162 research outputs found
CUHK electronic theses & dissertations collection
No full textChan, Ching King.Thesis Ed.D. Chinese University of Hong Kong 2015.Includes bibliographical references (leaves 107-123).Abstracts also in Chinese; some appendixes in Chinese.Title from PDF title page (viewed on 03, January, 2017)
Riben da xue de ying yuan tuan ling dao: xun zhao ying yuan tuan cheng nuo, ji lu, biao xian he guan xi dui dui yuan de yi yi
No full textM.Phil.Ōendan (応援団) (cheer groups) are commonly found in high schools, colleges and universities in Japan. The ōendan in Japanese universities commonly consist of three sections: leaders (リーダー), brass band (吹奏楽団) and cheerleading (チアリーダー). In this thesis, I focus on the leader section of the ōendan in Japanese universities, the core of the cheer group. The leader section cheers for their school sports teams, and represents the school. They have tended to be all-male groups whose cheering differs considerably from the feminine cheerleading styles originating in the United States. In the mass media and popular culture, the ōendan represent traditional values and practices that are considered to be exaggerated in the context of contemporary society. In recent years, ōendan have been relaxing its rules, but the practices and views of ōendan remain exaggerated, arguably leading to declining membership. However, the ōendan still serve as a traditional sports club in many prestigious universities. The study compares ōendan of four universities over space, time, school culture and gender and is based on 1) participant observation, 2) semi-structured interviews and 3) textual and media analysis. In this research, I argue that members follow harsh and exaggerated traditional customs in the ōendan to establish and maintain group identity. Members find meaning in joining and participating in the ōendan community. They value the discipline that participation brings to their lives, and are inspired to smoothly perform different social roles while broadly expanding their social networks.應援團（Ōendan）常見於日本的高中，學院和大學。日本大學的應援團由三部分組成：領導（リーダー），銅管樂隊（吹奏樂團）和啦啦隊（チアリーダー）。這項研究重點關注於日本大學應援團的領導部分，因為他們是該組織的核心。他們為學校的運動隊打氣歡呼，並代表著學校的聲望，其特徵與美國的啦啦隊風格不同。在大眾傳媒和流行文化塑造下的應援團形像，往往被認為在現代社會中過份嚴苛地遵循著日本傳統價值和習俗。近年來，應援團已放鬆規則迎合現代社會標準，但是應援團的做法和觀點仍然嚴苛，導致成員數目日漸下降。雖然如此，應援團仍然是許多日本著名大學的傳統體育團隊。在這項研究中說明應援團仍在遵循嚴苛和不合理的傳統習俗，深入研習下亦洞悉到應援團活動與成員嚴謹的生活態度、日常表現和社會關係有相關意義。本研究比較四所日本大學應援團在日本社會中的空間，時間，學校文化和性別，進行研究和分析，所得研究結論來自: 1）參與者觀察，2）半結構化訪談，3）文本和媒體分析。Fan, Ching Wan.Thesis M.Phil. Chinese University of Hong Kong 2019.Includes bibliographical references (leaves 171-175).Abstracts also in Chinese.Title from PDF title page (viewed on 16, February, 2021).Fan, Ching Wan
The Wan-li ti-ch'ao 萬暦邸鈔 and the Wang-li shu-ch'ao 萬暦疏鈔
No full textThis paper treats the background of compilation and compilators of two important works for the study of the history of the Wan-li period (1573-1620), the "Wan-li ti-ch'ao (3 ts'e, Taiwan, Cheng-chung shu-chu 正中書局, 1969) and the "Wan-li shu-ch'ao" (50 chuan, 34 ts'e, possessed by the Sonkeikaku 尊經閣 Library, preface from Wan-li 37 (1609)), and it clarifies the character of these sources. The author of the "Wan-li ti-ch'ao" was formerly considered unknown, but now is known that it was compiled by Ch'ien I-pen 錢一本 (1546- 1617) from Wu-chin 武進. This is clear from the liferecord (hsing-chuang 行狀) of Ch'ien I-pen by the hand of Wu Liang 呉亮.It is also supported by the fact that the "Wan-li ti-ch'ao" which is written in the annals form, stops right before the death of Ch'ien I-pen. Ch'ien l-pen, a person who supervised the Ching-cheng t'ang 經正堂 School of Wu-chin, had also, by way of the Tung-lin Academy (東林書院), close connections with people of the Tung-lin Party. Huang Tsung-i 黃宗羲 in his "Ming-ju hsueh-an" 明儒學案 mentions him in the part on the Tung-lin, the "Tung-lin hsueh-an" 東林學案. Also, his son Ch'ien Ch'un 錢春 conducted his political activities from the standpoint of the Tung-lin faction. Therefore this book is an indispensable work for the study of political history, being a history of the Wan-li period seen from the side of the Tung-lin faction. However, as for instance the chapter on Wan-li 43 (1615) is placed between the 28th and the 32nd year (resp. 1600 and 1604), one has to be careful when using it. In the "Wan-li shu-ch'ao", with prefaces written by Ch'ien I-pen and Ku Hsien-ch'eng 顧憲成, the same Wu Liang