Suchergebnisse

Ho Man-sze. ; Thesis submitted in: December 2004. ; Thesis (M.Phil.)--Chinese University of Hong Kong, 2005. ; Includes bibliographical references (leaves [83]-[86]). ; Abstracts in English and Chinese. ; List of Tables ; Chapter Chapter 1 --- Introduction --- p.1 ; Political versus Apolitical Youth --- p.1 ; Colonial Background of HK --- p.3 ; Political Aspirations of HK Youth --- p.4 ; Youth Studies in Political Participation --- p.7 ; Research Questions --- p.8 ; Significance of the Study --- p.10 ; Outline of the Thesis --- p.14 ; Chapter Chapter 2 --- Literature Review --- p.16 ; Habermasian Public Sphere --- p.16 ; Basic Principles of Public Sphere by Jurgen Habermas --- p.17 ; The Potential Public Sphere for HK Youth --- p.19 ; The Subaltern Public Sphere of HK Youth --- p.25 ; Chapter Chapter 3 --- Research Methodology --- p.33 ; Questionnaire Survey: HK Youth Values 2002 --- p.33 ; The Political Attitude of HK Youth --- p.34 ; In-depth Interviews --- p.37 ; Chapter Chapter 4 --- Data Analyses --- p.41 ; Existence of Political Discussions --- p.41 ; A Subaltern Public Sphere of HK Youth? --- p.50 ; Chapter Chapter 5 --- Discussions and Conclusions --- p.73 ; Social and Political Discussions Found --- p.73 ; The Possible Arena of Subaltern Public Sphere --- p.74 ; Domination within a Subaltern Public Sphere --- p.75 ; Co-existence of Dominant and Subaltern Public Sphere --- p.76 ; Interactions with the Wider Publics --- p.77 ; Contributing the Democratic Development of HK --- p.78 ; "Broadening the Definition of ""Subaltern""" --- p.79 ; Summary --- p.81

Chan, Pui Shan. ; Thesis (M.Phil.)--Chinese University of Hong Kong, 2011. ; Includes bibliographical references (leaves 113-118). ; Abstracts in English and Chinese; appendixes includes Chinese. ; Acknowledgements --- p.ii ; Abstract --- p.iii ; Chapter Chapter 1: --- The Political and Social Influence on the Development of Hong Kong Film Industry and the Cantonese Cinema in the 1950s and the 1960s --- p.1 ; Chapter Chapter 2: --- Defining the Genre: Three Characteristics of Hong Kong Cantonese Youth Film --- p.24 ; Chapter Chapter 3: --- The Functions and Characteristics of Song in Cantonese Youth Film --- p.53 ; Chapter Chapter 4: --- The Modernity of Cantonese Cinema and the City (Hong Kong) --- p.87 ; Chapter Conclusion: --- Hong Kong Cantonese Youth Film and the Construction of Identity --- p.104 ; Appendix 1 --- p.107 ; Appendix 2 --- p.109 ; Appendix 3 --- p.111 ; Bibliography --- p.112

本論文旨在探討香港青年參與社會運動的動機。近年,香港社會掀起青年積極參與社會運動的浪潮。學民思潮是最顯著的例子,這個由中學生組成的青年政治組織,於2012年發起了反對特區政府設立德育及國民教育科的社會運動。他們認為該科目有意向青年灌輸「洗腦式」的愛國教育,「反國教運動」成功動員近十二萬名市民包圍政府總部,最終驅使當局撤回方案。 ; 本論文與21位學民思潮的核心成員進行深入訪談,探討近年青年積極參與社會運動的原因。本論文旨在剖析曾被視為「政治冷感」的香港青年,在社會抗爭過程中扮演愈趨重要的角色之箇中原因。 ; 借用雲‧斯特克倫博赫和蓋德曼斯 (van Stekelenburg and Klandermans)提出的社會運動參與的雙路徑模式 (dual pathway model to protest),我們採用了社會心理學的理論以分析青年參與社會運動的動機及心路歷程。研究發現,青年抗爭者可歸納為兩大類:(1) 能動者類別,這類青年具政治能動性,採取工具性/ 社會社會鑲嵌的路徑參與社會運動﹔(2) 不滿類別,這類青年欠缺政治能動性,對政治抱懷疑態度,採取不滿路徑參與社會運動。本研究認為,在兩類的青年中,集體身體認同都對其社會運動參與扮演身重要角色,而對推動不滿類別,欠缺政治能動性的青年的影響至關重要。 ; Hong Kong has experienced an unprecedentedly high level of youth activism against government policy changes in recent years. The most prominent example is "Scholarism," a movement that was founded by secondary students that orchestrated a remarkable campaign against the government's proposal to establish the Moral and National Education curriculum in 2012. At one point, Scholarism activists claimed to have mobilized nearly 120,000 citizens in an "occupation" of government headquarters for ten days. They eventually forced the government to withdraw its proposal of what the Scholarists regarded as "brainwashing patriotic education." ; The present study is based on in-depth interviews with 21 core members of Scholarism movement, to examine the apparent "dawn" of youth political activism in Hong Kong. This thesis intends to solve the riddle of how young people in Hong Kong, who had been depicted as "political apathetic," were playing an increasingly significant role in social protest. ; Drawing on van Stekelenburg and Klandermans's dual pathway model of protest, the social psychological explanation is applied to understanding the motivational dynamics behind Scholarism. The main argument is that youth activists in Hong Kong can be categorized into two main clusters, which take two distinctive pathways to protest participation: (1) the efficacy cluster, which is steered by a sense of political efficacy and which follows the social instrumental/embeddedness pathway (in ...

