Dissertations / Theses on the topic 'Fu jing'

碩士
臺北巿立體育學院
運動教育研究所
97
“Jing” Experience of the Basic Kong Fu Practice Process in the Traditional Arts Graduate Student：Chang,Yu-Tz Advisor：Yang, Jong-Her Ed.D. Co-Advisor：Kao, Li-Chuan Ed.D. Abstract Beijing opera is one of our nation’s traditional opera arts, and it infuses the characteristics from each localized opera to form into a composite art form rich in contents. The history of Beijing opera evolved through quite sometime, and the talent cultivation for Beijing opera had to undergo a long period of time prior fruition. Therefore, under the bright and colorful stage lighting, sweet and bitter experiences in the background were also accumulated from a long-term perspective with solid basic skill-trainings. Subjects under study were six students in high school division of the college of performing arts. From the interviewee’s point of view, and through in-depth interview technique, this study described their skill-practicing experiences and the professional performing arts cultivation processes for the years they spent in majoring Beijing opera. The names of the research subjects were: Mao-Go, Tai-Kai, A-Ti, A-Chia and A-Ru, a total of six: Three males and three females. Research information source came from six-month collection of each interviewing contents, like three formal interviews and many e-mail communications. Major credibility was maintained by adopting contents including: The stance for researcher during writing, impression of long-term commitment, inspection and examination for the interviews and narrations for course of the research, etc. This thesis embraced the narration analysis approach. In addition, it integrated the rich and long-term performing experiences from the author himself to exhibit the skill-practicing processes and experiences in cultivating the role playing in Beijing opera. From the interviewee’s performances, many different versions of life story could be witnessed. And it was just like witnessing the author’s self-transmutation as well as the growth of Beijing opera. In addition, it made us aware further more and different profiles from the “within”, as well as its relating significances. It also promoted and expanded this traditional opera with unique characteristics, and allowed Beijing opera prosper and be well-known with sustainable heritage being passed along generation after generation. The following three items can summarize the significances of this research: 1. Beijing opera can exhibit the performance in values and educational significances in cultural and artistic techniques 2. From the process of cultivating Beijing opera talents, it can enhance the emotional cohesiveness between schools, families and peers among students. 3. It can provide low-income families and restless learners with diversified development opportunities. Keywords: Beijing opera, basic skill, traditional opera, skill-practicing experience, skill-practicing process

碩士
開南大學
觀光運輸學院碩士在職專班
106
This study explored Jing Fu Temple in Taoyuan, Taiwan, as a case study. It sought to examine the reutilization effort of this private historical site and ensuing stages of cultural tourism with an ideal to lay bare its values as a cultural asset and call for attention to our own distant history. In fact, history of Jing Fu Temple can be taken as much as the developmental history of Taoyuan District. From the perspective of city history ever since Qing Dynasty, Jing Fu Temple represented a typical case of urban development that started all activities from a temple. To put it otherwise, Jing FuTemple which is conscrating Founder of Zhangzhou with its track in history has witnessed the evolution of Taoyuan District in terms of its contemporary development. It is also a healthy assumption that city dwellers in Taoyuan, with their better understanding of the past of this historic site from its very beginning, will contribute solidarity of the community in the District. Methodologically, semi-structured interviews were taken and observation methods were used for data collection, which were cross-checked through further documentary analysis. Subsequent conclusions were made as follows: 1. Jing Fu Temple vividly stood for a focal point of local belief—a symbol of collective memory among the locals. 2. The historical site of Jing Fu Temple is entitled to be the pool of collective memory of the urban Taoyuan. 3. Attention should be also given to the architectural beauty of the Jing Fu Temple and traditional performing arts exhibited by Jyun-Tian-She, one of its attachments, for both of which proved important cultural assets worthy of preservation and endorsement.

