[ { "id": 208005, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1977", "page_number": 44, "title": "RAS-1977", "content_text": "28\n\nLEIGH WRIGHT\n\nThe state of Brunei annual report for 1956 describes the water city, Kampong Ayer, this way,\n\nSet in a wide sweep of the river, this river town is in its way unique. At high tide under favourable conditions of light it takes on quite a remarkable beauty; viewed at close quarters it is even more remarkably ramshackle. The houses are grouped together in small villages, being connected by precarious plank walkways, and there the inhabitants carry on their multifarious activities in much the same way as if they were on land.\n\nNOTES\n\n1 See e.g. O. W. Wolters, Early Indonesian Commerce; a study of the origins of Srivijaya, (Ithaca: Cornell University Press, 1967); and D. E. Brown, Brunei: the structure and history of a Bornean Malay sultanate, (Brunei: Brunei Museum, 1970).\n\nThese works have drawn upon the earlier studies of such scholars as W. P. Groeneveldt (1880) and Lien Sung (1919).\n\n2 See Brown, op. cit., Ch. XI.\n\n3 The fullest account of the Moro wars is in E. H. Blair and J. A. Robertson, The Philippine Islands, 1493 - 1898, (Cleveland, 1903 -09).\n\n4 Lord Stanley of Alderley (ed.), The first voyage round the world by Magellan, by Antonio Pigafetta, (London: Hakluyt Society, 1874).\n\n5 J. Hunt, \"Some particulars relative to the Sulo islands in the Archipelago of Felicia”, in Malayan Miscellany, I, (Bencoolen, 1820).\n\n6 James Horsburgh, Directions for sailing to and from the East Indies and China, (London, 1811), the navigational handbook for generations of British sea captains. This work drew heavily upon the surveys of eighteenth century seafarers such as Alexander Dalrymple (1774) and Thomas Forest (1780).\n\n7 S. B. St. John, Life in the forests of the Far East. (London, 1862), Vol. 2, pp. 248-49.\n\n8 British Parliamentary Papers, 1854-55, XXIX (253),\n\n9 Sarawak Gazette, 26 April, 1872.\n\n10 Henry Keppel, The expedition to Borneo of H.M.S. Dido for the suppression of piracy, with extracts from the Journal of James Brooke, Esq. of Sarawak, (London, 1847),\n\n11 S. Baring-Gould and C. A. Bampfylde, A History of Sarawak under its two white rajahs, (London, 1909), pp. 82-83.\n\n12 Lennox Mills, British Malaya, 1824-67, (reprint: Kuala Lumpur, 1966), p. 248.\n\n13 British interests in Borneo are treated extensively in, L. R. Wright, The Origins of British Borneo, (Hong Kong, 1970).\n\n14 See L. R. Wright, \"The Foreign Office and North Borneo\", in Journal of Oriental Studies, Vol. VII, No. 1, (January 1969).", "txt_file_path": "txt/dfo323lmgvd/RAS-1977.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/np198x23n", "rank": 0 }, { "id": 209939, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1983", "page_number": 198, "title": "RAS-1983", "content_text": "176\n\n3. Rhythmic diminution (Rv3). Diminution of the time-value of certain pitch(es) in the original version while the pitches of the original pattern remain unchanged (e.g.,\n\nto\n\nIn order to illustrate how these above-defined variation techniques function within the formal structure of Jiao-shi music, four excerpts are transcribed and discussed as follows.\n\nThe first excerpt is a vocal solo in the chanting style (type 3 above) with the accompaniment of er-hu, luo, and po. The beginning portion of a fifteen-minute chanting session is transcribed. The unit-pattern consists of three basic motifs, indicated in the transcription by letters a, b, and c. All three motifs are derived from a two-note motivic germ of the pitches la and mi. Motive a is the most static, having more narrative character than the other two melodically more active ones. The third motif, with its strong cadential effect from pitch ti sliding down in vibrato to la, indicates the completion of a unit-pattern. The transcription includes four versions of the unit-pattern, A1, A2, A3, and A4, each gets progressively shorter, from forty-seven quarter notes in A1 down to thirty-eight, twenty, and sixteen in A2, A3, and A4 respectively. The fourth pattern is the most compact and therefore regarded as the basic version of the unit-pattern from which the other three patterns are derived. The three motifs in the unit-pattern are strung together in two ways: a-b-c and a - ||:b-c:||; the latter can be regarded as yet another variation technique based on the re-arrangement of the order of motifs within the unit-pattern, creating extension of the pattern.", "txt_file_path": "txt/dfo323lmgvd/RAS-1983.