Journal articles: 'Popular culture – China'

1

Gedalecia, David, David Johnson, Andrew J. Nathan, and Evelyn S. Rawski. "Popular Culture in Late Imperial China." Pacific Affairs 60, no. 2 (1987): 328. http://dx.doi.org/10.2307/2758158.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Cohen, Paul A., and David Johnson. "Popular Culture in Late Imperial China." American Historical Review 92, no. 3 (June 1987): 723. http://dx.doi.org/10.2307/1870031.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Zhu, Wenle. "Divergent Approaches to Disseminating Pop Culture in China and Korea." Transactions on Social Science, Education and Humanities Research 5 (April 1, 2024): 455–60. http://dx.doi.org/10.62051/9hns9z47.

Full text

Abstract:

China and South Korea, two of the most influential countries in Asia, boast highly popular pop cultures that resonate both across Asia and globally. While Chinese and Korean pop culture shares similarities, there are also notable differences in their modes of dissemination. Previous studies have analyzed the dissemination of pop culture within individual countries, but there is still a research gap on the differences between these two countries. Therefore, this paper seeks to explore the variations in how pop culture spreads in China and Korea, as well as their implications. The paper adopts the methods of literature review and comparative analysis to compare the ways of popular culture dissemination in China and South Korea in terms of media platforms, marketing strategies, cultural exchanges and integration, and the roles of their respective states. The paper argues that the differences in popular culture dissemination between China and Korea mainly manifest in the following aspects: different channels and modes of dissemination, distinct definitions and scopes of popular culture, as well as variations in audiences and influences. Many factors can influence the spread of popular culture, such as social environment, technology level, and political system.

APA, Harvard, Vancouver, ISO, and other styles

4

Polumbaum, Judy. "China Urban: Ethnographies of Contemporary Culture; Popular China: Unofficial Culture in a Globalizing Society." Journal of Communication Inquiry 26, no. 4 (October 2002): 450–52. http://dx.doi.org/10.1177/019685902236902.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

de kloet, jeroen. "popular music and youth in urban china: the dakou generation." China Quarterly 183 (September 2005): 609–26. http://dx.doi.org/10.1017/s030574100500038x.

Full text

Abstract:

the import of illegal, cut cds from the west (dakou cds) in the mid-1990s marked the revitalization of chinese rock culture. this article analyses the rise of dakou culture in the context of the interrelated processes of globalization and marketization of chinese culture. contrary to accounts that proclaim the crisis or death of chinese rock, this article describes the re-emergence of rock since the mid-1990s. it presents an overview on three different scenes, part of the dakou culture among chinese youth. the fashionable bands are inspired by a cosmopolitan aspiration, the underground bands signify the return of the political and the urban folk singers express a nostalgic longing. all three scenes attest to the current diversity of popular music cultures in china, and are interpreted as sonic tactics employed by chinese youth to carve out their own space amidst an increasingly commercialized and globalized society.

APA, Harvard, Vancouver, ISO, and other styles

6

Fung, Anthony Y. H. "The emerging (national) popular music culture in China." Inter-Asia Cultural Studies 8, no. 3 (August 28, 2007): 425–37. http://dx.doi.org/10.1080/14649370701393824.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Kang, Liu. "Popular Culture and the Culture of the Masses in Contemporary China." boundary 2 24, no. 3 (1997): 99. http://dx.doi.org/10.2307/303708.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Li, Ruiyu. "Influence of the Developing Experience of ACGN on Chinese Traditional Culture." BCP Social Sciences & Humanities 15 (March 13, 2022): 156–60. http://dx.doi.org/10.54691/bcpssh.v15i.406.

Full text

Abstract:

Today, with the development of various cultures, traditional culture with a long history has been greatly impacted by popular culture. This article starts with Chinese traditional culture, taking the most representative ACGN culture in popular culture as an example, focusing on the three aspects of cultural popularity, cultural creativity, and cultural communication resources, discusses the significance of ACGN culture to Chinese traditional culture. I hope it can also be inspiring for the cross-cultural communication between China and Japan.

APA, Harvard, Vancouver, ISO, and other styles

9

Artashkina, Tamara A., and Bofei Shang. "Specific Features of Festive Culture in Modern China." ICONI, no. 1 (2019): 184–97. http://dx.doi.org/10.33779/2658-4824.2019.1.184-197.

