published_or_final_version / Architecture / Master / Master of Landscape Architecture

客家電視台是台灣第一個以族群文化為主體的電視頻道，客家電視台節目在客家文化內涵上的表現，對於客家族群文化的發展、觀者的判斷以及整個文化社會的動態發展來說，更有著莫大的影響力。有鑑於此，本研究運用修正式德非法，進行客家電視台非新聞性節目呈現客家文化內涵指標之建構，並利用統計分析方法歸納出指標整體面向，而後邀請專家學者輔以深度訪談，以提出客家電視台於節目呈現上之建議。期望本研究所得之結果，可以提供未來客家電視節目製作之參考，在收視率數字的檢視之外，作為評估客家電視台節目對於客家文化的價值與意義之思考。 / This study aims to explore the prospects of context of Hakka TV programs. Hakka TV is the first channel which takes ethical culture as subject. The cultural implications of Hakka TV programs, therefore, have enormous influences on the development of Hakka culture, the cultural judgment of audience, and the dynamics of society. However, compared with audience rating, the value and meaning of Hakka TV programs are still under-examined. For this purpose, in this study Modified Delphi Method and in-depth interview with related experts were conducted in order to construct factors and indices of Hakka cultural implications. The construction is based on non-news programs of Hakka TV for prospective programs production.

Thesis (M.CM)--Hong Kong Baptist University, 2006. / Dissertation submitted to the School of Chinese Medicine. Includes bibliographical references.

客家，在歷史上是指中國大陸的南遷漢人與福建、廣東、江西地區之原居民雜居、融合後，繼而形成的一個民族，其血統與本質仍被視為漢人，出現的時間一般認為在宋、明時期左右；爾後的明、清時期，由於人口、經濟壓力……等因素，客家人播遷到全國各地，除了上述原居區域，更擴散至西邊的四川省，其他部分更涵蓋了香港、台灣，甚至其他非亞洲地區，繼而形成今日在全世界分布範圍最廣、人口眾多的民族之一。 在台灣地區，客家人的數量僅次於閩南人，處處皆有客家人的蹤跡，而又因為歷史背景及地形環境的影響，以南部六堆地區的美濃客家庄保有著最傳統、完整的客家文化，當地更有以傳承客家服裝文化為使命的【錦興行】藍衫店，以推廣客家傳統服裝及改良式服裝為主。不僅對美濃客家而言，甚至在整個台灣客家佔有舉足輕重之地位，因此筆者將客家服裝民族美學的研究重點聚焦在美濃地區，更實際走訪【錦興行】藍衫店做田野調查與深度訪談，了解美濃地區近年來客家民族服裝的發展狀況。 由於客家自身形成的歷史原因和自古以來聚居的地理環境，其性格與形象在在反映至其民族服裝上。服裝，是人類學上物質文化的一種代表象徵，從中也可看出一個民族的文化背景與歷史興衰；它不僅是文化，也是一種藝術，服裝展現出一個民族的美學，同時透露人民的審美觀。 因此，服裝可說是一個民族文化的歷史標記，也可被視為民族歷史的文化象徵；而一個民族的傳統文化不僅代表著其形象，同時可看出其民族性格，更象徵著民族的興衰起落，因此傳統文化的傳承與發揚是相當重要的。客家服裝作為其民族美學與文化意象的代表，在歷史與傳統的傳承上背負著絕對重要的責任；隨著近年來商業性產品與文化創意產業的備受重視，相對地卻使客家服裝這樣的珍貴文化及藝術日趨沒落，甚為可惜。 基於上述理由，筆者首先透過蒐集前人與專家、學者的多本文獻來進行文獻探討，輔以田野調查、深度訪談的過程，在綜合分析、交叉比對之下，首先探究客家人的歷史源流、地理環境、精神、民性對美濃客家服裝的影響，再藉著蒐集各種美濃客家服裝的樣本，以藝術方面的美學相關理論分析其款式、顏色、質料，探究美濃客家服裝的民族美學，再從中了解客家人的審美觀，最後從分析來做出結論。

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When the Taiwanese composer, Tai-Hsiang Li received the National Cultural Award in 2013, he said, “My blood is full of music. If you take out the music from my life, I am nothing!” Tai-Hsiang Li brought contemporary music to Taiwan, combining folk music with the modern orchestra, and raising the quality of Taiwanese popular music. He almost single-handedly infused Taiwanese culture into classical, modern, popular, film, and television advertising music. His arrangements of folk music have shown the Taiwanese the beauty of their own music and inspired countless younger musicians. The music critic Chung-Heng Yang declared, “Without Tai-Hsiang Li, the music history of Taiwan will not be complete.” After the composer’s death in 2014, his life story was made public by various media, but many of the information disseminated were not accurate. Musicians have difficulties performing his works because of his constant revisions to his scores. For this thesis, I have personally interviewed the composer’s family and the Hakka singer