• School of Humanities & Social Science

    • Professor LUK Yun Tong, Thomas （陸潤棠教授）
    BA (CUHK)
    MA (York University)
    PhD (University of Michigan)

    Professor Emeritus
    Department of English

    Email :
    thomasluk@hsu.edu.hk


    Professor Luk graduated from The Chinese University of Hong Kong with a BA in English, and received his MA in English from York University, Canada and PhD in Comparative Literature from the University of Michigan, USA. He has a wide range of interests in Comparative Literature, Romanticism, modern and contemporary drama, adaptations and translation of Western Drama as well as intercultural performance. Formerly professor in the Departments of English, Cultural and Religious Studies at The Chinese University of Hong Kong, and Department of Literature, Fo Guang University, Taiwan, Professor Luk also taught English Literature at National Sun Yat-sen University as Visiting Professor, and had been an exchange fellow at Robison College, University of Cambridge. Professor Luk is Board Member to Hong Kong Repertory Company, 7A Theatre Company, and Prospect Theatre Company, having served as adjudicator/assessor for Hong Kong Arts Development Council.

    TopSelected Publications
    • 陸潤棠(2024)。〈研究莎士比亞四大悲劇主角的驅使性悲劇行為與佛家的貪、嗔、痴〉,《華人文化研究》, 6月號，第十二卷第一期
    • “Techno-Humanities : Some Trends of the Portrayal of Science in Art on the Hong Kong Stage,” International Journal of Techno-Humanities, vol. 1, no.1, September, 2022.
    • 陸潤棠(2021)。《通俗與經典》，初文出版社有限公司，2021年03月01日。
    • 陸潤棠 (2020) 。〈殖民主義與西方流行音樂的香港意義〉,《華人文化研究》，6月號， 第八卷第一期(2020.06) ，頁253-254。
    • 陸潤棠(2020) 。〈《玫瑰﹐玫瑰﹐我愛你》的西方演繹〉，《國文天地》第三十五卷第十一期，頁四至八。
    • 陸潤棠 (2018)。〈「洋為中用」: 西方文學批評詞彙的應用問題： 以「悲劇」和「浪漫主義」為例〉, 《華人文化研究》，第六卷第二期，頁111-120。
    • Thomas Luk, “Arnold Wesker’s Rewriting of Shylock with a Purpose”, European Journal of Judaism, Vol. 51, No. 2, Autumn 2018: 186-195.
    • 陸潤棠 (2017)。〈英文流行歌與女性主義〉，華人文化研究，第五卷第二期，頁269-272。
    • 陸潤棠 (2017) 。〈語文學習的功能性和文化認知雙結合〉，《國文天地》第三十三卷第四期，頁七至九。
    • 陸潤棠 (2016)。〈鬧劇的舞台演繹 — 以雷‧庫尼的《誰家老婆上錯床》香港二度演岀為例〉。《劇評》，第十四期，頁6-9。
    • 陸潤棠 (2016)。〈《誰家老婆上錯床》(Whose Wife Is It Anyway?) 的鬧劇解構〉。《香港話劇團二零一六年演出導賞》，頁7-9。
    • “Hollywood’s Hong Kong: Cold War Imagery and Urban Transformation in Edward Dmytryk’s Soldier of Fortune,” Visual Anthropology, Vol. 27, Issues 1-2, 138-148, January, 2014.
    • 中篇小說『調景嶺的童年往事』，聯合副刊，D3，2013年，11月17日。
    • 《中西比較戲劇和現代劇塲研究》(臺灣：學生書局, 2012、十月初版)。
    • “From Brecht, Artaud, And the Absurd to Sha Yexin and Gao Xingjian: Two Cases of Rapport De Fait,” Comparative Literature Studies, The Penn State University, vol.48, No.1, 2011, 64-81.
    • 【《魔鬼契約》中的天理與人慾】，《魔鬼契約的舞台藝術》，香港話劇團，二O一一年五月，頁二O四至二一一。
    • 【電影與文學－曹禺《原野》的表現主義】曹禺的戲劇藝術講座及研討會、康樂及文化事務署及香港戲劇協會、2011年１月版、頁66-67。
    • 【五、六十年代西方電影與文學的香港城市景觀】，香港文學、第310期，2010年 10月號, 頁94-98。
    • “Adaptations and Translations of Western Drama: A Social-Cultural Study of Hong Kong Repertory Theatre’s Productions from 1977 to the Present,” Translatio, Paris, Federation Internationale des Traducteurs, December, 2008, pp.89-103.
    • 《西方戲劇的香港演繹：從文字到舞台》，香港：香港中文大學出版社，2007年，394頁。
    • “King Hu’s Raining in the Mountain as Stylization and Allegory,” Journal of Modern Literature in Chinese: Special Issue on King Hu, vol. 8, no. 1, (Hong Kong: Centre for Humanities Research, Lingnan University, 2007). pp. 21-33.
    • Luk Yun Tong ed., Foreword, Journal of Modern Literature in Chinese: Special Issue on King Hu, vol. 8, no. 1, (Hong Kong: Centre for Humanities Research, Lingnan University, 2007), pp.9-18.
    • 〈喜劇的舞台演繹──以王爾德《不可兒戲》的香港演出為例〉，《劇評集：香港話劇團戲劇文學研究刊物第二卷（2004-2005年度劇季）》，香港：香港話劇團有限公司，2006年，頁84-99。
    • “Old Trees Grow New Branches: an Inter-Asian Adaptation of Shakespeare’s King Lear,” in East-Asian Culture and Modern Literature in Chinese, (Hong Kong: Lingnan University, 2006), pp.131-137.
