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Tesi sul tema "Hakka in Hong Kong"

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Autore: Grafiati

Pubblicato: 26 luglio 2024

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1

Chan, Yuen-ming Mary, Chun-kau Paul Lee, 李震球 e 陳婉明. "The known, the imagined, and the recreating Lei Yue Mun Village : the making and re-making of Hakka". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48344710.

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2

潘佩婷 e Pui-ting Poon. "Hakka Wai: understanding Hong Kong's traditional Hakka architecture and its relationship to the Hakkapeople". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B42183091.

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3

Cheung, Kwok-hung Stephen. "Traditional folksongs in an urban setting a study of Hakka Shange in Tai Po, Hong Kong /". Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/hkuto/record/B31364846.

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4

Tang, Tsui-yee Eastre, e 鄧翠怡. "A sociolinguistic study of the "indigenous residents" of Tsing Yi Island: a preliminary survey". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1988. http://hub.hku.hk/bib/B31949691.

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5

Cheung, Kwok-hung Stephen, e 張國雄. "Traditional folksongs in an urban setting: a study of Hakka Shange in Tai Po, Hong Kong". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31364846.

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6

YAU, Ka Lo. "From invisible to visible : representations and self-representaions of Hakka women In Hong Kong, 1900s-present". Digital Commons @ Lingnan University, 2016. https://commons.ln.edu.hk/his_etd/8.

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What we perceive as the essential characteristics of Hakka women today are in fact historically constructed and utilized for various purposes by different agents, including Western missionaries, Hakka elites, museum curators and heritage preservationists. This long historical process has made the Hakka women increasingly visible in the public scene. Some scholars argue that it was the men who attempted to manipulate the representations of Hakka women to justify their exploitation of women. As Hung Hsin-lan and Helen Siu have reminded us, the study of Hakka women should be liberated from the lens of exploitation and victimhood and we should position Hakka women in relation to Hakka men to achieve a more balanced analysis. In addition to examining the historical writings about Hakka and Hakka women since the nineteenth century, this thesis focuses on Hong Kong, and also considers the topic through a gender lens, to evaluate the roles that Hakka women have played in the museums and in the surging wave of cultural preservation. The aim of this thesis is to explain how Hakka women have been represented in various media and what has constituted our current perceptions and (mis)understandings toward Hakka women. While the Hakka women have been singled out to represent Hakka culture and have enjoyed the opportunity to create their self-representations, where have the Hakka men gone? What does it mean by a ‘Hakka’ when the Hakka identity is historically constructed in the first place? The present research adopts a combined historical and anthropological approach to rethink the images of Hakka women and review the interactions between the representations and self-representation of Hakka women in the displays and heritage preservation, which point to the broader themes of the interplays between colonialism and ethnicities, the politics of display, gender studies on exhibition and cultural heritage, and the impacts of global cultural trends on local culture formulation.

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7

Cheung, Kwok-hung Stephen, e 張國雄. "Traditional music and ethnicity : a study of Hakka shange". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/195958.

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This research is an investigation into Hakka shange 客家山歌 (Hakka mountain songs) and their relationship with Hakka ethnicity, with principal discussions on the interplay between music making and ethnic/cultural identity in the Hakka populations. Hakka is a complex ethnic and cultural phenomenon which stepped into the limelight of history beginning in the 19th century. This study includes research into archival materials for an in-depth understanding of Hakka ethnicity and Hakka shange in the context of historical development, aiming to obtain new information/data and insights into historical data and theories documented by earlier studies. In this study, both synchronic and diachronic aspects are covered. Framed in an ethnomusicological paradigm, which posits music as part of culture and social life and utilises ethnography as a major means of gathering data, the study incorporates fieldwork carried out on location in Hong Kong and the Chinese mainland as an essential component. Seeing cultures as fluid and adaptable to outer forces rather than as a monolithic entity, the aim of this study is not to seize the “last opportunity” to preserve records of Hakka shange, before this musical tradition declines further into oblivion, but rather, to account for the processes by which traditional music adapts to the global system at various local levels. It is noteworthy that, in the local-global continuum, a society is not conceived as a static and structured system in which music is performed as a mere cultural marker that connects to or reflects the other structural parts of that society. On the contrary, a society is seen as a flexible and fluid social space in which music plays an active, transformational role.
published_or_final_version
Music
Doctoral
Doctor of Philosophy

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8

Wu, Si-cheong Gilbert. "The environmental background, learning attitude and academic performance of Hakka and Hoklo students in an N.T. Secondary School in Hong Kong". Click to view the E-thesis via HKUTO, 1986. http://sunzi.lib.hku.hk/HKUTO/record/B38627723.

