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A letter from Tung Wah Hospital inviting financial contributions.

In the context of globalization, the reconstruction of material spaces and the evolution of social relations have accelerated the loss of emotions in traditional villages. Intangible heritage can play an important role in the emotional maintenance of traditional villages as an emotional carrier for its residents. Previous studies have been less involved in the synergistic relationship between the interactive game of power subjects and the evolution of emotions in the practice of intangible heritage. Particularly, research on the evolution of the emotional exchange mode is insufficient. Taking the Dong minority chorus of Huangdu Village as an example, this study adopts qualitative research methods, such as semi-structured interviews and participant observation, to construct an analytical framework of "daily life practice-emotional exchange", and to deeply explore the evolution process and motivational mechanism of the emotional exchange mode in the daily life practice of traditional village residents. The study found that: 1) According to the changes in the subject and relationship, motive and mode, resource and situation, perception and experience of emotional exchange in the natural, livelihood, institutional, and spiritual dimensions, the daily life practice of Huangdu Village can be divided into four stages: primitive equilibrium, passive compromising, active resisting, and regenerating. 2) In the process of intangible cultural heritage practices, the manipulation of capital and the suppression of power have broken the original balance of Huangdu Village, and the division of power and status among subjects has squeezed the living spaces of local residents, forcing them to become involved in power struggles. They resist the control of the "other" by means of physical empowerment and restatement of the local subjectivity, and ultimately strike a balance of power within the village. In the daily practice of intangible cultural heritage, the mode of residents' emotional exchange changes from reciprocity to general negotiation and production modes. 3) Emotional exchanges in traditional villages are produced during power struggles between residents and other subjects. When power is balanced, residents master the discourse of intangible cultural heritage and produce positive emotions such as attachment and belonging. When residents are suppressed by power and capital, they gradually lose discourse and produce negative emotions, such as a sense of crisis and separation. 4) The evolution of emotional exchange modes in the daily practices of traditional village residents is systematic. The evolution of the outer system pushes the kernel system to adapt, and the driving, pulling, and supporting forces promote the synergistic evolution of "daily life―emotional exchange―intangible cultural heritage practice" in Huangdu village. The evolution of emotional exchange patterns during the practice of the Dong minority chorus in Huangdu Village was an inevitable process for reconstructing the cultural subjectivity of local residents in the context of tourism development. Exploring emotional exchange patterns at different stages of daily life practices can help understand the developmental law of traditional villages and provide useful references for its emotional governance and sustainable development.

A letter from the Chinese community in Vancouver about them sending financial assistance to Victoria in support of their protest against the segregation of Chinese children in Public Schools. 18 December 1921 （[中华民国]十年十二月十八）

A general language Chinese to French dictionary.

A letter to Chinese government from the Victoria CCBA regarding the help the Chinese Ambassador to England gave previously when there was the possibility of the Canadian government raising the head tax placed on Chinese people and that they require help for this again as the issue as resurfaced due to an election year in Canada. March 1900 （光绪二十六年二月）

This present work seeks to shed a new light on the language style of the Book of Odes (Shījīng 詩經) from a quantitative perspective. For reading poems written with the so-called incentive process (xīng 興), this work is based on the Mao version (Máoshī 毛詩) as a reference corpus and adopted his sentence segmentation. Almost all the poems written with the incentive process are composed of two couplets: the first, called initiative lines (qǐjù 起句), evokes an affective image; and the second, called envoi lines (yìngjù 應句), expresses one's feeling. Nevertheless, the semantic correlation between two couplets is often ambiguous. In the Mao version, the use of the incentive process is marked with two Chinese characters xīng yě 興也 where one couplet ends and the following begins. Without this mark, it is difficult to recognize this literary form. To interpret the semantic correlation between these lines in macrostructure, traditional commentaries proceed by analogical comparison, causal reasoning, or arrangement of events in sequence. Some recent studies suggest focusing on the microstructure of the incentive process, for example, rhyme schemes, syntactical relations, reiterated formulas, or alternation between function words and content words. The criteria for identifying the incentive process is problematic since his first appearance in the history of Chinese literary theory. However, this process has been considered as the archetypal form in Chinese lyric tradition for a long period. Based on the internal textual data retrieved from the corpus, this work discovers by combinatorial analysis all underlying patterns in all verses and determines representatives patterns as rhythmic patterns according to the frequency of occurrence. Finally, by linking defined rhythmic patterns between lines, this work re-describes stylistic devices of poems written with the incentive process. Published with extended abstract in English International audience

Wang, Puchen 王 蒲 臣 (2023). My childhood, family, early education, fate encounter and eye-witness of China, In: “Global Humanities and Liberal Arts ”, Wang, L. K. 王 抗 曝 (editor). 86 p. 2023(1), Lenox Institute Press,MA, USA. ..................ABSTRACT: General Wang Puchen 王 蒲 臣, the author, was the classmate of Dai Li 戴 笠, Mao Renfeng 毛 人 凤 at Wenxi Higher Primary School in Jiangshan County. General Dai was the ROC National Intelligence Director, and General Mao was the Head of the ROC Secrecy Bureau 保 密 局. General Wang joined the ROC 军 统 局 in 1935, and attended Central Military Academy (黄 埔 ) in 1941. He served as the Director of the Bureau of Investigation and Statistics in Beijing (保 密 局 北 平 站 督 察 长) of the ROC 保 密 局 (formerly 军 统) in 1948 and he was the Coordinator for the historical cease fire event between ROC and the Communist in Beijing in 1949. This publication is one of many author's memoirs documenting his life and modern Chinese history :(a) Getting a son in my father's dream 我 父 夢 中 得 子; (b) My family background 我 的 家 世; (c) Saving my life with one mouthful medicine 一 口 葯 救 回 了 一 條 命; (d) My nursing mother as good as my mother 乳 母 如 親 母; (e) Childhood memories 童 年 往 事; (f) From Qing dynasty to the Republic of China 由 滿 清 到 民 國; (g) The birth of the Republic of China 中 華 民 國 之 誕 生; (h) My father was my first teacher 父 親 是 我 的 開 蒙 老 師; (i) Meeting General Dai Li as a new friend 認 識 了 戴 笠 將 軍; (j) Quitting school for five years for recuperation 修 學 五 年 養 身 補 習; (k) Continuing school education 重 過 學 校 的 生 活; (l) Three special classmates 三 位 奇 特 的 同 學; and (m) My two articles that broke my hearts 一 生 寫 了 兩 篇 最 不 願 意 寫 的 文 章. Also included are General Wang's four long-life secrets and a poem (Journey of Life 人 生 之 旅) presented by the Editor .

Rules of Hook Sin Tong written in Chinese before 1902. 21 set of rules, rules 1-13 on top row and 14-21 on bottom row, read from right to left. Photo taken on June 16, 2011.