An Exploration of Traditional Chinese Cultural Programs:The Construction of Rituals,Narrative Strategies,and Experiential Insights

In the context of the cultural development of the new era and the burgeoning spiritual demands of the people,there has been a remarkable surge in the proliferation of traditional Chinese cultural programs.The“Chinese Festivals”series,produced by Henan TV,standing out as an engaging TV program that showcases traditional Chinese culture,has rapidly captivated a diverse audience across different age groups,creating a rich,multi-dimensional,and cross-media cultural communication ecosystem.The program strategically selects symbolic elements by systematically categorizing and organizing traditional Chinese cultural symbols to create a rich cultural space.It employs cutting-edge scientific and technological methods to enrich viewer immersion,crafting media rituals with both temporal significance and a profound sense of media ritual.This approach boosts the program’s popularity and sets a benchmark for industry innovation.By fostering an interactive narrative between mainstream media and the public,the program continuously broadens the scope of the“story world,”fostering a harmonious and structured national cultural community through the creative interpretation of traditional Chinese culture and the evocative crafting of the aesthetic sensibilities inherent in Chinese art.It is worth noting that the phenomenon of aesthetic fatigue besets the development of this serial program.To address this issue and further improve the appeal of the program,a comprehensive approach is required to develop a cohesive narrative mode for the“story world.”This involves harmonizing the interplay between artistic endeavors and technological advancements,synchronizing sensory experiences with the foundational ritualistic elements,and enhancing the effectiveness of the media communication matrix to construct a brand of media culture that has social significance,aesthetic value,and economic profits in the new era.

How Sense of Ritual in Tourism Impacts Tourists’Co-Creation of Tourism Experience Values:A Study Based on the Theory of Value Co-Creation

Establishing a sense of ritual within tourism consumption scenarios offers tourists the opportunity for interactive engagement.Drawing upon the value co-creation theory,this study constructed an influence mechanism model to examine tourists'active engagement in the process of co-creating tourism experience values.It employed Partial Least Squares Structural Equation Modeling(PLS-SEM)to empirically test the proposed hypotheses.The findings demonstrate that the model constructed in the present study exhibits robust reliability,validity,and explanatory power.The perception of the sense of ritual in tourism exerts a significant positive influence on tourists’co-creation of tourism experience values,thereby significantly enhancing both the communitas and flow experienced by tourists during their travels.Moreover,such communitas and flow can mediate the influence of the sense of ritual in tourism on tourists’co-creation of tourism experience values.This study contributes to advancing the current research on tourists’co-creation of tourism experience values and the sense of ritual in tourism,thereby providing theoretical foundations for cultivating a sense of ritual within tourism consumption scenarios.

Return to Reality:Speculative Design of Interaction Ritual Chains and Exploration of Alone Together

“Alone together”is an ever-changing“wicked problem.”In this research and practice,the author tries to combine experience design,referring to the theory of“interaction ritual chain theory,”and creatively add interactive experience to discursive works,so that the audience can think between the real and the virtual.

Mock Impoliteness and Co-Construction of Hudui Rituals in Chinese Online Interaction

This paper examines an under-researched phenomenon of mock impoliteness in Chinese online interaction,namely,the practice of hudui(lit.reciprocal jocular abuse)as a solidarity enhancing device among acquaintances.Drawing on data from Qzone interaction among Chinese university students,this study focuses on ritual features,sequential patterns and interpersonal functions of hudui through the lens of Kádár’s(2013,2017)interpersonal ritual theory.The results show that hudui is co-constructed by the online participants with the symmetric pattern of mutual abuse,which distinguishes it from previous studies of jocular abuse(i.e.,the asymmetric pattern of abuser–recipient).They also reveal that hudui accomplishes various kinds of relational work,including fostering intimacy,enhancing mutual affection-based face and creating amusement.

