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조병환 중국인문학회 2015 中國人文科學 Vol.0 No.60
After opening harbors in 1843, Shanghai reached a historically important turning point . Shanghai’s history over the last century became an arena of competition marred by foreign powers’ plundering. Also, the fast development of a westernized city and material civilization changed not only politics and economy but also the existing hierarchial traditional lifestyle. Modern day Shanghai tea houses were unlike the word ‘traditional’ ;they were very modern and vibrant. Shanghai teahouses were a place with various functions difficult to see today and displayed uniqueness of China. Modern day Shanghai tea houses were formed in downtowns of foreign concession places where a city’s commercial supremacy was concentrated like nowaday’s HuangPu-Gu, JingAn-Gu and LuWan-Gu, or commercial areas where traffic was convenient. In addition, tea houses were also set in gardens with great scenery and streets with densely populated areas Because of this, tea houses can mean the most frequented place by Chinese people. In other words the expansion of living and personal places as the largest public places. Especially, Shanghai tea houses are a unique economical situation made from Chinese social advancement and a place of cultural exchange made by people’s various demands.
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조병환 중국인문학회 2006 中國人文科學 Vol.0 No.34
After the Opium War in 1840s, the urban space, Shanghai, became the International Settlement by the Western Great Power, and formed a new living space which many kinds of people and ideologies were assembled. Even though this was the modernization process of an abnormal city for China, it had never experienced this life environment in the existed traditional cities.At this point, the city, Shanghai, offered the character of a new city, which made an offer to be fully enough motive to figure out the formation background of Shanghai's fashion culture in 1920s and 1930s. Especially, the urban space of Shanghai created an anticolonial concession environment. By this, the city development started at the union process of a new material civilization with outsiders' inflow. The development of Shanghai's culture started at the advanced city organization system, and at the same time, created a new culture factor in the process of the inflow and absorption of various moral civilization. In addition, the commercial material-civilization or the western culture consciousness, had leaded and fashioned the new ideologies of Shanghai's culture, leaded Shanghai's fashion culture by making various and unique street culture which equipped many architectures and public facilities in Shanghai.
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1930, 40년대 상하이 영화를 통해 본 상하이인의 문화적 정체성
趙炳奐, 중국인문학회 2007 中國人文科學 Vol.0 No.36
The process of modern cultural formation in Shanghai at the beginning of the 20th century show not only passive accumulation of historical culture made by the Opium War in the 1840s but the varieties through collision and union with western culture. Therefore, Shanghai in semicolonialism was directly experienced in cultural contact by the Western Powers, and traditional Chinese culture had to accept aggressive and open foreign culture whether the admission was independent or not. As a result, China regarded Shanghai as a advance base of cultural union between the East and the West which had globalization and varieties, and as a city that cultural identity of the citizens in Shanghai was more changable and disordered than in any other city in China.The films of the 1930s and 40s provide a good chance that made us experience cultural phases at that time directly. Especially, we can steal a glance a slice of cultural development of Shanghai because they include the figures of various cultural identities. Shanghai in the 1930s and 40s had a lot of opposition and contradiction, and important expressions of the films of Shanghai at that time played an important role in making social figures like conflicts between the old and the new, wealth and poverty, justice and evil, patriotism and unpatriotism, lavishness and entertainment, and so on. When the video culture in the 1930s and 40s is regarded as a representative media to make culture, films is regarded as a important contact cord which is able to make us experience aesthetic experiences of the society or realistic situations of human existence. Therefore, it is very important that a cultural phase of Shanghai is illuminated again by the films of Shanghai in the 1930s and 40s because realistic cultural circumstances can be confirmed directly.
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조병환 중국인문학회 2019 中國人文科學 Vol.0 No.71
中华茶文化是中国民族传统文化的重要组成部分。茶之于饮,是中国人首创且历史久远,茶之饮于茶馆,并生展而为千姿百态,又是中国蔚为大观的文化中的一朵奇葩。自古至今,中国饮茶空间历经了茶摊、茶庵、茶亭、茶棚、茶铺、茶寮、茶肆、茶室、茶楼、茶馆等的演变形式,每一时期的饮茶空间的形制、功能布局与名称特征各有所不同却又存在着一定的共性。茶摊、茶庵、茶亭是中国古代一项重要的慈善事业,蕴含着中华民族深层施茶文化内涵与价值元素,具有积极的当代指导意义。茶馆是茶饮商业化的结果,从其萌芽到真正形成经历了数百年的流变发展,其在中国人的生活休闲,文化娱乐中占据着越来越重要的位置。饮茶空间传承与嬗变的过程同样诠释着茶文化的发展过程,在这个过程中,人们对茶馆的物质消费需求的比重在不断下降,而精神文化需求的比重则在上升,这也就决定了茶馆未来发展的趋势走向。
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조병환 중국인문학회 2020 中國人文科學 Vol.0 No.75
习近平政府在新的文化大国的冲刺。 为此,他提出了国家战略和发展蓝图"中国梦",通过具体的推进方案,通过长期的"一条带一条路"政策,扩张中国的文化软实力。 本论文通过历代政府领导人的文化政策和文化意识,了解了习近平政府就任后梦想成为新的文化强国、扩张中国文化软实力的意图,认为这种自信源自历史形成的中华思想和传统文化。 其次是中国政府以2001年加入WTO为契机,为加强文化软实力而开始的文化产业培育进展如何? 此外,还考察了主管部门文化观光部、国家广电总局、国家新闻出版署的革新如何得到强化。并且考察了文化产业集群的培育是以何种形态构筑的。中国的文化产业集群的培育,随着社会资本的流入和政府支持的强化,各地区以多样的文化资源为基础,以符合地区特性的文化产业形态构筑集群。
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