Academic literature on the topic 'Feng shui – China – Hong Kong'

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Journal articles on the topic "Feng shui – China – Hong Kong"

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Zhuang, Xue Ying, and Richard T. Gorlett. "Forest and forest succession in Hong Kong, China." Journal of Tropical Ecology 13, no. 6 (November 1997): 857–66. http://dx.doi.org/10.1017/s0266467400011032.

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ABSTRACTHong Kong is on the northern margin of the Asian tropics. The original forest cover was cleared centuries ago but secondary forest has developed since 1945 at many sites protected from fire and cutting. There are also older forest patches maintained behind villages for reasons of ‘feng shui’, the Chinese system of geomancy. All plants >2 cm dbh were identified and measured in forty-four 400-m2 plots. Detrended correspondence analysis showed a floristic continuum, with the montane sites (>500 m) most distinct and some overlap between lowland post-1945 secondary forest and the feng shui woods. The 30–40 year-old secondary forest is dominated by Persea spp. Montane forest is similar but lacks several common lowland taxa of tropical genera and includes more subtropical taxa. The feng shui woods have the most complex structure and contain some tree species not found in other forest types. Their origin and history is obscure but we suggest that both planting and selective harvesting have had a role in their current species composition
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CHUNG, STEPHANIE PO-YIN. "The Transformation of an Overseas Chinese Family—Three Generations of the Eu Tong Sen Family, 1822–1941." Modern Asian Studies 39, no. 3 (July 2005): 599–630. http://dx.doi.org/10.1017/s0026749x05001873.

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Architecture can be viewed as a reflection of value placed on life. In colonial Hong Kong, a distinctive Gothic-style castle, Euston, was built by tycoon Eu Tong Sen (1877–1941) as his family's grand residence. Eu was a prominent figure in South China and Southeast Asia and remains a local legend decades after his death. Eu's castle, being built in 1928 and demolished in the 1980s, was and still is one of the most recognizable monuments in the region. Although Eu did not leave behind any autobiography or memoirs, the monumental castle can be regarded as a symbolic manifestation of his life story. The design of the castle is of mixed ancestry—it is a reconciliation of traditional Chinese design based on feng shui (Chinese geomancy) with European architectural elements. The fusion of East-West architectural building elements, as symbolized by the Eu castle, was a significant achievement symbolizing general social and cultural changes spanning more than a century.
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Marcella, Benedicta Sophie. "FENG SHUI PADA TATA LETAK MASSA BANGUNAN DI KELENTENG SAM POO KONG." Jurnal Arsitektur KOMPOSISI 10, no. 2 (May 1, 2017): 77. http://dx.doi.org/10.24002/jars.v10i2.1039.

