• Title/Summary/Keyword: Chinese Character Cultural

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Effects of the Perceived Value of IP-based Game Character Skins and Purchase Intention on Game Loyalty: Focusing on the MOBA Game Pokemon Unite (IP 기반 게임 캐릭터 스킨의 지각된 가치와 구매의도가 게임 충성도에 미치는 영향 - MOBA 게임 포켓몬 유나이트를 중심으로)

  • Zhang, Yin;Jang, Yu Jin;Limb, Seong-Joon
    • Journal of Service Research and Studies
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    • v.14 no.3
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    • pp.131-152
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    • 2024
  • Recent trends in the gaming industry have highlighted a significant rise in games based on intellectual properties (IP), such as animations and webtoons. This study addresses a critical aspect of revenue generation for game companies: item sales. Specifically, it explores how the perceived value of character skins in IP-based games influences purchase intentions and, subsequently, how these intentions affect game loyalty. Utilizing 'Pokemon Unite'-a game that integrates the prominent IP Pokemon with the dynamic MOBA genre-this research investigates these relationships within a sample of Chinese users. The perceived value of character skins was delineated into six categories: aesthetic value, hedonic value, social value, personal value, economic value, and IP value. Findings indicate that, of these six value dimensions, five-hedonic, social, personal, economic, and IP values-significantly impact purchase intentions, with aesthetic value showing no significant effect. Furthermore, the study demonstrates that purchase intentions have a positive effect on game loyalty, with character loyalty partially mediating this relationship. These results underscore that players of IP-based games weigh a multifaceted array of values when deciding on character skin purchases and highlight the critical role these skins play in not only generating item sales but also enhancing game loyalty.

The Study on San-he-ming-zhu-bao-jian-quan-zhuan (三合明珠寶劍全傳)'s Xylographic Book and Narration (『삼합명주보검전전(三合明珠寶劍全傳)』의 판본과 서사에 대한 고찰)

  • Kim, Myung-sin;Min, Kwan-dong
    • Cross-Cultural Studies
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    • v.31
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    • pp.65-94
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    • 2013
  • San-he-ming-zhu-bao-jian-quan-zhuan(三合明珠寶劍全傳), this work is characterized as follows: First of all, San-he-ming-zhu- bao-jian-quan-zhuan's charaters appear equally, the readers feels familiar. this work is formed a universal consensus. Ordinary people must empathize about xia-yi(俠義) and retribution, this work was well represented. Because the readers would have liked to this story. It was an intimate relationship between China and the Joseon Dynasty(朝鮮) all the way, The Joseon Dynasty imported books and the products of civilization. High official, official interpreter, woman loves the classic Chinese novel. The classic Chinese novel was transcribed, published, translated into a book. San-he-ming-zhu-bao-jian-quan-zhuan were introduced in the Joseon Dynasty, Sungkyunkwan(成均館) University holds one version. This work is being compromised, many missing words. Domestic holdings are rare. San-he-ming-zhu-bao-jian-quan-zhuan is a novel of chivalry, the character are classified into the chivalry, negative hero, person of affection, fantastic figure. This work is centered around Majun(馬俊). Maluanying(馬鸞英) is the heroin, seen as the classic case of overcoming adversity. Quzhongcheng(屈忠成) is the prime minister, negative figure, he fight with the chivalry, was defeated at the end. Liuxu(柳絮) is person of affection, overcoming adversity, marries the two lady, has a heroic side. Fantastic figure is more enriching the contents of the work, is Buddhist and Taoist figure, serves as the positive and the negative role. San-he-ming-zhu-bao-jian-quan-zhuan is a similar assessment on Zheng-chunyuan(爭春園)'s character and plot, But Liuxu's love story is strengthened. Therefore, continued research is needed for this work.