碩士
中國醫藥大學
中國醫學研究所
93
This study focused on the concept of Zan-fu in Nan-jing, including contents of the 30th to 61st, the 8th and the 66th Issues of Difficulties. Research of the origin and interpretation of the meaning of Chinese characters were the main foci of this study. The sequence of the above issues was rearranged for the topic-oriented discussion of this study. The research of the origin of characters was based on Etymology books and Chinese classics, dating back to the Shuowen Lexicon (by Xu Shen) in the Han Dynasty, as well as Oracle Bone Inscription, Pre-Qin Bronze Inscription, and Cloth Inscription. For the past five decades, studies on Nan-jing have been going in diverse directions. However, no study has been found with its foci on the research of the origin of characters, or the interpretation of its meanings. This study provided a new perspective on studying the classics, facilitating a deeper understanding of the concept of Zan-fu in Nan-jing by investigating the shape, the sound, and the meaning of the Chinese characters. Results showed that a new interpretation was found for the correspondence between “observation, smelling and listening, asking, and pulse measuring” and “swift, keen, thorough, and skillful”. In addition, the philosophical perspective of the concept of Zan-fu was proven to exist. We not only found a correspondence between the concept and the characters, but also discovered that characters actually facilitated the clarification of concepts. Thus, we believed that focusing on the characters provides an alternative way in the study of traditional Chinese medical classics.

碩士
國立中央大學
歷史研究所碩士在職專班
97
The Han people have a religious custom of worshiping ancestors and supernatural beings, and this is a custom interweaved by the life networks among people. The organization of this religious custom is not simply formed by a group of religious purposes, but by the matrix of inherent life organizations, such as family, clan, and regional society. Therefore, the fusion of folk customs with religions can be found frequently in social life, such as in food, clothing, housing, transport and occasions like weddings, funerals, problem solving, the removal of misfortunes, exorcism, disease healing, clan unity, and local cultural development. In the exploration history of Taiwan, the immigrants took adventures and sailed across the sea to come to Taiwan. To seek consolation, they constructed a new land in the mode of their “original hometown” in Taiwan. The Jing Fu Temple in Taoyuan is an example. The immigrants from Zhangzhou built the Jing Fu Temple when they immigrated to Taoyuan and tried hard to develop the uncultivated land. These pioneer immigrants established villages in Taoyuan area. These villages had sears of immigrant society and preserved the original cultural state of their hometowns at the same time. The immigrant brought their life customs and religious beliefs of their hometowns to Taiwan; hence the culture in every place in Taiwan is quite diversified and the local diversified culture can be revealed by local temples. The Jing Fu Temple in Taoyuan is not only the spiritual consolation of Zhangzhou immigrants, but also further transformed into a place where immigrants work hard and become united. In the life of Han immigrants, almost every activity such as public security, industry performance, traffic, education, sodality, and entertainment is promoted by temples. It can be concluded that the history of a temple is the miniature of the history of Taiwan. In the end of early exploration, the agricultural development continued to progress and the social structure and social stratum gradually evolved. Each kind of life activity gradually prospered, and the Taoyuan area evolved to streets and roads and eventually further expanded to a big city. The Jing Fu Temple in Taoyuan was founded in the center of Hu-mao Village. After Taoyuan evolved into a bigger city, the Jing Fu Temple further became the local business center, and the stream of people brought by believers and visitors made the streets, business, and traffic here more prosperous. The Gods worshipped in Jing Fu Temple tend to be figures who had contributions to their hometowns and were the embodiment of justice. The cultural relics, such as wood carving, stone carving, painted sculptures, and wall-paintings are all related to the historical stories or fictions of loyalty, filial piety, moral integrity, and justice, which are not only for appreciation but also imply the meaning of cultivating morality. This is also the representation of popularization of cultural spirit in our country, and is a kind of invisible contribution that a temple makes to social education. In addition, a temple is a good place for village residents to spend to leisure time. On every birthday of developer of Zhangzhou or during the Taoist Chiao-making activity, there would be a bustling temple fair. And a theater would be built up around for people to redeem their vows. The plays performed are the stories of educational meanings or of loyalty, filial piety, moral integrity, and justice. The temple activity truly combines entertainment with education. The temple provides the public with a leisure place of entertainment, which enables the public and visitors to experience the invisible education and cultivation when they watch the plays or play in the temple activity. Furthermore, the Jing Fu Temple is also devoted to the promotion of local charities such as helping the poor, taking care of the elder and assisting local development, which makes it a good model for the local and edifies the local students and children. In brief, the Jing Fu Temple is a temple of religious, educational, entertaining, and leisure functions. With the gradual increase in population, the temple has gradually expanded. The local elites have elaborated their talents through concretely supporting the activities of the temple, and improved their reputation and status by participating in the construction and constructing the regional society. As a result, the development and expansion of a temple is closely related to the assistance of local elites. These local elites can improve the local social status and reputation of themselves or their family through participating in activities in the temple and spreading the belief of Jing Fu Temple to the local. With these supports, Jing Fu Temple’s status as a local public temple among 15 villages in Taoyuan is also strengthened

