DSpace community: 客家社會文化研究所

臺灣中等教育客語師資培育與聘用政策研究;A Policy Study on the Preparation and Employment of Hakka Language Teachers in Taiwan’s Secondary Education

title: 臺灣中等教育客語師資培育與聘用政策研究;A Policy Study on the Preparation and Employment of Hakka Language Teachers in Taiwan’s Secondary Education abstract: 隨著2019年《國家語言發展法》的施行及《十二年國民基本教育課程綱要》的修訂，本土語文課程正式由小學教育延伸至中等教育階段，並列為部定必修課程。此一政策變革使中等教育階段對客語師資的需求顯著提升，相關培育與聘用制度亦隨之調整。本研究旨在探討中等教育階段客語師資政策之形成歷程、制度設計及其運作實態，並以2023年修正之《高級中等以下學校及幼兒園客語師資培育資格及聘用辦法》為核心，進一步檢視現行師資供需之結構性問題。本研究採質性與量化並行之研究設計。在質性分析部分，運用Easton政治系統模型、Kingdon多流理論及政策循環模型，分析政策變遷脈絡與法規修訂歷程，並訪談一般師資生以及學士後教育學分班與第二專長學分班修讀者，以探討不同培育管道之實務經驗。在量化分析部分，蒐集教育部2020至2024年《中華民國師資培育統計年報》相關數據，分析客語師資之培育情形、教師甄選開缺狀況、取得教師證者之結構，以及現職教師結構，並依據《高級中等以下學校及幼兒園客語師資培育資格及聘用辦法》第六條推估2028與2031學年度之師資供需落差。研究發現如下：第一，本土語言教育政策呈現課程制度先行、支持體系後補之特徵，使師資制度多依附於既有師資體系，導致客語師資發展呈現「加科化」而非「專科化」的傾向。第二，現行師資資格採多元認定機制，雖有助於短期人力補充，但亦弱化客語文「首登專長」師資在聘用上的競爭力。第三，實證數據顯示師資供需存在明顯落差：2022至2024學年度間，公立高中客語文專任教師錄取人數為0人，公立國中錄取人數僅6人；同時，現職具客語文專長教師證之教師中，高達89.8%係由在職教師透過進修第二專長取得資格，新進之「首登專長」師資相對稀缺。第四，依據法規推估，至2028與2031學年度，中等教育階段約需557名具客語文專長教師證之教師；若維持現行培育模式與聘用制度，將難以達成政策預期目標。基於上述研究發現，本研究提出以下政策建議：第一，以公費生制度支持大學部培育之客語文師資生，並推動跨校合聘機制；第二，強化政策誘因，降低專任師資聘用之行政阻力；第三，協助師資培育系所整合校內資源，以幫助客語文一般師資生於培育歷程中取得第二專長。透過上述措施，期能提升客語文師資體系之穩定性，並促進國家語言教育之專業化與永續發展。; With the implementation of the Development of National Languages Act in 2019 and the revision of the Curriculum Guidelines of 12-Year Basic Education, local language education in Taiwan was extended from elementary schools to the secondary level and designated as a compulsory subject in the national curriculum. This policy shift significantly increased the demand for Hakka language teachers in secondary education and prompted adjustments to related teacher education and employment systems. This study examines the policy formation, institutional design, and practical operation of the Hakka teacher system at the secondary level, with a particular focus on the 2023 revision of the Regulations on Teacher Education and Employment for Hakka Language in Senior High Schools, Junior High Schools, Elementary Schools, and Kindergartens. This study adopts a mixed-methods approach combining qualitative and quantitative analyses. The qualitative analysis applies Easton’s political system model, Kingdon’s Multiple Streams Framework, and the policy cycle model to examine policy development and regulatory revisions, supplemented by interviews with teacher education students as well as participants in post-baccalaureate and second-specialty teacher education programs. The quantitative analysis utilizes data from the Taiwan Teacher Education Statistical Yearbook (2020–2024) to analyze teacher training outcomes, recruitment vacancies, and the composition of certified Hakka teachers. Based on Article 6 of the aforementioned regulations, this study also estimates the gap between the supply and demand of qualified Hakka teachers in the 2028 and 2031 school years. The findings indicate that the current system relies heavily on in-service teachers obtaining Hakka qualifications as a second specialization, while teachers whose primary specialization is Hakka remain limited in number. Empirical evidence also reveals a significant imbalance between teacher supply and demand. Policy estimations suggest that approximately 557 certified Hakka teachers will be required in secondary education by 2028 and 2031. This study therefore recommends strengthening undergraduate teacher training through publicly funded programs, promoting cross-school joint appointment mechanisms, and enhancing policy incentives to reduce administrative barriers to hiring full-time Hakka teachers. These measures may help stabilize the Hakka teacher workforce and contribute to the sustainable development of national language education.

