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This study explores modern appropriations of the popular Chinese classic,《Xiyouji(Journey to the West)》. Long before the term “culture contents” came intovogue, Chinese classics have been exploited for cultural archetypes or original sources. 《Xiyouji》 is an exemplary case, being used for a variety of performing fields includingpuppet shows, dramatic performances and animations. The source power of 《Xiyouji》transcends the national boundary as the novel attracts (re)creative forces in Korea,Japan and America. The paper adopts the framework of MSMU (Multi-Source Multi-USE) in its attemptto examine the nature of the source power of 《Xiyouji》. In doing so, the paper focuseson and utilizes the concepts of modernization, localization and contemporization. Roughlyspeaking, 《Xiyouji》’s appropriations in China tend to stress the continuity andinheritativenes with the original source whereas those in non-Chinese cultures tend tohighlight the reformulative aspects of their appropriations. Both local and internationalappropriations of 《Xiyouji》 are discussed with examples pertinent to the topic of thepaper.

The purpose of this study is to study the decorative beauty and practicality ofSunchoo, which accentuated fans in the traditional fan culture of Korean and China, andto suggest design cases of modern accessories that incorporate Chinese and Koreanancestors' attitude towards life, beauty, and taste for the arts. In particular, variouspatterns and their symbolic meanings on fans of Chinese Qing dynasty and Chosundynasty shall be investigated. This study was conducted mainly with late Chosundynasty fan Sunchoo which had become more diverse than before as well as Qingdynasty fans, which were the more glamorous one among Chinese fans. Theoreticalcontemplation of the study include first; the etymology of the word fan, origin, andnaming of the parts. Second, examination of the origin and meaning of Sunchoo and itsdecorative development possibilities; third, formative analysis of Sunchoo andcontemplation of its structure, form, various functions and materials, pattern andmeaning. In the design study the Choseochae, one of the traditional calligraphy fonts,is utilized as Sunchoo's main motif in the design that realize the innate symbolicmeaning of four character idioms. Such research process is to seek the succession ofSunchoo's beauty and sophistication and its development potential as contemporaryaccessory. Design research included the development of 7 different styles of necklacesthat implemented the Sunchoo structure of main body-knot-tassel and the beauty ofChoseochae, one of the traditional calligraphy techniques, was used to utilize fourcharacter idiom as Sunchoo's main decoration. Silver and brass were used as mainingredients while various metal chains, beads, stones, etc, were used also. The purposeof this study is to take a look at the sophistication, class, decorative values, andpracticality of Sunchoo, which made our fans that glamorized Chosun and Qing dynastyeven more elegant and produce modern accessories which make use of such Sunchooto further and develop contemporary accessories.

In this study, we attempt to explore how social and personal characteristics of The Post-8090 in China and brand properties influence to global brand consumption. For thepurpose, we explore two research questions; (1) What is different between Post-80 andPost-90 in the social and personal characteristics and brand properties to global brands?(2) How the social and personal characteristics of The Post-8090 in China and brandproperties of three global brands influence to brand attitude, purchase intend, andrecommend? Using data, we analyzed social and personal characteristics which aresocial belongingness, susceptibility to consumption trend, consumption uniqueness andbrand properties which are brand ownership and knowledge. The major findings aresummarized below. First, the evaluation of the social and personal characteristics andbrand properties to global brands appeared to differ by generation. Second, Chinesebrand's ownership was evaluated more highly than other brands and susceptibility toconsumption trend of American brand or brand knowledge of Korean brand wareevaluated more highly than Chines brand in brand attitude step. Third, knowledge ofChinese brand was evaluated more highly than other brands and consumptionuniqueness of American brand or susceptibility to consumption trend of Korean brandware evaluated more highly than Chines brand in purchasing step. Based on thesefindings, we summarized and suggested some implications and future direction.

This paper has its focus on examining two contemporary Chinese artists, Ai Weiweiand Huang Yongping, and the politics that is created by a discourse strategy in theworks of these two installation artists. The main focus of this essay are twofold. One is the materiality that is in theinstallation artwork itself. This indicates a one-time, space taking and planetary objectin the artwork. This kind of installation artwork that contains a planetary characteristicforms a discourse that uses a metaphor which does not indicate the reality directly. The other is the futility that is within the artwork. The phrase “No use for anything”indicates everyone aesthetically or economically, and the artwork that is visible to thenaked eye is made up of things that have nothing to do with political issues. Theseworks are made impossible to be a private artwork or goes through a list of a stunningvisualization and incredible size for the audience to experience a event-like nature. Thisis new form of knowledge network operation that does not become abandoned. Intensefeelings that the artwork gives does not directly contact with the physical materializationthat the artwork shows, but the message that the artwork gives is strongly performed. Therefore by a new discourse strategy that is created between Ai Weiwei and HuangYongping that contains the two natures above, the matter that is created by amaterialization and the abstraction that seems useless embodies into the political domain. In addition, the overall framework of this paper, so to speak, submitting invisibletestimonies and the theory that artworks can be made political through the materializingoperation was brought from Jacques Rancière.