Yu-Wei Hsieh. I investigated documents, collected Hakka mountain songs and three different editions of his Hakka-style suite Mountain and Farmland. I also investigated journal articles, newspaper articles, and read the books about the composer. In addition to presenting an updated biography of Tai-Hsiang Li’s life, I also prepare a critical performance edition of the Mountain and Farmland. It is my desire that more musicians will find interest in performing Mountain and Farmland as well as scholars doing research on Hakka music and works by Tai-Hsiang Li.

本研究以土樓為案例，引入了跨學科的方法考察社會政治機制對中國鄉土建築的變化產生的作用。針對目前認為土樓視為客家族群特有的家族性防禦建築的觀點，我指出了土樓建築形式具有異質性，而這一異質性必須從業主的產權結構出發去理解。通過結合分析社會結構和空間組成，我提出大部分的土樓形式是由相對貧困並且貧富分化不明顯的社區成員合資建造的一種低造價的合作社住宅。我進而以1958至1983年間的建造高峰為例，揭示了土樓地區的居民如何策略性地利用社會主義集體共有的農村產權關係大量建造合作社住宅。 / 論文從建築的空間結構與建造過程、業主的社會組織以及政治環境的歷史變化三個方面考察土樓。第一章回顧現有的土樓研究，提出從業主的角度研究鄉土建築的方法，並介紹了本研究的資料來源。第二章提出了一個從業主社會結構考察鄉土建築的分析架構。通過考察集合住宅中的兩個層次的社會團體，家庭與集體，我提出了一組將社會結構與空間構成相聯繫的表達式。第三至五章分別從建築學、社會學和歷史學的角度具體證明與業主有關的各種因素如何將土樓塑造成住宅合作社，並展示了政治制度的轉變如何影響到建築形式的變化。最後一章總結了本研究的貢獻。 / 本研究運用了多學科的研究方法，通過結合建築形式與建造過程的分析、人類學的調研方法、社會學的社區分析理論以及地方史的研究，探討鄉土建築的形成原因與演變邏輯。此外，本研究也試圖在研究土樓的基礎上探討多層面的問題，包括對地方建築形式的定義方法、鄉土建築的研究方法論以及如何從社區在住宅建造上的策略性選擇理解地方與國家的關係。 / This dissertation is an interdisciplinary research on the socio-political system to explain the transformation of Chinese vernacular architecture within the context of tulou, an architectural form in Fujian Province, Southeastern China. I challenge the myth that tulou are Hakka clan houses or fortresses and argue that most tulou are affordable cooperative houses. I further suggest that these cooperatives were adapted to the People’s Commune property system and hence, experienced construction peak from1958 to 1983. / This dissertation examines the architectural form of tulou, the social structure of its proprietors, and the socio-political changes that occurred during China’s socialist transformation. Chapter 1 opens with a review of the tulou literature, which also introduces a socio-political approach in studying Chinese vernacular architecture. In Chapter 2, I propose a set of symbolic expressions and models to analyze the property structure and spatial configuration of collective houses. The next three chapters engage in different perspectives of tulou built in the 1958-1983, including the architectural issues in Chapter 3, the social issues of the proprietors in Chapter 4, and the political issues in Chapter 5. Finally, the concluding chapter summarizes the contributions of the research. / This research combines architectural analysis, anthropological investigation, sociological analysis, and historical studies. Issues addressed include the definition of regional architectural styles, the methodology used for studying vernacular architecture, and conflicts between the state and the local communities. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Zheng, Jing. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 214-233). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract also in Chinese. / Chapter ABSTRACT --- p.i / Chapter 摘 要 --- p.ii / Chapter ACKNOWLEDGEMENTS --- p.iii / Chapter TABLE OF CONTENTS --- p.v / Chapter LIST OF FIGURES --- p.ix / Chapter CHAPTER 1 --- INTRODUCTION --- p.1 / Chapter 1.1 --- Research Problem --- p.2 / Chapter 1.2 --- Literature Review --- p.13 / Chapter 1.2.1 --- Studies on Tulou --- p.13 / Chapter 1.2.2 --- Debates on the Definition of “Tulou“ --- p.21 / Chapter 1.2.3 --- An Interrelated Region Divided by Administration --- p.25 / Chapter 1.2.4 --- Cultural Heritage: Homogeneity as a Political Comprise --- p.30 / Chapter 1.3 --- Methodology --- p.33 / Chapter 1.3.1 --- Toward a Socio-political Approach --- p.33 / Chapter 1.3.2 --- Analyzing Forms: Vernacular Architecture as a Process --- p.35 / Chapter 1.3.3 --- Understanding the Communities: Evidence in the Field --- p.38 / Chapter 1.4 --- Organization --- p.41 / Chapter CHAPTER 2 --- COOPERATIVE HOUSES --- p.44 / Chapter 2.1 --- Residential Communities and Collective Houses --- p.45 / Chapter 2.1.1 --- Bridging Communities and Houses: Ownership Structure --- p.45 / Chapter 2.1.2 --- The Variations of Collective Houses --- p.47 / Chapter 2.1.3 --- Communities in Southeastern China --- p.50 / Chapter 2.1.4 --- Collective Houses in Southeastern China --- p.53 / Chapter 2.2 --- The Symbolic Expressions of Collective Houses --- p.57 / Chapter 2.2.1 --- Spatial Configuration and Ownership Structure --- p.57 / Chapter 2.2.2 --- Variables and the Order of Operations --- p.58 / Chapter 2.2.3 --- The Expressions --- p.60 / Chapter 2.3 --- Structure Models of Collective Houses --- p.63 / Chapter 2.3.1 --- Clan Model and Cooperative Model --- p.63 / Chapter 2.3.2 --- The Hybridity of Models --- p.65 / Chapter 2.3.3 --- The Alternatives between Models --- p.68 / Chapter 2.3.4 --- The Diverse Forms of Tulou Cooperatives --- p.77 / Chapter 2.4 --- Unit-Proprietors of Cooperative Houses --- p.81 / Chapter 2.4.1 --- Unit Proprietors: Owner-builder-occupiers --- p.81 / Chapter 2.4.2 --- The Recruitment of Unit-proprietors --- p.82 / Chapter 2.4.3 --- The Allocation of Units --- p.84 / Chapter 2.5 --- Variations of Tulou Forms in History --- p.85 / Chapter 2.5.1 --- Historical Background --- p.85 / Chapter 2.5.2 --- Fortresses --- p.87 / Chapter 2.5.3 --- Merchants’ Mansions --- p.89 / Chapter 2.5.4 --- Houses Funded by Overseas Chinese --- p.90 / Chapter 2.5.5 --- Communal Houses --- p.91 / Summary --- p.92 / Chapter CHAPTER 3 --- SPACE, FORM, AND CONSTRUCTION --- p.93 / Chapter 3.1 --- Spatial Configuration --- p.94 / Chapter 3.1.1 --- A Collective House --- p.94 / Chapter 3.1.2 --- Public Domain: the Central Courtyard --- p.95 / Chapter 3.1.3 --- Family Spaces: Vertical Units --- p.96 / Chapter 3.2 --- Form and Structure --- p.99 / Chapter 3.2.1 --- Separating Form and Structure --- p.99 / Chapter 3.2.2 --- Forms --- p.100 / Chapter 3.2.3 --- Structure --- p.105 / Chapter 3.3 --- Affordability --- p.108 / Chapter 3.3.1 --- Location --- p.108 / Chapter 3.3.2 --- Site --- p.110 / Chapter 3.3.3 --- Materials --- p.111 / Chapter 3.3.4 --- Labors --- p.113 / Chapter 3.3.5 --- Cooperate to Reduce Cost --- p.114 / Chapter 3.4 --- Building Techniques --- p.116 / Chapter 3.4.1 --- Craftsmen and Local Traditions --- p.116 / Chapter 3.4.2 --- Critical Issues on Construction Process --- p.121 / Chapter 3.4.3 --- Modular Design