Head of Department – Prof. Thomas Yun-tong LUK

Prof. Thomas Yun-tong LUK

B.A. (CUHK), M.A. (York, Canada), Ph.D. (University of Michigan)




Thomas Yun-tong LUK, 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, was professor and academic leader in English Studies, and Dean of School of Humanities and Social Science at Hang Seng Management College. He is currently the head and Professor of the Department of English at Chu Hai College of Higher Learning.

Professor Luk received his Ph.D. in Comparative Literature from the University of Michigan, U.S.A., having acquired his B.A. (Hons.) and M.A. in English respectively from the Chinese University of Hong Kong and York University, Canada. He is the author and editor of the following books and articles:

*“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.

*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).


*“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.


*Chinese Theatricalism and Modern Drama,” Comparative Literature Studies, vol. 24, no. 3, (Penn State University Press, 1987), pp.291-301.


*Studies in Chinese-Western Comparative Drama, ed., (The Chinese University Press, 1989)

*Before and After Suzie: Hong Kong in Western Film and Literature, author and editor, (New Asia Academic Bulletin, no. 18, 2002)

*Special Issue on King Hu’s Cinema, author and editor, Journal of Modern Literature in Chinese, 8.1.,

Lingnan University: Centre for Humanities Research, Feb. 2007).

*”Post-colonial Cultural Policy in Hong Kong,” Media International Australia: Culture and Policy, No, 94. (Feb. 2000), pp.147-155.

*”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.

*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).


*“Novels into Film: Liu Yichang’s Teche Beche and Wong Karwai’s In the Mood for Love,” in Chinese Language Film: Historiography, Politics, eds. Sheldon Lu and Y. Y. Yueh (Hawaii University Press, 2005)

*”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.

*”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.


*”Adaptations and Translations of Western Drama: Survey on Hong Kong Repertory Theatre’s Productions from 1977 to the Present,” Translatio, (Paris: Fédération Internationale des Traducteurs, Dec. 2008), pp.89-104.


*“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.


*“Hollywood’s Hong Kong: Cold War Imagery and Urban Transformation in Edward Dmytryk’s Soldier of Fortune”, Visual Anthropology, Vol. 27, Issues 1-2, 2014.


*“Arnold Wesker’s The Merchant (1976): Writing Shakespeare’s Shylock with a Purpose”, Journal on European Judaism (No. 52, Vol. 2, 2018).

“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.


Publications in Chinese:


陸潤棠(2021), 《通俗與經典》,初文出版社有限公司,20210301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譯〉,《國文天地》,第35卷第11期,頁4-8。


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6卷第2期,頁111-120。


陸潤棠 (2017)。〈英文流行歌與女性主義〉,《華人文化研究》,第5卷第2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33卷第4期,頁7-9。


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14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。


陸潤棠 (2014)。中篇小說《調景嶺故事(一):記憶到想像》,大公報,文學週刊,2014年9月14日。


陸潤棠 (2014)。中篇小說《調景嶺故事(二):孤兒歲月》,大公報,文學週刊,2014年9月21日。


陸潤棠 (2013)。中篇小說《調景嶺的童年往事》,聯合副刊,D3,2013年,11月17日。


陸潤棠 (2012)。《中西比較戲劇和現代劇塲研究》,臺灣:學生書局,2012、10月初版。


陸潤棠 (2011)。〈《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,2011年5月,頁204-211。


陸潤棠 (2011)。《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會、康樂及文化事務署及香港戲劇協會,2011年1月版,頁66-67。


陸潤棠 (2010)。《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。


陸潤棠 (2007)。《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。


陸潤棠 (2006)。《喜劇的舞台演繹──以王爾德《不可兒戲》的香港演出為例》,《劇評: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。


陸潤棠 (2005)。《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),頁72-76。


陸潤棠 (2003)。《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107期,頁114-120。


陸潤棠 (1984)。《電影與文學》,台北:中國文化大學出版社,1984年。