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/j9607p61v", "rank": 0 }, { "id": 209940, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1983", "page_number": 199, "title": "RAS-1983", "content_text": "The second excerpt is an instrumental prelude of suo-na solo with percussion in the background. The transcription shows only the suo-na part. The unit-pattern is composed of four motives a, b, c, and d. Repetition of the unit-pattern takes the form of ||: a-b-c-d:|| which remains unchanged for the remaining portion of the prelude. Variation techniques used are basically those of the pitch-variant type.", "txt_file_path": "txt/dfo323lmgvd/RAS-1983.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/j9607p61v", "rank": 0 }, { "id": 209941, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1983", "page_number": 200, "title": "RAS-1983", "content_text": "178\n\nExample 3.\n\na\n\nOriginal first pitch E\n\nAZ\n\n[Pvl, Pv3]\n\n[Pvl, Pv2, Pv3]\n\nc Pv3, Rv1J\n\na\n\nd\n\n[Pvl, Pv2, Pv3]\n\n[Pv1, Pv2, Pv3]\n\n[Pv1, Pv2, Pv3]\n\n[Pvf, Pv2, Pv3]\n\n-ETC-\n\nExcerpt three is part of the solo chanting session with the accompaniment of the suo-na. The transcription shows the suo-na part only. The voice part has essentially the same melody, two octaves lower than the suo-na part. The unit-pattern consists of four motifs and is repeated in the forms of : a-b-c-d :|| and its re-arrangements |a-b-c-b-d| and | a ||: b-c :|| b-d[.", "txt_file_path": "txt/dfo323lmgvd/RAS-1983.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/j9607p61v", "rank": 0 }, { "id": 211789, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1989", "page_number": 204, "title": "RAS-1989", "content_text": "179\n\nAs was common, it was occasionally furbished up, not always to the taste of the critic who at one time in 1857 feared the decorations \"threatened to overwhelm me with a fall of flowers and garlands from the roof\". This was not at all what a member of the amateur company wanted to hear and he acidly reacted that \"as your 'witty (?) contributor' complained of being so uncomfortable amongst the roses which surrounded him, it has been proposed and seconded by one of the ladies he admires so much |Mrs. Nesbit, cf. Calendar, 26.3.1857 — JHJ to put in a few thistles for his especial benefit, should he ever honour our private theatricals with his presence”. \n\nThe theatre was also used for a number of recitals, the acoustics reportedly being good.\n\nD.\n\nFor some reason or other (had the Commercial House temporarily closed down? cf note 94) the godown theatre could not be put at the disposal of the amateurs during the 1855-1856 season so they had to look elsewhere. They were saved by the firm of Cramptons, Hanbury & Co who agreed to lease one of their godowns to the A.D.C. It was very probably situated on Church Street (Kiangsi Road) and for the opening night on January 23 1856 a drop scene of the Lake of Geneva had been painted which aroused \"a general murmur of admiration and applause\".\n\nWith the sale by public auction of the Commercial Hotel (cf note 94) in November 1858 the fate of the Theatre Royal was also sealed, and not only of the theatre itself but of the scenery and properties too, for a reporter of the Herald saw a few days after the sale \"the mangled remains of Palaces and Cottages, of Bombastes' Wood [from Bombastes Furioso — JHJ] and Captain Copp's tavern [from Charles II — JHJ] lying in sad ruins in the open air\".\n\nE.