Thesis (M.A.)--University of Hong Kong, 1985. / Also available in print.

Texte remanié de: Diss. Ph. D.--University of Chicago. / Bibliogr. p. 283-309. Index.

Thesis (M.A.)--Catholic Theological Union at Chicago, 2003. / Vita. Includes bibliographical references (leaves 107-110).

published_or_final_version / Chinese / Master / Master of Philosophy

Thesis (M.A.)--Zhongguo wen hua xue yuan. / Reproduced from typescript. Bibliography: p. 793-811.

Thesis (Ph. D.)--Sichuan da xue, 1990. / Reproduced from ms. copy. Includes bibliographical references (p. 316-319).

Le Yuju 豫剧(traduit de manière impropre par « opéra du Henan ») est une forme spectaculaire chinoise chantée et codifiée, dite « traditionnelle », en provenance du Henan. Sa présence puis son maintien depuis plus de soixante ans dans le sud de Taiwan sont surprenants. Le Yuju est arrivé à Taiwan en 1949 avec le gouvernement et l’armée nationaliste battant en retraite face aux communistes. Depuis, le Yuju est toujours présent au répertoire d’une seule compagnie taïwanaise, la compagnie Henan bangzi : Taiwan Yuju 河南梆子：台灣豫劇. Les relations politiques entre la Chine continentale et Taiwan dictent la politique intérieure de l’île depuis 1949. Une indigénisation du régime et de la population réfugiée succède alors à une forte politique de sinisation où les arts classiques chinois étaient favorisés au détriment de la culture locale. Désormais, au contraire, la dimension multiculturelle est encouragée pour construire une identité taiwanaise propre. L’environnement taiwanais, pris dans cette tourmente politique, est a priori hostile au développement et à l’épanouissement du Yuju sur l’île. Ainsi pour la compagnie Henan bangzi : Taiwan Yuju, la question de la survie est fondamentale et il est essentiel pour elle de se constituer un public. Aussi nous interrogerons-nous sur les différentes stratégies mises en place par la compagnie depuis son arrivée à Taiwan (1953) jusqu’à aujourd’hui, pour assurer sa pérennité et attirer de nouveaux publics. Dans ce contexte spécifique, nous analyserons les différentes orientations esthétiques choisies par la compagnie, de la promotion des arts traditionnels à l’expérimentation esthétique. / The Yuju 豫劇 (improperly translated as "Henan Opera") is a comprehensive performing art from Henan, a province located in the central part of China. It blends stylized action, singing, dialogue and mime, to represent a story or depict different characters. It is often considered as a “traditional performing art”. Its presence and its preservation for more than sixty years in the southern Taiwan are quite surprising. The Yuju arrived in Taiwan in 1949 with the government and the Nationalist army retreating from the communist’s expansion in the mainland. Since then, the Yuju is always played by a unique Taiwanese company named Henan bangzi: Taiwan Yuju company 河南 梆子: 台灣 豫劇. Since 1949, internal politics of the island is largely determined by relations with Mainland China. An indigenization of both, the regime and the refugee population, comes up following a strong policy of bringing Taiwan under Chinese rule and culture. At that time, Chinese classical arts were favoured far beyond local culture. Nowadays, the multicultural aspect of the Taiwan society is encouraged in order to develop a specific Taiwanese identity. Such political context in Taiwan should be significantly hostile to the development of Yuju on the island. Thus, the survival of the Henan bangzi: Taiwan Yuju Company is fundamental and the company have to look for new audiences. Hence, we shall analyse what strategies the company implemented from its arrival in Taiwan in1953 till today, ensuring its sustainability while attracting new audiences. In this specific context, we shall analyse the different aesthetic directions chosen by the company from the promotion of traditional arts to aesthetic experimentation.

