當代客家女紅意象建構及其行銷

NCUIR > College of Hakka Studies > The Executive Master Program of Hakka Studies > Electronic Thesis & Dissertation > Item 987654321/68478

Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/68478

Title:	當代客家女紅意象建構及其行銷
Authors:	蔣絜安;Chiang,Chieh-an
Contributors:	客家研究碩士在職專班
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.
Date:	2015-08-27
Issue Date:	2015-09-23 11:56:24 (UTC+8)
Publisher:	國立中央大學
Abstract:	本研究以臺灣「客家意象」的建構為主軸，探討從臺灣客家運動到客家女紅興起的發展。若以時期粗分大致可分為兩大階段：第一階段是廿一世紀之前，臺灣「客家意象」的建構集中在提高客家族群的尊嚴與獨特性，並期待政府做出政策回應；第二階段是廿一世紀之後，臺灣「客家意象」則是有意朝向符號行銷的軸線建構，有意創造一種以傳統「產業」結合「客家」族群符碼的行銷策略。就作為被建構的「客家意象」，早期的論述者以強調抽象的「客家文化特質」為主軸，諸如勤勞與潔淨、好動與野心或冒險與進取之類，這類「客家意象」從中國複製到臺灣之後，逐漸形成臺灣客家族群的「刻板印象」。到了1980年代，臺灣客家菁英為因應臺灣風起雲湧的民主化與本土化的社會運動浪潮，乃積極建構新的臺灣「客家意象」。到了廿一世紀，因應文化產業政策的興起與發展，臺灣「客家意象」開始轉向具體化的操作，例如把「臺灣花布」塑造成「客家花布」，甚至創造出獨特的「桐花花布」，以再造的「客家元素」作為族群產業的行銷策略。本研究發現，以「客家女紅」的興起作為理解「客家意象」的動態建構過程，實則具有文化再現與產業再造的特徵。透過官方的輔導與推動，「客家女紅」也成功的把過時的日常用品，轉化為今天具有流行與族群意義的特色商品，這種符號意義的轉換，也反過來說明了臺灣客家族群，其實仍不斷的建構對自我的詮釋與認同。本研究亦提出相關建議，期望能提供官方機構、當代客家女紅從業者或相關領域的研究者，關於客家意象建構與客家文創產業一個有利的意見參考。 ;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:	[The Executive Master Program of Hakka Studies] Electronic Thesis & Dissertation

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