BEGIN:VCALENDAR VERSION:2.0 PRODID:-//IHSS - ECPv6.17.0//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:IHSS X-ORIGINAL-URL:https://ihss.hku.hk X-WR-CALDESC:Events for IHSS REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:Asia/Hong_Kong BEGIN:STANDARD TZOFFSETFROM:+0800 TZOFFSETTO:+0800 TZNAME:HKT DTSTART:20110101T000000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=Asia/Hong_Kong:20140520T163000 DTEND;TZID=Asia/Hong_Kong:20140520T163000 DTSTAMP:20261108T205046 CREATED:20240801T232228Z LAST-MODIFIED:20260416T102938Z UID:88809-1400603400-1400603400@ihss.hku.hk SUMMARY:The Role of the European Research Council (ERC) in Funding Research in the Humanities and Social Sciences Domain in Europe DESCRIPTION:Language: English\n \n \n \n \n Room 201\, 2/F\, May Hall\, The University of Hong Kong\n \n \n \n \n February 23\, 2016 12:00 nn – 1:00 pm\n \n \n \n \n (Tel) (852) 3917-5772\n \n \n \n\n \n \n Enquiry: ihss@hku.hk\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABSTRACT \n \n \n \n \n It is estimated that one million women across the globe are trafficked annually. Maiti Nepal\, an NGO that seeks to stop this pernicious trade\, estimates that from Nepal alone\, 100\,000 women and girls are trafficked annually to urban areas and across the borders to India\, China and beyond. The author looks at how\, in contrast\, commercial Hindi films historically glamorised the sex-worker\, and presented iconic characters who became the good “bad” women in popular imagination. Arguably emanating from a specific cultural context of the devdasi (temple dancer)\, nautanki (itinerant dancing girl) or tawaif (courtesan)\, filmic depictions of prostitutes’ lives and choices portray a glamourised picture. The three courtesans made famous in the films\, (Mughal-e-Azam [1960]\, Pakeezah [The Pure One; 1971] and Umrao Jaan [1981]) are romanticised. Such depictions of the prostitute were reinforced in films such as Devdas (1955 & its 2002 remake)\, Pyaasa (Thirsty; 1957)\, Chitralekha (1964)\, Teesri Kasam (The Third Vow; 1966) and Amar Prem (Eternal Love; 1971).  Analysing them with later films such as Mandi (Marketplace; 1983)\, Utsav (Festival; 1984)\, Chandni Bar (2001)\, Chameli (2003)\, Chingaari (Spark; 2006) and Pranali (2008)\, we see the industry depicting a more realistic view in recent years. Finally\, documentary films such as Born into Brothels\, show the real-life dimension of the children of sex-workers\, wishing for futures outside this industry and Maiti Nepal’s The Day My God Died [2010]\, tells the grim story of this activity and Maiti Nepal’s efforts to stop it.   URL:https://ihss.hku.hk/events/the-role-of-the-european-research-council-erc-in-funding-research-in-the-humanities-and-social-sciences-domain-in-europe/ LOCATION:T7\, 1/F\, Meng Wah Complex\, Hong Kong CATEGORIES:IHSS END:VEVENT BEGIN:VEVENT DTSTART;TZID=Asia/Hong_Kong:20140520T093000 DTEND;TZID=Asia/Hong_Kong:20140520T120000 DTSTAMP:20261108T205046 CREATED:20240802T000944Z LAST-MODIFIED:20260416T102939Z UID:88827-1400578200-1400587200@ihss.hku.hk SUMMARY:From the Old Zhuang Character Script: Migrants’ Passage\, Migration of Ethnic Groups\, Chieftain-regime\, Practitioners of Popular Religion in the Guangxi Region of Ming-Qing Period (從古壯文本來看廣西明清代移民走廊、民族遷徙、土司政權、民間宗教執行者) DESCRIPTION:Language: English\n \n \n \n \n Room 201\, 2/F\, May Hall\, The University of Hong Kong\n \n \n \n \n February 23\, 2016 12:00 nn – 1:00 pm\n \n \n \n \n (Tel) (852) 3917-5772\n \n \n \n\n \n \n Enquiry: ihss@hku.hk\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABSTRACT \n \n \n \n It is estimated that one million women across the globe are trafficked annually. Maiti Nepal\, an NGO that seeks to stop this pernicious trade\, estimates that from Nepal alone\, 100\,000 women and girls are trafficked annually to urban areas and across the borders to India\, China and beyond. The author looks at how\, in contrast\, commercial Hindi films historically glamorised the sex-worker\, and presented iconic characters who became the good “bad” women in popular imagination. Arguably emanating from a specific cultural context of the devdasi (temple dancer)\, nautanki (itinerant dancing girl) or tawaif (courtesan)\, filmic depictions of prostitutes’ lives and choices portray a glamourised picture. The three courtesans made famous in the films\, (Mughal-e-Azam [1960]\, Pakeezah [The Pure One; 1971] and Umrao Jaan [1981]) are romanticised. Such depictions of the prostitute were reinforced in films such as Devdas (1955 & its 2002 remake)\, Pyaasa (Thirsty; 1957)\, Chitralekha (1964)\, Teesri Kasam (The Third Vow; 1966) and Amar Prem (Eternal Love; 1971).  Analysing them with later films such as Mandi (Marketplace; 1983)\, Utsav (Festival; 1984)\, Chandni Bar (2001)\, Chameli (2003)\, Chingaari (Spark; 2006) and Pranali (2008)\, we see the industry depicting a more realistic view in recent years. Finally\, documentary films such as Born into Brothels\, show the real-life dimension of the children of sex-workers\, wishing for futures outside this industry and Maiti Nepal’s The Day My God Died [2010]\, tells the grim story of this activity and Maiti Nepal’s efforts to stop it.   URL:https://ihss.hku.hk/events/from-the-old-zhuang-character-script-migrants-passage-migration-of-ethnic-groups-chieftain-regime-practitioners-of-popular-religion-in-the-guangxi-region-of-ming-qing-period-%e5%be%9e/ LOCATION:Multimedia Room\, 3/F\, Yongfang Hall CATEGORIES:IHSS END:VEVENT BEGIN:VEVENT DTSTART;TZID=Asia/Hong_Kong:20140519T163000 DTEND;TZID=Asia/Hong_Kong:20140519T183000 DTSTAMP:20261108T205046 CREATED:20240801T235251Z LAST-MODIFIED:20260416T102938Z UID:88819-1400517000-1400524200@ihss.hku.hk SUMMARY:A Study on the Cult of Nong Zhigao among the Zhuang Ethnic Group in the Sino-Vietnamese Borderlands (中越邊境壯族人群的儂智高崇拜之研究) DESCRIPTION:Language: English\n \n \n \n \n Room 201\, 2/F\, May Hall\, The University of Hong Kong\n \n \n \n \n February 23\, 2016 12:00 nn – 1:00 pm\n \n \n \n \n (Tel) (852) 3917-5772\n \n \n \n\n \n \n Enquiry: ihss@hku.hk\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABSTRACT \n \n \n \n It is estimated that one million women across the globe are trafficked annually. Maiti Nepal\, an NGO that seeks to stop this pernicious trade\, estimates that from Nepal alone\, 100\,000 women and girls are trafficked annually to urban areas and across the borders to India\, China and beyond. The author looks at how\, in contrast\, commercial Hindi films historically glamorised the sex-worker\, and presented iconic characters who became the good “bad” women in popular imagination. Arguably emanating from a specific cultural context of the devdasi (temple dancer)\, nautanki (itinerant dancing girl) or tawaif (courtesan)\, filmic depictions of prostitutes’ lives and choices portray a glamourised picture. The three courtesans made famous in the films\, (Mughal-e-Azam [1960]\, Pakeezah [The Pure One; 1971] and Umrao Jaan [1981]) are romanticised. Such depictions of the prostitute were reinforced in films such as Devdas (1955 & its 2002 remake)\, Pyaasa (Thirsty; 1957)\, Chitralekha (1964)\, Teesri Kasam (The Third Vow; 1966) and Amar Prem (Eternal Love; 1971).  