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劉雲龍. / 論文(哲學碩士) -- 香港中文大學硏究院政治及公共行政學部, 1996. / 參考文献 : leaves 161-176. / Liu Yunlong. / 引言 / Chapter 一、 --- 社會運動理論的盲點 --- p.1 / Chapter 二、 --- 社會運動的定義 --- p.3 / Chapter 三、 --- 領袖「啓蒙」與理性選擇 --- p.5 / Chapter 四、 --- 菁英主義以外的理論補充 --- p.7 / Chapter 第一章 --- 理論探討 / Chapter 一、 --- 哲學和政治學的理性假設傳統 --- p.12 / Chapter 二、 --- 理性人爲何要參與集體行動?----理性選擇 論與搭便車的疑難 --- p.17 / Chapter 三、 --- 大團體、小團體和組織 --- p.24 / Chapter 四、 --- 利益群體的四度空間 --- p.30 / Chapter 五、 --- 資源動員理論 --- p.37 / Chapter 六、 --- 新社會運動論 --- p.43 / Chapter 七、 --- 小結 --- p.46 / Chapter 第二章 --- 群眾參與、動員與組織 / Chapter 一、 --- 積極參與和消極參與 --- p.49 / Chapter 二、 --- 核心動員、組織動員、群體動員 --- p.52 / Chapter 三、 --- 組織的群體界定功能 --- p.55 / Chapter 四、 --- 群體動員的非理性因素 --- p.58 / Chapter 第三章 --- 八十年代台灣學運外觀 / Chapter 一、 --- 台灣學者對社會運動的研究及分期方式 --- p.62 / Chapter 二、 --- 組織由寡到多、由小而大 --- p.68 / Chapter 三、 --- 「走出校園」與學運組織的串連 --- p.73 / Chapter 四、 --- 校園、社會、政治三大改造方向 --- p.79 / Chapter 第四章 --- 台灣學運的動員規模 / Chapter 一、 --- 核心動員和組織動員 --- p.87 / 組織特徵 --- p.87 / 抗爭議題及群體界定 --- p.96 / Chapter 二、 --- 群體動員一野百合學運 --- p.103 / 校際組織及九二八大遊行 --- p.103 / 野百合學運 --- p.108 / 組織核心與群眾關係 --- p.117 / Chapter 三、 --- 小結 --- p.123 / 總結 --- p.127 / Chapter 一、 --- 組織在群體動員上處於次要角色 --- p.128 / Chapter 二、 --- 台灣學生運動的「動員」與「不動員」 --- p.130 / Chapter 三、 --- 進一步的硏究方向 --- p.134 / 註釋 --- p.137 / 參考書目 --- p.161

Thesis (Ph. D.)--University of Hawaii at Manoa, 1995. / Includes bibliographical references (leaves 553-580). / Microfiche. / 2 v. (ix, 580 leaves), bound 29 cm

黎漢基. / 論文(博士)--香港中文大學, 1998. / 參考文獻 (p. 300-328) / 中英文摘要. / Available also through the Internet via Dissertations & theses @ Chinese University of Hong Kong. / 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 Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Mode of access: World Wide Web. / Li Hanji. / Lun wen (Bo shi)--Xianggang Zhong wen da xue, 1998. / Can kao wen xian (p. 300-328) / Zhong Ying wen zhai yao.

published_or_final_version / abstract / Chinese / Doctoral / Doctor of Philosophy

李麗虹. / 論文(碩士) -- 香港中文大學硏究院音樂學部, 1996. / 參考文献 : leaves 131-137. / Li Lihong. / Chapter 第一章 --- 前言 --- p.6-12 / Chapter 第一節 --- 硏究地區之選擇 / Chapter 第二節 --- 過去及當前之硏究 / Chapter 第三節 --- 硏究目標 / Chapter 第四節 --- 資料來源 / Chapter 第二章 --- 台灣布袋戲的源流、發展及布袋戲名稱的由來 --- p.13-28 / Chapter 第一節 --- 布袋戲名稱的由來 / Chapter 第二節 --- 台灣布袋戲的源流及發展 / Chapter 第三章 --- 布袋戲班的構成因素及《小西園》布袋戲班的介紹 --- p.29-49 / Chapter 第一節 --- 布袋戲班的構成因素 / Chapter 第二節 --- 小西園布袋戲班建團歷史及內部組織的硏究 / Chapter 第四章 --- 布袋戲音樂在台灣的發展、演變及北管音樂的使用 --- p.50-72 / Chapter 第一節 --- 布袋戲音樂的發展與演變 / Chapter 第二節 --- 北管的範圍與分類 / Chapter 第三節 --- 北管的演出形式 / Chapter 第四節 --- 布袋戲伴奏的樂器 / Chapter 第五章 --- 布袋戲北管聲部音樂的分析 --- p.73-104 / Chapter 第一節 --- 艾倫´Ø洛馬克斯，歌唱測定體系（Alan Lomax Cantometrics)方法的說明 / Chapter 第二節 --- 十首歌曲的分析硏究 / Chapter 第三節 --- 十首歌曲聲響效果的總結 / Chapter 第六章 --- 結論 --- p.105-107 / 附錄一 譜例 --- p.108-119 / 附錄二圖片說明 --- p.120-130 / 參考書目 --- p.131-138

