• Title/Summary/Keyword: the identity of Korean Chinese

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A Study on the Basis and Formation Process of Kimchi's Uniqueness (김치 독자성의 근거와 형성 과정에 대한 고찰)

  • Park, Chae-Lin
    • Journal of the Korean Society of Food Culture
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    • v.36 no.3
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    • pp.265-273
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    • 2021
  • The Chinese Sigyeong records the foods of the Primitive Pickling Period, pickling being a universal vegetable storage method, but does not indicate the origin of the pickled vegetables or the location of the source of transmission. Kimchi mainly used salt and sauce-based soaking materials at the beginning of the Fermented Pickling Period (beginning in the 1st to 3rd centuries A.D.), and it differed from the Chinese method, which used alcohol and vinegar. In the Umami-Flavored Pickling Period (beginning in the 14th and 15th centuries A.D.), jeotgal, fermented seafoods, were added, and pickles with a completely new identity were created, one different from any other pickles in the world. Lastly, entering the Complex Fermentation and Pickling Period (beginning in the 17th and 18th centuries), the technical process evolved using a separate special seasoning containing red pepper as the secondary immersion source after pickling in brine, the primary immersion source. As a result of this, kimchi was transformed into a food with a unique form and taste not found anywhere else. The unique characteristic of kimchi is that the composition of original materials, a combination of salted marine life and vegetable ingredients, is its core identity, and there is a methodological difference in that it is completed through a second process called saesaengchae (生菜)-chimchae (沈菜).

A Study on the Historical Changes and Trends in the Dance of Ethnic Koreans in China (중국 조선족무용의 역사적 변천과 작품 경향)

  • Cao, Ying;Yoon, Mi-Ra
    • The Journal of the Korea Contents Association
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    • v.22 no.7
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    • pp.623-634
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    • 2022
  • Chinese Korean dance has been handed down in its original form, and some of the dances have changed slightly due to changes in the names of people or places, but it is a creative dance developed based on the roots of the Korean people. Therefore, it is a unique form of dance art that reflects the history and life of the ethnic Koreans while imbuing the unique psychology, emotions, artistic symbols, and creative talents of the Korean people. In this study, however, it is most important to identify the identity of Korean dance through historical changes in Korean dance and representative works by period, and to increase awareness by examining the characteristics of Korean dance. Therefore, based on the literature, this study will understand the concept and formation process of Korean dance, and examine the characteristics of the representative works of each period by dividing the history of Korean dance into four periods. On the other hand, this study suggests that the biggest challenge of the present era is not to establish and protect the identity of Chinese Korean dance, rather than simple dance.

Many-to-One Encryption and Authentication Scheme and Its Application

  • Lin, Xi-Jun;Wu, Chuan-Kun;Liu, Feng
    • Journal of Communications and Networks
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    • v.10 no.1
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    • pp.18-27
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    • 2008
  • This paper is to study a subclass of group-oriented cryptographic scheme: Many-to-one encryption and authentication scheme. The many-to-one encryption and authentication scheme is to solve a practical problem, i.e., the scenario that the number of the receivers is very small compared with the number of the senders and a receiver may serve millions of senders. Compared with the traditional methods, the burdens of the receiver and the KGC are reduced greatly. How to revoke a sender from his receiver's legitimate sender group is also proposed and it is efficient compared with some traditional methods. The proposed scheme is proven in the random oracle models. The computational complexity of our scheme is independent of the number of the senders. At the end of the paper, an example is given to show how to use our scheme in online software registration and update.

Types and Expressive Characteristics of the Chinese Shadow Puppetry Costumes, Yingxi (중국 산시성 피영극 복식의 유형 및 표현 특징)

  • Suh, Seunghee;Zhang, Qian
    • Journal of Fashion Business
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    • v.26 no.2
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    • pp.110-128
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    • 2022
  • The purpose of this study was to analyze the expressive characteristics of Chinese shadow puppetry costumes. Literature study and case analysis were conducted using books, research papers, and materials from the Xi'an shadow puppetry museum. Based on the Chinese traditional costumes, the shape characteristics are utilized with the intaglio and embossing techniques, and the complex and unnecessary details are omitted to express the costume image in a characteristic and simple manner. Second, colour was used according to the traditional Chinese symbolic colour concept, and the brighter the colour, the higher the role's status. The colour was also used to express identity and character. In addition, relatively vivid and highly saturated colours were used for the transparent effect of the shadow puppetry. Third, a role's status is indicated by the density and completeness of the patterns; the higher the role's status, the more complex and sophisticated the patterns, and the lower the status, the simpler the patterns or no patterns are used. Fourth, the faith for blessing expressed in the shadow puppetry is a representative folk auspicious culture. The repertoire of the shadow puppetry and the patterns on the costumes worn by the puppets, express the culture in an implicit way to symbolize the meaning of auspicious things.

