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A progressive discourse on race is impeded by several factors: debates on the reality or unreality of the term race itself; discussions of ethnicity that tend to marginalize a discussion of race; the view by majority members of society that race is a topic for discussion principally by minorities; and the lack of models for non-confrontational public conversations on the subject. In the process, a discussion of racial change rarely enters the discourse beyond brief responses in opinion polls. This study proposed the Race and Change Dialogue Model to facilitate the exploration of how race operates in society on an interpersonal level in everyday lives of people across cultures and how changes in racial attitudes occur over time. Theories of race and ethnicity, language, effective communication strategies, and social change provided a starting point, but a "re-languaging" approach was used to advance the innovative nature of this work. In audiorecorded oral histories for public dissemination and interviews in a documentary series on public television, cross-cultural narrators were provided with a safe rhetorical space to tell their stories and to be heard, and a framework of "racenicity" allowed for the discussion of the intersectionality of race, ethnicity, class, and culture as fused aspects of the same issue. An environment was created that enhanced effective communication of a difficult subject. Despite the challenges that arose in the patterns of talk about racial change, the door has been opened to bring change into the dialogue in a more prominent way that moves the discourse on differences in more productive directions. An alternate model for public discussions on race as "racenicity" was created that has the potential to build coalition in the U.S. and has implications for other societies as well. / by Eloise D. (Kitty) Oliver. / Vita. / Thesis (Ph.D.)--Florida Atlantic University, 2009. / Bibliography: leaves 181-197.

巫達. / "2000年7月" / 論文 (哲學碩士)--香港中文大學, 2000. / 參考文獻 (leaves 158-172) / 附中英文摘要. / "2000 nian 7 yue" / Wu Da. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2000. / Can kao wen xian (leaves 158-172) / Fu Zhong Ying wen zhai yao. / 前言 --- p.I-V / Chapter 第一章 --- 導論 --- p.1 / Chapter 一、 --- 引 論 --- p.1 / Chapter 二、 --- 人類學的族群理論和文獻回顧 --- p.3 / Chapter 三、 --- 中國族群文化認同和研研究情況 --- p.11 / Chapter 四、 --- 論文的理論構架與研究方法 --- p.26 / Chapter 五、 --- 研究地點簡介 --- p.32 / Chapter 六、 --- 論文的組織 --- p.35 / Chapter 第二章 --- 歷史背景與彝族的内部分佈 --- p.37 / Chapter 一、 --- 引言 --- p.37 / Chapter 二、 --- 分佈 --- p.38 / Chapter 三、 --- 人口 --- p.41 / Chapter 四、 --- 族稱 --- p.43 / Chapter 五、 --- 彝族的支系 --- p.51 / Chapter 六、 --- 族源 --- p.52 / Chapter 七、 --- 傳统政治制度 --- p.57 / Chapter 八、 --- 甘洛縣彝族概括 --- p.61 / Chapter 九、 --- 甘洛縣民族分佈及族群關係 --- p.65 / Chapter 第三章 --- 語言與認同 --- p.68 / Chapter 一、 --- 引論 --- p.68 / Chapter 二、 --- 彝族的語言和文字概況 --- p.69 / Chapter (一) --- 語言 --- p.69 / Chapter (二) --- 文字 --- p.72 / Chapter 三、 --- 兩彝村的語言態度及其文化認同 --- p.76 / Chapter 四、 --- 兩彝村的“漢化´ح程度及其文化認同 --- p.81 / Chapter 第四章 --- 宗教與認同 --- p.96 / Chapter 一、 --- 引論 --- p.96 / Chapter 二、 --- 兩彝村的宗教信仰基本情況 --- p.100 / Chapter (一) --- 來源神話傳¨®Ơ --- p.100 / Chapter (二) --- 彝族宗教裏的靈魂觀 --- p.112 / Chapter (三) --- 彝族宗教裏的鬼神觀 --- p.115 / Chapter 三、 --- 彝族宗教的神職人員 --- p.121 / Chapter (一) --- 畢摩 --- p.121 / Chapter (二) --- 蘇尼 --- p.124 / Chapter 四、 --- 兩彝村的宗教信仰與文化認同的關係 --- p.124 / Chapter (一) --- 漢家有醫生，彝家有畢摩：畢摩作為醫師的角色 --- p.124 / Chapter (二) --- 畢摩被認為是人與神鬼之間的信息傳遞者：畢摩作為司祭員 --- p.133 / Chapter (三) --- 畢摩和蘇尼的日常角色 --- p.136 / Chapter 五、 --- 從《指路經》看彝族文化認同 --- p.142 / Chapter (一) --- 《指路經》的價 值 --- p.142 / Chapter (二) --- 波波坤村和乃伍彝族的送魂路線殊途同歸 --- p.143 / Chapter 第五章 --- 結論 --- p.147 / 參考文獻 --- p.158 / 附錄一：涼山彝語注音系统與國際音標對照表 --- p.173 / 附錄二：本文使用的問卷調查表 --- p.174 / 附錄三：彝文經書 --- p.178 / 附錄四：人物表 --- p.181 / 附錄五：彝族支系自稱、他稱簡表 --- p.183 / 附錄六：彝語支語言 --- p.184 / 附錄七：彝族父子譜系 --- p.186 / 表格目錄 / 圖表一：歷代涼山地區人口數 --- p.41 / 圖表二：曲木藏堯統計的1930年代涼山彝族人口數 --- p.42 / 圖表三：莊學本统計的1940年代、涼山彝族人口數 --- p.42 / 圖表四：波波坤村和乃伍村異同比較表 --- p.64 / 圖表五：彝文造字方式 --- p.72 / 圖表六：四川雲南貴州廣西四省區彝文比較簡表 --- p.75 / 地圖 / 地圖´ؤ：彝族分佈總圖 --- p.扉頁 / 地圖二：彝族支系自稱示意圖 --- p.扉頁 / 地圖三：彝族六祖遷徙路線示意圖 --- p.扉頁 / 地圖四：甘洛縣曲木蘇和諾木蘇分界圖 --- p.65 / 地圖五：彝文《指路經》中送魂路線示意圖 --- p.143 / 地圖六：波波坤村和乃伍村送魂路線示意圖 --- p.145

