Academic literature on the topic 'Guo ji guan xi xue yuan'

The curtain rose. The howling of desert wind filled the performance hall in the Shanghai Grand Theatre. Into the center stage, where a scenic construction of a mountain cliff and a desert landscape was dimly lit, entered the character of the Daoist priest Wang Yuanlu (1849–1931), performed by Chen Yizong. Dressed in a worn and dusty outfit of dark blue cotton, characteristic of Daoist priests, Wang began to sweep the floor. After a few moments, he discovered a hidden chambre sealed inside one of the rock sanctuaries carved into the cliff.Signaled by the quick, crystalline, stirring wave of sound from the chimes, a melodious Chinese ocarina solo joined in slowly from the background. Astonished by thousands of Buddhist sūtra scrolls, wall paintings, and sculptures he had just accidentally discovered in the caves, Priest Wang set his broom aside and began to examine these treasures. Dawn had not yet arrived, and the desert sky was pitch-black. Priest Wang held his oil lamp high, strode rhythmically in excitement, sat crossed-legged in a meditative pose, and unfolded a scroll. The sound of the ocarina became fuller and richer and the texture of the music more complex, as several other instruments joined in.Below is the opening scene of the award-winning, theatrical dance-drama Dunhuang, My Dreamland, created by China’s state-sponsored Lanzhou Song and Dance Theatre in 2000. Figure 1a: Poster Side A of Dunhuang, My Dreamland Figure 1b: Poster Side B of Dunhuang, My DreamlandThe scene locates the dance-drama in the rock sanctuaries that today are known as the Dunhuang Mogao Caves, housing Buddhist art accumulated over a period of a thousand years, one of the best well-known UNESCO heritages on the Silk Road. Historically a frontier metropolis, Dunhuang was a strategic site along the Silk Road in northwestern China, a crossroads of trade, and a locus for religious, cultural, and intellectual influences since the Han dynasty (206 B.C.E.–220 C.E.). Travellers, especially Buddhist monks from India and central Asia, passing through Dunhuang on their way to Chang’an (present day Xi’an), China’s ancient capital, would stop to meditate in the Mogao Caves and consult manuscripts in the monastery's library. At the same time, Chinese pilgrims would travel by foot from China through central Asia to Pakistan, India, Nepal, Bangladesh, and Sri Lanka, playing a key role in the exchanges between ancient China and the outside world. Travellers from China would stop to acquire provisions at Dunhuang before crossing the Gobi Desert to continue on their long journey abroad. Figure 2: Dunhuang Mogao CavesThis article approaches the idea of “abroad” by examining the present-day imagination of journeys along the Silk Road—specifically, staged performances of the various Silk Road journey-themed dance-dramas sponsored by the Chinese state for enhancing its cultural and foreign policies since the 1970s (Kuang).As ethnomusicologists have demonstrated, musicians, choreographers, and playwrights often utilise historical materials in their performances to construct connections between the past and the present (Bohlman; Herzfeld; Lam; Rees; Shelemay; Tuohy; Wade; Yung: Rawski; Watson). The ancient Silk Road, which linked the Mediterranean coast with central China and beyond, via oasis towns such as Samarkand, has long been associated with the concept of “journeying abroad.” Journeys to distant, foreign lands and encounters of unknown, mysterious cultures along the Silk Road have been documented in historical records, such as A Record of Buddhist Kingdoms (Faxian) and The Great Tang Records on the Western Regions (Xuanzang), and illustrated in classical literature, such as The Travels of Marco Polo (Polo) and the 16th century Chinese novel Journey to the West (Wu). These journeys—coming and going from multiple directions and to different destinations—have inspired contemporary staged performance for audiences around the globe.Home and Abroad: Dunhuang and the Silk RoadDunhuang, My Dreamland (2000), the contemporary dance-drama, staged the journey of a young pilgrim painter travelling from Chang’an