National Image: China's Communication of Cultural Symbols

ISBN-13: 9789811531460 / Angielski / Twarda / 2020 / 216 str.

Xiangfei Meng; Wei Feng

Spis treści

INTRODUCTION

CHAPTER 1  AN OVERVIEW OF THEORIES OF NATIONAL IMAGE

1.1 THE FUNDAMENTAL CONNOTATION OF NATIONAL IMAGE

1.1.1 Introducing National Image

1.1.2 The Connotations of National Image

1.2 THE FUNCTIONS AND EFFECTS OF NATIONAL IMAGE

1.2.1 National Image is an Important Part of National “Soft Power”

1.2.2 A Positive National Image Can Boost International Discourse Power

CHAPTER 2  PERCEPTUAL BARRIERS TO CHINA’S NATIONAL IMAGE AND THEIR CAUSES

2.1 HISTORICAL SHIFTS IN CHINA’S NATIONAL IMAGE

2.1.1 The Stage of Admiration: Prosperous, Diligent, Valiant

2.1.2 The Stage of Degradation: Closed, Backward, Ugly

2.1.3 The Degradation-Rapport Stage: Red, Frenzied, Miraculous

2.2 THE PERCEPTUAL BARRIERS TO THE NATIONAL IMAGE OF CONTEMPORARY CHINA

2.2.1 The National Image of Contemporary China in a Negative Light

2.2.2 The National Image of Contemporary China in a Positive Light

2.2.3 Trend of Contemporary China’s National Image

2.3 A CAUSAL ANALYSIS OF THE PERCEPTUAL DISCREPANCY IN CHINA’S NATIONAL IMAGE

2.3.1 The Political Factor: the “Western-Centrism” Position

2.3.2 The Cultural Factors: Cultural Differences and Symbol Barriers

2.3.3 The Media Factors: Hegemonic Discourse & “Loss of Voice”

CHAPTER 3  NATIONAL IMAGE FROM A CONSTRUCTIVIST PERSPECTIVE

3.1 INSIGHTS INTO CONSTRUCTING NATIONAL IMAGE FROM CONSTRUCTIVISM

3.1.1 Shared Ideas (Knowledge)

3.1.2 State Identity (Interests)

3.1.3 Holism (Structures)

3.2 A CONSTRUCTIVIST INTERPRETATION OF NATIONAL IMAGE

3.2.1 Model of Construction: Communication → Shared Ideas → National Image

3.2.2 Intersubjectivity: “Self-built Image” & “Others-built Image” with Mass Media as Intermediary

3.2.3 The Age of Simulacrum: Information Game and Symbol Contest

CHAPTER 4  THE APPLICATION OF CULTURAL SYMBOLS AND THE MISUNDERSTANDING OF CULTURAL SYMBOLS 133

4.1 GENERAL ANALYSIS OF SYMBOLS

4.1.1 Implications and Functions of Symbols

4.1.2 Symbols and the Communication of National Image

4.2 APPLICATION OF CULTURAL SYMBOLS IN THE CONSTRUCTION OF NATIONAL IMAGE

4.2.1 Connotations and Definitions of Cultural Symbols

4.2.2 Hollywood Movies and the National Image of the United States

4.2.3 Japanese Animation Industry and the National Image of Japan

4.2.4 Korean Wave and the National Image of South Korea

4.3 INTERCULTURAL COMMUNICATION AND MISUNDERSTANDINGS OF CHINESE CULTURAL SYMBOLS

4.3.1 Misunderstanding of China’s National Image Caused by Improper Cultural Symbols

4.3.2 The Inevitable Lack of “The Common Field of Experience”

4.3.3 Case analysis

CHAPTER 5  THE INTERNATIONAL COMMUNICATION OF CULTURAL SYMBOLS IN THE CONSTRUCTION OF CHINA’S NATIONAL IMAGE

5.1 THE VALUE ORIENTATIONS OF CULTURAL SYMBOLS IN THE CONSTRUCTION OF CHINA’S NATIONAL IMAGE

5.1.1 Construct the National Image underlining Peaceful Development

5.1.2 Construct the National Image Highlighting Independence and Seeking Common Ground while Shelving Differences

5.1.3 Construct the Image of a Major and Responsible Country

5.2 THE PRINCIPLES OF SELECTING CULTURAL SYMBOLS TO CONSTRUCT CHINA’S NATIONAL IMAGE

5.2.1 The Principle of Reflecting National Characteristics

5.2.2 The Principle of Universality

5.2.3 The Principle of Synergizing Past, Presence and Future

5.2.4 The Principle of Being Consistent with the Positioning of Core National Image

5.3 THE COMMUNICATION STRATEGIES FOR CULTURAL SYMBOLS IN THE CONSTRUCTION OF CHINA’S NATIONAL IMAGE

5.3.1 The Communicative Functions of Chinese Cultural Symbols

5.3.2 The Communication Strategies for Chinese Cultural Symbols

CHAPTER 6  CHINA’S BLACK AND WHITE ART: AN IMPORTANT CULTURAL SYMBOL OF CHINA’S PEACEFUL DEVELOPMENT

6.1 CHINA’S BLACK AND WHITE ART & TRADITIONAL CULTURE

6.1.1 The Black and White in Traditional Chinese Culture

6.1.2 Reflect the Philosophical Connotations of Harmony and Constant Mean in Chinese Culture

6.1.3 Demonstrate the Chinese Savor, the Chinese Way and the Chinese Beauty

6.2 THE SYMBOLIC SIGNIFICANCE OF BLACK-AND-WHITE ART IN CHINA’S INTERNATIONAL COMMUNICATION

6.2.1 Raise the Awareness of Cultural Identification & Reinforce Cultural Identity

6.2.2 Project the Aspiration to Seek Harmony without Uniformity & Communicate the Image of a Harmonious China

6.2.3 Downplay Ideological Overtones & Reduce Cultural Barriers to Communication

6.3 THE INTERNATIONAL COMMUNICATION STRATEGY FOR CHINESE BLACK-AND-WHITE ART FROM A CONSTRUCTIVIST PERSPECTIVE

6.3.1 Communicate Black-and-White Harmony & Construct Shared Knowledge

6.3.2 Carry out Cultural Diplomacy & Promote Black-and-White Art

6.3.3 Develop Cultural Industry & Export Cultural Products

REFERENCES

O autorze

 Dr Xiangfei Meng is Professor affiliated with the School of Marxism, Shanghai International Studies University, P. R. China. He completed his doctorate in International Relations at Shanghai International Studies University in 2014. His primary research area is international relations, particularly politics and its international communication. Having published over 20 research articles and received 10 research grants, Dr. Meng is a “rising star” researcher in the realm of international politics and intercultural communication. 

Blurb

This book introduces researchers, students and the general public to an intriguing phenomenon at the intersection of diverse fields: national branding. In particular, it uses representative cases particularly to show how China responded to major challenges, not only in the distant past, but also especially in our hectic age of national image construction. By pursuing an interdisciplinary, socio-historical approach, the book sheds new light on the role of cultural symbols in national image building. As such, readers will learn how China has exploited its “black-and-white” tradition – calligraphy and painting – in the construction of a national image.