ภาษาจีน : Chinese

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Architectural Structure of Chinese Three-Tiered Stage Pleasant Sound Pavilion
Petcharapiruch, Sasiporn; ศศิพร เพชราภิรัชต์ (2007)
In the outer perimeter of northeastern quadrant of the Forbidden City (now known as "the Old Palace" Gu Gong 故宮)is a palatial compound named the "Palace of Living Out My Years in Peace” (Ningshou Gong 寧壽宮),a place where the Qianlong Emperor 乾龍 (1736-1796) intended to celebrate his sixtieth birthday and to which he would be able to retire after abdication. Within the ample grounds of this palace, constructed around 1770, is situated a majestic “three-tiered stage" (chongtai sanceng 崇臺三層)(or the "linked performance stage” lian xitai 連戲臺)named the Pleasant Sound Pavilion (Changyin Ge 暢音闇). This innovative theater is the only extant three-tiered stage commissioned by the Qianlong Emperor. Its construction was begun on this three-tiered stage in the thirty-sixth year of his reign (1771) and finished in the forty-first year (1776). It was renovated later in 1802 and again in 1891. This court theater reflected the heyday of Chinese architecture during the Qianlong reign. It synthesizes an unusually-majestic exterior architecture and intricately-designed interior structure. The scope of this article will cover an analysis of exterior and interior architecture of the Pleasant Sound Pavilion Theater. My goal is to use this extant three-tiered stage as a way to understand theatrical architecture during the Qianlong reign.
Architectural Symbols of Chinese Three-Tiered Stage Pleasant Sound Pavilion
Petcharapiruch, Sasiporn; ศศิพร เพชราภิรัชต์ (2008)
The "three-tiered stage" or chóngtái sāncéng 崇臺三層 was an innovation of Chinese theatrical architecture during the Qianlong 乾隆 reign (1736-1796), a heyday of court theater in the Qing dynasty. The Qianlong emperor commissioned the construction of four such gigantic theaters, of which three are no longer extant. The only one still in existence is the three-tiered stage Pleasant Sound Pavilion (Chàngyīn Gé 暢音閣) in the Forbidden City. This three-tiered stage reflects an ingenuity of the Qing court theater. By focusing on this three-tiered stage, this study aims to use the only extant three-tiered stage Pleasant Sound Pavilion as a way to understand traditional Chinese architectural symbols embedded in its exterior structure and interior design.
Behind online Y counterculture: The role fansubbing groups and social actors play in driving online Y counterculture
Saejang, Jooyin; จูยิน แซ่จาง (2021)
In recent years, Y series and BL series have gained popularity in both Thailand and China, respectively. The Thai and Chinese offshoots of the same Japanese subculture constitute a counterculture as defined by Bennett (2014). When Y series have become subject to much more vigorous scrutiny due to their oftentimes problematic messages including their romanticisation of sexual abuse and fetishisation of homerotic relationships, the Thai Y fandom has instead gravitated towards Chinese BL content, which has earned more positive reception for the latter’s more nuanced portrayals of gay characters thanks, ironically, to China’s ban on queer representation on screen. In light of the burgeoning demand for Chinese BL, communities of Thai fansubbers – a portmanteau word made up of “fan” and “subtitling” – devoted to translating Chinese BL series gratis have surfaced. These fansubbing groups mostly operate on social media platforms which over the decade have been employed in the spirit of socio-political activism. Apart from Chinese Y series and Thai Y fans of Chinese Y series that have played a part in driving this Y counterculture, other social actors including Thai fansubbing groups, Thai Y audiovisual productions and their Chinese counterparts, Y novels, critical Y fans as well as Y publishing houses have also contributed instrumentally to spurring the Y counterculture on social media by stimulating public conversation about LGBTQ+ related issues that might subsequently effect social change.
