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    Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/64316


    Title: 台灣客家三腳採茶戲劇本之研究 -以《張三郎賣茶》「十大齣」為例;The study of Taiwan Hakka three-character tea-picking drama-";The story of Zhang San-lang selling tea";(Ten big serial) as the example
    Authors: 劉素雲;LIU,SU-YUN
    Contributors: 客家研究碩士在職專班
    Keywords: 客家;三腳採茶戲;《張三郎賣茶》;十大齣;修辭;Hakka;three-character tea-picking drama;";Zhang San-lang selling tea";ten big serial;rhetoric
    Date: 2014-03-03
    Issue Date: 2014-06-19 14:02:24 (UTC+8)
    Publisher: 國立中央大學
    Abstract: 主要論述「客家三腳採茶戲」,在台灣的定位與文化意涵及文學價值,本論文以鄭榮興師重新編整的《台灣客家三腳採茶戲研究》「十大齣」為研究材料,期待客家戲得到重視,客家文化得以傳承。
    第一章緒論。說明本論文之研究動機與目的,並蒐集專書、論文、影音資料,及客家三腳採茶戲相關資料等,研究方法則採用蒐集歷史文獻、內容分析法、田野調查。第二章臺灣客家三腳採茶戲的形成與發展。客家人的遷徙,學者提出不同看法,之後再遷移台灣;敘述客家三腳採茶戲起源地區,以何種形式演出,形成所歷經的過程,客家三腳採茶戲的淵源,傳入台灣的先驅,及文人的觀點,從「落地掃」到內台戲,再轉變到電台、賣藥與灌錄唱片等幾個階段,1980 年左右,開始有了改變。臺灣形成了「十大齣」,《張三郎賣茶》故事版本、戲齣、劇情不盡相同,主角的個性也有所差異。第三章台灣客家三腳採茶戲「十大齣」劇本分析。探討主要人物個性,劇中的文化意涵,如客家女性的習性、宗教信仰、客家的飲食喜好等,與棚頭的特色及文化意涵。第四章「十大齣」的文學表意修辭,包含譬喻、雙關、映襯、夸飾、設問、借代等。第五章「十大齣」的文學形式修辭,包含類疊、對偶、排比、層遞、頂針等。第六章「十大齣」的民間文學及特殊詞彙,探討劇本中客家俗語、客家師傅話、客家謎語──令仔,客語所保存的古音古字,詞義廣狹,詞義特殊,單音詞等都是研討的範疇。第七章結論,台灣客家三腳採茶戲,具有娛樂與教育意義,期待藉此探討了解,客家文化深層之底蘊,同時吸引觀眾,傳承發揚,開拓新的契機,以保存客家文化特色。; This thesis discusses the positioning and literary value, and the cultural significance of "Hakka three-character tea-picking drama" in Taiwan. Here picks Mr. Zheng Rong-xing’s
    re-edited collection of "Taiwan Hakka three-character tea-picking drama studies" as research material, expect that Hakka drama could get more attention and Hakka culture could
    be an inheritance.
    The first chapter explains the motive and purpose of this thesis, the collection of books,papers, audio-visual materials, and other relevant information of Hakka three-character tea-picking drama. Here used historical documents collect method, content analysis and field investigations for the research. The second chapter is about the formation and development of Taiwan three-character tea-picking drama. For Hakka migration, scholars have proposed many different views, only after moving to Taiwan. This chapter describes the origin region of Hakka three-character tea-picking drama, the form of performances, formation process, the
    origin of the Hakka three-character tea-picking drama, incoming Taiwan pioneer, and literati’spoint of view. In the period of some one hundred years, the operation of the shows had moved from “Luodisao” to indoor stage drama, then to the radio station, medicine selling and recording. Around 1980, it began to change. Taiwan formed a "Ten big serial", the version,play out and plot of the story "Zhang San-lang selling tea" is different, the leading role’spersonality also vary. Third chapter, script analysis of Taiwan Hakka three-character tea-picking drama "Ten big serial". Explore the main characters personalities, cultural implications in drama such as the Hakka women's habits, religion, Hakka food preferences and etc., and also the characteristics and cultural implications of awning head. Chapter 4, the
    literary ideographic rhetoric of "Ten big serial" including metaphor, ambiguity, antithesis,exaggeration, rhetorical questions, metonymy and so on. Chapter 5, the literary form rhetoric of "Ten big serial" including class stack, duality, parallelism, tiering and anadiplosis. Chapter iv 6, the folk literature and special vocabulary of "Ten big serial", explore the Hakka saying,Hakka master word, Hakka riddles—Liang Nge in the script. The ancient sound and words in
    Hakka, the senses of word, special meaning, monosyllabic words and etc. are all in this discussion too. Chapter 7, the conclusion, Taiwan Hakka three-character tea-picking drama are full with entertainment and educational value, look forward to explore and understanding the depth of Hakka culture. Hope to attract audience at the same time, carry forward the tradition, opening up a new opportunity to preserve Hakka culture.
    Appears in Collections:[客家研究碩士在職專班] 博碩士論文

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