Analysing them with later films such as Mandi (Marketplace; 1983)\, Utsav (Festival; 1984)\, Chandni Bar (2001)\, Chameli (2003)\, Chingaari (Spark; 2006) and Pranali (2008)\, we see the industry depicting a more realistic view in recent years. Finally\, documentary films such as Born into Brothels\, show the real-life dimension of the children of sex-workers\, wishing for futures outside this industry and Maiti Nepal’s The Day My God Died [2010]\, tells the grim story of this activity and Maiti Nepal’s efforts to stop it.   URL:https://ihss.hku.hk/events/a-study-on-the-cult-of-nong-zhigao-among-the-zhuang-ethnic-group-in-the-sino-vietnamese-borderlands-%e4%b8%ad%e8%b6%8a%e9%82%8a%e5%a2%83%e5%a3%af%e6%97%8f%e4%ba%ba%e7%be%a4%e7%9a%84%e5%84%82%e6%99%ba/ LOCATION:Multimedia Room\, 3/F\, Yongfang Hall CATEGORIES:IHSS END:VEVENT BEGIN:VEVENT DTSTART;TZID=Asia/Hong_Kong:20140507T160000 DTEND;TZID=Asia/Hong_Kong:20140507T160000 DTSTAMP:20261108T205046 CREATED:20240802T001605Z LAST-MODIFIED:20260416T102939Z UID:88834-1399478400-1399478400@ihss.hku.hk SUMMARY:Life in North Korea from Two Perspectives: for Ordinary North Koreans and for Expatriates Working There DESCRIPTION:Language: English\n \n \n \n \n Room 201\, 2/F\, May Hall\, The University of Hong Kong\n \n \n \n \n February 23\, 2016 12:00 nn – 1:00 pm\n \n \n \n \n (Tel) (852) 3917-5772\n \n \n \n\n \n \n Enquiry: ihss@hku.hk\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABSTRACT \n \n \n \n It is estimated that one million women across the globe are trafficked annually. Maiti Nepal\, an NGO that seeks to stop this pernicious trade\, estimates that from Nepal alone\, 100\,000 women and girls are trafficked annually to urban areas and across the borders to India\, China and beyond. The author looks at how\, in contrast\, commercial Hindi films historically glamorised the sex-worker\, and presented iconic characters who became the good “bad” women in popular imagination. Arguably emanating from a specific cultural context of the devdasi (temple dancer)\, nautanki (itinerant dancing girl) or tawaif (courtesan)\, filmic depictions of prostitutes’ lives and choices portray a glamourised picture. The three courtesans made famous in the films\, (Mughal-e-Azam [1960]\, Pakeezah [The Pure One; 1971] and Umrao Jaan [1981]) are romanticised. Such depictions of the prostitute were reinforced in films such as Devdas (1955 & its 2002 remake)\, Pyaasa (Thirsty; 1957)\, Chitralekha (1964)\, Teesri Kasam (The Third Vow; 1966) and Amar Prem (Eternal Love; 1971).  Analysing them with later films such as Mandi (Marketplace; 1983)\, Utsav (Festival; 1984)\, Chandni Bar (2001)\, Chameli (2003)\, Chingaari (Spark; 2006) and Pranali (2008)\, we see the industry depicting a more realistic view in recent years. Finally\, documentary films such as Born into Brothels\, show the real-life dimension of the children of sex-workers\, wishing for futures outside this industry and Maiti Nepal’s The Day My God Died [2010]\, tells the grim story of this activity and Maiti Nepal’s efforts to stop it.   URL:https://ihss.hku.hk/events/life-in-north-korea-from-two-perspectives-for-ordinary-north-koreans-and-for-expatriates-working-there/ LOCATION:Room 201\, 2/F\, Hong Kong CATEGORIES:IHSS END:VEVENT BEGIN:VEVENT DTSTART;TZID=Asia/Hong_Kong:20140429T120000 DTEND;TZID=Asia/Hong_Kong:20140429T130000 DTSTAMP:20261108T205046 CREATED:20240802T002301Z LAST-MODIFIED:20260416T102939Z UID:88841-1398772800-1398776400@ihss.hku.hk SUMMARY:Do Flush Toilets Have Politics? DESCRIPTION:Language: English\n \n \n \n \n Room 201\, 2/F\, May Hall\, The University of Hong Kong\n \n \n \n \n February 23\, 2016 12:00 nn – 1:00 pm\n \n \n \n \n (Tel) (852) 3917-5772\n \n \n \n\n \n \n Enquiry: ihss@hku.hk\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABSTRACT \n \n \n \n It is estimated that one million women across the globe are trafficked annually. Maiti Nepal\, an NGO that seeks to stop this pernicious trade\, estimates that from Nepal alone\, 100\,000 women and girls are trafficked annually to urban areas and across the borders to India\, China and beyond. The author looks at how\, in contrast\, commercial Hindi films historically glamorised the sex-worker\, and presented iconic characters who became the good “bad” women in popular imagination. Arguably emanating from a specific cultural context of the devdasi (temple dancer)\, nautanki (itinerant dancing girl) or tawaif (courtesan)\, filmic depictions of prostitutes’ lives and choices portray a glamourised picture. The three courtesans made famous in the films\, (Mughal-e-Azam [1960]\, Pakeezah [The Pure One; 1971] and Umrao Jaan [1981]) are romanticised. Such depictions of the prostitute were reinforced in films such as Devdas (1955 & its 2002 remake)\, Pyaasa (Thirsty; 1957)\, Chitralekha (1964)\, Teesri Kasam (The Third Vow; 1966) and Amar Prem (Eternal Love; 1971).  Analysing them with later films such as Mandi (Marketplace; 1983)\, Utsav (Festival; 1984)\, Chandni Bar (2001)\, Chameli (2003)\, Chingaari (Spark; 2006) and Pranali (2008)\, we see the industry depicting a more realistic view in recent years. Finally\, documentary films such as Born into Brothels\, show the real-life dimension of the children of sex-workers\, wishing for futures outside this industry and Maiti Nepal’s The Day My God Died [2010]\, tells the grim story of this activity and Maiti Nepal’s efforts to stop it.   URL:https://ihss.hku.hk/events/do-flush-toilets-have-politics/ LOCATION:Room 201\, 2/F\, Hong Kong CATEGORIES:IHSS END:VEVENT BEGIN:VEVENT DTSTART;TZID=Asia/Hong_Kong:20140425T000000 DTEND;TZID=Asia/Hong_Kong:20140425T000000 DTSTAMP:20261108T205046 CREATED:20240802T003210Z LAST-MODIFIED:20260416T102940Z UID:88848-1398384000-1398384000@ihss.hku.hk SUMMARY:Freedom and Fear in Hong Kong Media DESCRIPTION:Language: English\n \n \n \n \n Room 201\, 2/F\, May Hall\, The University of Hong Kong\n \n \n \n \n February 23\, 2016 12:00 nn – 1:00 pm\n \n \n \n \n (Tel) (852) 3917-5772\n \n \n \n\n \n \n Enquiry: ihss@hku.hk\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABSTRACT \n \n \n \n It is estimated that one million women across the globe are trafficked annually. Maiti Nepal\, an NGO that seeks to stop this pernicious trade\, estimates that from Nepal alone\, 100\,000 women and girls are trafficked annually to urban areas and across the borders to India\, China and beyond. The author looks at how\, in contrast\, commercial Hindi films historically glamorised the sex-worker\, and presented iconic characters who became the good “bad” women in popular imagination. Arguably emanating from a specific cultural context of the devdasi (temple dancer)\, nautanki (itinerant dancing girl) or tawaif (courtesan)\, filmic depictions of prostitutes’ lives and choices portray a glamourised picture. The three courtesans made famous in the films\, (Mughal-e-Azam [1960]\, Pakeezah [The Pure One; 1971] and Umrao Jaan [1981]) are romanticised. Such depictions of the prostitute were reinforced in films such as Devdas (1955 & its 2002 remake)\, Pyaasa (Thirsty; 1957)\, Chitralekha (1964)\, Teesri Kasam (The Third Vow; 1966) and Amar Prem (Eternal Love; 1971).  