This thesis reviews the anthropological approaches to the study of the ethnic minorities in Southwest China. It sets out to demonstrate the limitations engendered by studies focusing on the process of ethnicity and the relative absence of 'ordinary local peasants' (villagers not involved in the dialogue of ethnicity) in anthropological research of villages in Yunnan, Guizhou and Sichuan. Furthermore, this paper reveals the need for in-depth local studies in order to understand the impact of ethnic tourism on local identity construction.

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Chan, Yee On Christine. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2009. / Includes bibliographical references (leaves 109-115). / Abstracts in English and Chinese. / Chapter CHAPTER 1 --- INTRODUCTION --- p.1 / Literature Review --- p.4 / Changing role of today's museums and tourism --- p.4 / Tourists as potential museum visitors --- p.7 / Discussion --- p.13 / Methodologies --- p.15 / In-depth interview --- p.15 / Observation --- p.17 / Analyses of guide books and promotional materials --- p.18 / Comparative analysis --- p.19 / Chapter CHAPTER 2 --- TWO CITIES: HONG KONG AND MACAU --- p.20 / Historical and Economic Development of Hong Kong and Macau --- p.20 / Historical background of Hong Kong --- p.20 / Historical background of Macau --- p.22 / Economic structure of Hong Kong --- p.24 / Economic structure of Macau --- p.25 / Cultural heritage and museums in Hong Kong and Macau --- p.26 / Discussion --- p.28 / Destination Image and History Museums --- p.29 / Image of Hong Kong --- p.29 / Image of Macau --- p.31 / Discussion --- p.33 / Construction of Image --- p.34 / Governing bodies of the two museums --- p.40 / Management of the two museums --- p.43 / Summary --- p.46 / Chapter CHAPTER 3 --- THE HONG KONG MUSEUM OF HISTORY AND THE MUSEUM OF MACAU --- p.47 / The Hong Kong Museum of History --- p.47 / Location and mission of the Hong Kong Museum of History --- p.48 / Content and facilities of the Hong Kong Museum of History --- p.49 / From the perspective of tourists --- p.56 / The Museum of Macau --- p.59 / Location and mission of the Museum of Macau --- p.59 / Content and facilities of the Museum of Macau --- p.60 / From the perspective of tourists --- p.65 / Summary --- p.67 / Chapter CHAPTER 4 --- TOURISTS' CULTURAL BACKGROUNDS AND EXPECTATIONS TOWARDS THE HISTORY MUSEUM --- p.70 / Tourists' Cultural Backgrounds --- p.70 / "Tourists from ""Western"" countries" --- p.71 / Tourists from the Chinese mainland and other countries --- p.74 / Tourists' backgrounds and their expectation towards the museums --- p.76 / "Tourism, Curiosity and Museum Visiting" --- p.78 / Educational Level of Visitors and Educational Function of Museums --- p.79 / Summary --- p.84 / Chapter CHAPTER 5 --- INTEGRATION AND COMPARISON: HISTORY MUSEUMS ARE NOT AN ISOLATED ENTITY --- p.87 / Conceptual and Geographical Affiliation between History Museum and the City --- p.87 / Image affiliation --- p.88 / Geographical affiliation --- p.89 / Summary --- p.90 / Reflections from Tourists --- p.92 / The Multi-Functions of History Museums --- p.94 / Tourism and the economic function --- p.94 / Tourism and its educational function --- p.96 / Summary --- p.100 / Chapter CHAPTER 6 --- CONCLUSION --- p.101 / BIBLIOGRAPHY --- p.109 / APPENDIX 1 PHOTO --- p.116

University of Macau / Faculty of Social Sciences and Humanities. / Department of Government and Public Administration