碩士
國立臺北教育大學
台灣文化研究所
98
The ‘Hundred Oracles by Kuan-yin the Goddess’ is one of the most commonly used oracle systems in Taiwan. This paper centers around the topic of the ‘Hundred Oracles by Kuan-yin the Goddess’ and discusses the common oracle systems adopted in temples in Taiwan. A case study was conducted for this research using historic temples in northern Taiwan and the 14 Kai Chang Shen Wang temples in Tao-yuan as research samples. The paper discusses the relationship between the main Gods worshipped at these temples and their respective oracle systems; at the same time it examines the relationship between oracle interpreters and people who seek oracles. The paper is divided into six chapters. Chapter One includes the research motivation, research objectives, literature review and research methodologies; Chapter Two discusses the relationship between the main Gods worshipped and the temple’s oracle systems, and analyzes whether the respective oracle systems were developed with God’s attributes, human attributes, or area attributes. Chapter Three introduces the backgrounds of Tao-yuan Jing Fu Temple and the oracle interpreters there; it presents a narration of the history of the Tao-yuan area, the development of the area’s religious beliefs, Jing Fu Temple’s history, the Gods worshipped in the various sections of the temple, and the ancient inscribed boards and couplets displayed in the temples. This chapter also discusses the backgrounds of the oracle interpreters and their personality traits. Following, Chapter Four analyzes the oracles at Jing Fu Temple by examining their contents and how they have evolved. Based on this, a detail discussion is provided on the structure of the oracle verses, the meaning of the verses, the number order of the oracles, the interpretation and meaning of the oracles, their symbolic connotations and unique characteristics of the style of language used. Finally, Chapter Five discusses the oracle request and interpretation culture, examines the methods used for requesting oracles and the three main systems of oracle interpretation. The detailed process, principles and taboos of oracle interpretation are presented in this chapter, and it concludes by analyzing the behavior of oracle interpretation and the guidance-provision nature of such custom.

碩士
國立中央大學
中國文學系碩士在職專班
99
There were songs, there were music, there were dances, and there came literature. For the Chinese, a music-loving people, they created a unique style of literature --- Music-Fu where songs, music, and dances were met. This research undertook a literature review to explore the six selected articles of Music-Fu in “Wenxuan”, and of Han, Wei-Jin and Six Dynasties from three aspects, including the cultural development of music and dance, the modes of expression in the literature, and its connotations of thoughts and beliefs. In the introductory chapter, the motivations and objectives of this study are described and followed by analyzing and summing up the results of previous studies, briefly discussing the definitions of Music-Fu, its classifications and scope, and finally identifying the research methods and procedures applied in the study. The second chapter investigates the development of music and dance for the period of starting from pre-Qin to Six Dynasty. Beginning with the discussion of the origins of the music, the study approaches them with the political, economic, religious, and cultural perspectives to indicate the contexts and evolutions of music and dance from the ancient times to pre-Qin, Two Han, Wei-Jin and Six Dynasties, and to introduce the types and distinguishing features of music and dance. The modes of expression in literature of Music-Fu are examined in the third chapter to explore the origins of Fu Style, the development of Han Fu, the evolutions of Ci-Fu in Wei-Jin and Six Dynasties, explaining the formulas of authoring and the artistic techniques of Music-Fu. Chapter four explores the connotations of thoughts and beliefs of Music-Fu and expounds the musical thoughts of the Confucian school, Taoism, and the scholars of Wei-Jin, including the origins and ontologies of Music Theory, the educational functions of music, the distinction between ceremonial music and secular music, and the ideal aesthetic state of music. The fifth chapter, “Conclusion”, summarizes the arts and inner thoughts of Music-Fu, confirms its literary achievements and values, and looks into the future research trends in the related areas.