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9

Wu, Si-cheong Gilbert, e 胡仕昌. "The environmental background, learning attitude and academic performance of Hakka and Hoklo students in an N.T. Secondary School inHong Kong". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1986. http://hub.hku.hk/bib/B38627723.

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10

Leperlier, Henry. "Multilinguisme, identité et cinéma du monde sinophone : nationalisme, colonialisme et orientalisme". Thesis, Lyon 3, 2015. http://www.theses.fr/2015LYO30032/document.

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Le monde chinois ou sinophone ne se limite pas à la Chine continentale, mais il s’étend au-delà de l’État-nation qui est souvent perçu comme étant le phare médiatique de la culture chinoise. La langue chinoise est aussi parlée dans d’autres pays comme Taïwan et Singapour où elle a un statut officiel; elle est aussi langue d’enseignement en Malaisie et à travers la diaspora.Ce monde sinophone n’est pas unilingue et comprend non seulement les langues des minorités officielles définies par la Constitution de la République populaire de Chine, mais aussi les autres langues chinoises, telles le shanghaïen, le cantonais ou le hokkien pour ne citer que les trois langues chinoises jouissant d’un certain prestige. À Taïwan, société multilingue et multiculturelle, à côté des trois langues chinoises, le mandarin, le hokkien, sous sa dénomination locale de taïwanais, et le hakka sont aussi des langues couramment utilisées dans les médias et plus récemment dans le système éducatif ; à leurs côtés se trouvent plusieurs langues aborigènes qui sont encouragées par le gouvernement et jouissent d’une image positive dans la population Han. Cette diversité linguistique est reflétée dans le cinéma différemment en Chine et dans les autres pays sinophones. En Chine, les minorités ethniques ont longtemps été reléguées au statut de sujet anthropologique et présentées au cinéma d’un point de vue paternaliste reflétant une attitude « orientaliste » telle que théorisée par Edward W. Said. Ce n’est que récemment que le cinéma chinois a commencé à produire des films où les minorités ethniques prennent la parole et sont incarnées par des protagonistes prenant en main leur destin. La situation à Taïwan est plus diversifiée : après l’occupation japonaise la majorité des films était en taïwanais mais l’investissement important de la part des autorités dans des productions sophistiquées en couleur a rapidement vu la fin des productions en taïwanais pendant plusieurs décennies. Ce n’est que vers la fin de l’état de siège au milieu des années 1980 que le cinéma taïwanais recommencé à faire usage d’autres langues que le mandarin ; par contraste avec les périodes précédentes, on assiste surtout à des films multilingues reflétant le mélange multiculturel et linguistique de la société taïwanaise du passé aussi bien que du présent.La relative liberté du cinéma sinophone de refléter les pays de langue chinoise dans leur diversité culturelle, d’articuler les contacts entre minorités ethniques en Chine et la majorité Han, comme dans Kekexili ; le souci de réalisme culturel, linguistique, sociétale et historique comme dans Seediq Bale à Taïwan ; le portrait d’une société multilingue à Singapour telle qu’elle est décrite dans Singapore Dreaming sont les signes avant-coureurs que la société sinophone ne se réduit pas à un seul pays et que sur la scène internationale il sera impossible de considérer la Chine comme seule détentrice d’une culture sinophone. Le développement de ce cinéma sinophone dans les festivals étrangers, sur les plateformes de diffusion vidéo ou de salles de cinéma montre qu’il existe un intérêt pour le cinéma sinophone qui est perçu comme une fenêtre sur la culture, la politique et les sociétés de ses composantes. Il sert aussi d’échange entre les différents pays et régions du monde sinophone et pourrait bien être le premier élément d’une culture sinophone transnationale et transculturelle. Dans ce contexte transnational, Taïwan, comme l’avance June Yip à maintes reprises dans Envisioning Taiwan - Fiction, Cinema and the Nation in the Cultural Imaginary, pourrait être le premier pays à avoir abandonné le concept d’État nation et fait preuve d’avant-garde au même titre que le cinéma sinophone transnational
The Chinese speaking world is not limited to Mainland China. It extends beyond Continental China, a country often perceived as the beacon of Chinese culture. Mandarin and other Chinese languages are spoken in Taiwan and Singapore where the former is an official language. Mandarin is also used as a teaching medium in Malaysia and throughout the diaspora.The sinosphere, as it is increasingly being referred to, is not a unilingual society but also includes not only ethnic minorities languages as defined by the Constitution of the People’s Republic of China, but also other Chinese languages such as Shanghainese, Cantonese or Hokkien (a.k.a. Taiwanese); these three languages being the most prestigious among others. Taiwan is a multicultural and multilingual society and includes three Chinese languages, Mandarin, Taiwanese and Hakka that are widely used in the media and have recently been made part of the school curriculum; in addition to these languages are found aboriginal languages that are encouraged by the government and enjoy a positive image in the majority Han population.China and other sinophone countries differ in their treatment of this linguistic diversity.In China, ethnic minorities have long been viewed and filmed as an anthropological topic and often examined with a paternalistic slant similar to “orientalist” attitudes as proposed by Edward W. Said. Chinese cinema has only recently started to produce films where ethnic minorities speak for themselves and ethnic protagonists take hold of their own future. At the same time Chinese-language films shot in other Chinese languages are still a relatively rare occurrence, probably due to the official policy of promoting Mandarin as the national normative language.Taiwan presents a more diversified situation: after the Japanese occupation, the majority of films was in Taiwanese, but an important investment drive from government authorities resulting in sophisticated colour productions saw the end of Taiwanese-language productions for many years. One would have to wait for the end of martial law near the middle of the 1980’s to see a return of films featuring non-Mandarin languages; in contrast to preceding periods, the majority of these films was multilingual and reflected the real multicultural and linguistic mix of contemporary and past Taiwanese society.In Singapore and Malaysia, an increasing number of films portray characters switching freely from one language to another.The retrocession to Mainland China of the former British colony, Hong Kong, has triggered an examination of its relationship with the People’s Republic and several films feature interaction between mainlanders and Hong Kong inhabitants.The relative freedom that is enjoyed by Chinese-language cinema to reflect sinophone countries and their cultural diversity; to articulate contacts between ethnic minorities and the Han majority, as in Kekexili; the preoccupation with cultural, linguistic, societal and historical realism as in Seediq Bale in Taiwan; the exposé of multilingual Singaporean society as described in Singapore Dreaming demonstrate that sinophone society is not restricted to one country and that, on the international scene, it will be impossible to consider China as the sole representative and owner of sinophone culture. It is also a means of exchange between the different countries and regions of the sinophone world and could well turn out to be the first element in the construction of a transnational and transcultural sinophone culture. In this transnational context, as proposed in many instances by June Yip in Envisioning Taiwan - Fiction, Cinema and the Nation in the Cultural Imaginary, Taiwan could be the first country to have relinquished the concept of a Nation State and proven to be at the forefront of change in a similar vein with transnational sinophone cinema