Cultural Heritage Assets: Rituals, Grinding Hollows and Other Socio-Cultural Practices in Simiyu Region, Tanzania

This paper presents results from preliminary assessments in Ngasamo ward, Busega district in Simiyu region. The main objective was to assess cultural heritage assets in some areas of Bariadi district in Simiyu region. Specific objectives of the assessment are to identify tangible cultural heritage resources in Simiyu region;to identify intangible cultural heritage resources in Simiyu region;and to provide suggestions for pertinent protection, conservation and presentation of cultural heritage resources. The assessment was carried out through surveys that included documentation together with records for Global Positioning System (GPS) coordinates per surveyed locality;key informant interviews;and Focus Group Discussion. Results from the assessment revealed several worship areas that include immovable physical objects associated to ritual performance places. For example, wells like Luhuhi in Ilula village, Nkindwa biye tree in Ilula village, Magahi well in Isenge village, Isangijo hill at Isenge village, Dutwa well in Isenge village, Nyabusalu well in Igalukilo village and similar others are worship places that were revealed by informants. The assessment uncovered granite rock boulders that are being chopped off flakes for traditional medicine use in the area. Some cultural heritage sites have been identified such that a lot more needs to be explored in order to establish existence of other physical cultural heritage sites in Busega district, Bariadi district. For example, the grinding hollows, bao and the like are unique heritage resources. Such resources including undiscovered immovable archaeological objects would need presentation of sustainable preservation as well as conservation plans in line with Antiquities Acts, Antiquities Rules and Monuments of 1980 together with Cultural Heritage Policy of 2008.

Cross-cultural Perspective of Three Wedding Rituals in China and Western Countries

The paper mainly presents three rituals in China and western countries with the documentary method,namely wedding dressand decoration,wedding ceremony,and wedding banquet,then discusses their similarities and differences,helping people to know aboutwedding culture in eastern and western countries.

“Li Sheng”and Folk Rituals: An Analysis of Folk Funeral Rituals from the Perspective of Jurisprudence

"Shen Zhong",namely the careful arrangement of one's funeral,stressed by traditional Chinese folk funeral ritual is,by nature,the combination of order and justice,procedure and regulation,and it can be included in the traditional laws for its normative features."Li Sheng",the intermediary of funeral ritual,acts as the interpreter and performer of ideas and customs of funeral rituals as well as the rule maker to some degree. By"Si Li",namely directing funeral rituals through verbal command,"Li Sheng"ritualizes and secularizes the rules and procedures of funeral rituals to regulate and control the folk society,thus fulfilling the aim of coordinating rights and obligations of behavioral agents as well as interpersonal relationship.During this process,a balance of value must be maintained between laws and customs.

Bali Rituals and Therapeutic Communication in the Traditional Rural Society in Sri Lanka

Bali is a form of classical ritual that makes a sound performance of a variety of psychological and physical treatments for many psychiatric and cultural diseases. Bali is defined as a form of oblation for gods and deities. Bali is determined by the ephemeral cycle of one＇s life, so that the procedures and practices of specific Bali performances are planned to communicate with the planetary system, which is based on his/her astrology. Hence, Bali is made to perform with the use of traditional dance, music and local cultural substances. There are nearly eighty four thousand forms of Bali performances derived out from the constellation. History of Bali goes back to the early kingdom of Kotte which started in early fifteen century. However, it is considered that the origin of Bali resembles with the Indian Hindu religious cults, so that the Sri Lankan Bali tradition has been transformed by the local cultural and Buddhist religious milieu. This study explores the content and effects of Bali ritual. As the qualitative research, it assumes that Bali constitutes a broad spectrum of human needs and wants despite its communication to the supernatural elements of planetary system. Sederaman （1965） has explored Bali to the extent of its entire performance with respective lyrics and dancing procedures, as the pioneering study. However, present study looks at the diversity of the objectives and effects of a performance of Bali in the set-up of real Kandyan rural village in Sri Lanka. Finally, based on the research, it yields following conclusions. Bali in the rural Kandyan village, is designed to be conducted continuously up to fourteen days. It is traditionally performed by the classical exorcist gurus of Bali, who have been trained by the practice of word of mouth by their generation by generation. They are used to reciting, singing and dancing all the forms of communication from their memory and recalling at the very time of performance without any script or written text. Many Bali doctors are used to conducting entire performance with number of classical lyrics and poems with mellifluous musical melodies, attractive rhythms of dance and theatrical performances, which are not yet scientifically classified. Further, Bali is determined by the use of significant characteristics of one＇s astrology, so that the disease or pathetic situation is the fact that decides the specific Bali form. There are nearly eighty-four thousand Bali which are for numerous physical and psychological illnesses including variety of mental disorders and sexually transmitted diseases. Moreover, as this study found a very rare Ola leaf manuscript, that describes the entire eighty four thousand Bali, which is called Balipatuna in Sinhala （Contents of Bali） from a traditional Bali custodian in Laheba Bali Tradition at Kotabe in Mathale District in Sri Lanka. On the other, knowledge and practices of the traditional local medical sciences of parturition （Child birth） health in the pregnancy and the science of child birth （delivery） is also treated by the faculties of Bali schools. And Also, Bali figures are designed, based on the narration of the Bali lyrics, which explains a group of stars forming a recognizable pattern that is traditionally named after its apparent form and it is identified with a mythological figure. However, this has been the source for very colorful temple arts and craftsmanship at the Buddhist temples built up during the era of Kandyan kingdom （1469-1815 ）.

