https://ir.lib.ncu.edu.tw/handle/987654321/77 Search the Channel s https://ir.lib.ncu.edu.tw/simple-search https://ir.lib.ncu.edu.tw/handle/987654321/98663 title: 滿洲國、戰爭、動員：1933年長城戰役的歷史研究 abstract: 滿洲國建立於1932年3月，是由日本關東軍石原莞爾等人籌劃並協助溥儀成立的 新國家。滿洲國以「王道主義」及「五族協和」為立國口號，目的是冀望成為世界上先進和以王道為本的模範國家；而滿洲國成立的原因不僅是關東軍的計謀，還包括一群效忠清王室的遺清們及希望復闢清朝的溥儀。而長城戰役發生於1933年1月1日到5月31日，又稱為長城大會戰或熱河戰役。是日本偕同滿洲國向熱河侵略的一場戰役，由於滿洲國在建國之時，便早已將熱河省納入滿洲國疆域之中，再加上日本既定的大陸政策及覬覦熱河的鴉片利益，在多種因素的推波助瀾下，1933年1月1日榆關事件一觸即發，引起各界譁然。 由於中國政府時值剿共之際，無暇顧及東北局勢，以至於日本趁虛而入以閃電般的速度迅速占領承德；蔣介石的「先安內，後攘外」的政策，使其成為眾矢之的。 而在這場戰爭中，滿洲國是如何在戰線大後方為日本軍隊提供協助呢？在「日滿一體」的概念下，日滿一德一心又是如何在動員裏輸出價值呢？在軍事、教育、宣傳及精神動員上，滿洲國的動員策略將是本文後段章節之重點。 由於滿洲國成立不久後便爆發了長城戰役，在短短五個月間，日本最終贏得了這場戰爭，其中滿洲國的成立緣由及在戰爭中，中日雙方的攻防與外交角力抑是影響這場戰爭勝負之重要因素；而戰爭背後的動員層面相當廣泛，遍及各個領域之中，其意義及相關解釋也因各國所處的狀況不同而有改變，故本文將以發生在熱河省1933年的長城戰役和滿洲國所採取的戰爭動員為主軸加以探究其歷史意涵。 ;Manchukuo was established in March 1932, planned by Japan’s Kwantung Army figures such as Ishiwara Kanji and assisted by Puyi in founding the new state. Manchukuo adopted the slogans of “The Way of the King” and “Harmony Among the Five Races” as its founding principles, aspiring to become a model nation in the world—advanced and governed by the principles of benevolence. The reasons for its establishment were not solely the schemes of the Kwantung Army; they also included a group of loyalist Qing supporters and Puyi’s own hopes of restoring the Qing dynasty. The Battle of the Great Wall took place from January 1 to May 31, 1933, also known as the Great Wall Campaign or the Rehe Campaign. It was an invasion of Rehe by Japan in collaboration with Manchukuo. Since Manchukuo had already incorporated Rehe Province into its territory at the time of its founding—and given Japan’s established continental policy and its coveting of the opium profits from Rehe—multiple factors pushed events toward conflict. On January 1, 1933, the Shanhaiguan Incident broke out, shocking all sectors of society. At the time, the Chinese government was preoccupied with its campaign to suppress the Communists, leaving it unable to deal with the situation in the northeast. Japan took advantage of this opening and, with lightning speed, seized Chengde. Chiang Kai-shek’s policy of “pacify the interior before resisting the external enemy” made him the target of heavy criticism. In this war, how did Manchukuo, positioned in the deep rear of the battle lines, provide support for the Japanese army? Under the concept of “Japan and Manchukuo as one,” how were unity and shared purpose expressed through mobilization to export values? Manchukuo’s mobilization strategies in the military, education, propaganda, and spiritual spheres will be the focus of the latter part of this article. Since the outbreak of the Battle of the Great Wall occurred shortly after Manchukuo’s founding, Japan ultimately won the war in just five months. The reasons for this victory lay not only in the origins of Manchukuo’s establishment, but also in the offensive and defensive maneuvers and diplomatic struggles between China and Japan during the war. Behind the conflict, the scope of mobilization was extensive, spanning multiple domains. Its significance and interpretations have varied depending on each country’s circumstances. Therefore, this article will focus on the Battle of the Great Wall in Rehe Province in 1933 and the wartime mobilization measures adopted by Manchukuo, in order to explore their historical implications. <br> https://ir.lib.ncu.edu.tw/handle/987654321/98660 title: 大溪木器業的發展與轉型-以華藝佛像家具為例 abstract: 摘要 本研究以大溪「華藝佛像家具」為個案，探討大溪木器產業在台灣戰後經濟發展與政策轉變下的發展與轉型過程，主要在剖析大溪傳統木器業如何在面對市場變遷與產業衝擊中調整經營策略，延續文化價值與產業生命力。研究關注的主軸包括產業興盛的歷史背景、政策環境的影響、以及業者的因應之道。研究資料來自《臺灣省統計要覽》、《台灣省統計年報》、《臺灣省林業統計》、《桃園縣統計年報》、《桃園市立大溪木藝生態博物館年報2020》、《中華民國銀行公會會員聯合辦理產業調查報告》、《桃園市立木藝生態博物館年報2020》、報紙史料、政府政策，前人研究成果、以及對華藝佛像家具經營者的口述訪談。研究方法上採用質性研究法和田野調查與質性訪談並行，輔以政策脈絡檢視，以呈現政策、產業與個體間的互動關係。 1950年代至1970年代，隨著政府推動「進口替代」與「出口導向」政策，大量原木進口以及扶植傳統工藝品外銷，促進了木器業的快速發展。華藝佛像家具在此階段成立，專注於佛像與宗教家具的製作，受惠於宗教市場和生活家具的需求成長與支持。