to a land of the unfamiliar and beyond borders, in search for the arts that have inspired him. Figure 3: A scene from Dunhuang, My Dreamland showing the young pilgrim painter in the Gobi Desert on the ancient Silk RoadFar from his home, he ended his journey in Dunhuang, historically considered the northwestern periphery of China, well beyond Yangguan and Yumenguan, the bordering passes that separate China and foreign lands. Later scenes in Dunhuang, My Dreamland, portrayed through multiethnic music and dances, the dynamic interactions among merchants, cultural and religious envoys, warriors, and politicians that were making their own journey from abroad to China. The theatrical dance-drama presents a historically inspired, re-imagined vision of both “home” and “abroad” to its audiences as they watch the young painter travel along the Silk Road, across the Gobi Desert, arriving at his own ideal, artistic “homeland”, the Dunhuang Mogao Caves. Since his journey is ultimately a spiritual one, the conceptualisation of travelling “abroad” could also be perceived as “a journey home.”Staged more than four hundred times since it premiered in Beijing in April 2000, Dunhuang, My Dreamland is one of the top ten titles in China’s National Stage Project and one of the most successful theatrical dance-dramas ever produced in China. With revenue of more than thirty million renminbi (RMB), it ranks as the most profitable theatrical dance-drama ever produced in China, with a preproduction cost of six million RMB. The production team receives financial support from China’s Ministry of Culture for its “distinctive ethnic features,” and its “aim to promote traditional Chinese culture,” according to Xu Rong, an official in the Cultural Industry Department of the Ministry. Labeled an outstanding dance-drama of the Chinese nation, it aims to present domestic and international audiences with a vision of China as a historically multifaceted and cosmopolitan nation that has been in close contact with the outside world through the ancient Silk Road. Its production company has been on tour in selected cities throughout China and in countries abroad, including Austria, Spain, and France, literarily making the young pilgrim painter’s “journey along the Silk Road” a new journey abroad, off stage and in reality.Dunhuang, My Dreamland was not the first, nor is it the last, staged performances that portrays the Chinese re-imagination of “journeying abroad” along the ancient Silk Road. It was created as one of many versions of Dunhuang bihua yuewu, a genre of music, dance, and dramatic performances created in the early twentieth century and based primarily on artifacts excavated from the Mogao Caves (Kuang). “The Mogao Caves are the greatest repository of early Chinese art,” states Mimi Gates, who works to increase public awareness of the UNESCO site and raise funds toward its conservation. “Located on the Chinese end of the Silk Road, it also is the place where many cultures of the world intersected with one another, so you have Greek and Roman, Persian and Middle Eastern, Indian and Chinese cultures, all interacting. Given the nature of our world today, it is all very relevant” (Pollack). As an expressive art form, this genre has been thriving since the late 1970s contributing to the global imagination of China’s “Silk Road journeys abroad” long before Dunhuang, My Dreamland achieved its domestic and international fame. For instance, in 2004, The Thousand-Handed and Thousand-Eyed Avalokiteśvara—one of the most representative (and well-known) Dunhuang bihua yuewu programs—was staged as a part of the cultural program during the Paralympic Games in Athens, Greece. This performance, as well as other Dunhuang bihua yuewu dance programs was the perfect embodiment of a foreign religion that arrived in China from abroad and became Sinicized (Kuang). Figure 4: Mural from Dunhuang Mogao Cave No. 45A Brief History of Staging the Silk Road JourneysThe staging of the Silk Road journeys abroad began in the late 1970s. Historically, the Silk Road signifies a multiethnic, cosmopolitan frontier, which underwent incessant conflicts between Chinese sovereigns and nomadic