碩士
國立臺南大學
國語文學系碩士班
99
Utensil Fu originated from Pre Qin Dynasty, and popularized in Two Han Dynasty. Until Wei-Jin Dynasty, it had not only inherited with subjects and styles used in Han Fu, but also created a variety of different subjects. This expands range and also helps develop unique styles for Utensil Fu writings. In addition, many writings with same subject or same tone are created by a group of scholars. With interactions amongst scholars, Utensil Fu creations had reached its peak achievement. For Fu scholars in Wei-Jin Dynasty were influenced by political and social atmosphere and their own interpretations for utensils, they had somehow referred to those relevant thoughts in their writings. In those Utensil Fu writings, they had contained these scholars’ thoughts and feelings through utensils within. Except for manifesting Fu scholars’ ambitions in order for them to expressing their feelings to beauty, it also helps them demonstrate their own talents. In order for art accomplishments in Fu writings, Fu scholars had attentively constructed writings’ structure and selected use of terms and also had made their best attempts and efforts in describing utensils’ appearances and functions to visualize images of these utensils. Therefore, Utensil Fu in Wei-Jin Dynasty had made a splendid milestone in literature history and also had reserved precious cultural assets for later generations.

博士
國立成功大學
中國文學系碩博士班
97
The Wei-Jin Music Theory and Music-Fu were chosen as the objects of the study. The thesis aims to discuss music aesthetic and engages in three major tasks as follows: First, attempt at proving music aesthetic in Wei-Jin is different from the former study results indicating the music aesthetic demonstrated only one realm and pattern. The article hopes to find music appreciation beyond the realm with the citation of Music-Fu materials. Second, the Wei-Jin Music Theory and Music-Fu necessarily demonstrate distinct music aesthetic consciousness. How do these two be expressed? What concepts do they inherit? What different aesthetics do both present? Third, under the circumstance of different expression of the Wei-Jin Music Theory and Music-Fu, how to express the epochal character of the Wei-Jin music aesthetic? The thesis is divided into five chapters as follows: The first chapter “Introduction” explains the reasons to discuss the Wei-Jin “Music Theory” and “Music-Fu” at the same time, briefly describes the development of the “music” concept before and in Wei-Jin, and summarizes the background of the transformation of the Wei-Jin music to understand the Wei-Jin “Music Theory” and “Music-Fu” first. The article then describes the results of former studies on Wei-Jin music and, based on the results, illustrates which part of the Wei-Jin Music Theory and Music-Fu can be researched further as well as the purpose of the study. The second chapter is “the Music Aesthetic Experience to the Wei-Jin Music Theory and Music-Fu” starting from aesthetic experience through emotional and surpassing perspective to comprehend the music aesthetic experience to the Wei-Jin Music Theory and Music-Fu. This chapter is separated into two sections: The first section is “the Music Aesthetic Experience of the Wei-Jin Music Theory Helping the Return of Human” through analysis on the music aesthetic standard of the Wei-Jin Music Theory to involve in the music aesthetic experience presented in the Wei-Jin Music Theory. Ruan Ji's “Music Theory” integrated the Confucian musical pedagogy and the natural concept of Taoist to begin the music aesthetic experience; Ji-Kang’s “Sound without Sadness and Happiness” quoted Zhuang Zi’s thought “The Pipe of Heaven” to complete music aesthetic appreciation. Ruan Ji and Ji-Kang pursued the return of the natural humanity regarding the experience of music aesthetic. The second section is “the Ganxing-Style Music Aesthetic Experience of the Wei-Jin Music-Fu”. Through the composition pattern of Wei-Jin Music-Fu – structural pattern and the use of metaphor and citation, we realize the music aesthetic experience of the Wei-Jin Music-Fu is Ganxing. Concerning its structural pattern, Music-Fu, from the view of appreciation, represents the spirit of mythology and colors of celestials; the former succeeded to “Chu-Ci” and the latter was influenced by the stream of thought on celestials. The rhetoric of metaphor and citation displays two aesthetics including historical accumulation and individual intuitive. The people in the Wei-Jin Dynasty through these two aesthetics reached the conception of integrating spirit and music. The third chapter is “the Music Aesthetic Ideals of the Wei-Jin Music Theory and Music-Fu” which begins from personality ideals and social ideals to investigate the deep connotation of the ideal music aesthetic for the Wei-Jin Music Theory and Music-Fu. There are two sections in this chapter: The first section is “the Desired End for the Music Aesthetic Ideal of the Wei-Jin Music Theory Is ‘Harmony’”. “Music”, “rite” and “harmony” are the focus of this section to find out the change of the relationship between rite and music in the Wei-Jin Dynasty as well as the epochal character of the Wei-Jin music aesthetic ideal highlighted by such change. The aesthetic ideal that Ruan Ji and Ji-Kang sought is not the beauty of “human harmony” presented by “rite and music” anymore, but the beauty of “harmony of heaven” with the combination of human, music and heaven which aims to the practice of realm of the subject resulting from the concept of Zhuang Zi's Qi-hua (Qi transformation). The second section is “The Discussion of Space and Personality Regarding the Music Aesthetic Ideals of the Wei-Jin Music-Fu”. The ideal of the Wei-Jin “Music-Fu” for music aesthetic, by the philological technique, created a not real “pure field”, built a spiritual fortress of self-exile, and reestablished a natural nature and free utopia. In addition, the appreciation of form and spirit of instruments was associated with the Wei-Jin’s pursuit of personality beauty leading to the empathic possibility of music and human and building the aesthetic telepathy of isomorphism between music and human. Thus, the construction of ideal space and personality ideals in Music-Fu illustrated the desire of the Wei-Jin people to enter a utopia via music. The fourth chapter is “Discussion on the Music Aesthetic Tendency of the Wei-Jin Music Theory and Music-Fu from the Literary Style Characteristics and Comparative Perspective” divided into three sections: The first section is “the Music Aesthetic Pattern Demonstrated by the Literary Style Characteristics of the Wei-Jin Music Theory”. The Literary Style Characteristics of the Wei-Jin Music Theory include impractical discussion, metaphysics and metaphysical discourse. When the Wei-Jin Music Theory was represented in the form of metaphysical discourse, the Theory necessarily contained the metaphysical concept and combined metaphysics with music aesthetic, under the condition that metaphysics has connection with aesthetic, to demonstrate different aesthetic tendency from the Music-Fu and past aesthetic viewpoints – first, the moderate, elegant and natural beauty; second, the infinite and noiseless beauty that breaks the limit. The second section is “the Music Aesthetic Pattern Demonstrated by the Literary Style Characteristics of the Wei-Jin Music-Fu”. The Wei-Jin Music-Fu features “Fu” style displaying two music aesthetic tendencies: one is the beauty of “Le (happiness)” under the beauty of “sadness”; the other is the beauty of “pure” under the beauty of “grace”. These two aesthetic tendencies are a contradictory combination, really natural in the eyes of the Wei-Jin people, demonstrating the epochal character. The third section is “Analysis of the Music Aesthetic displayed in the Wei-Jin Music Theory and Music-Fu from the Comparative Perspective”. This section concludes the difference between the Music Theory and the Music-Fu is happiness and sadness, and grace and prettiness. “Nature” and “harmony” are the beauty both Music Theory and Music-Fu agree. The fifth chapter is a conclusion summarizing the discussion in this thesis. The music aesthetic in Wei-Jin is different from what scholars have discussed that only demonstrates one realm and pattern. In terms of the Wei-Jin Music-Fu, the music aesthetic of the then people is of abundant emotion, great imagination and diversified. The Wei-Jin “Music Theory” and “Music-Fu” indeed show different aesthetics; one begins from sense, the other from sensibility. Due to different aesthetic objects, one is “ceremonial music” and the other is “secular music” which reinforces the aesthetic difference. Moreover, both inherit different concepts – “Music Theory” from “Zhuang Zi” and “Music-Fu” from “Chu-Ci” – lead to the difference in music aesthetic.