Visual Nationalism and Communal Rituals:Park Saengkwang’s Art and Korean Shamanism

This paper analyzes Park Saengkwang(1904-1985)’s artwork,created in the 1980s and influenced by Musok,Korean Shamanism.It explores Musok’s thematic significance in the development of his distinctive style and the inspiration behind his stylistic changes.Park’s ink paintings are done in bold and intense colors and create an intriguing,mysterious mood,inviting the viewers to the primordial visual experience and exposing its viewers to Korean Shamanism,which has endured the perception that fluctuated between positive and negative throughout Korean history.The practice became a fitting cultural emblem associated with the national identity during the 1970s and 1980s,and thus became a way for Park to explicitly articulate his cultural roots,creating a visual connotation of“Korean.”His art,portraying gut,Korean shamanistic communal rituals,could be conceived as a pictorial rendering of the idea of kibok,praying for good fortune,and served as a pujŏk,talisman paper,that possesses magical healing and protecting power.By striving to overcome the stylistic conflicts between Korean and Japanese,or traditional and Western,Park’s art accomplished the visual rhetoric of national aesthetic sensitivity that built on the communal thoughts and cultural experience of shamanism in the modern history of Korea.

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Implications of The Gift of the Magi for Moral Education of Teenagers From the Perspective of Interaction Ritual Chains

Adolescence is a pivotal moment in shaping one’s character and holds great implications for one’s values and personal growth.The Gift of the Magi by O.Henry portrays how an ordinary young couple in difficult financial circumstances managed to show their love for each other,eulogizing truth,goodness,and beauty in humanity.We conducted a thorough examination of the significance of moral values conveyed in The Gift of the Magi for teenager education using the“situation-emotion-symbol”model that is based on Randall Collins’theory of interaction ritual chains in order to establish an interaction ritual chain model for moral education of teenagers.Our study reveals that situated cognition is useful in constructing the focus of attention for the moral education of teenagers;that shared emotion is the driving force for achieving moral education of teenagers;and that symbolic connections help teenagers put the virtues they’ve learned from The Gift of the Magi into action and provides effective measures that can significantly contribute to the cultivation and implementation of moral education among teenagers.

“三把半香”与袍哥精神世界的塑造

敬拜“三把半香”是袍哥精神和仪式的重要组成部分。关于“三把半香”的文字与口头传播,吸取了中国历史、传说和民间文化中的诸多元素。“三把半香”的信仰仪式、其中的故事人物及其传达的伦理信息,既继承了从墨子到游侠的文化传统,也显示了人们对游侠风骨的精神寄托,构成了袍哥伦理说教的组成部分,是稳固袍哥组织、加强袍哥身份认同以及进行袍哥内部控制的行之有效的工具。这种工具从中国的历史传说中得到了养料,使得他们团结一心。这种共同的信仰,成为这个组织的粘黏合剂,将袍哥的信仰与仪式规范结合了起来。袍哥之开山立堂,行走江湖,敬拜“三把半香”,成为袍哥的精神支柱和共同教条。

民族志动画中的跨越“在场”与记忆“再现”——基于湘西苗族仙娘仪式影像的实践反思

文化记忆是一个民族凝聚群体、实现文化认同的重要内核,其中族群仪式作为一种具体的文化行为深嵌于特定的社会情景场域,对集体记忆和文化记忆的构筑起到关键作用,一直是人类学研究的重要议题。民族志动画通过一套特别的视觉媒介符号体系进行知识生产与意义呈现,在表达回忆、经历等抽象经验方面可跨越“在场”时空屏障,为新时代的影视人类学提供新的范式实验和新的模态可能。基于湘西苗族仙娘仪式影像实践,通过与文化持有者开展互为主体性合作和反身性对话,可生成饱含原住民真切情感的民族志动画影像文本,在影像志的“抒写”中实现仪式记忆的“再现”与族群文化记忆的表达。