Chan Chun Kit. ; Thesis (M.Phil.)--Chinese University of Hong Kong, 2006. ; Includes bibliographical references (leaves 248-255). ; Abstracts in English and Chinese. ; Abstract --- p.i ; Acknowledgements --- p.v ; Content --- p.vi ; List of Charts and Tables --- p.xii ; Chapter Chapter 1 --- Introduction: The Change of Attitude --- p.1 ; Chapter 1.1 --- Research Background and Research Question --- p.1 ; Chapter 1.2 --- Theoretical Framework --- p.3 ; Chapter 1.3 --- Research Significance --- p.4 ; Chapter 1.4 --- Plan of the Thesis --- p.7 ; Chapter Chapter 2 --- Literature Review: Concerning Political Participation and Emigration --- p.9 ; Chapter 2.1 --- Introduction --- p.9 ; Chapter 2.2 --- Emigration --- p.10 ; Chapter 2.2.1 --- Literature of Emigration --- p.10 ; Chapter 2.2.2 --- Emigration in Hong Kong --- p.11 ; Chapter 2.2.3 --- Lesson from the Emigration Literature --- p.15 ; Chapter 2.3 --- Political Participation --- p.16 ; Chapter 2.3.1 --- Meaning of Political Participation --- p.16 ; Chapter 2.3.2 --- The Culturalist Theory --- p.19 ; Chapter 2.3.3 --- Political Participation in Hong Kong --- p.22 ; Chapter 2.3.4 --- Limitations of Culturalist Theory --- p.25 ; Chapter 2.4 --- An Alternative Approach: Hirschman's theory --- p.27 ; Chapter 2.4.1 --- Introduction to Hirschman's Theory --- p.28 ; Chapter 2.4.2 --- Relationship between Exit and Voice --- p.29 ; Chapter 2.4.3 --- The Idea of Loyalty --- p.30 ; Chapter 2.4.4 --- Amendment and Critiques of Hirschman's Original Theory --- p.32 ; Chapter 2.4.5 --- Other Literatures of Loyalty and Loyalty in Hong Kong --- p.39 ; Chapter 2.4.6 --- The Different Role of Loyalty between Hirschman´ةs Literature and Cultualist Theory --- p.41 ; Chapter 2.5 --- Conclusion --- p.42 ; Chapter Chapter 3 --- Historical Review: Acting between Exit and Voice --- p.44 ; Chapter 3.1 --- Introduction --- p.44 ; Chapter 3.2 --- Push Factors --- p.45 ; Chapter 3.2.1 --- Political Situation before 1997 --- p.45 ; Chapter 3.2.2 --- Economic Situation before 1997 --- p.47 ...

