中国现行金融法存在的问题与完善

刘梦阳,刘少军 한국금융법학회 2012 金融法硏究 Vol.9 No.2

Financial law is a new legal system going with the financial economic development. China financial law has formed a basic legal framework after nearly 30 years development. The essential characters of such a system are that the nation's laws are the basic framework; The State Council regulations and regulatory body documents are the specific content; to operating under the principle of "segregate management and segregate supervision"; the strictest transaction isolation of industry, commerce and finance; seted strict limits the mutual investment between the two industries; to operating segregate management about core business between banding, trust, securities and insurance industry; segregated supervision by The People's Bank of China, China Banking Regulatory Commission, China Securities Regulatory Commission, and China Insurance Regulatory Commission; financial holding companies according to the controlling shareholder to adopt leading supervision and joint meeting system; to have to get a license before operating a financial business, or will be illegal operation. The China financial law system consists of banking law system, payment and clearing law system, trust law system, securities law system, insurance law system and regulatory law system. But, also must see, the financial legal system is constantly improving with the development of finance industry. China financial system has a lot of content needs to be perfected ceaselessly. This paper tries to summarize the basic situation, existing problems and to put forward some improving suggestions about china financial law for relevant professional and administrator are presented as a reference.

中国西北地区农业科研投资效益的实证研究

李志阳 부산대학교 중국전략연구소(구 부산대학교 중국연구소) 2010 Journal of China Studies Vol.8 No.-

区域经济与生态环境协调发展研究

李志阳,胡拥军 부산대학교 중국전략연구소(구 부산대학교 중국연구소) 2012 Journal of China Studies Vol.12 No.-

中国电影排片垄断现状和反垄断对策—基于韩国电影反垄断体系研究

李丹阳,张圣甲,马廷巍 부산대학교 중국연구소 2022 Journal of China Studies Vol.25 No.2

With the flourishing development of Chinese film industry, the output and quality of Chinese films have been continuously improved, and the theater chain system has become the main body of the distribution and projection of Chinese films. As theater chain enterprises enter the production industry, and the production companies start to invest in theater chain as well, the vertical integration of Chinese film industry has gradually become the development tendency. The cinemas of Chinese six theater chains account for 41% of the total, with the number of screens accounting for 44.2% of the total. Giants of Chinese six theater chains have gradually infiltrated their influence into the production and distribution of films by relying on their advantageous position. In addition, they also intensified the cooperation with the producers to continuously arrange their films in their own cinemas in large quantities, which, to a certain extent, has excluded the release rate of the films produced by other small enterprises, thus resulting in the film schedule monopoly in Chinese film industry. Besides, related words, such as “Film Schedule Monopoly” and “Illogical Schedule”, begun to appear in Chinese film market. Furthermore, film directors, experts and scholars also begun to talk frequently in major media against the unfair events of film schedule monopoly. The film industry, which is a part of cultural industry, is of great importance to national economy. With regard to film industry, only fair, equal and free market competition environment can ensure the prosperity and development of Chinese film industry. While, the film schedule monopoly in Chinese film industry violates the principle of fair competition, which impedes the development of this industry. Currently, no comprehensive studies on the film schedule monopoly in Chinese film have been conducted yet by Chinese scholars and government agencies. In addition, there is no clear regulations and boundaries for film schedule monopoly in China, which still remains to be researched. In view of this, I have a strong interest in film schedule monopoly in China. The vertical industry chain of film of CJ, CGV and Lotte, three major film companies in Korea, has become mature. However, every coin has two sides. They also exposed the problem on film schedule monopoly for blockbuster films. It is worth mentioning that in 2006, the schedule monopoly of “The Host”, a Korean film, aroused great controversy once again. Under the circumstances, Korean government and the Film Revitalization Committee issued a series of policies to prevent the film schedule monopoly. Moreover, experts and scholars also began to conduct comprehensives research on this phenomenon, and achieved certain accomplishments. Therefore, based on the research on the anti-monopoly system of film in Korean, relied on “Law on Revitalization of Film and Video Images”, combined with national conditions and the current situation of film schedule monopoly in China, the policy on anti-monopoly system applicable in China will be explored in this thesis. Through the study on film industry in Korean and the analysis on the actual situation of film schedule monopoly in China, it is believed that the following measures can be taken to solve the problem of film schedule monopoly in China, including the establishment of an anti-monopoly system of film industry, the improvement by the monthly system of Chinese domestic film protection, as well as the setting of compound cinemas and special art film museums. In conclusion, improving the film schedule monopoly in China and maintaining a fair and equal market competition environment for film industry can not only provide more opportunities for the art films and independent films, but also offer the audiences the rights to choose films, so as to promote the flourishing and positive development of Chinese film industry.