Full text

Abstract:

The history of XX-century China can be divided into several periods that greatly altered the path of China’s historical development: Xinhai Revolution, Anti-Japanese war, civil war, establishment of PRC, Cultural Revolution, policy of reforms and openness. Uneven development of contemporary China has had its influence on Chinese holidays. The authors consider the concept of “national holidays of China” a basic category. In the Chinese language, a “holiday” is an unusual day or days connected with something. All national Chinese holidays fall into two categories: government and popular. Chinese government holidays include official holidays established by law; they are days-off for all Chinese citizens. Currently there are 7 government holidays in China and many popular holidays. Popular holidays include traditional holidays, occupational or social holidays, holidays of national minorities or others. Not all Chinese citizens have days-off during these popular holidays. There are two aspects of cultural problems in modern China: a big gap between urban culture and rural cultures; there is a problem of active borrowing and introduction of Western culture into the national culture of China. In particular, many western holidays have intervened into the tissue of Chinese culture. However, western holidays do not alter the cultural meaning of Chinese traditional holidays; they have acquired Chinese features and enriched the life of young Chinese people. Chinese festive culture is transformed within the following areas: traditional holidays are replaced with innovative ones; modern holidays are formed under the influence of new social and political conditions and cultural globalization; transformation of traditional holidays changes either their quantity or their content and cultural meaning. However, the authors have come to the conclusion that despite the transformational processes the cultural meaning and main cultural functions of traditional holidays are preserved: reunion of families and, hence, the reunion of the whole nation.

APA, Harvard, Vancouver, ISO, and other styles

10

Shin, Shamyung. "A Comparative Study on the Functional Discourse of Popular Culture in Korea and China." Korean Society of Gyobang and Culture 4, no. 2 (June 30, 2024): 179–204. http://dx.doi.org/10.58936/gcr.2024.6.4.2.179.

Full text

Abstract:

The purpose of this paper is to examine the meaning of popular culture in Korea and China, and to analyze and compare the pure and dysfunctions of popular culture in the two countries. In China since its transition into the market economy by the reform and opening, its people have become well-off and had more desire to enjoy culture. Under these circumstances pop culture played affirmative roles such as relieving economical and mental stress, educating people and forming civic society. On the other hand, because of cultural imperialism, cultural values and a way of thinking from the West have influenced upon Chinese pop culture and collapsed its traditional spiritual culture, causing the crisis of Chinese humanism. In Korea, the positive aspects of its pop culture are as follows: the Korean pop culture not only serves as a way to express oneself and relieve mental stress but also produces economical profit. However likewise the Chinese case, South Korea is confronted by the crisis of the humanities, traditional art and folk culture. Studying these diverse functions of the two nations’ pop cultures, I could understand the two cultures and seek plans to achieve mutual development gradually through the two countries’ cultural interchanges.

APA, Harvard, Vancouver, ISO, and other styles

11

Zhou, Kui. "Zoning China: Online video, popular culture, and the state." Chinese Journal of Communication 14, no. 3 (July 3, 2021): 346–49. http://dx.doi.org/10.1080/17544750.2021.1948684.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

Ma, Min, Jin Jiang, Di Wang, Joseph W. Esherick, and Hanchao Lu. "The symposium on urban popular culture in modern China." Frontiers of History in China 3, no. 4 (November 8, 2008): 499–532. http://dx.doi.org/10.1007/s11462-008-0022-3.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

Chu, Yiu-Wai. "Hong Kong (in China) studies: Hong Kong popular culture as example." Global Media and China 5, no. 2 (June 2020): 109–23. http://dx.doi.org/10.1177/2059436420917564.

Full text

Abstract:

“China has become a predicament as well as a condition for Hong Kong culture” in the age of China, especially after the signing of the Closer Economic Partnership Agreement in 2003. This has become even more acute for Hong Kong culture in the integration of the Greater Bay Area, which can be seen as incorporating Hong Kong and Macao’s development into the overall development of the country. At this particular juncture, the issue of integration with the Mainland has become a topic that is of utmost importance for any consideration of the future of Hong Kong culture and the city as a whole. In this special context, the transmission of Hong Kong popular cultures in the Mainland are related topics that need to be explored. For example, what are the implications behind the success of Hong Kong directors and producers who took the helm of immensely popular Mainland television series? After Cantopop crossed the border, to what extent did the singers and the songs that they sang in Mainland music reality shows represent Hong Kong? These would be very good case studies of Hong Kong culture in cross-border ventures, and studying their transmissions would have long-term implications for not only Hong Kong culture in particular but also Hong Kong Studies in general. This essay endeavors to use these cross-border experiences as examples to offer a prolegomenon to Hong Kong (in China) Studies, which will in turn contribute to the possibility of generating a cultural studies response to the new configuration of the Greater Bay Area.

APA, Harvard, Vancouver, ISO, and other styles

14

Fu, Poshek, and Chang-tai Hung. "War and Popular Culture: Resistance in Modern China, 1937-1945." American Historical Review 101, no. 1 (February 1996): 224. http://dx.doi.org/10.2307/2169336.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

Lee, Leo Ou-fan, and Chang-tai Hung. "War and Popular Culture: Resistance in Modern China, 1937-1945." Harvard Journal of Asiatic Studies 56, no. 2 (December 1996): 540. http://dx.doi.org/10.2307/2719413.

