这是一个关于人的成长和转变的叙事研究。本研究的问题意识是：一方面，1990 年代以来，伴随着中国社会的进一步市场化，青年文化呈现出去政治化、物质主义、“小时代”的窄化的走向。越来越多的青年人希望进入“体制”，以求得社会认可、物质有保障之生活。但另一方面，1990 年代以来亦是中国民间非政府组织（NGO）迅速发展的时期，一小部分青年人选择在NGO 工作。然而，NGO 长期以来面临着公众的不理解、政府一定程度的漠视甚至猜测以及物质上的低回报。本研究正是希望进入NGO 工作者的生命故事，理解他们为何逆社会窄化的价值之流、选择在NGO 工作，形成了怎样的文化以及如何形成这一文化。另一方面，本研究亦希望向组织内部回观以批判性地分析NGO 携带的意识形态、操演等如何对工作者的价值观和行为产生不经意的影响，以期改造其身处之社会脉络。 因此，本研究试图回答的研究问题是：在1980 年代以来的社会脉络之下，“80 后”NGO 工作者如何与发展主义和“小时代”的青年文化、以及NGO 内部的文化与操作进行协商？形成了怎样的价值观和行为方式？ 本研究通过叙事研究方法，深入理解10 位NGO 工作者的生命故事和日常实践。采取Dorothy Holland 等(1998)的形意世界(figured worlds)理论视角，本研究认为：一方面，NGO 工作者在参与NGO 的过程中增进了自我认识和成长，对社会发展有更深的理解和反思，并且形成一定的介入社会和公共生活的行动。另一方面，NGO 的操作中，可能带有缩窄批判思考和开放的学习多种思想资源的空间，缺乏对社会问题成因和解决方案的深入分析与公开论述，习惯性地以“主流”/“另类”二元简化的分析视角，这无益于NGO 工作者的成长，也可能阻碍NGO 对于社会和人的改造的工作。

This dissertation explores the universality of trauma-storing in the body and the need for contextualization when it comes to treatment. Of the two central themes addressed, the first is war-related trauma and the intersection of expressive arts therapy and South (East) Asia (Nepal and Hong Kong in particular) with its specific imagery, art, and culture, and to see how both feed into each another and can transform as a result. The question is how to locally sensitize expressive arts therapy, which has its roots in Europe and the United States, to the Hong Kong setting; more specifically, to working with Nepali women who try to make Hong Kong their new home. The dissertation suggests a holistic, locally, and culturally sensitive approach to expressive arts therapy. This means adjusting the expressive arts framework and practices to the local and cultural setting, as well as looking at the resources (myths, dance forms, breathing practices, rituals, etc.) present in the local culture and including them in the anthropological approach to trauma transformation. The second theme addressed is the importance of critically reflecting on power within therapeutic relationships, especially in trauma treatment, and recognizing the ontological underpinnings underlying therapy as well as our ‘human self-concept’, which leads to the acknowledgement of only a certain type of human experience, that of conscious, self-aware subjects in control of their acts. The latter leaves little room for understanding traumatic experiences, in which trauma victims seem to be unable to remember or shape the traumatic event. In Walter Benjamin’s dissertation, any kind of representation of our personal and collective identities is seen as a curation. When approaching history as a ‘collection’ of memories, it creates room for traumatic experiences to exist. Benjamin’s dissertation is applied to understanding trauma in such a way where it is precisely the discontinuity, the disparities, the ruptures of history and memory that make trauma visible; these are the gifts handed to the next generation. It is the piecing together of fragments and uncertainties that transforms trauma into a space of insight, creating meaning from what is known and unknown, bridging the stories and images of history present in our implicit and explicit memory. In the critical reflection on traumatology, a Foucauldian approach is taken regarding the therapist-client relationship. Foucault speaks of a top-down apparatus with policies that act under the guise of ‘protect and serve’, and language that frames the clients as a helpless victim in need of ‘betterment’ by the therapist. The only way for therapists to tackle the problem of trauma and psychotherapy, and to admit its social/cultural construction and the role of power, is to read themselves into the problem, to go beyond one-way mirroring, to analyze their pathology, and attempt to change patterns of communication that reproduce the psy-complex apparatus. In this thesis the latter is done by including the creative and analytic reflections of expressive arts therapists and of the author herself.