台灣自2002年的電影《藍色大門》後,兼以青春成長和同性戀為主題的商業電影相繼出現。從相關電影文本分析可見,這類電影脫離以往媒體再現同性戀者的刻板印象,明朗清新的電影基調亦有別歷年華語同志電影的悲情和政治色彩,對華語同志電影類型作出了翻新。本論文採取導演深入訪談的研究方法,從電影工業及創作角度切入,指出台灣當時已然崩潰的電影工業環境、輔導金制度、同性戀題材不構成籌資困難,以及青春成長電影類型低成本的特性,均是這類華語同志電影特例出現的原因。由於電影強調同性戀和異性戀者的共同性,對同志的再現反而有所局限,本文認為,更恰當的同性戀再現應包含正面肯定性差異的態度。台灣青春同志電影的個案,讓我們了解作者在商業電影創作中注入個性遇到的各種困難,亦提供了認識「後新電影」重尋生存策略的視角,檢示和整理台灣走出新電影運動後長達二十年的低谷的經驗。 ; Blue Gate Crossing (2002) marked the beginning of a series of coming-of-age films that dealt with homosexual subject matter in commercial Taiwanese cinema. Using the method of textual analysis, it is found that the basic tone of these films is light and refreshing, in contrast to the sad and political tone in previous generations of homosexual films. These coming-of-age films formed a new genre of Chinese-language homosexual cinema and a divergence from previous media representation of homosexual stereotypes. By conducting in-depth interviews with directors of these films and dissecting the creative process of production, it is found that the reasons for the appearance of this new genre include the collapse of Taiwanese cinema, the policy of government subsidies, the ease of securing funding and the low cost of producing coming-of-age films. It is also found that by emphasizing the similarities between homosexual and heterosexual relationships, these films created limitations for the representation of homosexuality. A more appropriate representation of homosexuality should include affirmation of sexuality differences.This special case of a coming-of-age homosexual genre reveals the difficulties faced by directors when they tried to add creative elements to commercial cinema, and provides insights into strategies for Post-New Cinema to survive. This study thus stands as an overview of how New Taiwan Cinema rebounded after its 20-year-long trough. ; Detailed summary in vernacular field only. ; 鍾嘉瑩. ; Thesis (M.Phil.) Chinese University of Hong Kong, 2015. ; Includes bibliographical references (leaves 110-116). ; Abstracts in English and Chinese. ...

Over the summer of 2015, the Youth Collaborative for Chinatown worked to activate public spaces in Vancouver's Chinatown in an intergenerational, intercultural manner through a series of events: the "Hot and Noisy" (熱鬧) Chinatown Mahjong Socials. On the surface, our goal was simple: to bring back Chinatown's 熱鬧, or "yeet low" in Cantonese, – literally, "hot and noisy", or liveliness and energy. Below the surface, we had more complex goals of being able to bring a youth voice to planning processes about the future of Chinatown, and building up political and social capacity of young generations of Chinese Canadians. We decided that our approach to activating public space had several criteria. It needed to be visible. It needed to be collaborative. It needed to demonstrate a cohesive, coordinated effort undertaken by younger generations, with the ability to involve many others. It needed to be intercultural and multilingual. It needed to foster relationships between young and old. It needed to be feasible to implement within a very short time frame. It needed to involve no to low hard costs. And it needed to be possible with the resources and skills we could readily bring to the table, amongst our team of organizers. By temporarily activating a public space, there is an opportunity to both share and transform the stories that we tell ourselves and each other in relation to it, and to create spaces of belonging. Based on participant observation/action as a member of the Youth Collaborative for Chinatown, I describe the "Hot and Noisy" (熱鬧) Chinatown Mahjong Socials as a case study of a youth-driven, grassroots process in public space activation. I discuss lessons learned and the implications for planning, urban design and community organizing. ; Applied Science, Faculty of ; Community and Regional Planning (SCARP), School of ; Unreviewed ; Graduate