published_or_final_version / abstract / toc / Chinese / Master / Master of Philosophy

This dissertation comprises a historical survey and thematic analysis of the various regional and temporal expressions of Chinese and Taiwanese xiangtu wenxue (“nativism” or “homeland literature”). Chapter One traces Chinese xiangtu wenxue from the rural stories of Lu Xun through the 1920s generation of writers of xiangtu wenxue (xiangtu zuojia f’g). These writers used two different narrative modes to analyze China’s deepening rural crisis. One of these was the antitraditionalist mode inspired by Lu Xun; the other was a positivist mode formulated from new concepts and intellectual thought prevalent in China at the time of May Fourth (1919). The narrative configuration established by this decade of xiangtu writers is characterized by nostalgia and is based on the migration of the Chinese village intellectual to large urban centres. This configuration set the standard for subsequent generations of writers of xiangtu wenxue who used an urban narrator to describe a rural area which was either the author’s native home, an area he/she knew well or one which was idealized. Chapters Two and Five discuss Taiwanese xiangtu wenxue from the 1920s to the 1970s. The emergence of this fiction is linked with Taiwan’s insecure status in the forum of international relations. In Taiwanese xiangtu wenxue, the countryside is a refuge from the forces of modernization; it is also a storehouse nurturing ancient traditions which are threatened by new and modern ways. Taiwan’s xiangtu writers valorize traditional culture and seek in rural Taiwan a transcendent China predating Taiwan’s invasion by the West. These works are all narrated by an urban narrator who rejects modernity and desires to counteract foreign influences. The focus of Chapter Three is China’s rural regional xiangtu wenxue of the 1930s. In this decade, rural fiction became a general trend in China with the rise of the Chinese Communist Party, Japanese aggression and China’s increasing urbanization. The shift away from China’s urban-based fiction is characterized by an increasing concern for the peasants, regional decay under the onslaught of Westernization and the life, customs and lore of China’s hinterland. In many of these regional works, concern for the nation is interwoven with non-nationalistic interests. Chinese xiangtu wenxue of the 1940s and 1950s is discussed in Chapter Four. The xiangtu wenxue of this period took on a distinctly Communist guise in the wake of Mao Zedong’s 1942 Talks at the Yan’an Forum on Literature and Art. Chinese Communist xiangtu wenxue is primarily defined as revolutionary realism and is concerned with the construction of Chinese socialism which takes place in the countryside through the forced implementation of draconian Party policies. The peasants in this fiction often attempt to evade these policies. Occasionally, these stories and novels slip into a hardcore realistic mode conveying a peasant reality which strongly dissents from the orthodox Party view. At least one writer of this period was persecuted and killed for his putatively disloyal beliefs. Finally, with the passing of Maoism in China, a new form of xiangtu wenxue emerged in the mid-1980s. This is the subject of Chapter Six. In these works, traditional Chinese culture supercedes Maoism as the basic fabric unifying Chinese life. Many of the writers in this period evince a psychological bifurcation arising from their conflicting views about the value of traditional Chinese culture. This bifurcation stems from the narrator in this fiction who is caught up in the process of urbanization and is unable to fully integrate his vision of the countryside into a larger vision of modernity. The ambivalence about Chinese culture in xiangtu wenxue is a leitmotif which underlies xiangtu wenxue’s many, disparate forms.

