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.

Analysis of Aesthetic Connotation of Huaxia Culture Involved in Chinese Traditional Garden

Based on emphasis of Huaxia cultural aesthetics as the aesthetic tendency of Chinese traditional culture,Huaxia aesthetic culture had been divided into two parts:traditional ritual cultural aesthetics as the base and different aesthetic cultures dominating at different periods which included Confucius cultural aesthetics,seclusion cultural aesthetics and co-existence of Confucius,Taoist and Buddhist cultural aesthetics.Traditional ritual cultural aesthetics contained formal beauty,harmonious beauty and sacred numbers.Confucius aesthetics consisted of constant flow,happiness in poverty,and moral nature.The seclusion aesthetics consisted of super universe,hermit in nature and pastoral habitation.Co-existing aesthetics of Confucius,Taoist and Buddhist culture consisted of harmonious aid,principles' conclusion and leisure life.These dominating aesthetic cultures overlaid with basic ritual culture,and enhanced artistic conception of Chinese traditional gardens with witty words and sentences.

On the Differences between Chinese and Western Hard Drink Culture

Hard drink culture has an important role in people's dietetic activities and social activities. And it reflects culture connotation of different countries and different nationalities. The article deeply explores their differences from the origin of hard drink, raw material of hard drink, drinking appliance and drinking customs, etc. At the same time, the article discusses the culture reasons of Sino-western hard drink differences to promote inter-cultural communication.

The Beauty of Elegance 'Pungnyu' in the Tea Culture of Korea

‘Tea culture’broadly includes‘providing tea’,‘the tea ceremony’,‘tea ritual’,‘tea artistry’and‘tea party’.The concept of ‘Pungnyu’in Korea was proposed by Choi Chi-won(857 ~ 894?),who pointed out that'there is a profound truth‘Tao’in Korea,which was considered to be‘Pungnyu’or the beauty of elegance.The origin of‘Pungnyu’can be traced back to the history of hermits.‘Pungnyu’includes the teachings of Buddhism,Confucianism and Taoism.

Celebrating the Harvest and san yklk： Exploring Festival and Public Ritual as Collective Memory to Sustain Cultural Identity

This paper argues that ritual is not only restricted to religious activities, but can also be ethological, sociological, and ecological in nature. The artistic, stylistic, and functional characteristics of one particular festival of the Bamana in Mali to celebrate the harvest and new planting season will be analyzed. This festival primarily takes on the form of animal masquerades in which masks, puppets, drumming, singing, and dancing are blended into a ritualistic celebration of a certain cultural identity. The Bamana culture has lost religion as a marker, as Islam is now the dominant religion in Mali, but traditional social relationships and morals among the Bamana as a patriarchal society are concretized and objectified by their animal masquerades. Apart from being a seasonal festival, events from the past are commemorated; customary gender roles are defined; and some fundamental and complex social concepts are reinforced by a performance mode which relies on a collective memory and oral transmission.

Sustainable Approaches of the Newars in Vernacular Housing and Settlement Planning in the Historic Core of Kathmandu

Vernacular settlements provide us an opportunity to learn how sustainable building was inherently practiced in various regions of the world.This paper looks at how rituals that are a part of the Indra Jatra,a community festival,reinforces the ideals of sustainable spatial planning in the vernacular settlements of the Newars who are the indigenous community belonging to the Kathmandu Valley in Nepal.The settlement-pattern and vernacular dwellings are appraised,and the current scenario is analyzed so as to derive how the ritual spaces get activated during the festival(that have been spatially planned)and whether they guide decision-making and policy planning.This is essential to determine whether these spaces face any urban pressures and to further investigate how they can be mitigated.

Derivation and Creation of Confucian Cultural Structure and Function Theory from the Theory of Material Structure and Function

By studying the relationship between physical structure and function in physical chemistry, the author breaks through the limitation of the western narrow social and cultural structure and function theory, and further derives and founds the Confucian cultural structure and function theory, thus creating a new research methodology and broadening the research horizon. Through the research, it is found that the Confucian culture structure consists of the hard structure ＂ritual＂ and the soft structure ＂benevolence＂, and based on this constructs three-outline, five- principal, four-moral, eight- virtul, five cardinal principals and other Confucian culture, so that these have a social management function, resulting in a 2000-year stable Chinese social order, which also provides reference for the social management of Chinese government today.

