Suchergebnisse

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 ...

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 ...

"耽美"来源于日本,是以女性读者群为主要受众、描写男性与男性之间浪漫关系或性关系的文学或艺术作品,也被称为BL(Boy's Love)。喜爱耽美的女性爱好者被称为"腐女"。耽美文化自1990 年代后期随着日本流行文化进入中国,至今已在中国网络空间中逐渐发展成为一个主要由女性网民所组成的,包含文本创作、阅读与交流的文化圈。与此同时,耽美文化的流行亦引发了中国当下种种对性与性别问题的思考。 ; 本研究将耽美文化解译为"女性幻想男男之爱"的欲望结构,从精神分析幻想理论与酷儿理论的视角来考察中国网络中的耽美文化现象。论文所围绕的一个问题是,耽美文化与中国社会文化中的性/别话语产生了怎样的关系,以及如何从腐女的耽美幻想中搭建起与现实性/别政治的联系。研究首先分析了两类网络耽美小说文本,分别来看它们与1990年代以后的"男同性恋"身份话语,和2000年代以后对"中国古典文化"想象之间的吸收、挪用与再创造;其次以网络腐女圈的论坛讨论与配对狂欢为对象,研究网络耽美式恶搞对官方媒体、主流男性形象和异性恋规范的权威所潜在的颠覆性;最后以2011年一桩"腐女被抓案"新闻报道为契机,来观察耽美文化与网络淫秽色情审查的纠葛、冲突与可能的出路。 ; 欲望幻想的流动性决定着它边界的模糊与开放,以及它承载、影响乃至侵扰"现实"秩序的功能。因此,作为一种女性的男性同性情欲幻想,本研究视耽美文化最引人注目的地方不在于其本身的出现与流行程度,而在于它与各种性/别话语的相互建构与矛盾冲突。此外,在对幻想文本、网络话语以及腐女群体的调查中,本研究也期待探索某种"酷儿"政治在中国网络文化中生产的可能性。 ; Boy's love (BL in short; danmei in Chinese) is a Japanese term for female-oriented fictional media, which focuses on love, sex and romance between beautiful androgynous boys or young men. Apart from the gay self-representations, BL is a genre of male homoeroticism by and for mostly heterosexual women. In China, the BL fans call themselves "Fu Nu", which means "rotten girl", to describe their enthusiasm for fantasizing male homosexuality. BL originated from Japanese amine, comic and game youth culture, and has since become a transnational phenomenon all over the world with a global fan base. As such, the phenomenon of boy's love had already aroused a lot of discussions in relation to ideologies of gender and sexuality from different cultural and social perspectives. BL fandom in China's culture context with its "Chinese characteristics" also deserves particular attention, when it opens up a fantastic space for Chinese woman to practice their sexuality beyond non-heterosexual norms. ; However there is limited work that considers the queer sexuality of female BL fans in China, in relation to the queer texts and queer discourses they create. There is also little research that explores the capacity of boy's love netizens to resist the on-going internet surveillance by the Chinese government of information deemed 'sexually inappropriate' ...

目前中國大陸針對青少年福祉的系統化研究還比較少,對貧困青少年主觀福祉的研究則到現在也未有正式的研究。2009年,中國民政部提出社會福利將向適度普惠型社會福利轉變,政府和社會也開始關注和服務院舍照顧之外的貧困青少年群體。在此背景下,本研究的主要目的是:通過設計、整合及使用青少年主觀福祉測量工具,運用量化研究方法瞭解中國貧困青少年群體主觀福祉的基本情況,分析貧困青少年主觀福祉的相關影響因素及各個因素的影響力大小,探討自尊與環境因素在影響貧困青少年主觀福祉方面的作用機制,並根據研究結果提出改善和提升中國貧困青少年主觀福祉的政策及介入措施。 ; 本研究採用截面研究方式,運用定量研究方法中的問卷調查法,檢驗所提出的自尊與環境交互作用理論模型,以1262名中國山東省青島市義務教育階段12-16歲的青少年為研究對象,收集在主觀福祉、自尊、生活事件、教養方式、親子溝通、同伴關係、師生關係等方面的數據,運用結構方程模型等方法進行統計分析。 ; 研究結果表明中國內地貧困家庭中的青少年主觀福祉水準與自尊、教養方式、親子溝通、同伴關係、師生關係等因素直接相關,研究也發現自尊與環境因素的交互作用,共同影響貧困青少年主觀福祉的機制。自尊在同伴關係影響貧困青少年主觀福祉中起到完全中介作用,自尊在親子溝通、教養方式、師生關係影響貧困青少年主觀福祉中起到部分中介作用。教養方式、師生關係、同伴關係則在自尊影響貧困青少年主觀福祉中起到部分中介作用。群組分析與回歸分析發現貧困青少年在不同的性別、居住地、年級等方面其主觀福祉水準存在差異,而且親子溝通、教養方式、師生關係和同伴關係各因數變數對貧困青少年主觀福祉的影響存在差異。 ; 基於上述研究結論,本研究認為在微觀的社會工作實務服務層面,可通過策劃綜合性的貧困青少年介入服務,從貧困青少年與父母、老師、同伴等關係改善方面入手,以提高貧困青少年的自尊為服務的核心,逐漸提升這一群體的主觀福祉水準;在宏觀的國家政策設計層面,在對貧困青少年進行物質援助之外,還需要從改善青少年與環境關係方面綜合考慮,設計推出提升貧困青少年主觀福祉水準的相關社會政策。 ; 關鍵字:貧困青少年;主觀福祉;影響因素;交互作用;中介效應 ; There are few systematic researches on the well-being of adolescent in Mainland China, and even no formal research on the well-being of the poor adolescent. In 2009, the Ministry of Civil Affairs of the People's Republic of China proposed that the social welfare system in China should transform to a "moderate universal model", which marked the increasing concern of government and society on poor adolescent who are not receiving institutional care. ; The major objectives of this research is to design, integrate and implement measurement indexes of subjective well-being of youth, using quantitative method to examine the basic situation of poor adolescent in China. The second objective of this research is to analyze factors influencing their subjective well-being and the intensity of those factors. The third is to look into how the dynamics between self-esteem and environmental factors affect the subjective well-being of adolescent. Results of this research will make policy and practice recommendations to enhance and improve the subjective well-being of poor adolescent in China. ; This research takes a ...