本研究旨在探索台灣自一九九零年代末推行之母語復興運動及其影響。作為使用者為數最多的本土語言，閩南語一度沒落；隨著母語復興措施當中、鄉土語言教學政策的廣泛開展，閩南語自「方言」一逕躍升為台灣文化的象徵，更被從政者甚至政府利用作對外宣傳之用。 / 作者通過語言人類學田野考察方法，試圖以閩南語作為案例，釐清及解讀以下幾點：（一）台灣民眾當今的語言選擇及使用狀況；（二）他們的語言態度，與其文化認同之對應關係；（三）語言在台灣族群認同政治所扮演的角色；（四）語言政治在各社會文化層面所引起之角力；（五）方言（或語言，如原住民語言）群之競爭，如何掀起語言及文化傳統之再造和復興，以圖合理化其族群作為台灣文化象徵的地位。 / 研究結果顯示，雖然巴赫汀 (Bakhtin) 的「眾聲喧嘩」(heteroglossia) 理論在實務層面與台灣的多語、多元文化相呼應，但當地政府所提倡之文化多元論、以及各持份者之間的隱性競爭，若以布迪厄 (Bourdieu) 的文化複製理論和傅柯(Foucault) 的權力知識理論解讀，當更適切。總的來說，台灣的母語復興運動，乃一項與昔日保守政權的抗衡行為賦權，控制兼具的政治行動，更是多元政治文化的象徵。 / This thesis looks into the government-led language revitalization campaign in Taiwan with special reference to the case of Hokkien, one of the "bensheng" (local) vernacular with Han Chinese roots, in terms of language rights, ethnogenesis, and cultural legitimacy. Tracing the rise and development of concepts such as cultural heritage, ethnic identity and democracy in the region, the focus is placed on the recent changes in Taiwan's language ideology and the intricate emergence of Hokkien as one of the "national" languages and symbols apart from the official language, i.e. Mandarin Chinese. / Against the backdrop where contesting discourses on language and culture discourses co-exist and crossbreed with each other, there are a number of closely-related issues that this thesis examines in particular: (1) the ways in which language choices are made and perceived in various contexts; (2) implications of such language choices as related to one's cultural identities; (3) the role of language politics in self and group identification and ethnic classification in Taiwan; (4) the power dynamics in various socio-cultural spheres; and (5) the resulting competition of multiple speech groups in Taiwan for authenticity, legitimacy and superiority in the political arena by means of reconstruction and reinvention of ethnic languages and traditions. / The findings reveal that despite the practical relevance of Bakhtin's theory of heteroglossia to Taiwan's current ethnogenesis against the backdrop of multilingualism and multiculturalism, the political connections between the cultural plurality promoted by the government and the covert competition amongst various stakeholders are better understood in terms of Bourdieu’s theory of cultural reproduction and Foucault's framework of power-knowledge. Language revitalization in Taiwan is thus an act of both empowerment and control, and a symbol of the mutual toleration and the cultural ambiguity that means to be used for contrasting with the old hegemonies' conservatism by the current ruling power. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Tam, Chung Wing Loretta. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 278-286). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract also in Chinese; indludes Chinese. / Chapter Chapter 1: --- Introduction --- p.1 / Past Research on Language, Ethnicity, and Identity --- p.2 / Language Survival, Maintenance, and Revitalization --- p.7 / Taiwan and Its Language Situation in Context --- p.28 / Methodology --- p.34 / Fieldsite Specifications --- p.43 / Structure of the Thesis --- p.49 / Chapter Chapter 2: --- "Taiwanese" as an Identity: A Historical Overview --- p.54 / The Dutch Colonization and the Japanese Occupation --- p.56 / The KMT Rule and the Mandarin Campaign --- p.65 / Toward a Democratic and Multilingual