A Study on Chinese Traditional Auspicious Fish Pattern Application in Corperate Identity Design (중국 전통 길상 어(魚)문양을 응용한 중국 기업의 아이덴티티 디자인 동향)

  • ZHANG, JINGQIU
    • Cartoon and Animation Studies
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    • s.50
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    • pp.349-382
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    • 2018
  • China is a great civilization which is a combination of various ethnic groups with long history change. As one of these important components of traditional culture, the lucky shape has been going through the ideological upheaval of the history change of China. Up to now, it has become the important parts which can stimulate the emotion of Chinese nation. The lucky shape becomes the basis of the rich traditional culture by long history of the Chinese nation. Even say it is the centre of this traditional culture resource. The lucky shape is a way of expressing the Chinese history and national emotions. It is the important part of people's living habits, emotion, as well as the cultural background. What's more, it has the value of beliefs of Surname totem. Meanwhile, it also has the function of passing on information. The symbol of information finally was created by the being of lucky shape to indicate its conceptual content. There are various kinds of lucky shapes. It will have its limitations when researching all kinds of them professionally. So, here the lucky shape of FISH will be researched. The shape of fish is the first good shape created by the Chinese nation. It is about 6000 years. Its special shape and lucky meaning embody the peculiar inherent culture and intension of the Chinese nation. It's the important component of the Chinese traditional culture. The traditional shape of fish was focused on the continuation of history and the patterns recognition, etc. It seldom indicated the meaning of the shape into the using of the modern design. So by searching the lucky meaning & the way of fish shape, the purpose of the search is to explore the real analysis of value of the fish shape in the modern enterprise identity design. The way of search is through the development of the history, the evolvement and the meaning of lucky of the traditional fish shape to analyse the symbolic meaning and the cultural meaning from all levels in nation, culture, art and life, etc. And by using the huge living example of the enterprise identity design of the traditional shape of the fish to analyse that how it works in positive way by those enterprise which is based on the trust with good image. In the modern Chinese enterprise identity design, the lucky image will be reinterpreted in the modern way. It will be proofed by the national perceptual knowledge of the consumer and the way of enlarge the goodwill of corporate image. It will be the conclusion. The traditional fish shape is the important core of modern design.So this search is taken through the instance of the design of enterprise image of the traditional fish shape to analysis the idea of the majority Chinese people of the traditional luck and the influence of corporation which based on trust and credibility. In modern image design of Chinese corporation, the auspicious sign reappear. The question survey is taken by people through the perceptual knowledge of the consumer and the cognition the enterprise image. According the result, people can speculate the improvement of consumer's recognition and the possibility of development of traditional concept.

A Study on Characteristics of Underground Rappers' Fashion - Focusing on the Comparison Between China and Korea - (언더그라운드 래퍼 패션의 특성 - 한국과 중국의 비교를 중심으로 -)

  • Fan, Keyu;Ha, Jisoo
    • The Korean Fashion and Textile Research Journal
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    • v.24 no.5
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    • pp.493-504
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    • 2022
  • This study aims to gain a deeper understanding of the fashion styles of underground rappers in China and South Korea. Due to rappers' fashion influence on modern fashion trends, research on rapper fashion has been conducted steadily in the field of apparel. Qualitative research methodologies including literature research and in-depth interviews were the primary techniques used to solve the research questions. In-depth interviews were conducted with 10 Chinese underground rappers and 10 Korean underground rappers to reveal and explore their fashion style and view of fashion. As a result, the participants' fashion styles were categorized into four styles: authentic hip-hop fashion style, popularized hip-hop fashion style, easy sports casual style, and trendy street style. Rappers from both countries consider that their identity as rappers can be demonstrated through their hip-hop fashion style. The influence of hip-hop culture and the popularity of rap music differs between China and Korea. It affects not only the rapper's musical characteristics, but also their fashion style. While Korean underground rappers' fashions style is trendier, Chinese underground rappers' fashions style displays stronger characteristics of hip-hop fashion. Due to the public's negative view of rappers, some Korean underground rappers intentionally try to hide their identity by wearing a fashion style that differs from the authentic rapper image. Understanding the fashion styles of underground rappers in Korea and China is expected to assist in predicting future hip-hop culture and rapper fashion trends.