\n\nSic transit gloria mundi, but, not deterred, the Thespian society managed to obtain a new building which was proudly called The New Theatre Royal. Once again we are at a loss where to find it, no information whatsoever appearing in the Herald. It was larger than the previous house, which was deemed all right for theatricals but much less so for solo", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211803, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1989", "page_number": 218, "title": "RAS-1989", "content_text": "193\n\nC: Amateurs\n\nF: Prologue, music\n\nTh: Theatre Royal (A)\n\nN: First performance of the season\n\nR: The proscenium had been adorned with \"a very pretty drop scene of the Port of Leghorn\". The report was in general terms only; both pieces were cleverly and effectively sustained”, During the interval “a most effective Irish song was sung and the orchestra under the veteran melodist Sir George Smart gave unqualified satisfaction* (NCH 31.1.1852).\n\n23.2.1852 (Mon)\n\nT. MORTON: “A Roland for an Oliver\" (1819)\n\nT: Farce (2 acts)\n\n\"No!\" by W.H. MURRAY or F. REYNOLDS\n\nT: Farce (1 act)\n\nC: Amateurs\n\nF: Music\n\nTh: Theatre Royal (A)\n\nN: Second performance of the season\n\nR: Tonight there was a \"numerous attendance of the beau monde, but not so much as on the previous occasion\". A Roland for an Oliver was \"an old established favourite and we need only say that the scenery was admirable, the ladies well dressed, the bride quite lovely and the whole went off amidst enthusiastic cheers and bursts of applause”. The other farce \"No!\" was \"replete with fun and sly sarcasm on unequal matches between lovely young wives and gentlemen rather the worse for wear\". Somewhat contradictorily the critic continued, \"it decidedly exhibited much more spirit than its precursor and was hailed accordingly with more enthusiasm and good will\".\n\nThere was also “a solo on the pianoforte by a young lady, her first appearance, as we believe, on any stage. The rapidity of her fingering, the clearness of her touch and what is so frequently wanting with many performers, her musical emphasis, were striking. We hear that the young lady graduated at the Conservatoire at Paris and her style is characterised by that brilliancy and distinctness so marked in performances at that capital”. No more was heard of this pianist; as to her name and career we are left in the dark. Was she the wife of a local merchant or a touring artist? Or was the \"lady\" in this instance too, a “gentleman\"?? (NCH 28.2.1852).\n\n24.3.1852 (Mon)\n\nG. COLMAN Jr: \"The Review\" (1800)\n\nT: Musical farce (2 acts)\n\nR. AYTON: \"The Rendezvous\" (1818)\n\nT: Operetta (1 act).\n\nC: Amateurs\n\nF: Music\n\nTh: New Theatre Royal (A)\n\nN: Third performance of the season\n\nR: For the occasion a new drop scene, depicting the Bay of Naples, had been painted. Apart from the plays \"a company of excellent jugglers amused the visitors, with a good display of surprising feats of sleight of hand\". Possibly these were Chinese, for in the announcement (NCH 20.3.1852) it was stated that there are several parties endeavouring to obtain Native Conjurers for the next theatrical night\".\n\nOf course the whole “went off with much eclat, the characters were well sustained and admirably dressed, the scenery as usual very good and the music first rate” (NCH 27.3.1852).", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211809, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1989", "page_number": 224, "title": "RAS-1989", "content_text": "199\n\n-- it may, however, improve on further acquaintance but we had no other opportunity of judging during the evening\". The \"Turkophonini” could be heard in a solo with variations and it was deemed \"by far the most perfect and pleasing instrument of the two`. The Shanghai Redowa Waise (Redowa: a Bohemian dance) which had been \"composed expressly for this Concert and dedicated to the Ladies of Shanghai — as the programme informed us\", also performed on the Turkophonini was not thought of \"very highly”, but it convinced the reporter that \"the instrument is well adopted for that class of music\". Obviously not everyone in the audience was of the same view, for the editor wrote in the Herald of September 27: \"The critique of our reporter has been much discussed in fashionable circles and the correctness of his judgement as to the perfection of these new instruments