Cheng, Connie. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (p. 182-192). / Abstracts in English and Chinese ; appendix in Chinese. / Thesis / Assessment Committee --- p.i / Abstracts --- p.ii / Acknowledgements --- p.iv / "A Note on the Use of Chinese / Japanese Terms, Names, and Webpage Materials" --- p.V / Table of Contents --- p.vi / Chapter Chapter 1: --- Preface --- p.1 / Objectives and Significance --- p.4 / Issues to be Addressed --- p.5 / Methodologies --- p.10 / Structure of the Thesis --- p.12 / Chapter Chapter 2: --- The Rise of Japanese Pop Culture in Hong Kong - The 1980s --- p.15 / Japan's Economic Influences in Hong Kong --- p.15 / Japanese Popular Culture Boom in Hong Kong --- p.19 / Tourist Flows to Japan in the 1980s --- p.31 / Chapter Chapter 3: --- The Second Japanese Popular Culture Boom - The 1990s --- p.38 / The Change in Economic and Social Environment --- p.38 / Japanese Popular Culture Continues to Flourish --- p.40 / Japanese Pop Music (J-pop) --- p.40 / "Animation, Comic and Game (ACG)" --- p.42 / Japanese Television Dramas --- p.47 / Hong Kong Tourists to Japan and the Development of Cultural Pilgrimage --- p.56 / Chapter Chapter 4: --- The Age of Cultural Pilgrimage - the 2000s --- p.64 / Hong Kong People's Consumption of Japanese Products --- p.64 / Pop Songs --- p.64 / Television Dramas --- p.65 / ACG --- p.66 / Tours to Japan --- p.69 / Pop Culture Tourism and Cultural Pilgrimage --- p.75 / Governmental Strategies --- p.77 / Tour Agencies' Strategies --- p.87 / Self-guided Tourists --- p.91 / Chapter Chapter 5: --- Case Studies of Hong Kong Young People who Performed Cultural Pilgrimages to Japan --- p.112 / Case 1 --- p.113 / Case 2 --- p.117 / Case 3 --- p.121 / Case 4 --- p.125 / Case 5 --- p.129 / Case 6 --- p.135 / Case 7 --- p.138 / Case 8 --- p.142 / Case 9 --- p.146 / Case 10 --- p.149 / General Remarks --- p.154 / Chapter Chapter 6: --- Concluding Analysis --- p.157 / Chapter 1. --- Cultural Pilgrimage and the Cultural Identities of Hong Kong Young People --- p.158 / Chapter 2. --- The Impacts of the Rise of Pop Culture Tourism on Tourism --- p.162 / Chapter 3. --- Meanings of Cultural Pilgrimage to Fandom Study --- p.170 / Chapter 4. --- New Perspectives on the Understanding of Cultural Globalization --- p.173 / Chapter Appendix A - --- Survey Questionnaire --- p.178 / Chapter Appendix B - --- Interview Questions --- p.180 / Bibliography --- p.182

周蔚蔚. / "2008年9月". / "2008 nian 9 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2008. / Includes bibliographical references (leaves 109-112). / Abstracts in Chinese and English. / Zhou Weiwei. / Chapter 第一章 --- 研究背景及文献回顾 --- p.5 / 研究背景 --- p.5 / 问题的产生 --- p.7 / 研究内容与理论资源 --- p.11 / 研究方法与研究价值 --- p.13 / Chapter 第二章 --- 从生活化古城到风景化古城：丽江古城视觉语言构成与意义 --- p.15 / 凝视明信片 --- p.15 / 明信片主题分析 --- p.21 / Chapter 第三章 --- 从平面媒体到多媒体：古城视觉形象与文化意义的再构建 --- p.37 / 《一米阳光》 --- p.37 / 《千里走单骑》 --- p.46 / 《印象.丽江》 --- p.51 / Chapter 第四章 --- 从形象到想像：寻找视像背后的文化想像 --- p.57 / 想像香格里拉 --- p.57 / 《桃花源记》与桃源梦想 --- p.61 / 桃花源与边地 --- p.65 / 世外桃源还是香格里拉？ --- p.67 / 文化想像下的旅游体验 --- p.74 / Chapter 第五章 --- 文化想像与文化遗产的再生产 --- p.79 / 古城视觉装饰性语言与文化想像 --- p.79 / 想像东巴文化 --- p.87 / 结论 --- p.97 / 附录一：遗产及世界遗产概念 --- p.100 / 附录二：世界遗产在中国的发展简介 --- p.102 / 英文参考文献及相关书目 --- p.106 / 中文参考文献及相关书目 --- p.109 / 后记 --- p.113