System --- p.128 / Chapter 3.5 --- Construction Organization --- p.129 / Chapter 3.5.1 --- Time Control --- p.129 / Chapter 3.5.2 --- Budget Control --- p.130 / Chapter 3.5.3 --- Unit-proprietors in the Project --- p.131 / Summary --- p.131 / Chapter CHAPTER 4 --- HOUSEHOLDS,CLANS,AND COOPERATIVES --- p.132 / Chapter 4.1 --- The Property Structure of Tulou --- p.133 / Chapter 4.2 --- Household Division and House Division --- p.136 / Chapter 4.2.1 --- Households --- p.136 / Chapter 4.2.2 --- Household Division --- p.136 / Chapter 4.2.3 --- House Division --- p.138 / Chapter 4.2.4 --- House Division in Tulou --- p.144 / Chapter 4.3 --- Stoves and Cooperative Houses --- p.147 / Chapter 4.3.1 --- Stoves as the Affiliation Symbol --- p.147 / Chapter 4.3.2 --- Stoves in Tulou --- p.148 / Chapter 4.3.3 --- The problem and the Solution --- p.149 / Chapter 4.3.4 --- A unit-proprietor’s Life --- p.152 / Chapter 4.4 --- The Multiple Identities of Unit-Proprietors --- p.153 / Chapter 4.4.1 --- Household Member --- p.153 / Chapter 4.4.2 --- Cooperative Member --- p.155 / Chapter 4.4.3 --- Clan Member --- p.156 / Chapter 4.4.4 --- Ritual: A presentation of the multiple identities --- p.158 / Summary --- p.160 / Chapter CHAPTER 5 --- THE RISE AND DECLINE OF COOPERATIVE HOUSES --- p.161 / Chapter 5.1 --- Property System in Rural China --- p.162 / Chapter 5.1.1 --- Background: Before 1911 --- p.162 / Chapter 5.1.2 --- The Revolution 1911-1983 --- p.163 / Chapter 5.1.3 --- Owners in China’s Rural Property System --- p.169 / Chapter 5.2 --- Built under Socialism (1958-1983) --- p.171 / Chapter 5.2.1 --- The Political Circumstances and Housing Policies after 1949 --- p.172 / Chapter 5.2.2 --- Housing Production Teams: A Case Study on Hekeng --- p.173 / Chapter 5.2.3 --- Democratic inside the Cooperatives: A Case Study on Tianluokeng --- p.184 / Chapter 5.2.4 --- Discussion: Private Property vs. Public Goods --- p.192 / Chapter 5.3 --- Build after Socialism (1983- ) --- p.196 / Chapter 5.3.1 --- Household-Responsibility System --- p.196 / Chapter 5.3.2 --- On the eve of Reform (1979-1983) --- p.196 / Chapter 5.3.3 --- After the Reform (1983- ) --- p.198 / Chapter 5.4 --- Socio-political System and Architectural Forms --- p.202 / Chapter 5.4.1 --- The Communist style --- p.202 / Chapter 5.4.2 --- The Post-communist Style --- p.205 / Summary --- p.206 / Chapter CHAPTER 6 --- CONCLUSION --- p.208 / Chapter 6.1 --- On Tulou and Cooperative Houses --- p.209 / Chapter 6.2 --- On Socio-political System --- p.210 / Chapter 6.3 --- On Chinese Vernacular Architecture --- p.211 / BIBLIOGRAPHY --- p.214

After the return to China, the Hong Kong Government finally decided in January 2008 to reduce the Frontier Closed Area (FCA) coverage from about 2,800 hectares to about 400 hectares and over half of the people residing inside the current FCA are no longer required to have a closed area permit to enter or leave the excised area. For over a century, Lin Ma Hang villagers, especially some Hakka women, can be considered as ambassadors promoting communication between Hong Kong and Shenzhen. They not only witnessed the changing relations between China and Britain, but they also moved between