[
    {
        "id": 212536,
        "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": 90,
        "title": "RAS-1991",
        "content_text": "70\n\nhostile rhetoric, they provided no chance for their citizens to know the other country and its people. So, when Nixon made his initiatives to open relations with China, cultural exchanges did receive certain priority, at least as a gesture to break down the fence between the two countries. He lifted restrictions against wanting to travel to China. China, similarly extended to an American table tennis team an invitation to visit China, which was accepted and the trip was made.\n\nFollowing the Nixon visit, American interest in China soon mounted. American cultural groups began to arrive. Among these visitors, the most important was the Philadelphia Orchestra, the first major Western musical group to tour this country. The Philadelphia Orchestra performed in Beijing and Shanghai, staying in China for ten days from 12-23 September 1973.\n\nIn both cities the Philadelphia Orchestra was given a very courteous reception. The then powerful Politburo members in charge of ideology and cultural affairs, Jiang Qing and Yao Wenyuan, attended their performance in Beijing and chatted with leading members of the group afterwards. Meanwhile, the media gave friendly and sufficient coverage of the event. The media even allowed a musician to publish, in a leading newspaper, a review entitled \"friendly, enthusiastic and glorious\" in which he said that the Chinese people and Chinese art workers were very pleased to have the opportunity to enjoy the performance of this world-renowned American performing group and that China could learn from the American artists. He also expressed his hope for further development of friendship between Chinese and American artists and people.\n\nThe tour by the Philadelphia Orchestra took place against the background of the contemporary impoverished Chinese artists scene. Throughout the Cultural Revolution there had been a consistent tendency to eliminate foreign influence in arts and to produce a new \"proletarian\" culture for the Chinese people. As a result, many musicians, a large number of whom had been trained in the west, were either sent to prisons or to the May 7th Cadres' Schools to receive re-education. At the same time, the surviving musical organizations could hardly perform any symphonic music, due to the political environment and lack of qualified musicians. Under such circumstances the significance of the Philadelphia Orchestra's visit could only be political, not artistic.\n\nBy their use of the media and arts as the means for power struggle,\n\nPage 90\n\nPage 91",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1991.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/k356gt84j",
        "rank": 0
    },
    {
        "id": 214228,
        "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": 86,
        "title": "RAS-1998",
        "content_text": "49\n\nYeung, Chris (1998a, March 22), 'Broadcaster stays open to debate,' Sunday Morning Post.\n\n(1998b, March 27), 'Civil servants fail to see joke,' South China Morning Post.\n\nZeldin, Theodore (1983), The French, Fontana Paperbacks\n\nNOTES\n\nDiscussion with Howard Young, Legislative Councillor Hong Kong Special Administrative Region, the People's Republic of China, 1 February 1999.\n\n2 These appear to be mainly Mainland Chinese jokes with some added, in stages, from Hong Kong and Taiwan. Some jokes appear to be 15 or so years behind the times. Many are not really funny. See Internet web page: http://www.sc.cninfo.net/index/new/yml.htm.\n\n3 Carol A. R. Andrews, Assistant Keeper, conducted a 'gallery talk,' April 1997, on Ancient Egyptian Humour.\n\n4 Mr Bean is played by Rowan Atkinson who was said, in 1998, to be Britain's highest paid actor: see South China Morning Post, 15 November 1998.\n\n5 Howard Young, who although himself a Hong Kong Chinese, tells western jokes as he finds Chinese jokes, to use his own words, 'boring;' interviewed by author on 1 February 1999.\n\n6 This is, in other words, the Lun Yu, one of the Chinese Classics which has been the essence of Confucianism for more than 2,500 years.\n\n7 Fok and the author worked together in the Hong Kong Education Department up to 1980.\n\n8 The 'Gang of Four,' which had been centred around Mao Zedong during the Cultural Revolution, was arrested in October 1976, less than a month after Mao's death. The 'Gang' consisted of Jiang Qing, Mao's widow, Yao Wengyuan, Zhang Chunqiao and the youthful Wang Hongwen.\n\n9 Chinese soldiers too exhausted to march on were taken to the nearest habitation,",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1998.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/1g05n0794",
        "rank": 0
    },
    {
        "id": 215346,
        "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-2001",
        "page_number": 123,
        "title": "RAS-2001",
        "content_text": "71\n\nobvious to any Chinese with an ounce of nous. Two years later he wrote a play, Hai Rui Dismissed, purporting to be about Hai Rui. This was seen as a covert attack on Mao Zedong's purge of Marshal Peng Dehuai who had openly blamed Mao for the 1959 famine. The purge of the Peking hierarchy led by Yao Wenyuan, a Communist political writer in 1965 [who was later one of the Gang of Four], is usually seen as the overture to the Cultural Revolution in China, Hai Rui being used as a symbol for Peng Dehuai, Mao's fallen rival.\n\nIn a Hainanese community temple dedicated to the Jade Emperor near Bukit Mertajam in northern Malaysia two images flanked the main deity, on his left hand his Fourth Daughter and on his right Luo Yanhua, about whom nothing more is known other than she is claimed to be a unique Hainanese deity. Her image has not been seen or recorded anywhere else, hand, and aide to the Fourth Daughter.\n\nAlthough Lishan Laomu is primarily a Chaozhou local folk religion cult goddess she is also worshipped widely in Hainanese temples where she is regarded as a Hainanese cult. Lishan Laomu is her more popular title rather than Lishan Shengmu, though considering the ambiguities in legend, title and the initial character, it is open to question whether we might have more than one deity here. Three different characters for Li, all homophones, have been noted. The first means black, the second pear, and the third black horse. The first is the more popular version in central Malaysia and Hong Kong. The second appears to be the character preferred by the Hainanese, and the third has only been encountered in Taiwanese temples. She was referred to in a Saigon Hainanese temple as either Yimei Niangniang 懿美娘娘 or Yide Niangniang 懿德娘娘.\n\nAn elderly lady temple keeper in Kowloon approached the deity and \"introduced\" me to Lishan Shengmu as ‘a foreigner who wished to disperse the mists of his ignorance.' She told me that Miss Fan, a Daoist nun, had been summoned by Tian Hou to Heaven to be trained to become an Immortal and is now a caring spirit known as Lishan Shengmu, the Saintly Mother [or Matron] Lishan.\n\nIn an interesting but typical misconception an odd title of a deity was noted in a temple in Lincoln Road in Singapore where the custodian who claimed to be Hainanese also claimed that all the deities were",
        "txt_file_path": "txt/dfo323lmgvd/RAS-2001.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/zg651950g",
        "rank": 0
    }
]