• The Journal of the Korea Contents Association
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• v.16 no.6
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• pp.802-813
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• 2016

This study examined the Japanese and Chinese journalist's views on anti-Korean wave, who are the public and authoritative discourse producers in Japan and China, respectively. In so doing, the study aims to understand the ways in which the phenomena of anti-Korean wave take place and are diffused. According to the findings, anti-Korean wave in north-east Asia is affected by anti-Korea sentiments that have been induced from historical and political relations as well as cultural conflicts. In specific, the anti-Korea sentiments found in both Japan and China are geopolitical particularity and historical relations function to frame their cultural receptions of Korean pop culture. In other words, the phenomena of anti-Korean wave in both countries do not stem directly from local audiences' either discontents or apathy on Korean pop contents. However, while Japanese anti-Korean wave seems to be mere expressions of anti-Korea sentiments, Chinese sentiments of anti-Korean wave are triggered and transferred by, or articulated with their anti-Korea sentiments.

• The Journal of the Korea Contents Association
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• v.17 no.10
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• pp.394-405
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• 2017

The predominant concern of the study consist of: (1) the effect of young Chinese's consuming of Korean cultural wave contents including Korean TV drama, film, and K-pop on their anti-Korean sentiment; (2) the second-order mediating effects of both liking for Korean wave and positive perceptions of Koreans. The research is based on a survey conducted with 695 chinese people between high-teen and 20's, located in eleven cities of seven provinces. The notable findings are as follow: First, the higher consuming of Korean cultural wave contents, the higher anti-Korean sentiment. Second, young Chinese, consuming more Korean cultural contents, show more liking for Korean wave. The more favor of Korean cultural contents, the more positive perceptions of Koreans. The more liking for Koreans wave contests and the more positive perception of Koreans, the less anti-Korean sentiment. Therefore, it is proved that liking for Korean cultural wave contents and perceiving Koreans with a positive view are important mediator to reduce the anti-Korean sentiment. Some practical implications are discussed based on this study's findings above.

• International Journal of Industrial Entomology and Biomaterials
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• v.7 no.2
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• pp.231-233
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• 2003

To understand the physical method for induction of anti-bacterial substances from the silkworm larvae, Bombyx mori, three physical methods, i.e., infrared radiation, ultraviolet radiation and ultrasonic wave, have been used in this study. The results have shown that ultrasonic wave can induce anti-bacterial sub-stances effectively than radiations in the B. mori larva. The induction of anti-bacterial substances was different from silkworm race to race. Summer-autumn silkworm race (Qiufeng${\times}$Baiyu) was easy to induce antibacterial substances. It is suggested that the ultrasonic wave is a simple and easy method for induction.

• The Journal of the Korea Contents Association
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• v.19 no.10
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• pp.548-559
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• 2019

K-pop has gone through ups and downs for 30 years since it was introduced to China in the 1990s. As the trigger for the 'Korean wave', K-pop has become a business card of Korean pop culture, which is another popular culture that has culminated in China after the 'Western wave', 'Japanese wave' and 'Hong Kong.Taiwan's wave'. Its wide range of influences and long time are rare in the world, so it can be regarded as a typical example of modern intercultural communication. The paper takes 1988-2018 as the time interval, combs the process of K-pop's intercultural communication in China. Based on this theory, it can make an objective evaluation on the current situation of K-pop in China. Then this paper discusses the influence of K-pop culture on the current Chinese university students through a questionnaire survey, and puts forward some developmental suggestions from the perspective of Chinese people. In order to provide a theoretical basis and enlightenment for the study of K-pop in China.

• International journal of advanced smart convergence
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• v.8 no.1
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• pp.204-213
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• 2019

Perhaps nothing more vividly illustrates the many different ways in which traditions can be interpreted than a study of the life of Confucius in modern times. In China and Korea, Confucian values and culture are dismissed and scorned during some periods and held up as facilitators of cultural prosperity in others. This changing perception of and attitude toward the Confucian tradition in modern society embodies the long life of the Confucian tradition and its continually evolving trajectory, as well as its versatility within shifting sociopolitical milieux spanning distance and time. In this paper, I investigate the (re)emergence of Confucius in modern Korea and China with a comparative and critical gaze. I demonstrate how different modern interpretations of Confucius, both negative and positive, in these two countries bring new life to the Confucian tradition within their own complex social realities. By focusing on the recent revival of Confucius in China-Anti-tradition of Korean dramas, the Restoration of Confucian Culture in China and Korean Wave, the modernity of China in Confucius are examined, and finally, in terms of the means of realization of the Chinese dream-I illuminate how the image of Confucius serves the (re-)invention of contemporary China, with her pervasive desire to romanticize and materialize China's past as well as her future.