While the LGBT equal rights movements in Hong Kong have become increasingly visible and popular in recent years, and lesbians, when compared to homosexual male, seem to enjoy high visibility in the city’s public space and relevant safety from violent discrimination, their presence in the public sphere continue to be low. Writings by local queer activists and scholars such as Mary Kam Pui Wai (2001) and Denise Tang (2011) point out that instead of violent attacks, since the beginning of local LGBT activism, female have been facing systematic silencing and marginalizing within the community, their presence invisible, and their problems often ignored or trivialized. However, lesbians are not imagined to be, and do not perceive themselves as, the most oppressed and disadvantageous members within the larger LGBT community. This study proposes that this seeming apolitical attitude and lack of acknowledgement of their marginalized position are the results of the unique “lesbian learning” taken place in the Hong Kong context that render their positions invisible and their problems unspeakable. I want not only to explore what these young women conceptualize as lesbian identity and sexuality, but through proposing the notion “lesbian learning”, offer a new framework to articulate and examine the formation and construction of the “field of sensible” that conditions their learning about lesbian(ism) in terms of perceptual equipment, information flow, as well as strategies of management and application, to see the meanings attributed to this identity, and the nuanced struggle for and negotiation of their lesbian identity formation, as both gender and sexual identity. The findings of this study shows that their conceptualization of lesbian identity as gender and sexual identity is largely conditioned by how they have learned to be female, with normative gender social expectations having a huge influence on how they perceive their sexual identity and sexuality, and their priority. Through documenting and examining the process of their learning the lesbian identity and ways of managing it, I hope to shed light on the mechanisms behind the social construction of female subjectivity that conditioned the specific configuration of lesbian identity and sexuality in the Hong Kong context, and the close ties between the two. To this end, 26 women between the ages of 20 - 30 were interviewed, additionally I spent 2 years conducting in-depth follow-up interviews and participant observation. With the help of social constructionist accounts of contextualization, interactionist accounts of meaning-making, the theory of sexual scripts, and Foucauldian notions of discourse and discipline, I seek to analyze how the Hong Kong lesbian subject is created, maintained, and regulated, both within different institutions operating at specific sites, namely family, school, and pornography, and by the lesbians themselves. By proposing the notion of “lesbian learning”, this study seeks to offer a new methodological tool of intervention, to examine the network of conditions of intersectional positions, and the negotiated agency of their understanding and imagination of identity, gender, and sexuality in the context of Hong Kong.

Historically, traditional music in Africa was attributed to the collective society and not to individual musicians. Given the changing socioeconomic, cultural and political environments prevalent in most African societies, collective ethos are increasingly problematic to the very survival of expressive cultures like music. Individual musicians cannot effectively live off the traditional music they make without offending their traditional societies. Without meaningful incomes from traditional music, musicians cannot contribute to traditional music because it is difficult in a collectivist environment to exploit the opportunities of the global intellectual property regimes. This situation is likely to undermine the future of traditional expressive cultures. Given the problematic nature of the collective ownership of music, this study examined the perspectives of traditional musicians towards ownership of traditional music in Uganda in light of the changing socioeconomic, cultural and political environments. The study framed the collective approach to ownership of traditional music as problematic to musicians. Three central questions were examined: What are the traditional musician’s life experiences and work environments in Uganda’s current socioeconomic and cultural environment? What are the perceptions of Uganda’s traditional musicians towards ownership of creative works or expressions? How do musicians’ life experiences and work environments shape their perceptions and construction of ownership of creative expressions? The study employed a critical cultural analytical and theoretical framework to question the value of collectivism that requires musicians to live by an increasingly misplaced cultural practice. Qualitative data was collected using a phenomenological tools and procedures to capture musicians‘ life experiences and impact of those experiences on their views on ownership of traditional music. Nine individual and two group interviews were collected over a period of one month in two regions in Uganda, Busoga and Buganda. It was established that the current socioeconomic environment calls for a break from, or flexibility in, certain traditional views and approaches to traditional music. Specific legal remedies were recommended to enable musicians live off traditional music at the same time attempting to preserve the cultural elements in the music. That entails striking a balance between economic interests of individual musicians and the cultural values of their societies.