Chinese Musical Activities: A Comparative Study in Chinese and Thai Cultural Contexts
Barton, Jintana T. (2007)
This research explores the influence of Chinese music as it is reflected in cultural activities in China and Thailand. In China, music has been used since long before the time of Confucius (551-479 BC) as a learning tool, and the Chinese who migrated into Southeast Asia and ultimately Thailand brought their music with them. In Thai society, Chinese music has been used in traditional ways. Although the music remains closer to what was brought with the immigrants, it has been adopted into Thai society in ways that go far beyond the original Chinese use. This research found that some Chinese musical activities have become ingrained into Thai culture and society such as Lion Dance group performances in the processions for the ceremonial candle (Tian Phansa), the Khan Mak procession, and the Songkran Festival procession. The Lion Dance group also has a photo of a famous Thai monk on the front of a big drum. We also found that the khim is the most popular Chinese musical instrument among Thai people. The khim has been an integral part of Thai classical music for more than one hundred years. Chinese music has become an important cultural integral of both Thai and Chinese cultures.
Cultural Preservation of Mahayana Buddhism Identity in the Dimension of Chinese Shrines : Case Studies of Muang Phuket District, Phuket Province
Krueaphat, Kittinan; De Jong, Pim; กิตตินันท์ เครือแพทย์; พิม เดอะ ยง (2018)
The research purposed to indicate the identity and cultural preservation of Mahayana Buddhism in Chinese Shrines in Muang Phuket District, Phuket Province. A qualitative approach was used to analyze the social phenomena of the study by using participant and non-participant observation, as well as an in-depth interview. The identity of Mahayana Buddhism in Chinese shrines repre-sented the Chinese ethnicity such as Chinese style deities, Chinese poem decoration, Chinese auspi-cious words, Chinese Buddhist doctrines, Chinese arts, and teaching of Chinese deities such as Kuan Im Bodhisattvas and Jigong Arahants. There were also various social activities aiming at the maintain-ing of Mahayana Buddhism as well as inheriting Chinese ethnicity such as praying Mahayana Buddhism Mantras (Songkeng), classes for teaching Mahayana Buddhist Mantras and prayers, rituals containing Mahayana Buddhist identities as well as annual traditions. Every social activity of the Chinese shrines was supported by bilateral govern-mental organization and private sectors represent-ing the social solidarity to Phuket Hokkien Culture inheritance.
Double Identity Representation of Chinese Shrines in Phuket Muang District
Chanasakun, Panuwat; พาณุวัชร ชนะสกุล (2017)
“Double Identity Representation of Chinese Shrines in Phuket District” has the main objectives o study the adaptations of Chinese culture in the context of Thai society through Chinese shrine in Muang Phuket District and to comprehend the phenomena of double identity which represent through Chinese shrine in Muang Phuket District. The in-depth interviews and Participant Observation of the Qualitative research methods were used in this study. The Chinese shrines are part of maintaining and expressing Chinese culture. Chinese shrines and Chinese-Thai were adopted with Thai culture and belief. This phenomenon is presented by the double identity form. Chinese Shrines are the expression of the Hybridity of culture and are a central of Chinese culture and double identity through the forms of art, religious activities and figures of god. Chinese shrines are involved with various organizations; both public and private sectors, and have a role to Thai society through the public benefit activities and social welfares. The double identity representation is development of a good relationship between Thai ethnic and Chinese cultural groups.
History of Nanfu 南府 and Jingshan 景山: Two Court Music Bureaus during the Qing Dynasty
Petcharapiruch, Sasiporn; ศศิพร เพชราภิรัชต์ (2009)
Nanfu 南府 (Southern Bureau) and Jingshan 景山 (Coal Hill) were two music bureaus that played a vital role in the production of gala performances in the Qing court theater. The history of these two court music bureaus could be traced back to the Ming dynasty. Later they were fully developed during the Kangxi 康熙 (1661- 1722) and Qianlong 乾隆 (1736-1796) reigns. These two music bureaus consisted of various schools, each in charge of different musical and performative aspects in the Qing court theater. Nanfu and Jingshan were not only a reflection of Qing emperors’ personal taste in opera performances, but were also essential for the celebration of festive occasions in the Qing court. The purpose of this article is to provide new insights on five aspects of Nanfu and Jingshan that helped shape their existence— establishments, developments, locations, timeline and organizations. Both court music bureaus functioned as the lens through which one can see a panoramic view of Qing court theater.
