Breakout Post-Truth:Psychological Crisis and Response to the Spread of Red Cultural Symbols in China

Red cultural symbols are the political symbolic expressions of socialism with Chinese characteristics;the post-truth era is a communication field that is gradually becoming visible in the current information society.Both red cultural symbols and post-truth have their unique structural composition and expression,and they interact with each other in different aspects of communication,and produce the realistic effect of one of the two sides.Thus,red cultural symbols are facing the triple crisis of red memory distorting,red meaning weakening and communication effectiveness weakened.The crisis arises spontaneously in the post-truth era,which resorts to irrationality,insistence on subjective positions,and manipulation of information.In the post-truth era,we can try to crack the crisis of red cultural symbols’communication by confronting these with value leadership,rationality and affinity to the people.

Politicizing the queue： The social, political and cultural symbolism of hair in Qing dynasty and young republican China

The human body, such as hair, serves as a prism through which historical and cultural contexts are effectively refracted. Despite its historical and cultural significance, the role of hair, however, remains curiously a marginalized subject among the renewed interests on the body in the academic fields. In this paper, the author attempts to politicize the queue from 3 perspectives： maintaining a certain prescribed hairstyle is a top-down gesture to construct national conformity; the boundary between Manchu and Han is invoked and reinvented through the battles surrounding the queue politic in late Qing and early Republic; the widespread debate between keeping the queue and cutting the queue at the turn of the 20th century epitomizes the haunting rhetoric of traditionalism and modernism pursuit of modernity in China.

Collective Memory and Cultural Symbol:on the Culture of Place Names in Zhengzhou Street

Street culture is an object of sociological studies,from the perspective of community research,sociological theories help to solve such problems as construction of new community and inheritance of community cultures.Old streets and lanes in Zhengzhou City have been given with profound place name culture through the long history of development.Understanding and application of place name culture from the perspective of collective memory and cultural symbol is of great value to urban development and protection of intangible cultural heritage.

Establish and Highlight the Chinese Cultural Symbols and the Image of the Chinese Nation Shared by All Ethnic Groups

Establishing and highlighting Chinese cultural symbols and the image of the Chinese nation shared by all ethnic groups is necessary to foster a sense of community for the Chinese nation and to comprehensively build a modern socialist state.The article explains the understanding of the connotation of establishing and highlighting Chinese cultural symbols and the image of the Chinese nation shared by all ethnic groups,analyzes the practical problems in its practice,and proposes to strengthen Chinese cultural integration and national narratives,build a new era cultural symbol system led by the core socialist values,and creatively transform and innovatively develop Chinese cultural symbols and the image of the Chinese nation shared by all ethnic groups.

A Study on the Symbol-Based Narrative in the International Communication of Cities

Cultural symbols,a manifestation of cities’cultural resources,are not only signs that frame concepts but also forms that express meanings.Exploring the international communication of cities from the perspective of symbols,this paper analyzes in depth how cities create their cultural symbols in the dynamic process of international communication in an era of symbol-based digital media,and how they develop their narratives and explain meanings through the dissemination of symbols when telling their stories to international audiences,thus enhancing the efficiency and effectiveness of their international communication efforts.

Cultural Symbols and Inheritance of Tibetan Intangible Cultural Heritage

Intangible cultural heritage exists as a cultural symbol bearing a specific meaning.Only in the process of dynamic transmission can its cultural vitality be maintained.Modernization,marketization,and urbanization have impacted the original inheritance basis of intangible cultural heritage,and the protection of intangible cultural heritage has faced all challenges before.From the perspective of cultural semiotics,this paper analyzes the function of Tibetan intangible cultural heritage.It has the functions of cultural identity,communication,and aesthetics,but it is affected by social development and change.Only by using the law of cultural symbols can Tibetan intangible cultural heritage be better inherited and utilized.Tibetan cultural symbols will play a role in collecting,sorting out,protecting,and utilizing personnel training and regional cooperation.

Landscape Symbols and Cultural Exchanges in Central Asia

Cultural landscape is not only the objective environment for cultural exchanges on the Silk Road,but also an important medium for carrying multicultural information.From the perspective of cultural communication,this study took the cultural landscape as the media of cultural communication,and put forward the specific forms of landscape symbols in Central Asia.Relying on the unique natural and human characteristics of Central Asia,landscape elements such as architecture,sculpture and plants were respectively combed in terms of culture,and the cultural exchanges and communication of the Silk Road were peeped in the form of cultural landscape art.

Application of Tai Chi Cultural Semiotic Symbols in Chinese Construction of National Image

In recent years, a rapid growth of the global economy has strengthened the competition among nations. To be at a favorable international advantage under such an environment, a positive national image is necessary. As a result, this paper analyzes the application of Tai Chi cultural semiotic symbols in Chinese construction of national image under the discussion on the selection of culture symbol in Chinese construction of national image, as a base, through its positioning with an introduction of Tai Chi - Chinese unique culture symbol. Finally, this paper explains the application tactics in Chinese construction of national image by Tai Chi culture symbol, laying a good foundation for the improvement of Chinese international status.

Cultural Symbols in Chinese American Literature

Chinese cultural symbols have been widely transplanted in Chinese American literature.Those symbols bear different significance in different authors’works on different historical stages,which,in essence,reflect Chinese American writers’difficult process of searching for and constructing their cultural identity.

Application of Blank Symbols in Japanese Architecture and Indoor Designs

A symbol is an expression of meaning,while blank symbols express special meanings.By focusing on the application of blank symbols in Japanese architecture and indoor designs,we analyzed the aesthetic principles in Japanese architecture and indoor designs from the perspective of semiotics,such as“Kongji,”“Emptiness,”and“Dying out,”and their minimalist and pure design concepts.Traditional Chinese culture was also further explored,especially the profound influence of the“Chan sect”and the philosophy of“unity of heaven and mankind”on Japanese architecture and designs.This study aims to facilitate the coexistence and mutual appreciation of Chinese and Japanese architectural designs.

国家形象传播视域下中国文化符号在大学英语教学中的应用性研究

中国文化符号具有高度的独特性和民族性。在大学英语教学中融入中国文化符号不仅是现代大学英语的要求,也是对国家形象进行正面传播的重要步骤。使用各种策略将中国文化符号和优秀中国传统文化融入到课堂,引导大学生对中国文化符号进行思考和接受,不仅能够培养学生的文化意识,而且也能够帮助学生树立正确的文化观和价值观。

论文化起于何时

以往学界只有关于文化起源的论述而缺乏关于文化起点即文化起于何时的研究。既有的十类文化定义中,蕴含了三种潜在的文化起点观,即文化与人同时诞生,文化与生物同时诞生和文化在人之后诞生。前两种观点明显不对,后一种观点基本可以得到肯定,只是也没给出文化起于何时的具体时间。由于文化是人类创造力的果实,因而人类第一个创造物出现的时间就是文化的起点。人类创造物的种类甚多,出现的时间有先有后,不过最终可将所有的文化之物归为器物文化、符号文化和组织文化三大类。通过分别考察可知,最早出现的器物文化之物是300万年前直立人用工具制作的木棍、石斧,最早出现的符号文化之物是30万年前早期智人发明的声音语言,最早出现的组织文化之物是10万—7万年前晚期智人用制度创建的氏族社会。由此可知,器物文化在300万年前的起点,也就是人类文化的起点。

聚合物胶黏剂在陶质文物修复中的应用

陶质文物粘接修复是既古老又不断更新的课题。选择陶质文物胶黏剂需兼顾陶器与胶黏剂性能。陶器个体的差异存在于制作的各个阶段,包括陶坯黏土与非黏土组成差异,黏土中硅酸铝含量差异,以及烧成温度与烧成气氛差异等。中国古代陶器发展围绕陶坯组分和烧制温度的变化而种类繁多,粘接历史悠久。近30年陶器粘接更注重粘接性能检测和研究,汇总其间常用胶黏剂使用频次和基本性能具有指导意义,涉及聚合物胶黏剂的热塑性和热固性树脂胶黏剂,其线型结构和三维网络结构差异致使胶黏剂主要性能不同:热塑性胶黏剂抗拉强度较小,粘接后可逆;热固性胶黏剂反之。胶黏剂良好的粘接力学性能、耐久性和可逆性是选择合适陶质文物胶黏剂的必要条件;胶黏剂的固化时间、温度条件、收缩率等是影响粘接工艺的直接因素。需要兼顾多种因素,结合胶黏剂使用性能汇总,选择适合胶黏剂的同时做好粘接信息采集、阶段性粘接效果检测、坚持多学科合作等,才能促进胶黏剂应用研究的深入和进步。

明清鸡足山兴起中的多民族共塑与交融

大理宾川鸡足山是一座跨民族、跨地域、跨宗教的圣山。鸡足山在明清时期作为圣山兴起的过程,是区域社会中各民族对鸡足山景观的共同塑造、朝山盛节共庆、生产生活物资互通的过程,同时也是鸡足山被各民族接纳认可并被构建为多民族共享的文化符号的过程。一部鸡足山圣地的兴起史,于区域社会而言就是一段多民族共塑圣山的交往交流交融史。在各民族交往交流交融的实践过程中,鸡足山逐渐成为各民族共筑共享的精神家园。

半坡彩陶艺术中的生活符号研究

陶器是仰韶文化中最具代表性的器物,仰韶-半坡彩陶是中国史前文明的瑰宝,也是我们窥探史前文明的窗口。西安半坡出土的陶器,纹饰造型夸张,线条流畅,色彩丰富饱满,具有浓郁的民族风格和地方特色。仰韶-半坡彩陶上精美的图案、神秘的符号展示出华夏祖先的诸多方面,包括生产方式、精神寄托及早期的审美意识。研究半坡彩陶艺术中的生活符号,探求仰韶文化中图形纹饰及符号的演变,挖掘其内在含义,能够帮助我们更好地研究探索史前文化,也让后人能够更加深刻地认识华夏之根。