Between 1945 and 1987, as part of its efforts to impose a Chinese identity on native-born Taiwanese and to establish and maintain hegemony, Chiang Kai-shek’s Kuomintang (KMT) government pursued a unilingual, Mandarin-only policy in education. This thesis studies the changing meaning of “becoming Taiwanese” by examining the school experiences of four generations of Taiyu speakers who went to school during the Mandarin-only era: 1) those who also went to school under the Japanese; 2) those who went to school before 1949 when Taiwan was part of KMT-controlled China; 3) those who went to school during the 1950s at the height of the implementation of KMT rule; and, 4) those who went to school when Mandarin had become the dominant language. Two data types, interviews and public documents, are analyzed using two research methods, focus group interviews as the primary one, and document analysis as the secondary one. This research found that there is no direct relationship between how people negotiated language, hegemony and Taiwanese identity. First, as KMT hegemony became more secure, people’s links to their home language became weaker, so their view of Taiwanese identity as defined by Taiyu changed. Second, as exposure to hegemonic forces deepened over time, people were less able to find cultural spaces that allowed escape from hegemonic influences, and this, along with other life-course factors such as occupation, had an impact on their contestations of language and identity. The study recognizes the role of human agency and highlights the interactive and performative aspects of identity construction. The results reflect the different possibilities of living with hegemony in different eras, and also show that Taiwanese identity is not fixed, nor is there a single, “authentic” Taiwanese identity.

This dissertation comprises a historical survey and thematic analysis of the various regional and temporal expressions of Chinese and Taiwanese xiangtu wenxue (“nativism” or “homeland literature”). Chapter One traces Chinese xiangtu wenxue from the rural stories of Lu Xun through the 1920s generation of writers of xiangtu wenxue (xiangtu zuojia f’g). These writers used two different narrative modes to analyze China’s deepening rural crisis. One of these was the antitraditionalist mode inspired by Lu Xun; the other was a positivist mode formulated from new concepts and intellectual thought prevalent in China at the time of May Fourth (1919). The narrative configuration established by this decade of xiangtu writers is characterized by nostalgia and is based on the migration of the Chinese village intellectual to large urban centres. This configuration set the standard for subsequent generations of writers of xiangtu wenxue who used an urban narrator to describe a rural area which was either the author’s native home, an area he/she knew well or one which was idealized. Chapters Two and Five discuss Taiwanese xiangtu wenxue from the 1920s to the 1970s. The emergence of this fiction is linked with Taiwan’s insecure status in the forum of international relations. In Taiwanese xiangtu wenxue, the countryside is a refuge from the forces of modernization; it is also a storehouse nurturing ancient traditions which are threatened by new and modern ways. Taiwan’s xiangtu writers valorize traditional culture and seek in rural Taiwan a transcendent China predating Taiwan’s invasion by the West. These works are all narrated by an urban narrator who rejects modernity and desires to counteract foreign influences. The focus of Chapter Three is China’s rural regional xiangtu wenxue of the 1930s. In this decade, rural fiction became a general trend in China with the rise of the Chinese Communist Party, Japanese aggression and China’s increasing urbanization. The shift away from China’s urban-based fiction is characterized by an increasing concern for the peasants, regional decay under the onslaught of Westernization and the life, customs and lore of China’s hinterland. In many of these regional works, concern for the nation is interwoven with non-nationalistic interests. Chinese xiangtu wenxue of the 1940s and 1950s is discussed in Chapter Four. The xiangtu wenxue of this period took on a distinctly Communist guise in the wake of Mao Zedong’s 1942 Talks at the Yan’an Forum on Literature and Art. Chinese Communist xiangtu wenxue is primarily defined as revolutionary realism and is concerned with the construction of Chinese socialism which takes place in the countryside through the forced implementation of draconian Party policies. The peasants in this fiction often attempt to evade these policies. Occasionally, these stories and novels slip into a hardcore realistic mode conveying a peasant reality which strongly dissents from the orthodox Party view. At least one writer of this period was persecuted and killed for his putatively disloyal beliefs. Finally, with the passing of Maoism in China, a new form of xiangtu wenxue emerged in the mid-1980s. This is the subject of Chapter Six. In these works, traditional Chinese culture supercedes Maoism as the basic fabric unifying Chinese life. Many of the writers in this period evince a psychological bifurcation arising from their conflicting views about the value of traditional Chinese culture. This bifurcation stems from the narrator in this fiction who is caught up in the process of urbanization and is unable to fully integrate his vision of the countryside into a larger vision of modernity. The ambivalence about Chinese culture in xiangtu wenxue is a leitmotif which underlies xiangtu wenxue’s many, disparate forms. / Arts, Faculty of / Asian Studies, Department of / Graduate