A study on the Turfan's costume -Centering around Kochang- (트르판의 복식에 관한 연구 -고창을 중심으로-)

  • 김소현
    • Journal of the Korean Society of Clothing and Textiles
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    • v.23 no.2
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    • pp.208-219
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    • 1999
  • The costume style of Turfan had changed three times which were the period of peculiar style the period of Kochang style the period of influence of T'ang's culture. Before the founding of Kochang country the costume style of Turfan was two piece style. It was a character of nomadic people's clothes. Tops were tunic and caftan. The method of adjust caftan were two types. The one is wrapping toward left so the right edge of the top covers the left. The other is wrapping toward right. Bottoms were pants and skirts. This period was characterized by the traditional style. I called in it the period of peculiar style After the founding of Kochang country style as Kochang style. In this period Silkroad was so activated that cultural exchanges between many people and materials passed through Turfan. Turfan's culture soaked up the products of civilization of chinese and western Turkestan. Chinese and western Turkestan's costume influencd under the direct control of T' ang dynasty. Such an aspects were reflected the Trufan's costume. The Trucan's costume had changed into the foreign style that was the T'ang's costume. It was the period of influence of T'ang culture.

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Chinese Broadcasters' Perceptions on Localization of Korean Entertainment Formats in China-Focused on In-depth Interviews on and (한국 예능 포맷의 중국 현지화에 대한 중국내 방송종사자의 인식 -<대단한 도전>과 <달려라 형제>에 대한 심층인터뷰를 중심으로)

  • Wang, Ying-Ying;Choi, E-Jung
    • The Journal of the Korea Contents Association
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    • v.19 no.11
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    • pp.57-70
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    • 2019
  • Despite both the Korean version of and seemed to be the most popular in China, the and the , which localized the same format, differed at least in terms of viewership. Focusing on these two opposing cases, this study examines the characteristics and considerations of the localization transformation through in-depth interviews with experts in China.. As a result, was positive in terms of character diversification and online media interworking effects. However, the experts recognized that factors such as the confusion of character combinations due to frequent change of performers, frequent absences, conservative characteristics of Chinese state broadcasting that emphasized educational contents, and burden of localization due to changes in mission and challenge form each time were negatively affected. On the other hand, lacked the effect of online media interaction and lack of diversity of performers. However, the use of star actors' celebrities, the merits of actors with the characteristics of Chinese historical and cultural spaces, the use of Chinese flavors and fragrances, and similar types of missions and maintaining a stable composition each time favored localized production formats.

A Reinterpretation of Sacheon Seonjin-ri Stone Monument's Chinese Characters of Empress Wu(則天文字) - On the Issue of the Introduction and Acceptance of Chinese Characters of Empress Wu to the Korean Peninsula - (사천 선진리비석 측천문자의 명문 재해석 - 측천문자의 한반도 전래 및 수용 문제에 대해 -)

  • Shin, Dong-Sung
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.40 no.3
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    • pp.57-66
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    • 2022
  • Since the discovery of the inscriptions engraved with the "Chinese characters of Empress Wu(則天文字)" at 251 and 256-1, Seonjin-ri, Sacheon-si, Gyeongsangnam-do in 2003, researchers from the Gyeongnam Institute of Cultural Properties, Kwak Seung-Hoon, and Kim Chang-Gyeom have attempted to read and interpret the inscriptions. However, there are still different theories as to the origin of the "Chinese characters of Empress Wu" appearing in the inscriptions and the use of Idu(吏讀)-type notation. This study aims to clarify, this inscription was erected by the king of Silla in the late 7th and mid-8th centuries to commemorate his participation in the Sacheon and Jinju patrols and Buddhist activities, and it is revealed that the main character of the inscription is likely to be King Seongdeok who has visited southern countries. In addition, in the case of "上了言", which has been interpreted as a human name, it should be understood as an Idu-type notation or a 變體漢文 because of the use of the proposition 了, and it should be interpreted as a character that means the end of a specific act. Although it is not a religious text like 『Mugujeonggwangdaedaranigyeong (The Great Dharani Sutra)』, the reason why the "Chinese characters of Empress Wu(則天文字)" was used is that in the process of accepting the Huayan school, the royal family of Silla came into contact with the Buddhist scriptures of the period of the Empress Wu, which is closely related to the rise of the Huayan school in the Middle Ages, and it appears to have learned and used in this process.

