摘要

隨著台灣本土意識的高漲、1994年的「社區總體營造」政策以及2003年「行政院客委會」的成立，客家庄的文史工作室如雨後春筍般成立與茁壯，愈來愈多人投入客家文化工作的推展。本篇論文欲探究桃竹苗地區客家庄的社會文化行動者有著什麼樣的情感力道與結構內涵，讓他們可以熱情而堅持地用各種不同的實踐行動推展傳承並建構客家文化？

在理論構念上，本研究採用英國文化批判學者Williams所提出的「情感結構」（structure of feeling）概念進行探究，情感結構是一種文化假設，意味著在層層交疊的社會結構中，會有一些整體社會共同感受到的情感與認同，這樣的情感與認同如同結構般堅固而確定。在研究方法上採用生命敘說的研究取徑，以桃竹苗地區客家庄在地社區發展工作的主要推動者為主，從2013年8月至2014年9月間共進行了30位社會文化行動者的生命故事訪談。

在仔細閱讀並分析詮釋訪談文本之後，發現他們除了共同具有「堅持而熱情」的客家情感結構之外，同時具有「既嫌棄又渴望」的心理性情感結構、「離家與回鄉」的行動性情感結構、以及在「傳統與創新」之間的客家認同情感結構，這樣多元情感結構樣貌的交織擴充了90年代客家研究學者所提出「既自傲又自卑」的性格，以及一種焦慮和無奈的情結論述。同時，本文也論述這些情感結構樣貌是鑲嵌在社會體系與社會互動中，而在這樣層層交錯的處境中，客家實踐行動的推展方向一定要跳脫「客家」與「非客家」的二元思維，走向「在地性」與「公民性」的方向。

Followed by the rising of Taiwanese consciousness, the policy of “community building” in 1994, and the establishment of “Hakka Affairs Council ” in 2003, various local cultural organizations sprouted up and thrived. More and more people engaged in the Hakka culture work. This article intended to explore what possible emotional strength and structure of feelings owned by these cultural practitioners, so that they can inherit and reconstruct the Hakka culture?This study uses the theoretical concepts of “structure of feeling” proposed by British cultural criticism scholar Williams who assume that people have the same emotions and identity in society, intertwined layers of the social structure. Such feelings were strong and stable as structure.

Life narrative approach was adapted. We interviewed 30 Hakka cultural practitioners from August 2013 to September 2014 in Hakka villages of northern Taiwan. After reading and analysis of the interview oral texts, the researcher found that they not only have “persisting and enthusiastic” Hakka structure of feelings, but also have “disgusting versus eager”, “away from home versus return” and “tradition versus” emotional structure of Hakka. The research findings expanded the discourse of Hakka ” self-proud and inferiority” character and anxiety complex in the 1990s. Meanwhile, this article also discussed these emotional structures are embedded in social structures and social interaction. Finally, we advocate that Hakka cultural practices must turn towards “localization” and “civilization”.

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