An Academic Biography of Liu Ching-chih: A Man of “a Pure Heart”
- Author: Li, Yongyan
Book
$112.75Contents
- Acknowledgements Prologue
- Chapter 1 . From Moving to Hong Kong in 1948 to Earning PhD in 1983
- 1. 1 CC from Tianjin to Hong Kong and his early music life
- 1. 2 Passing the examinations of LTSC (1962), AMusTCL (1962) and LRSM (1963), while being an "increasingly disillusioned" school teacher (1958-1966)
- 1. 3 Working for the BBC as a Senior Translator (1966-1973) and earning a Bachelor of Arts degree from the University of London (1972)
- 1. 4 Becoming an anti-colonial, innovative administrator at the University of Hong Kong (1973)
- 1. 5 Earning MPhil (1979) and PhD (1983) degrees by researching Yuan zaju
- Chapter 2 . Organising research seminars and publishing seminar monographs at the Centre of Asian Studies (CAS), University of Hong Kong
- 2. 1 CC launching his decades-long research project on the history of new music in China
- 2. 2 CC's definition of the term "new music" and his academic stance on the new music in China
- 2. 3 CC's academic activities as documented in the CAS Reports
- 2. 4 Raising funds through personal connections for organising the seminars and publishing the seminar monographs
- 2. 5 Leadership and conflict management
- 2. 6 Key design features of the seminars organised by CC
- 2. 7 Debates between CC and Doming Lam
- 2. 8 CC playing his own "game" and creating monographs in "series"
- 2. 9 The CAS, University of Hong Kong as CC's academic home base
- Chapter 3 . The Chinese Editions of A Critical History of New Music in China: Criticisms and Responses
- 3. 1 The publication of the first Chinese edition of A Critical History of New Music in China (Liu, 1998a)
- 3. 2 Shilun (Liu, 1998a) being severely criticised at the Beijing symposium
- 3. 3 "The blue-covered book" (Liu & Li, 2001) and CC's articles of responses to the criticisms
- 3. 4 CC's responses to the criticisms on Shilun (Liu, 1998a) from mainland musicologists
- 3. 5 The 6th, or the last, Seminar on The History of New Music in China
- 3. 6 CC's long-term vision for the research on the history of new music in China
- 3. 7 CC valuing academic exchanges with mainland counterparts
- 3. 8 Mainland musicologists affirming the value of Shilun and CC's pioneering work
- 3. 9 Mainland musicologists' perspectives on CC as a person
- 3. 10 CC's perspectives on his clashes with mainland musicologists in academic views
- 3. 11 Preparing to revise the first edition of Shilun (Liu, 1998a)
- 3. 12 Working with Hou Yan in correcting the factual mistakes in the first edition of Shilun (Liu, 1998a)
- 3. 13 The publication of the expanded edition of Shilun (Liu, 2009a)
- 3. 14 The publication of On New Music in China (Liu, 2009b)
- 3. 15 CC presenting talks and writing papers related to Shilun from 2000 to 2015
- 3. 16 An aborted plan of having Shilun published in simplified Chinese characters in mainland China
- Chapter 4 . The English Edition of A Critical History of New Music in China: Criticisms and Responses
- 4. 1 Working with British sinologist Caroline Mason in the translation project
- 4. 2 Revising the English manuscript of A Critical History of New Music in China in response to a reviewer's criticisms
- 4. 3 Submitting the final version of the English manuscript of A Critical History of New Music in China
- 4. 4 Six English-medium book reviews on A Critical History of New Music in China
- 4. 5 CC's responses to the six book reviewers in Liu (2018a)
- 4. 6 A research colloquium on A Critical History of New Music in China at the University of Hong Kong
- Chapter 5 . The Three Library Collections Named after CC
- 5. 1 The C. C. Liu Collection at the University of Hong Kong Libraries
- 5. 2 The C. C. Collection at the Institute of Chinese Studies, University of Heidelberg, Germany
- 5. 3 The Liu Ching-chih Collection at the Hong Kong Central Library
- Chapter 6 . CC Teaching in the Department of Music Education, Shanghai Conservatory of Music as a Visiting Professor
- 6. 1 The appointment of Visiting Scholarship and CC's course teaching
