2018, Vol., No.39

Exploration of the Present Meaning of East Asian Classics — For the Status of East Asian Culture and Human Dignity

Wee Hangbok | 2018, (39) | pp.1~20 | number of Cited : 0

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A Study on the Path-Dependent in Korea and China’s Early Cultural Industry Policy

Kwon Ki Young | 2018, (39) | pp.21~46 | number of Cited : 0

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This paper aims to discover what factors have affected the formation of cultural industry policies in China and Korea. And I stressed that the two countries’ cultural industry policies were formed in the frame of the ideologies and institutions of past cultural policies and strategic industry policies. In terms of cultural policy ideology, China continues to have the ideologies established by Mao Zedong, such as philosophical awareness of culture, national development and relationship with culture, the main agents of cultural policy, purpose, and means, until the 21st century. On the other hand, the successful democratization of Korea served as an opportunity to establish the independence of cultural policies from the public-driven cultural policies of past development-led dictatorships. And this transformation was shaped into an elimination of the laws and regulations for each species in the 1990s. In terms of the cultural policy system, Korea’s shift from public information to cultural center, regulation to promotion, and extension of the cultural ministry’s external extension (integration of culture, media, tourism, and physical education) are represented. China, on the other hand, shows a characteristic of continuing without a big change in terms of its culture, administrative organization and legal system. This ideological and institutional background in cultural policy will have a strong influence on the two countries ’ development of cultural industry policies. ‘Path-dependent’ is more noticeable in the formation of cultural industry policies, especially in relation to the two countries’ strategic industry policies. The way in which Korea promoted its cultural industry strategy was very similar to the policies for fostering heavy and chemical industries or the policies for fostering the information and communication industries. And China’s strategy for fostering the cultural industry is quite similar to its policy on fostering the information industry of the past. This shows that both Korea and China have established cultural industry policies through learning about past successful strategic industry policies. Such similar forms of Korea and China’s cultural industry policies to those of East Asian Development Model, such as the development of heavy chemical industries and the development of the information and communication industries, are seen as the absolute effects of the industry policies that these countries have had in the past.

A Study on Ripple Effects of Chinese Cultural Industry by Using Input-output Analysis

Shi, Huimin , Hong-Yul Jeong , Lee， Yun-Soo | 2018, (39) | pp.47~74 | number of Cited : 0

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The cultural industry is not only an important part of the national soft power, but also an important component of the national comprehensive strength. With the development of the economy and the improvement of the material living standard, the demand for cultural products has been increasing continuously. Recent years, China’s cultural industry has been fast development, the total scale of the cultural industry has steadily increased. This paper used China’s 2012 Input-output table to analyse the Chinese cultural industry by dividing the Chinese cultural industry into cultural services and cultural services. The results of the analysis are shown below: first, the other industries in the national economy have very low input coefficients for the culture industry, but the need for the second industry is the highest. Second, In production inducement coefficients, the cultural industry has the highest production inducement effect for itself. Third, the coefficient of influence of cultural manufacturing is higher than the average level of the whole industry, and that means the production demand and ripple effects of other industries are strong in the national economy. Forth, the sensitivity coefficient of cultural manufacturing industry and cultural service industry is smaller than the average level of the whole industry, the production of other industries is weak in promoting the development of cultural industry, the cultural industry is not limited to other industries. Fifth, the production inducement coefficient of the cultural manufacturing industry and cultural service industry is the highest, followed by the value added induction coefficient and import inducement coefficient are the lowest. In addition, cultural products have the highest dependence on exports, and cultural services have the highest dependence on consumption. In the final product of cultural manufacturing and cultural services industry, the production induction coefficient is higher than added value induced coefficient, the Induction coefficient is smallest. At the same time, the dependence of cultural manufacturing on exports is the highest, and the dependence of cultural services on consumption is the highest. The last part of this paper lists some recommendations for development of Chinese cultural industries.

