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China's domestic animation industry is deeply rooted in its rich traditional cultural heritage. While continuously exploring and showcasing the unique charm of such cultural heritage through storytelling, imagery establishment, and spirit creation, Chinese animation also seamlessly integrates modern aesthetic characteristics and cultural values into its development within the context of the new era. By adopting a contemporary perspective, it innovatively expresses the essence of traditional culture while striving to shape and present a reliable, admirable and respectable image of China. Chinese animation aims to create credible contemporary animation images by drawing inspiration from traditional Chinese cultural archetypes. It also seeks to revitalize admirable traditional cultural imagery using vibrant and prevailing ACGN visuals, while shaping credible characters with richer cultural connotations and crafting stories with more enchanting plots to convey the spiritual essence of the Chinese nation. By establishing reliable, admirable and respectable animation images, the Chinese animation industry strives to enhance its capability to "tell China's stories well and make the voice of China heard," to better promote the image of China in the new era from a global perspective. [ABSTRACT FROM AUTHOR]

Do citizens reveal their valid preferences when asked about a potential foreign threat? This study presents the results of two list experiments implemented in Taiwan, a democratic and independently ruled island that leaders in China have long vowed to reunify with the mainland. Our two experiments—conducted in March 2019 and September 2021—focus on the percentage of Taiwanese who perceive China as a "friend" and those who regard China as an "enemy." The findings reveal that, first, the proportion of Taiwanese citizens who harbored hostile feelings toward China grew by 30% points between the two dates. In comparison, those with a more friendly perception of China declined by 18% points. Second, we detected significant misreporting or preference falsification when comparing the list experiment estimates with answers to a direct question. Third, we found evidence that the hypothesized China-ambivalent respondents are most likely to have switched their perceptions of China. [ABSTRACT FROM AUTHOR]

Hollywood will encounter some cultural policies when its films are imported to the Chinese film market on a revenue-sharing basis. These include a quota system, a censorship system and an uncertain release schedule. However, China has been the fastest growing film market since 2008 and the second largest film market in the world since 2012 (yet the current film industries worldwide are recovering from the impacts from the COVID-19 pandemic). Despite the restrictive cultural policies, Hollywood, attracted by the promising profitability, have incorporated more Chinese roles and more plots about China to please the Chinese film regulators and audiences in order to gain access to the lucrative Chinese film market. Furthermore, the depiction of China has become more positive and diverse in recent Hollywood blockbusters compared with the Orientalist stereotypical images in the past. The author intends to examine the reasons behind the phenomenon through analysing the positively changing images of China from early Hollywood films to the recent Hollywood blockbusters. In fact, the positively changing depiction of China illustrates China and the US negotiating the dynamic process of cross-cultural exchange in economic and political terms through compromise, competition and collaboration. [ABSTRACT FROM AUTHOR]

Missionaries were a major force of western peregrination to China in modern times. Confucianism, Taoism, Buddhism and various folk deities, as the main competitors of Christianity, were the two perspectives from which western peregrinators (especially missionaries) observed the religious image of China, and the two dimensions from which peregrinators described the religious image of China. Missionaries in China paid more attention to "idolatry" in Chinese Confucianism, Buddhism and Taoism, while peregrinators noticed more popular phenomena of folk deities and various superstitions. The heretical religion of "idolatry" and feudal superstition were the two main cognitive sources for peregrinators to construct the religious image of modern China, and jointly shaped the religious image of modern China. [ABSTRACT FROM AUTHOR]

National image is an important symbol of national cultural soft power. Adhering to ideas and methods of mathematical statistics, this paper focuses on the construction of China’s image in German media from the perspective of epidemic prevention and control. Taking Deutschlandfunk as the retrieval object, texts are analyzed by AntConc corpus analysis toolkit to construct China’s image and German media attitude tendency under the background. The study found that, the German media exoticised and politicised the event through a series of discursive devices, constructing a biased image of China, although giving positive comments on China’s anti-epidemic measures and foreign aid.

Before the 19th century, the image of China shaped by western countries was mainly based on politics and education. China's political and educational system in the 19th century had become a frame of reference for highlighting the superiority of western politics and education. The authoritarian and decadent politics of enslavement and politicized education that imprisoned creation was the historical base map for western peregrinators to construct the political and educational image of modern China, and the result of the transformation from the construction of "utopian image" to the construction of "ideological image [ABSTRACT FROM AUTHOR]

Since the middle and late 18th century, the purpose of western peregrinators to China had been in a gradual process from geological survey, to commercial route exploration, commercial development, and then the struggle to divide power and sphere of influence. The purpose, mode, theme and narrative strategy of missionaries, scientific explorers, business travelers and pilgrims traveling in China were the main elements that affected the representation, construction and production of the image of modern China, as well as the main factors that formed the differentiation of the image of China. [ABSTRACT FROM AUTHOR]

