Abstract
This chapter draws on the geosemiotic framework to examine the indexicality and dialogicality of funeral banners and wreath messages at Chinese funerals in Hong Kong). Data were collected from media reports (videos, photographs, and news articles) on the high-profile “happy” funerals of casino tycoon Stanley Ho Hung Sun (1921–2020) and best-selling martial arts novelist Louis Cha Leung Yung (1924–2018). The data were analyzed with a focus on social actors, code preference, materiality, inscription, composition, emplacement, and the relations between them. The findings illustrate that the open display of funeral banners and wreath messages constitutes a semiotic aggregate representing the most conspicuous and significant cultural component of Chinese funerals in Hong Kong. In addition to being used as the main artifacts to adorn funeral halls and index the space and place for funeral rites, the banners and messages serve as a vehicle for phatic communication among the funeral participants on two different levels—an individual level and a collective level. On the individual level, the banners and messages embody the mourners’ own personal grief and respect for the deceased and provide comfort and mianzi (面子 “face”) to bereaved family members and fellow mourners. On the collective level, they signify joint efforts to overcome grief over the loss of the deceased, through reaffirming social bonds and evoking a shared sense of cultural identity and belonging not only between the living and the dead, but also among family members, friends, relatives, and sometimes even anonymous onlookers and passers-by.
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Notes
- 1.
Unless indicated otherwise, Chinese words are written in traditional script throughout this chapter in accordance with local Hong Kong practice.
- 2.
Funeral blankets, which are not commonly seen nowadays, were offered by the immediate family of the deceased or close relatives and friends to keep the mourners warm in a night vigil, to form a tent for an outdoor funeral, and/or to cover the body of the deceased at the funeral or for burial, particularly when the family was unable to give the dead person a proper funeral or even afford a coffin.
- 3.
The couplet was woven from the first words of the titles of Cha’s most popular novels. English translation: When the flying snow linked up the heaven and the earth, the great condor shooter went after (the fox and) the deer white; he smiled at books that to dragon and chivalry give birth, while leaning on his broadsword by the mandarin ducks bright (Yue 2020).
- 4.
Examples 3–5 were from Ho’s three wives. My translations are slightly different from those given in Excerpt #1.
- 5.
KH Coder 3 uses the Jaccard distance (the dissimilarity between sample sets) as a measure of co-occurrence of a term for inclusion in the co-occurrence analysis and visualization. Terms appear as nodes in a network plot based on the Fruchterman-Reingold layout algorithm. The relative frequency of terms is shown by the relative size of their node, and the relative frequency of co-occurrence of terms is shown by relative thickness of the edge connecting their nodes.
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Lee, E. (2024). Words on Display: Chinese Funeral Banners and Wreath Messages Through a Geosemiotic Lens. In: Garfield Lau, C.S., Chan, K.K.Y. (eds) The Poetics of Grief and Melancholy in East-West Conflicts and Reconciliations. Springer, Singapore. https://doi.org/10.1007/978-981-99-9821-0_10
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