The Design Stage Performing Arts on Drama Creation Theory of LI Yu

Park sung hun | 2018, (39) | pp.75~104 | number of Cited : 0

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Tan Xin Pei’s World of Performances and Artistic Accomplishments as the King of Beijing Opera

Mikyung Cha | 2018, (39) | pp.105~124 | number of Cited : 1

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Guoziyi, the Icon of Happiness and Comfort: From the Story of Taiping-guangji Guoziyi to the Painting of ‘Punyangwang Haengnakto’ and Kwak Punyang-jon in Chosŏn Dynasty

Jin-A Choi | 2018, (39) | pp.125~148 | number of Cited : 2

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The Study on 「Journey to the West」 Drama of Yuan Zaju — About Image of Character of Tang Seng XuanZang

KwangYoungKim | 2018, (39) | pp.149~172 | number of Cited : 0

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The Research on the Value of China’s Square Culture — As the Rules for Healthy Keeping

Choi, Saeyoon | 2018, (39) | pp.173~200 | number of Cited : 1

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Dual Cities, Dual Modernities

Kim,NamHee | 2018, (39) | pp.201~220 | number of Cited : 0

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This study intends to discover and appreciate multiple modernities by comparing Incheon (仁川) in Korea and Dalian (大連) in China. Both cities were open ports under the rule of Japanese imperialism and, according to the ruler’s urban planning, were built dually to separate the residences of the colonizer and the colonized. The borderlines that were drawn to divide different ethnicities, soon became socio-economic borderlines. As the cities kept developing, the social gaps between the separated residences became obvious. Since 1990s, both in Incheon and Dalian, efforts have been made to reflect their own histories as open ports and it turns out that the socio-economic borderlines from the past still remain unchanged. While present literature frequently deals with the dual structure of Incheon or Dalian or focuses on how to preserve specific modern historical places in the cities, this study explores the possibilities of restoring modernity from within as well as from outside by properly preserving and utilizing the remaining duel places. Both located near to the open ports, Baedari in Incheon and Xiaogangzi (小崗子) in Dalian were residences of low-income people who were providing manpower for each colonized society. These two areas are meaningful in that they not only accepted the influence from outside also developed autonomous modernity by maintaining national identity and internal motivation. However, the reality is that at present, they are just old and rundown areas which are almost forgotten, waiting to be redeveloped. With the rise of consciousness about the significance of modern history, more people tend to prefer restoration to removal of historical places. Still it requires more judicious approaches to restoring local history. Approaching the unvarnished history in specific and elaborated ways will make the meaning of modernity in the colonized cities richer and deeper. We should be careful that the recent new interest in the histories of the two cities doesn’t end in degenerating those historical sites, such as Baedari and Xiaogangzi, into commercialized nostalgic areas or in creating extra burden by failing to incorporate the renewed historical sites into the original local communities.

Taiwanese Film “Paradise in service”: The Space of “Special Tea House” and the Politics of Women Reproduction

Shin-dongsoon | 2018, (39) | pp.221~240 | number of Cited : 2

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A Study of Yang Mu’s Late Poems: Focusing on Their Aesthetic Characteristics

Woo Kwang Jung | 2018, (39) | pp.241~268 | number of Cited : 2

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The purpose of this study is to illustrate the aesthetic characteristics of Yang Mu’s 楊牧(1940~ ) late poems, especially focusing on his post-1968 works. Although he adopted the pen name Yang Mu in 1972, his fourth collection of poems The Legends 傳說, which was published in 1971, was a turning point in his poetry both in thematic devices and in stylistic endeavors. In comparison with his pre-1966 poems, the poems in The Legends display more than somewhat epiclike qualities with the use of not only dramatic monologue but also weaving a narrative, even in the short poetry. At the same time, the aesthetic characteristics appeared in The Legends has continued to affect his later poems up until his fourteenth collection of poems, Songs Long and Short 長短歌行(2013). This study contains four parts, together with introduction and conclusion. Part One brings out the question how we classify Yang Mu’s whole poetry according to period. Generally, literary critics classify his poetry in two periods: the early period and the later period. And what distinguishes the early period from the later period? Part Two examines his fourth collection of poetry The Legends and revaluates his distinctive aesthetic qualities with two poems “Jizi of Yanling Hangs Up His Sword延陵季子掛劍” and “Screen屏風 .” Part Three analyzes his two famous poems “Solitude孤獨”(1976) and “Someone Asks Me about Justice and Righteousness有人問我公理和正義的問題”(1984), especially focusing on his best known style of nostalgia with the existential(in the case of “Solitude”) and his political engagement that was seen as an allusion to the Kuomintang’s entrenched discrimination against the native Taiwanese(in the case of “Someone Asks Me about Justice and Righteousness”). Part Four concludes that his brilliant poetic achievement with classical Chinese imagination and literal tone as well as experiments of Western poetic techniques is superb and has a special significance in that his poems will be served as a useful guide for his successors.

A Study on the Chinese Pronunciation-Change Words in Han Dynasty

Yum Jaeung | 2018, (39) | pp.269~297 | number of Cited : 0

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2018, Vol., No.39