Full text

APA, Harvard, Vancouver, ISO, and other styles

16

McCord, Edward A., and Chang-tai Hung. "War and Popular Culture: Resistance in Modern China, 1937-1945." Pacific Affairs 68, no. 4 (1995): 593. http://dx.doi.org/10.2307/2761289.

Full text

APA, Harvard, Vancouver, ISO, and other styles

17

Laurence J. C. Ma. "Locating China: Space, Place, and Popular Culture (review)." China Review International 14, no. 1 (2008): 262–66. http://dx.doi.org/10.1353/cri.0.0026.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

Lu, S. H. "Popular Culture and Body Politics: Beauty Writers in Contemporary China." Modern Language Quarterly 69, no. 1 (January 1, 2008): 167–85. http://dx.doi.org/10.1215/00267929-2007-030.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

Goodman, David S. G., Perry Link, Richard Madsen, and Paul G. Pickowicz. "Unofficial China: Popular Culture and Thought in the People's Republic." Pacific Affairs 64, no. 2 (1991): 247. http://dx.doi.org/10.2307/2759971.

Full text

APA, Harvard, Vancouver, ISO, and other styles

20

NING, WANG. "Cultural Studies in China: towards closing the gap between elite culture and popular culture." European Review 11, no. 2 (May 2003): 183–91. http://dx.doi.org/10.1017/s106279870300019x.

Full text

Abstract:

This essay deals with cultural studies, including elite culture and its products (literature and the performing arts), as well as studies of film and TV and other expressions of popular culture in the mainland of China. It lays particular emphasis on the currently prevailing concept of Cultural Studies introduced from the West at the beginning of the 1990s. The author addresses the following issues: how Cultural Studies was introduced into the Chinese context, how it was integrated with existing practices of cultural history and comparative literature studies, how it was institutionalized in China, and how it was developing into a position from where it can engage in a dialogue with Western scholarship against the background of increasing globalization. According to the author, Cultural Studies has much in common with literary studies, especially in the Chinese context. Therefore, these two branches of learning should not necessarily be seen as opposed to one another. Literary and cultural studies are complementary rather than exclusionary towards each other.

APA, Harvard, Vancouver, ISO, and other styles

21

Ying, Yan, and Weiqing Xiao. "Chinese Popular Culture in Translation and Transmission." East Asian Journal of Popular Culture 9, no. 2 (September 1, 2023): 165–72. http://dx.doi.org/10.1386/eapc_00105_2.

Full text

Abstract:

The introduction to the Special Issue, ‘Chinese Popular Culture in Translation and Transmission’, provides an overall view of the theme. It starts with a discussion of the definition of popular culture and its powerful presence in today’s world assisted by technological development. To follow is a sketch of Chinese popular culture in the contemporary political and cultural context. We then propose a translational perspective, through which modes and issues of exchange, mediation and intervention when Chinese popular culture enters the western cultural and ideological landscape can be located, examined and analysed. Finally, five articles in this special issue – respectively on ‘tai chi’, Peppa Pig and China, internet celebrities and Chinese learning, Chinese online literature in English translation and fan translation of BL web novels – are briefly introduced. When read together, the collection reveals some paradigms and trends of Chinese popular culture in global cultural flow.

APA, Harvard, Vancouver, ISO, and other styles

22

Wang, Xinting, Jihong (Solomon) Zhao, and Hongwei Zhang. "The Impact of Two Different Cultures on Juvenile Attitudes Toward the Police in China." International Journal of Offender Therapy and Comparative Criminology 64, no. 1 (September 3, 2019): 124–43. http://dx.doi.org/10.1177/0306624x19872971.

Full text

Abstract:

This study examines juvenile attitudes toward the police (JATP) from an unconventional angle by examining the possible effect of two different cultures along with more conventional factors typically associated with youth attitude formation. A unique feature of this study is the inclusion of measures of attachment to both the traditional Chinese culture and Western popular culture. The data were collected from 30 minority middle schools with more than 6,500 students in a southern autonomous region in China in 2014. The primary findings indicate that juveniles who are more firmly attached to the traditional Chinese culture and who show respect for parents/teachers tend to hold a more positive view of the police. In contrast, juveniles who endorse Western popular culture and are perceived as a fan of that culture are more likely to hold a negative view of the police, societal actors who are viewed as primary representatives of the mainstream culture.

APA, Harvard, Vancouver, ISO, and other styles

23

Qi, Jieyu. "Comparative Analysis of Entertainment Industry of China and South Korea." Frontiers in Business, Economics and Management 14, no. 3 (April 19, 2024): 178–82. http://dx.doi.org/10.54097/6q531y94.