from Wu-chin becomes the central figure, and, moreover, it is compiled with the help of the core of the Tung-lin faction members. It incorporates thematically the texts of memoranda from Wan-li 1 (1573) to Wan-li 42 (1614). Due to the fact that it contains memoranda in connection with Manchu-policies it was designated as a forbidden work during the Ch'ing 清 Dynasty, and there are only extremely few works handed down to us. Wu Liang was related by marriage to Ch'ien I-pen, and was sharply opposed to the anti-Tung-lin faction, supporting Ku Hsien-ch'eng. Therefore one can say that also this book has been compiled according to the contemporary political doctrines of the Tung-lin faction. It mostly criticizes the political situation between the monarch and the cabinet, especially its oppression of freedom of speech, and parts relating to concrete local policies are rather rare. This problem also is related to the gentry-controversy of late, and hereafter one shall have to examine the contents of this book
[[alternative]]A study of PaiYueh
No full text[[abstract]]在新石器時期,考古文化發展著各式各樣不同的文化面貌,如南方百越族的印紋陶,北方華夏族的彩陶文化與東夷族的黑陶文化等,雖然北方華夏族征服其他小國,成為天下共主,但南方的百越族卻以其獨特的文化內涵,發展出高度的文明,成為可以與之相抗衡的一支民族.百越民族由於分佈廣闊,或依山傍水或深入山谷,其文化特殊展露無遺,如為適應漁撈及酷熱氣候而有斷髮文身,習於舟水,豐富的植稻文化,養豬隻,水牛,居住干欄式建築.又精於鑄劍,獨特信仰.其語言也有別於華夏語,如劉向說苑所錄的越人歌,即是明證.在進入國家體制後的百越文化,是飛快地成長著,春秋時期,吳國與越國崛起,其崛起原因在於本身的經濟發展與受到中原文化的影響,逐漸發展出更卓越的政經文化,如治國思想,城池修築,興修水利,軍事謀略,經濟活動等,使其能在爭霸事業中脫穎而出.秦漢大一統後的百越族,漸漸淡出舞臺,隨著吳,越亡國,閩越國,南越國,東越國也分別為漢武帝所滅,因此在政治實權,經濟生活,社會習俗,不免受到巨大的影響與轉變.在文化結構方面,其轉變可從物質生活與精神生活來談,物質生活有經濟生活的轉變,如火耕水耨的開墾變為六朝的莊園地主與以小家庭為主的小農經濟結構.服飾方面越來越講究,捨棄過去的斷髮文身,裸身跣行.精神生活的變化如民風的轉變,一改往日的銳兵任死,剽悍尚武,成為膚脆骨柔,不堪步行的模樣.又如語言的融合,南方士人捨吳語就夏音,說起話來盡學北方華夏人.由於政治因素使得北方大批士族南逃, 造成雙語現象,無可避免地也使自己的母語產生變化.最後一項的轉變為宗教信仰,百越宗教信仰與漢文化相互融合,其間當然會發生一些衝突,不過仍阻擋不了融合的趨勢.在其中也使百越文化發生轉變,如葬俗的改變,由土墩墓,懸棺葬,土坑墓轉變成磚室墓,墓葬方向也從漢俗,改東西向而朝北向.此外,還接納漢人冥界思想與神仙思想等.透過討論歸納其轉變因素有三:(一),漢越通婚,(二),社會結構同化,(三),漢儒與五帝神話.是以經由漢化過程,將百越文化一一瓦解.
Attitudes towards immigrants : a function of national in-group conception and perceived intergroup similarity.
No full textDrawing on predictions of the black sheep effect, how perceived intergroup similarities might moderate the effects of national in-group conceptions on attitudes towards immigrants is explored in this study. The author also examines the role national in-group conception plays on attitudes towards immigrants. In addition, the author investigates whether similarity-attraction hypothesis or social identity theory is a better predictor for attitudes towards immigrants. 60 Singaporean Chinese participants were randomly assigned to either a civic or ethnic condition. Participants read an article that primed either a civic or ethnic national in-group conception, and completed a computerized questionnaire, which included a measure of perceived intergroup similarities and a list of dependent measures on attitudes towards immigrants from China. Consistent to the literature, some support was found for the main effect of national in-group conception on attitudes towards immigrants. The results from this study supported the similarity-attraction hypothesis over the social identity theory. However, the proposed interaction effect was not found on all dependent measures. The theoretical and practical implications, as well as the limitations of this study were addressed in the discussion section and future research directions were proposed.Bachelor of Art
Johnnie To Kei-Fung\u27s Where a Good Man Goes
No full textREVERTING TOSOCIAL ORDER BY CONTAINMENT: JOHNNIE TO KEI-FUNG\u27S WHERE A GOOD MAN GOES The 1999 Hong Kong International Film Festival hailed the Hong Kong director Johnnie To Kei-Fung as a Director in Focus, featuring eleven of his films. The opening film of the Festival was his world premiere, Where a Good Man Goes, casting Lau Ching-wan and Ruby Wong, telling a story of the return of a prodigal son. The film, in short, evolves around a central theme "home". The author of this article suggests that this "home" is of the concept of a traditional home held by the Chinese, from ancient days to the present, and is also patriarchal. The film\u27s story also tells of the "grand narratives" governing the order of the Chinese society since the early ages, which incidentally coincide with the Western view, that no evil can escape judgment and if a prodigal son returns,..
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