Since modern times, western peregrinators had described Chinese body image from the perspectives of dress and appearance, physical senses and spiritual characteristics. Dress and appearance were the most explicit symbols for western peregrinators to observe and understand the national image of China. Western peregrinators constructed a discourse system about Chinese body. Western peregrinators' conventional speech, the status quo of poor and weak country, the ideological influence of eastward transmission of western sciences, and the lack of body consciousness of Chinese people had comprehensively shaped the fatuous and pathological body image of Chinese people in the 19th century. [ABSTRACT FROM AUTHOR]

Hollywood will encounter some cultural policies when its films are imported to the Chinese film market on a revenue-sharing basis. These include a quota system, a censorship system and an uncertain release schedule. However, China has been the fastest growing film market since 2008 and the second largest film market in the world since 2012 (yet the current film industries worldwide are recovering from the impacts from the COVID-19 pandemic). Despite the restrictive cultural policies, Hollywood, attracted by the promising profitability, have incorporated more Chinese roles and more plots about China to please the Chinese film regulators and audiences in order to gain access to the lucrative Chinese film market. Furthermore, the depiction of China has become more positive and diverse in recent Hollywood blockbusters compared with the Orientalist stereotypical images in the past. The author intends to examine the reasons behind the phenomenon through analysing the positively changing images of China from early Hollywood films to the recent Hollywood blockbusters. In fact, the positively changing depiction of China illustrates China and the US negotiating the dynamic process of cross-cultural exchange in economic and political terms through compromise, competition and collaboration.

Since the middle and late 18th century, as Chinese civilization entered a downward trajectory, the social image of China built by the Western society before modern times as a land of wisdom, virtue and faith with vast territory, abundant resources, prosperity and inclusive civilization had gradually collapsed. As peregrinators to China had a deeper understanding of China, the overall disappearance of urban and rural poetry and the overall decline of social groups constituted the historical base map for peregrinators to construct the social image of modern China. [ABSTRACT FROM AUTHOR]

Since modern times, the West had gradually measured the standard and image of civilization of a country or a nation from the trinity of material, spirit and morality. Peregrinators to China mostly used such words as "hypocritical", "dirty", "indifferent", "selfi sh", "cruel" and "insensitive" to represent the moral and spiritual image of Chinese people. Peregrinators to China in the 19th century constructed a depraved and corrupt moral image of China in a three-dimensional perspective from individual moral depravity to overall despicability of the nation. [ABSTRACT FROM AUTHOR]

This article is the first try to research the connection between the art of ceramics and word in the work of children's writer and artist E.Ya. Danko. The relevance of the study is due to the need to expand the idea of the image of China in Soviet children's literature of the 1920s. Compared to the history of Russian poetry, the poems “Ceramic Cup”, “Chinese Secret” and the novel “Vase of Chinese Khan” are considered diachronically, and synchronously - in the context of the indestructible myth of Ancient China and the Chinese proletarian revolution. Special attention is paid to the genesis of the ideal image of China in the work of E.Ya. Danko, which traces back to the ideas of F.M.A. Voltaire, M.V. Lomonosov and Russian poets of the XIX - early XX centuries. Works by E.Ya. Danko meets the idea of A.M. Gorky - to create literature on factories, crafts, and technology. In her works about China, upholding the classical understanding of Chinese culture and admiring the talent and hard work of the Chinese people, E.Ya. Danko found a way out of the chaos of the 1920s.

With the increasing number of western peregrinators to China, the number of travellers to Beijing and the Great Wall continued to increase, forming the north China peregrination route. This paper analyzed the concrete impression of western peregrinators on Beijing and the Great Wall, and held that the structural characteristics of western peregrinators were caused by the change of trade requirements. [ABSTRACT FROM AUTHOR]

Copyright of Political Science Review / Przegląd Politologiczny is the property of Faculty of Political Science & Journalism, Adam Mickiewicz 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.)

In order to open up the Chinese market, Britain sent two missions to China in 1791 and 1816. The most powerful colonial empire in the world met the most powerful feudal empire in the world. The two sides led the negotiations and exchanges with the concepts of "tribute" and "equal diplomacy", and the failure of the missions of Macartney and Amherst to China was inevitable. The travel texts completed by the members of the mission recorded the process of travel to China and their views on China in detail. Two typical travel events in China completely reversed the western image of China. [ABSTRACT FROM AUTHOR]

Copyright of Monumenta Serica: Journal of Oriental Studies is the property of Routledge 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.)

