Asian Culture and History

Journal Information
ISSN / EISSN : 1916-9655 / 1916-9663
Current Publisher: Canadian Center of Science and Education (10.5539)
Total articles ≅ 375
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Latest articles in this journal

Run Zhao
Asian Culture and History, Volume 12; doi:10.5539/ach.v12n2p23

In 1940s, the Kuomintang (KMT) retreated to Taiwan, along with a lot of amateur artists accomplished in singing and dancing of Kunqu Opera. Due to unlike and separate social environments, Kunqu Opera developed into two different ways in Taiwan and Chinese mainland since then. In contrast with Taiwan’s choice to maintain the tradition of Kunqu Opera, especially that of 1930s as much as possible, Chinese mainland turns to modernize this art to cater to social trends. This paper analyses two versions of the same scene “Broken Bridge” (断桥) from Taiwan and Chinese mainland in spoken language, melody, literary form of lyrics, dance, stage set and costumes to try to find the factors that are not changed, which can be understood as the core factors with inherited cultural values of the intangible cultural heritage. Based on these core factors, the effective protection is possible. This research shows that although Kunqu Opera in Chinese mainland is gradually changing, particularly turning realistic as opposed to the one keeping impressionistic in Taiwan, there are some factors almost untransformed: the melody (kunqiang), literary form of lyrics (qupai style), costumes evolving from the dress of Ming dynasty. An effective protection method of Kunqu Opera should put emphasis on these factors.
Ho-Kin Tong
Asian Culture and History, Volume 12; doi:10.5539/ach.v12n2p12

The hexagram “jiaren gua” 家人卦 (The Family) of Yijing 易经 (Book of Changes), a divination manual in the Western Zhou period (1046–771 BC) advocates a strict father image in family management. Is the Pre-Qin father really a strict figure? To answer this question, taking the two major Pre-Qin historical texts Guoyu 国语 and 左传Zuozhuan as targets, three sub-questions will be addressed: (1) What kind of family education records are collected in these texts? (2) How is father-son education represented in these texts? (3) Why is father-son education represented in such a way in these texts? A comprehensive textual research on a father’s role represented in these texts was conducted to collect relevant data to answer the three sub-questions. The data collected was then interpreted by a hermeneutics method, with educational and sociological perspectives to propose an answer to the main research question. The strict but caring fathers represented in these two learning texts are role models for learners and readers in that period. This role model creates a heavy burden on male leaders of upper class families because no matter fathers or sons, they have to have a high moral standard to safeguard their families. Being an upper class father in the Chunqiu period 春秋 (c.770-c.476 BC) is a difficult task as he has to strike a balance between strictness and love to teach his sons. This is also true for today’s fathers.
Ming Li, Fuangfa Amponstira
Asian Culture and History, Volume 12; doi:10.5539/ach.v12n2p1

With the face of a highly uncertain market environment, an empirical study of researchers in Henan Province found that improvisational behavior has a positive effect on innovation performance, and that team tenure heterogeneity has a significant moderating effect between improvisational behavior and innovative performance. Therefore, we propose a coping strategy to improve innovative performance form the use of team tenure heterogeneity to form a scientific research team and create an environment conducive to improvisational behavior.
Joseph Bai
Asian Culture and History, Volume 12; doi:10.5539/ach.v12n1p44

Reviewer Acknowledgements for Asian Culture and History, Vol. 12, No. 1, 2020
Chunyan Zhang
Asian Culture and History, Volume 12; doi:10.5539/ach.v12n1p35

This paper discusses the theme of “progress” in Australian and Chinese cultures in the period of 1920s and 1930s. During this period, both cultures had an outpouring of patriotic and sentimental feelings. In this social context, both cultures constructed a theme of “progress” – the transformation of natural environment with human power, or the active participation in social life, for the purpose of “civilization”, a concept closely connected with the idea of social engagement, transformation and modernization. In Australia, this ideology was a continuation of the old idea of transforming “untamed” nature and bringing material progress through human labour; in China, it was a new theme which betrayed the old “reclusive” spirit. In Australia, it is represented most clearly in film, in China, it is represented in both film and painting.
, Spyros Hadjidakis, Ioannis Sotiropoulos, Nicholas Tsounis
Asian Culture and History, Volume 12; doi:10.5539/ach.v12n1p28

Culture influences financial decisions of individuals therefore, by examining the cultural background of cultural differences stemming from difference in religious beliefs is of significance to better understand their preferences and financial decisions. This research examines the relation of religiosity and intention towards saving of Pomak households, a Muslim minority living in the northeaster part of Greece. Quantitative data, collected with field research using the Religious Commitment Inventory (RCI-10) and Warneryd’s saving intention scale was used. The results reveal that there is a strong relation between religiosity and intention towards saving, indicating that the intention to save is affected by the religious norms of a person.
Chenhao Sun,
Asian Culture and History, Volume 12; doi:10.5539/ach.v12n1p17

The purpose of the study is to observe historically national identity expressed in Chinese and Korean Clothing. The literature review and the case study both in China and South Korea were conducted at the same time. The outcomes from the studies are as follow: National identity has been reflected in clothing mainly via the adoption of ethnic elements and civic elements. Chinese and Korean visible-symbolized ethnic elements are from their traditional arts, costumes and lifestyles, invisible-spiritual ethnic elements mainly from religious philosophy. But the Korean wave, which is the modern ethnic invisible-spiritual element, is growing popular all over the world. Chinese and Korean visible-symbolized political elements refer to national or governmental sign, marks or national logo. The invisible-spiritual political elements contain the specific political atmosphere. Chinese are Socialism and anti-capitalism. Meanwhile Korean are Patriotism, Collectiveness, anti-communism and Military ideology. It provides a comprehensive and complete theoretical background for investigating how national identity has been shown in China and Korea’s past and current fashion. It is expected to promote the diversified development of both Chinese and Korean clothing design expression in the future.
Heeyoung Choi
Asian Culture and History, Volume 12; doi:10.5539/ach.v12n1p9

This study investigates stage performances of Asian immigrants in the U.S., focusing their cultural interactions in Hawai‘i prior to World War II. Previous studies of Asians in the U.S. during the early twentieth century have focused on their separate ways of preserving homeland culture or presentation of mainstream American culture to express a sense of belonging to the host society and relieve anti-Asian sentiments. Despite increasing cultural interactions in cities during this period, the discussion of cultural exchanges among immigrant communities have received limited attention. This study expands previous perspectives by examining the performing arts to demonstrate that diverse multicultural events in Hawai‘i were important tools to promote respective Asian ethnic groups’ cultural identities, foster interactions among young adults of Asian ancestry, and inspire their national pride. The Asian diasporas in Hawai‘i constituting a majority of the local population, despite foreign-born Asian immigrants’ limited access to U.S. citizenship, appreciated opportunities to curate their own ethnicity on stages and culturally interact with other ethnic groups. The multicultural experiences ultimately instilled the satisfaction and national pride into the young adults of Asian ancestry.
Komphorn Prachumwan,
Asian Culture and History, Volume 12; doi:10.5539/ach.v12n1p1

The ethnic group ‘Hmong’, the descendants of Chinese ‘Miao’ group who migrated south to reside in Northern Thailand, is known to possess their own unique arts, culture, tradition, and music. However, the influence of social change seemed to largely affect the musical culture of Hmong ethnic, Khao Kho District, Phetchabun Province, in a multifactorial manner. Through different phases of a series of communist wars, the original musical cultures were subjected to the cumulative changes of social contexts, evolving toward modernization, at a great extent. In addition, not only the social changes have had a large impact on the Hmong ethnic’s musical cultures, but also on their ritual performances that require music as its core. This study aimed to elucidate the effect of social changes on musical culture by identifying the key contributing factors that determined Hmong’s musical performances and appreciation based on their historical features.
Jiefei Yu
Asian Culture and History, Volume 11; doi:10.5539/ach.v11n2p91

Up till the present, most researches on Ang Lee’s films focused on cultural difference and cultural clash in the area of cultural studies. The identity problems facing by the Asian diasporas are neglected by past researchers. Based on the exploration of cultural identity from the perspective of diaspora in cross-cultural world, this paper picks up the Chinese English film The Wedding Banquet as an exemplification to interpret cultural identity politics of the immigrants in America. In the film The Wedding Banquet, the protagonists' identities are fragmented as the coming of the joyous parents comes from Taiwan for the wedding. This exploration of identity can help us to understand the exilic essence of the immigrants’ identity. For the immigrants, identity is always floating and travelling, without a final destination, except some temporary location. The happy ending of the film could be viewed as the “hybridization” of cultural recognition and as the ultimate solution to the identity problem and the Chinese-American cultural confrontation.
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