicity, and Pleasure”. (co-authored with Chan Kwok-bun), Visual Anthropology, 18: 2-3 (March-June, 2005): 103-142.


    5.        “Recording Cantonese Opera in the 1920s and 1930s: from a Viewpoint of Cultural History”.  二三十年代的粵曲唱片與唱片粵曲:一個音樂文化史的觀察, Journal of Chinese Studies  中國文化研究所學報, NS 12 (2003): 473-502.


    6.        “Gramophone Record Industry and the Cantonese Musical Culture (1903-1913)”.  清末民初的粵樂唱片業與廣東曲藝(19031913 Journal of Chinese Studies, NS 10 (2001): 511-538.


    7.        “Myth and Ritual in Pei-tou hsi,”. 北斗戲的神話與儀式  Bulletin of the Institute of Ethnology  民族學研究所集刊, Academia Sinica, 79 (Spring 1995): 63-86.

Conference/Workshop Organization Top

1. An International Workshop on “Sounds Chinese: Performance, Commodification, and Interpretation”, organized by Department of Chinese Studies, NUS, 15-17 December 2008.

2. “An International conference on Cantonese Opera,” Department of Music, Chinese University of Hong Kong, and Hong Kong Arts Development Council, HKSAR, 5-9 September 2007.

3. “Cold War Factors in Hong Kong Cinema,” Centre of Asian Studies, University of Hong Kong and Hong Kong Film Archive, 27-29 October 2006.

4. An International conference on “Shaw Enterprise and Asian Urban Culture: Interdisciplinary Studies and Cross-regional Comparison,” Department of Chinese Studies, NUS. 26-28 July 2001.

5. “An International Conference on Ming Qing Studies: Review and Overview,” Centre for Research in Chinese Studies, Department of Chinese Studies, NUS. 27-29 July 2000.

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