Search

Copyright of Nankai Business Review is the property of Nankai Business Review 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 New Perspectives in Translation Studies is the property of New Perspectives in Translation 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 New Architecture is the property of New 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.)

Copyright of Journal of Hubei Open Vocational College is the property of Journal of Hubei Open Vocational College 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.)

From the perspective of spatial production, this paper discusses the spatial production factors, driving forces and systems of ethnic tourism communities, and analyzes typical development models with examples, in an attempt to provide reference for the sustainable development and cultural preservation of ethnic tourism communities. The article analyzes five major associated elements in the ethnic tourism space: spatial production resources, spatial producers, spatial consumers, spatial produtivity, spatial production relations, and analyzes the dynamic system and process in ethnic tourism communities. It is found that the spatial production of ethnic communities in the context of tourism is a process involving multiple factors, and the interaction of their living practices, tourism practices, cultural changes and spatial reconfiguration processes has led to changes in the subjects of spatial production, renewal of spatial social relations, and unconventional paths of spatial production changes. The article has also sorted out four typical spatial production modes of ethnic tourism communities, namely conservation and utilization of space in its original state, restoration of space life scenes, innovation of space culture activities, and the Frontstage - Curtain-Backstage of space, in order to provide differentiated path options for ethnic tourism community development. [ABSTRACT FROM AUTHOR]

Located in northwestern China, Xinjiang Uygur Autonomous Region used to be the main channel of economic, culturaland religious exchanges between Asia and Europe, as well as the main place where the Chinese culture, ancient Indian culture and ancient Greek culture met. Therefore, Uyghurs formed the Uyghur culture with unique charm and elegant Uyghur costumesin the historical differentiation and integration. Among them, the Xinjiang Uyghur Quman hat is the most attractive. As an indispensable part of the Uyghur traditional costume art, Quman hat shows the profound and unique cultural connotation of Uyghur nationality. The structural analysis and fractal redesign of the pattern are conducive to the digital inheritance, innovation and development of Uyghur ornamental art. In order to promote the evolution and development of the Uyghur Qumanhat ornamental art, and to provide research ideas as well asinnovative methods for the discovery and protection of ethnic cultural heritage, this paper, based on the Newton iterative function model in the fractal art theory and from the two aspects of traditional ethnic ornamental design and modern innovation, firstly extracted the representative pattern factors and color factors according to the traditional ornamental characteristics of Quman hats, on this basis, the ornamental design model of Quman hats was established in the UF6 fractal software based on the principle of fractal art and 15 kinds of fractal patterns of Quman hats were designed based on Newton iterative function, finally, the fractal patterns were applied to modern hat design cases and the "Liszt five-point scale"was used to verify the feasibility of redesigning traditional Uyghur hats by fractal art. This paper used fractal theory to combine artistic design with traditional ethnic ornamentationon the basis of extracting core design factors, proposing a fractal pattern design model of Quman hats and providing new ideas for the modern design of traditional ethnic ornamentation. The results showed that the ornamentation of the Quman hats is composed of four same caps in a cross-symmetrical form, and the subject of the ornamentation mainly contains plant and geometric patterns. According to the combination of the skeleton patterns, the Quman hats can be divided into herringbone hats, "-"-shaped hats, and "-"-shaped hats. Colors of the hats are mainly high-purity and contrasting like red, green, blue, white and black, the fractal design model of Quman hats can be constructed based on the above conclusions to design hat products that have national characteristics and also can be accepted by Uyghur young people. Through questionnaire survey, it is verified that the fractal hats can be accepted and recognized by the Uyghurs. Using fractal art to innovatively design the ornamentation of Quman hats, on the one hand, is conducive to the inheritance, innovation and development of Uyghur culture in the digital era, and on the other hand, it can provide certain research ideas for scholars and designers to discover and protect ethnic cultural heritage. Refined and convenient creation of Uyghur Quman hats patterns can be realized by using computer software and can provide designers with a brand new design idea. In addition, with the rapid development of economy and technology, most consumers' aesthetics are increasingly inclined to the works which can bring them more sensory stimulation. How to satisfy the modern aesthetics of the masses while maintaining the charm of traditional culture has become an important subject in the inheritance and development of traditional culture. Based on these facts, this paper proposed a fractal design model of the Uyghur Qumanhats' ornamentation, and developed a design methodsuitable for Uyghur traditional ornamentation, so that Xinjiang traditional culture and art can shine with modern technology. It is also expected to provide ideas for the innovative development of Xinjiang textile and garment industry. [ABSTRACT FROM AUTHOR]

Ethnic identity is the unanimous identification with an ethnic group by its individual members and is also an essential component of ethnic consciousness. In the Theory of Native, ethnic identity is regarded as innate. However, in the Theory of Tool, one ethnic group interacts with other ethnic groups, and its formation and maintenance depend on the social boundaries among them. As an aspect of modernity, tourism has an important impact on the maintenance, conversion and reconstruction of ethnic boundary. On one hand, tourism by economic means, could shape or strengthen the ethnic identity, whose basis is cultural identity. On the other hand, tourism may also weaken the ethnic identity. There are different types of impact of tourism on the ethnic identity with noticeable features at different stages. Therefore, under the influence of tourism, ethnic identities in minority areas are in a multi-dimensional track of development and in different directions. Life story of individuals is the diachronic material based on psychological analysis of members of ethnic groups. This method is mainly used in ethnology and historical studies. Through this way, the relationship between ethnic identity and tourism showed in the personal life experiences of a member of the chosen ethnic group can be generalized for the study of the impact of tourism on individual's sense of ethnic identity. Application of such a method not only enables the text to be more realistic because of the narration of personal experiences, but to some extent, also helps individuals in ethnic groups to restore their discourse right. Based on the record of the life story of a young woman of Tujia ethnicity, the article analyzes the evolving sense of ethnic identity of an ethnic individual during the process of tourism development. It finds that the impacts of tourism on ethnic identity lie in that the "potential status" of ethnic culture has been raised due to the economic growth caused by tourism, that tourism products create the collective memory and cultural landscape of the ethnic group, that cultural tourism is deepening the level of ethnic identity, and that the over-exploitation and the blind-development of ethnic tourism will mislead the direction of ethnic identity. In the development of tourism, ethnic culture is included in the category of consumption culture and strengthens individual's ethnic identity. However, compared with other forms of tourism, ethnic tourism is far more like a "tourist gaze". What in the life of ethnic people is to be shown and preserved in tourism is decided by the market. Therefore, it blocks the natural development of ethnic cultures and such living ethnic cultures will be "museumized" (become dead exhibits in the museum) or be transformed into cultural commodities of the "tourism ethnicity". In such a situation, the profit-oriented ethnic culture has become a new symbol of ethnic identity. [ABSTRACT FROM AUTHOR]

Copyright of China Textile Leader is the property of China Textile Information Center 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.)