Marvel of the Three-Tiered Stage: the Pleasant Sound Pavillion
Petcharapiruch, Sasiporn; 郭, 咪咪; ศศิพร เพชราภิรัชต์ (2006)
The “three-tiered stage” chongtai sanceng 崇臺三層(or the “linked performance stage” lian xitai 連戲臺) was an innovation of Chinese theatrical architecture during the Qianlong reign (1736-1796), a heyday of court theater in the Qing dynasty. The Qianlong emperor commissioned the construction of four such gigantic theaters, of which three are no longer extant. The only one still in existence is the three-tiered stage the Pleasant Sound Pavilion (Changyin ge 暢音閣) in the Forbidden city. This three-tiered stage reflected an ingenuity of the Qing court theater. It synthesizes an unusually-majestic exterior architecture, intricately-designed interior decoration. The scope of this article will cover an introduction, a history, and an analysis of exterior and interior architecture of the three-tiered stage the Pleasant Sound Pavilion. My goal is to use this extant three-tiered stage as a way to understand traditional Chinese architecture and its ingenuity in the Qianlong reign.
Synthesis between Chinese and Western Theatricalities of the Three-tiered Stage Pleasant Sound Pavilion
Petcharapiruch, Sasiporn (2008)
The Chinese three-tiered stage Pleasant Sound Pavilion (Chàngyīn Gé 暢音閣) in the Forbidden City is the only ?three-tiered stage? chόngtái sāncéng 崇臺三層 (or the ?linked performance stage? lián xìtái 連戲臺) still in existence. It was an innovation of Chinese architecture that reflected the heyday of court theater during the reign of Qianlong (1736?96). This three-tiered stage mirrored the ingenuity of the Qing court theater. How a three-tiered stage like the Pleasant Sound Pavilion was brought to life is quite interesting. It was a synthesis of highly developed traditional Chinese architectural forms and innovations of Western theater, aided by advances in science in the Qing period. However, most importantly, it stemmed from the Emperor Qianlong?s personal passion for Chinese theater. My goal is to analyze the genesis of this extant three-tiered stage and use it as a way to understand traditional Chinese architecture and its ingenuity in the reign of Qianlong, as well as to comprehend characteristics of court theater during this era.
Teochew Opera: The Formation and Reviving Chinese Identity Under The Network of Thailand Community in the Aspect of Economic and Cultural Relations
Prasopsombat, Ladda (2018)
The Teochew opera in Thailand prospered in the reign of King Chulalongkorn. There were many theaters set up by Chinese and Thai people. Additionally, the opera schools were opened as cultural exchange between Thailand and China. There were many theaters, especially in Chinatown and on Charoen Krung Road. Teochew (Chaozhou) is the majority population of Chinese residents in Thailand. Bangkok, for a period of time, used to be the center of the development of Teochew opera. In the communist era under the command of major general Phiboonsongkram, he wanted to control Chinese people in Thailand by announcing the replacement of the clan name with the surname for national security. Major general Phiboonsongkram applies Thai-Nationalism also closed down more than 300 Chinese schools. It is considered to be the suppression of Chineseness as prominent in Thai society. After the end of World War II, the communist Chinese Red Army was at war with the Chinese government. The democratic president Chiang Kai-shek forced immigrants of Teochew Chinese opera performers including opera owners into Thailand in 1952-1962. During this time, the opera had 80 troupes reflecting the prosperity of The Teochew opera. Until 1966, opera theaters in Chinatown were dissolved. Presently, there are 12 troupes of Teochew opera in Thailand performing in the Chinese shrines. This study aims to revive the precious value of Chinese opera. Under such circumstances, the opera has to be modified to the dynamic of the society. The Teochew Opera is tied to belief, faith, religion, and shrines. Therefore, Teochew opera is considered the high-class art. According to the study, the major social networks for maintaining Chinese identity are the Association, the Shrines Network And the patronage of the wealthy Chines, has contributed to the identification of Chinese identity in the context of the crackdown that occurred during the Thai government’s nationalism policy. It also allows the Chinese identity to continue to exist. Especially in the performing of Chinese identity through the opera require cooperation and support of the Chinese community to organize the opera. The cooperation and support from business sections and public devotion to the sacred shrines. Thus, the cooperation and support of the Chinese community and the local businesses are very important to the performing of the opera. The purpose of Teochew opera are not only to entertain but also to demonstrate the linkage to the faith, roots of the Chinese people, and a network of community relationships (Guanxi) in the context of the economic, social and cultural relations. Teochew opera is part of the fundamental identity of the Chinese people and is bound by the network of relationships of Chinese communities.