Full text

Abstract:

What is the development model that makes Korean-wave such a success in Asia? What lessons will the popular Asian "Korean Wave" provide for the formation of Chinese pop culture? Should China form its own popular culture according to its own actual situation? This paper will analyze the emergence and development history of Chinese and Korean’s support culture , and analyze the Korean head entertainment agency S.M. so as to Comparing the differences, advantages and disadvantages of China and South Korea.

APA, Harvard, Vancouver, ISO, and other styles

24

Li, Yinlu, and Suphachai Singyabuth. "“Lu Xi Yan” Yoga Studio at Zhengzhou City: New Health Culture in the Popular Cultural Society Context of China." International Journal of Sociologies and Anthropologies Science Reviews 3, no. 4 (July 15, 2023): 111–20. http://dx.doi.org/10.60027/ijsasr.2023.2931.

Full text

Abstract:

Background and Aim: Yoga is a physical activity and its origins in Hindu and Buddhist Culture in ancient Indian societies. It was initiated in the context of Hinduism, involving The control of the body, mind, and concentration. It is expressed in various postures known as Yoga. Later, Yoga spread to ancient China through religious propagation and social relations. Yoga has been transformed from a religious practice into a type of physical activity. Therefore, become a health culture in response to health problems from using the body in various forms. Nowadays, Yoga has become a new kind of health culture that is widely popular. Yoga has become such an important activity in China’s metropolitan fitness that it has become the new popular culture of the country, which is an important phenomenon of this research. The researcher wants to find answers to the phenomenon of Yoga as a new health culture in China today. Materials and Methods: This is basic research using a qualitative research methodology. Data were collected in two ways, 1) document study about the history of Yoga and related socio-cultural contexts in both India and China, 2) fieldwork from the study of the phenomenon of Yoga studios in major cities in China, focusing on a case study at Lu Xi Yan”, Yoga Studio at Zhengzhou City. The main tools for data collection are questionnaires, interviews, and observational research frameworks. An essential piece of equipment is a still image recorder animation Voice and field notebook. Results: Yoga’s phenomena as a new health culture in the process of popular culture in the large cities of China is in the process of China’s modernization. Yoga is integrated with the development of the city, and the rapid development of popular culture, with the urban public as the main body and the main consumption object, stimulating the consumption economy, and producing the unique female consumption economy for Yoga in China, and national fitness drives fitness Yoga, Yoga, as a space, presents a variety of lifestyles, no longer only popular sports for young people, but gradually approaches the middle-aged and elderly groups. People’s pursuit of health makes Yoga form a new healthy culture. Conclusion: (1) Yoga is a body culture. It has been changing its meaning all the time. Since the beginning, the origin of Yoga has been associated with Hinduism, Brahmanism, and Buddhism from India. (2) Yoga has been adapting to a new set of social conditions that put Yoga in a new context, including the new health culture in the context of popular Culture in China. This research presents the flexibility of Yoga culture. (3) Understanding Yoga as a new health culture. Thus, showing the relationship between Indian and Chinese cultural societies in different contexts simultaneously.

APA, Harvard, Vancouver, ISO, and other styles

25

KOMATSU, Shoko. "The Popularity of the “Shakaiha Mystery”：Narratives of Incidents in Japanese and Chinese Popular Culture." Border Crossings: The Journal of Japanese-Language Literature Studies 17, no. 1 (December 28, 2023): 287–89. http://dx.doi.org/10.22628/bcjjl.2023.17.1.287.

Full text

Abstract:

This book conducts a comparative study of the social structures of popular culture in Japan and China through the analysis of mystery novels. Based on an analysis of Seicho Matsumoto’s works, which have been translated and published in China, the author of this book derives the concept of “incident stories,” and attempts to identify differences in the structure of popular culture in Japan and China in the differences in the types of narrative used to depict incidents. In particular, her research results, which trace the reception of Japanese socialist mysteries in China using a wealth of primary materials, are to be highly praised.

APA, Harvard, Vancouver, ISO, and other styles

26

Gasster, Michael, Jeffrey N. Wasserstrom, and Elizabeth J. Perry. "Popular Protest and Political Culture in Modern China: Learning from 1989." American Historical Review 98, no. 4 (October 1993): 1211. http://dx.doi.org/10.2307/2166635.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

Goodman, David S. G. "Popular protest and political culture in modern China: learning from 1989." International Affairs 69, no. 1 (January 1993): 175. http://dx.doi.org/10.2307/2621192.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

So, Alvin Y., Jeffrey N. Wasserstrom, and Elizabeth J. Perry. "Popular Protest and Political Culture in Modern China: Learning from 1989." Contemporary Sociology 22, no. 2 (March 1993): 185. http://dx.doi.org/10.2307/2075733.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Nyíri, Pál. "Displacing Desire: Travel and Popular Culture in China. Beth E. Notar." China Journal 58 (July 2007): 166–68. http://dx.doi.org/10.1086/tcj.58.20066327.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Ownby, David, Jeffrey N. Wasserstrom, and Elizabeth J. Perry. "Popular Protest and Political Culture in Modern China: Learning from 1989." Pacific Affairs 66, no. 3 (1993): 404. http://dx.doi.org/10.2307/2759621.

