2017, Vol., No.37

The Journal of Chinese Cultural Studies 2025 KCI Impact Factor : 0.15

pISSN : 1598-8503 / eISSN : 2714-0067
https://journal.kci.go.kr/cccs

China, with a vast territory and a great population, has various music character in various section of it, which provides Chinese popular music with abundance materials and inspirations. furthermore, the best way to supplement Chinese popular music works by using it by reference. on the base of it, various folk character is showed in chinese popular music. “Xi bei feng”songs, which emerged in the late of 1980s, are creative works with unigue characteristics among China’s contemporary songs. From 1986 “did not have all” and “Xintianyou” began, at the end of 1988 to the emergence of a “My beloved Hometown”, the Loess Plateau, the film “Red Sorghum” in the episode “sister song”, the drama “Syracuse” in the theme song “heart of the sun” and so on large this with strong northwest music style and distinctive characteristics of the times “Xi bei feng” songs. with their rough, bold, and a bit bleak tone, and wild and passionate rhythm, “Xi bei feng” songs were all the fashion at China’s singing stage then which exerted great influence on social musical life and were very significant in the history of China’s contemporary music. “Xi bei feng” songs has a strong northwest style, distinctive features of the times and the unique aesthetic character. It is also China pop music training and bringing up a number of composers and singers, it also promoted the development of China rock. For the combination of Chinese and Western culture, “Xi bei feng” the creation of the song also has important practical significance. this dissertation aims to make a way for Chinese popular music with folk factors to develop a school of its own in the world, which is the real meaning of this research on the folk factors in Chinese popular music.

In 2016, when the South Korean government made a decision on the placement of the THAAD missiles, the Chinese government immediately took corrective action, which was mainly centered on sanctions on hallyu, which is called the ‘限韓令(a government ban on Hallyu)’. The reason for the ‘限韓令’ is that it is exploiting ‘culture’ as a means of international politics. The thesis is aimed at critically reviewing the effectiveness of the ‘限韓令’ in the two major aspects of the foreign cultural policy, namely, ‘Cultural Security and Soft Power’ pursued by the Chinese government in the 21st century. In terms of cultural security, ‘限韓令’ seems to have failed to gain a significant effect. In terms of the ideological aspects of cultural security, in terms of cultural identity, ‘限韓令’ has been an effective policy tool. Through official or informal channels, Hallyu contents continued to circulate throughout China. Chinese’s interest in hallyu also showed little difference compared to the mere past. Also, the economic aspect of the content industry is not too big for the overall economic aspect of the economy. On the other hand, in the soft power aspect of the Chinese foreign policy keynote, Especially in terms of improving the nation’s image, only the ‘限韓令’ has led to the worst results. Regarding the future of Korea and China relations in the future, Far too many Koreans have begun to regard China as a rival or threat rather than a partner. Far too many Koreans chose America rather than China as a more important country in the future. However, the result was a completely contrary situation just a year ago. It seems that China’s foreign policy, which was viewed through only ‘限韓令’ is facing a curious dilemma. The Chinese government still recognizes ‘culture’ in terms of direct national interests, The Chinese government aggressively pushes ahead with inroads into Chinese culture, while imposing sanctions on foreign cultures. The Chinese government’s foreign policy can be recognized as another ‘hegemony’ in the international community.

At present Buddhist drama of Yuan Zaju of Yuan dynasty remained are eight works. Among eight works, four works are about reaching nirvana, three works are about punitive justice, one work is about bringing buddhistic sacred book. Thouth Buddhist drama of Yuan Zaju is buddhist drama, their contents are mixed with three religion. In the Buddhist drama of Yuan Zaju, We can see Buddhistic element, Confucian element and Taoistic element. At the Yuan dynasty Buddhism, Confucianism and Taoism are the vogue. At that time the writer of Buddhist drama of Yuan Zaju used three religions in the Buddhist drama of Yuan Zaju. In the Buddhist drama of Yuan Zaju, Buddhistic element performed major role. In the Buddhist drama of Yuan Zaju mostly hero is about Buddhism. In the Buddhist drama of Yuan Zaju most hero finnally be converted to Buddhism. In this point we can say these works are Buddhist drama. But in the Buddhist drama of Yuan Zaju, Confucian element and Taoistic element are mixed. In these works we can see Confucian element and Taoistic element. If we from the Confucian element say, In the Buddhist drama of Yuan Zaju we can see reality of at that time. For example in the Buddhist drama of Yuan Zaju, we can see loan sharking of at that time. And in the Buddhist drama of Yuan Zaju we can find Confucian concept. For example in these works we can find the thought of ioyalty and filial piety. If we from the Taoistic element say, In the Buddhist drama of Yuan Zaju we can see eternal life of hero.