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2009-2010 Annual Report 年度報告
Office of Service-Learning, Lingnan University
Growing and Thriving-Experience Touching Service-Learning Moments Together
With the theme of “Growing and Thriving – Experience Touching Service-Learning Moments Together”, this issue will focus on “the relationships”, showing how Lingnan students established close relationships with knowledge and society through participating in various Service-Learning programs.
茁壯成長
此年報以「茁壯成長 – 與你一起體驗服務研習的感動」為主題，為您呈現嶺大學生如何藉著「服務」和「研習」，重新建立與知識和社會的關係。
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星級服務研習「嶺」袖之旅2009-2010 : 雲南中國遠征軍追憶之旅特刊
Office of Service-Learning, Lingnan University
「2008年清明節，我與父親前上司的家人一起吃晚飯期間，其中一位軍官的外孫將其外公以前所拍下的照片整理成為一本圖片集，並送了一本給我。回到家中，隨手翻閱圖片集的其中一集，發現一張1947年拍下我父親臉相的照片，幸運的是，我當時仍珍藏一張父親二十年前的照片，仔細檢視後，發現這兩張相內的主角臉相是一模一樣!正因如此，我開展了對滇緬抗戰的歷史研究…」
聽著香港警務處屯門警區指揮官兼中華精忠慈善基金會會長的蔡建祥總警司在飛往雲南騰衝的途中細說他開始研究滇緬抗戰的機緣，正好為三十七位「嶺」袖之星(十九位嶺南大學與十八位中四學生)揭開「中國遠征軍追憶之旅」的序幕。由蔡警司親自率領「嶺」袖之星及屯門區、九龍城區少年警訊走到廣州、雲南、考察黃花崗七十二烈士墓園、龍陵抗戰紀念文化廣場、董家溝日軍慰安所、惠通橋、松山戰役遺址、國殤墓園、滇緬抗戰博物館等地，從昔日抗戰老兵的訪談中學習未被廣泛認知的滇緬抗戰歷史，這本特刊記錄了此次考察活動的成果。特刊主要分為四部份，首先是簡述滇緬抗戰的歷史背景，第二部份「抗日遠征軍戰史教育行」是關於每個考察地點的小知識及參與同學的心聲，第三部份的「抗戰老兵專訪」記錄了受訪老兵的故事，最後一部份為「嶺」袖之星的感言。
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Integrated learning programme 2009-2010 : term 2
Student Services Centre
This Integrated Learning Programme(ILP) guidebook provides details about ILP courses offered during 2009-2010 second term in Lingnan University, Hong Kong.
The guidebook is in blue mono-tone and has inverted design; it featured the introductioon of First Year Experience Programme (FYEP) in Lingnan University.
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Integrated learning programme 2010-2011 : term 1
Student Services Centre
This Integrated Learning Programme(ILP) guidebook provides details about ILP courses offered during 2010-2011 first term in Lingnan University, Hong Kong.
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Walk-in Tuen Mun
Ying Chi, Stella TANG (鄧凝姿)
A Residency Project by Tang Ying Chi
The project was started with one photographic image of a Tuen Mun street scene. The image was then saved to the computer and projected onto a small canvas with a projector. Students, staff and visitors from Lingnan University were invited to visit the studio and trace the projected images using acrylic paints. These participants came at different times and worked individually or with others who were known or unknown to them. There was no requirement or experience needed for the participation; and it was also unnecessary to have any personal reaction to the work. Of course, individual choices were made by the participants. For instance they chose to paint a certain part of the images by moving/using the focus button of the projector; and they also decided on colours for their tracing/ painting work. Most of time, the participants worked under the light, each painting the same image of a street scene at Tuen Mun which was taken by the resident artist. This was regarded as one part of the project.
The second part of the project is a group of nine pieces of painting by the resident artist, using a similar approach to that used by other participants. The difference was that the artist finally decided to paint the sky as final remarks on the whole process whereas the participants were told to limit themselves to the human construction part of the composition in their paintings. Yet, the participants can decide whether they will paint the sky when they receive the work after the exhibition.