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11

Wu, Linru. "Ling nan Zhong yi yao lin chuang ying yong te dian /". click here to view the abstract and table of contents, 2006. http://net3.hkbu.edu.hk/~libres/cgi-bin/thesisab.pl?pdf=b19987638a.pdf.

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12

Eng, Pui-yan Rosanna, e 英佩欣. "Siu Sai Wan: life on and by water". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31980715.

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13

CHOI, Wing Yee Kimburley. "Remade in Hong Kong : how Hong Kong people use Hong Kong Disneyland". Digital Commons @ Lingnan University, 2007. https://commons.ln.edu.hk/cs_etd/6.

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Recent studies of globalization provide contrasting views of the cultural and sociopolitical effects of such major corporations as Disney as they invest transnationally and circulate their offerings around the world. While some scholars emphasize the ubiquity of Disney’s products and its promotion of consumerism on a global scale, accompanied by cultural homogenization, faltering democracy, and diminishing state sovereignty, others highlight signs of contestation and resistance, questioning the various state-capitalist alliances presumed to hold in the encounter between a global company, a local state, and the people. The settlement process and the cultural import of Hong Kong Disneyland in Hong Kong complicate these studies because of the evolving post-colonial situation that Disney encounters in Hong Kong. While Disney specializes in “imagineering” dreams, Hong Kong itself is messily imagining what “Hong Kong” is and should be, and how it should deal with others, including transnational companies and Mainlanders. In this thesis, I appropriate Doreen Massey’s ideas of space-time in order to examine Hong Kong Disneyland not as a self-enclosed park but as itself a multiplicity of spaces where dynamic social relations intersect in the wider context of post-colonial Hong Kong. I illuminate the shifting relationship between Disney, Mainlanders, and the locals as this relationship develops in its discursive, institutional, and everyday-life aspects. Through interviews and ethnographic research, I study how my respondents have established and interpreted the meanings of Hong Kong Disneyland, and how they have made use of the park to support their own constructions of place, of politics, and of identity.

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14

Poon, Pui-ting. "Hakka Wai understanding Hong Kong's traditional Hakka architecture and its relationship to the Hakka people /". Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B42183091.

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15

黃皓賢 e Ho-yin Wong. "Representations of 'Hong Kong' in Hong Kong poetry in English". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B3122796X.

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16

Leung, Chung-ping Louis, e 梁中平. "Hong Kong Central Library". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B31982505.