A Case Study of Shanghai Tang: How to Build a Chinese Luxury Brand

  • Heine, Klaus;Phan, Michel
    • Asia Marketing Journal
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    • v.15 no.1
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    • pp.1-22
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    • 2013
  • This case focuses on Shanghai Tang, the first truly Chinese luxury brand that appeals to both Westerners and, more recently, to Chinese consumers worldwide. A visionary and wealthy businessman Sir David Tang created this company from scratch in 1994 in Hong Kong. Its story, spanned over almost two decades, has been fascinating. It went from what best a Chinese brand could be in the eyes of Westerners who love the Chinese culture, to a nearly-bankrupted company in 1998, before being acquired by Richemont, the second largest luxury group in the world. Since then, its turnaround has been spectacular with a growing appeal among Chinese luxury consumers who represent the core segment of the luxury industry today. The main objective of this case study is to formally examine how Shanghai Tang overcame its downfall and re-emerged as one the very few well- known Chinese luxury brands. More specifically, this case highlights the ways with which Shanghai Tang made a transitional change from a brand for Westerners who love the Chinese culture, to a brand for both, Westerners who love the Chinese culture and Chinese who love luxury. A close examination reveals that Shanghai Tang has followed the brand identity concept that consists of two major components: functional and emotional. The functional component for developing a luxury brand concerns all product characteristics that will make a product 'luxurious' in the eyes of the consumer, such as premium quality of cachemire from Mongolia, Chinese silk, lacquer, finest leather, porcelain, and jade in the case of Shanghai Tang. The emotional component consists of non-functional symbolic meanings of a brand. The symbolic meaning marks the major difference between a premium and a luxury brand. In the case of Shanghai Tang, its symbolic meaning refers to the Chinese culture and the brand aims to represent the best of Chinese traditions and establish itself as "the ambassador of modern Chinese style". It touches the Chinese heritage and emotions. Shanghai Tang has reinvented the modern Chinese chic by drawing back to the stylish decadence of Shanghai in the 1930s, which was then called the "Paris of the East", and this is where the brand finds inspiration to create its own myth. Once the functional and emotional components assured, Shanghai Tang has gone through a four-stage development to become the first global Chinese luxury brand: introduction, deepening, expansion, and revitalization. Introduction: David Tang discovered a market gap and had a vision to launch the first Chinese luxury brand to the world. The key success drivers for the introduction and management of a Chinese luxury brand are a solid brand identity and, above all, a creative mind, an inspired person. This was David Tang then, and this is now Raphael Le Masne de Chermont, the current Executive Chairman. Shanghai Tang combines Chinese and Western elements, which it finds to be the most sustainable platform for drawing consumers. Deepening: A major objective of the next phase is to become recognized as a luxury brand and a fashion or design authority. For this purpose, Shanghai Tang has cooperated with other well-regarded luxury and lifestyle brands such as Puma and Swarovski. It also expanded its product lines from high-end custom-made garments to music CDs and restaurant. Expansion: After the opening of his first store in Hong Kong in 1994, David Tang went on to open his second store in New York City three years later. However this New York retail operation was a financial disaster. Barely nineteen months after the opening, the store was shut down and quietly relocated to a cheaper location of Madison Avenue. Despite this failure, Shanghai Tang products found numerous followers especially among Western tourists and became "souvenir-like" must-haves. However, despite its strong brand DNA, the brand did not generate enough repeated sales and over the years the company cumulated heavy debts and became unprofitable. Revitalizing: After its purchase by Richemont in 1998, Le Masne de Chermont was appointed to lead the company, reposition the brand and undertake some major strategic changes such as revising the "Shanghai Tang" designs to appeal not only to Westerners but also to Chinese consumers, and to open new stores around the world. Since then, Shanghai Tang has become synonymous to a modern Chinese luxury lifestyle brand.

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Icon and Form: A Study on Iconic Images of Cultural Revolution in Contemporary Chinese Fine Art (도상과 형상: 중국현대미술에서 문혁의 도상이미지 연구)

  • Li, Yongri
    • The Journal of Art Theory & Practice
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    • no.16
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    • pp.225-256
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    • 2013
  • As the great catastrophe in the modern and contemporary history of China, the Cultural Revolution(CR) is an object, which must have sutured the past of darkness. At the same time it is a continuous event and also a scar of memory. In other words, for history is "a dialog between the past and the reality"(E.H.Kar), CR intervenes in the reality and, on the contrary, the reality recomposes CR. From this point of view, CR is a historical event, which so far is not ended, and it is an object of memory, which is still being composed at the moment. As the saying: "Poetry is greater than history"(Aristoteles), artistic works more intensively reflect the past. The works related to CR can not be an exception. And CR is endlessly exposed in the contemporary Chinese fine arts and the works of the contemporary Chinese artists-Wang Guangyi, Yue Minjun, Zhang Xiaogang and others are proved to be those who suffer from the trauma of CR and who feel no liberty from CR. For example, CR probably is a symbol showing the "identity" of the Chinese artists. And the diversity of the symbol is the experience and pattern of the dialog between artistic works and CR (i.e., intervention in reality). For example, with withering of grand-narrative and appearance of micro-narrative, the CR critical works of Guan Zhoudao were the root of the Chinese fine arts in the late 70s and early 80s. In the contemporary cultural situation, the literary works about CR actively analyzed the history (CR) from the personal point of views and explained in the way of monolog and micro-method led the 1990s' works. In this way they tried to recompose the history "randomly", like looking at reality with their own eyes. In this process, CR is continuously exposing new features and the real facts are appearing before us as unfamiliar phenomena. This is a way of combination and "reappearance" of contemporary arts and reality. In conclusion, the purpose of this article is to make it possible to see a section of the contemporary Chinese fine arts through the study of the icon image of CR and to analyze the way of fine arts recomposing the history and the intervening in the reality. In this sense, the author has entitled the article "Icon and Form". It means how to reshape (the present) the typically formed icon of the CR (the past).