The third part is the video work which consists of two videos. One video is about the painting process. While the participants painted, they were playing a role as visitors, making a virtual walk through the photo of Tuen Mun. Another video is real street scene which gives an example of the actual place.
The project is a preliminary study in re-thinking the meaning of painting in contemporary Hong Kong by referring to the general languages of a few media. The 50 painting are regarded as data which are the results of experimentation. With the assistance of photographic and computer technologies, the participants were able to contemplate and produce specific works. The videos are romantic documentation of the existence of the real situation. They are all displayed together by referring to only one image – a section of Tuen Mun near Lingnan University. This is a journey that started from Lingnan University and tried to reach into the greater Tuen Mun area, yet ended up in the same area again.
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Déjà Vu 憶 ‧ 記 : a journal of creative writing (volume VII, 2010)
Undergraduate majors, Bachelor of Arts (Honours) in Contemporary English Studies (2010-2011), Lingnan University
Editor's Note
When I was at school, no career officer ever asked: Who wants to be a writer? There were no leaflets. No guidelines. I never even met another author who might point me in the rough direction, or even - standing far ahead of me on the bleak and windswept heath - give me footsteps within which to set my own.
And really, there is no blueprint. No secret path, or hidden door, no singular road less travelled. But there are many steps; and many of the first are faltering or hesitant and often embarrassing! But all steps, however faltering, lead somewhere, and the writing collected here reflect the many stages of a writer's life, with toddlers mixing in with old wanderers and wrinkled and published veterans. They are as diverse as a crowd of faces. What unites them is the quality of the writing.
In 200AD, the Chinese poet Lu Chi, author of The Art of Writing, wrote that ‘each writer finds a new entrance into the Mystery’. What is that mystery? Surely it is the experience of being human in a continually shifting and constant world: the essence of our desire to tell our stories.
Lu Chi also spoke of the joy of words - I might add ideas and images and emotions 一 being hooked up like fish, leaping from the deep. Some of the fishers collected here are new to the art, others a long way along the path. It is an honour to be able to bring this haul together.
Welcome, Dear Reader!
Come fishing... !
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Please vote for me = 請投我一票
Haitian, Elisabeth WANG and Xiaotang, Music YIN
Film Director: Chen Weijun (陳為軍)
Film Release Year: 2007
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That moment now = 此時．那刻
Tin Yan, Celia KO (高天恩)
Art Exhibition by Celia Ko
In a new exhibition ‘Th at Moment Now’ on show at Lingnan University, Hong Kong artist Celia Ko presents three bodies of work that take as their subject the artist’s relationship to her maternal Chinese ancestry. In pursuing her subject Ko has created a trilogy of images through which the interior life of her family is approached from diff erent vantage points. Using large-scale images and hand made garments and jewellery Ko explores the pervasive power of familial myths and narratives.
The first part of the exhibition are large-scale portraits of her mother’s parents: grandfather Ling Tak Hung and grandmother Chan Chung Pak. Ancestor portraits are nothing new in China, their history stretching back to at least the Ming Dynasty. Typically such images are venerated at the family alter. Seated in authoritarian majesty they hover over family life as symbols of continuity and longevity. Ko’s portraits however break with the schematic conventions of ancestor imagery. Far from the Confucian ideal these larger than life images are derived from black and white photographs that reveal a couple in the fullness of life. Th e expressions animating their faces seem eerily suggestive – grandfather relaxed and confi dent, his wife rather less so: postures that one imagines might ripple across generations.
The second body of works are again larger than life, in this case depictions of Chinese ceramics and lacquer ware. Painted black on black the images stand as metaphors of family story telling – the past dimly evoked, present yet somewhat undefined. In common with ancestor portraits, ceramics and lacquer ware are definitively Chinese productions. As heirlooms they are symbols of continuity and prosperity. But as these images reveal, inheritance encompasses not only goods and chattel but social and personal conventions as well. These containers appear as dark repositories, of secrets or pacts, both spoken and unspoken made in the confi nes of the family home.