peoples (as well as between other groups), but was strongly imbued with the customs and institutions of central China (Duan, Mair, Shi, Sima). In the twentieth century, when China was no longer an empire, but had become what the early 20th-century reformer Liang Qichao (1873–1929) called “a nation among nations,” the long history of the Silk Road and the colourful, legendary journeys abroad became instrumental in the formation of a modern Chinese nation of unified diversity rooted in an ancient cosmopolitan past. The staged Silk Road theme dance-dramas thus participate in this formation of the Chinese imagination of “nation” and “abroad,” as they aestheticise Chinese history and geography. History and geography—aspects commonly considered constituents of a nation as well as our conceptualisations of “abroad”—are “invariably aestheticized to a certain degree” (Bakhtin 208). Diverse historical and cultural elements from along the Silk Road come together in this performance genre, which can be considered the most representative of various possible stagings of the history and culture of the Silk Road journeys.In 1979, the Chinese state officials in Gansu Province commissioned the benchmark dance-drama Rain of Flowers along the Silk Road, a spectacular theatrical dance-drama praising the pure and noble friendship which existed between the peoples of China and other countries in the Tang dynasty (618-907 C.E.). While its plot also revolves around the Dunhuang Caves and the life of a painter, staged at one of the most critical turning points in modern Chinese history, the work as a whole aims to present the state’s intention of re-establishing diplomatic ties with the outside world after the Cultural Revolution. Unlike Dunhuang, My Dreamland, it presents a nation’s journey abroad and home. To accomplish this goal, Rain of Flowers along the Silk Road introduces the fictional character Yunus, a wealthy Persian merchant who provides the audiences a vision of the historical figure of Peroz III, the last Sassanian prince, who after the Arab conquest of Iran in 651 C.E., found refuge in China. By incorporating scenes of ethnic and folk dances, the drama then stages the journey of painter Zhang’s daughter Yingniang to Persia (present-day Iran) and later, Yunus’s journey abroad to the Tang dynasty imperial court as the Persian Empire’s envoy.Rain of Flowers along the Silk Road, since its debut at Beijing’s Great Hall of the People on the first of October 1979 and shortly after at the Theatre La Scala in Milan, has been staged in more than twenty countries and districts, including France, Italy, Japan, Thailand, Russia, Latvia, Hong Kong, Macao, Taiwan, and recently, in 2013, at the Lincoln Center for the Performing Arts in New York.“The Road”: Staging the Journey TodayWithin the contemporary context of global interdependencies, performing arts have been used as strategic devices for social mobilisation and as a means to represent and perform modern national histories and foreign policies (Davis, Rees, Tian, Tuohy, Wong, David Y. H. Wu). The Silk Road has been chosen as the basis for these state-sponsored, extravagantly produced, and internationally staged contemporary dance programs. In 2008, the welcoming ceremony and artistic presentation at the Olympic Games in Beijing featured twenty apsara dancers and a Dunhuang bihua yuewu dancer with long ribbons, whose body was suspended in mid-air on a rectangular LED extension held by hundreds of performers; on the giant LED screen was a depiction of the ancient Silk Road.In March 2013, Chinese president Xi Jinping introduced the initiatives “Silk Road Economic Belt” and “21st Century Maritime Silk Road” during his journeys abroad in Kazakhstan and Indonesia. These initiatives are now referred to as “One Belt, One Road.” The State Council lists in details the policies and implementation plans for this initiative on its official web page, www.gov.cn. In April 2013, the China Institute in New York launched a yearlong celebration, starting with "Dunhuang: Buddhist Art and the Gateway of the Silk Road" with a re-creation of one of the caves and a selection of artifacts from the site. In March 