Traditional Chinese Culture Reflected in Vernacular Architecture—— A Case Study of Linfengzhai Village

Taking Linfengzhai Village for an example,the culture of ritual and balance reflected in vernacular dwellings were studied.

Not Just a Cup of Coffee-Starbucks' Organizational Culture Study

Organizational culture is a system of shared meaning held by its members that distinguishes their organization from other organizations(Schein EH. 1996, p. 229-240). It is a structure of values, beliefs, and assumptions deemed appropriate in thinking and acting inside an organization. Organizational culture is relative to a company's success. Storytelling, organization rituals,and corporate socialization can reflect organizational culture. Those are a series of cultural artifacts or the perceptible facets of an organization's culture that help materialize the company's success. Starbucks is both a successful company and brand that with a special and great organizational culture. Its motto:"We aren't in the coffee business, serving people. We are in the people business, serving coffee,"or, to put it more simply,"Starbucks is pretty darn nice place to hang out"(Serwer and Bonamici). Starbucks doesn't just sell coffee. They sell spiritual culture. They sell a feeling that can increase peace and relax, instead of noises from outside. That's why Starbucks Coffee Shops have become America's, and even the world's public living and dining rooms.In 1971, the fist Starbucks store opened in Seattle. There are over 11,000 Starbucks locations in 37 countries. This paper examines the Starbucks' culture through their storytelling, place, organization rituals, and corporate socialization, and various other customs.

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.

Drumming the Future： Vietnamese Drumming as a Bridge Between Tradition and Popular Entertainment

The fascination of Vietnamese with drums and drumming reaches back into the pre-historic when bronze drums （Dong Son）, from the Red River Delta region of Vietnam＇s north, were prized trading commodities throughout the Asian world of that time. Now in the 21st century the Dong Son and other historically renowned drum types have become symbols for Vietnam＇s emergence into an international cultural and economic arena. This paper charts three Vietnamese international events that illustrate the emblematic use of traditional drumming as a nationalistic symbol of modern Vietnam： The Third Asian Indoor Games held in Hanoi in 2009 opened with a drumming spectacle using battle drums; the Jubilee celebrations of the Vietnamese Catholic Church in 2010, opened in the north in the Ha Nam province with an immense traditional drumming performance within its religious setting; the 2012 Hue International Arts Festival incorporated ＂Resounding the Vietnamese Spirit＂, a specific drums and percussion festival, with performances using Binh Dinh war drums, royal drums from Hue, Dong Son drums, and Tay Son battle drums. These displays of traditional drumming it is argued have popularised particular nationalistic styles of drumming amongst Vietnamese youth, extending from the use of drumming in lion dance performances to the emergence of small, youth drumming groups who perform in the streets of Hanoi and Ho Chi Minh City

Commemorative Sculpture and Ceremonial Behaviors in the Public Sphere： Cyprus as a Case Study

This paper focuses on the symbolic power exercised through the memorials in the Republic of Cyprus. Public sculpture is almost exclusively memorial sculpture and it reflects the predominant values of the national identity. This paper constitutes the first analysis of current historical and cultural perceptions in the southern part of the island through these visual representations and the ceremonial behaviors they generate. Characteristic cases of memorials presented here prove that commemoration in the Republic of Cyprus is inextricably linked to location which is either associated with an actual event of death, or draws power from its relation to culturally symbolic institutional buildings. The memorials illustrate the blending of private and public sphere and, respectively, private and social identity of the deceased. They prove that the affinities between heroism and sanctity within the Greek cultural milieu have imbued the social subconscious and impacted significantly on the collective recollections and the national narratives. This paper focuses on the aesthetics of the memorials which, due to their affinities with tombs in Greek and Cypriot cemeteries, lack affirmative hope, healing and closure of the trauma. On the contrary, they persist in portraying victimhood as a state of being.

The Cultural Impact on the Traditional Spring Festival Activities

Spring Festival will surely be considered as the most important festival among Chinese colorful occasions. This study attempts to analyze several typical rituals of Spring Festival from the cultural aspects, digging out the cultural factors and cultural connotation from the activity like the Family Reunion Dinner, Spring Couplets, the Spring Festival Gala,etc.

Refuting the Misconception:Li Bai as an Impolite Person

This essay endeavors to dispel the lingering misconception that Li Bai,the celebrated Tang Dynasty poet,was a man devoid of propriety.Through a meticulous examination of historical records,literary works,and contemporary interpretations,this study presents a nuanced portrait of Li Bai as a poet who,despite his eccentricities and wanderlust,possessed a profound sense of etiquette and respect for societal norms.This essay argues that his unique personality in life and free expression in poetry are all driven by the need for artistic creation,rather than challenging for ancient propriety.