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Abstract: “Klenteng” is an Indonesian term for place of worship for Chinese traditional faiths in Indonesia. Sam Poo Kong temple is a heritage building located in Semarang. Chinese temple building is part of the China building architecture, thus Chinese temple apply the feng shui principals, so that people get the fortune, peace, and prosperity from the perfect balance with nature. In this research, to be conducted a review of the use of feng shui principles contained in the layout of the building mass. The research question that arises is "How the application of feng shui to the layout of the building mass in the Sam Poo Kong temple?" This research aims to determine the influence of feng shui contained in the layout of the building mass Sam Poo Kong temple in Semarang. This research use structuralizes qualitative methodology. Analysis process was done by comparing the theory of feng shui with field observations. The building layout, planes, and the filler elements apply the principles of feng shui and it has a good meaning, leads to happiness and welfare in life. Cultural influence of Islam, Buddhist, Hindu, and Chinese cultures convey the meaning and message to the user of the building, all for good purpose in human life. Based on the analysis it can be concluded that the meaning of the layout of the building mass on the Sam Poo Kong temple in accordance with feng shui theory and it brings prosperity.Keywords: feng shui, Sam Poo Kong Temple, the layout of the building massAbstrak: Kelenteng atau Klenteng adalah sebutan untuk tempat ibadah penganut kepercayaan tradisional Tionghoa di Indonesia pada umumnya. Kelenteng Sam Poo Kong merupakan bangunan cagar budaya yang terdapat di kota Semarang. Bangunan kelenteng termasuk dalam bangunan Cina, sehingga dalam tatanan bentuk bangunannya masih mempergunakan kaidah feng shui. Konsep feng shui adalah seni hidup dalam keharmonisan dengan alam, sehingga seseorang mendapatkan keuntungan, ketenangan, dan kemakmuran dari keseimbangan yang sempurna dengan alam. Dalam penelitian ini, akan dilakukan peninjauan penggunaan kaidah feng shui yang terdapat pada tata letak massa bangunannya. Pertanyaan penelitian yang muncul adalah “Bagaimana penerapan fengshui pada tata letak massa bangunan di kawasan Kelenteng Sam Poo Kong?” Penelitian ini bertujuan untuk mengetahui pengaruh feng shui yang terdapat pada tata letak massa bangunan Kelenteng Sam Poo Kong di Semarang. Metodologi yang digunakan adalah strukturalis kualitatif. Proses analisis dilakukan dengan membandingkan teori feng shui dengan hasil observasi lapangan. Tata letak massa bangunan menerapkan kaidah feng shui serta memiliki makna yang baik, mengarahkan pada kebahagiaan serta keselamatan dalam kehidupan. Pengaruh budaya Islam, Buddha, Hindu, serta Kebudayaan Cina telah bercampur, menyampaikan makna serta pesan kepada pengguna bangunan, semua untuk tujuan kebaikan dalam hidup manusia. Berdasarkan hasil analisis maka dapat disimpulkan bahwa tata letak massa bangunan pada kawasan Kelenteng Sam Poo Kong sesuai dengan feng shui aliran bentuk dan mendatangkan kebaikan.Kata Kunci: feng shui, Kelenteng Sam Poo Kong, tata letak massa bangunan
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Lan, Fang. "Grands immeubles et petites histoires : le feng shui à Hong Kong." Perspectives chinoises 7, no. 1 (1992): 26–29. http://dx.doi.org/10.3406/perch.1992.3889.

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Wang, Jeff, Annamma Joy, and John F. Sherry. "Creating and sustaining a culture of hope: Feng Shui discourses and practices in Hong Kong." Journal of Consumer Culture 13, no. 3 (October 25, 2013): 241–63. http://dx.doi.org/10.1177/1469540513480168.

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Marcella, Benedicta Sophie. "BENTUK DAN MAKNA ATAP KELENTENG SAM POO KONG SEMARANG." Jurnal Arsitektur KOMPOSISI 10, no. 5 (May 1, 2017): 349. http://dx.doi.org/10.24002/jars.v10i5.1094.