Analysing them with later films such as Mandi (Marketplace; 1983)\, Utsav (Festival; 1984)\, Chandni Bar (2001)\, Chameli (2003)\, Chingaari (Spark; 2006) and Pranali (2008)\, we see the industry depicting a more realistic view in recent years. Finally\, documentary films such as Born into Brothels\, show the real-life dimension of the children of sex-workers\, wishing for futures outside this industry and Maiti Nepal’s The Day My God Died [2010]\, tells the grim story of this activity and Maiti Nepal’s efforts to stop it.   URL:https://ihss.hku.hk/events/freedom-and-fear-in-hong-kong-media/ CATEGORIES:IHSS END:VEVENT BEGIN:VEVENT DTSTART;TZID=Asia/Hong_Kong:20140415T120000 DTEND;TZID=Asia/Hong_Kong:20140415T130000 DTSTAMP:20261108T205046 CREATED:20240802T004756Z LAST-MODIFIED:20260416T102940Z UID:88860-1397563200-1397566800@ihss.hku.hk SUMMARY:“Ride the Wind” with Mozart’s “Jupiter” Symphony: Music\, Aesthetics\, and the Sublime in Chinese Modernity DESCRIPTION:Language: English\n \n \n \n \n Room 201\, 2/F\, May Hall\, The University of Hong Kong\n \n \n \n \n February 23\, 2016 12:00 nn – 1:00 pm\n \n \n \n \n (Tel) (852) 3917-5772\n \n \n \n\n \n \n Enquiry: ihss@hku.hk\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABSTRACT \n \n \n \n It is estimated that one million women across the globe are trafficked annually. Maiti Nepal\, an NGO that seeks to stop this pernicious trade\, estimates that from Nepal alone\, 100\,000 women and girls are trafficked annually to urban areas and across the borders to India\, China and beyond. The author looks at how\, in contrast\, commercial Hindi films historically glamorised the sex-worker\, and presented iconic characters who became the good “bad” women in popular imagination. Arguably emanating from a specific cultural context of the devdasi (temple dancer)\, nautanki (itinerant dancing girl) or tawaif (courtesan)\, filmic depictions of prostitutes’ lives and choices portray a glamourised picture. The three courtesans made famous in the films\, (Mughal-e-Azam [1960]\, Pakeezah [The Pure One; 1971] and Umrao Jaan [1981]) are romanticised. Such depictions of the prostitute were reinforced in films such as Devdas (1955 & its 2002 remake)\, Pyaasa (Thirsty; 1957)\, Chitralekha (1964)\, Teesri Kasam (The Third Vow; 1966) and Amar Prem (Eternal Love; 1971).  Analysing them with later films such as Mandi (Marketplace; 1983)\, Utsav (Festival; 1984)\, Chandni Bar (2001)\, Chameli (2003)\, Chingaari (Spark; 2006) and Pranali (2008)\, we see the industry depicting a more realistic view in recent years. Finally\, documentary films such as Born into Brothels\, show the real-life dimension of the children of sex-workers\, wishing for futures outside this industry and Maiti Nepal’s The Day My God Died [2010]\, tells the grim story of this activity and Maiti Nepal’s efforts to stop it.   URL:https://ihss.hku.hk/events/ride-the-wind-with-mozarts-jupiter-symphony-music-aesthetics-and-the-sublime-in-chinese-modernity/ LOCATION:Room 201\, 2/F\, Hong Kong CATEGORIES:IHSS END:VEVENT BEGIN:VEVENT DTSTART;TZID=Asia/Hong_Kong:20140409T160000 DTEND;TZID=Asia/Hong_Kong:20140409T160000 DTSTAMP:20261108T205046 CREATED:20240802T005348Z LAST-MODIFIED:20260416T102940Z UID:88867-1397059200-1397059200@ihss.hku.hk SUMMARY:Driving toward Modernity: The Making of Urban Middle Class in the Age of Automobility in South China DESCRIPTION:Language: English\n \n \n \n \n Room 201\, 2/F\, May Hall\, The University of Hong Kong\n \n \n \n \n February 23\, 2016 12:00 nn – 1:00 pm\n \n \n \n \n (Tel) (852) 3917-5772\n \n \n \n\n \n \n Enquiry: ihss@hku.hk\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABSTRACT \n \n \n \n It is estimated that one million women across the globe are trafficked annually. Maiti Nepal\, an NGO that seeks to stop this pernicious trade\, estimates that from Nepal alone\, 100\,000 women and girls are trafficked annually to urban areas and across the borders to India\, China and beyond. The author looks at how\, in contrast\, commercial Hindi films historically glamorised the sex-worker\, and presented iconic characters who became the good “bad” women in popular imagination. Arguably emanating from a specific cultural context of the devdasi (temple dancer)\, nautanki (itinerant dancing girl) or tawaif (courtesan)\, filmic depictions of prostitutes’ lives and choices portray a glamourised picture. The three courtesans made famous in the films\, (Mughal-e-Azam [1960]\, Pakeezah [The Pure One; 1971] and Umrao Jaan [1981]) are romanticised. Such depictions of the prostitute were reinforced in films such as Devdas (1955 & its 2002 remake)\, Pyaasa (Thirsty; 1957)\, Chitralekha (1964)\, Teesri Kasam (The Third Vow; 1966) and Amar Prem (Eternal Love; 1971).  Analysing them with later films such as Mandi (Marketplace; 1983)\, Utsav (Festival; 1984)\, Chandni Bar (2001)\, Chameli (2003)\, Chingaari (Spark; 2006) and Pranali (2008)\, we see the industry depicting a more realistic view in recent years. Finally\, documentary films such as Born into Brothels\, show the real-life dimension of the children of sex-workers\, wishing for futures outside this industry and Maiti Nepal’s The Day My God Died [2010]\, tells the grim story of this activity and Maiti Nepal’s efforts to stop it.   URL:https://ihss.hku.hk/events/driving-toward-modernity-the-making-of-urban-middle-class-in-the-age-of-automobility-in-south-china/ LOCATION:Room 201\, 2/F\, Hong Kong CATEGORIES:IHSS END:VEVENT BEGIN:VEVENT DTSTART;TZID=Asia/Hong_Kong:20140401T120000 DTEND;TZID=Asia/Hong_Kong:20140401T130000 DTSTAMP:20261108T205046 CREATED:20240804T173955Z LAST-MODIFIED:20260416T102941Z UID:88875-1396353600-1396357200@ihss.hku.hk SUMMARY:The Pen is as Mighty as the Sword: Documentary and Literary Views of Hailanča DESCRIPTION:Language: English\n \n \n \n \n Room 201\, 2/F\, May Hall\, The University of Hong Kong\n \n \n \n \n February 23\, 2016 12:00 nn – 1:00 pm\n \n \n \n \n (Tel) (852) 3917-5772\n \n \n \n\n \n \n Enquiry: ihss@hku.hk\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABSTRACT \n \n \n \n It is estimated that one million women across the globe are trafficked annually. Maiti Nepal\, an NGO that seeks to stop this pernicious trade\, estimates that from Nepal alone\, 100\,000 women and girls are trafficked annually to urban areas and across the borders to India\, China and beyond. The author looks at how\, in contrast\, commercial Hindi films historically glamorised the sex-worker\, and presented iconic characters who became the good “bad” women in popular imagination. Arguably emanating from a specific cultural context of the devdasi (temple dancer)\, nautanki (itinerant dancing girl) or tawaif (courtesan)\, filmic depictions of prostitutes’ lives and choices portray a glamourised picture. The three courtesans made famous in the films\, (Mughal-e-Azam [1960]\, Pakeezah [The Pure One; 1971] and Umrao Jaan [1981]) are romanticised. Such depictions of the prostitute were reinforced in films such as Devdas (1955 & its 2002 remake)\, Pyaasa (Thirsty; 1957)\, Chitralekha (1964)\, Teesri Kasam (The Third Vow; 1966) and Amar Prem (Eternal Love; 1971).  