论“新礼教”及其“情理儒学”哲学基础

“新礼教”是当代儒家哲学前沿的一个理论建构,旨在回应新文化运动以来对儒家“礼教”的简单化否定,建设一种现代性的儒家伦理政治的教化理论体系。新礼教的基本内涵可以概括为:缘情制礼,以礼为教。其所谓“礼”,指社会规范(及其制度);其所谓“情”,则不仅指“情感”,而且指“事情”,即普遍的情感与它所适应的特定时代生活方式的实情。新礼教的这种理论建构,有其深层的哲学基础,尽管这种基础目前尚未在学理上充分展开。这个基础就是“情理哲学”或“情理儒学”。它呈现为一种多层级的奠基关系,即:情感存在论→情理本体论→情义伦理学→新礼教。新礼教最具独创性的思想之一,是礼教的历史形态与社会主体的历史形态之间的内在关联,由此揭明现代性的新礼教的时代特征乃是公民的“自我教化”。

仪式表演和公共情感——《礼记·月令》与中国早期的感物经验

在月令图式中,四时物候的更迭是一个程序,诸多文本均具有这样的叙述结构。从四季兴替的自然时间到仪式表演,显示出月令图式影响到社会行为。从祭祀仪式的意义看,感物的发生逻辑在于天时引发阴阳二气之动,促成自然物变,引发人心之感,形成感通互动的境域。在此一语境中,祭祀物色与所处季节直接相关,祭物参与仪式展演,成为意义的生成方式。月令图式是祭祀仪式的根据,这一图式展现出物候、农事和政令的协调。因而,感物与礼制场景直接相关,感物应物候之变,感人循礼制之限。在早期文本中,物不仅是外物,更是祭祀之物;情不仅是私人情感,也是公共情感。通过情实现群体的共鸣,是仪式表演的抒情策略,它最终指向家庭、族群和社会,在更高层面实现它们之间的协调。因此,在礼制背景中,所谓中国文学抒情性,其早期形态并非指向个人情感,而是指向公共情感。

试论中国古代国家的产生

中国古代国家是以一种礼制性的古代文明形态不断发展和完善的。新石器时代后期各地出现的最初国家,主要是神权与王权的结合,王权利用神权来行使领导权,使松散的原始氏族发展为有紧密联系的氏族部落联盟实体,由此逐渐形成了氏族部落联盟性质的“神权国家”。夏商周三代在原部落联盟性质的“神权国家”基础上,利用祭祀中出现的神权和祖权的权威性制定了礼仪制度,来维护社会秩序,整个国家便形成了以血缘关系为纽带、以宗法关系为准则、以礼仪制度为保障的强势宗族性质的“礼制国家”。从中国古代早期国家产生和发展的轨迹看,礼制文明是其连续不断的纽带,在此后的历代王朝中始终是意识形态领域的精神支柱,持续稳定地维护着全国大一统的政治格局,这也正是中国古代国家区别于世界其他国家的一个重要特征。

作为“成年新礼”的“间隔年”:过渡仪式、认同重构与主体实践

“间隔年”(gap year)是当今社会文化变迁背景下的一种新兴行为和社会心态,具有青少年“成年新礼”的特征,而“过渡礼仪”成为其重要的过程机制。“分隔礼仪”体现的是和先前世界的隔离,其核心要义是冲破理性化世界后的自主选择。在迷茫与机遇、兴奋与惆怅并存的状态下,个人层面上极具张力的重大决定与社会层面充满道德意义的新仪式促成了新的自我认同的形成。“间隔年”及青年“认同重构”已不再属于“边缘仪式”的亚文化范畴,而是当今社会文化变迁背景下应运而生的一种行为方式和社会心态,标志着新的自我认同的建构。

“死—生”仪式:谢晋电影语言与“现代化”

在新中国电影中,英雄人物的死亡往往伴随着仪式化表达,谢晋的《红色娘子军》也是同样。在20世纪80年代,谢晋电影中死亡仪式的表达或不再使用,或被改造成了“死—生”仪式,即把情感的表达更多投向未来。谢晋电影语言在20世纪80年代发生的变化与彼时“电影语言现代化”的思潮不无关系,而这一思潮背后更有整个社会走向“现代化”的大背景,以及由此产生的对“谢晋电影模式”的批评。立足当下,我们可以看到,电影的仪式化表达应该是一种文化的产物,与观念意识形态的关系不大,谢晋在大变革的时代既顺应了“现代化”的要求,也坚持了传统的审美。