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Abstract: Roof might signifiy the lid of upper house or building; objects which are used as a lid of the upper house. The roof of houses or buildings is one of the essential elements or components that make up the traditional architecture. Since ancient times until now, the shape of the roof is a prominent and essential part, showing the different periods. Chinese building roof is the part which has distinctive features. Indonesia also has a plenty of Chinese architectural styles, one of them is Sam Poo Kong Temple in Semarang. This temple was built in 1724 by the Chinese community in Semarang, as a kind of homage to Admiral Zheng He, widely known as Admiral Cheng Ho. In the area of Sam Poo Kong temple, there are several buildings, including the main building (main temple), Goa Pem ujaan, Goa Pemujaan, kelenteng Kyai Juru Mudi, Dewa Bumi, Kyai Nyai Tumpeng dan Kyai Tjundrik Bumi, dan Kyai Jangkar. Roof in Sam Poo Kong Chinese architecture shows the influence of feng shui. The purpose of this study is to find the shapes and the meanings of the roof of the building Sam Poo Kong as well as the influence of the concept of building in China. The method used in this study is qualitative rationalistic. The data was gained from surveys and literature studies. Some related theories are also significantly used to discuss and review the object roof at Sam Poo Kong. The analysis was conducted by comparing the object with the theory. The result of this research is to find the shapes and the meanings of the roof of the building Sam Poo Kong as well as the influence of the concept of Chineses building.Keywords: shapes, meanings, roof of Sam Poo Kong temple , feng shui, chinese architectureAbstrak: Atap memiliki pengertian sebagai penutup rumah atau bangunan sebelah atas; benda yang dipakai untuk penutup rumah sebelah atas. Atap rumah atau bangunan merupakan salah satu unsur atau komponen penting yang membentuk arsitektur tradisional. Sejak jaman dahulu hingga sekarang, bentuk atap adalah bagian yang menonjol ataupun mencolok, menunjukkan periode yang berbeda-beda. Atap bangunan Tiongkok merupakan bagian yang memiliki ciri khas. Indonesia juga memiliki kekayaan langgam arsitektur Tionghoa, salah satunya ada Kelenteng Sam Poo Kong di Semarang. Kelenteng ini dibangun pertama kali pada tahun 1724 oleh masyarakat Tionghoa di Semarang, sebagai bentuk penghormatan kepada Laksamana Zheng He, lebih dikenal dengan nama Laksamana Cheng Ho. Dalam kawasan Kelenteng Sam Poo Kong terdapat beberapa bangunan kelenteng, diantaranya adalah bangunan utama (kelenteng utama), Goa Pemujaan, kelenteng Kyai Juru Mudi, Dewa Bumi, Kyai Nyai Tumpeng dan Kyai Tjundrik Bumi, dan Kyai Jangkar. Atap yang terdapat di Kelenteng Sam Poo Kong menunjukkan arsitektur Tionghoa yang masih mempergunakan kaidah feng shui serta memiliki bentuk dan makna tertentu. Tujuan dari penelitian ini adalah untuk menemukan bentuk dan makna atap bangunan Kelenteng Sam Poo Kong serta pengaruh konsep bangunan di Tiongkok terhadapnya. Metode yang digunakan adalah rasionalistik kualitatif. Data diperoleh dengan survei lapangan dan studi literatur. Teori terkait digunakan untuk membahas dan mengulas obyek atap pada Kelenteng Sam Poo Kong. Analisis dilakukan dengan membandingkan obyek dengan teori. Hasil dari penelitian ini adalah menemukan bentuk dan makna atap bangunan Kelenteng Sam Poo Kong serta pengaruh konsep bangunan di Tiongkok terhadapnyaKata Kunci: bentuk, makna, atap Kelenteng Sam Poo Kong, feng shui, arsitektur Tiongkok
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Kamalakar, G. "Book Review: Bob Adamson, Jon Nixon and Feng Su, The Reorientation of Higher Education: Challenging the East–West Dichotomy." Indian Journal of Public Administration 63, no. 1 (March 2017): 157–61. http://dx.doi.org/10.1177/0019556117689856.

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Bob Adamson, Jon Nixon and Feng Su, The Reorientation of Higher Education: Challenging the East–West Dichotomy. China: Comparative Education Research Centre, The University of Hong Kong/Springer, 2012, 314 pp., HKD250/USD38/ ₹1,896.
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Raesita, Karina, Putu Anom Mahadwrtha, and Arif Herlambang. "UJI EFEK FENG SHUI INDEX DI TAHUN MONYET API PADA PASAR SAHAM HONG KONG, TAIWAN, SINGAPURA, DAN INDONESIA." Journal of Management and Business Review 14, no. 2 (July 25, 2017): 206–36. http://dx.doi.org/10.34149/jmbr.v14i2.94.

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Laukkanen, Tatu-Ilari. "Shanghai gangster films and the politics of change." Novos Olhares 9, no. 1 (July 10, 2020): 81–97. http://dx.doi.org/10.11606/issn.2238-7714.no.2020.172000.

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In this paper through a very close textual reading I will show the ideological differences between two films based on the life of Shanghai gangster Du Yuesheng (1888, Pudong – 1951, Hong Kong) through close formal and narrative analysis. Du was already a celebrity in his day in the Republican era and is still a con-troversial figure in Greater China. However, there are only two films based on the life of the French Con-cession opium kingpin, the recent Hong Kong/PRC co-production The Last Tycoon (Da Shang Hai, Wong Jing, 2012) and the epic two part Lord of the East China Sea I & II (Shang Hai huang di zhi: Sui yue feng yun & Shang Hai huang di zhi: Xiong ba tia xia, Hong Kong, Poon Man-kit 1993). I show how these films reflect HK's and China's politico-economic changes focusing on the representation of social class and the subject, depiction of internal migration and immigration, and nationalism. The films will be discussed in their relation to changes in the Hong Kong film industry, Chinese and world cinema and the transnational gangster genre, showing how local and global cinemas have affected these films.
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Wu, Wing-Cheung. "EDITORIAL: HISTORY OF HAND SURGERY IN HONG KONG." Hand Surgery 06, no. 01 (July 2001): v—viii. http://dx.doi.org/10.1142/s0218810401000527.