Scholars involved in gender research generally advocate the idea that gender subjectivities are based on active social construction and interaction and as such are amenable to change. Notions and values of masculinity therefore are cultural constructs that are reflected and articulated through symbolic systems such as spoken and written language. Fiction narratives in teens’ magazines are one form of textual media content in which these values can be expressed. The purpose of this study was to explore the textual representations of American values of masculinity in 56 contemporary fiction stories of Boys’ Life magazine by conducting a qualitative content analysis. The study used the values of the Scout Law as one definition of masculinity formulated by the Boy Scouts of America, one of the nation’s leading youth organizations and publisher of Boys’ Life magazine. Through close reading and thematic coding, this study revealed, on the one hand, that the values, with two exceptions, are well-reflected in different meanings and contexts and constructed through the use of different literary devices in the narratives. The study also indicated, on the other hand, that the portrayal of these values may lead to a rather narrow definition of a boy’s life and contribute to the limited construction of traditional masculinity. Further, it appeared that social recognition is represented as an important aspect in terms of performing in accordance with the values of the Scout Law. The study discusses implications of these and other findings as well as suggestions for further research.

金庸自一九五五年在新晚報開始連載第一篇武俠小說《書劍恩仇錄》，至一 九七○年封筆作《鹿鼎記》，共創作了十五部小說。這十五部小說在華人世界中 歷久不衰，更引起不少討論。一九八四年，台灣遠景出版社出版了一系列「金 學研究叢書」，「金學」一詞正式出現。最初，討論金庸作品都以短小的筆記型 文章為主，集中在閱讀金著的感受、討論書中情節和人物等。一九八○年代末 開始，「金學」己成為學術界的熱門研究課題，有大學更主辦「金庸小說學術研 討會」，與會者多為享負盛名的學者，最近更出現了所謂「金庸學」(Jinyonology) 一詞。「金學研究集」發行人王榮文認為金庸「極有可能在有生之年看到其作品 「經典化」的完成，這真是古今中外作家們少有的幸運」。王德威在《金庸小說 國際學術研討會論文集》的序言中亦提到：「本書的出版，無疑為金庸作品經典 化發展，再下一城。」 這情況在當代華文創作圈中非常罕有，實在是一個值得深思的文化現象。 金庸小說能發展到現在成為「經典」，內在原因當然是其小說本身的確是不可多 得的好作品。然而，這並不是唯一，甚至不是最重要的原因，外在的文化脈絡 因素發揮的作用更大。作為作者，金庸花了很大心力把自己的小說包裝成「經 典文學」呈現在讀者面前；另外，經過中國大陸、香港和台灣的學術界和文化 界不斷討論，金庸小說終於成為「經典」。然而，由於三地的政治文化環境不同， 金庸小說的經典化在中港台所經歷的道路也有很大差異。本論文的研究目的， 首先是分析金庸如何為其小說製造出一個「經典」形象，再進一步對金庸小說 不同的經典化過程作一疏理，從而探討其間三地在金學研究現象中所包涵的文 化政治意義。

This study seeks to explicate the intercultural experiences of Puerto Ricans within the diaspora of Central Florida. Specifically, the navigation of communication behaviors among intergroup and outgroup behaviors as Puerto Rican individuals acculturate into the area. This study utilizes communication accommodation theory as its basis to understand integration into a host culture and the impacts on socio-cultural communication behaviors. Findings show the importance of studying diasporic communities as they develop such as that of the Puerto Rican community in Central Florida because it situates the reality of an individual and groups sense of identity in a new cultural context. This research showcases Puerto Rican diasporic individuals struggling with the bilingual brain and acculturating based on their environment. Communication accommodation behaviors are thus deeply rooted in marginalization and negative treatment of diasporic individuals as the "other" in multicultural scenarios. Intercultural self-identity and intersectionality has therefore been impacted by the dynamic between the home culture and host culture.