新住民學習中心客家文化課程之實踐及新住民認同

title: 新住民學習中心客家文化課程之實踐及新住民認同 abstract: 有鑑於新住民人口在臺灣當代社會中不僅是家庭內部的重要成員，亦是影響社會文化、政策發展的重要參與者，本研究從婚姻移民的歷史沿革、臺灣的新住民法規政策以及新住民在臺社會適應歷程，說明現階段新住民所在的社會位置。依據政府所倡導的多元文化政策及本土文化政策，分析新住民與臺灣本土族群所呈現的多元互動，在非正式教育體制下實踐文化教育的可能性。本研究著重於新住民與客家文化的學習實踐，以桃園市新住民學習中心為主要研究核心，參與觀察新住民學習中心客家文化課程的實施過程，探討以新住民為主體的客家文化課程，如何透過生活對話、歌曲、飲食、手工藝等內容傳遞客家文化知識。再透過半結構式深度訪談，進一步獲得新住民學習中心、新住民學員、客家文化課程講師對於客家文化課程的實踐過程與個人感受。研究結果可知，雖然新住民學習中心受限於制度性規範，無法完全依新住民需求規劃、辦理課程，也因為該課程由政府的新住民機構辦理，新住民及其家人有較高意願參與課程。客家文化課程雖尚未有顯著成效，仍不可否認該課程有助於新住民接觸、學習客家文化，不過教學方式及教學內容須站在新住民的角度規劃，以跨文化理解的心態與方法提供不同文化之間的對話空間，否則此類課程容易陷入刻板印象或是娛樂式的內容，不利於族群互動以及文化知識的傳承。新住民的跨文化認同經由客家文化課程的實踐過程，產生文化接觸與文化互動，並與個人的原生文化進行統合，逐漸形塑其新住民認同。新住民政策與課程規劃雖有利益最大化的考量，仍不可疏忽文化認同不是一日可成，文化參與及投入的程度越高，越能建構文化認同。因此，客家文化課程依社會現況及新住民需求漸進式與滾動式的調整有其必要性，多方合作與文化理解將有助於文化課程的實施。;Given that new immigrants in contemporary Taiwan are not only vital family members but also key participants influencing socio-cultural and policy development, this study situates their current social position by reviewing the history of marital immigration, Taiwan’s relevant regulations, and the process of social adaptation. Based on government-advocated multicultural and localized cultural policies, this research analyzes the diverse interactions between new immigrants and Taiwan′s indigenous ethnic groups, exploring the possibilities of implementing cultural education within informal educational systems. Focusing on the learning practices of new immigrants regarding Hakka culture, this study centers on the Immigrant Center for Learning in Taoyuan City. Through participant observation of the implementation of Hakka cultural courses, it examines how these subject-centered programs transmit cultural knowledge through daily dialogue, music, cuisine, and handicrafts. Furthermore, semi-structured in-depth interviews were conducted to gather the experiences and perspectives of the center’s staff, the new immigrant learners, and the instructors. The findings reveal that while the Immigrant Center for Learning is constrained by institutional regulations that limit its ability to tailor programs entirely to individual needs, the center′s government-affiliated status encourages higher participation among new immigrants and their families. Although the immediate effectiveness of Hakka cultural courses remains limited, they undeniably facilitate new immigrants′ engagement with Hakka culture. However, the study emphasizes that pedagogical methods and content must be designed from the perspective of the immigrants, fostering a space for intercultural dialogue. Failure to do so may result in courses lapsing into stereotypes or mere entertainment, which hinders ethnic interaction and the transmission of cultural knowledge. Through the practice of these courses, the intercultural identity of new immigrants undergoes a process of cultural contact and interaction, integrating with their native cultures to gradually shape a distinct New Immigrant identity. While policy and curriculum planning often prioritize utility, it is essential to recognize that cultural identity is a gradual construct; higher levels of participation and investment lead to stronger identity formation. Consequently, it is necessary to implement progressive and iterative adjustments to Hakka cultural courses based on social realities and the needs of new immigrants. Multi-party cooperation and cultural empathy will significantly enhance the implementation of such cultural programs.