文化生态学视域下环境陶艺的创新发展

随着城市化进程的稳步推进,生态保护、绿色发展成为社会的共识。环境陶艺作为当代重要的公共艺术,在促进人与自然、生态、社会的和谐共生方面发挥了积极作用。以环境陶艺为研究对象,从自然生态、地域文化、人文情感等方面探究了文化生态学视域下的环境陶艺创作,阐释了环境陶艺设计的创新发展原则,以期引发更多关于文化生态学理念融入环境陶艺创作的思考。

乡村文化振兴背景下黑龙江彩陶文化产品研究

黑龙江彩陶文化产品蕴含着历史文化、地域特色,具有艺术研究、经济社会文化创新等多重价值。但目前存在传统彩陶传承乏力,彩陶文化产品市场认可度不高、产业规模小、创新不足等问题,限制了彩陶文化传承发展和非物质文化遗产的推广。在乡村文化振兴背景下,通过梳理黑龙江彩陶文化发展历程,剖析黑龙江彩陶文化产品开发的基础、分类及内涵,基于彩陶文化产品赋能乡村文化振兴的文化、技术、人才三方面价值导向,提出产品创新、人才培养、发展平台、品牌建设、营销渠道等方面的实现路径,为促进乡村文化振兴和经济发展提供参考。

黑龙江彩陶艺术制品经济价值及产业化发展探析

以彩陶艺术制品的文化性、地域性为前提,以泥料和技艺为基础,实现黑龙江彩陶艺术制品文化与审美及其经济价值研究目的。采用审美性与经济性结合研究方法,考察彩陶艺术制品的审美性、实用性和多元文化性。从彩陶艺术制品经济价值出发,重点剖析彩陶艺术制品的商品性质,解析彩陶艺术制品价值决定其经济效益的源泉,从经济视域为彩陶艺术制品发展定位,明确提出其产业化生产的研究结果;阐述黑龙江彩陶艺术制品产业化路径和产业化发展目标,探究彩陶艺术制品的品牌形象塑造、品牌建设和多渠道销售。

文化自信视域下中华优秀传统体育文化符号有效传播研究——以大型系列体育文化类节目《艺术里的奥林匹克》为例

中华优秀传统体育文化符号作为讲述中国体育故事的重要载体,能彰显中华体育精神历久弥新的时代意涵,同时也能为个人增强体育文化自信增添有效助力。基于此,以大型系列体育文化类节目——《艺术里的奥林匹克》中的中华优秀传统体育文化符号为主线,从文化自信视域下探析其传播价值、内在机制以及所预设的传播效应。由此厘清中华优秀传统体育文化符号的有效传播对体育文化自信的影响以及实践操作路径。经分析认为,中华优秀传统体育文化符号的有效传播是建立在预设的知识性效应、情感性效应及调节性效应基础之上的,其中的知识性效应和情感性效应会分别影响个人对中华优秀传统体育文化的认知和认同,而调节性效应强调的则是对知识性效应和情感性效应的主体性作用的调节,从而能对中华优秀传统体育文化自觉形成影响。由此,从电视节目而言,要实现这一预设效应,进而实现有效传播,需要建构叙事场景、预设多元叙事主体视角、联结历史时空、扩充中华优秀传统体育文化符号的精神意涵,具体所指分别为以虚实空间相间的文化氛围初建文化认知、以多层图像视点形成的观点碰撞活化文化认知、从多重时空视角的呼应对话促进文化认同、以系统化叙事凸显的精神意涵和价值观增强文化自信。由此形成三大传播效应联动,最终达到增强观众的文化自信的目的。

文化符号的传播与共享——以夏鲁寺、贡嘎曲德寺日月图像为例

西藏地区的夏鲁寺与贡嘎曲德寺壁画中均出现了以金乌、玉兔代表日与月的图像。金乌与玉兔图像是中原文化用来表示日与月的固定图式。自汉朝时期由西王母神话与民间信仰不断糅合产生,唐代时被吸收进佛教图像体系中,后期随着藏传佛教的兴盛与文化交流的频繁,藏传佛教绘画吸收了这种日月图像母题。西藏壁画艺术中的日月图像,不仅更新了藏传佛教艺术的表达范式,而且图像意义也突破了单纯宗教艺术的阐释,凸显了中央皇权的在场。夏鲁寺与贡嘎曲德寺壁画中的日月图像是汉藏文化交往交流交融的结果,彰显了元明时期各民族之间的频繁互动,以及多元文化交流下文化符号互融互生的整体性社会结构。