中國河南省鄧州市，被稱為世界鄧氏的發源地。鄧姓後人自五千年前開始便不斷外遷，至今分佈在世界各地的鄧氏總人口達七百餘萬。自二千年開始，位於鄧州市有“天下鄧氏第一陵“之稱的吾離陵園，成為鄧州市的重點發展項目之一，市政府積極向世界鄧氏宣傳鄧州和陵園保護建設，部分鄧氏後人也紛紛捐款支持。本論文探討跨地域網絡與文化遺產保護的關係，透過在三個鄧氏團體（鄧村、香港和多倫多）的田野考察，了解鄧氏後人對建立世界“鄧氏文化遺產“的看法。我將會探究為何鄧州政府和部分鄧氏後人投資巨款於陵墓建設上，而其他人則拒絶贊助？在全球化的環境下，政治、經濟、宗教、社會和文化因素如何推動或拒絶族氏文化遺產的建立？本論文的最終目的是探討跨地域網絡如何影響文化遺產管理，和不同利益團體對建立世界“鄧氏文化遺產“的解讀。 / The Tang clan is said to have originated from Dengzhou City, Henan Province, China; members of the Tang clan began their migratory trek 5,000 years ago, and now they claim that there are 7 millions descendents all over the world. Since the 2000s, the Wuli Mausoleum - claimed to be the First Mausoleum of the Tang clan, has caught the attention of the Dengzhou government, which has since been promoting this to the Tangs across the world. The local government is eager to preserve the Mausoleum and a preservation plan has been announced; some Tang descendants have made substantial donations towards the project. This ethnographic study explores the nature of the transregional connections on heritage management and the meanings of building a global “Tang heritage“ among three regional Tang groups, namely in Dengcun (Henan Province), Hong Kong and Toronto. This study addresses the following questions: Why are the local government and some Tangs willing to spend enormous sums of money on the conservation of the Mausoleum, while others refuse to do so? What are the socio-cultural, economic, political and religious factors facilitating the promotion or denial of the Tang heritage in today’s globalized world? The ultimate goal of this research is to understand the politics and power dynamics among various stakeholders in the process of heritage management through a construction of transregional connections in post-Mao China. / Detailed summary in vernacular field only. / Chan, Hiu Ling. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 146-153). / Abstracts also in Chinese. / List of Illustrations / Abstract / 摘要 / Acknowledgement / Chapter Chapter 1 --- Introduction --- p.1 / Chapter 1.1 --- Literature Review --- p.3 / Chapter 1.1.1 --- Heritage as a Contested Idea --- p.3 / Chapter 1.1.2 --- Authorized Heritage Discourse (AHD) Vs. Local Interpretation --- p.5 / Chapter 1.1.3 --- Uses of Heritage --- p.7 / Chapter 1.1.4 --- Significance of Kinship in Heritage Relations --- p.11 / Chapter 1.1.5 --- Management of Archaeological Sites --- p.14 / Chapter 1.2 --- Objectives and Methodology --- p.17 / Chapter 1.2.1 --- Objectives --- p.17 / Chapter 1.2.2 --- Methodology --- p.18 / Chapter Chapter 2 --- The Legends of the Tang Clan and the Wuli Mausoleum --- p.24 / Chapter 2.1 --- The Setting: Dengzhou City as the “Ancestral Homeland“ of the Tangs --- p.24 / Chapter 2.2 --- The Authenticity of the Mausoleum: Is it an Archaeological Site? --- p.27 / Chapter 2.3 --- The Wuli Mausoleum and its Changing Cultural Context --- p.31 / Chapter Chapter 3 --- The Government of Dengzhou City --- p.34 / Chapter 3.1 --- The Bureau of Culture and its Cultural Policy --- p.34 / Chapter 3.2 --- The Roles of the Government in the Conservation Project --- p.35 / Chapter 3.3 --- The Politics of the “pseudo“ Tang Lineage Association Head Office --- p.40 / Chapter 3.4 --- Discussion: Authorized Heritage Discourse (AHD) and the Power Penetration of the Government --- p.45 / Chapter Chapter 4 --- The Mausoleum and its Local Associated People: The Dengcun Tangs in Dengzhou City --- p.48 / Chapter 4.1 --- Locating the Tangs --- p.48 / Chapter 4.2 --- Setting: The Local Community - the Dengcun Tangs --- p.51 / Chapter 4.3 --- “An Inseparable Relationship“: The Tomb and the Dengcun Tangs --- p.54 / Chapter 4.4 --- Interests of the Dengcun Tangs --- p.58 / Chapter 4.5 --- Discussion: “Weapons of the Weak“ - Intense Negotiations --- p.63 / Chapter Chapter 5 --- The Mausoleum and the Associated People in Hong Kong --- p.70 / Chapter 5.1 --- Introduction: The Tangs in Hong Kong --- p.70 / Chapter 5.2 --- The Ping Shan Tangs --- p.72 / Chapter 5.2.1 --- Reasons for not Being Interested in the Project --- p.76 / Chapter 5.2.2 --- Discussion --- p.79 / Chapter 5.3 --- The Hong Kong Tang Clansmen Association --- p.83 / Chapter 5.3.1 --- Discussion: Engage or Disengage - “Capital“ --- p.92 / Chapter Chapter 6 --- The Mausoleum and the Associated People in Toronto --- p.98 / Chapter 6.1 --- Background: The Tang Community in Toronto --- p.98 / Chapter 6.2 --- The Toronto Tangs and the Conservation Project --- p.102 / Chapter 6.3 --- Discussion: What are the factors affecting their perceptions? --- p.109 / Chapter Chapter 7 --- Discussion and Conclusion: The “Tang Heritage“ and its Transregional Connections --- p.124 / Bibliography --- p.146

published_or_final_version / Earth Sciences / Doctoral / Doctor of Philosophy

Thesis (Ph.D.)--Harvard University, 2001. / Advisers: Ofer Bar-Yosef, K.C. Chang, Yun Kuen Lee, Richard H. Meadow. Includes bibliographical references.