深陷、理解、脫離「苦難」：女性社運工作者的族群認同與性別角色;Immersed in, understanding, and escaping "suffering": Ethnic identity and gender roles of female social activists

title: 深陷、理解、脫離「苦難」：女性社運工作者的族群認同與性別角色;Immersed in, understanding, and escaping "suffering": Ethnic identity and gender roles of female social activists abstract: 「Tâi-oân-lâng第一戇，種甘蔗予會社磅；Tâi-oân-lâng第二戇，替人選舉做運動」這句話道出了臺灣社運份子的處境——就是很戇。而女性社運份子在社會的現場又更加艱辛。我是一位受2014年三一八運動啟蒙，自此不斷參與社會運動、社會議題倡議的女性社運工作者。多年的抗爭經驗讓我意識到女性的身分為我們參與社會議題帶來一些需要跨越的障礙，不只是作為倡議者、陳抗者面對掌權者時進行抵抗，更要在抗爭過程中抵禦來自更龐大的父權結構對女性的壓迫。這十年來每隔一段時間就會重新體驗「原來作為女性參與社會議題依然是一件非常、非常不舒服的事」的感受。我發現身邊有一群跟我一樣出現在社會運動場合中的女性。我們有著一樣的女性身體、有著一樣不舒服的感覺。透過看見朋友們明明有著這些不舒服，卻還是堅持留在、出現在各式各樣的社會運動場合中，我反思著自己是不是也是這樣？是不是明明有著這些不適、不愉快的感覺，卻依然堅持要留在這裡或是堅持持續行動？這些疑問引發了我想要以「女性社運工作者」作為研究對象的動機，並且以「族群認同」以及「性別角色」作為研究的重點。本論文的六位研究對象是各自在臺灣公共領域以不同方式進行倡議、爭取平權的女性社運工作者，分別擁有中國澳門與Tâi-oân、客家與Tâi-oân、客家與外省、原民與客家的複雜族群背景，期望藉他們活生生的身體，從生命經驗談起，探討這些女性如何建構自己的認同、何以現身於街頭、以及如何成為現在的模樣。;" Tâi-oân-lâng第一戇，種甘蔗予會社磅；Tâi-oân-lâng第二戇，替人選舉做運動" This Taiwanese proverb highlights the unfortunate reality that Taiwanese social activists are treated as fools. In particular, female social activists are confront amplified challenges within the public domain. Inspired by the 2014 Sunflower Movement, I have persisted as a female social activist, maintaining sustained and profound involvement in social movements and advocacy on social issues thereafter. My journey has led me to recognize other women in social movement spaces who navigate these shared experiences and discomforts. By acknowledging the collective validation of our shared struggles, we can cultivate a supportive environment that sustains our continued presence and action within these movements. Extensive experience in protests has illuminated how women′s identities create barriers to engagement in social issues. Advocacy and protest thus demand resistance not only against authorities but also against the persistent patriarchal oppression embedded in the protest dynamics themselves. Throughout the past decade, I have repeatedly encountered the serious discomfort encapsulated in the observation that participating in social issues as a woman remains extremely uneasy. I have found a group of women around me who appear in social movement settings just like me, sharing the same female bodies and the same uncomfortable feelings. By seeing that my friends clearly have these discomforts, but still insist on staying and appearing in various social movement settings, I reflect on whether I am also like this. Is it that I clearly have these uncomfortable and unpleasant feelings, but still insist on staying here, or insist on continuing to act? These questions have motivated me to focus my research on “female social activists”, with a particular focus on “ethnic identity” and “gender roles”. The six research subjects of this thesis are female social activists who are engaged in advocacy and fight for equality in different ways in the Taiwanese public domain. They have complex ethnic backgrounds of Chinese Macau and Tâi-oân, Hakka and Tâi-oân, Hakka and Mainlander, and Indigenous and Hakka. This research endeavors to explore, through their embodied life experiences, how these women construct their identities, the motivations propelling their presence on the streets, and the processes that have shaped their current identities.