Analysing them with later films such as Mandi (Marketplace; 1983)\, Utsav (Festival; 1984)\, Chandni Bar (2001)\, Chameli (2003)\, Chingaari (Spark; 2006) and Pranali (2008)\, we see the industry depicting a more realistic view in recent years. Finally\, documentary films such as Born into Brothels\, show the real-life dimension of the children of sex-workers\, wishing for futures outside this industry and Maiti Nepal’s The Day My God Died [2010]\, tells the grim story of this activity and Maiti Nepal’s efforts to stop it.   URL:https://ihss.hku.hk/events/the-pen-is-as-mighty-as-the-sword-documentary-and-literary-views-of-hailanca/ LOCATION:Room 201\, 2/F\, Hong Kong CATEGORIES:IHSS END:VEVENT BEGIN:VEVENT DTSTART;TZID=Asia/Hong_Kong:20140318T120000 DTEND;TZID=Asia/Hong_Kong:20140318T130000 DTSTAMP:20261108T205046 CREATED:20240804T174352Z LAST-MODIFIED:20260416T102941Z UID:88880-1395144000-1395147600@ihss.hku.hk SUMMARY:The Great Retreat and Its Discontents: Reexamining Cultural Revolution Mass Politics in South-Central China DESCRIPTION:Language: English\n \n \n \n \n Room 201\, 2/F\, May Hall\, The University of Hong Kong\n \n \n \n \n February 23\, 2016 12:00 nn – 1:00 pm\n \n \n \n \n (Tel) (852) 3917-5772\n \n \n \n\n \n \n Enquiry: ihss@hku.hk\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABSTRACT \n \n \n \n It is estimated that one million women across the globe are trafficked annually. Maiti Nepal\, an NGO that seeks to stop this pernicious trade\, estimates that from Nepal alone\, 100\,000 women and girls are trafficked annually to urban areas and across the borders to India\, China and beyond. The author looks at how\, in contrast\, commercial Hindi films historically glamorised the sex-worker\, and presented iconic characters who became the good “bad” women in popular imagination. Arguably emanating from a specific cultural context of the devdasi (temple dancer)\, nautanki (itinerant dancing girl) or tawaif (courtesan)\, filmic depictions of prostitutes’ lives and choices portray a glamourised picture. The three courtesans made famous in the films\, (Mughal-e-Azam [1960]\, Pakeezah [The Pure One; 1971] and Umrao Jaan [1981]) are romanticised. Such depictions of the prostitute were reinforced in films such as Devdas (1955 & its 2002 remake)\, Pyaasa (Thirsty; 1957)\, Chitralekha (1964)\, Teesri Kasam (The Third Vow; 1966) and Amar Prem (Eternal Love; 1971).  Analysing them with later films such as Mandi (Marketplace; 1983)\, Utsav (Festival; 1984)\, Chandni Bar (2001)\, Chameli (2003)\, Chingaari (Spark; 2006) and Pranali (2008)\, we see the industry depicting a more realistic view in recent years. Finally\, documentary films such as Born into Brothels\, show the real-life dimension of the children of sex-workers\, wishing for futures outside this industry and Maiti Nepal’s The Day My God Died [2010]\, tells the grim story of this activity and Maiti Nepal’s efforts to stop it.   URL:https://ihss.hku.hk/events/the-great-retreat-and-its-discontents-reexamining-cultural-revolution-mass-politics-in-south-central-china/ LOCATION:Room 201\, 2/F\, Hong Kong CATEGORIES:IHSS END:VEVENT BEGIN:VEVENT DTSTART;TZID=Asia/Hong_Kong:20140304T163000 DTEND;TZID=Asia/Hong_Kong:20140304T163000 DTSTAMP:20261108T205046 CREATED:20240804T174806Z LAST-MODIFIED:20260416T102941Z UID:88887-1393950600-1393950600@ihss.hku.hk SUMMARY:Star Wars vs. Seopyeonje: The Images of Science and Technology in South Korea DESCRIPTION:Language: English\n \n \n \n \n Room 201\, 2/F\, May Hall\, The University of Hong Kong\n \n \n \n \n February 23\, 2016 12:00 nn – 1:00 pm\n \n \n \n \n (Tel) (852) 3917-5772\n \n \n \n\n \n \n Enquiry: ihss@hku.hk\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABSTRACT \n \n \n \n It is estimated that one million women across the globe are trafficked annually. Maiti Nepal\, an NGO that seeks to stop this pernicious trade\, estimates that from Nepal alone\, 100\,000 women and girls are trafficked annually to urban areas and across the borders to India\, China and beyond. The author looks at how\, in contrast\, commercial Hindi films historically glamorised the sex-worker\, and presented iconic characters who became the good “bad” women in popular imagination. Arguably emanating from a specific cultural context of the devdasi (temple dancer)\, nautanki (itinerant dancing girl) or tawaif (courtesan)\, filmic depictions of prostitutes’ lives and choices portray a glamourised picture. The three courtesans made famous in the films\, (Mughal-e-Azam [1960]\, Pakeezah [The Pure One; 1971] and Umrao Jaan [1981]) are romanticised. Such depictions of the prostitute were reinforced in films such as Devdas (1955 & its 2002 remake)\, Pyaasa (Thirsty; 1957)\, Chitralekha (1964)\, Teesri Kasam (The Third Vow; 1966) and Amar Prem (Eternal Love; 1971).  Analysing them with later films such as Mandi (Marketplace; 1983)\, Utsav (Festival; 1984)\, Chandni Bar (2001)\, Chameli (2003)\, Chingaari (Spark; 2006) and Pranali (2008)\, we see the industry depicting a more realistic view in recent years. Finally\, documentary films such as Born into Brothels\, show the real-life dimension of the children of sex-workers\, wishing for futures outside this industry and Maiti Nepal’s The Day My God Died [2010]\, tells the grim story of this activity and Maiti Nepal’s efforts to stop it.   URL:https://ihss.hku.hk/events/star-wars-vs-seopyeonje-the-images-of-science-and-technology-in-south-korea/ LOCATION:Social Sciences Chamber\, 11/F\, Hong Kong CATEGORIES:IHSS END:VEVENT BEGIN:VEVENT DTSTART;TZID=Asia/Hong_Kong:20140225T120000 DTEND;TZID=Asia/Hong_Kong:20140225T130000 DTSTAMP:20261108T205046 CREATED:20240804T175248Z LAST-MODIFIED:20260416T102943Z UID:88897-1393329600-1393333200@ihss.hku.hk SUMMARY:Innovator\, Visionary\, Maverick: Locating Mr. Ho Amei (1838 – 1901) in Modern Chinese History DESCRIPTION:Language: English\n \n \n \n \n Room 201\, 2/F\, May Hall\, The University of Hong Kong\n \n \n \n \n February 23\, 2016 12:00 nn – 1:00 pm\n \n \n \n \n (Tel) (852) 3917-5772\n \n \n \n\n \n \n Enquiry: ihss@hku.hk\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABSTRACT \n \n \n \n It is estimated that one million women across the globe are trafficked annually. Maiti Nepal\, an NGO that seeks to stop this pernicious trade\, estimates that from Nepal alone\, 100\,000 women and girls are trafficked annually to urban areas and across the borders to India\, China and beyond. The author looks at how\, in contrast\, commercial Hindi films historically glamorised the sex-worker\, and presented iconic characters who became the good “bad” women in popular imagination. Arguably emanating from a specific cultural context of the devdasi (temple dancer)\, nautanki (itinerant dancing girl) or tawaif (courtesan)\, filmic depictions of prostitutes’ lives and choices portray a glamourised picture. The three courtesans made famous in the films\, (Mughal-e-Azam [1960]\, Pakeezah [The Pure One; 1971] and Umrao Jaan [1981]) are romanticised. Such depictions of the prostitute were reinforced in films such as Devdas (1955 & its 2002 remake)\, Pyaasa (Thirsty; 1957)\, Chitralekha (1964)\, Teesri Kasam (The Third Vow; 1966) and Amar Prem (Eternal Love; 1971).  