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Copyright of Journal of Soochow University Educational Science Edition is the property of Soochow University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Educational Studies (1673-1298) is the property of Journal of Educational Studies Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Foreign Language & Literature Research is the property of Central China Normal University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Writing / Xiezuo is the property of Writing Magazine Agency, Wuhan University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Tourism Tribune / Lvyou Xuekan is the property of Tourism Institute of Beijing Union University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Beijing University of Civil Engineering & Architecture is the property of Journal of Beijing University of Civil Engineering & Architecture Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Wushu culture has always been mobile in the long history, as it keeps upgrading by people's generating and consuming its content in different eras. Based on cultural production theory, the cultural production of Wushu is tried to explore in the three aspects of premise, practice and goals. It is shown that techniques, which are taken as the standard of technical movements in Wushu, should be highlighted to be the basis of "practice" and "combat", therefore a deep understanding of techniques is the premise of recognizing technical meaning of Wushu, cultural capital, Wushu film and television practice, as well as the education and research constitute the main fields of cultural production of Wushu, and the technical meaning forms the core of cultural production of Wushu. [ABSTRACT FROM AUTHOR]

Copyright of Tourism Tribune / Lvyou Xuekan is the property of Tourism Institute of Beijing Union University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Based on the theory of eco translatology, the authors of this paper analyze the current situation and existing problems of tourism publicity English translation from the perspectives of language, culture and communication. Some strategies to improve the level of tourism publicity English translation are accordingly proposed. It is concluded that translators need to respect the language features in the language dimension, pay attention to the transformation of language forma and rhetoric in the production of translation in the cultural dimension, they should focus on the inner culture In the aspect of communication, we should deal with the original language information properly, pay attention to whether the purpose of communication is presented in the translation of tourism publicity, so as to generate the tourism publicity translation with the highest degree of integration, adaptation and selection" realize the positive role of tourism publicity in the process of tourism internationalization, better tell the Chinese story, and better display the image of China. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Chinese Ritual, Theatre & Folklore / Mínsú Qǔyì is the property of Shih Ho-Cheng Folk Culture Foundation and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Mass Communication Research is the property of Guoli Zhengzhi Daxue Xinwenxue Yanjiusuo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Shenzhen University Humanities & Social Sciences is the property of Journal of Shenzhen University (Humanities & Social Sciences) Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Copyright of Journal of Shanghai Physical Education Institute / Shanghai Tiyu Xueyuan Xuebao is the property of Shanghai Physical Education Institute and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The main purpose of this article was to develop a model of sociocultural construction via the cultural production and consumption of literary places in China. Drawing on quantitative and qualitative data, this article analyzes how different producers contribute to this process, and how they are influenced by tourist consumption. On the one hand, it tries to identify the main processes of social and cultural construction in Fenghuang from three aspects. First, Shen Congwen's literature itself, which provides the original context and cultural background of the sociocultural construction of Fenghuang as a literary place, is investigated through the descriptions (imaginations) of the human and physical landscapes, everyday lives and folk activities in Fenghuang. Second, the function of developers in Fenghuang who rediscover Shen Congwen's literature and reconstruct the settlement as a literary place based on this appreciation is examined. This latter process is in turn influenced by tourist perceptions of Fenghuang, which are used by these developers in representing and reconstructing facilities based on the literature. Third, the impact of the copying of Shen Congwen's literature and production of new texts about Fenghuang that is promoted by tourism operators via their texts or/and embodied performances is also examined, as a type of'culture of Shen Congwen'. On the other hand, the tourists' 'reading' of Xiangxi (or Fenghuang) literature and secondary documents (such as advertisements, traveling notes, and guidebooks and media reports), and their perceptions must also be investigated in relation to the cultural consumption of literary places. This privatizes those parts of the literary culture of Fenghuang that has been publicized by producers and operators as being part of the culture of everyday life, and then provides personalized texts for other tourists. On the basis of these analyses, the main findings of this article include (1) 'Imaginative Fenghuang' is constructed by the 'world of Xiangxi' in Shen Congwen's literary works, and the'real Biancheng (the Remote City)'is constructed by tourism developers and operators, and tourists' perceptions, based on these works. These imagined places are also the socialized textual context for Fenghuang; and (2) Tourists play significant roles in the cultural construction and consumption of Fenghuang as cultural consumers. These findings can be offered as hinges that connect the processes of construction, deconstruction, reconstruction and consumption together. Therefore, we can build up a model of sociocultural construction in literary places on the basis of 'the circuits of culture', which emphasizes social and cultural constructions of space via literature, the activities of developers, operators and tourists within those spaces, and the consumption patterns of tourists. The core part of this model emphasizes the function of tourism in the processes of both producing and consuming such a destination. We hope our findings can provide some ideas for future studies on cultural construction and consumption, and give some advice on the further development of literary tourism in China. [ABSTRACT FROM AUTHOR]

The notion of "Tourism Culture" was first proposed by Chinese scholars in the middle of 1980s. Since then, many scholars have discussed the definition of the notion with various new theories. However, without clearly defining the denotation and connotation of the term, these studies have not clearly identified the concept of "Tourism Culture". In the meantime, many colleges in China have established courses on "Tourism Culture Study" for their students. To support the teaching, there are nearly forty textbooks on "tourism culture studies" used by these colleges. Without clear and standardized definition, these textbooks have diverse interpretations of the terminology and applications of tourism culture. Some text books even confuse "Tourism Culture" with cultural tourism resources, though the two actually have different implications. The study on "Tourism Culture" in China has stayed the same over the years. Recent studies have seldom surpassed those of the 1990s and some related case studies have shown their poverty in obscuring our understanding because of the absurd notion of "Tourism Culture". We owe the weakness of "Tourism Culture" studies of China to the lack of interdisciplinary perspectives and enough case studies. We believe that the introduction of a cultural anthropological perspective would help to solve these problems. From an anthropological perspective, we re-define the concept of "Tourism Culture". Based on the newly-defined conception, we then compare "Tourism Culture" with general culture in content, nature and function we think that "Tourism Culture" can be one of the research objects of cultural anthropology. More importantly, ethnography as the main method of cultural anthropology gives strong and solid support for studying the cultural phenomena of tourism. Based on observed and measured phenomena and knowledge from participant observation rather than from theoretical discussion, the research method provides firsthand material with evident and valuable information. Many international scholars focus their research on detailed cases studies of touristic areas; they do not spend too much effort on discussing theoretical concepts. Their empirical data provides useful baseline research for developing the study of "Tourism Culture". This enlightens us on the shift from the theoretical emphasis to the fieldwork-based interpretation, which can be achieved through the means of ethnography. Therefore, the perspective of cultural anthropology can be useful to relieve the embarrassing situation of "Tourism Culture" studies in China. In sum, "Tourism Culture" is the output of tourism activities. Related research includes various topics such as tourist behaviors, tourist expectation and experience, cultural production and reproduction, and the interactions between hosts and guests. These issues are deeply connected with the topic of cultural change, and even symbolize the degree of tourism development, which deserves further research. In our opinion, along with the support from solid case study research, the study of "Tourism Culture" can thus help the theoretical development and study of "Tourism Culture" in a long run. [ABSTRACT FROM AUTHOR]

The development of cultural industry is unmistakably guided by the policies made in the 18th Congress of CPC. The policies are reviewed for the past congresses of CPC, and the present status of the development of China's cultural industry is analyzed, so that a conclusion has been made that China has to innovate its system, cultural production and talents training mode, and it should guide the development of cultural production by means of innovative methods. [ABSTRACT FROM AUTHOR]

The image of women in the corps conveyed a specific historical context of gender connotation in the literary narrative of the Xinjiang Production and Construction Corps. First, the Corps women shouldered the special mission of marital problems of the troops in Xinjiang so the biological characteristics as a "woman" have been particularly stressed; Secondly, the Corps women as labor must take the initiative to forget their own biological characteristics ; Thirdly, the mother image in the corps ultimately expressed the expectations of the nation - state construction for the women during the new historical period's Therefore, file literary texts of the Corps have kept in mind the historical achievements of the women in the Xinjiang Production and Construction Corps, on the other hand, their different roles have been reproduced in different capacities, and objectification. [ABSTRACT FROM AUTHOR]

Ancient Chinese prints have always developed alongside with the reprographic concept. The concept has a close relation with traditional Chinese arts and philosophy, and it is also limited by the nature of the printing and the publishing form of the book. While helping make the great achievements of the reprographic ancient Chinese prints the reprographic concept confined the extend of the print concepts, which makes it a two-edge sword in the developing of Chinese printing. [ABSTRACT FROM AUTHOR]