questioned. Knowing his high attainments as a musician, we defer to his opinion. Matters of taste do not admit of dispute. De gustibus non est disputandum. We may all enjoy our own and as a second glass of wine enables us to pronounce better judgement as to its quality, so will this second performance (on September 29) by familiarizing us with the instruments enable us better to decide upon their excellence\". In Hong Kong the China Mail could not speak \"in very warm terms of praise at least as regards their suitability for solo performances\" (CM 21.8.1856). On the other hand it admitted that \"by men of cultivated taste M. Ali's talents are fully appreciated and it will be long ere those who have had the pleasure of listening to his performances will forget the sweet but powerful tones of the Turkophone or the duleet melody of the Grand Clarionet and Turkophonini\" (CM 16.10.1856). Ali Ben Sou Alle was assisted by local amateurs who played a number of pieces including two Rossini overtures on the piano; and \"very creditably\" sung Mendelssohn's \"The Fairest Flower\".\n\nThe evening was attended by a \"numerous audience, comprising the beauty and fashion of our Settlement'' (NCH 20.8.1856).\n\n29.9.1856 (Mon)\n\nA second concert by Ali Ben Sou Alle.\n\nNo review was published in the Herald, only an announcement (NCH 27.9.1856).\n\n18.2.1857 (Wedn)\n\nD. BOUCICAULT & C. MATHEWS: \"Used Up\" (1846)\n\nT: Comedietta (2 acts)\n\nJ.M. MORTON: “Box and Cox\" (1847)\n\nT: Farce (1 act)\n\nC: Amateurs\n\nF: Prologue\n\nTh: N.N. (C)\n\n―\n\nR: The season opened both under the new management of \"Peter PROTEUS\" (again: a stage name, Proteus being an old Greek who could assume different shapes, as some actors are able to; also a character from Shakespeare's \"Two Gentlemen of Verona') and with a new theatrical reviewer in the Herald: \"The Man on the Bund\" (for the current season only). And although some months later he was heavily criticized because of some strictures he made about the choice of plays, in general his articles in a highly personal style were a mere continuation of the \"nothing but praise\" attitude that so prevailed. Thus Used Up was \"rendered with unquestionable ability by Mr. Peter Proteus, the manager\" who himself played Sir Charles Coldstream; and Mr. CLAY gave the part of the forlorn, but blunt and honest blacksmith Ironbrace with much skill and effect\". Making her debut Mrs. NESBIT impersonated Lady Clutterbuck: \"One would not have thought that so much deceit could lurk under so smooth and charming a face\". She brought to this part \"not only much cleverness and knowledge of the feminine heart but a very imposing person and decided good looks; and one could not help thinking the baronet might have stumbled upon a less pretty face in his", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211822, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1989", "page_number": 237, "title": "RAS-1989", "content_text": "212\n\n26.12.1861 (Thur)\n\nConcert by Signor Robbio, violin, and some local amateurs, Programme:\n\n4\n\nL. VAN BEETHOVEN; Trio for strings in E-flat opus 3, V. BELLINI: “Norma”, the aria 'Casta Diva' arranged for violin, C.A. DE BERIOT: Tremolo\", C. GOUNOD: **Meditation upon J.S. Bach's first prelude\", i.e., the famous Ave Maria, C.M. von WEBER: \"Der Freischütz”, cavatine (presumably \"Und ob die Wolke sie verhülle”, act III), arranged for cello and piano. Sir Henry BISHOP: \"Home sweet home\" (from the opera \"Clari, the maid of Milan'), Sr ROBBIO: \"Grande Valse Diabolique“, In addition: some quartet and solo singing by amateurs.\n\nTh: N.N.