A Study on Stage Costume of Yean-GaeSoMoon(Korean) in the Peking Opera <> - Focusing on Symbolic Meaning of Stage Costume - (경극(京劇) $\ll$독목관(獨木關)$\gg$의 연개소문(淵蓋蘇文) 무대의상(舞台衣裳) 디자인 연구(硏究) - 무대의상(舞台衣裳)의 상징적(象徵的) 의미(意味)를 중심(中心)으로 -)

  • Shin, Kyeong-Seob;Cho, Kyu-Hwa
    • Journal of Fashion Business
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    • v.2 no.3
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    • pp.121-136
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    • 1998
  • The purpose of this study was to present a new research method of stage costume by designing and making the stage costume of Yean-GaeSoMoon(淵蓋蘇文) in Peking Opera Du Mu Guan (Korean; Dog Mog Guan, 獨木關). The stage costume of Peking Opera was formed on the basis of the Chinese traditional stage costume in the Qing period, however the style of stage costume was beautified the costume of Ming period and here contained the factors of successive costumes. But the stage costume of Peking Opera didn't have the same rank system with real history costume and didn't have demarcation according to period and history. In the stage costume of Peking Opera, the color is cultural language that can inform spectators of sex, age, personality, position of characters. The pattern of decoration also symboled the personality and characteristic of the character. Yean-GaeSoMoon in the play wore green armour (Chinese; ru ying kao 綠硬靠), red pants (Chinese; hong ku 紅褲), red mustache (Chinese; hong ran kou 紅髥口), crown (Chinese; da e zi 大額子), shoes (Chinese; hou di xue 厚底靴) and Xue RenGui wore white armour (Chinese; baikao 白靠), red pants (Chinese; hong ku 紅褲), shoes (Chinese; hou di xue 厚底靴), hat (Chinese; za jin 扎巾). By historical materials, Yean-GaeSoMoon was a nationalist who uphold national sprit and the greatest hero of the age and a charismatic politician who combines literatural arts with military arts. Considering these reviews, defined the thema of his new costumes' image as "the flying bird which has three legs"(三足鳥), the bird which symbolized the sun and immortality in Koguryo fresco. On the basis of this image, presented three types of Yean-GaeSoMoon's stage costume. Yean-GaeSoMoon as the minister in the court wore black gown (Chinese; mang pao 蟒袍) of dargon pattern which symbolizes harisma who opening the heaven. He as the general who directs war wore red mantle (Chinese; dou peng 斗蓬) which symbolizes the blue dragon that soaring into the sky, as the officer who fights the enemy's general wore green armour (Chinese; gai liang jia 改良甲), red pants (Chinese; hong ku 紅褲) which symbolizes the flying Sward that blowing violently. By wearing these stage costumes, the image of Yean-GaeSoMoon could changed from the fierce general of minority race who likes to fight, to the Koguryo general who fights against enemy at the risk of his life for Koguryo's autonomy. Through this study once again we could realized that stage costume played very mportant part In outstnding the characteristic of actor in the Peking Opera.

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A Study of Wangyun's Theory of Gujinzi - Focusing on Fenbiewen and Leizengzi (왕균(王筠)의 고금자(古今字) 이론 연구 - 분별문(分別文)과 누증자(累增字)를 위주로)

  • Oh, Jae-Joong
    • Cross-Cultural Studies
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    • v.39
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    • pp.461-484
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    • 2015
  • Wangyun is a prominent scholar in the Qing dynasty. Shuowenshili is his masterpiece study of Shuowenjiezi. Shuowenshili discusses the difference between Fenbiewen and Leizengzi. It emphasizes that meanings to a word tends to help express more exactly. Wangyun's discussion about Gujinzi refers to the phenomenon that in order to recode a word different characters used in different periods. Wangyun's use of Gujinzi is based on the purpose to explain the relationship between characters. Fenbiewen and Leizengzi are specialized term of characters evolution. Wangyun's theory of Fenbiewen, Leizengzi and Gujinzi is the most important linguistics found. He was generous contributions to the linguistics of China. In particular, understanding the meaning and development of Chinese character.

The True Identity and Name Change of Jajak-mok, the Wood Species for Woodblock Printing in the Joseon Dynasty (조선시대 목판재료 자작목(自作木)의 실체와 명칭 변화)