然而，1980年代後期，開始受限於森林禁伐政策與國際市場開放，大溪傳統木器業面臨原料短缺與外銷萎縮的雙重壓力。華藝開始轉向佛像藝術雕刻、精緻典藏家具發展與工藝深耕，積極導入創新設計與精品藝術家具意識，提升附加價值。 研究結果顯示，政策因素如原木進口管制、政策推動、經濟發展、市場需求、技術人才等，皆對大溪木器業產生關鍵影響。華藝佛像家具的因應策略不僅展現地方木器業者的應變能力，也為其他傳統產業提供了文化轉型與產業升級的參考模式。 關鍵詞：精緻化轉型、佛像藝術雕刻、精品藝術家具、創新、市場區隔 ;Abstract This study takes Hua Yi Buddhist Furniture, a representative enterprise in Daxi, as a case to explore the development and transformation of the Daxi woodcraft industry in the context of Taiwan’s postwar economic growth and shifting policy environment. The main objective is to analyze how traditional woodcraft industries in Daxi adjusted their business strategies to sustain both cultural values and industrial vitality amid market changes and external pressures. Key focuses of this research include the historical trajectory of the industry’s prosperity, the influence of governmental policies, and the adaptive strategies of individual businesses. Research materials are drawn from the 2020 Taoyuan City Woodcraft Eco-Museum Annual Report, historical newspapers, government policy documents, previous academic studies, and oral interviews with the founder of Hua Yi Buddhist Furniture. Methodologically, this study adopts a qualitative research approach, combining fieldwork, in-depth interviews, and policy contextual analysis to examine the interplay between policy, industry, and enterprise behavior. Between the 1950s and 1970s, under Taiwan’s “import substitution” and “export-oriented” economic policies, large volumes of timber were imported and traditional handicraft exports were subsidized, fueling rapid growth in the woodcraft sector. Hua Yi was established during this era, focusing on the production of Buddhist and religious furniture, benefiting from the growing demand in both religious and domestic furniture markets. However, after the 1980s, due to the domestic logging ban (enacted in 1989) and global trade liberalization, Taiwan’s traditional wood industries faced a dual crisis of raw material shortages and declining exports. In response, Hua Yi shifted toward refined, collectible wood furniture, emphasizing craftsmanship, innovative design, and the development of artistic value-added products. The study concludes that policy factors—including raw material import restrictions, economic development policies, market demands, and technical labor availability—have played a crucial role in shaping the Daxi woodcraft industry. Hua Yi’s adaptive strategies demonstrate the resilience of local enterprises and provide a valuable reference for other traditional industries seeking cultural transformation and industrial upgrading. <br> https://ir.lib.ncu.edu.tw/handle/987654321/98656 title: 高中歷史教科書關於「日本時代」教材編寫 的比較研究—以2011年審定本為例;A Comparative Study on the Compilation of Teaching Materials about the &quot;Japanese Era&quot; in Senior High School History Textbooks: The Case of the 2011 Approved Editions abstract: 本研究以2011年審定本高中歷史教科書中「日本時代」單元為核心，選取龍騰版、三民版與南一版作為比較對象，探討教材在語詞運用、敘事策略與史觀立場上的差異，並分析其對學生歷史理解與國族認同的潛在影響。研究首先回顧1983年、1994年以及2006年與2012年課綱對「日本時代」的課程定位與語詞使用，指出課綱由單一民族主義敘事逐步轉向多元詮釋與批判思維的教育取向。 接續，本文從課綱規範、教材編者背景與教材結構三方面進行比較，並依據「政治制度與治理方式」、「經濟政策與社會經濟變遷」、「文化統治與教育政策」三大面向，深入分析教材在內容取材與語言表述上的差異。研究結果顯示，三版本雖皆依循課綱精神，但在「日治／日據」用語策略、殖民統治的敘事重點以及圖文配置上仍展現不同立場：龍騰版偏重殖民壓迫的揭示，三民版注重制度分析與多元材料的呈現，南一版則以中性語言敘事為主，較少凸顯壓迫性。這些差異反映出教科書編寫過程中潛藏的價值選擇與政治意識形態，也影響學生對殖民經驗的理解與歷史詮釋能力。 本文最後指出，教材編寫與課綱理念之間仍存落差，未能充分落實「多元觀點」與「批判思考」的核心理念，並提出未來教材編修與教學實踐應更重視語詞政治、史觀多樣性與批判能力培養，以促進學生在歷史學習中建構自主認同與多元視野。 ;This study focuses on the “Japanese Era” unit in the 2011 government-approved senior high school history textbooks in Taiwan, particularly examining the versions published by Lungteng, Sanmin, and Nani. It aims to examine differences in word choices, narrative strategies, and historiographical perspectives, and to analyze their potential impact on students’ historical understanding and national identity. The research first reviews the curriculum guidelines of 1983, 1994, 2006, and 2012, highlighting a shift from a single nationalistic narrative toward pluralistic interpretations and critical thinking. Subsequently, the study examines the textbooks through three dimensions: curriculum regulations, editors’ backgrounds, and structural design. In addition, it conducts a comparative analysis of the content across three aspects: “political system and governance,” “economic policies and socio-economic transformation,” and “cultural rule and educational policies.” The findings reveal that although the three versions follow the same curriculum principles, they demonstrate significant differences in their approaches: the Lungteng version emphasizes colonial oppression, the Sanmin version highlights institutional analysis and diverse materials, while the Nani version adopts a more neutral narrative with limited emphasis on oppression. These variations reflect underlying value orientations and political ideologies in the textbook-writing process, which in turn shape students’ understanding of colonial experiences and their ability to engage in historical interpretation. Finally, the study points out that a gap still exists between curriculum ideals and textbook practices. It argues that the core principles of “multiple perspectives” and “critical thinking” have not been fully realized. Recommendations are provided for future textbook compilation and classroom practices, emphasizing the importance of language politics, historiographical diversity, and critical thinking skills in fostering students’ independent identity formation and pluralistic perspectives in historical learning. <br> https://ir.lib.ncu.edu.tw/handle/987654321/98652 title: 製作歷史：歷史模擬電玩的大眾史學研究 abstract: 本論文旨在探討歷史模擬電玩作為一種「製作歷史」的機制，如何在大眾史學的脈絡中，影響玩家對歷史的理解與認同。有別於傳統史學的單向知識傳遞，歷史模擬電玩以其高度的互動性與敘事性，不僅賦予玩家主動參與、重構歷史的能力，更讓他們得以在虛擬世界中獲得獨特的「個人歷史體驗」。本研究結合遊戲分析與文獻探討，深入剖析《歐陸風雲4》、《刺客教條：暗影者》與《十字軍之王3》等遊戲，探討其在歷史再現上的取捨、多元敘事的建構，以及玩家透過模組（MOD）進行的歷史創作。 研究發現，歷史模擬遊戲不僅提供一個重現過去的平台，更透過遊戲機制與敘事設計，傳遞特定的歷史觀點與價值觀，例如《歐陸風雲4》對地緣政治的模擬與《刺客教條：暗影者》對多元歷史敘事的再構。此外，玩家的創作行為（如MOD）顯示，他們並非被動的接受者，而是積極的參與者與共同創作者。然而，這種遊戲化的歷史體驗也引發了關於歷史真實性、文化再現與意識形態的批判性討論。 總體而言，本研究認為歷史模擬電玩已成為當代大眾史學實踐的關鍵場域，它改變了人們與歷史的互動方式，並深刻影響了歷史記憶的建構與傳承。 ;This thesis explores historical simulation games as a mechanism of “making history” and examines how they shape players’ understanding and identification with the past within the framework of public history. Unlike the unidirectional transmission of knowledge in traditional historiography, historical simulation games employ interactivity and narrative design to grant players the ability to actively participate in and reconstruct history, while also enabling them to develop unique personalized experiences of history in virtual worlds. By combining game analysis with a review of existing scholarship, this study investigates Europa Universalis IV, Assassin’s Creed: Shadows, and Crusader Kings III, focusing on their negotiation of historical representation, the construction of plural narratives, and the historical creativity fostered through player-made modifications (MODs). The findings reveal that historical simulation games not only provide platforms for re-enacting the past but also transmit specific historical perspectives and values through game mechanics and narrative structures. For example, Europa Universalis IV models geopolitical dynamics, while Assassin’s Creed: Shadows reconstructs pluralistic historical narratives. Moreover, players’ creative practices, such as MOD development, demonstrate that they are not passive consumers but active participants and co-creators of history. At the same time, these gamified experiences of history raise critical debates regarding historical authenticity, cultural representation, and ideology. In conclusion, this research argues that historical simulation games have become a crucial arena for the practice of public history. They transform the ways in which people interact with the past and profoundly shape the construction and transmission of historical memory. <br>