Analysing them with later films such as Mandi (Marketplace; 1983)\, Utsav (Festival; 1984)\, Chandni Bar (2001)\, Chameli (2003)\, Chingaari (Spark; 2006) and Pranali (2008)\, we see the industry depicting a more realistic view in recent years. Finally\, documentary films such as Born into Brothels\, show the real-life dimension of the children of sex-workers\, wishing for futures outside this industry and Maiti Nepal’s The Day My God Died [2010]\, tells the grim story of this activity and Maiti Nepal’s efforts to stop it.   URL:https://ihss.hku.hk/events/innovator-visionary-maverick-locating-mr-ho-amei-1838-1901-in-modern-chinese-history/ LOCATION:Room 201\, 2/F\, Hong Kong CATEGORIES:IHSS END:VEVENT BEGIN:VEVENT DTSTART;TZID=Asia/Hong_Kong:20140219T160000 DTEND;TZID=Asia/Hong_Kong:20140219T160000 DTSTAMP:20261108T205046 CREATED:20240804T180619Z LAST-MODIFIED:20260416T102943Z UID:88904-1392825600-1392825600@ihss.hku.hk SUMMARY:Antisyphilitic Mercury Drugs as Objects of Knowledge in Early Modern Japan DESCRIPTION:Language: English\n \n \n \n \n Room 201\, 2/F\, May Hall\, The University of Hong Kong\n \n \n \n \n February 23\, 2016 12:00 nn – 1:00 pm\n \n \n \n \n (Tel) (852) 3917-5772\n \n \n \n\n \n \n Enquiry: ihss@hku.hk\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABSTRACT \n \n \n \n It is estimated that one million women across the globe are trafficked annually. Maiti Nepal\, an NGO that seeks to stop this pernicious trade\, estimates that from Nepal alone\, 100\,000 women and girls are trafficked annually to urban areas and across the borders to India\, China and beyond. The author looks at how\, in contrast\, commercial Hindi films historically glamorised the sex-worker\, and presented iconic characters who became the good “bad” women in popular imagination. Arguably emanating from a specific cultural context of the devdasi (temple dancer)\, nautanki (itinerant dancing girl) or tawaif (courtesan)\, filmic depictions of prostitutes’ lives and choices portray a glamourised picture. The three courtesans made famous in the films\, (Mughal-e-Azam [1960]\, Pakeezah [The Pure One; 1971] and Umrao Jaan [1981]) are romanticised. Such depictions of the prostitute were reinforced in films such as Devdas (1955 & its 2002 remake)\, Pyaasa (Thirsty; 1957)\, Chitralekha (1964)\, Teesri Kasam (The Third Vow; 1966) and Amar Prem (Eternal Love; 1971).  Analysing them with later films such as Mandi (Marketplace; 1983)\, Utsav (Festival; 1984)\, Chandni Bar (2001)\, Chameli (2003)\, Chingaari (Spark; 2006) and Pranali (2008)\, we see the industry depicting a more realistic view in recent years. Finally\, documentary films such as Born into Brothels\, show the real-life dimension of the children of sex-workers\, wishing for futures outside this industry and Maiti Nepal’s The Day My God Died [2010]\, tells the grim story of this activity and Maiti Nepal’s efforts to stop it.   URL:https://ihss.hku.hk/events/antisyphilitic-mercury-drugs-as-objects-of-knowledge-in-early-modern-japan/ LOCATION:Room 201\, 2/F\, Hong Kong CATEGORIES:IHSS END:VEVENT BEGIN:VEVENT DTSTART;TZID=Asia/Hong_Kong:20140211T120000 DTEND;TZID=Asia/Hong_Kong:20140211T130000 DTSTAMP:20261108T205046 CREATED:20240804T181151Z LAST-MODIFIED:20260416T102943Z UID:88911-1392120000-1392123600@ihss.hku.hk SUMMARY:Biobanking in Taiwan: Law\, Ethics\, and Biocapitalism DESCRIPTION:Language: English\n \n \n \n \n Room 201\, 2/F\, May Hall\, The University of Hong Kong\n \n \n \n \n February 23\, 2016 12:00 nn – 1:00 pm\n \n \n \n \n (Tel) (852) 3917-5772\n \n \n \n\n \n \n Enquiry: ihss@hku.hk\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABSTRACT \n \n \n \n It is estimated that one million women across the globe are trafficked annually. Maiti Nepal\, an NGO that seeks to stop this pernicious trade\, estimates that from Nepal alone\, 100\,000 women and girls are trafficked annually to urban areas and across the borders to India\, China and beyond. The author looks at how\, in contrast\, commercial Hindi films historically glamorised the sex-worker\, and presented iconic characters who became the good “bad” women in popular imagination. Arguably emanating from a specific cultural context of the devdasi (temple dancer)\, nautanki (itinerant dancing girl) or tawaif (courtesan)\, filmic depictions of prostitutes’ lives and choices portray a glamourised picture. The three courtesans made famous in the films\, (Mughal-e-Azam [1960]\, Pakeezah [The Pure One; 1971] and Umrao Jaan [1981]) are romanticised. Such depictions of the prostitute were reinforced in films such as Devdas (1955 & its 2002 remake)\, Pyaasa (Thirsty; 1957)\, Chitralekha (1964)\, Teesri Kasam (The Third Vow; 1966) and Amar Prem (Eternal Love; 1971).  Analysing them with later films such as Mandi (Marketplace; 1983)\, Utsav (Festival; 1984)\, Chandni Bar (2001)\, Chameli (2003)\, Chingaari (Spark; 2006) and Pranali (2008)\, we see the industry depicting a more realistic view in recent years. Finally\, documentary films such as Born into Brothels\, show the real-life dimension of the children of sex-workers\, wishing for futures outside this industry and Maiti Nepal’s The Day My God Died [2010]\, tells the grim story of this activity and Maiti Nepal’s efforts to stop it.   URL:https://ihss.hku.hk/events/biobanking-in-taiwan-law-ethics-and-biocapitalism/ LOCATION:Room 201\, 2/F\, Hong Kong CATEGORIES:IHSS END:VEVENT BEGIN:VEVENT DTSTART;TZID=Asia/Hong_Kong:20140128T120000 DTEND;TZID=Asia/Hong_Kong:20140128T130000 DTSTAMP:20261108T205046 CREATED:20240804T181515Z LAST-MODIFIED:20260416T102944Z UID:88917-1390910400-1390914000@ihss.hku.hk SUMMARY:Towards a Common Civilization: G. Lowes Dickinson\, China\, and Global Humanism DESCRIPTION:Language: English\n \n \n \n \n Room 201\, 2/F\, May Hall\, The University of Hong Kong\n \n \n \n \n February 23\, 2016 12:00 nn – 1:00 pm\n \n \n \n \n (Tel) (852) 3917-5772\n \n \n \n\n \n \n Enquiry: ihss@hku.hk\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABSTRACT \n \n \n \n It is estimated that one million women across the globe are trafficked annually. Maiti Nepal\, an NGO that seeks to stop this pernicious trade\, estimates that from Nepal alone\, 100\,000 women and girls are trafficked annually to urban areas and across the borders to India\, China and beyond. The author looks at how\, in contrast\, commercial Hindi films historically glamorised the sex-worker\, and presented iconic characters who became the good “bad” women in popular imagination. Arguably emanating from a specific cultural context of the devdasi (temple dancer)\, nautanki (itinerant dancing girl) or tawaif (courtesan)\, filmic depictions of prostitutes’ lives and choices portray a glamourised picture. The three courtesans made famous in the films\, (Mughal-e-Azam [1960]\, Pakeezah [The Pure One; 1971] and Umrao Jaan [1981]) are romanticised. Such depictions of the prostitute were reinforced in films such as Devdas (1955 & its 2002 remake)\, Pyaasa (Thirsty; 1957)\, Chitralekha (1964)\, Teesri Kasam (The Third Vow; 1966) and Amar Prem (Eternal Love; 1971).  Analysing them with later films such as Mandi (Marketplace; 1983)\, Utsav (Festival; 1984)\, Chandni Bar (2001)\, Chameli (2003)\, Chingaari (Spark; 2006) and Pranali (2008)\, we see the industry depicting a more realistic view in recent years. Finally\, documentary films such as Born into Brothels\, show the real-life dimension of the children of sex-workers\, wishing for futures outside this industry and Maiti Nepal’s The Day My God Died [2010]\, tells the grim story of this activity and Maiti Nepal’s efforts to stop it.   