Thai Chinese in Chiang Mai and Identity Construction through Cremation Volumes Published from 1957 to 2014
Kittitornsakul, Kittayut (2021)
From the study about Chinese People in Chiang Mai with Identity Construction through Cremation Books from 1957 to 2014, it is found that it was not popular for Chinese people in Chiang Mai to reveal their Chinese identity through the cremation books from 1957 to 1992 since being Chinese was not acceptable in Thai society. Mentioning about their ancestors in Chinese name including the name of their clan as the last name in cremation books did not show their Chinese identity. In contrast, Thai and Northern Thai identity were focused instead. Later, from 1993 to 2014, Chinese people tended to disclose their identity through the cremation books as Thai people began to accept them. The Chinese identities that were shown in the cremation books emphasized on the biography of their ancestors in details, Chinese characters, specific characteristics of Chinese people, the remaining of Thai and Northern Thai identity together with the use of Chinese tradition pictures in the cremation books. Therefore, the reveal of Chinese identity through the cremation books during the period mentioned brings about the acceptance among Thai people in Chiang Mai. Moreover, it is beneficial for Chinese people to do a business, to participate in politics, or even to comfort Chinese people who live their life in Chiang Mai.
The Chinese Hokkien People and the Orchard Development in Bang Kho Laem in the Past
Bualek, Punnee (2014)
In this article the writer attempts to provide the answers to two questions. These are: 1) Why did the Chinese Hokkien people come to practice orchard gardening in Bang Kho Laem? 2) How were these Chinese Hokkien people able to create these praiseworthy orchards? The researcher surveyed the total number of orchards belonging to the Chinese Hokkien people in this area and conducted in-depth interviews with five households of Chinese Hokkien orchard gardeners. The results were: the Chinese Hokkien people, who came to practice orchard gardening in Bang Kho Laem from the beginning of the King RamaV period (1868) to 1967, had done it in China before migrating to Thailand. These groups of people, therefore, were good at fruit tree growing and enjoyed doing it. When they moved to Thailand, the relationships among them were both as Chinese Hokkien people and as members of the same Chinese clan. These relationships strengthened and facilitated the idea of undertaking gardening in this area. The majority of these orchard gardeners were from “Sae Tan or Sae Tang (chenshi) and Sae Sim (shenshi). When they moved to this area, they found out that it was fertile and suitable for fruit growing. Since these Chinese Hokkien people’s life skills were working as orchard gardeners, they excelled in looking after the fruit trees continuously all year round. The qualities that these Chinese Hokkien people possessed were their hard work and perseverance, working, in fact, as hard as other Chinese coolies. The fact that they were keen on saving money and establishing good relationships with their Thai neighbors, both land owners and those who lived there, enabled them to live happily until they were confronted by modern progress and development, which changed their way of living and, thus, their careers as orchard gardeners came to an end.
The Connotation of Chinese Digital Culture
Tamai, Chanoksuda; ชนกสุดา ตามัย (2020)
In the scientific world, the function of numbers is computation, strict order and distinct responsibilities. In the world of human mind, the function of numbers is to express meaning. After "deification", it becomes "mysterious number", "imaginary number" and "number of days". In particular in Chinese language and culture, the digital connotation is more unique, from the ancient poetry, to the daily use of phrases. As a Chinese, it is not necessary to fully understand the connotation of their digital culture. China's digital culture has a rich connotation and a long history. It has been given a new connotation of the times. In today's era, the study of Chinese digital culture is of great significance and value for understanding the long history of China and learning the cultural connotation of China. The digital language is a part of culture and the bearer of culture. Through the connotation and extension of the digit, we can know the precious spiritual heritage of the thinking mode, philosophy and religious idea left by the wise men of ancient sages. In Chinese, almost every number has specific connotations, and digital culture is broad and profound. For example: "one" is regarded as the ancestor of all things and the source of all things by the Han nationality. This paper analyzes the connotation and social significance of each number in China through examples and historical combinations, disseminating the profound Chinese digital culture and carrying forward the value of Chinese language and literature
The existence of the tradition of Moon Festival in Hat Yai District, Songkhla Province
Buakaew, Jureerat; จุรีรัตน์ บัวแก้ว (2017)
This article aims to investigate the existence of the tradition of Moon Festival in Hat Yai District, Songkhla Province. The data of this qualitative study were gathered from related documents, research reports, and in-depth interviews with Thai Chinese in Hat Yai District, Songkhla Province. The study found that the tradition of Moon Festival could be maintained with two types of adaptation. One is a ritual performed in the morning in which Thai Chinese take offerings to pay respect to the Goddess of the Moon at a shrine. The other is a ritual performed at night at home with a shorter ritual of paying respect at an earlier time because the working-age group of people has to wake up early in the morning to go to work. Offering items have been changed to suit the modern time, and bought in smaller quantities due to the sluggish economy. It can be said that the tradition of Moon Festival in Hat Yai can be maintained amidst social changes because Thai Chinese in Hat Yai unite to adapt the ritual and make it suitable for life in the age of globalization.