Under the influence of Culture Studies, Transcultural Studies of Imagology conducts the comprehensive multi-disciplinary research by synthesizing the resources from other disciplines to its own concern and method. As Transcultural Studies of Imagology tries to research how the image of China presented in the Western cultural discourse becomes the mirror image for China's cultural identity in its modernization, the deconstructive and constructive research methods, however, discords with the question of concern for Transcultural Studies of Imagology. Therefore, mismatching the question of its concern and the research method, Transcultural Studies of Imagology could hardly make any progress and thus, falls into a predicament. [ABSTRACT FROM AUTHOR]

Grand tour is the predecessor of western travel to China. In the process of civilization competition between China and the West, various travel rules in different regions have been gradually established. From the 16th to the 19th century, the Chinese government gradually lost the motivation and willingness to travel abroad. The West is seeking the contact with China and constantly trying the way of peaceful contact with China. After a hundred years of Chinese rites controversy, the West has come to the conclusion that force is the only effective way to force China to give up its policy of seclusion. After a series of wars, the West gradually gained the dominant power in formulating the rules of travel to China, and also gradually mastered the discourse power in constructing China's national image. [ABSTRACT FROM AUTHOR]

The formation of western national landscape image of China is closely related to the needs of western cultural spirit for China in this historical development stage. From the 13th to the 18th century, the West demanded that China, the "cultural other", play the role of landscape image of an ideal and beautiful country, so as to help the West establish the way forward. From the middle ages to the age of great geographical discovery to the Age of the Enlightenment, China's political, economic, social, cultural and historical context and the cultural spirit embodied in it are exactly in line with the expectations of the European social development and cultural spirit, which helps the West to form an ideal and beautiful image of China. From the 18th century to the 19th century, the utilization function of western image of China as "cultural other" also changed, and the western image of China began to go into a period of complete reversal. With the change of the western modern cultural spirit's expectation for China, the image of China of "imagining other", "beautiful other", "ideal other" and "inferior other" has been formed successively. [ABSTRACT FROM AUTHOR]

Since the Middle Ages, the collective memory of China in the West had been based on the texts written by peregrinators to China, represented by Marco Polo and the missionary community. After the 19th century, travel guide, another form of text to guide potential peregrinators to China, began to appear. They selectively recorded and subjectively evaluated the landscape and life of China, with distinct individual characteristics, which had significant influence on the formation and dissemination of the image of China. [ABSTRACT FROM AUTHOR]

Northeast China as a Contact Zone in Polish and Serbian Travelogues, 1900-1939 Historically, Northeast China (Manchuria) was a border zone between China and nomadic peoples, as well as between Russian and Qing empires since the 17th century. In the second half of the 19th century and in the first half of the 20th century, a number of factors (penetration by foreign powers, collapse of the Qing Empire, revolution in Russia, Japanese expansion and demographic changes) transformed this area into “a contact zone” in the sense given by Mary Louise Pratt. The main focus of the article is the way in which this contact zone was described by Polish and Serbian travellers. Their can provide a special outlook, because Poland and Serbia did not participate extensively in the colonial penetration into China, however, Serbs and Poles travelled there, often representing Russian institutions. Therefore they were observing China as agents of imperial force, but they did not identify themselves fully with it. Our analysis of the image of Northeast China as a contact zone will be divided into three broad sections: 1) political and military expansion, 2) economic and demographic relations, 3) transcultural phenomena of everyday life. Chiny Północno-Wschodnie jako strefa kontaktu w polskich i serbskich relacjach podróżniczych w latach 1900-1939 Północno-wschodnie Chiny (Mandżuria) są historyczną granicą między Chinami a ludami wędrownymi, od siedemnastego wieku również między Rosją a imperium dynastii Qing. W drugiej połowie dziewiętnastego wieku, a zwłaszcza w pierwszej połowie dwudziestego szereg czynników (penetracja przez obce mocarstwa, upadek dynastii Qing, rewolucja w Rosji, ekspansja japońska i zmiany demograficzne) uczyniły z tego obszaru „strefę kontaktu” w rozumieniu Mary Louise Pratt. Głównym tematem artykułu jest sposób opisu strefy kontaktu przez polskich i serbskich podróżników. Ich dzieła dają bowiem szczególną perspektywę, gdyż Polska i Serbia nie uczestniczyły w kolonialnej penetracji Chin, jednakże Serbowie i Polacy podróżowali do Państwa Środka, często reprezentując rosyjskie instytucje. Z tego względu obserwowali Chiny jako reprezentanci imperium, jednak nie identyfikowali się z nim w pełni. Analiza obrazu północno-wschodnich Chin jako strefy kontaktu dzieli się na trzy sekcje: 1) ekspansja polityczna i militarna, 2) relacje ekonomiczne i demograficzne, 3) zjawiska transkulturowe w życiu codziennym.

Copyright of Colloquia Humanistica is the property of Polish Academy of Sciences, Institute of Slavic Studies 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.)

China’s image in the Western media has long been a contentious issue. Many previous studies have focused on what images are constructed but few have examined how those images are generated. This article aims to address this issue by exploring cultural foundations of Western representations of China. The article falls into three parts. Part one traces configurations of modernity discourse, focusing on liberal humanism and industrialism as two important dimensions in reporting Chinese affairs. Part Two examines historical trajectories of Western images of China, highlighting different mix of the two versions of modernity at crucial historical junctures. Part three explores conceptual and methodological issues in relation to Western reporting of China. Based on structuralist narrative theories, an analytical model is proposed that is illustrated with specific examples. The article concludes with a critical assessment of current situations of Western reporting of China. [ABSTRACT FROM AUTHOR]

Copyright of Social Sciences in China is the property of Routledge 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.)