URL:https://ihss.hku.hk/events/towards-a-common-civilization-g-lowes-dickinson-china-and-global-humanism/ LOCATION:Room 201\, 2/F\, Hong Kong CATEGORIES:Interdisciplinary Research Seminar Series END:VEVENT BEGIN:VEVENT DTSTART;TZID=Asia/Hong_Kong:20130508T160000 DTEND;TZID=Asia/Hong_Kong:20130508T173000 DTSTAMP:20261108T205046 CREATED:20260310T084720Z LAST-MODIFIED:20260420T052849Z UID:101764-1368028800-1368034200@ihss.hku.hk SUMMARY:The Growth of Chinese Civilisation: An Archaeo-metallurgical Perspective DESCRIPTION:Language: English\n \n \n \n \n Room 201\, 2/F\, May Hall\, The University of Hong Kong\n \n \n \n \n February 23\, 2016 12:00 nn – 1:00 pm\n \n \n \n \n (Tel) (852) 3917-5772\n \n \n \n\n \n \n Enquiry: ihss@hku.hk\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABSTRACT \n \n \n \n It is estimated that one million women across the globe are trafficked annually. Maiti Nepal\, an NGO that seeks to stop this pernicious trade\, estimates that from Nepal alone\, 100\,000 women and girls are trafficked annually to urban areas and across the borders to India\, China and beyond. The author looks at how\, in contrast\, commercial Hindi films historically glamorised the sex-worker\, and presented iconic characters who became the good “bad” women in popular imagination. Arguably emanating from a specific cultural context of the devdasi (temple dancer)\, nautanki (itinerant dancing girl) or tawaif (courtesan)\, filmic depictions of prostitutes’ lives and choices portray a glamourised picture. The three courtesans made famous in the films\, (Mughal-e-Azam [1960]\, Pakeezah [The Pure One; 1971] and Umrao Jaan [1981]) are romanticised. Such depictions of the prostitute were reinforced in films such as Devdas (1955 & its 2002 remake)\, Pyaasa (Thirsty; 1957)\, Chitralekha (1964)\, Teesri Kasam (The Third Vow; 1966) and Amar Prem (Eternal Love; 1971).  Analysing them with later films such as Mandi (Marketplace; 1983)\, Utsav (Festival; 1984)\, Chandni Bar (2001)\, Chameli (2003)\, Chingaari (Spark; 2006) and Pranali (2008)\, we see the industry depicting a more realistic view in recent years. Finally\, documentary films such as Born into Brothels\, show the real-life dimension of the children of sex-workers\, wishing for futures outside this industry and Maiti Nepal’s The Day My God Died [2010]\, tells the grim story of this activity and Maiti Nepal’s efforts to stop it.   URL:https://ihss.hku.hk/events/the-growth-of-chinese-civilisation-an-archaeo-metallurgical-perspective/ LOCATION:T6\, 1/F\, Meng Wah Complex\, The University of Hong Kong\, Hong Kong ATTACH;FMTTYPE=image/jpeg:https://ihss.hku.hk/wp-content/uploads/2026/03/lecture-by-professor-jianjun-mei-20130508.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20120707 DTEND;VALUE=DATE:20120719 DTSTAMP:20261108T205046 CREATED:20260310T103024Z LAST-MODIFIED:20260420T052827Z UID:101855-1341619200-1342655999@ihss.hku.hk SUMMARY:“China Africa Diasporas” in Tanzania DESCRIPTION:Language: English\n \n \n \n \n Room 201\, 2/F\, May Hall\, The University of Hong Kong\n \n \n \n \n February 23\, 2016 12:00 nn – 1:00 pm\n \n \n \n \n (Tel) (852) 3917-5772\n \n \n \n\n \n \n Enquiry: ihss@hku.hk\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABSTRACT \n \n \n \n It is estimated that one million women across the globe are trafficked annually. Maiti Nepal\, an NGO that seeks to stop this pernicious trade\, estimates that from Nepal alone\, 100\,000 women and girls are trafficked annually to urban areas and across the borders to India\, China and beyond. The author looks at how\, in contrast\, commercial Hindi films historically glamorised the sex-worker\, and presented iconic characters who became the good “bad” women in popular imagination. Arguably emanating from a specific cultural context of the devdasi (temple dancer)\, nautanki (itinerant dancing girl) or tawaif (courtesan)\, filmic depictions of prostitutes’ lives and choices portray a glamourised picture. The three courtesans made famous in the films\, (Mughal-e-Azam [1960]\, Pakeezah [The Pure One; 1971] and Umrao Jaan [1981]) are romanticised. Such depictions of the prostitute were reinforced in films such as Devdas (1955 & its 2002 remake)\, Pyaasa (Thirsty; 1957)\, Chitralekha (1964)\, Teesri Kasam (The Third Vow; 1966) and Amar Prem (Eternal Love; 1971).  Analysing them with later films such as Mandi (Marketplace; 1983)\, Utsav (Festival; 1984)\, Chandni Bar (2001)\, Chameli (2003)\, Chingaari (Spark; 2006) and Pranali (2008)\, we see the industry depicting a more realistic view in recent years. Finally\, documentary films such as Born into Brothels\, show the real-life dimension of the children of sex-workers\, wishing for futures outside this industry and Maiti Nepal’s The Day My God Died [2010]\, tells the grim story of this activity and Maiti Nepal’s efforts to stop it.   URL:https://ihss.hku.hk/events/china-africa-diasporas-in-tanzania/ END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20120309 DTEND;VALUE=DATE:20120310 DTSTAMP:20261108T205046 CREATED:20250103T004559Z LAST-MODIFIED:20260420T052751Z UID:91046-1331251200-1331337599@ihss.hku.hk SUMMARY:The Making of “Asia”: Heath and Gender DESCRIPTION:Language: English\n \n \n \n \n Room 201\, 2/F\, May Hall\, The University of Hong Kong\n \n \n \n \n February 23\, 2016 12:00 nn – 1:00 pm\n \n \n \n \n (Tel) (852) 3917-5772\n \n \n \n\n \n \n Enquiry: ihss@hku.hk\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABSTRACT \n \n \n \n It is estimated that one million women across the globe are trafficked annually. Maiti Nepal\, an NGO that seeks to stop this pernicious trade\, estimates that from Nepal alone\, 100\,000 women and girls are trafficked annually to urban areas and across the borders to India\, China and beyond. The author looks at how\, in contrast\, commercial Hindi films historically glamorised the sex-worker\, and presented iconic characters who became the good “bad” women in popular imagination. Arguably emanating from a specific cultural context of the devdasi (temple dancer)\, nautanki (itinerant dancing girl) or tawaif (courtesan)\, filmic depictions of prostitutes’ lives and choices portray a glamourised picture. The three courtesans made famous in the films\, (Mughal-e-Azam [1960]\, Pakeezah [The Pure One; 1971] and Umrao Jaan [1981]) are romanticised. Such depictions of the prostitute were reinforced in films such as Devdas (1955 & its 2002 remake)\, Pyaasa (Thirsty; 1957)\, Chitralekha (1964)\, Teesri Kasam (The Third Vow; 1966) and Amar Prem (Eternal Love; 1971).  Analysing them with later films such as Mandi (Marketplace; 1983)\, Utsav (Festival; 1984)\, Chandni Bar (2001)\, Chameli (2003)\, Chingaari (Spark; 2006) and Pranali (2008)\, we see the industry depicting a more realistic view in recent years. Finally\, documentary films such as Born into Brothels\, show the real-life dimension of the children of sex-workers\, wishing for futures outside this industry and Maiti Nepal’s The Day My God Died [2010]\, tells the grim story of this activity and Maiti Nepal’s efforts to stop it.   