The Khim in Thai Culture: Adoption and Adaptation
Barton, Jintana T. (2008)
The Khim is a stringed instrument essential to Thai classical music. It was adoped from China during the late Ayutthya period (1350-1767 AD). Chinese adopted the Khim or Yang-qin from Persia during the Ming-Qing dynasty (1368-1911 AD) “Khim” is a borrowed word from the Chinese Fujian dialect meaning music or music instrument or /qín/ in Mandarin. It was played in Chinese Opera (Chaozhou opera), and became very famous and popular in Thai Chinatowns in the Rattanakosin period (1782 AD - now). About 100 years ago during the the reign of King RamaVI Thai classical musicians adopted the Khim to play in Thai classical music. Thai composers have composed many Thai songs that use the Khim as a solo instrument. The Khim had an important role in “Khoo Kam” a Thai novel that made Thai people become interested in the Khim. It is a popular music instrument used by Thai primary school students to start to learn Thai classical music. It is often used in Thai public entertainment venues such restaurants, hotel lobbies etc. It represents Thai classical music in the minds of many people. This paper will present the Khim as a Thai classical music instrument and how it was adopted and adapted into Thai society, and will focus on its history, development, form and character (i.e. shape, style, material, color, string, tuner, the painting on its box). This paper will explore and discuss its role in Thai culture both in ancient times and today.
The Opium Wars in China's Junior High School Textbooks
Li, DanTing; Mattariganond, Dararat; Narasaj, Benjawan (2019)
The Opium Wars were major events in China as they brought significant changes to the course of Chinese history. The objective of this article is to analyze how one of the junior high school history textbooks in China describes the Opium Wars and integrates national ideology into the curriculum. The study applied historical research methods by analyzing the book’s content and structure. It found that that the Opium Wars are presented in chronological order in this book: The First Opium War (1840-1842) and the Second (1856-1860). the latter, also known as the Burning of the Summer Palace, was connected with the Taiping Heavenly Kingdom Movement. The textbook points out the brutality of western countries in waging war upon China and their destruction of Chinese civilization, and praises China’s national heroes. There is an emphasis on patriotism, loyalty and courage for the self-sacrifice of national heroes in the depiction of the events, thereby interpolating national ideology in accordance with Marxist concepts, the main values of Chinese socialism, and Confucianism.
The Visaul Language of Attiring: Functions of Beijing Opera Costumes in the Qing Court Theater
Petcharapiruch, Sasiporn; ศศิพร เพชราภิรัชต์ (2010)
During the Qianlong 乾隆 reign (1736-1796), the Qing court theater emerged a new type of play script, "'Continuous Grand Play" （liánběn dàxì 连本大戏）or "Grand Play for Connected Theater"（liántái dàxìi 连台大戏）. In these grand plays, besides librettos, which consist of singing and speaking parts, and stage directions, they also include the details of theatrical costumes（xíngtou 行头or xìyī 戏衣）worn by each character in each scene. These costumes were exquisitely done with brilliant colors, gorgeous adornment, marvelous embroidery, unique designs, and excellent craftsmanship. The purpose of this paper is to use several types of theatrical costume pieces as a means to understand the visual language of the theatrical costumes employed in the gala performances during the Qianlong reign and the ways in which these theatrical attires "communicated" with the court audiences during the gala performances, which reflected the overall context of the court theater during the Qianlong era.
