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    Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/68431


    Title: 客家青年表演藝術工作者的養成與認同
    Authors: 黃鈴雅;Huang,Ling-ya
    Contributors: 客家社會文化研究所
    Keywords: 客家青年;表演藝術工作;認同;養成;young Hakka performing artists;performing art;identity;cultivation
    Date: 2015-07-21
    Issue Date: 2015-09-23 11:35:02 (UTC+8)
    Publisher: 國立中央大學
    Abstract: 摘要
    表演藝術文化對於一個族群甚至是一個國家,可以說是擁有舉足輕重的地位,透過表演藝術可以去了解一個文化、一個國家,進而喜歡亦或者認同這個國家與文化,故表演藝術對於一個族群的推廣與認同是重要的。表演藝術不僅僅是可以陶冶性情與養成審美觀念的一種學習,經由學習表演藝術,在此過程之中也可加深對於其族群的了解,進而加深對於族群的認同,甚至是不同族群之間的相互了解與認識,若要推廣客家的文化與族群認同,表演藝術是極重要的一環。
    本研究欲了解客家青年表演藝術工作者如何養成與定位,並了解其認同,故採用質性研究中的「多重個案研究」。本研究之目的在於以不同個案之間相互比較,了解其相同與相異點,以期聚焦問題。本研究以深度訪談、文獻探討、觀察及資料分析探討等作為蒐集資料的方法進行。本研究的主要目的如下:
    一、 了解客家青年表演藝術工作者的養成過程與特殊性。
    二、分析客家青年表演藝術工作者的族群認同與發展變化。
    三、探討客家青年表演藝術工作者如何將族群經驗與藝術創作進行結合。
    從研究結果中可以發現,學習客家表演藝術是可以加深客家青年族群的認同甚至是其他族群的青年對於客家文化以及族群的認同。客家青年表演藝術工作者或許一開始並未將客家表演藝術視為其往後的職業,不過由研究中可以看出,大部分訪談者接受客家表演藝術相關學習以及訓練之後,都會慢慢發現其對於客家表演藝術的感情與熱情,進而決定繼續從事這份工作,為客家表演藝術盡一分心力與傳承。透過客家青年表演藝術工作者的作品中,我們可以看到他們對於客家的認同,客家青年表演藝術工作者經由學習這些客家表演藝術與原來的個體的信念融合之後,慢慢的建構與加深他們的族群認同與展現。

    關鍵字: 客家青年、表演藝術工作、認同、養成;Abstract
    Performing art culture plays an important role to an ethnic group or even a country. People can understand a culture, a country through its performing art, and then start to like or identity the country and its culture. Therefore, performing art is important for an ethnic group to win popularization and identity. Performing art is not only a learning experience for people to mould their temperament and cultivate aesthetic sense, during which process, people can also deepen their understanding to their own ethnic group and then further strengthen their identity to their ethnic group, and even facilitate the mutual understanding and awareness among different ethnic groups. If we want to popularize the Hakka culture and the identity of the ethnic group, its performing art is an important link.
    This research aims to learn how the young Hakka performing artists are cultivated and positioned, and then learn about their identity, therefore, this research is conducted with “multiple case research” of qualitative research. The purpose of this research is to find the focus of the problem through comparing different cases and then looking for the similarities and differences. Materials are collected through in depth interviews, literature exploration, observation and data analysis and discussion. The purposes of this research are as follows: 1. Learn about how young Hakka performing artists are cultivated and its uniqueness. 2. Analyze the ethnic group identity of the young Hakka performing artists and their development. 3. Explore how young Hakka performing artists combine their ethnic experiences into artistic creation.
    From this research, it can be found out that learning Hakka performing art can deepen the identity of the young Hakka ethnic group to their own culture, and even deepen the identity of other ethnic groups to the culture and ethic group of Hakka. It is possible that the young Hakka performing artists did not take the Hakka performing art as their future career, however, through this research, it can be concluded that more of the interviewees discovered their love and passion to Hakka performing art after receiving relevant learning and cultivation of Hakka performing art and then decide to continue to engage in this career and hope to contribute to the Hakka performing art and pass it on. From the works of young Hakka performing artists, we can see their identity to Hakka. The young Hakka performing artists combine their learning of Hakka performing art with their original individual belief and then gradually build up and deepen their identity to their ethnic group and demonstration.

    Key words: young Hakka performing artists, performing art, identity, cultivation
    Appears in Collections:[客家社會文化研究所] 博碩士論文

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