different identities as Chinese, Hakka and Hong Kong people. The history of Lin Ma Hang records the experience of a group of Chinese refugees with Hakka consciousness, mostly with the surname Yip, who lived under British and subsequently Japanese rule and became Hong Kong people after the Second World War. It also highlights the complex and multi-layered nature of Hakka identity. / Emphasis has been placed on the manifestations and material culture of Hakka people, studies into their internal consciousness has not attracted much attention. Lin Ma Hang is a specific case to look into the Hakim psychology in the context of a closed area. Adjacent to the boundary between Hong Kong and the Mainland China, this is an indigenous Hakka-speaking village. For many years during the Qing Dynasty, its villagers had to walk on a bridge that enabled them to reach their farmland located on the other side of the Shenzhen River. However, after the Qing Government's signed unequal treaty, Convention for the Extension of Hong Kong Territory in 1898 which allowed Britain to lease the New Territories, the original village area of Lin Ma Hang was divided into two parts - the Chinese side and the British side, with the Shenzhen River serving as the boundary. Indigenous villagers from Lin Ma Hang, which came under the jurisdiction of Britain, continued to cross this bridge to the Chinese side, just like their forefathers. Such border-crossing practice was maintained even during the 1960s when the Mainland China suffered a famine which led to mass exoduses of people and political and social turmoil such as the Cultural Revolution. Since the 1980s, the entire village has been enclosed by iron fences by the British for security reasons, which posed a formidable obstacle to the villagers' daily lives and travelling to nearby markets, and a psychological imprisonment in the minds of villagers, and their gradual loss of control of their farmland. However, it appears that the spirit of endurance embedded in Hakka culture had enabled them to overcome all types of obstacles and reestablish their confidence to communicate with the outside world, continuing their fight for the opening up of the closed area. / Using Lin Ma Hang Village in Sha Tau Kok, Hong Kong's New Territories as a case study, this thesis gives an historical account of how indigenous villagers living in the border area adjusted to political and social changes following the lease of the New Territories by Britain until Hong Kong's return to China, and how they inherited the Hakka culture through different ways. / With the case study of the Lin Ma Hang Hakka village, this thesis attempts to explore the Hakka culture that has been ignored by Hong Kong people. It signifies how an indigenous village, which was divided up due to political reasons, survives through its unique ways. / 阮志偉. / Adviser: Hok Ming Frederick Cheung; Pui Yin Ho. / Source: Dissertation Abstracts International, Volume: 73-04, Section: A, page: . / Thesis (Ph.D.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (p. 308-321). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [201-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Ruan Zhiwei.