This paper focuses on comparison of two memoirs from different periods of Chinese history: Shěn Fù's Six Chapters of a Floating Life (turn of 18th and 19th century) and Yáng Jiàng's Six Chapters from a Cadre School (first published in 1981). Both memoirs are joined in intertextual relationship; Yáng Jiàng refers to Shěn Fù's text by both title and structure of her work, while Qián Zhōngshū, her well-known husband, presents in his preface Six Chapters of a Floating Life as a book he never liked. This paper examines message of these two memoirs by formal and thematic analysis of topics, genre characteristics and attitude toward life of both authors.

碩士
國立臺南藝術大學
藝術史學系藝術史與藝術評論碩士班
101
This thesis focused on the male body artworks of the artists Shiy De-jinn and Ku Fu-sheng as subjects, and tried to observe the meaning of the male body in contemporary art in Taiwan, discussing both of their thought processes. The artworks of Shiy De-jinn and Ku Fu-sheng both used the male body as their topic. Due to the influence of modern art, they both developed a unique and personal male body art. Shiy De-jinn came to Taiwan when he was young. Among a great deal of art at the time, his male body art showed a special style and character. Most of the models in his painting were young and beautiful males; it displayed a different thought of male portrait from heterosexuality. Ku Fu-sheng joined in The Fifth Month Art Group when he was young. After he had his first Taiwan solo exhibition, he went abroad to Europe and America, and rarely came back. He made many male body artworks since his early stages. His drawings mostly used symbolical headless and sporting male body images to show the conflict between himself and nation.