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The development of hand surgery in Hong Kong can be largely divided into three phases: the early years, the 1960s and 70s, and the present. In the immediate post-World War II years, incidence of infectious diseases was high; there were many patients with tuberculosis, poliomyelitis, leprosy and osteomyelitis. In the 1960s and 70s, the light industry revolution brought along many patients with serious hand injuries caused by machines. Dr Yen-Shui Tsao was the first local surgeon trained in hand surgery. Prof. SP Chow and Prof. PC Leung were the two pioneers who developed this subspecialty and microsurgery during that period. At present, with the change in economic environment, the disease pattern has also changed. Despite our heavy clinical involvement, we have been very active in academic researches. The Hong Kong Society for Surgery of Hand was formed in 1986. For the past 15 years, the society organized Workshops and Annual Congresses attended by overseas speakers, including surgeons from China. It also provided scholarships for Fellows of the Asia-Pacific countries. In addition, the society provided the participants with the chance to exchange ideas and forge friendships. Hong Kong has thus been and will continue to be the meeting point of the East and the West.
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Dissertations / Theses on the topic "Feng shui – China – Hong Kong"

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Ip, Hing-fong, and 葉慶芳. "An historical geography of the walled villages of Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B31212311.

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Chan, Wing-ho Michael, and 陳永浩. "Characteristics and genesis of soils in Hong Kong's Fung Shui woodlands." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B29758166.

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Leung, Yau-keung Kelvin, and 梁有強. "Our disappearing heritage: Hong Kong's fung shui woodland." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hub.hku.hk/bib/B50716219.

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This dissertation is about an important area in the discipline of architectural conservation, and it is cultural Landscape, defined as the combination of built and natural heritage resources. The understanding of the concept of “cultural landscape” is relatively new to Hong Kong, having been formally introduced by Dr. Ken Nicolson in 2002 as part of the syllabus of the postgraduate curriculum of HKU’s Architectural Conservation Programmes (ACP). Today, the people of Hong Kong are more aware of cultural landscape, and the term now appears in government documents. However, the concept has been with Hong Kong for a long time, expressed in the principles of fung shui. Many of Hong Kong’s cultural landscapes are influenced by fung shui and a common feature is fung shui woodland, which will be the focus of this dissertation. Fung shui is a belief system and a traditional form of landscape planning, and villages in Hong Kong and their woodlands are sited according to the principles of fung shui. The purpose of fung shui is clearly described in Yoon (1980). He stated that the aim of Fung Shui, is to maximize the wellbeing of human by maintaining the harmony between human and the nature. It is believed that all matter on the earth; both living and non-living things carry Qi or cosmic breath, which are responsible for ensuring posterity and vitality. Either insufficient or excessive Qi would result in decline and misfortune. In “Venturing Fung Shui Woods (2004)”, it is mentioned that some of the oldest fung shui woodlands in Hong Kong date back to more than 300 years. Fung shui woodland is an important element of rural Hong Kong cultural landscapes representing our traditional belief system and high cultural significance. The author also describes fung shui woodlands as like a living herbarium or plant museum, offering valuable resources for both academic research and nature conservation. A review of the recent literature on fung shui woodland, in Fung Shui View (2012), the authors explain the value of the fung shui woodland is not only in terms of ecological, but also social. From the above publication, it is clear that the fung shui woodland is one of the important cultural landscape elements in Hong Kong, which illustrates our tradition cultural beliefs and the important value of original village settlements.
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Conservation
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Master of Science in Conservation
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Ip, Hing-fong. "An historical geography of the walled villages of Hong Kong /." [Hong Kong : University of Hong Kong], 1995. http://sunzi.lib.hku.hk/hkuto/record.jsp?B14777575.

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Chu, Wing-hing. "Conservation of terrestrial biodiversity in Hong Kong /." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19737439.

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袁輝明 and Fai-ming Yuen. "Ecotourism: tourist resort in Shui Hau Wan." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B31980612.

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Hung, Fung-ling, and 洪鳳玲. "The attractiveness of Tin Shui Wai new town." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1992. http://hub.hku.hk/bib/B31257987.

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Lo, Kan-ip Eric, and 盧勤業. "Sustainable railway infrastructure development: lessons from the Sheung Shui to Lok Ma Chau Spur line." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31945727.

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Chung, Ting-yiu Robert, and 鍾庭耀. "Rural leadership in change: the case of Sheung Shui Village, Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1987. http://hub.hku.hk/bib/B31208186.

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田頌天 and Jung-tin John Tien. "Improve pedestrian safety and access in central Sham Shui Po." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B4293106X.

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Books on the topic "Feng shui – China – Hong Kong"

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Xu, Dingming. Lu Feng ya ji wu shi nian. Xianggang: Tian di tu shu you xian gong si, 2009.

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Zhongguo jing ji zeng zhang: Ke chi xu xing, yun xing feng xian yu hong guan tiao kong = China economic grouth. Beijing: Zhongguo she hui ke xue chu ban she, 2009.

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Center, Hong Kong Cultural. Shui yue feng liu: Jin dai Zhongguo shui mo hua zhan : Xianggang wen hua zhong xin, 1990 nian 11 yue nian ri zhi nian er ri = In the literati tradition : exhibition of 19th and 20th century Chinese paintings : Hong Kong Cultural Center, November 20-22, 1990. Xianggang: Lian zhai gu wan hao, 1990.

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Feng Shui Detective Goes South. Allen & Unwin, 2009.

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Guanglie, Zhu, ed. Huo feng huang: Huofenghuang. Beijing: Xian dai chu ban she, 1999.

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Wind Water. Kehrer Verlag Heidelberg, Klaus Kehrer, 2017.

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Blowing Up Hong Kong (Feng Shui RPG). Atlas Games, 2004.

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In the literati tradition: Exhibition of 19th and 20th century Chinese paintings, Hong Kong Cultural Centre, November 20-22, 1990 = [Shui yüeh feng liu : chin tai Chung-kuo shui mo hua chan, Hsiang-kang wen hua chung hsin, 1990 nien 11 yüeh 20 jih chih 22 jih]. Hong Kong: Luen Chai Curios Store, 1990.

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Anderson, E. N. Ecologies of the Heart. Oxford University Press, 1996. http://dx.doi.org/10.1093/oso/9780195090109.001.0001.

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There is much we can learn about conservation from native peoples, says Gene Anderson. While the advanced nations of the West have failed to control overfishing, deforestation, soil erosion, pollution, and a host of other environmental problems, many traditional peoples manage their natural resources quite successfully. And if some traditional peoples mismanage the environment--the irrational value some place on rhino horn, for instance, has left this species endangered--the fact remains that most have found ways to introduce sound ecological management into their daily lives. Why have they succeeded while we have failed? In Ecologies of the Heart, Gene Anderson reveals how religion and other folk beliefs help pre-industrial peoples control and protect their resources. Equally important, he offers much insight into why our own environmental policies have failed and what we can do to better manage our resources. A cultural ecologist, Gene Anderson has spent his life exploring the ways in which different groups of people manage the environment, and he has lived for years in fishing communities in Hong Kong, Malaysia, Singapore, Tahiti, and British Columbia--as well as in a Mayan farmtown in south Mexico--where he has studied fisheries, farming, and forest management. He has concluded that all traditional societies that have managed resources well over time have done so in part through religion--by the use of emotionally powerful cultural symbols that reinforce particular resource management strategies. Moreover, he argues that these religious beliefs, while seeming unscientific, if not irrational, at first glance, are actually based on long observation of nature. To illustrate this insight, he includes many fascinating portraits of native life. He offers, for instance, an intriguing discussion of the Chinese belief system known as Feng-Shui (wind and water) and tells of meeting villagers in remote areas of Hong Kong's New Territories who assert that dragons live in the mountains, and that to disturb them by cutting too sharply into the rock surface would cause floods and landslides (which in fact it does). He describes the Tlingit Indians of the Pacific Northwest, who, before they strip bark from the great cedar trees, make elaborate apologies to spirits they believe live inside the trees, assuring the spirits that they take only what is necessary. And we read of the Maya of southern Mexico, who speak of the lords of the Forest and the Animals, who punish those who take more from the land or the rivers than they need. These beliefs work in part because they are based on long observation of nature, but also, and equally important, because they are incorporated into a larger cosmology, so that people have a strong emotional investment in them. And conversely, Anderson argues that our environmental programs often fail because we have not found a way to engage our emotions in conservation practices. Folk beliefs are often dismissed as irrational superstitions. Yet as Anderson shows, these beliefs do more to protect the environment than modern science does in the West. Full of insights, Ecologies of the Heart mixes anthropology with ecology and psychology, traditional myth and folklore with informed discussions of conservation efforts in industrial society, to reveal a strikingly new approach to our current environmental crises.
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Book chapters on the topic "Feng shui – China – Hong Kong"

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Madeddu, Manuela, and Xiaoqing Zhang. "Feng Shui in the Chinese Territories: Hong Kong." In Feng Shui and the City, 101–35. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-0847-6_4.