2015, the National Development and Reform Commission (NDRC), China’s top economic planning agency, released a new action plan outlining key details of the “One Belt, One Road” initiative. Xi Jinping has made the program a centrepiece of both his foreign and domestic economic policies. One of the central economic strategies is to promote cultural industry that could enhance trades along the Silk Road.Encouraged by the “One Belt, One Road” policies, in March 2016, The Silk Princess premiered in Xi’an and was staged at the National Centre for the Performing Arts in Beijing the following July. While Dunhuang, My Dreamland and Rain of Flowers along the Silk Road were inspired by the Buddhist art found in Dunhuang, The Silk Princess, based on a story about a princess bringing silk and silkworm-breeding skills to the western regions of China in the Tang Dynasty (618-907) has a different historical origin. The princess's story was portrayed in a woodblock from the Tang Dynasty discovered by Sir Marc Aurel Stein, a British archaeologist during his expedition to Xinjiang (now Xinjiang Uygur autonomous region) in the early 19th century, and in a temple mural discovered during a 2002 Chinese-Japanese expedition in the Dandanwulike region. Figure 5: Poster of The Silk PrincessIn January 2016, the Shannxi Provincial Song and Dance Troupe staged The Silk Road, a new theatrical dance-drama. Unlike Dunhuang, My Dreamland, the newly staged dance-drama “centers around the ‘road’ and the deepening relationship merchants and travellers developed with it as they traveled along its course,” said Director Yang Wei during an interview with the author. According to her, the show uses seven archetypes—a traveler, a guard, a messenger, and so on—to present the stories that took place along this historic route. Unbounded by specific space or time, each of these archetypes embodies the foreign-travel experience of a different group of individuals, in a manner that may well be related to the social actors of globalised culture and of transnationalism today. Figure 6: Poster of The Silk RoadConclusionAs seen in Rain of Flowers along the Silk Road and Dunhuang, My Dreamland, staging the processes of Silk Road journeys has become a way of connecting the Chinese imagination of “home” with the Chinese imagination of “abroad.” Staging a nation’s heritage abroad on contemporary stages invites a new imagination of homeland, borders, and transnationalism. Once aestheticised through staged performances, such as that of the Dunhuang bihua yuewu, the historical and topological landscape of Dunhuang becomes a performed narrative, embodying the national heritage.The staging of Silk Road journeys continues, and is being developed into various forms, from theatrical dance-drama to digital exhibitions such as the Smithsonian’s Pure Land: Inside the Mogao Grottes at Dunhuang (Stromberg) and the Getty’s Cave Temples of Dunhuang: Buddhist Art on China's Silk Road (Sivak and Hood). They are sociocultural phenomena that emerge through interactions and negotiations among multiple actors and institutions to envision and enact a Chinese imagination of “journeying abroad” from and to the country.ReferencesBakhtin, M.M. The Dialogic Imagination: Four Essays. Austin, Texas: University of Texas Press, 1982.Bohlman, Philip V. “World Music at the ‘End of History’.” Ethnomusicology 46 (2002): 1–32.Davis, Sara L.M. Song and Silence: Ethnic Revival on China’s Southwest Borders. New York: Columbia University Press, 2005.Duan, Wenjie. “The History of Conservation of Mogao Grottoes.” International Symposium on the Conservation and Restoration of Cultural Property: The Conservation of Dunhuang Mogao Grottoes and the Related Studies. Eds. Kuchitsu and Nobuaki. Tokyo: Tokyo National Research Institute of Cultural Properties, 1997. 1–8.Faxian. A Record of Buddhistic Kingdoms. Translated by James Legge. New York: Dover Publications, 1991.Herzfeld, Michael. Ours Once More: Folklore, Ideology, and the Making of Modern Greece. Austin: University of Texas Press, 1985.Kuang, Lanlan. Dunhuang bi hua yue wu: "Zhongguo jing guan" zai guo ji yu jing zhong de jian gou, chuan bo yu yi yi (Dunhuang Performing Arts: The Construction and Transmission of “China-scape” in the Global Context). Beijing: She hui ke xue wen xian chu ban she, 2016.Lam, Joseph S.C. State Sacrifice and Music in Ming China: Orthodoxy, Creativity and Expressiveness. New York: State University of New York Press, 1998.Mair, Victor. T’ang Transformation Texts: A Study of the Buddhist Contribution to the Rise of Vernacular Fiction and Drama in China. Cambridge, Mass.: Council on East Asian Studies, 1989.Pollack, Barbara. “China’s Desert Treasure.” ARTnews, December 2013. Sep. 2016 <http://www.artnews.com/2013/12/24/chinas-desert-treasure/>.Polo, Marco. The Travels of Marco Polo. Translated by Ronald Latham. Penguin Classics, 1958.Rees, Helen. Echoes of History: Naxi Music in Modern China. Oxford: Oxford University Press, 2000.Shelemay, Kay Kaufman. “‘Historical Ethnomusicology’: Reconstructing Falasha Liturgical History.” Ethnomusicology 24 (1980): 233–258.Shi, Weixiang. Dunhuang lishi yu mogaoku yishu yanjiu (Dunhuang History and Research on Mogao Grotto Art). Lanzhou: Gansu jiaoyu chubanshe, 2002.Sima, Guang 司马光 (1019–1086) et al., comps. Zizhi tongjian 资治通鉴 (Comprehensive Mirror for the Aid of Government). Beijing: Guji chubanshe, 1957.Sima, Qian 司马迁 (145-86? B.C.E.) et al., comps. Shiji: Dayuan liezhuan 史记: 大宛列传 (Record of the Grand Historian: The Collective Biographies of Dayuan). Beijing: Zhonghua shuju, 1959.Sivak, Alexandria and Amy Hood. “The Getty to Present: Cave Temples of Dunhuang: Buddhist Art on China’s Silk Road Organised in Collaboration with the Dunhuang Academy and the Dunhuang Foundation.” Getty Press Release. Sep. 2016 <http://news.getty.edu/press-materials/press-releases/cave-temples-dunhuang-buddhist-art-chinas-silk-road>.Stromberg, Joseph. “Video: Take a Virtual 3D Journey to Visit China's Caves of the Thousand Buddhas.” Smithsonian, December 2012. Sep. 2016 <http://www.smithsonianmag.com/smithsonian-institution/video-take-a-virtual-3d-journey-to-visit-chinas-caves-of-the-thousand-buddhas-150897910/?no-ist>.Tian, Qing. “Recent Trends in Buddhist Music Research in China.” British Journal of Ethnomusicology 3 (1994): 63–72.Tuohy, Sue M.C. “Imagining the Chinese Tradition: The Case of Hua’er Songs, Festivals, and Scholarship.” Ph.D. Dissertation. Indiana University, Bloomington, 1988.Wade, Bonnie C. Imaging Sound: An Ethnomusicological Study of Music, Art, and Culture in Mughal India. Chicago: University of Chicago Press, 1998.Wong, Isabel K.F. “From Reaction to Synthesis: Chinese Musicology in the Twentieth Century.” Comparative Musicology and Anthropology of Music: Essays on the History of Ethnomusicology. Eds. Bruno Nettl and Philip V. Bohlman. Chicago: University of Chicago Press, 1991. 37–55.Wu, Chengen. Journey to the West. Tranlsated by W.J.F. Jenner. Beijing: Foreign Languages Press, 2003.Wu, David Y.H. “Chinese National Dance and the Discourse of Nationalization in Chinese Anthropology.” The Making of Anthropology in East and Southeast Asia. Eds. Shinji Yamashita, Joseph Bosco, and J.S. Eades. New York: Berghahn, 2004. 198–207.Xuanzang. The Great Tang Dynasty Record of the Western Regions. Hamburg: Numata Center for Buddhist Translation & Research, 1997.Yung, Bell, Evelyn S. Rawski, and Rubie S. Watson, eds. Harmony and Counterpoint: Ritual Music in Chinese Context. Stanford: Stanford University Press, 1996.

本研究探究了香港某所國際學校中漢語作為第二語言學習者的中文交際意願。研究對象主要是香港某英基國際學校的170名漢語學習者；主要採用定量的研究方法，通過研究者的課堂觀課和學生的“自我報告”（Self-report）來搜集數據，通過五個量表（背景變量量表、心理變量量表和課堂內外漢語交際意願量表）來實現研究；研究的內容包括學生們課堂內、外漢語交際意願的總體水平以及可能存在的差異，並總結前人研究發現，在新的研究背景下對一些可能存在影響關係的背景變量（年齡、性別、漢語水平、學習漢語的社會支持、母語、性格、對待學習漢語的態度）和心理變量（學習漢語時的焦慮、動機、自我覺察的交際能力）進行數據分析并驗證假設，通過SPSS19.0來付諸實現；最終就如何提高學生的課堂內、外漢語交際意願提出教學建議。 本次研究的主要研究發現有：（1）該國際學校漢語學習者的總體漢語交際意願水平偏低，介於“較低交際意願”和“中度交際意願”之間，而且課內漢語交際意願略高於課外漢語交際意願。（2）總體來看，男生和女生之間不存在漢語交際意願上的顯著差異，但在課內，女生比男生更容易不懂就問、更關注語言知識的細節；男生比女生更願意作為發言代表來公開表達自己觀點；在課外，男生比女生更願意在校園裡與陌生人說漢語，更願意和朋友們或者陌生人上網用漢語交流。（3）預科項目（DP）和中學項目（MYP）的學生群體間不存在漢語交際意願的顯著差異。但在課堂上，DP學生比MYP的學生更願意進行公開性的漢語表達，更願意深入探討相關問題，更願意進行一些總結概括能力較強的發言。（4）DP年級學生的漢語水平和交際意願呈顯著正相關，即漢語水平高越高，課內、課外和總體的漢語交際意願越高,漢語水平越低，課內、課外和總體的漢語交際意願越低。（5）在用漢語進行“主動性發言”上的意願，漢語水平高的群體明顯高於漢語水平低的群體，說明高水平漢語學習者更願意掌握交際的主動權。（6）學習漢語社會支持較多的群體表現出明顯更高的漢語交際意願，呈顯著正相關。（7）以廣東話作為母語的學生比以英語作為母語的學生具有更高的漢語交際意願，這種差異性在課堂外比課堂內體現得更為明顯。（8）性格較外向的學生比性格較內向的學生具有更高的課內漢語交際意願。（9）喜歡學漢語的學生比不喜歡學漢語的學生具有更高的課內、課外和總體漢語交際意願。（10）總體來看，學生學習漢語的動機和自我覺察的漢語交際能力都偏高，且兩者與課內、課外和總體漢語交際意願均呈十分顯著正相關，其中動機與課外方面相關性略大，而自我覺察的交際能力與課內方面相關性略大。學生的總體焦慮水平偏低，與課內、課外和總體交際意願均呈十分顯著負相關，與課內方面相關性略大課外方面。無論是課內還是課外漢語交際意願，“自我覺察的交際能力”對漢語交際意願來說是預測性最強的心理變量。 This research investigated Chinese as second language (CSL) learner’s willingness to communicate (WTC) both inside and outside classroom in one of international schools, Hong Kong. The research objects are 170 Chinese Language B learners from an English School Foundation (ESF) international school. The main methodology adopted here was quantitative method. Classroom observations by researcher and self-reports by students were firstly done to collect background data, and then five scales were employed to do the main investigation, including a WTC Inside–the-classroom Scales (WTCIS), a WTC Outside-the-classroom Scale (WTCOS), a Language Anxiety Scale (LAS), a Motivation Scale (MS) and a Self-perceived Communicative Competence Scale (SCCS). The research objectives were to explore the general situation of CSL learners’ WTC, and the specific characteristics as well as possible differences of their WTC inside and outside the classroom; then to further examine the possible affecting variables from both background and psychological perspectives including gender, age, Chinese language proficiency, mother tongue, social support, personality and attitudes towards learning Chinese, which were regarded as background variables, and language anxiety, motivation and self-perceived communicative competence, which were regarded as psychological variables. After that, data was processed and analyzed by SPSS 19.0 for hypothesis verification. Finally, pedagogical implications on how to improve CSL learners’ WTC both inside and outside classroom were generalized from the study. 　　The major findings showed that: (1) the general WTC of CSL learners from this school were slightly on the low side, between the Lower and Middle level, and the WTC inside the classroom was comparatively higher than outside of classroom. (2) On overall WTC, there was no significant difference between male and female students. But inside the classroom, girls were more likely to ask questions and pay more attention on language details than boys, while boy were more active to be the presenters and voice out in public. Outside the classroom, boys were more willing to communicate with strangers or chat online with friends in Chinese. (3) No significant WTC difference was found between Diploma Program (DP) and Middle Years Program (MYP), but DP CSL learners showed more willingness to make public speech, to be more of an inquirer in problems, and to do more generalization in speaking. (4) Among DP group, significant positive correlation was found between language proficiency and WTC, suggesting that the more proficient CSL learners showed higher WTC, and vice versa. (5) The more proficient group were more willing to speak Chinese voluntarily than the less proficient ones, implying that the more competent language learners are more likely to the take the initiative in communication. (6) CSL learners with more social supports to learn Chinese showed higher WTC, and a significant positive correlation was found here. (7) Students with Cantonese as mother tongue had higher WTC than their English as mothertougue counterparts, and this difference was more obviously outside of classroom. (8) Extroverted students showed significantly higher WTC inside of the classroom than the introverted. (9) Students who liked learning Chinese demonstrated higher WTC than those who didn’t. (10) Students’ motivation to learn Chinese and their SPCC were both on the high side, and both correlated positively on WTC, with motivation correlated more closely on outside WTC while SPCC more on inside WTC. Students showed slight lower anxiety level in speaking Chinese. Anxiety had significant negative correlation with WTC, and it mattered more inside than outside of classroom. No matter for WTC inside or outside, SPCC was the most predictive variable among the three.