Full text

APA, Harvard, Vancouver, ISO, and other styles

31

Cooley, James C. "Popular Protest and Political Culture in Modern China: Learning from 1989." History: Reviews of New Books 22, no. 2 (January 1994): 83. http://dx.doi.org/10.1080/03612759.1994.9948903.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Zhu, Xiaoxi. "Book review: Zoning China: Online Video, Popular Culture, and the State." Global Media and Communication 16, no. 3 (November 23, 2020): 383–85. http://dx.doi.org/10.1177/1742766520973563.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

McLaren, Anne. "Reconquering the Chinese heritage: regionalism in popular culture studies in China." Asian Studies Review 18, no. 1 (July 1994): 77–88. http://dx.doi.org/10.1080/03147539408712982.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Deng, Wensheng, and Pengzhuo Deng. "The Evolution of Concept of Popular Culture and Its Significance." Theory and Practice in Language Studies 7, no. 5 (May 1, 2017): 389. http://dx.doi.org/10.17507/tpls.0705.09.

Full text

Abstract:

The paper has checked the evolution of concept of popular culture, which presents the essential meanings and its hidden reasons to general readers. Built upon the conceptual evolution, i.e. roughly from British School, Frankfurt School until French School, the thesis explores the possible characteristics of today’s popular culture of China in the ever-changing era. First, subjectivity of the people, i.e. the subject of China’s popular culture is composed of average people; Second, aesthetic experience, i.e. China’s popular culture is committed to perfecting her subjects’ mind and moral sense by providing beautiful contents, but not ugly immoral ones as currently appeared on new media; Third, “cultural consciousness,” i.e. the subjects should have confidence, reflection upon China’s popular culture, and not reject “others” blindly.

APA, Harvard, Vancouver, ISO, and other styles

35

wang, jing. "bourgeois bohemians in china? neo-tribes and the urban imaginary." China Quarterly 183 (September 2005): 532–48. http://dx.doi.org/10.1017/s0305741005000342.

Full text

Abstract:

this article treats an understudied subject in popular culture studies: the mutual feed between lifestyle cultures and marketing through an examination of the bobo fever in urban china. how did an imaginary class of “bourgeois bohemians” emerge in a country where the bourgeois base is statistically small and where the bohemian equation is non-existent? to shed light on this pop-culture-turned-marketing-fad syndrome, the article introduces the concept of the “neo-tribes” and maps the pathways that link style cultures to consumer segmentation. a couple of critical questions arise from this exercise. first, is the separability of taste from class symptomatic of a “chinese leap of faith”? and secondly, is the hottest market segment today – the “neo-neo-tribes” – preparing us to address the convergence of a global youth culture?

APA, Harvard, Vancouver, ISO, and other styles

36

Wang, Jiali, and Qingfeng Zhang. "A Study on Chinese Consumer Preference for the Tea Packaging Design: Focusing on the Comparative Analysis of China, Korea, and Japan Tea Packaging Designs." Association for International Tea Culture 63 (March 30, 2024): 55–92. http://dx.doi.org/10.21483/qwoaud.63..202403.55.

Full text

Abstract:

Tea packaging reflects the cultural characteristics of different countries from all the following aspects: design concept, color, pattern elements, layout, and choice of materials. This study aims to propose means of improving Chinese tea packaging through the understanding of the formation processes of the tea culture concepts of Korea, China, and Japan. The study is based on comparative research and analysis of tea packaging in the three countries influenced by tea culture. The audience perspective was adopted to select three well-known tea brands in Korea, China, and Japan for comparative analysis. We combined qualitative and quantitative methods to compare tea culture elements, color elements, patterns, fonts, and image layouts of the visual language symbols. A total of 556 reliable questionnaires were obtained from the 600 questionnaires administered to varied age groups in China, and SPSS statistical data were used for the analysis, which revealed the following results. First, the colors and picture layouts of Korean tea packaging are more popular than those of China and Japan. Second, the pattern designs of Chinese tea packaging are more popular than those of Korea and Japan. Third, the font designs of the Japanese tea packaging are more popular than those of China and Korea. Fourth, the intention to buy tea is more predominant in Korea than in China and Japan. Korean, Chinese, and Japanese tea cultures and tea packaging designs are related to each other, and the visual language symbols of tea packaging design absorb the relevant tea culture heritage. It is also hoped that the visual language symbols of the tea packaging designs of the three countries can learn from each other through the present study and new and innovative ideas can emerge in tea packaging designs in tandem with the domestic tea culture inheritance. The comparison and discussion of the differences, problems, supplementary schemes, and improvement directions of Chinese tea packaging design enabled us to posit modern and systematic fundamental information about Chinese tea packaging.