- 6. 2 Supervising Master dissertations
- 6. 3 Being respected and loved by the students
- 6. 4 CC's own accounts of his teaching at the Shanghai Conservatory of Music
- 6. 5 CC's other academic activities associated with the Shanghai Conservatory of Music
- Chapter 7 . CC's Project on A Critical History of Music in Hong Kong
- 7. 1 The 1990s-2005: Early preparations, Liu (1997d), and a book proposal in 2005
- 7. 2 2006-2014: CC's process of writing A Critical History of Music in Hong Kong (Liu, 2013a, 2014a)
- 7. 3 After the publication of A Critical History of Music in Hong Kong (Liu, 2013a, 2014a)
- 7. 4 The anticipated publication of A Critical History of Music in Hong Kong in simplified Chinese characters by the Shanghai Conservatory of Music Press
- 7. 5 Envoi
- Chapter 8 . CC as a Music Critic
- 8. 1 CC as a prolific scholar-music critic
- 8. 2 The beginning of CC's career as a music critic
- 8. 3 CC on music criticism
- 8. 4 Attending concerts in Hong Kong
- 8. 5 On the diminishing space for publishing music reviews in Hong Kong
- 8. 6 The reception of CC's music reviews in Hong Kong
- 8. 7 CC as an enthusiast for Wagner's Ring and his preparation of a talk on Ring in December 2014
- 8. 8 Two public talks in 2017 by CC as a music critic
- 8. 9 Attending the annual Macao International Music Festival
- 8. 10 A musical traveller in Europe
- 8. 11 Communicating with the organisers of the overseas music festivals
- 8. 12 Overseas travelling in the decade of 2009-2018
- 8. 13 CC and the pianist Fou Ts'ong
- 8. 14 Envoi
- Chapter 9 . CC as a Translation Scholar
- 9. 1 The double helix of music and translation from the early years onwards
- 9. 2 CC as a witness and creator of the history of the Hong Kong Translation Society (HKTS)
- 9. 3 The HKTS's seminars on translation in the 1980s and some books on translation edited by CC
- 9. 4 The HKTS reaching out internationally from the mid-1980s under CC's leadership
- 9. 5 CC's articles on translation in Liu (1996a)
- 9. 6 CC's research on the translation syllabuses at the tertiary level in Hong Kong in the late 1990s
- 9. 7 CC's views on translation studies as shown in his publications after Liu (1996a)
- 9. 8 An interview conducted by Leo Chan Tak-hung with CC in August 2004
- 9. 9 CC's talks and presentations as a translation scholar from 2000 to 2018
- 9. 10 Part-time translation teaching and related services
- 9. 11 CC as a diligent writer of the history of the HKTS
- 9. 12 Two things that CC did not do: To become a historian of translation and to publish a volume of translations
- 9. 13 Envoi
- Chapter 10 . CC's Academic and Cultural Services
- 10. 1 CC as the President of the Hong Kong Ethnomusicology Society and his regrets
- 10. 2 CC's connection with the Hong Kong Sino-British Fellowship Trust Scholars' Association (HK-SBFT-SA) and his one regret
- 10. 3 CC's unpublished "Memoir
- Part III ", on the (Chartered) Institute of Linguists Hong Kong Regional Society
- 10. 4 CC's service to the Hong Kong Pei Hua Education Foundation
- 10. 5 CC's service to the Hong Kong Society for Rehabilitation (HKSR)
- 10. 6 CC's service to the Hong Kong Philharmonic Society (HKPS)
- 10. 7 CC's service to the Hong Kong Children's Choir (HKCC)
- 10. 8 CC's connection with the Wuhan-Hong Kong Friendship Society
- 10. 9 Envoi
- Chapter 11 . A Cultural and Linguistic Profile of CC, His Philosophy of Life, and His Reflections
- 11. 1 A cultural and linguistic profile of CC
- 11. 2 CC's personality and character
- 11. 3 Philosophy of life
- 11. 4 Dedication to work and commitment to leading a healthy life
- Chapter 12 . This Book Project as a "Joint Project" with CC
- 12. 1 Our discussion of the "joint project" over time
- 12. 2 CC's writing of "Memoir
- Part I ,
- Part II , and
- Part III "
- 12. 3 My process of working on this book
- 12. 4 The research that underlies this book
- 12. 5 Why this book is written in English
- 12. 6 Stylistic aspects and the length
- 12. 7 The cover design
- 12. 8 Looking ahead Epilogue
- References
- Appendices