漢人移民台灣，也將原鄉的風俗一併移植，其中陣頭文化更在台島發揚光大，無論廟會慶典、殯葬行列都可以看到各式各樣的陣頭表演，相較於廟會陣頭爲人所讚揚，殯葬陣頭則給人不夠莊嚴的感受，而民間稱之爲「孝女白琴」的陣頭更爲人所垢病，譏諷者不能接受一個以「代哭」爲表演活動的陣頭，出現在理應莊嚴肅穆的喪禮中。儘管殯葬主管機關屢次以「端正禮俗」爲名，勸導民眾簡化喪葬流程，減少不必要的陣頭表演，然而，這看似荒謬的表演活動，從70 年代開始，至今卻未曾消失，不僅在台灣本島，甚至在大陸原鄉也處處可見孝女的分身，本文採年鑑學派的總體史觀，以孝女爲主體，將歷史的縱軸拉長，將空間的橫軸加寬，還原孝女在歷史層次的厚度與文化層面的深度意涵，用另一種觀看的方式，重新建構孝女在喪葬傳統文化的真實價值。

The Han people emigrated to Taiwan and brought along their hometown cultures, among which <||>Taiwanese Shrine Parade<||> became the most popular custom in a temple ceremony and burial. However, people in this day and age accept the Taiwanese Shrine Parade more in temple celebrations compare to traditional burial ceremonies. They believe burial ceremony should be formal and more reserved. It should not be accompanied by too many unnecessary people or noises. In the traditional burial ceremony, <||>Filial Daughter Bai-Qin<||> is often criticized because having a stranger <||>fake crying<||> for the deceased and the family is not always appropriate or respectful in their point of view. The authority concerned has attempted to stop and rectify this strange custom regarding burial ceremonies for some time now but yet to succeed. The <||>Filial Daughter Bai-Qin<||> has continued appearing around Taiwan and China since 1980s. This essay is based on Annale's historic theory on <||>Filial Daughter Bai-Qin<||>. She is being used as the study subject to reconstruct and restore the concept, and to evaluate the importance of this special custom in a traditional burial ceremony in Taiwan.