APA, Harvard, Vancouver, ISO, and other styles

37

Fung, Anthony Y. H. "Fandom, youth and consumption in China." European Journal of Cultural Studies 12, no. 3 (July 16, 2009): 285–303. http://dx.doi.org/10.1177/1367549409105365.

Full text

Abstract:

In the wake of globalization and the context of a socialist market economy, youth cultures in China have been undergoing a major transformation. While the youth culture in China has joined the global trend to become more commercialized as a result of emerging values, norms and values of consumption, along with (and going beyond) cultural consumption, liberalizing values have developed among young people which might impinge upon society and politics. Based on a framework of materialistic and non-material labour and an ethnographic study of fandom, this article attempts to investigate the problematic by examining the phenomenon of fandom in China with a case study of the fans of the most popular Chinese singer, Jay Chou, the interaction among which has reflected significant changes in youth culture and youth performativity in China today.

APA, Harvard, Vancouver, ISO, and other styles

38

Solas, Cigdem, and Sinan Ayhan. "The historical evolution of accounting in China: the effects of culture." De Computis - Revista Española de Historia de la Contabilidad 4, no. 7 (December 31, 2007): 146. http://dx.doi.org/10.26784/issn.1886-1881.v4i7.175.

Full text

Abstract:

Muchos estudios recientes han afirmado que China integra en su sistema contable sus reglas tradicionales, sus intereses culturales y su estilo de vida. La “cultura” sería el punto dominante en su sistema contable. Hofstede, Gray, Mueller y otros investigadores empíricos de la contabilidad, que enfatizan la influencia de los efectos culturales en la configuración de los sistemas contables nacionales, sostienen que la Contabilidad China ha sido dominada por la “Cultura” China.Este trabajo presenta tres de entre las variables culturales chinas, a saber, Confucianismo, Feng Shui, Budismo, Yin-Yang, etc., que han marcado los comportamientos y las técnicas contables chinas. En China, el sistema contable se basó tradicionalmente en las prácticas confucianistas y en la antigua sabiduría; estos elementos todavía influyen en el sistema actual. En este artículo se estudian las influencias desde una perspectiva histórica en relación con las variables culturales chinas. Las influencias examinadas se centran en los metódos de la teneduría de libros, en las prácticas contables, en la información contable, etc.La evidencia suministrada por la literatura indica que, a pesar de los cambios en los regímenes de gobierno y en los estilos de gestión empresarial en China, las características principales de las influencias culturales sobre la contabilidad han sobrevivido. De este modo, la polaridad Yin-Yang todavía equilibra la contabilidad china. La lógica económica china se ha transformado para adaptarse a las prácticas de mercado, pero el misticismo chino ha mantenido su lógica en la República Popular China

APA, Harvard, Vancouver, ISO, and other styles

39

Du, Chunyang. "Automotive culture of China and Russia." Neophilology 10, no. 1 (March 15, 2024): 251–60. http://dx.doi.org/10.20310/2587-6953-2024-10-1-251-260.

Full text

Abstract:

INTRODUCTION. The study is devoted to considering the problem of the specifics of Chinese and Russian automotive cultures and is focused on the explication of linguistic facts. The purpose of the study is to analyze the “linguocultural space” of automotive culture, which can be a certain marker of the names of car brands as a specific category of proper names in Chinese and Russian linguistic cultures.MATERIALS AND METHODS. The empirical material for the study was the names of famous car brands in China and Russia, taken from scientific and popular science publications on the history of automotive culture. To describe the facts of the language, a continuous sampling method, a descriptive method and an interpretation method, and definitional analysis were used.RESULTS AND DISCUSSION. It has been established that automotive culture, being a component of national culture, reflects a specific way of human activity. Automotive culture is strengthened by local car brands and plays an important role in the economy of any country. Nowadays, Chinese automobile culture plays an important role in the global market, providing people with increasingly competitive cars and services, and taking an active place in the life of modern society. The future of the Chinese automotive industry will pursue a path of self-reliant and highquality development to create a favorable living environment for people.CONCLUSION. The development of automotive culture is largely determined by the degree of significant semantic indicators, which include “prestige”, “reliability”, “comfort”, “price”, “fashion”. These indicators for native speakers of both Chinese and Russian languages are assigned to the names of car brands and give an idea of automotive culture, reflected in the form of the so-called “image of the world,” which explicates the linguistic component, taking into account the specifics of the national culture and the native speaker at the same time, reflecting important information about different linguistic cultures in the context of synchrony.

APA, Harvard, Vancouver, ISO, and other styles

40

Pan, Yujing. "Background of the Creation of East Asian Pop-culture and Its Global Impact: A Case Study on Japanese Anime's Origins and Its Influence on Japan's Soft Power Disclosure." Lecture Notes in Education Psychology and Public Media 56, no. 1 (July 25, 2024): 235–41. http://dx.doi.org/10.54254/2753-7048/56/20241658.