过去十年，许多学者都对丽江古城的旅游发展与文化变迁进行过批评。文化真实性的丧失和文化商品化是这些批评中的重要主题。这些问题不仅反映了丽江古城在文化旅游发展下的困境，也是众多其它文化遗产地共同面对的难题。本文通过对丽江古城的木雕与绘画旅游艺术品的研究，探讨了文化旅游中的文化生产与文化想像，并回应了这些相关问题。 / 在田野调查的基础上，本文总结了上个世纪九十年代以来云南旅游艺术品市场的形成，以及丽江旅游纪念品与木雕绘画产品的发展历程。接下来的讨论通过三个主题来进行：传统与原始、真实与消费、混杂与重构。在传统与原始的讨论中，笔者结合东巴象形文字在现代东巴画和旅游艺术品的应用，分析了当代纳西知识分子和精英画家对东巴文化的想像和艺术再现。所谓的传统生活与文化被绑定在了文化的原始性和艺术的原始性表现中。古城艺人在继承了现代东巴画派的成果的基础上将艺术品与现代生活做了更多的联接。但是传统与原始的联接仍然在很多方面建构着当地的文化想像和实践。真实与消费的讨论中，文章认为文化真实性既有客观性的一面，也有主观性的一面，他们共同构成了文化遗产地的文化真实。许多旅游艺术品的生产都与当地的文化想像有关，它是具有实践性的文化生产。在文化商品化的过程中，文化想像也发挥着作用，它使真实与消费联系起来。不同的参与者都在用自己的方式参与着文化变迁与重构的协商。在文化生产的过程中，当地的艺人运用混杂的方式不断试验着新的可以表达自己又获得市场认可的作品。他们通过与不同人的交流与想像，在古城的混杂的空间里寻找着自己可以发声的位置，对艺术的追求和艺术家身份的建构成为其中的一个硕果。 / 随着旅游的发展，古城空间和职能发生了根本性的改变，新的文化群体和文化空间正在形成，对文化想像的追寻代替了对文化真实性的追寻成为了旅游活动的主导。文化遗产概念在传播与应用过程中不断被文化想像所填充。尽管古城的木雕与绘画业仍然存在许多问题，但它却孕育出了一批有理想的当地年轻人，他们在文化变迁中正以自己的力量努力着。 / Since the last decade, many scholars have undertaken critical researches on tourism development and culture changes. Cultural authenticity and cultural commercialization have been the main topics in the discussions. These problems exist generally in most heritage sites. This thesis proposes to further explore these topics by studying the case of Lijiang old town in Yunnan, China. It focuses on the local woodcrafts and paintings, two popular tourist art forms, to examine cultural construction and cultural imagination in cultural tourism. / Based on field studies, I have reviewed the formation of the market for tourism art in Yunnan Province and the short history of souvenir and tourism arts in Lijiang since 1990s. The following discussion focuses on three main topics: tradition and primitiveness, authenticity and consumption, hybridity and reconstruction. The first topic studies the cultural imagination in contemporary Dongba paintings from Naxi intellectuals and elite artists by analyzing the wide use of Dongba hieroglyphic characters. Cultural primitiveness is used to represent traditional life and culture in the paintings. Although the local craftsmen and painters try to connect traditional culture with modern life, the bond between cultural tradition and primitiveness is still a major influence on cultural imagination and practice. For the second topic, I argue that cultural authenticity has both objective and subjective sides, and both sides interact with local cultural imagination at the heritage site. Many tourism arts are produced with local cultural imagination, and in turn they influence the construction of local culture. Cultural imagination is the bridge between authenticity and consumption. Various stakeholders are participating in the negotiation of cultural changes in their own ways. For the third topic, at the production side, local artists experiment with hybridity on their craft works and have found an efficient way to express their ideas as well as getting feedbacks from the market and consumers. The local craftsmen find their identities and positions in the old town as a result of communication and practices. The pursuit for art and the identity of artist are their major achievements. / With the development of cultural tourism, the Lijiang old town has completely changed in terms of both space and function. Newer and younger cultural groups and cultural spaces are emerging, seeking cultural imagination instead of cultural authenticity in the tourism activities. The concept of cultural heritage is filled up with cultural imagination during its spread in practice. Although the development of woodcrafts and paintings in Lijiang still has many difficulties and problems, it has successfully cultivated a group of local artists who have dreams and will put all their efforts to develop the local culture in their works. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 周蔚蔚. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 269-279) and indexes. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Zhou Weiwei. / 导 言 --- p.7 / Chapter 第一章 --- 研究背景及文献回顾 --- p.11 / 研究背景及问题的产生 --- p.11 / 相关概念及文献回顾 --- p.16 / 理论资源 --- p.36 / 研究方法 --- p.48 / 论文框架 --- p.50 / Chapter 第二章 --- 九十年代以来纳西民间木雕与绘画的发展概况 --- p.57 / 旅游艺术品市场的形成 --- p.57 / 丽江古城旅游纪念品（旅游艺术品）的概况 --- p.65 / 九十年代后古城木雕绘画旅游艺术品的概况 --- p.71 / Chapter 第三章 --- 传统与原始：东巴象形文字与雕刻绘画 --- p.88 / 从宗教语言到艺术语言 --- p.88 / 主题的模式化 --- p.97 / 新力量的出现与主题的延伸 --- p.109 / 传统与原始性 --- p.115 / 抽离与全球化 --- p.123 / 小结 --- p.128 / Chapter 第四章 --- 真实与消费：雕刻神灵 --- p.131 / 《归猎图》的传奇 --- p.131 / 《黑马图》与《归猎图 --- p.133 / 云南重彩画与云南少数民族的艺术再现 --- p.139 / 三朵指涉的形成 --- p.146 / 《东巴神像》 --- p.164 / 真实性的协商 --- p.173 / 小结 --- p.182 / Chapter 第五章 --- 混杂与重构：古城与艺术家 --- p.184 / “我爱丽江 --- p.185 / 再现古城奇观 --- p.189 / 凝视混杂的古城 --- p.198 / 在凝视中交流与创作 --- p.204 / 混杂的力量 --- p.209 / 对艺术家的文化想像 --- p.221 / “要不择手段地成为艺术家 --- p.223 / “丽江混混 --- p.229 / 中间人的缺失 --- p.233 / 小结 --- p.244 / 结 论 --- p.250 / 文化想像、文化生产与文化遗产 --- p.250 / 古城、木雕绘画与旅游艺术品 --- p.256 / 尾 声 --- p.259 / Chapter 附录一 --- 现代东巴画派主要画家简介 --- p.261 / Chapter 附录二 --- 古城木雕绘画艺人简介 --- p.263 / Chapter 附录三 --- 田野调查访谈的主要人物与时间列表 --- p.265 / Chapter 附录四 --- 本文所引用图表索引 --- p.266 / Chapter 附录五 --- 本文所引用木雕绘画作品索引 --- p.267 / 英文参考文献 --- p.269 / 中文参考文献 --- p.275 / 未经发表的资料 --- p.280