當代節慶活動文化迴路的分析：以桃園仙草花節為例

title: 當代節慶活動文化迴路的分析：以桃園仙草花節為例 abstract: 相較於多數量化研究取徑傾向以靜態觀點將節慶活動視為一項產品，本研究運用質化研究取徑，並援引du Gay等人（1997）所提出的「文化迴路」理論作為分析架構。該理論包括再現（representation）、生產（production）、中介（identity）、消費（consumption）、規範（regulation）五個文化過程，這五個環節彼此間相互循環作用的動態過程，更能完善地解釋一個節慶活動得以成功運作成現今樣貌的緣由。本研究以「桃園仙草花節」為個案，運用深度訪談法、參與觀察法與內容分析法等質化方法，旨在探討當代節慶活動籌辦過程中所涉入的關鍵行動者（生產者、中介者、消費者）如何對節慶活動進行建構與意義賦予，致使一個節慶活動得以成功運作，並系統性地探討節慶活動中五個文化過程，包括規範、生產、中介、再現、消費環節之間的動態運作機制，以及各環節如何與其他環節產生互動與影響。本研究發現：一、在兩個不同階段（2020年至2022年、2023年）的桃園仙草花節中，不同執政者對於活動的重視度與形式有所改變，致使桃園仙草花節的活動名稱與內容有所轉變。在2020年至2022年的執政者為桃園市鄭文燦前市長，桃園仙草花節的主題以「時尚農業」為主軸，強調一大片紫色仙草花海與透空式結構的裝置藝術所構成的「美景」。然而，由於桃園市政府的執政團隊歷經政黨輪替，2023年改由現任的張善政市長為執政者，桃園仙草嘉年華的主題以「童趣」為主軸，設定「親子」為目標客群，強調樂園式的「歡樂」氛圍。2023年的市政府執政團隊將活動名稱變更為桃園仙草嘉年華，希望能藉此賦予仙草更多元的價值，而非僅限於賞花性質。二、文化迴路中的不同環節間的每一個環節都會相互影響，在桃園仙草花節中，又以規範環節具有最大的影響力，因為桃園市政府農業局根據生產端要求所制定補充投標須知的相關規範，引導著各環節的運作方式。三、在桃園仙草花節的籌辦過程中，公關公司作為文化中介者，不僅有涉及主要的視覺設計與行銷的層面，他們還有涉及很多節慶活動的生產層面。四、消費者在實地前往桃園仙草花節以前，已對文化中介者在Facebook粉絲專頁所發布的照片進行觀光凝視，進而對桃園仙草花節產生了美好的想像，並促使消費者前往朝聖，以獲取愉快感。綜上所述，節慶活動之所以能夠成功運作並展現出現今的樣貌，必須仰賴關鍵行動者（生產者、中介者、消費者）在各個環節中的涉入與協商，並對節慶活動進行建構與意義賦予，進而促成文化迴路機制的動態運作。;Contrasting with quantitative approaches that view festivals as static perspectives, this research adopts a qualitative methodology and applies du Gay et al.’s (1997) “circuit of culture” framework as the analytical foundation. The framework includes five interrelated cultural processes—representation, production, identity, consumption, and regulation—that dynamically interact in a cyclical manner, providing a more comprehensive explanation of how a festival is successfully constructed and operates in its contemporary form. Based on the case study of “Taoyuan Mesona Flower Festival,” this research applies in-depth interviews, participant observation, and content analysis to examine how key actors—producers, cultural intermediaries, and consumers—involve in constructing and interpreting the festival. It further examines the systemic functioning of the five cultural processes within the festival, highlighting the dynamic mechanisms through which each element interacts with and influences the others. The findings of this research are fourfold. First, across two distinct phases (2020–2022 and 2023), the Taoyuan Mesona Flower Festival underwent notable transformations in both form and emphasis due to shifts in political leadership. Under former mayor Cheng Wen-tsan (2020–2022), the festival foregrounded “fashionable agriculture,” emphasizing the visual spectacle of expansive purple herb fields and translucent installation art. In 2023, following a change in municipal leadership to Mayor Chang San-cheng, the festival was rebranded as the “Taoyuan Mesona Carnival,” adopting the theme of “childlike fun” and targeting families, with the intent to reframe the event beyond mere flower appreciation by creating a theme-park-like atmosphere. Second, while all five dimensions of the cultural circuit mutually influence one another, regulation emerged as the most decisive factor in shaping the festival. The Taoyuan City Government’s Agriculture Bureau, through supplementary tendering guidelines, effectively directed the practices of other dimensions by codifying the requirements raised by producers. Third, the role of the public relations company, Wen Chuang Ji Yan Co., Ltd., as a cultural intermediary extended beyond visual design and marketing: it also played a substantial role in the production dimension of the festival. Fourth, consumers engaged in a “tourist gaze” toward the images disseminated by cultural intermediaries on the festival’s official Facebook page even before physically attending the event, thereby generating an idealized imagination of the festival that motivated pilgrimage-like visitation and the pursuit of pleasurable experiences. In conclusion, the successful operation and contemporary form of the festival rely on the active involvement of key actors across the circuit of culture. Their engagement in constructing and interpreting processes enables the dynamic functioning of the circuit of culture.