Full text

Abstract:

In today's era of globalisation, East Asian popular culture has increasingly become an international craze that has garnered soft power disclosure for China, Japan, and Korea. Among them, Japan was the earliest to wield cultural soft power to gain significant benefits, namely through its anime industry, setting the example for China and Korea. Not only did Japan accumulate huge economic benefits through anime, but the soft power it gained through culture dissemination critically allowed Japan to reshape its national image in the western world and even across Asia,, where Japanese wartime aggression had remained an unsolved political issue over decades. This paper hopes to study the emergence, development and reception of Japanese anime and its impact on Japans international soft power disclosure, serving as a model for the current development of other East Asian popular cultures.

APA, Harvard, Vancouver, ISO, and other styles

41

Zimmermann, Basile. "Technology Is Culture: Two Paradigms." Leonardo Music Journal 15 (December 2005): 53–57. http://dx.doi.org/10.1162/lmj.2005.15.1.53.

Full text

Abstract:

The author discusses the relationship of technology to culture in the People's Republic of China. Basing his discussion on his experiences in Beijing between 2001 and 2004, the author suggests that the two paradigms of accumulation of decisions and struggle against difference can be used to describe technology in its relation to culture, including—but not limited to—popular electronic music in Beijing.

APA, Harvard, Vancouver, ISO, and other styles

42

Peifan, Li. "Prospects for improving the national character of piano culture in Russia and China." OOO "Zhurnal "Voprosy Istorii" 2022, no. 12-1 (December 1, 2022): 236–53. http://dx.doi.org/10.31166/voprosyistorii202212statyi41.

Full text

Abstract:

The article att empts to analyze the piano culture in Russia and China fr om the point of view of the perception of the status of classical and popular piano music by modern youth. Two categories are taken as a basis: classical and popular piano music. Th e fi ndings suggest that, despite the tension between modernization and preservation, globalization in Russia and China has signifi cantly raised the status of piano music in education, increased the social signifi cance of the pianist’s professional career, and strengthened piano culture as a symbol of national identity.

APA, Harvard, Vancouver, ISO, and other styles

43

McIntyre, Bryce T., Christine Wai Sum Cheng, and Zhang Weiyu. "Cantopop." Journal of Asian Pacific Communication 12, no. 2 (December 31, 2002): 217–43. http://dx.doi.org/10.1075/japc.12.2.03mci.

Full text

Abstract:

In post-Handover Hong Kong, one sees an influx of cultural products from mainland China, from increased radio and television programming in Mandarin to the adoption of simplified Chinese characters in some publication venues. These are symbols of the resinicization of Hong Kong. Meanwhile, Beijingers proudly assert that the Chinese capital is the cultural centre of China, and they look with a combination of curiosity and disdain on the popular culture of Hong Kong. With this steady influx into Hong Kong of culture emanating from the Chinese capital, and with the imperialistic attitude of Beijing elites, one might conclude that Cantonese popular culture is in serious decline. However, this is not the case. Through a descriptive study of Cantonese popular music or Cantopop, as it is known in the West this article argues that Cantonese culture is a unique and irrepressible cultural force in Greater China. Further, this article argues and this is the main point that Cantopop has served the role of a strategic cultural form to delineate a local Hong Kong identity, vis-à-vis the old British colonial and mainland Chinese identities. The article includes a brief history of Cantopop.

APA, Harvard, Vancouver, ISO, and other styles

44

Lu, Sheldon Hsiao-Peng. "Postmodernity, Popular Culture, and the Intellectual: A Report on Post-Tiananmen China." boundary 2 23, no. 2 (1996): 139. http://dx.doi.org/10.2307/303810.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

Klein, Jakob A. "Displacing desire: travel and popular culture in China - By Beth E. Notar." Journal of the Royal Anthropological Institute 14, no. 3 (September 2008): 687–88. http://dx.doi.org/10.1111/j.1467-9655.2008.00525_21.x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

Taylor-Jones, Kate, Edward Vickers, and Ann Heylen. "Editorial." East Asian Journal of Popular Culture 9, no. 2 (September 1, 2023): 161–64. http://dx.doi.org/10.1386/eapc_00104_2.

Full text

Abstract:

This editorial is an overview of this edition of the Journal of East Asian Popular Culture. It features a thematic section guest-edited by Yan Ying and Weiqing Xiao on ‘Chinese Popular Culture in Translation and Transmission’. Five articles share a focus on the lived experience of the producers and consumers engaged in ‘translation and transmission’ of popular culture in the People’s Republic of China (PRC). Two general papers complement this thematic section and illustrate the nature of translation and transmission of culture as a two-way process. The book reviews section features commentary on recently published works that relate to themes discussed in the research articles.