\n\nR: Today the second concert by the violinist Signor ROBBIO came off \"for a very large audience\". In November he had made his debut in Shanghai but because of a gap of three November issues in the file of the Herald I have been using no details can be given. Once more, however, the paper seems to have been discontented with the selection of the pieces. Not so tonight, with the exception of one composition by Sr Robbio himself, **a work of the Paganini school” of which the critic was evidently not a lover. About the interpretations by the violinist, though, there was but praise; e.g. \"he greatly charmed his audience by the power and feeling with which he executed the beautiful air from Norma, 'Casta Diva'\". So all was enjoyable, the more so as \"for the moribund piano used at the last concert a fine 'Broadwood' was substituted, which displayed to great advantage the admirable playing of the gentleman to whom St Robbio was so much indebted for his accompaniment\". One letter writer went even so far as to exclaim that such delights in Shanghai are indeed 'like angels' visits few and far between' \"' (NCH 28.12.1861).\n\nFebruary and March 1861\n\nPerformances by \"Lewis' Australian Hippodrome” Loc: Commercial House in Hongkew\n\n-\n\n―\n\nוי\n\nN: During the months of February and March \"Lewis' Equestrian Australian Troupe\" gave a large number of performances, of which the first one was announced for February 15 and the last for March 17. The public was entertained with horses and artists, among whom Mr. and Mrs. COUSINS, Mr. BARLOW, Senior RAPHAEL, Jessi GARDONI, **Austin Shanghai**, and “Little Ella\". For all, benefits were held in March. It was not the first time that the troupe had operated on the China Coast. In December 1859 they had visited Hong Kong (CM 15.12.1859, 22.12.1859).\n\n13.2.1863 (Fri)\n\nJ.M. MORTON: \"Our Wife, or the Rose of Amiens\" (1856)\n\nT: Comic drama (1 act)\n\nH\n\nA. MAYHEW & H. SUTHERLAND EDWARDS: The Goose with the Golden Eggs T: Farce (1 act)\n\nC: Amateurs (Local and British officers)\n\n13.2.1863 (Fri)\n\nJ.M. MORTON: \"Our Wife, or the Rose of Amiens\" (1856)\n\nT: Comic drama (1 act)\n\nA. MAYHEW & H. SUTHERLAND EDWARDS: \"The Goose with the Golden Eggs' T: Farce (1 act)\n\nC: Amateurs (Local and British officers)\n\nF: Music by the band of the 67th regiment\n\nTh: Theatre Royal (G)\n\nN: First performance of the season\n\nR: Casts:", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 212559, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1991", "page_number": 113, "title": "RAS-1991", "content_text": "93\n\nThe contributions the American cultural presence made to China's cultural pluralism are obvious. In the area of music, many pieces visiting American musicians played had never been included in the repertoire of Chinese musicians. Through their performances, American musicians also introduced to the Chinese people the works of American composers. In July 1980, the Minnesota University Symphony Orchestra toured China. The pieces it presented were almost exclusively by contemporary American composers. Some of what was served up for cultural consumption was especially impressive to Chinese audiences for its American characteristics. The dances by Graham Young's students were loudly cheered by the audience, a major part of which was of college students, as there had seldom been on Chinese stages such vivid and humorous performances or such a free treatment of the actor-audience relationship.\n\nThe diversity American artists brought to Chinese cultural life was also expressed in the expansion of activity to performances of some particular instruments on the Chinese stage, such as the harp and mouth organ. Before the Chinese-American mouth organist Huang Qingbai made his first visit to China in 1979, this instrument had been regarded by Chinese as merely a toy. Though his efforts, the mouth organ has been established as a musical instrument of artistic value and incorporated in the orchestra, though some Chinese musicians still hold a negative view of it. Similarly, Chinese audiences first saw a harp solo and harp ensemble during performances of incoming American musicians in 1981.\n\nThe influx of American artistic endeavours also affected the activity of already established Chinese artists. Thus the first generation of Chinese ballet dancers were trained by Russians. As a result, Chinese ballet followed a distinctive Russian tradition. But what has surprised the Russians in recent years was that they have seen a successful combination of both Russian influence and Western approaches in the current performances of Chinese dancers. There are, of course, many factors in this transformation, but the most direct source of the new approach came from Ben Stevenson, the artistic director of the Houston Ballet who has been deeply involved in China's dance education since 1979 and who has visited China several times since 1980 when he came to China as the first American on the short term exchanges sponsored by the Center for U.S.