In contrast the garments assembled by Ko speak of outward appearance and social standing. With their rich fabrics and ornamentation, they announce their wearer’s confident place in the world. Inspired by costumes worn during the late Ch’ing Dynasty the artist has embellished these pieces with talismans of contemporary life, and in doing so draws a line between past and present. Discernibly, Ko’s work is concerned with both personal sentiment and broader social canvas. As statements of her Hong Kong heritage they stand in stark comparison with the island’s outwardly mercantile façade and in this they take their place with similar such artists who are likewise passionate about the cultural life of their island home.
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2008-2009 Annual Report 年度報告
Office of Service-Learning, Lingnan University
Uniting Social Capitals for the Global Society
With the theme of “Uniting Social Capitals for the Global Society”, this issue will let you know how we connected the community with care and sincerity through various Service-Learning programs.
凝聚社會資本
此年報以「凝聚社會資本」為主題，讓您感受到我們如何從心出發，透過各類型服務研習計劃表達對社區的關心。
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Integrated learning programme 2009-2010 : term 1
Student Services Centre
This Integrated Learning Programme(ILP) guidebook provides details about ILP courses offered during 2009-2010 first term in Lingnan University, Hong Kong.
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香港視障長者生活質素調査 : 應用手冊
The Hong Kong Society for the Blind 香港盲人輔導會 and Asia-Pacific Institute of Ageing Studies, Lingnan University 嶺南大學亞太老年學研究中心
隨著社會的發展，社會大眾對生活的要求亦日益提高。人們並不滿足於基本的生活程度，而是追求舒適的生活環境，高質素的服務，對身體狀況亦更加關注。
在90年代中期開始，香港的學者開始研究「生活質素」這個課題，並發展出一些適合香港使用的「生活質素」量度工具。社會上不同群體對生活質素的界定及期望，可能和一般市民有所不同，要量度以致改善他們的生活質素，便需要特定的量度工具。
香港盲人輔導會於2008年委託嶺南大學亞太老年學研究中心設計了一份有關視障長者生活質素的問卷，並成功訪問了580位55歲以上分別居住在社區及院舍的長者，以便了解他們的生活質素。
是次研究的目標為：
1. 從香港視障長者的角度出發，發展一套量化及可量度視障長者生活質素的工具；
2. 為香港視障長者的生活質素提供一個研究上的參考基數；
3. 以視障長者生活質素量度工具作日後服務管理，為服務提供方向性的指引，並成為本地視障長者服務發展的參考。
本應用手冊將會以深入淺出的方法，向大家闡述如何利用這份「視障長者生活質素調查問卷」評估服務成效及作服務管理。
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Works from Lingnan
Kevin WHITE
The 7 porcelain vessels on display were all created in the Visual Studies studio during the artist’s residence at Lingnan. Each vessel was made in porcelain, with underglaze cobalt brushwork and onglaze pigments and decals.
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Floating world projects : two views, delicacies, inside out = 浮世
Klaus Peter KNOLL and CELLA
Floating World Projects photographs and exhibition were realized through the Visual Studies Artist-in-Residence Programm and the generous support of the Department of Philosophy.
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Szto Wai : portraits of Lingnan University, 1937-1944 = 司徒衛 : 嶺南大學一九三七至一九四四繪畫
Frederick NESTA, Helen HUNG, and Veronica NG
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2007-2008 Annual Report 年度報告
Office of Service-Learning, Lingnan University
Service-Learning : An Extraordinary Learning Experience
In this issue, you will find Service-Learning was an extraordinary learning experience for Lingnan students to make a difference in the community.
服務研習 : 非一般的學習體驗
藉閱讀此年報，您將會發現透過提供非一般的學習體驗，服務研習讓嶺大學生得到一個改變社區的機會。
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