APA, Harvard, Vancouver, ISO, and other styles

47

Peng, Shenli, Ping Hu, and Zheng Guo. "Within-culture variation in field dependence/independence: A region-level investigation across China." Social Behavior and Personality: an international journal 46, no. 2 (February 2, 2018): 293–300. http://dx.doi.org/10.2224/sbp.6561.

Full text

Abstract:

Field dependence/independence (FDI), refers to one's preferred style in perceiving one's surroundings, either analytically and individually, or globally and collectively, and has been a popular topic in recent cross- and within-culture research. Previous researchers have suggested that members of individualist and collectivist cultures differ in the degree to which they perceive objects either analytically and context-independently or holistically and context-dependently. Cross-culture variation in FDI has been thoroughly studied, whereas within-culture investigations have seldom been undertaken. We explored the within-culture variation of FDI with 593 Chinese colleague students, via administering the Embedded Figures Test. As we predicted, results showed that participants from the more individualist north China area exhibited stronger degrees of field independence than did their more collectivist southern counterparts. We have supported and extended the notion that culture affects individual experiences on a basic perceptual level with new within-culture data.

APA, Harvard, Vancouver, ISO, and other styles

48

Lixia, Zhou. "The Place of Chinese Doramas in the Russian Socio-Cultural Landscape." Galactica Media: Journal of Media Studies 3, no. 4 (December 18, 2021): 91–108. http://dx.doi.org/10.46539/gmd.v3i4.234.

Full text

Abstract:

The increasing interest of people around the world towards the popular cultures of China, Korea and Japan leads researchers to question how these countries influence the socio-cultural spaces of other countries through the export of their mass culture products. This study focuses on the analysis of Chinese doramas in the Russian sociocultural space. The increasing number of online fan communities, the activity of translators and dubbers of Chinese TV series, and the widespread use of the Internet in Russia make Chinese dramas easily accessible to a wide audience. Using quantitative methods, the author of the study came to the conclusion that people in Russia are very interested in Asian cultures, and audiences of Asian TV series are growing at a tremendous rate every year. While Korean dramas remain the most popular in Russia, Chinese serials have great competitive potential against their Korean and Japanese counterparts. This article may be useful to all researchers of mass and popular culture and television series.

APA, Harvard, Vancouver, ISO, and other styles

49

Cho, EunAh. "Direction of Humanities Exchange for the Development of Friendly Relations between Korea and China." Asia Cultural Creativity Institute 4, no. 1 (June 30, 2024): 28–44. http://dx.doi.org/10.54385/cbt.2024.4.1.28.

Full text

Abstract:

South Korea should continue its friendly relations with China for economic, geopolitical and security reasons. As China continues to compete with the United States for global hegemony, it is in its interest to maintain friendly relations with South Korea. In line with these interests, under the Park Geun-hye administration, China and South Korea issued a joint statement on the future vision of Korea and China, formalizing active bilateral exchanges centered on humanities. However, there is a subtle difference between the two countries in terms of the humanities exchange agreed upon in the statement. While Korea views the concept of humanities as a broad approach to human exchanges that encompasses traditional and popular culture, China focuses on traditional culture and is opposed to popular culture exchanges. The two countries have not been able to come to a mutual agreement on this issue. For friendly relations with China, Korea should continue humanities exchanges through a public diplomatic approach rather than a hard power competition. If so, it would be easiest to approach humanities exchanges based on traditional culture in the same flow as China's internal and external policies. Of course, there is a risk of cultural appropriation. However, humanities exchanges are an inevitable part of China-ROK diplomacy. In that case, we should start with traditional cultural exchanges that China can easily accept and gradually expand the scope. And it would be better to allow Korean pop culture-based content to penetrate China naturally, not through a policy approach.

APA, Harvard, Vancouver, ISO, and other styles

50

CARRERAS, MIGUEL. "Public Attitudes toward an Emerging China in Latin America." Issues & Studies 53, no. 01 (March 2017): 1740004. http://dx.doi.org/10.1142/s1013251117400045.

Full text

Abstract:

In the past two decades, China has substantially increased its economic presence in Latin America. The impressive rate of economic growth in China has resulted in a voracious appetite for Latin American commodities and energy sources. China has also become a major investor in the region, and has loaned billions of dollars to Latin American countries. This paper evaluates how aware Latin American citizens are of this increased economic presence of China, and also studies citizens’ attitudes toward the rising influence of China in Latin America. Public attitudes toward the Chinese economic and political model, and evaluations of the Chinese popular culture are also presented and discussed. The evidence suggests that the image of China is improving in Latin America as a result of its new economic role in the region. However, Chinese soft power faces several limitations in the region. The Chinese political and economic models, and the Chinese popular culture are still not very attractive in Latin America.

APA, Harvard, Vancouver, ISO, and other styles

Journal articles on the topic 'Popular culture – China'

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles