Cultura International Journal of Philosophy of Culture and Axiology

This paper explores cross-cultural semiotics in adaptation in order to rethink the relationships between China and the West. The multi-dimensional model of cross-cultural research presented defends a temporal semiotic orientation, rather than a purely spatial approach for intercultural interpretation. The paper insists that in the age of globalization, cultural identity is unavoidably a very sharp question, and that multiple layers of meanings are involved in cultural identity. Thus, it explores differences and parallelisms between Western and Chinese semiotics, conservative and as well as unconventional approaches – misappropriation, transplantation, transfer and transformation – which appear in adaptations such as Journey to the West and Wolf Totem. Adaptations are contemplated as intercultural avenues for learning about the West and exporting Chinese culture to the world, showing the complexity of cross-cultural exchanges which are never merely one-directional and which include temporal mappings.

The term “Marginocentric cities” has been used to describe those multiethnic nodal cities “that at favorable historical conjunctions have rewritten the national cultural paradigm from the margin, ascribing to it a dialogic dimension, both internally (in dialogue with other ethnic traditions) and externally (in dialogue with lager geocultural paradigms)” (Cornis-Pope and Neubauer, 2002:26). Whereas this map of marginocentric cities is restricted to East-Central Europe, this paper, focusing on the novel The Last Days of Old Beijing, insists that the concept of “marginocentric city” is also operative for Beijing city as a nodal space of cultural exchanges in which boundaries might be more elusive and national geographies dislocated. At the same time, I propose the constitutive dialectics of being simultaneously central and marginal should be regarded in relation to the complex relationships taking place in Beijing, different from the Western modernity, as it appears in this cross-cultural novel which also combines tradition and modernity.

The story of Turandot originated in the East. It was later transformed into the tale of a merciless princess, and adapted onto the stage. Puccini‟s Turandot has been one of the most frequently restaged operas in the West, but Turandot‟s unreasonable cruelty and abrupt change of character have raised a lot of questions. Since quite a few contemporary playwrights and directors try to interpret Turandot with elements of empathy, this paper analyse the versions of Turandot in the Eastern world in discussion with the Western versions.

This paper examines the translation of literary terminology as cultural sign in the selected versions of the History of Chinese Literature in the Anglophone world. It argues that classical Chinese literary terminology with its rich connotations and strong prescriptiveness as „symbol‟ in semiotics, holds great difficulty for translators and scholars. Its inherent social and cultural elements in determining the meaning of these terms cannot be transferred across cultures, thus causing problems such as „neutralization‟ either in free or literally translation or transliteration of these terms. The paper points out that an ideal way out for translation of classical Chinese literary terms should be transliteration coupled with proper notes. Although not qualified as translation in the strict sense, transliteration could, in some way, remind the readers of the heterogeneity of the term, thus offsetting the negative effect by the “neutralization” of the term. It could also guarantee the term‟s independency with the ultimate aim to make the term accepted by and integrated into the culture of the new land.

A gourd is a sort of pumpkin whose shell is frequently used to keep food and water. Gourds are also used as kitchen utensils, musical instruments or decoration. This paper draws attention to the time framework in gourd image representations, which symbolize universality and immortality (primitive time) as well as the positive notions of regeneration and emptiness. By analyzing the artistic expressions in the form of gourd representations reflected in literature and art, this paper reveals the complex notion of time in Chinese civilization.

With the spread of cross-cultural communication and the expansion of multinational brands the semantic boundaries of signs is being transcended in various ways. The contemporary global and transnational construction of signs has a different impact on consumer behaviour across the world. Easter consumers have some unique national psychology and purchasing behaviour to Western consumers. This study explores different the characteristics and motivations behind the cross-cultural exchange of signs, their reception, the specific symbolic value, and consumer behaviour in China.

The particularity of financial information dissemination determines that the key to financial advertisements is the transmission of financial ideas and culture. This paper carries out a case study of Citibank’s display of corporate culture based on visual symbols system. The study shows that it can have good effects on spreading corporate ideas to combine the localized thinking pattern which takes a full account of the characteristics of market culture, and the operating mode of modern advertising communication.

The Silk Road originated in China in the 1st century B.C.E. The purpose of the route was to expand silk trade which initially was elaborated exclusively by the Chinese. European aristocrats showed great devotion for this textile, which was carried mainly by Persian merchants. Seveal commercial silk routes were created to connect China with Mongolia, Korea, India, Persia, Arabia, Syria, Turkey, and Europe. Due to its geographic position, Korea served as the last Silk Route destiny for the Arab merchants in the Asian Continent. As early as the Three Kingdoms period (57 B.C-668) in Korea, Muslim traders travelled from the Caliphate of Turkey to Tang China and established contact with Shilla. Trade and cultural exchange were developed significantly and foreign influence reached Korea through the Silk Road. Arab merchants who arrived during the Koyeo Dynasty period (935-1392) were in fact the first to coin the English name “Korea”. In modern period, Korea maintained an important role in the New Silk Road, participating actively during the splendid periods of Unified Shilla and the Koryeo Dynasty.

