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|Keywords: ||客家意象;客家女紅;桐花;文化創意;符號行銷;Hakka image;Hakka needlecraft;tung flower;cultural creativity;symbol marketing.|
|Issue Date: ||2015-09-23 11:56:24 (UTC+8)|
;The research discusses the development from Taiwanese Hakkas Movement to the rise of hakka needlecraft by using the construction of “Hakka image” as the principal axis. According to the coarse classification of the years, this development falls broadly into two stages: the first stage is before 21st century when the construction of Taiwanese “Hakka image” centers on enhancing the dignity and uniqueness of Hakka ethnic group and expects the government to respond by making the policy; the second stage is after 21st century when Taiwanese “Hakka image” is constructed intentionally towards the axis of symbol marketing, so as to create a kind of marketing strategy of combining the traditional “industry” and “Hakka” ethnic group symbol.
In terms of the constructed “Hakka image”, the early discussers use the “Hakka cultural trait” of stressing abstract as the principal axis, such as industry and cleanness, hyperactivity and ambition, adventure and aggression or whatever. After copying China to Taiwan, such “Hakka image” gradually forms the “stereotype” of Taiwanese Hakka ethnic groups. Until 1980s, in order to adapt to the rapid-developed democratized and localized social movement wave in Taiwan, the Taiwanese Hakka elites actively construct the new Taiwanese “Hakka image”. Until the 21st century, with the adjustment of Taiwanese industrial policy, the Taiwanese “Hakka image” begins to turn to the concrete operations, for instance, shaping “Taiwanese cotton prints” into “Hakka cotton prints”; even creating the extraordinary “tung flower cotton prints”; using the reconstituted “Hakka elements” as the marketing strategy of ethnic industry.
The findings of the research show that using the rise of “Hakka needlecraft” to understand the dynamic construction process of “Hakka image” actually has the characteristics of cultural representation and industrial reengineering. Through the official counselling and promotion, “Hakka needlecraft” also succeeds in transforming the out-dated daily supplies into the currently featured commodities with the fashionable and ethnic significance. In return, this transformation in significance of symbol also shows that the Taiwanese Hakka ethnic groups still constantly construct the self-interpretation and identity.
According to the literature crawl and the pavement of consumption theory, this paper conducted the in-depth interview against the contemporary practitioners of Hakka needlecraft, so as to provide the official authorities, the contemporary practitioners of Hakka needlecraft or the researchers of relevant fields with a favorable advice reference on the construction of Hakka image and Hakka cultural and creative industry.
|Appears in Collections:||[客家研究碩士在職專班] 博碩士論文|
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