(1940-1980) ( (1997) 205-237) I. ( ) ( ) ( ) II. (1940-1980) ( 1976a 169) 1
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III. (1940-1980) A. (1946-1950) ( 1984) ( 1984) ( ) ( ) 4
( 1949) ( ) 5
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(Harold Speed) ( 1954b 27-28) ( ) ( 1962)( ) ( 1984 3) ( ) 9
紥 ( 1965 1) (Neo-Plasticism) ( 1965 15) 10
( ) ( 1984 153) C. (1919-1975) 11
( 1972 3) ( 1972 31) ( 33) 12
( 54) ( 78) 13
( 140) ( ) ( ) ( ) (Wong 1957) (Baker 1963p.31) D. 14
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( 1975b 47) IV. A. (Tiffin 1995 95) 18
(resistance) ( ) ( ) (modes of resistance) (disidentification) B. 19
(Homi K. Bhanha 1995p.206) C. 20
(Bauhaus) ( 1972 137-139) ( ) () ( 139) ( 1975b 47) ( 49) D. 21
( ) ( ) ( the third space ) (Bhabha 1995p.208) (Bhabha 1995p.209) (Derrida) ( ) ( ) ( ) ( ) ( ) E. ( ) 22
( ) 衞 (David Clarke) (rootlessness) (Clarke 1995pp.82-84) ( 1976b) ( ) 2007 1 23
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Barker, T. G. (1963). Introducing Chinese painting and the work of Lui Shou Kwan. Modern Edition, 4(September). Bhabha, H. K. (1995). Cultural diversity and cultural differences. In B. Ashcroft, G. Griffiths, & H. Tittin (Eds.), The Post-colonial studies reader (pp. 206-214). London: Routledge. Clarke, D. (1995). Hong Kongness: Chineseness and modernity: Issues of identity in Hong Kong Art. Hong Kong Cultural Studies Bulletin, 4(Winter). Tiffin, H. (1995). Post-colonial literatures and counter discourse. In B. Ashcroft, G. Griffiths, & H. Tittin (Eds.), The Post-colonial studies reader (pp. 95-98). London: Routledge. Wong, K. C. (1957, March 5). Impressive Exhibition. South China Morning Post. (1963a) 1963 6 20 (1963b) (1966) (1970) (1975a) 1975 1 (1975b) 1975 3 (1976a) 1976 1 (1976b) 1976 1 25
(1972) ( ) (1995) ( ) (1953) (1954a) (1954b) (1955) (1962) (1965) (1984) (1949) 1949 5 20 (1984) 26