碩士
國立高雄應用科技大學
文化創意產業系
105
To be in line with the enforcement of The Museum Act, Ministry of Culture launched “the Development Projects for Museums and Local Cultural Museums” in 2016 in order to rethink the positioning and development of local cultural museums by providing guidance separately for them. The subproject named “the Integrated and Collaborative Platform” is the main development policy for local cultural museums. The main difference between this subproject and the earlier projects is that, it proposes to build a collaborative team with partnership between museums, the cultural industry, local residents and the local government. It is therefore, the main goal of this research is to discuss the future role and direction of local cultural museums and effective strategies to build partnership under the new policy environment. This research uses case study as the research method. To analyze the development of Fu-Jin Railway Museum in Shetou Township of Changhua County, the policies of local cultural museums and relevant researches are reviewed as the basis of its discussion. Furthermore, a field survey on the daily operation of Fu-Jin Railway Museum and semi-structure interviews with museum staff, local residents and scholars are conducted to gain in depth insight on the subject matter. The results of this study show that local cultural museums need to have a clear operation philosophy and build its operation on the foundation of “structure” and “flexibility” in order to create an environment with access to the culture and culture equity for visitors and local residents. For building a collaborative team, whether initiated by individuals or organizations, “coordination” has to be the starting point for partnership with locals. A successful partnership has to be built on the understanding and mutual trust between each partners in order to achieve its final goal, “collaboration.” The competent authorities of county (city) government for local cultural museums have to position themselves as an intermediary, the communication bridge between the central policies and local cultural museums, without letting the policies and their performance metrics hinder the development of the local cultural industry. Finally, in order to reduce the influence of personal interests and power struggles between individuals and local factions, local cultural museums and collaborative teams need an intermediary that is independent from the museums and participants in the industry. The main function of an intermediary is to set a common goal and direction for development and to manage and allocate government subsidies. By doing so, local resources can be integrated smoothly, collaboration can be built successfully, collaborative projects can be implemented accordingly and the cultural industry, governmental agencies, academic community and local community can work closely and sustainably together.

碩士
國立臺灣大學
中國文學研究所
93
In the Wei and Jin Dynasties, the disasters of wars came in a continuous succession. Many literati sought to capture the lifestyle living and some wrote their ideas down in Fu賦 at this time. From “Rhapsody on the Idle Life” (Xian ju fu閒居賦) of Cao Zhi曹植(192-232) in Han and Wei Periods漢魏時期, Xian ju fu閑居賦 of Pan Yue潘岳(247-300) in Western Jin西晉, and Xian ju fu閑居賦 of Yu Chan庾闡(294?-347?) in Eastern Jin東晉, there was a series of works of literature with the theme of living (Ju-zhi 居止). In this master’s thesis, the author analyzes three pieces of Xian ju fu in the following ways: First, the author describes the research method and brief outline. Second, as the basis of the research groundwork, the meanings of Ju-zhi in Ancient China are discussed. Third, the author interprets the selected texts of Xian ju fu one by one. This shows Cao Zhi’s difficult position between coming in and going out, Pan Yue’s central place, and Yu Chan’s mobile super-natural place. Last, the author provides a comprehensive discussion on the intextural relation in the texts, the spring scene, the living including the travelling, and the experience of place among above texts. In conclusion, the author distinguishes Xian ju from Jing ju靜居and Yin ju隱居. These three kinds of living styles in Xian ju fu are also described in the sixth chapter. Furthermore, the appearance of Xian ju written by literati in the Wei and Jin Dynasties will be re-valued.