-China Arts Exchange.\n\nNurtured by a ballet school which originated in Russia and was", "txt_file_path": "txt/dfo323lmgvd/RAS-1991.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/k356gt84j", "rank": 0 }, { "id": 213565, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1995", "page_number": 161, "title": "RAS-1995", "content_text": "130\n\nThere has been some speculation that the group of words ending in -um (de-lam, ki-lam, etc) represent a specific grammatical form. But in Tong, these words are given as a basic form and in nearly all cases are derived from English words which end in -l or -ll; si-bui-lam (spoil), de-lam (tell), go-lam (call), gi-lam (kill), bui-lam (boil), and se-lam (sell). It is worth noting that all these are verbs. I speculate that these were first introduced into Pidgin in their present participle form (-ing) and that through an East China dialect, the syllable in (lam in Cantonese) was used to represent -ing in English. Let's look at some other well-known Pidgin words with less obvious derivations.\n\nChop\n\nHobson Jobson and other major sources give as the origin the Hindi word, chhap, a word denoting an official stamp or the act of emprinting. Macau patoa: chapa - Documento oficial emanado das autoridades chinesas. Marca, selo, carimbo. (G. N. Batalha). Tong Ting Shue lists the word as a measure (chop) of tea. The character used is chaap, “to insert”.\n\nChop chop\n\nMost sources give as the origin of chop-chop a Chinese word with a similar sound. Hobson Jobson offers a number of dialect pronunciations of the word pronounced in Cantonese gap. None of these is particularly near to the sound chop.\n\nTong writes it as jap-jap, the characters for \"to pick up\". This does not help. We have searched a number of Chinese dialect vocabularies and failed, so far, to find any Chinese word in any dialect denoting “quick, fast” which sounds as if it could have been the origin of chop-chop.\n\nChop-sticks\n\nThe OED and all other major sources are persuaded by the argument that the word is connected to the Pidgin chop-chop, meaning quick. That is, the Chinese eat with sticks, the sticks enable them to eat fast, therefore they should be called \"fast-sticks\". The Macau patoa word is faichi.", "txt_file_path": "txt/dfo323lmgvd/RAS-1995.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/95941j25g", "rank": 0 }, { "id": 213920, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1996", "page_number": 272, "title": "RAS-1996", "content_text": "250\n\n+ Cf Zelenino Sarmento «A Igreja de S. Francisco» in Conero do Ribatejo, N° 3 531 (20) de Dezembro de 1958). This article, in spite of being noted by Joaquim Verissimo Sertao in Santarém Historia e Arte, 2 a edição, Santarem, 1959, p 146 and cited in the bibliographical guides Santa ém Subsídios para uma Biblio-grafía Santarém, 1971 and Santarém Achegas para uma Biblio-grafia [the title on the cover of this work reads: Novas Achegas para a Bibliografia de Santa ém] Santarém, 1979, has been lost sight of (However it has been republished in a collectanea of his publications and writings by the Câmara Municipal de Santarém in 1993 with the title Histona e Monumentos de San-ta ém, at pas 55-62) The urn was known to Gerard Pradalié and is cited in his thesis Saint-François de Santarém (Université de Toulouse-Le Murail, 1972, at p 68), of which a copy can be seen in the Biblioteca Municipal de Santarém, and which has been translated to Portuguese and published by the Câmara Municipal de Santarém in 1992 with the title O Convento de São Francisco de Santarém In this publication (and in the thesis) he shows no knowledge that Martim Afonso de Melo had anything to do with China (he is mentioned at p. 94 of the publication and p. 68 of the thesis) Vítor Serrao, who wrote the Preface to the translation, shows no knowledge of the urn in his Santarém, Lisbon, 1990 and asserts (at p. 34 of the cited work) that Martim Afonso de Melo was figura grada do Santo Offc to without proof\n\n* We need only cite two nobiliários in the Biblioteca Municipal de Santarem: that of Diogo Gomes de Figueiredo, Tomo 9, pas 445-447 (call number 2/6/36) and that of Jorge Saler de Mendonça (e outros), Tomo 15, folios 1191 and v (call number 35/3/15) Various nobiliários found in other libraries might be cited D Branca Coutinho is buried in the same capela of Santa Ana and a copy of her sepulchial inscription, in which she is noted as wife of Jorge de Melo, can be found in Ignacio da Piedade e Vasconcelos, op. cit, p 202 She is Martin Afonso de Melo's mother\n\n* Ch my Martim Afonso de Mello Captam-Major of the Portuguese fleet which suited to China in [522 being the Portuguese text of two unpublished letters of the National Archives of Portugal. Bethesda, Maryland. 1972 and Joao Paulo Olivena e Costa's «Do Sonho Manuelino ao Realismo Joanino Novos Documentos sobre as relações luso-chinesas na terceira decade do Século XVI», Studia, N° 50. Lisbon, 1991, pas 121-155 He would have been virtually viceroy of China, independent of the governor of India, it all had gone according to plan\n\n7. It is curious to observe in Piedade e Vasconcelos' version of the inscription D. Maria Henriques is said to be the nora (daughter-in-law) of Martim Afonso de Melo In the nobiliários that I have seen she is said to be his wife This is certainly the case The Chancelaria of D Joao III (Doações, Livro 14, folio 19V), proves that she was indeed the wife of Matum Afonso de Melo In the original inscription in the part where the word mulher (wife), or some form or abbreviation thereof should appear it is unfortunately broken away", "txt_file_path": "txt/dfo323lmgvd/RAS-1996.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/3n209j641", "rank": 0 }, { "id": 214375, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1998", "page_number": 233, "title": "RAS-1998", "content_text": "199\n\nTHE DISTRICT WATCH FORCE\n\nSHEILAH HAMILTON\n\nIn general the Force now appears to the Police to be an unwelcome anachronism, to the Chinese population to perpetuate a valued tradition, and to all civil servants not serving in the Secretariat of Chinese Affairs (as well as some who are) as an imperfectly comprehended mystery.\n\nIn the 1960s the Secretary for Chinese Affairs, Mr John C. McDouall, described the District Watch Force in the above terms. This telling statement by the Government official in charge of the District Watch between 1957 and 1966 illustrates the opposing views held about the 'Force' by various sections of Hong Kong society. Indeed, the solo use of the word 'Force,' without its more familiar qualification, 'Hong Kong Police', would have been an anathema to many members of the Hong Kong Police Force whose officers considered that they, and only they, represented the true 'Force.' This 'them and us' notion neatly illustrates the problems faced by the District Watch Force throughout its long history.\n\nIn 1971 the sociologist Henry Lethbridge contributed a paper about the District Watch Committee to the Journal of the Hong Kong Branch of the Royal Asiatic Society and, seven years later, it was reproduced as a chapter in his book Hong Kong: Stability and Change.2 Although these early works included the District Watchmen and their duties, their main thrust was the political significance of the District Watch Committee rather than a commentary on the work of the lowly Watchmen and, in the years that followed, the contribution of this band of local private security personnel has received little attention. This paper examines the birth and development of the District Watch Force, a group of Chinese men who may be regarded as comprising the first organised body of Chinese private security personnel employed in Hong Kong. More specifically, it explores the interaction between the Hong Kong Government and the District Watch Force.3\n\nThe District Watch Force existed, in fact if not in name, for more than a century between 1866 and 1970. During this period it", "txt_file_path": "txt/dfo323lmgvd/RAS-1998.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/1g05n0794", "rank": 0 }, { "id": 216012, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-2002", "page_number": 311, "title": "RAS-2002", "content_text": "245\n\nCHINESE ARCHERY - AN UNBROKEN TRADITION?\n\nSTEPHEN SELBY\n\n(Author's note: - In an attempt to keep Chinese Characters out of this text, I have rendered all Chinese names in Pinyin. References to my book, 'Chinese Archery' (Hong Kong University Press, 2000. ISBN 962-209-501-1) will take readers to the Chinese characters for, and translations of most of the referenced sources.)\n\nCHINESE ARCHERY\n\nSkill in traditional archery died out in China (among the Han Chinese, at least) at the turn of the 20th Century, when the Emperor Guangxu deleted archery from the syllabus of the Imperial Military Examination in 1901. Before that, however, archery had always had a place in the imperial military examination system since its inception in the Tang Dynasty in the year 702 of our era. Indeed, archery had been an important element in Chinese aristocratic life well before that, and was mentioned in oracle bone inscriptions dating back almost 3,500 years before the present time.\n\nAt the heart of nearly all Chinese martial arts forms still practiced today (whether individual solo sets or paired fights) is the concept of face-to-face combat with the hands or weapons. Ritual archery is different: two competitors shoot at a common target. For this reason, ritual archery was singled out by Confucius, who said that archery was the only proper way a 'civilized man' could compete. Confucius's endorsement was enough to assure archery a prized place among the Chinese martial arts for centuries.\n\nIt is not possible to describe in simple terms what Chinese archery 'was like'. It was practiced by millions of people over thousands of years. At times there were dozens of schools with their own methods. In addition, there were different styles for different purposes.\n\nFor example, shooting with either the bow or the crossbow were both considered to be “archery.\" Bows could shoot an arrow or else a hard", "txt_file_path": "txt/dfo323lmgvd/RAS-2002.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/mp4901278", "rank": 0 }, { "id": 216291, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-2003", "page_number": 50, "title": "RAS-2003", "content_text": "that the tower might have been a lighthouse, silo, Martello tower, fort, folly or a windmill. However, our President, Dr. Patrick Hase, and HKBRAS Council Member and local historian, Mr. Ko Tin-keung, have identified the structure as an old Imperial Maritime Customs Post built probably in the latter half of the 19th century. It was leased by the Hong Kong Milling Company from 1905 to 1925. AMO is looking for a volunteer to carry out further research. Is anyone interested?\n\nEarly Modernist Buildings\n\nThe Executive Secretary (Antiquities & Monuments), Dr. Louis Ng would like us to draw up a list of early modernist style (Bauhaus, International, Art Deco) buildings still remaining. Examples include the Royal Hong Kong Yacht Club (1941), Wan Chai Market (1937) and the Vice-Chancellor's Residence, HKU (1950). If anyone knows of any such buildings please let me know the address. When I have got a list together I will organize a field trip to assess them.\n\nGovernment Policy on Built Heritage Conservation\n\nGovernment is now reviewing the policy on built heritage conservation and is consulting the public. A Consultation Document (Executive Summary) can be picked up at the AMO Reception Desk, 136 Nathan Road, Tsimshatsui. Comments and views should be sent to the Home Affairs Bureau by 18 May 2004.\n\nNew Members\n\nI would like to welcome the following new members of the Volunteers :-\n\nName/Interests\n\nDebbie Levin/Local history and culture\n\nJonathan Luk/Cemetery surveys\n\nThomas Foo/Cemetery surveys\n\nWe look forward to meeting our new friends at our next get-together.\n\n1", "txt_file_path": "txt/dfo323lmgvd/RAS-2003.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/2v242g390", "rank": 0 } ]