Cultural Industries in China and their Importance in Asian Communities

In his article “Cultural Industries in China and their Importance in Asian Communities”, Qingben Li discusses the concept of cultural industries in China, the new trend and the importance of cultural industries in Asia. Following the model of the One Asia Foundation, Li argues that cultural industries will play an ever-increasing important role in economy. Contrary to thoughts held by some Western scholars, Li points out, Chinese culture has not always been closed, but open and inclusive to the world in general. Moreover, Li argues that the unique combination of Chinese traditional culture and new media will have an important impact on cultural industries, and the Belt and Road Initiative and the Asian Infrastructure Investment Bank (AIIB) will contribute to the development and prosperity of all Asian communities as well as the rest of the world

China Question of US-American Imagism

This paper investigates first the influences of ancient Chinese culture on Ezra Pound, and then Pound’s influence on the New Culture Movement of modern China (1917). It is a kind of circular journey of literary texts and theories from ancient China to the West and then back to China. This journey, or “circle model,” involves textual appropriation, variation, transformation and misunderstanding in every stage

Enhancing China’s National Image Through Culture Festivals: A Case Study of China Culture Years in Europe

Since the mid-2000s, the PRC has increasingly focused on pursuing cultural diplomacy abroad to improve its national image and enhance cultural soft power. Although China’s cultural “Charm Offensive” has not gone unnoticed, a variety of specific activities have not been subject to research so far. This paper, therefore, attempts to fill this research gap by analyzing Chinese state-level cultural diplomacy through a comparative case study of three China Culture Year events held in France (2004), Italy (2010), and Germany (2012). These findings are subsequently compared to the China Culture Year in Australia (2012), thereby allowing the identification of spatial variations. I argue that the Chinese government applies a general approach of organizing the events abroad by making use of local institutions. At the same time, through the strategic selection of events, the festivals portray distinct national images that transmit particular narratives of self-presentation to the European audience and take into account country-specific preferences

Translation, Cross-cultural Interpretation, and World Literatures

In their article Translation, Cross-cultural interpretation, and World Literatures Qingben Li and Jinghua Guo discuss how to make what is national literature become part of world literatures and posit that there are at least two ways by this can be done: translation and cross-cultural interpretation. Translation covers not only the conversion of language, but also the selection and variation of culture. In the context of modern Chinese literature, cross-cultural interpretation often emerges in the form of applying Western theories to explain Chinese texts in order to facilitate appreciation by Western audiences and to support the need of the internationalization of Chinese literature. Cross-cultural variation is not unidirectional, but multidirectional and thus cultural intersections take place across space and time thus facilitating the canonization of various literatures in world literature

Kitajski internetni film in njegov industrijski razvoj

During the past ten years, China’s micro film genre has undergone a rapid development because of the technological changes related to intermedia practices. Focusing on three types of micro film production, we will try to explore some characteristics of China’s micro film genre. This chapter takes A Murder Case Triggered by a Steamed Bun as the first type of micro film, which is a parody of the movie Wuji. The second concerns conspiracy, including intertextual and intermedia conspiracy, and will be illustrated by the micro films Imminent and The Only Choice. The last type of micro film production focuses on social welfare, and is represented by the title I will give you happiness when I grow up. All these productions call into question how to coordinate and harmonize the conflict that arises between social welfare on the one hand, and market efficiency on the other. The author believes that Chinese micro film productions will be regulated into China’s Model of socialist cultural productions, which is different from the time when the government managed everything during the Planned Economy, and is also different from the cultural policy models in the West.V zadnjih desetih letih je kitajski mikrofilmski žanr hitro napredoval zaradi tehnoloških sprememb povezanih z intermedialnimi praksami. Z osredotočenjem na tri zvrsti mikrofilmske proizvodnje bomo poskušali raziskati nekatere značilnosti kitajskega mikrofilmskega žanra. Ta članek uporabi film Primer umora, ki ga je sprožil na pari kuhan cmok, kot prvo zvrst mikrofilma, ki je parodija na film Wuji. Drugi zadeva zaroto, vključno z intertekstualno in intermedijsko. Ponazorili ga bomo z mikrofilmoma Neizogibno in Edina izbira. Zadnja zvrst mikrofilmske proizvodnje se osredotoča na socialno pomoč, predstavlja pa ga naslov Osrečil te bom, ko odrastem. Vse te produkcije postavljajo pod vprašaj usklajevanje in harmonizacijo spopada, ki vznikne med socialno državo na eni strani in tržno učinkovitostjo na drugi. Avtor je prepričan, da bo kitajska mikrofilmska proizvodnja regulirana po kitajskem modelu socialistične kulturne proizvodnje, ki se razlikuje od časa, ko je vlada vse vodila s planskim gospodarstvom, se pa tudi razlikuje od modelov kulturne politike na Zahodu

The Making of Chinese Meixue

In “The Making of Chinese Meixue,” Li and Wang discuss the Chinese translation of the term “aesthetics.” It had been believed that it was the German missionary Ernst Faber who first coined the Chinese term “meixue,” which is refuted in this paper. The view that the term “shenmeixue” in Japan was derived from Wilhelm Lobscheid’s English and Chinese Dictionary also lacks factual basis. It is true that the term “meixue” was introduced to China from the West via Japan, but it was then a term that had not yet developed within a specific discourse, which would have never been achieved without Wang Guowei’s unique insights. Wang Guowei’s important contribution to modern Chinese aesthetics lies in his integration of Western-derived aesthetic terms into the construction of Chinese aesthetic discourse, establishing a new paradigm of cross-cultural aesthetics for Chinese meixue