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Master
Master of Education

近年來，香港有不少國際學校和直資學校開辦國際文憑課程（IB，International Baccalaureate），很多非華語學生選擇學習中文作為第二語言。然而，當中很多學生在使用詞彙上產生偏誤，而在二零零八年，香港教育局發布了《中國語文課程補充指引（非華語學生）》諮詢文件中，指出漢字的字形、聲調、語彙都是中文第二語言學習者的難點（香港課程發展議會，2008），這些難點均涉及語素。以往曾有不少研究，探討語素意識與詞彙知識習得的關係，因此，研究者期望以中文第二語言學習者作為研究對象，探討漢語語素意識與詞彙能力的關係。 本研究為量性研究，以語素意識與詞彙能力測驗和單元評估試卷來蒐集數據，並採用相關度測量研究方法分析數據，從而探討國際文憑課程中學項目學生在詞彙上的偏誤類型以及漢語語素意識與詞彙能力的關係，並提出建議以提升中文第二語言學習者的詞彙能力。本研究目的有三：（一）探究香港國際文憑課程中學項目學生在詞彙上的偏誤類型；（二）探究香港國際文憑課程中學項目學生的漢語語素意識與詞彙能力的關係；（三）歸納研究結果，並就教學和後續研究上提出具體建議，作為對外漢語教學之參考。 研究結果顯示，中文第二語言學習者的詞彙偏誤類型以「語音」為主，發展同音語素意識對於減少詞彙偏誤相當重要，此外亦需要加強發展部件規則的意識以及組字規則的概念，幫助他們掌握字形，對於減少詞彙偏誤亦有相當重要的作用。在漢語語素意識與詞彙能力的關係方面，中文第二語言學習者的語素意識對於詞彙能力有預測作用，同音語素意識對詞彙能力的預測作用大於同形語素意識的作用；而心理詞彙的語素意識、心理詞彙的數量及用詞能力三者有互相影響的關係，但仍需要進一步的研究。 International Baccalaureate (IB) Curriculum is adopted by more and more international schools and direct-subsidy schools in Hong Kong. At the same time, more and more non-Chinese speaking (NCS) students choose to study Chinese Language as a second language in IB curriculum. However, the vocabulary learning is one of the difficulties when they learn Chinese. The Education Bureau has published ‘Consultation Paper on Developing a “Supplementary Guide to the Chinese Language Curriculum for Non-Chinese Speaking Students” ’ and points out those NCS students encounter difficulties in learning Chinese graphemes, tones, vocabulary, etc. These difficulties are related to morpheme. Many researchers have conducted to study on relationship between morphological awareness and lexical knowledge. This dissertation aims to study on the relationship between morphological awareness and lexical ability of IB Middle Year Programme (MYP) students in Hong Kong. This is a quantitative research. Data collection includes two tests of the morphological awareness and lexical ability paper-pencil tests and one summative unit test of Chinese Language subject in a school. IB MYP students of two classes participated in this study and their morphological awareness and lexical ability were tested and analyzed by the statistical analysis software. The objectives of the study are: (1) Analysis on the types of lexicon errors of IB MYP students in Hong Kong; (2) Analysis on the relationship between morphological awareness and lexical ability of IB MYP students in Hong Kong; (3) Suggestions on developing of morphological awareness in learning Chinese Language as a second language. The results find that most of the lexicon errors were related to the tones and radical components of Chinese character, it is suggested to develop the homophone awareness and the orthographic awareness of Chinese character to reduce the lexicon errors. The morphological awareness of students has influence on student’s lexical ability. The homophone awareness has a closer relationship with lexical ability. The morphological awareness of the mental lexicon has an influence on the amount of mental lexicon and the ability of using lexicon. It is suggested to develop the morphological awareness of students in teaching Chinese as a second language to further study the relationship between the development of morphological awareness and mental lexicon in the future.
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Education
Master
Master of Education