台灣自1980年代以來，興起了一波波的社會運動風潮，在這樣的歷史脈絡下，族群運動成為其中的一環。客籍菁英有感於自身語言文化所處的不利地位，乃透過社會運動的方式，提出訴求。二十多個年頭過去了，這些運動所造成的後果，可見的部分是官方族群政策的擬定與執行，不可見的部分則在於對於客家族群認同的文化要求。這類的文化期待隱含著血緣與認同的合一性，並且對於「怎麼做才合乎客家族群身份」，也有著本質化的想像。首當其衝的便是面對這些要求的客家年輕人。 　　然而，本文並不預設客家年輕人「天生」就應該有客家認同，或者應該要對客家「建立」認同感，而是以一種社會建構的觀點，試圖去理解已經觀察到的經驗現象：社會中對於客家的文化想像，是如何被建構起來的？而時常被這些客家文化框架要求的後生客家人，作為被框架要求的主體，他們如何去理解自身的客家經驗？透過本研究，我們發現後客運世代的客家人正處於某種歷史現實之中。他們的客家身份或輕或重地對他們的生活產生不等的影響，而他們的客家文化認同，也沿著世代、地域的軸線而產生分歧，然而，他們現階段所面對的客家文化期待，除了是一種同質化的文化要求，同時也是一種強調傳統卻又包含突兀創新的客家建構。這些要求所形成的文化框架，脫離了日常生活的層次，也窄化了人們對於客家的想像。因此，本文認為，唯有對客家抱持著開放性的文化想像，將差異納入思考，對於後生客家人也才能有更為務實的理解。 / There have been a lot of discussions about the ways how “the Hakka” or “Hakkaness” could be or should be understood and performed ever since the Taiwan Hakka Cultural Movement occurred in the late-1980s. It is implied that, with certain cultural imaginations, the Hakka would develop a new form of ethnic identity. Consequently, members of the Hakka people, especially those of the younger generation, have often been required to live a life that meets these imaginations and expectations. 　　This thesis aims to examine the historical-cultural process whereby the identity of “Hakkaness” has been culturally and socially constructed and to explore how the younger Hakka members born after the Hakka Cultural Movement have been interacting with these constructions. A contrast between the lifestyle expected or suggested in accordance with “Hakkaness” on the one hand and the life world experienced by the post-movement generation on the other is highlighted. Regional and generational differences of the “imagined” Hakka communities are discussed as well.

在前人的研究中，已透過音韻規則的角度分析梅縣客語 (Meixian Hakka) 和曼谷客語 (Bangkok Hakka)， 但仍有部分疑問未獲得合理解釋。諸如：部分聲調不會受變調規則(Tone sandhi)的影響、變調的觸發條件以及本調 (Citation tone) 和變調間結構上的關係等。 有鑒於此，本研究透過優選理論 (Optimality theory, OT) 重新分析梅縣客語和曼谷客語。 上述兩個方言有兩種變調的方式 : 同化(assimilation)和異化(dissimilation)。在此基礎上，為了更準確的描述變調現象，本研究在分析上主要採用必要性起伏原則 (obligatory contour principle) 和避免起伏原則 (no-jumping principle)，並應用聯合制約 (Constraint Conjunction approach) 的概念。採取此分析方式的理由在於分析對象的變調具有相當有標(marked)且受限於中心詞(head)右端音節的聲調。此外，本研究也採用一部分比聲調結構性制約(tonal markedness constraint)更高排序的信實性制約(faithfulness constraint)。這些制約會導致部分聲調或變調結構不受變調規則影響，例如：調域 (register) 和聲調的起點 (initial target) 將保留原始樣貌。 研究結果指出，聲調結構性制約和數個排序最高的聲調信實性制約能更準確地呈現梅縣客語和曼谷客語在變調時，輸入值與輸出值之間的對應關係 (input-output correspondence)。在論文結尾，筆者將綜覽本研究並提出未來可繼續延伸的相關議題。 / The grammar of Meixian and Bangkok Hakka tone sandhi has been analyzed from a rule based approach. Nevertheless, there are some questions and details that could not be solved by the analysis, such as the status of tones that do not undergo sandhi, triggers of the tone sandhi, and the structural relation between citation tones and their sandhi counterparts. Thus, the purpose of this study is to re-analyze the tone sandhi in Meixian and Bangkok Hakka under the constraint based framework, Optimality Theory (OT). There are two mechanisms of tonal alternations in the two dialects’ tone sandhi: assimilation, and dissimilation. So in order to capture the tonal alternations, the current analysis applies the concepts of the Obligatory Contour Principle, and the No-Jumping Principle. The constraints generated according to these principles work well with the application of the Constraint Conjunction approach. The conjoined constraints are needed since the tone alternations are highly marked, and depend a lot on the head/right syllable tone. Furthermore, this thesis also posits several faithfulness constraints that rank higher than the tone sandhi markedness constraint. The high ranked faithfulness constraints govern the preservation of several tones from any alternation, and preservation of some structures of the citation tones when they become sandhi tones (i.e. register and initial target). In conclusion, the positing of tone sandhi markedness constraints and undominated identity constraints presents a better input-output correspondence relation of the tone sandhi phenomena in Meixian and Bangkok Hakka. To conclude the thesis, a brief summary of the study and possible further issues are presented.