Transformations and Mutations of the Chinese Language Publishing Field in the Digital Age
Lee, Yu-Ching; ยูชิง ลี (2015)
In the traditional publishing arena, the publishing fields around the world all operate according to a fixed value chain system, which has been in operation ever since the existence of the publishing industry over 500 years. Now the publishing industry is going through a transition period toward digitization, which has overwhelmed not only the entire system but the entire publishing field. In this digital age, publishing houses in the West have carried on with their conventional model of value chains and have established a comprehensive digital publishing system. But in Chinesespeaking regions, due to factors such as market traits, consumer reading habits, publishing policies and consumption habits which are vastly different from those in the West, the Western system of digital publishing is not applicable. This study analyzes the Chinese language publishing field by interviewing Cross- Straits publishing experts. The aim is to examine the differences between the publishing structure of Chinese-speaking regions (specifically mainland China and Taiwan), the typical publishing field in the West, and the traditional paper-based publishing field which has existed for hundreds of years. The result shows that Taiwan follows the Western e-publishing model. However, because of the differences in market size and reading habits, the e-publishing model is not applicable in Taiwan. China, on the other hand, has developed its own system called “Internet Literature” in accordance with readers’ reading preferences and habits. Moreover, this model uses the intellectual property to extend the value of publications by transforming literature texts into other forms of cultural production. This publishing business model is carried out by big Internet companies such as Tencent, Baidu, rather than by publishers. These mutations of Internet literature content have really challenged the Chinese state-regulated publishing system, and have become the foundations of a successful business model. This development in China has challenged the conventional definition of publishing, as literature has been a symbol of highbrow civilization whereas Internet Literature is more a symbol of uncultured entertainment.
กระบวนการจัดการความรู้ผ่านการถ่ายทอดความรู้และภูมิปัญญาท้องถิ่นของชุมชนฮากกาออนไลน์: ความสำเร็จและความท้าทาย
ศิริเพ็ญ อึ้งสิทธิพูนพร; กุมารี ลาภอาภรณ์; Ungsitipoonporn, Siripen; Laparporn, Kumaree (2016)