Taiwan --- p.73 / Chapter Chapter 3: --- Discourses of Language Endangerment in Taiwan --- p.79 / Language Shift in Taiwan: Origins, Patterns, and Implications --- p.80 / Discousrses of Endangerment in Taiwan --- p.99 / Discussion --- p.125 / Chapter Chapter 4: --- Counteracting Language Shift: Native Language Education Policy in Action --- p.131 / One Policy, Multiple Interpretations --- p.133 / Curriculum and Daily Usage --- p.140 / Brand New Language Market for Local Languages: The Official Language Market --- p.150 / Chapter Chapter 5: --- The Standardization Debates --- p.156 / Standardization and Language Revitalization --- p.158 / Language or Dialect? Concerns over Legitimacy and Status --- p.166 / Questioning "National Language" --- p.175 / Chapter Chapter 6: --- Patterns of Language Choice and Attitudes in Everyday Life --- p.188 / Patterns of Language Choice in Northern Taiwan --- p.194 / Patterns of Language Choice in Southern Taiwan --- p.166 / On the Predominance of Code-Switching --- p.201 / On the Current Differentiation of "High" and "Low" Languages --- p.210 / Chapter Chapter 7: --- The Politics of Visibility --- p.213 / Language and the Mass Media: An Overview --- p.217 / Language Use in the Mass Media and the "Taiwanese" Identity --- p.231 / Chapter Chapter 8: --- Conclusion --- p.242 / On the Language Markets --- p.243 / Ethnic Politics and Linguistic Nationalism --- p.255 / Field Linguistics and Beyond --- p.265 / Chapter Appendices --- p.270 / List of Terms and Abbreviations --- p.270 / List of Informants --- p.272 / Interview Guide --- p.275 / Bibliography --- p.278

The principal objective of this doctoral research is to examine the ways in which key contemporary (2000-2005) fictional writings by Māori women authors Patricia Grace, Paula Morris, and Kelly Ana Morey demonstrate “survivance” – a term used by University of New Mexico Professor Gerald Vizenor and Ohio State University Professor Chadwick Allen to refer to the ways in which indigenous authors use their texts as “a means of cultural survival that comes with denying authoritative representations of [indigenous peoples] in addition to developing an adaptable, dynamic identity that can mediate between conflicting cultures” (Allen “Thesis” 65). I argue that acts of Māori cultural survivance are manifested in the works of these three authors both internally, in terms of the actions of characters in their fictional narratives, and externally, by the authors themselves who fight for survivance in a literary publishing world that is often slow to recognize and value works of fiction that challenge traditional (Western) modes of novel form and style. Thesis chapters therefore include both extensive critical readings of Grace’s novel Dogside Story (2001), Morris’s novels Queen of Beauty (2002) and Hibiscus Coast (2005), and Morey’s novel Bloom (2003) as well as detailed biographical information based on my interviews with the authors themselves. The thesis emphasizes the ways in which each woman’s approach to writing survivance fiction is largely driven by her personal history and whakapapa. The study also asserts that Grace, Morris and Morey are producing acts of indigenous literary cultural survivance that “imagine the world healthy,” something author and critic Maxine Hong Kingston demands that contemporary writers of critical fictions must do if they are going to convince the book-buying populace “not to worship tragedy as the highest art anymore” (204). Grace, Morris, and Morey depict the creative, generative, and “healthy” aspects of Māori cultural survivance as taking place in both the real and imagined communities which they live in and write about. Their texts offer hope for the ongoing survival – and survivance – of Māori culture in the twenty-first century.