The purpose of this study is to explore ‘Tibeta Film’ and Chinese Tibetan directorPema Tseden, and to resolve context analysis. Director Pema has continued writing novels from 1991 year, and until now directedtwo of short film, five of long film. This study analyse his representative three of longfilm which are <The Holy Silent Stone>(2005), <Old Dog>(2011), <The SacredArrow)>(2014). First of all, He has created characteristic mise-en-scene style which use ‘FixingCamera’, ‘Full Shot’, ‘Long Take’. these styles show the audience ‘have some time andspace how to reflect these movie’. Secondly, Through express ‘Tibetan-ness theme’, transmit to the audience nationalconsciousness about problems of political independence, development of modernization,etc. Thirdly, In the light of context meaning, His movies are ‘Tibet Film’ Which haveTibetan cultural identity, But, entail the two aspects of Tibet national consciousness andChinese unity ideology. Even though Pema Tseden has double identity, as a Sino-Tibetan, But, In terms of,‘The first Tibet Film’ which Tibetan express oneself about their language, culture, life,value, spirit, it is the significance in film history.

With the advent of new media there is growing concern about the interactivitybetween program producers and radio users. This study is about the transnationalinteraction of “internet C-Radio <OuXiangBenSe>,” a competitive medium of a newmedia era. <OuXiangBenSe>, a program which realizes the interactivity betweenproducers and users being attempted domestically for the first time, is considered to bea program with great potential of growth in broadcasting industry. This study firstlyseeks to understand the background of the program production and the organization &direction of program planning through the in-depth interview with the producer. Secondly, I tried to analyze in what ways communications between producers and users are occurring and whether there is a difference in understanding the program betweenproducers and users, through the message boards such as YouKuTuDou(优酷土豆),LaiWang(来往), WeiBo(微博). The findings of this study show that the gap ofunderstanding between the two groups is beginning to narrow, thus the<OuXiangBenSe> establishing itself as an interactive medium, not as aculture-conveying medium under the name of “Radio” - an active communicativemedium between producers and users. Consequently, <OuXiangBenSe> is likely to havea lot of implications in that the program is a real example of interactivity in the futurebroadcasting industry of new media distributed transnationally beyond the limit of theairwaves.

Mulan-its story and images- which was reproduced in popular novels in the latterpart of Chosun dynasty and Chung era reflected general cultural atmosphere of the ageand aspect of reaction of popular reading behavior, and was a pragmatic example toidentify the relation between readers and socio-cultural connection of literary work. Even though Mulan contained almost same motif, it was totally reproduced andchanged its internal symbolism after 18 century due to Korea and China cultural varietyand expansion of reader’s class. The text of Mulan story which was reproduced inChosun dynasty as an enlightening heroine and in Chung as a beauty or transcendentfemale fighter showed the readers of those days transferred to proactive participants ofreading activity and critical cultural authority, not as a passive recipient. We could assure from China and Korea culture that readers as a proactiveparticipants could take crucial position in socio-culture as a 2nd creator for social changeand cultural evolution

This article aims to introduce Chinese four main children literature awards andamong them to investigate the characteristics of the National Excellent Children’sLiterature Award(NECLA) which is the most prestigious award in the field of pureliterature. I examined the main ideology, judgement standard sets and winningprocedures of the NECLA and the problems it is faced with and also its solutions. Having the highest authority, the NECLA has influenced the characteristics of ChineseChildren’s literature in the past three decades. This triennial award keeps Chinesechildren literature diverse by holding onto the genres peculiar to Chinese childrenliterature, such as reportage, prose, fable and science fantasy, etc. Each time it tries to supplement and amend the judgement standard set and to increase not only the numberof judges but also the percentage of the judges from ethnic minorities, however, theenhancement of transparency and fairness should be more considered. The NECLAstrives to filter out themes which is not socialistic for Chinese children living in 2000sand seeks the strong and sincere children’s image untinged with commercialism.

The purpose of this study is to revaluate Wang Jingzhi’s 汪靜之(1902-1996)representative love poems, especially focusing on his concern for the free, the romantic and the western style love. His love poetry, inspired by the tide of the May 4thMovement that asserted the ideological emancipation and anti-feudalistic society, brokeaway from the restraints of traditional custom between man and women and came toliterary prosperity. His poetry was one of the most effective means to head towardChinese modernity, since he found out Chinese equivalent for Western romantic loveaffairs and developed the private self with modern individual sensitiveness in his manytouching and brokenhearted love poems. This study also tries to find the distinctions of love poems between traditional andmodern society, and summarize the causes through the analysis of the aspects of twocultures, women social status, and different aesthetic tastes. Wang Jingzhi’s love poetryof the 1920s was based on the awareness of the relativism between subject(self) andobject(loving partner). At the same time, this poetry was characterized by its superbtendency to present sense impression of love affairs as well as experiencing sensualpoetic sentiment. Therefore, it wasn't until Wang Jingzhi's arrival that modern Chinesepoetry began in earnest to have the genre of love poem in its fullest sense.