    • “Adaptations and Translations of Western Drama: A Social-Cultural Study of Hong Kong Repertory Theatre’s Productions from 1977 to the Present,” David C. Lam Institute for East-West Studies Working Paper Series, Paper No. 50, (Hong Kong Baptist University, April 2006), 14 pages.
    • “Technology and Theatre in Post-1997 Hong Kong: Current Trends in the Portrayal of Science in Art,” Journal of Urban Technology, vol. 12, no. 2 (Routledge: Taylor and Francis, August, 2005), pp.87-99.
    • 〈九七後科技和人文相結合的香港劇場〉，《戲劇藝術》(上海戲劇學院學報)，2005，第一期（總123期），pp.72-76。
    • “Novels into Film: Liu Yichang’s Tête-Bêche and Wong Kar Wai’s In the Mood for Love,” Chinese-language Film: Historiography, Poetics, Politics, eds. Sheldon Lu and Emile Y.Y. Yueh (University of Hawaii Press, January 2005), pp.210-219.
    • 〈當代香港戲劇揉合中西表演技巧的典範〉，《中央戲劇學院學報》，2003年，第一Ｏ七期，頁114-120。
    • 〈粵劇戲曲電影及粵劇戲曲藝術：題材和媒介的香港意義〉，《中華戲曲》，2002年，第二十七輯，頁289-296。
    • “Hong Kong as city/imaginary in the World of Suzie Wong, love is a many splendored thing, and Chinese box “, Before and After Suzie: Hong Kong in Western Film and Literature (New Asia Academic Bulletin, no. 18, The Chinese University of Hong Kong, May 2002), pp.73-84.
    • “Hong Kong as Imaginary in Western Film and Literature Before and After Suzie Wong”, co-authored with James P Rice in Before and After Suzie: Hong Kong in Western Film and Literature, eds. Thomas Y. T. Luk and James P Rice (New Asia Academic Bulletin, no. 18, The Chinese University of Hong Kong, May 2002), pp.ix-2.
    • “Post-Colonialism and Contemporary Hong Kong Theatre: Two Case-Studies,” Colonizer and Colonized, eds. Theo D’haen and Patricia Krüs (Amsterdam: Rodopi b.v., 2000), pp.57-64.
    • “Post-colonial Cultural Policy in Hong Kong,” Media International Australia: Culture and Policy, No, 94. (Feb. 2000), pp.147-155.
    • Luk Yun Tong, ed. Europe in Hong Kong in the New Millennium (Hong Kong: Dept. of Modern Languages and Intercultural Studies, the Chinese University of Hong Kong, August, 2000).
    • 〈從《哈姆雷特／哈姆雷特》說到莎劇的外語改編〉，《香港戲劇論叢》第二輯．2000年8月，101-104頁。
    • “Post-Colonialism and Contemporary Hong Kong Theatre,” New Theatre Quarterly, no. 56, Cambridge University Press (Aug. 1998), pp. 366-372.
    • “Contemporary Hong Kong Theatre and the Arts Policy,” Hong Kong Drama Review, 1. (November, 1998), pp.91-115.
    • Chinese-Western Comparative Drama: From Comparative Literature to Post-Colonial Studies (Taipei: Camel Publishing Co., June, 1998), pp.1-70.
    • Luk Yun Tong, ed. Studies in Chinese-Western Comparative Drama (Hong Kong: The Chinese University Press, 1990), 224 pages.
    • “Chinese/ Western Comparative Drama in Perspective,” Studies in Chinese-Western Comparative Drama, ed. Luk Yun Tong (Hong Kong: The Chinese University Press, 1990), pp. xii-xv.
    • 陸潤棠、夏寫時合編，《比較戲劇論文集》，北京：中國戲劇出版社，1988年，409頁。
    • “Chinese Theatricalism and Modern Drama,” Comparative Literature Studies, vol. 24, no. 3, (Penn State University Press, 1987), pp.291-301.
    • “Some Notes on Tragedy as Genre and Its Applicability to Classical Chinese Drama,” The Chinese Text, ed. Y. H. Chou (Hong Kong: The Chinese University Press, 1986), pp.15-28.
    • “A Comparative Study of the Origin of Drama in China and the West,” Shanghai Drama Institute Review, issue 1 (1986), pp.103-107.
    • Luk Yun Tong, et al. trans., Douwe Fokkema and Ilrud Ibsch,Theories of Literature in the Twentieth Century, (Hong Kong: The Chinese University Press, 1985).
    • 《電影與文學》，台北市：中國文化大學出版部，1984年，179頁。
    • “A Cinematic Interpretation of Wang Wei’s Nature Poetry,” China and the West :Comparative Literature Studies, eds. William Tay et al. (Hong Kong: The Chinese University Press, 1980), pp.151-162.
    • “Wang Wei’s Perception of Space and His Attitude towards Mountains,” Tamkang Review, vol. viii, no. 1 (April 1977), pp.89-110.