The principal objective of this doctoral research is to examine the ways in which key contemporary (2000-2005) fictional writings by Māori women authors Patricia Grace, Paula Morris, and Kelly Ana Morey demonstrate “survivance” – a term used by University of New Mexico Professor Gerald Vizenor and Ohio State University Professor Chadwick Allen to refer to the ways in which indigenous authors use their texts as “a means of cultural survival that comes with denying authoritative representations of [indigenous peoples] in addition to developing an adaptable, dynamic identity that can mediate between conflicting cultures” (Allen “Thesis” 65). I argue that acts of Māori cultural survivance are manifested in the works of these three authors both internally, in terms of the actions of characters in their fictional narratives, and externally, by the authors themselves who fight for survivance in a literary publishing world that is often slow to recognize and value works of fiction that challenge traditional (Western) modes of novel form and style. Thesis chapters therefore include both extensive critical readings of Grace’s novel Dogside Story (2001), Morris’s novels Queen of Beauty (2002) and Hibiscus Coast (2005), and Morey’s novel Bloom (2003) as well as detailed biographical information based on my interviews with the authors themselves. The thesis emphasizes the ways in which each woman’s approach to writing survivance fiction is largely driven by her personal history and whakapapa. The study also asserts that Grace, Morris and Morey are producing acts of indigenous literary cultural survivance that “imagine the world healthy,” something author and critic Maxine Hong Kingston demands that contemporary writers of critical fictions must do if they are going to convince the book-buying populace “not to worship tragedy as the highest art anymore” (204). Grace, Morris, and Morey depict the creative, generative, and “healthy” aspects of Māori cultural survivance as taking place in both the real and imagined communities which they live in and write about. Their texts offer hope for the ongoing survival – and survivance – of Māori culture in the twenty-first century.

The principal objective of this doctoral research is to examine the ways in which key contemporary (2000-2005) fictional writings by Māori women authors Patricia Grace, Paula Morris, and Kelly Ana Morey demonstrate “survivance” – a term used by University of New Mexico Professor Gerald Vizenor and Ohio State University Professor Chadwick Allen to refer to the ways in which indigenous authors use their texts as “a means of cultural survival that comes with denying authoritative representations of [indigenous peoples] in addition to developing an adaptable, dynamic identity that can mediate between conflicting cultures” (Allen “Thesis” 65). I argue that acts of Māori cultural survivance are manifested in the works of these three authors both internally, in terms of the actions of characters in their fictional narratives, and externally, by the authors themselves who fight for survivance in a literary publishing world that is often slow to recognize and value works of fiction that challenge traditional (Western) modes of novel form and style. Thesis chapters therefore include both extensive critical readings of Grace’s novel Dogside Story (2001), Morris’s novels Queen of Beauty (2002) and Hibiscus Coast (2005), and Morey’s novel Bloom (2003) as well as detailed biographical information based on my interviews with the authors themselves. The thesis emphasizes the ways in which each woman’s approach to writing survivance fiction is largely driven by her personal history and whakapapa. The study also asserts that Grace, Morris and Morey are producing acts of indigenous literary cultural survivance that “imagine the world healthy,” something author and critic Maxine Hong Kingston demands that contemporary writers of critical fictions must do if they are going to convince the book-buying populace “not to worship tragedy as the highest art anymore” (204). Grace, Morris, and Morey depict the creative, generative, and “healthy” aspects of Māori cultural survivance as taking place in both the real and imagined communities which they live in and write about. Their texts offer hope for the ongoing survival – and survivance – of Māori culture in the twenty-first century.

The principal objective of this doctoral research is to examine the ways in which key contemporary (2000-2005) fictional writings by Māori women authors Patricia Grace, Paula Morris, and Kelly Ana Morey demonstrate “survivance” – a term used by University of New Mexico Professor Gerald Vizenor and Ohio State University Professor Chadwick Allen to refer to the ways in which indigenous authors use their texts as “a means of cultural survival that comes with denying authoritative representations of [indigenous peoples] in addition to developing an adaptable, dynamic identity that can mediate between conflicting cultures” (Allen “Thesis” 65). I argue that acts of Māori cultural survivance are manifested in the works of these three authors both internally, in terms of the actions of characters in their fictional narratives, and externally, by the authors themselves who fight for survivance in a literary publishing world that is often slow to recognize and value works of fiction that challenge traditional (Western) modes of novel form and style. Thesis chapters therefore include both extensive critical readings of Grace’s novel Dogside Story (2001), Morris’s novels Queen of Beauty (2002) and Hibiscus Coast (2005), and Morey’s novel Bloom (2003) as well as detailed biographical information based on my interviews with the authors themselves. The thesis emphasizes the ways in which each woman’s approach to writing survivance fiction is largely driven by her personal history and whakapapa. The study also asserts that Grace, Morris and Morey are producing acts of indigenous literary cultural survivance that “imagine the world healthy,” something author and critic Maxine Hong Kingston demands that contemporary writers of critical fictions must do if they are going to convince the book-buying populace “not to worship tragedy as the highest art anymore” (204). Grace, Morris, and Morey depict the creative, generative, and “healthy” aspects of Māori cultural survivance as taking place in both the real and imagined communities which they live in and write about. Their texts offer hope for the ongoing survival – and survivance – of Māori culture in the twenty-first century.