In Mainland China, a national education policy called ‘Learning in Regular Classrooms’ (LRC) has been implemented for over 25 years to support the inclusion of disabled children in regular schools. Although the LRC policy framework has been gradually adapted in response to the global movement for inclusive education, little is known about what is happening in classrooms and schools. In particular, disabled children’s views and experiences of their school lives remain unknown. Drawing on perspectives from inclusive education, pupil voice, disability studies and childhood studies, this research is driven by a theoretical stance that positions disabled children as active and competent social actors whose voices should be valued and heard. This exploratory inquiry adopted an ethnographic approach. I conducted the fieldwork in 4 state primary schools in Shanghai, with 11 disabled children (designated as LRC pupils and labelled as having Learning Difficulties), 10 class teachers and 3 resource teachers. The Framework for Participation (Florian & Black-Hawkins, 2011) was used to inform data collection and analysis. Multiple methods were utilised including participant observation, interviews and participatory activities. Rich, in-depth and contextual data were collected and thematically analysed. This research highlights several key findings. First, the necessity of listening to pupil voice is reaffirmed. Children’s views of schooling revealed hidden knowledge that had been unknown to teachers. The child participants were sensitive, observant and reflective, exercising their agency to negotiate the circumstances in which they were living. They offered informative comments on school practice and shared aspirations for improvement. Second, it was found that the meaning of inclusive education failed to be addressed in everyday schooling process, although there had been rhetorical change in LRC policy, and its implementation helped to secure disabled children’s access to regular schools. Disabled children were still facing forms of marginalisation and exclusion, such as limited participation in decision-making, restricted opportunities to access extra-curricular activities and spaces, lack of support for academic learning, and negative experiences of bullying from peers. The existing special educational provision such as the ‘resource classroom’ was found to interrupt children’s sense of togetherness and generate negative labelling effects for them. Third, facilitators of and barriers to disabled children’s learning and participation were identified. The exclusionary process affecting disabled children was strongly fortified by the introduction of special educational thinking and practice, which not only marked out these children as incompetent and in need of protection, but also underrated the existing inclusive practice in regular classrooms. The process was further reinforced by the charitable model of disability in Confucian society and the prevailing competitive and performative school culture. Nevertheless, teachers could play important roles in negotiating all pupils’ learning and participation. Among the insights gained into teachers’ practice, a connection between teachers’ attentiveness to children’s worlds and their demonstration of inclusive practice was noticed, on the basis of which I discussed the implications of pupil voice for developing inclusive practice, and explored a working model for moving towards inclusive education in China with pupil voice as a core starting point. In China, there is still a long way to go before realising all children’s learning and participation. This research calls for a paradigm shift within the country to encourage new ways of thinking and researching, in which children must be seen as essential partners in the process of transforming and imagining possibilities for inclusive education.

Iu, Yiu. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2007. / Includes bibliographical references (leaves 163-173). / Abstracts in English and Chinese ; questionnaires also in Chinese. / Abstracts --- p.i / Acknowledgements --- p.iii / Table of Contents --- p.iv / Introduction --- p.1 / Chapter A. --- Objectives and Significance --- p.1 / Chapter B. --- Academic Issues and Literature Review --- p.4 / Chapter C. --- Theories and Methodologies --- p.18 / Chapter D. --- Structure of the Thesis --- p.20 / Chapter Part I: --- The Making of a Seiyu Culture in Japan / Chapter Chapter 1: --- What is Seiyu? --- p.24 / Chapter 1.1 --- Definition of Seiyu --- p.24 / Chapter 1.2 --- Scope of Works --- p.27 / Chapter 1.3 --- Training Institutions and Agencies --- p.32 / Chapter Chapter 2: --- The Historical Development of the Seiyu Profession in Japan --- p.38 / Chapter Part II: --- Cultural and Social Significance of Seiyu Culture / Chapter Chapter 3: --- Seiyu as Art and Industry --- p.56 / Chapter 3.1 --- Internal Factors --- p.58 / Chapter 3.2 --- External Factors --- p.64 / Chapter Chapter 4: --- Cultural and Social Impact of the Seiyu Culture --- p.78 / Chapter 4.1 --- Cultural Impact --- p.78 / Chapter 4.2 --- Social Impact --- p.92 / Chapter Part III: --- Comparative Study on Japanese Seiyu and Hong Kong Voice Artists / Chapter Chapter 5: --- The Popularization of the Japanese Seiyu and Local Voice Artists in Hong Kong --- p.101 / Chapter 5.1 --- Japanese Seiyu Steal the Limelight in Hong Kong --- p.102 / Chapter 5.2 --- Hong Kong Voice Artists Move out from the Backstage --- p.112 / Chapter 5.3 --- The Comparison of the Reception of Japanese Seiyu with That of Local Voice Artists in Hong Kong --- p.117 / Chapter Chapter 6: --- Comparison of the Dubbing Profession between Japan and Hong Kong --- p.123 / Chapter 6.1 --- Structural Differences in Dubbing Profession --- p.126 / Chapter 6.2 --- The Role of Voice Dubbing in Popular Culture --- p.135 / Concluding Analysis --- p.147 / References --- p.163 / Appendix --- p.174 / Chapter I) --- Questionnaire of Seiyu Culture in Hong Kong --- p.174 / Chapter II) --- Sample Interview Questions for Seiyu Fans --- p.177 / Chapter III) --- Sample Interview Questions for Voice Artists --- p.178

歌唱選秀節目已蔚為全球風潮，亦於兩岸電視媒體、社會文化刮起流行旋風。本研究依據媒介生態系統將歌唱選秀節目劃分為外部生態系統（包含市場、政策／法規、社會等因子）、內部生態系統（包含製作方、廣告商、閱聽人等因子）等建立分析架構，探討兩者如何影響兩岸歌唱選秀節目發展。透過爬梳文獻、深度訪談學界和業界共計七名專業人士，輔以中國大陸燦星製作聯合浙江衛視開播《中國好聲音》和臺灣金星娛樂攜手中視推出《超級星光大道》為個案研究，比較分析兩岸歌唱選秀節目之異同並提出互為借鏡之處。 研究發現兩岸歌唱選秀節目外部生態系統之（1）市場：中國大陸早期傾向自製自播、借鑑、引進海外歌唱選秀節目模式版權，近期開始嘗試創新研發；臺灣面臨新、舊媒體競逐單一市場、分食廣告有限預算。（2）政策：中國大陸著重限縮引進海外歌唱選秀節目模式版權數量；臺灣聚焦管制廣告冠名贊助、置入行銷形式。（3）社會：中國大陸熱愛臺灣流行音樂；臺灣渴求優質新興節目內容。兩岸歌唱選秀節目內部生態系統之（1）製作方：中國大陸引進海外歌唱選秀節目模式版權初期雖廣受好評，後期卻因節目高度同質導致閱聽人陷入審美疲勞；臺灣面臨資金／資源匱乏和人才流失困境難以突破。（2）廣告商：中國大陸冠名贊助、置入行銷花招百出；臺灣逐漸放寬廣告冠名贊助、置入行銷，惟政策起步較晚且廣告商呈現保守觀望態度。（3）閱聽人：兩岸新興媒體蓬勃發展且型態百變，閱聽人亦隨之轉變收視行為，集中觀看線上影音內容。 整體而言，中國大陸仍渴求新興歌唱選秀節目模式版權，且配合政策逐年朝向自主創新發展；臺灣兼具創意及人才優勢，但亟待透過政策放寬輔助再次為電視媒體產業開源，以提升製播品質和研發原創歌唱選秀節目模式版權，重振旗鼓並力拓海外（華語）市場。