Drinking Tea in China

Tea is the national drink of China.Chinese tea,just like Chinese characters,have a long history,and serves as an important part of China’s long-standing history and culture.As of today,Chinese tea has spread to every corner of China from academic research to daily life.Chinese traditional culture to a degree is closely connected to Chinese tea,and even at present drinking tea is also one of the ways to judge whether a person is Chinese or not.In Chinese literature,art,philosophy and religion,Chinese tea is always somehow associated.If people or academicians talk about or research China and Chinese culture,Chinese tea will be surely and inevitably mentioned or connected.

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。

泰州地方红色文化融入大学生思政教育研究

泰州历史悠久,具有丰厚的红色文化资源,陈毅三进泰州、新四军黄桥决战、中国人民解放军海军诞生等都是爱国主义和革命传统教育的宝贵财富。大学生思想政治教育可以利用本地的红色文化资源,通过营造仪式感,开展红色文化主题教育活动;将红色文化融入教材,开展阅读经典活动;开设红色文化专题课程,组织红色文化实践活动,使地方红色文化形成高校学生的记忆,激发强烈的爱国情怀和民族自豪感。

仪式性民俗体育的文化表达——以贵州清水江苗族“玩水龙”项目为例

采用人类学的田野调查、文献分析及深度访谈等方法,从非遗保护与传承出发,对贵州清水江苗族“玩水龙”进行宗教信仰、起居习俗、苗族文化等方面的人类学考察,进而对清水江“玩水龙”的发展历程、制作技艺、社会结构、文史价值、濒危保护等方面进行分析,以此探究苗族“玩水龙”这种仪式性民俗体育项目的文化表达方式。研究认为:一、贵州清水江苗族“玩水龙”承载着苗族人民的宗教信仰,展示着苗族人民的制作技艺,表达着苗族人民的技艺传承;二、其教育特色与道德约束具有鲜明的文化特征和重要的历史、社会价值,这也是苗族“玩水龙”独有的文化特质;三、随着社会的发展,苗族“玩水龙”的文化表达发生了诸多变化:首先是苗族“玩水龙”的社会功能由祈福功能逐渐向休闲娱乐功能转变,其次是苗族“玩水龙”的存在价值由祈雨纳福向旅游经济转变,最后是苗族“玩水龙”的组织管理由民间自发组织向政府主导转变;四是苗族“玩水龙”的参与人群由男性特权向群体参与转变。

礼乐文化与中国艺术精神的现代转化——以聂振斌的美学研究为例

中华传统礼乐文化承载着中华文明的重要历史积淀,是中国艺术精神的重要思想资源。面对现代社会中传统礼乐文化所遭遇的挑战,尤其是自五四运动以来对传统文化的批判,聂振斌通过美学研究提出了一系列方法,旨在将传统礼乐文化的智慧,包括注重理性精神、弘扬人文精神、追求人格精神、倡导自由精神等方面应用于现代社会。他强调了中西文化对话与融合对于中国艺术精神的重要性。聂振斌的研究不仅推动了中华传统文化在现代社会中的发展和转化,更为深刻理解中国传统文化在当代社会中的地位和转变提供了独特的视角,凸显了他在这一过程中的贡献和意义。

祭典类非物质文化遗产的历史形成与现实意义

祭典类非物质文化遗产因祭典的祭祀对象是上古帝王和历代名人而显得特殊,其保护实践饱受争议。公共祭祀的行为源于上古巫祭,在王朝时期得以制度化,形成了一整套的祭祀礼仪。今天仅有少数祭典得以传承,一般以地方公共祭典的形式举办,多数已入选政府认定的非物质文化遗产代表性项目名录。传承祭典类非遗的意义主要有三点:一是在国家层面,强化中华民族的文化记忆,增强内在凝聚力,激发爱国情怀;二是在地方层面,活化利用好这笔遗产,可为促进当地经济和社会发展服务;三是在个人层面,能为处于物化状态的当代人提供神圣体验和精神滋养。马克思主义的社会理想与中华文明的精神追求,共同构成了支撑当代中国人的两大信仰力量。保护祭典类非遗的关键,在于深入挖掘祭典的文化内涵和中华礼乐文明的核心要义,以重塑祭典的神圣性、审美性与社会性。