Lam Annie. ; Thesis submitted in: September 2006. ; Thesis (M.Phil.)--Chinese University of Hong Kong, 2007. ; Includes bibliographical references (leaves 154-170). ; Abstracts in English and Chinese. ; Abstracts --- p.i-iii ; Introduction --- p.1 ; Chapter Chapter I. --- The Development of Marriage in Hong Kong (1966-1997) --- p.14 ; Chapter 1. --- Debates over the reforms of marriage legislations (1966-1977) --- p.14 ; Chapter 2. --- The Narrowing of Gender Differences and Its Impact on Local Marriages (1977-1989) --- p.16 ; Chapter 3. --- Political Instability and the Threats to Local Marriage (1989-1997) --- p.21 ; Chapter Chapter II --- . Perspectives towards Marriage in Student Dramas by the Local Youth (1966-1977) --- p.26 ; Chapter 1. --- Movement of Spoken Drama Initiated by Local Students --- p.27 ; Chapter 2. --- Composition of Original Drama --- p.31 ; Chapter 3. --- Concepts of Marriage in Student Drama: Modern v.s Traditions (1968-1970) --- p.33 ; Chapter 4. --- Concept of Marriage in Student Drama: Marriage and Social Developments (1971-1977) --- p.44 ; Chapter 5. --- Summary --- p.53 ; Illustrations for Chapter II --- p.55 ; Chapter Chapter III --- Women's Identity Under the Institution of Marriage (1977-1989) --- p.56 ; Chapter 1. --- Young Women's Problems (1977-1980) --- p.57 ; Chapter 2. --- Victimization of Women (1982-1984) --- p.62 ; Chapter 3. --- Rise of Career Women (1984-1985) --- p.69 ; Chapter 4. --- Re-evaluation of Gender Roles in Marriage and the Society (1986-1989) --- p.74 ; Chapter 5. --- Summary --- p.85 ; Illustrations for Chapter III --- p.87 ; Chapter Chapter IV --- The Disintegration of Family in Local Spoken Drama (1989-1997) --- p.89 ; Chapter 1. --- Re-evaluation on the Necessity of Marriage (1989-1992) --- p.90 ; Chapter 2. --- Alternatives to Marriage Introduced (1992-1995) --- p.104 ; Chapter 3. --- Marriage Concepts and the Cultural Identity of Hong Kong (1996-1997) --- p.115 ; Chapter 4. --- Summary --- p.122 ; Illustrations for Chapter IV --- p.124 ; Conclusion ...

如果將崔健的專輯《新長征路上的搖滾》視為中國搖滾樂的正式開端,中國搖滾樂儼然已有近三十年的歷史。作為一種西方另類文化產品的追隨者,中國搖滾樂並沒有簡單複製西方搖滾樂史;作為一種流行次文化現象,中國搖滾樂生動地反映和再現着中國社會的面貌及其歷史變遷,而這一在中國文化語境下的反映和再現則正是中國搖滾樂作為一種風格的原創性所在。本文試圖探討中國搖滾樂中的「中國元素」。為了能夠縱觀這三十年的歷史,筆者特意挑選崔健、唐朝樂隊、二手玫瑰樂隊作為三個「十年」的突出代表來進行考察。 ; 作為中國搖滾樂的先驅者,在崔健的音樂作品中保留著一種「紅色情結」,一些革命年代的印記依舊會在他的歌曲中顯現;另外,崔健的一句「一無所有」喊出了那一代青年人的心聲,這種直白地表達在當時不自覺地帶有了一種比較嚴肅的政治含意,也因此使中國搖滾樂的命運同西方搖滾樂一樣,最先以一種反叛的不安分子形象示人;唐朝樂隊是中國搖滾樂「黃金時代」的代表,對中國古代輝煌歷史時期的追憶,加之重金屬音樂風格的衝擊力,使其再造了一個理想的中國陽剛之氣──「文武雙全」;創新性地將搖滾和東北二人轉風格元素相結合使二手玫瑰樂隊成為近期中國搖滾樂的一朵奇葩, 他們既娛樂又嚴肅的反諷風格豐富了中國搖滾樂的語匯。通過對這三例的並置對比,本文意在論證三十年間中國搖滾樂中的「中國性」在體現方式上的微妙變化以及其風格演變的過程。 ; Having a history of nearly thirty years, Chinese rock is not only a term that indicates a regional genre, but also a specific music style. Its originality lies in its intimate relation with the particular social and economic conditions of China. This thesis focuses on "Chineseness" in Chinese rock, which covers musical characteristics, political identity, traditional and ancient culture and regional performing arts. In order to demonstrate its historical development, I choose and discuss three musical acts from each decade in Chinese rock history. They are Cui Jian in the 1980s, Tang Dynasty in the 1990s and Second Hand Rose after 2000. ; Widely regarded as the forerunner of Chinese rock, Cui Jian's music has a "red" ideology; meanwhile, his brave expression of the inner youth voice of that generation also give Chinese rock a rebellious image from the very beginning. Tang Dynasty represents Chinese rock's "golden age". Through invoking a glorious period in China's ancient history, they build an ideal Chinese masculinity in their style of heavy metal. Second Hand Rose innovatively absorbs elements from secular performing art in their music, criticizing new societal conditions in an ironic way. This thesis concludes with the view that the expression of "Chineseness in Chinese rock has been continually transforming throughout the decades, and those Chinese rock musicians' attitudes toward an "ideal" conceptualization of China have likewise ...