URL:https://ihss.hku.hk/events/the-making-of-asia-heath-and-gender/ END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20120106 DTEND;VALUE=DATE:20120107 DTSTAMP:20261108T205046 CREATED:20260310T101416Z LAST-MODIFIED:20260420T052730Z UID:101811-1325808000-1325894399@ihss.hku.hk SUMMARY:The Recent Works in the History of Science\, Technology and Medicine DESCRIPTION:Language: English\n \n \n \n \n Room 201\, 2/F\, May Hall\, The University of Hong Kong\n \n \n \n \n February 23\, 2016 12:00 nn – 1:00 pm\n \n \n \n \n (Tel) (852) 3917-5772\n \n \n \n\n \n \n Enquiry: ihss@hku.hk\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABSTRACT \n \n \n \n It is estimated that one million women across the globe are trafficked annually. Maiti Nepal\, an NGO that seeks to stop this pernicious trade\, estimates that from Nepal alone\, 100\,000 women and girls are trafficked annually to urban areas and across the borders to India\, China and beyond. The author looks at how\, in contrast\, commercial Hindi films historically glamorised the sex-worker\, and presented iconic characters who became the good “bad” women in popular imagination. Arguably emanating from a specific cultural context of the devdasi (temple dancer)\, nautanki (itinerant dancing girl) or tawaif (courtesan)\, filmic depictions of prostitutes’ lives and choices portray a glamourised picture. The three courtesans made famous in the films\, (Mughal-e-Azam [1960]\, Pakeezah [The Pure One; 1971] and Umrao Jaan [1981]) are romanticised. Such depictions of the prostitute were reinforced in films such as Devdas (1955 & its 2002 remake)\, Pyaasa (Thirsty; 1957)\, Chitralekha (1964)\, Teesri Kasam (The Third Vow; 1966) and Amar Prem (Eternal Love; 1971).  Analysing them with later films such as Mandi (Marketplace; 1983)\, Utsav (Festival; 1984)\, Chandni Bar (2001)\, Chameli (2003)\, Chingaari (Spark; 2006) and Pranali (2008)\, we see the industry depicting a more realistic view in recent years. Finally\, documentary films such as Born into Brothels\, show the real-life dimension of the children of sex-workers\, wishing for futures outside this industry and Maiti Nepal’s The Day My God Died [2010]\, tells the grim story of this activity and Maiti Nepal’s efforts to stop it.   URL:https://ihss.hku.hk/events/the-recent-works-in-the-history-of-science-technology-and-medicine/ END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20111220 DTEND;VALUE=DATE:20111222 DTSTAMP:20261108T205046 CREATED:20260310T073259Z LAST-MODIFIED:20260420T052647Z UID:101715-1324339200-1324511999@ihss.hku.hk SUMMARY:Asia Inside-Out: Period DESCRIPTION:Language: English\n \n \n \n \n Room 201\, 2/F\, May Hall\, The University of Hong Kong\n \n \n \n \n February 23\, 2016 12:00 nn – 1:00 pm\n \n \n \n \n (Tel) (852) 3917-5772\n \n \n \n\n \n \n Enquiry: ihss@hku.hk\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABSTRACT \n \n \n \n It is estimated that one million women across the globe are trafficked annually. Maiti Nepal\, an NGO that seeks to stop this pernicious trade\, estimates that from Nepal alone\, 100\,000 women and girls are trafficked annually to urban areas and across the borders to India\, China and beyond. The author looks at how\, in contrast\, commercial Hindi films historically glamorised the sex-worker\, and presented iconic characters who became the good “bad” women in popular imagination. Arguably emanating from a specific cultural context of the devdasi (temple dancer)\, nautanki (itinerant dancing girl) or tawaif (courtesan)\, filmic depictions of prostitutes’ lives and choices portray a glamourised picture. The three courtesans made famous in the films\, (Mughal-e-Azam [1960]\, Pakeezah [The Pure One; 1971] and Umrao Jaan [1981]) are romanticised. Such depictions of the prostitute were reinforced in films such as Devdas (1955 & its 2002 remake)\, Pyaasa (Thirsty; 1957)\, Chitralekha (1964)\, Teesri Kasam (The Third Vow; 1966) and Amar Prem (Eternal Love; 1971).  Analysing them with later films such as Mandi (Marketplace; 1983)\, Utsav (Festival; 1984)\, Chandni Bar (2001)\, Chameli (2003)\, Chingaari (Spark; 2006) and Pranali (2008)\, we see the industry depicting a more realistic view in recent years. Finally\, documentary films such as Born into Brothels\, show the real-life dimension of the children of sex-workers\, wishing for futures outside this industry and Maiti Nepal’s The Day My God Died [2010]\, tells the grim story of this activity and Maiti Nepal’s efforts to stop it.   URL:https://ihss.hku.hk/events/asia-inside-out-period/ LOCATION:Kong Siu Luey Lounge\, Robert Black College\, The University of Hong Kong\, Hong Kong END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20111212 DTEND;VALUE=DATE:20111218 DTSTAMP:20261108T205046 CREATED:20260310T071236Z LAST-MODIFIED:20260420T052625Z UID:101711-1323648000-1324166399@ihss.hku.hk SUMMARY:Asia Inside Out: Place DESCRIPTION:Language: English\n \n \n \n \n Room 201\, 2/F\, May Hall\, The University of Hong Kong\n \n \n \n \n February 23\, 2016 12:00 nn – 1:00 pm\n \n \n \n \n (Tel) (852) 3917-5772\n \n \n \n\n \n \n Enquiry: ihss@hku.hk\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABSTRACT \n \n \n \n It is estimated that one million women across the globe are trafficked annually. Maiti Nepal\, an NGO that seeks to stop this pernicious trade\, estimates that from Nepal alone\, 100\,000 women and girls are trafficked annually to urban areas and across the borders to India\, China and beyond. The author looks at how\, in contrast\, commercial Hindi films historically glamorised the sex-worker\, and presented iconic characters who became the good “bad” women in popular imagination. Arguably emanating from a specific cultural context of the devdasi (temple dancer)\, nautanki (itinerant dancing girl) or tawaif (courtesan)\, filmic depictions of prostitutes’ lives and choices portray a glamourised picture. The three courtesans made famous in the films\, (Mughal-e-Azam [1960]\, Pakeezah [The Pure One; 1971] and Umrao Jaan [1981]) are romanticised. Such depictions of the prostitute were reinforced in films such as Devdas (1955 & its 2002 remake)\, Pyaasa (Thirsty; 1957)\, Chitralekha (1964)\, Teesri Kasam (The Third Vow; 1966) and Amar Prem (Eternal Love; 1971).  Analysing them with later films such as Mandi (Marketplace; 1983)\, Utsav (Festival; 1984)\, Chandni Bar (2001)\, Chameli (2003)\, Chingaari (Spark; 2006) and Pranali (2008)\, we see the industry depicting a more realistic view in recent years. Finally\, documentary films such as Born into Brothels\, show the real-life dimension of the children of sex-workers\, wishing for futures outside this industry and Maiti Nepal’s The Day My God Died [2010]\, tells the grim story of this activity and Maiti Nepal’s efforts to stop it.   