In this thesis I argue that a suburban cultural imagination developed transnationally during the post-war period (roughly 1945-1970) rather than as a cultural phenomenon largely associated with the 1950s United States. I situate the suburbs—in both their physical and cultural constructions—as my primary focus and discuss the suburb's influence on hegemonic culture by performing an in-depth comparison of the U.S. with another country with a long history of suburbanization—Australia. Given that the suburbs structure several social, cultural, economic, political, and historical vectors—which all in turn inform issues of gender, race, class, sexuality, and nationality—I focus on how the suburbs inform gender; in particular, I identify how the suburban imagination has contributed to the creation of the housewife figure. To locate these suburbs, I turn to the mass-circulation magazines of the mid-twentieth century whose advertisements, editorials, and short fiction disseminated the rhetoric and iconography of the suburb. Magazines like Ladies' Home Journal and Harper's helped form a U.S. suburban imagination through "housewife writers" such as Shirley Jackson. Comparing these suburban texts to the Australian Women's Weekly, we can see continuities and variations between suburbia in the U.S. and Australian cultural imaginations. I conclude this thesis by sketching potential coordinates for future investigation, including in Asia, Europe, Latin America, and Africa. While the process of suburbanization may vary in each country, a suburban imagination exists which transcends national experience and instead forms transnational lines that connect nations throughout the post-war period. These insights provide new ways of thinking about suburbanization, transnationalism, and globalization and the role that magazines had in shaping the cultures being constructed inside these suburban developments.

This dissertation analyzes the relationship between Wizards of the Coast's trading card game Magic: The Gathering and its digital adaptations. I used critical technocultural, ludic discourse analysis, and ludic textual analysis to examine the analog trading card game and digital adaptations. I examined an archive of paratextual media including trade magazines, developer blogs, game reviews, and player guides. I chose Magic for its long history, impact on the analog game industry, and the sheer number of adaptations that have been produced. This analysis begins by introducing a method for describing analog to digital adaptations called Adaptation Mapping. Adaptation mapping describes adaptations as a relationship between how the interface of the game is remediated and the degree to which a game represents the thematic and ludic experiences of the original. Then I examine the narrative framework that allows Magic to tell stories through both its theme and mechanics. Identifying the figure of the Planeswalker as a key component in how narrative functions in Magic, I trace the development of the planeswalker as a player analog to independent original characters under the purview of Wizards of the Coast. The adaptations provide a backdrop for this change and highlights the way that the same mechanical and algorithmic systems can characterize both player and official characters within Magics ecosystem. This shift highlights the way that marketing is approached and influences the design of the game. Finally, I examine how digital adaptations are intwined with ludic platform economy that has emerged through the 2010s. The apparatus that allows for capital to flow through the community is coopted via adaptation and remediated in ways that redirect capital back towards Wizards of the Coast as the platform owner. Analog to digital adaptation is a critical juncture in examining the impact of platformization on play and games.

This dissertation examines the representations of Post-Traumatic Stress Disorder (PTSD) in superhero television shows, their source comics, and their corresponding fan fiction. Using close reading, in the tradition of Bérubé's (2018) examination of disability narratives in The Secret Life of Stories and Schalk's (2018) analysis of bodyminds in Bodyminds Reimagined, I explore how a character's PTSD is represented in the canonical media text (first through the comic book then through the television show) and discuss how the representation changes or evolves between mediums and provides or does not provide accurate representations of trauma, PTSD, and mental health. Through a sampling of popular fan texts from a given fandom and close reading the fan fiction and the tags, I interpret how fans construct PTSD and disability in their works: do they use the hegemonic medical model of disability, or do they construct PTSD through a social model? By providing an analysis of multiple media forms and PTSD throughout the superhero's stories, I show how fans both use and ignore canonical representations of disability and contribute to forms of oppression through their disabling of characters.