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A study on the awareness about "Dong-YI(東夷)" in Confucianism scripture (유교경전의 동이 인식에 관한 연구 - 13경 및 그 주석서를 중심으로 -)

  • Ham, HyunChan
    • The Journal of Korean Philosophical History
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    • no.30
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    • pp.123-159
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    • 2010
  • Dongyi (Chinese: 東夷; pinyin: $D{\bar{o}}ngy{\acute{i}}$; Wade-Giles: Tung-yi; literally "eastern 'barbarians'") was a collective term for people in eastern China and in the east of China. People referred to as Dongyi vary across the ages. The early Dongyi culture was one of earliest neolithic cultures in China. According to the earliest Chinese record, Zuo Zhuan, the Shang Dynasty was attacked by King Wu of Zhou, while attacking Dongyi, and collapsed afterwards Dongyi culture was one of the oldest neolithic cultures in China. Some Chinese scholars extend the historical use of Dongyi to prehistoric times, according to this belief, the neolithic culture correlates to Houli culture, Beixin culture, Dawenkou culture, Longshan culture and Yueshi culture, five evolutionary phases. Deliang He, thinks that Dongyi culture used to be one of the leading cultures in neolithic China. The writing system of Dongyi was one of the oldest writing systems in neolithic China. There are opinions that the 20 pictogram characters discovered in a Dongyi tomb (山東?縣大汶口墓葬) in Shangdong indictates some of the characters found, like "旦, 越, 斤, 皇, 封, 酒, 拍, ?", are still used in Chinese characters. There are also opinions that Dongyi people were the inventor of arrows. Some classic Chinese history records like Zuo Zhuan, Shuowen Jiezi, Classic of Rites, all have some similar records about this. [3][4] The legendary god of archery in Chinese mythology, Houyi, could also be a Dongyi leader. Based on archeology findings, Dongyi people's ancestral worship totem is bird-shaped. In the meantime, The fundamental thing that Koreans should do is to find out Korean identy. Koreans cannot achieve their goals unless they enforce politics economics, educations, etc. in harmony with their own identity. However, some people say that Koreans do not have any dentity on the grounds that there is no Korean traditional thought. This view is, however, absolutely absurd because it is impossible for a nation to exist for oner five thousand years without having it's own native characteristics. The most essential thought in Korean identity is Confucius' In(仁). In is originated from Yi(夷) or Yi-jok(夷族)'s heart. On this account, Confucius' In can be a precious thought to Korean people who have been suffering from many problem caused by the absence of Korean identity. If Korean could understand their original characteristics and if Korean couldrealize that their original characteristics are Confucius' In, then our culture and identity recovery of though may maximize efficiency of country and society development.

Gene Cloning, Expression, and Characterization of a Novel ${\beta}$-Mannanase from Bacillus circulans CGMCC 1416

  • Li, Yanan;Yang, Peilong;Meng, Kun;Wang, Yaru;Luo, Huiying;Wu, Ningfeng;Fan, Yuliu;Yao, Bin
    • Journal of Microbiology and Biotechnology
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    • v.18 no.1
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    • pp.160-166
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    • 2008
  • A DNA fragment containing 2,079 base pairs from Bacillus circulans CGMCC 1416 was cloned using degenerate PCR and inverse PCR. An open reading frame containing 981 bp was identified that encoding 326 amino acids residues, including a putative signal peptide of 31 residues. The deduced amino acid sequence showed the highest identity (68.1%) with $endo-{\beta}-1,4-D-mannanase$ from Bacillus circulans strain K-1 of the glycoside hydrolase family 5 (GH5). The sequence encoding the mature protein was cloned into the pET-22b(+) vector and expressed in Escherichia coli as a recombinant fusion protein containing an N-terminal hexahistidine sequence. The fusion protein was purified by $Ni^{2+}$ affinity chromatography and its hexahistidine tag cleaved to yield a 31-kDa ${\beta}$-mannanase having a specific activity of 481.55U/mg. The optimal activity of the purified protein, MANB48, was at $58^{\circ}C$ and pH 7.6. The hydrolysis product on substrate locust bean gum included a monosaccharide and mainly oligosaccharides. The recombinant MANB48 may be of potential use in the feed industry.