  • LEE Uncheon
    • Korean Journal of Heritage: History & Science
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    • v.56 no.2
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    • pp.206-220
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    • 2023
  • In the royal publishing process of the Joseon Dynasty, the main species of wood used for woodblock printing was recorded as Jajak-mok. Although the name Jajak-mok may suggest Jajak-namu(white birch), it is presumed to refer to a different type of wood than Jajak-namu based on its recorded habitat and usage in historical documents. The aim of this paper is to clarify that during the Joseon Dynasty, the term Jajak-mok referred to Geojesu-namu (Korean birch), while Jajak-namu was called Hwa-mok(樺木). Additionally, this paper explores how the term Jajakmok eventually became the name of white birch, Jajak-namu, used today. In the mid-18th century, Japan used the character 樺(hwa) to refer to Beot-namu(Sargent cherry). As Japanese encyclopedias entered Joseon, the term Hwa-mok began to refer to both Beot-namu and Jajak-namu, which is also called Bot-namu. Since the pronunciation of Boet-namu and Bot-namu are similar, the two trees were eventually unified under the name Boet-namu. In the 20th century, the official names of three trees were established. According to notifications issued by the Ministry of Agriculture and Commerce of the Korean Empire in 1910 and the Governor-General of Chosen in 1912, Hwa-mok(white birch) was renamed asJajak-namu. In 1968, Beot-namu(Sargent cherry) retained its original name, and Jajak-mok(Korean birch) was remained . In modern Chinese character dictionaries, the meaning of 樺(hwa) is listed as "1. Beot-namu(Sargent cherry), 2. Jajak-namu(white birch)." From this, we can infer the historical background in which the names of these three trees were mixed up.

Comparison of the Acceptance and Development of Opera in Korea and Japan - Focusing on Development of Contemporary Opera (한국과 일본의 오페라 수용과 발전과정에 대한 비교 - 창작오페라를 중심으로)

  • Sohn, Soo yeoun
    • The Journal of the Korea Contents Association
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    • v.17 no.2
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    • pp.149-159
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    • 2017
  • South Korea and Japan are closely located in the Chinese character cultural area, so we have developed our culture not only with many similarities but also with own distinct ways. These were also in adoption and development of Western music. Unlike Korea, Japan is showing its potential through Opera 'Yuzuru'. Even though opera is Western music style, communicating Asian culture through their own language is one of the important issues to secure status as a cultural power in the world. As the field of opera is expanded to media entertainment with the development of digital technology, it is necessary to compare the development process of Japanese and Korean opera, which used contemporary opera as a tool of communication between cultures, It will help to develop into performing arts contents.

The 2005 Revision of the CIETAC Arbitration Rule and Improvement of the Problems Related to Chinese Arbitration Law (2005년 CIETAC 중재규칙 개정과 중국 중재법상의 문제점 개선)

  • Yoon, Jin-Ki
    • Journal of Arbitration Studies
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    • v.16 no.3
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    • pp.91-125
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    • 2006
  • The arbitration rule of CIETAC was vastly revised and was put in force on May 1, 2005. By its revision, China has improved its arbitration system. Chinese arbitration law had many problems when it was enacted in 1995, but the problems could not be avoided because of the poor surroundings for arbitration in China. As China has not had much experience in operating its legal system effectively, and also has little in the way of studies on legal theory that would allow it to deal with its laws in a flexible manner, authorities usually wait to revise a law until enough relevant experience has been accumulated. Therefore, during the 10 years since its enactment, China has resolved the problems within its arbitration law through revision of arbitration rule rather than by revision of the law itself. As this law is a basic one in ruling the arbitration system in China, there are some limitations as to how far the system can be developed through revision of arbitration rule alone. In spite of the limitations, the revision in 2005 contributed a great deal to resolving the existing problems within Chinese arbitration law. The biggest problem in the arbitration law is the Chinese arbitration law that restricts party autonomy. With the revision of the arbitration rule, many problems concerning party autonomy were circumvented. This occurred because the arbitration rule now provides parties the opportunity to choose arbitration rule other than the CIETAC arbitration rule, and even allows parties to agree to amend articles in the CIETAC arbitration rule -- a very important revision indeed. In addition to party autonomy, there are other improvements for example, there is an enhancement of the independent character of the CIETAC, clearing of jurisdiction, easing in the formation of arbitration agreement, improvement in the way arbitrators are chosen, and enhancement in the cultural neutrality of the arbiter. Problems still remain that can only be solved by revision of the arbitration law itself. These problems relate to the governing law of the arbitration agreement, the collection of evidence, custody of property, selection of chief arbiter, interlocutory awards, etc. In addition, some non-legal problems must also be resolved, like the actual judicial review of arbitration awards or difficulties of executing arbitration awards.

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