www.hakkapeople.com เป็นเว็บไซต์ที่สร้างขึ้นเพื่อนําเสนอเรื่องราวของชาวฮากกา ซึ่งถือเป็นการอนุรักษ์สืบสานภาษา วัฒนธรรม และภูมิปัญญาท้องถิ่นให้คนรุ่นต่อไป นอกจากนี้ยังเป็นพื้นที่ที่ทําให้ชาวฮากกา ตลอดจนผู้ที่มีความสนใจในเรื่องของชาวฮากกา มาพูดคุยแลกเปลี่ยน หรือนําเสนอความคิดเห็นต่างๆ จนกลายเป็นชุมชนออนไลน์ที่มีการแลกเปลี่ยนความคิดเห็น และโต้ตอบกันไปมาอย่างต่อเนื่อง ที่ผ่านมาผู้เขียนมีประสบการณ์ทํางานกับกลุ่มชาติพันธุ์โดยมีพื้นที่ชุมชนชัดเจน แต่ยังไม่เคยทํางานกับกลุ่มคนผ่านเว็บไซต์ จึงนับเป็นความท้าทายทั้งในเชิงกระบวนการและการบริหารจัดการ ผู้เขียนได้เห็นความสําคัญของการถ่ายทอดความรู้ของชาวฮากกา โดยเฉพาะความรู้ที่ฝังอยู่ในตัวคน (Tacit Knowledge) จึงทําให้เกิดงานวิจัยในโครงการ “พลังภาษาและวัฒนธรรมในการส่งเสริมการถ่ายทอดภูมิปัญญาอย่างยั่งยืน ผ่านชุมชนออนไลน์ : กรณีศึกษากลุ่มจีนฮากกา” โดยมีวัตถุประสงค์สําคัญเพื่อสนับสนุนศักยภาพของเจ้าของภาษาและวัฒนธรรมในการฟื้นฟูภูมิปัญญา เพื่อยกระดับแหล่งเรียนรู้ภาษาและวัฒนธรรมบนเว็บไซต์ ให้เป็นแหล่งศึกษาและอ้างอิงเชิงวิชาการได้และเพื่อสร้างชุดความรู้ภูมิปัญญาในรูปแบบต่างๆ บนเว็บไซต์ ด้านภาษาและวัฒนธรรม เป็นการฟื้นฟูภาษาและวัฒนธรรมเพื่อการสร้างเสริมสุขภาวะชุมชน จากการดําเนินการในโครงการวิจัยนี้ กระบวนการถ่ายทอดความรู้และภูมิปัญญาท้องถิ่นของชุมชนฮากกาออนไลน์ นับว่าเป็นต้นแบบของกระบวนการจัดการความรู้ในสังคมดิจิตอลได้แบบหนึ่ง ผลการวิจัยพบว่า ผลสําเร็จของโครงการบรรลุเป้าหมายส่วนหนึ่ง โดยความสามารถของสมาชิกที่มีศักยภาพและความตั้งใจเขียนบทความที่เกี่ยวข้องกับชาวฮากกา เพื่อเผยแพร่ผ่านเว็บไซต์จนทําให้เกิดผลสําเร็จ แต่ในระหว่างดําเนินงานมีปัญหาอุปสรรคหลายประการ เช่น สมาชิกส่วนใหญ่ไม่ทราบวิธีการเขียนบทความเชิงวิชาการ ทั้งยังเป็นการทําด้วยความสมัครใจ ไม่มีการบังคับ จําเป็นต้องมีวิธีการให้กําลังใจที่ดีพอ จึงจะผลิตผลงานได้ อย่างไรก็ตาม ความสําเร็จที่น่าชื่นชมอย่างหนึ่งคือ การดําเนินงานโครงการวิจัยนี้ ทําให้ชาวฮากกาเกิดความรัก ความห่วงแหนในชาติพันธุ์ตนเอง ดังจะเห็นได้จากความอนุเคราะห์หลายๆ ด้าน จากสมาคม ฮากกาในจังหวัดที่ได้จัดกิจกรรม เสมือนเป็นพี่น้องกันโดยแท้
กระบวนการสืบทอดประเพณีทางสังคมของชาวไทยเชื้อสายจีน ชุมชนตลาดบ้านใหม่ จังหวัดฉะเชิงเทรา
ชนาภา เมธีเกรียงไกร; Maytheekriengkrai, Chanapha (2016)
งานวิจัยเรื่องนี้มีวัตถุประสงค์เพื่อศึกษารูปแบบ ความเปลี่ยนแปลงและกระบวนการสืบทอดประเพณีทางสังคมของชาวไทยเชื้อสายจีนชุมชนตลาดบ้านใหม่ โดยใช้ระเบียบวิธีวิจัยเชิงคุณภาพผ่านแนวคิดเรื่องโครงสร้างครอบครัวแนวคิดด้านวัฒนธรรมและภาวะความทันสมัย ผลการศึกษาพบว่า ชาวไทยเชื้อสายจีนชุมชนตลาดบ้านใหม่ ส่วนใหญ่ยังคงยึดถือปฏิบัติตามประเพณีของบรรพบุรุษชาวจีน ซึ่งในแต่ละรุ่นมีวิถีการปฏิบัติที่แตกต่างกันและปรับตัวไปตามความเปลี่ยนแปลงทางสังคม โดยมีปัจจัยด้านการผสมกลมกลืน การกลืนกลายทางวัฒนธรรมและภาวะความทันสมัยที่มีผลต่อความเชื่อ ค่านิยม การปฏิบัติและกระบวนการสืบทอดประเพณี แต่กระนั้นชุมชนตลาดบ้านใหม่ถือเป็นชุมชนที่มีความเข้มแข็งทางด้านวัฒนธรรมและความเป็นชาติพันธุ์จีน เหตุเพราะมีศาสนสถานจีนและหน่วยงานภาครัฐเป็นแกนหลักในการส่งเสริมด้านการปฏิบัติตามขนบธรรมเนียมประเพณี การท่องเที่ยวเชิงวัฒนธรรมของชุมชน ซึ่งมีผลโดยตรงต่อการกระตุ้นเศรษฐกิจของชาวชุมชนให้ดีขึ้น ก่อให้เกิดแรงผลักดันในการพัฒนาชุมชนให้มีเอกลักษณ์เฉพาะตนที่เด่นชัด รวมถึงสืบสานและดำรงไว้ซึ่งประเพณีที่ดีงามของบรรพบุรุษชาวจีนสืบต่อไป

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