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Anderson, E. N. "Feng-shui: Ideology and Ecology." In Ecologies of the Heart. Oxford University Press, 1996. http://dx.doi.org/10.1093/oso/9780195090109.003.0006.

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My first direct encounter with feng-shui came soon after I arrived in Hong Kong in 1965. A new hospital was being built on a hill overlooking Castle Peak Bay, where my family and I lived. The hospital foundations cut deep into the slope. Several old peasants told me, “This is very bad; the construction has cut the dragon’s pulse.” I learned that the hill had a dragon in it, whose blood circulation had been cut by the foundation trench. This seemed strange to me. I noted it down as a fascinating local belief, and thought no more of it. Soon afterward, a typhoon dumped two feet of rain on Hong Kong within a few days. The oversteepened, undercut slope failed, and a torrent of mud descended, washing out the hospital foundations and burying a house or two at the hill foot. “See?” said my friends. “This is what happens when you cut the dragon’s pulse.” A light went on in my head. The Chinese peasants, pragmatic to the core, had described the phenomenon in terms strange to me; but the phenomenon they described was perfectly real. I reflected that the geologists’ terms “oversteepening” and “slope failure” were not much more empirically verifiable than the dragon. Any Chinese peasant would find them even stranger than I had found that eminent serpent, since I had already learned from reading that ancient Chinese saw dragons in the scaly, ridged contours of mountain ranges. As time went on, I learned that I had found more than a different way of talking about obvious facts. Chinese site planning seemed more and more rational. I learned that villages protected the groves of trees that ringed them, because trees attract good influences and also provide shade, firewood, fruit, leafmold, timber, and other goods. I learned that roads to villages were made crooked to discourage evil beings—and that the evil beings included not only demons but also soldiers, government officials, and (other) bandits.
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Tsang, Sandra K. M., and Yiu Kong Chu. "Social Cohesive Efforts to Meet Youth Development Needs in Tin Shui Wai, Hong Kong." In Social Cohesion in Greater China, 43–68. WORLD SCIENTIFIC, 2010. http://dx.doi.org/10.1142/9789814291934_0002.

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Hung, Suet-lin, and Kwok-kin Fung. "Working with female migrant workers in Hong Kong." In Community Organising Against Racism. Policy Press, 2017. http://dx.doi.org/10.1332/policypress/9781447333746.003.0018.

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This chapter discusses how socio-political forces in Hong Kong shaped the situation of new immigrants from mainland China. It provides an overview of responses from the community development field regarding ethnic and cultural diversity to set the context of social services offered to new immigrants to Hong Kong from mainland China. A small-scale qualitative study of community workers who work with these migrants was conducted in Tin Shui Wai North, a Hong Kong community with the second-highest proportion of migrants from the mainland. It is argued that ethnic diversities within the same race (Chinese) are characterised by a complex range of factors, including gender and class, and are emphasised by migration from a ‘developing’ (China) to a ‘developed’ (Hong Kong) location. It emphasises the need for community development workers to be self-reflexive when developing ethnic and culturally sensitive community practices that deal with the dimension of ‘difference’ of new immigrants.
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Costanzo, William V. "Film Comedy in East Asia." In When the World Laughs, 299–332. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190924997.003.0014.

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Informed by centuries of Daoist, Buddhist, Shinto, and Confucian thought as well as the particularities of Eastern languages and customs, film comedy in China, Korea, and Japan offers fascinating new viewpoints for Westerners. In contrast to the Greek distinction between comedy and tragedy, laughter in East Asia tends to be allied with equilibrium, an integral part of a balanced state and state of mind. This chapter highlights major figures and trends associated with humor in Japan (Yasujiro Ozu, Juzo Itami, Toshiro Mifune), Korea (Jee-won Kim, Sang-jin Kim), Hong Kong (Jackie Chan, Stephen Chow), Taiwan (Chun Han Wang, Ang Lee), and the People’s Republic of China (Zhang Yimou, Xiaogang Feng).
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