博士
國立臺北教育大學
教育經營與管理學系
102
This study aimed to compare and the current state of media literacy among German and Taiwan junior high school students, to explore how to enhance media literacy approach, and thus to promote media literacy policy reference. This research paper examines the method adopted on Taiwan and Germany about the history of media literacy staging Origin, the media policy and supporting education, media education in Taiwan and Germany, curriculum, teaching and teacher training, Taiwan Fu camp States and Germany Unterrieden comparison and analysis of secondary schools to promote media education methods for documents. Then based on the results of the analysis of literature and documents, prepare a questionnaire, Taiwan Fu camp States and Germany Unterrieden school students, and received 85 copies of valid questionnaires, questionnaire using mean, standard deviation, t-test and other statistical methods for data analysis and statistics. Then a semi-structured interview guide, purposive sampling Taiwan Fu camp States and Germany, Unterrieden secondary school teachers were interviewed in order to be able to understand the possible efforts to increase media literacy. Finally, based on document analysis, analysis of the results of questionnaires and interviews, the main findings combined with literature data are summarized and the comprehensive discussions and conclusions are as follows: I.The historical context of the media education development among Taiwan and German 1.Media Education in Taiwan late and has been stagnant, the origin of the early German media education is still evolving. 2. Media literacy education in Taiwan and Germany are the official documents of official attention, but more grounded in the German states promoting media literacy education experience. 3.German media education to be bound by the impact of EU policies in Taiwan are more able to develop freely. II.Comparison of Taiwan and the German media education policy and supporting 1.To promote media education recruit a variety of different backgrounds to help. 2.Attach importance to the protection of physical and mental health of children and adolescents. 3.The German education system is different and Taiwan to promote different levels. 4.The German media educational goals more comprehensive, more oriented toward Taiwan to reflect the significance of the audience. 5.The German forward multi-media education issues in education, and Taiwan more parents and community issues. 6.The German media literacy as a key to Taiwan emphasize new media literacy. III.Comparison between Taiwan and Germany connotation of media literacy education 1.Taiwan and Germany, although the text in different media educational goals, but the actual content is probably similar. 2.Taiwan and Germany, the government has established a dedicated unit responsible for the promotion of media literacy, and often in the Act and funding to support it. 3.Taiwan and Germany have no independent primary and secondary media education curriculum emphasizes integrated into the curriculum. 4.Taiwan and Germany, primary and secondary schools have enough equipment available for teaching media can also be used outside resources for recent media education. 5.Once the German media education in teacher training content, Taiwan is not included in the content of the media education teacher training, and in-service teacher education is only limited to a small number of media seeds teachers. 6.Because the innovation of digital technology, the countries from the traditional media literacy knowledge, updated to fit the new media digital media literacy. IV.The status of media literacy comparing among Fujn junior high school students and Gymnasium Unterrieden students 1.Two school students prefer computer networks, television, mobile phones and other interactive multimedia use, and the use of reason and more biased entertainment. 2.The two schools students selected sequence of trust in media projects consistent with the use of media time. 3.Two schools students participated in a media event almost, and two schools students use media tools are very similar. 4.The two schools students think that while public television, but also can criticize the government's policy. 5.Two schools students can critically look at public television. 6.Students react to imitate behavior, Fujn junior high school students first report teacher or parent, while Germany Unterrieden students first seek the protection of the law. 7.Promote media education, Fujn junior high school use model mode, while Gymnasium Unterrieden use rooted patterns.

by Tong Kwok Wang.
Parallel title in Chinese characters.
Thesis (M.Phil.)--Chinese University of Hong Kong, 1990.
Bibliography: leaves 71-74.
Acknowledgement
Abstract
Chapter 1. --- Introduction
Chapter 1.1 --- General Introduction --- p.1
Chapter 1.2 --- Properties --- p.5
Chapter 1.3 --- Background of this research --- p.10
Chapter 1.4 --- The Present Experiment --- p.11
Chapter 2. --- Theory
Chapter 2.1 --- Conduction Mechanism --- p.15
Chapter 2.2 --- Temperature Dependence of Thermal Conductivity --- p.16
Chapter 2.3 --- Phonon Conductivity and phonon mean free path --- p.20
Chapter 3. --- Experimental
Chapter 3.1 --- Thermal Diffusivity by Laser Photothermal Radiometry --- p.22
Chapter 3.2 --- Resistivity Measurement --- p.30
Chapter 3.3 --- Sample Preparation --- p.36
Chapter 3.4 --- Data Analysis --- p.37
Chapter 4. --- Results and Discussion
Chapter 4.1 --- Thermal Conductivity --- p.41
Chapter 4.2 --- Electronic Thermal Conductivity --- p.47
Chapter 4.3 --- Phonon Thermal Conductivity --- p.52
Chapter 4.4 --- Phonon Mean Free Path --- p.58
Chapter 5. --- Conclusion and Suggestions for Further Work --- p.68
References --- p.71
Appendixes --- p.75