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17

陸姿恆 e Chi-hang Yvonne Luk. "Hong Kong film centre". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31984757.

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18

Ng, Kwok-sun Chris, e 吳國新. "Hong Kong Children's Museum". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31984101.

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19

Ho, Chung-ho, e 何頌豪. "Hong Kong Science Park". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31983315.

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20

Poon, Mun-chie Teresa, e 潘敏慈. "Hong Kong Dance Centre". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B31982578.

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21

Ma, Chi-fai Jeff, e 馬志輝. "Hong Kong Mail Centre". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31985956.

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22

林煜 e Yuk Lam. "Hong Kong Science Park". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31982001.

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23

Lam, Hei Lawrence, e 林晞. "Hong Kong Film Academy". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31982906.

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24

Hui, Kei-yan Lisa, e 許紀欣. "Hong Kong Architectural Centre". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31986468.

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25

Li, Sheung-kan, e 李相勤. "Hong Kong youth city". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B31982529.

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26

Chan, Tin-yau, e 陳天佑. "Hong Kong biodiversity museum". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B3198194X.

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27

Chan, Ching-han, e 陳靜嫻. "Hong Kong butterfly conservation". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31255759.

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28

Sida, E. M. "Hong Kong towards 1997". Thesis, University of East Anglia, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.359733.

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29

Luk, Chi-hang Yvonne. "Hong Kong film centre". Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25946237.

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30

Leung, Chung-ping Louis. "Hong Kong Central Library". Hong Kong : University of Hong Kong, 1995. http://sunzi.lib.hku.hk/hkuto/record.jsp?B2594616x.

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31

Li, Sheung-kan. "Hong Kong youth city". Hong Kong : University of Hong Kong, 1995. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25946407.

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32

Ma, Chi-fai Jeff. "Hong Kong Mail Centre". Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25948933.

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Lam, Yuk. "Hong Kong Science Park". Hong Kong : University of Hong Kong, 1994. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25945038.

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Poon, Mun-chie Teresa. "Hong Kong Dance Centre". Hong Kong : University of Hong Kong, 1995. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25946006.

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Abstract (sommario):

Thesis (M. Arch.)--University of Hong Kong, 1995.
Includes special report study entitled :Theatre for multicultural dance performances : Hong Kong Dance Centre. Includes bibliographical references.

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Ho, Chung-ho. "Hong Kong Science Park". Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25956073.

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Chan, Tin-yau. "Hong Kong biodiversity museum". Hong Kong : University of Hong Kong, 1994. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25944861.

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37

Hui, Kei-yan Lisa. "Hong Kong Architectural Centre". Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25954295.

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Ng, Kwok-sun Chris. "Hong Kong Children's Museum". Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B2594888x.

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Lam, Hei Lawrence. "Hong Kong Film Academy". Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25951713.

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40

Koo, Ching-hua Anita, e 顧靜華. "Beyond the Hong Kong dream: housing experience and social ethos in Hong Kong". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31224507.

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41

Wong, Wai Lun Max. "Re-ordering Hong Kong : decolonisation and the Hong Kong Bill of Rights Ordinance". Thesis, SOAS, University of London, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.423117.

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42

Koo, Ching-hua Anita. "Beyond the Hong Kong dream housing experience and social ethos in Hong Kong /". Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B23242176.

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43

Leung, Kwong-yiu, e 梁光耀. "Hong Kong tax system and its contribution to the economic success of Hong Kong". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31269023.

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44

Yung, Wai-kei, e 戎偉基. "Pictorial representations of "Hong Kong": a study of 1980s and 90s Hong Kong films". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31951788.

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45

Wan, Ka-ho, e 溫嘉浩. "A study of Hong Kong cross-border transportation infrastructure development: Hong Kong Shenzhen westerncorridor". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B41680340.

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46

Leung, Kwong-yiu. "Hong Kong tax system and its contribution to the economic success of Hong Kong /". Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19873840.

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47

Yung, Wai-kei. "Pictorial representations of "Hong Kong" : a study of 1980s and 90s Hong Kong films /". Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20059760.

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48

Li, Ming-cheng Anita. "?thalassaemia in Hong Kong children". Click to view the E-thesis via HKUTO, 1998. http://sunzi.lib.hku.hk/hkuto/record/B43893879.

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49

Wu, Tsui-ping Cindy. "English proficiency in Hong Kong". View the Table of Contents & Abstract, 2005. http://sunzi.lib.hku.hk/hkuto/record/B3136505X.

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Leung, Hoi-kei Karen Shakespeare William. "Modern Macbeth in Hong Kong /". View the Table of Contents & Abstract, 2005. http://sunzi.lib.hku.hk/hkuto/record/B3156706x.

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