7/7/2018_香港書展 2018「文化七月- 國歌:美學的文化政治」“National Anthem: The Cultural Politics of Aesthetics" under the Cultural July 2018, HK Book Fair

日期
07/07/2018 -
14:30 - 16:30
還有 15 天
地址
塔冷通心靈書舍
油麻地窩打老道20號金輝大廈

香港書展2018「文化七月」活動

國歌:美學的文化政治

主講者 :余少華(嶺南大學兼任教授)
與談人 :李小良(嶺南大學兼任教授)
日期:2018年7月7日 ( 六 )
時間:下午2:30至4:30
地點:塔冷通心靈書舍,油麻地窩打老道20號金輝大廈一樓6室
(油麻地地鐵站B2出口, 大概需步行5分鐘)
主辦:嶺南大學文化研究碩士(MCS)課程
查詢:[email protected]
報名:https://goo.gl/forms/T5bzVeruRNDFqsRf2

講座將以廣東話及英語進行

Hong Kong Book Fair, Cultural July 2018

National Anthem: The Cultural Politics of Aesthetics

Floor Speaker:YU Siu-wah (Adjunct Professor, Lingnan University )
Panelist:LI Siu-leung (Adjunct Professor, Lingnan University )
Date:7 July 2018 (SAT)
Time:2:30 p.m. to 4:30p.m.
Venue: Talentum Bookshop, Room 6, 1/F, Kam Fai Building, 20 Waterloo Road, Yau Ma Tei (Exit B2, Yaumatei MTR; around 5-minute walking distance)
Organizer:Master of Cultural Studies (MCS) Programme
Enquiry:[email protected]
Registration: https://goo.gl/forms/T5bzVeruRNDFqsRf2

The event will be conducted in Cantonese and English
「國歌」是一種必然糾纏政治的現代文化/美學生產形式。「國歌」預設並規定某些社會文化價值;「國歌」的操演强要某種「恰當的」行為舉止;「國歌」構成了一個各方社會政治爭議組羣勢力的角力場。而「國歌」不是理所當然的文化/美學生產,「國歌」往往有崎嶇吊詭的歷史。前蘇聯赫魯嘵夫 (1894 -1971) 任內至布里茲涅夫 (1906 - 1982) 上任初年,蘇聯國歌無詞,光奏不唱了二十多年。中國的「代國歌」〈義勇軍進行曲〉因作詞者於1966年被批鬥而被禁唱,至1982 才正式成為國歌。期間更曾被填上新詞 (1978)。2000 年夏,普京當選俄國總統,恢復了蘇聯時代國歌的旋律,改填新詞。其事引發俄國全民討論,歷時兩個多月。

讓我們重溫本地流行文化過去引用國歌及有關歌曲的例子,並借鑑有關俄國國歌的討論,以及英、美例子,審視一下在特定脈絡的文化政治之中 ── 權力展示與政治忠誠操演、國族大敘述構築、社羣與族羣身份政治、感覺與情感監控 ── 「國歌」這個美學產品,怎樣被用於誘捕獵物,同時自身也不能幸免成為權力的獵物。

"National anthem" is necessarily a politically entangled form of modern cultural/aesthetic production. "National anthem" presumes and prescribes certain social-political values. "National anthem" in performance demands and distributes certain "proper" acts and behavior. "National anthem" constitutes a site where contentious social-political groups negotiate and struggle for dominance. "National anthem" is not a taken-for-granted thing. It has a history, often paradoxically bumpy. In former USSR, from Khrushchev (1894-1971) to the early era of Brezhnev (1906-1982), lyrics were absent from its national anthem. For more than twenty years it was performed only in instrumental form. Putin, being elected the President of Russia in 2000, reinstated the USSR national anthem but with new lyrics and incited a two-month public debate in the country. The then provisional national anthem of China, "March of the Volunteers", was forbidden from being sung since the political persecution of its lyricist in 1966. New lyrics were once set for the tune in 1978. It was not until 1982 that the song was officially instated as the national anthem.

We shall revisit past incidences of adapting the national anthem and related songs in local popular culture with reference to Russian, British, and American examples and examine the various context-specific cultural politics that this aesthetic product called "national anthem" has been manipulated to ensnare and be ensnared in community and ethnic identity politics, the display of power and the performance of political loyalty, the construction of national grand narrative, and the policing of feelings and emotion.

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