This paper investigates microcultural imperialism upon Eastern cultural heritage. In particular, it exposes the loss of Korean cultural artifacts during wars, and also during imperial cultural expeditions, visits of scholarly research groups, and diplomatic encournters. The paper argues that imperialist domination is sometimes concealed in the name of Oriental Studies projects and the assumed superiority of certain nations in terms of knowledge and technology.

This paper analyses the attitudes of different genders and age groups toward Italian food in Korea. By asking who consumes it, and with whom, how, when, and why, this paper examines the cross-cultural meaning of Italian food and how it is differently perceived by men and women of different ages in Korea. It argues that Italian food is perceived by consumers as sharing female traits and that this, in turn, lends a particular eating experience.

This paper argues that garbage is no longer the site of contempt and fear and has become an object of profound theoretical investigation. The paper reviews some of the salient points in the growing body of theory about garbage and shows that if one thing has come out of this scholarship, it is that waste is both productive and dangerous, spent but agential, rejected but inescapable, and the intensity of disruptions of order potential in waste are immense. I show that two very different poems – one entitled “Above the Water, Under the Water” by South Korean poet Choi Sung-ho, the other entitled “Garbage” by American poet A.R. Ammons –reveal in very different ways both the agentic capacity of garbage and the ascension of garbage to a semiotics of the sublime in the twentieth century, East and West.

Using a lens of cultural industry approach, this study explores the rise and fall of the political entertainment with a focus on specific moments associated with the trajectory of Korean political entertainment in public setting. A historical overview of Korean political entertainment traces back to the 1930s when Mandam, a unique kind of political satiric talk became popular in 1930s. Mandam played a satiric role in influencing public opinion on political affairs, particularly led by the early generation of Mandam storytellers. Their criticism centered on Japanese colonial rule, even though Mandam was limited in terms of freedom of speech during this period. Furthermore, this study highlights that the great popularity of Mandam was driven by business organizations for the commercial purpose. Mandam was placed at the core of intricate relationships among the related industries. In sum, the present study concludes that as distinctive form blending political information and entertainment, Mandam played a vital role in expressing individuals‟ political opinions under the communicative circumstances during the Japanese colonial period.

This article examines the feelings of discomfort in the works of Nobel Prize winner Kenzaburo Ōe. Focusing on Ōe's first short story “Prize Stock”, Shiiku (1957), the article discusses how the incredible event of a black pilot falling from the sky in the mountains near a small Japanese village during World War II refers to more general racial issues than those described. The discussion argues that Ōe's story, criticized as racist because of the treatment of the black airman, should be read in a broader view, thematising the problems of race and marginalisation in Japan and beyond.

Indonesia had absorbed various cultures since ancient times, caused the local cultures were enriched with sign language. However, signs on the traditional culture in Indonesia are more symbolic in nature. Interestingly, East and West cross-cultural sign was encountered in Bali, on Sukasada Park design, in Ujung Village, Karangasem regency. The park which was known as Taman Ujung was a legacy of Karangasem Kingdom. This article was compiled from the results of research conducted in 1999, 2012 and 2016. The latest study was specifically conducted to examine the signs on the design of Taman Ujung. Therefore, this study used a semiotic approach, which deals with the science of signs. Such signs could be seen in the form of design, material‟s quality and decoration of the building. The pavilion, placed in the middle of the pond caused Taman Ujung was different from the traditional Balinese garden in general. The Pavilion, called Gili, became a sign of the influence of modern western architecture. The use of concrete construction and decorative concrete mold were signs of the influence of western technology. Their decorative Karang Bentala and a lion with a crown were related to the Royal Dutch symbol mark. This sign implies the meaning of good relations between Karangasem Kingdom and Netherlands‟ Kingdom in the past.

The purpose of this study is to illustrate how art and culture in the Kasepuhan Palace can be interpreted as a form of cross-cultural communication. The inquiry addresses two research questions: What are cultures that interact in the 15th century in Indonesia? and How does this interaction appear in Kasepuhan Palace. The results show interactions with culture from India, China, Egypt and Europe. Among the motives: trade, the spread of religion and international politics.

Globalization cannot be stopped nor denied. Sometimes it may have not only a positive impact but also a negative one, as rivalry among nations may ensue. Economic and political rivalry leads to break up of the conducive environment of political security. Unresolved territorial claims and boundary disputes may become triggering factors. Superpowers’ interference may had to the conflict. The purpose of this article is to explain the possibilities of building up trust in peaceful and democratic One Asia Community by systematically and effectively introducing educational programs to enhance awareness of cultural differences, teach conflict resolution techniques, and promote an ideal of ethical responsibility and unselfishness.

The trade-offs of “meaning-making” between East and West may be regarded as an aggiornamento (“updating”) for any culture in contact. But since aggiornamento entails a wide range of subjects, the essay situates the meaning-making within the scope of masterpieces in diverse formats, from the printed literary text to the painted image (e.g., Spoliarium). Specifically, the essay offers a rethinking of the cross-cultural semiotic dialogue, paving the way for recognizing the homo significans. However, the customary framing of the Spoliarium does not seem to warrant its conscious knowledge and understanding as a text and a visual art. For this reason, the essay endorses its reframing and its aggiornamento, which is induced by the rapid advancement of science and technology.