URL:https://ihss.hku.hk/events/asia-inside-out-place/ END:VEVENT BEGIN:VEVENT DTSTART;TZID=Asia/Hong_Kong:20111019T160000 DTEND;TZID=Asia/Hong_Kong:20111019T170000 DTSTAMP:20261108T205046 CREATED:20110310T090742Z LAST-MODIFIED:20260803T063256Z UID:101772-1319040000-1319043600@ihss.hku.hk SUMMARY:Healing and Heritage: Sorting Out Ethnic Traditional Medicine in Southwest China DESCRIPTION:Language: English\n \n \n \n \n Room 201\, 2/F\, May Hall\, The University of Hong Kong\n \n \n \n \n February 23\, 2016 12:00 nn – 1:00 pm\n \n \n \n \n (Tel) (852) 3917-5772\n \n \n \n\n \n \n Enquiry: ihss@hku.hk\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABSTRACT \n \n \n \n It is estimated that one million women across the globe are trafficked annually. Maiti Nepal\, an NGO that seeks to stop this pernicious trade\, estimates that from Nepal alone\, 100\,000 women and girls are trafficked annually to urban areas and across the borders to India\, China and beyond. The author looks at how\, in contrast\, commercial Hindi films historically glamorised the sex-worker\, and presented iconic characters who became the good “bad” women in popular imagination. Arguably emanating from a specific cultural context of the devdasi (temple dancer)\, nautanki (itinerant dancing girl) or tawaif (courtesan)\, filmic depictions of prostitutes’ lives and choices portray a glamourised picture. The three courtesans made famous in the films\, (Mughal-e-Azam [1960]\, Pakeezah [The Pure One; 1971] and Umrao Jaan [1981]) are romanticised. Such depictions of the prostitute were reinforced in films such as Devdas (1955 & its 2002 remake)\, Pyaasa (Thirsty; 1957)\, Chitralekha (1964)\, Teesri Kasam (The Third Vow; 1966) and Amar Prem (Eternal Love; 1971).  Analysing them with later films such as Mandi (Marketplace; 1983)\, Utsav (Festival; 1984)\, Chandni Bar (2001)\, Chameli (2003)\, Chingaari (Spark; 2006) and Pranali (2008)\, we see the industry depicting a more realistic view in recent years. Finally\, documentary films such as Born into Brothels\, show the real-life dimension of the children of sex-workers\, wishing for futures outside this industry and Maiti Nepal’s The Day My God Died [2010]\, tells the grim story of this activity and Maiti Nepal’s efforts to stop it.   URL:https://ihss.hku.hk/events/healing-and-heritage-sorting-out-ethnic-traditional-medicine-in-southwest-china/ LOCATION:T6\, 1/F\, Meng Wah Complex\, The University of Hong Kong\, Hong Kong CATEGORIES:Chinese Business History,Chinese Business History Webinar ATTACH;FMTTYPE=image/jpeg:https://ihss.hku.hk/wp-content/uploads/2026/03/lecture-by-professor-judith-farquhar-20111019-960x1358-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Asia/Hong_Kong:20110314T180000 DTEND;TZID=Asia/Hong_Kong:20110314T190000 DTSTAMP:20261108T205046 CREATED:20260310T091849Z LAST-MODIFIED:20260420T102455Z UID:101776-1300125600-1300129200@ihss.hku.hk SUMMARY:The Beriberi/jiaoqi (腳氣) Pandemic in Colonial Asia (ca.1840 – 1940): Meanings and Significance DESCRIPTION:Language: English\n \n \n \n \n Room 201\, 2/F\, May Hall\, The University of Hong Kong\n \n \n \n \n February 23\, 2016 12:00 nn – 1:00 pm\n \n \n \n \n (Tel) (852) 3917-5772\n \n \n \n\n \n \n Enquiry: ihss@hku.hk\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABSTRACT \n \n \n \n It is estimated that one million women across the globe are trafficked annually. Maiti Nepal\, an NGO that seeks to stop this pernicious trade\, estimates that from Nepal alone\, 100\,000 women and girls are trafficked annually to urban areas and across the borders to India\, China and beyond. The author looks at how\, in contrast\, commercial Hindi films historically glamorised the sex-worker\, and presented iconic characters who became the good “bad” women in popular imagination. Arguably emanating from a specific cultural context of the devdasi (temple dancer)\, nautanki (itinerant dancing girl) or tawaif (courtesan)\, filmic depictions of prostitutes’ lives and choices portray a glamourised picture. The three courtesans made famous in the films\, (Mughal-e-Azam [1960]\, Pakeezah [The Pure One; 1971] and Umrao Jaan [1981]) are romanticised. Such depictions of the prostitute were reinforced in films such as Devdas (1955 & its 2002 remake)\, Pyaasa (Thirsty; 1957)\, Chitralekha (1964)\, Teesri Kasam (The Third Vow; 1966) and Amar Prem (Eternal Love; 1971).  Analysing them with later films such as Mandi (Marketplace; 1983)\, Utsav (Festival; 1984)\, Chandni Bar (2001)\, Chameli (2003)\, Chingaari (Spark; 2006) and Pranali (2008)\, we see the industry depicting a more realistic view in recent years. Finally\, documentary films such as Born into Brothels\, show the real-life dimension of the children of sex-workers\, wishing for futures outside this industry and Maiti Nepal’s The Day My God Died [2010]\, tells the grim story of this activity and Maiti Nepal’s efforts to stop it.   URL:https://ihss.hku.hk/events/the-beriberi-jiaoqi-%e8%85%b3%e6%b0%a3-pandemic-in-colonial-asia-ca-1840-1940-meanings-and-significance/ LOCATION:T6\, 1/F\, Meng Wah Complex\, The University of Hong Kong\, Hong Kong END:VEVENT BEGIN:VEVENT DTSTART;TZID=Asia/Hong_Kong:20110114T160000 DTEND;TZID=Asia/Hong_Kong:20110114T173000 DTSTAMP:20261108T205046 CREATED:20110114T093445Z LAST-MODIFIED:20260518T093848Z UID:101794-1295020800-1295026200@ihss.hku.hk SUMMARY:Stand Up Straight: Posture and the Meanings Attributed to the Upright Body DESCRIPTION:Language: English\n \n \n \n \n Room 201\, 2/F\, May Hall\, The University of Hong Kong\n \n \n \n \n February 23\, 2016 12:00 nn – 1:00 pm\n \n \n \n \n (Tel) (852) 3917-5772\n \n \n \n\n \n \n Enquiry: ihss@hku.hk\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABSTRACT \n \n \n \n It is estimated that one million women across the globe are trafficked annually. Maiti Nepal\, an NGO that seeks to stop this pernicious trade\, estimates that from Nepal alone\, 100\,000 women and girls are trafficked annually to urban areas and across the borders to India\, China and beyond. The author looks at how\, in contrast\, commercial Hindi films historically glamorised the sex-worker\, and presented iconic characters who became the good “bad” women in popular imagination. Arguably emanating from a specific cultural context of the devdasi (temple dancer)\, nautanki (itinerant dancing girl) or tawaif (courtesan)\, filmic depictions of prostitutes’ lives and choices portray a glamourised picture. The three courtesans made famous in the films\, (Mughal-e-Azam [1960]\, Pakeezah [The Pure One; 1971] and Umrao Jaan [1981]) are romanticised. Such depictions of the prostitute were reinforced in films such as Devdas (1955 & its 2002 remake)\, Pyaasa (Thirsty; 1957)\, Chitralekha (1964)\, Teesri Kasam (The Third Vow; 1966) and Amar Prem (Eternal Love; 1971).  Analysing them with later films such as Mandi (Marketplace; 1983)\, Utsav (Festival; 1984)\, Chandni Bar (2001)\, Chameli (2003)\, Chingaari (Spark; 2006) and Pranali (2008)\, we see the industry depicting a more realistic view in recent years. Finally\, documentary films such as Born into Brothels\, show the real-life dimension of the children of sex-workers\, wishing for futures outside this industry and Maiti Nepal’s The Day My God Died [2010]\, tells the grim story of this activity and Maiti Nepal’s efforts to stop it.   URL:https://ihss.hku.hk/events/stand-up-straight-posture-and-the-meanings-attributed-to-the-upright-body/ LOCATION:Room 150\, Main Building\, The University of Hong Kong END:VEVENT END:VCALENDAR