• The Journal of the Korea Contents Association
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• v.19 no.11
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• pp.201-210
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• 2019

Recently, Korean broadcasting contents experienced difficulty caused by political issues. After the decision of THAAD missiles placement by Korean Government, Chinese government adopted restriction policy of the Korean wave. This kind of political conflict can influence K-wave broadcasting contents at any time, Therefore, it is necessary to build support system for stable and sustainable K-wave growth. Through in-depth interview with ten experts from broadcasting area, this study attempted to diagnose problems of K-wave related law, system and policy, then suggest the improvement plan for K-wave. In addition, this study tried to investigate the possibility of K-wave market diversification. As potential markets for K-wave, the Southeast Asia area and western Europe were considered and the advancement plan for these area were studied. Lastly, K-wave improvement plan for China and Japan, the traditional K-wave market also considered. The research suggested the strategies and alternatives for K-wave broadcasting contents development.

• The Journal of the Convergence on Culture Technology
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• v.8 no.6
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• pp.261-268
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• 2022

No language can be separated from other languages and exist independently. When a language comes in contact with a foreign culture, they continuously affect each other and bring changes. Hallyu boom(Korean wave), which was derived from the emergence of K-drama and K-pop due to rapid developments in global scientific technologies and digitization after the 90's, affected the Chinese language. As a result, neologisms that are derived from the Korean language are being commonly used for making exchanges and becoming social buzzwords. Neologisms derived from Korean reflect the effects and results of language contact between the two languages. We examined the background and cause of Chinese neologisms derived from Korean based on the sociocultural factors and psychological necessity, and explained neologisms by using four categories of transliteration, liberal translation, borrowing Korean-Chinese characters and others. Despite having the issue of being anti-normative during the process of coining new words, neologism enriches Chinese expressions and is a mirror for social culture that reflects the opinions and understandings of young Chinese people who pursue novelty, change, innovation and creativity in linguistic aspects. We hope that it will serve as an opportunity for the young people in Korea and China to change their perceptions and become more friendly by understanding each other's language, culture and by communicating. We also expect to provide assistance in regard to teaching and learning the applications of Korean-Chinese language fusion at Chinese education fields.

• The Journal of Art Theory & Practice
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• no.6
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• pp.27-50
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• 2008

This thesis examines contemporary Chinese painting after the Cultural Revolution(1966~76), focusing upon so-called "Chinese Pop art", which I termed as "Socialist Pop art". I considered the art of this period within the broader context of social changes especially after the Tienanmen incident of 1989. After the Cultural Revolution during which idolization of Chairman Mao was at its peak, one of the major changes in communist China was that an anti-Mao wave was generated in almost every social class. For example, novels that revealed the hardships during the Cultural Revolution were published. Posters that openly criticized the Maoism were also produced and displayed on the walls, and demand for democracy spurred widespread activist movements among young generations. These broad social changes were also reflected in art. A variety of art movements were introduced from the West to China, and after a period of experimentation with the new imported styles, artists began to apply the new artistic idiom to their works in order to visualize their own social and political realities they lived in. It was a shift from earlier Socialist Realism to a new expression either directly or indirectly, "Socialist Pop", an amalgam of Socialist Realism and Pop art tradition. After the 1989 crackdown of Tienanmen Square protest, when communist government quelled with brutal measures the students, workers, and ordinary people who rose for democracy, greater urge to protest the Deng Xiaoping regime emerged. This time coincided with the gradual emergence of art using Pop art vocabulary to satirize the social reality, the Socialist Pop art, along with many other art forms all with avant-garde spirit. One of the most frequent subjects of Chinese Pop art was visual images of Chairman Mao and his Cultural Revolution, and new China that was saturated with capitalism, which tainted the Chinese way of life with a Western way of consumerism and commercialism. The reason for the popularity of Mao's image was spurred by the "Mao Craze" in the early 1990's. People suddenly began to fall in a kind of nostalgia for the past, and once again, Mao Zedong was idolized as an entity who can heal the problems of modern China who had been marching towards their ultimate destination, the economic development. But this time Chairman Mao was no more an idol but just a popular, commercial product. He is no more an object of worship of almost religious nature but he has become an iconography symbolizing the complex nature of present Chinese society. During this process of depicting the social reality, Chinese artists are making the authority and sanctity of Maoism ineffective. Dealing with this new trend of contemporary Chinese art in view of "Socialist Pop art" two manners of re-creating Pop art can be illustrated: one that incorporates the propaganda posters of the Cultural Revolution; the other borrows from Chinese traditional popular imagery or mass media, such as photos taken during Mao era. What is worth mentioning is that these posters and photos of the Cultural Revolution can be identified as 'popular' media, as they were directed to educate the popular mass, thus combination of this ingenuous pop media with Western Pop art can be fully justified as a genre unique to China. Through this genre, we can discover a new chapter of the Chinese contemporary painting and its society, as their Pop art can be considered as self-portraits true to their present appearances.