中国电视剧出口韩国的策略研究: 以IP电视剧为例

李丹阳,石姝丽 부산대학교 중국연구소 2023 Journal of China Studies Vol.26 No.2

The development of cultural industry has been widely concerned in the world, and is increasingly playing a huge economic value in the development of modern society. With the deepening of economic globalization, cultural industry can not only bring economic benefits, but also play an increasingly prominent role in promoting national influence. Therefore, the development of cultural industry has become the focus of most countries. Many countries have formulated corresponding cultural industry policies, which provide strong institutional guarantee and support for the development of cultural industry, thus increasing the international influence of their cultural industry. China also attaches great importance to the development of cultural industry and provides policy support. This has given policy support to the development of China's cultural industry and Chinese film and television productions going global. It is not difficult to see that the Chinese government speeds up the strategic layout of the cultural industry, takes film and television works as the carrier, promotes Chinese film and television works to go out and spread Chinese culture, and tells Chinese stories well through film and television works, thus increasing the influence of Chinese culture in the world and China's cultural soft power. In recent years, the concept of IP has entered the film and television culture industry and become a hot word in the film and television industry. The number of TV series adapted from network literature has soared, so the massive content of network literature has become an indispensable script material for TV series creation. Under the role of market economy, the injection of capital has strongly impacted the creation of TV series and online literature, and the IP industry chain has been formed. Because of this, IP TV series has been widely concerned, gained a large number of fans, popular screen. In this context, many IP TV dramas in China have gone abroad smoothly and achieved some success, and many of them have been widely recognized in South Korea. The year 2021-2022 is the year of cultural exchange between Korea and China, which marks the 30th anniversary of the establishment of diplomatic relations between the two countries. As the two countries seek closer cultural exchanges to resolve unresolved political issues, it is a good opportunity for Chinese TV dramas to be exported to Korea. This is the backdrop for a large number of Chinese dramas to be exported to Korea. Therefore, this paper takes the current situation and success factors of Chinese IP teleplay export to South Korea as an example, discusses the strategy of Chinese teleplay export to South Korea, and provides some constructive suggestions for Chinese teleplay export to South Korea. The Chinese government can take Chinese TV plays as the carrier to go out, so as to increase the influence of Chinese culture in the world and the country's cultural soft power.

An Exploration of Chinese Percussion Instruments from the Perspective of “Category, Art, and Function”

白阳(Yang BAI),임진호(Jinho IM) Korea Institute for Humanities and Social Sciences 2024 Journal of Global Arts Studies (JGAS) Vol.2 No.4

[Background] As one of the oldest and most significant types of musical instruments in China, percussion instruments have received substantial attention and emphasis from the Chinese government in terms of cultural preservation and transmission. [Objective] This study aims to explore and analyze the classification characteristics, artistic forms, cultural connotations, and societal value of Chinese percussion instruments. [Method] By employing literature review and case analysis, the classification, performance forms, and intrinsic and functional values of Chinese percussion instruments were systematically examined. [Results] The findings reveal that Chinese percussion instruments are primarily categorized into four groups: “drums, bronze percussion, clappers, and others.” Over their extensive development, these instruments have evolved into diverse artistic expressions, ranging from collective to individual performances and from raw simplicity to refined sophistication. Moreover, they have played pivotal roles across various contexts, including political, religious, and folk traditions. [Conclusion] Percussion instruments are not only a treasured asset of Chinese musical art but also a vital carrier of China's historical and cultural legacy and spiritual civilization. Across different eras and humanistic contexts, they have fulfilled multifaceted functions in politics, military, culture, art, and social practices, making an indelible contribution to the development and transmission of Chinese civilization. 【背景】打击乐器作为中国最古老最重要的乐器种类之一,受到了中国政府在文化保护与文化传承方面的高度关注与重视。 【目的】本文旨在深入探索与分析中国打击乐器的分类特点、艺术形式及文化内涵与社会价值。 【方法】通过文献研究与案例分析对中国打击乐器的分类、表现形式及其内涵与功能价值进行系统梳理。 【结果】研究发现中国打击乐器主要以“鼓、响铜、梆板及其他”四类组成,在漫长的发展过程中形成了从群体到个体、从粗犷到精致等多样的艺术表现形式,同时在中国的政治、宗教及民间等不同场景中都扮演与承担着重要的角色与功能。 【结论】打击乐器不仅是中国音乐艺术的宝贵财富,更是中国历史文化与精神文明的重要载体。其在中国不同时期与不同人文场景下起到了包括政治、军事、文化、艺术和社会实践等的多重作用。为中国社会的文明发展与传承做出了不可磨灭的贡献。

사이보펑크 컨텍스트 언어 환경에서의 글리치 예술의 이미지 연구

周雨阳 동양예학회 2022 東洋 禮學 Vol.47 No.-

随着青年亚文化思想的普及, 赛博朋克这一概念逐渐进入到大众视野, 如何将赛博朋克这一发源于小说的概念赋予贴切的视觉艺术形式, 并且使得该理念成为具有商业价值的视觉作品便成为一项重要课题。随着相关视觉作品的逐步发展, 故障艺术逐渐成为赛博朋克的必要视觉符号。故障艺术作为一种反抗主流文化的青年亚文化风格, 与赛博朋克的反叛精神有内在联系, 同时故障艺术本质上也是符号层面的新兴艺术形式, 视觉语言与光怪陆离的赛博朋克世界也高度契合。本文将以故障艺术的视觉形式语言为切入点解析该艺术风格在赛博朋克风格作品中的应用, 最终阐析此艺术风格如何才能更好地为大众传达赛博朋克的精神理念及其背后所蕴含的思想态度。

尹奉吉义举的历史性

李充阳 매헌윤봉길의사기념사업회 2010 梅軒學報 Vol.1 No.0

从战后日本对华和解立场的摇摆: 在合作与冲突之间

王高阳 ( Wang Gaoyang ) 성균관대학교 성균중국연구소 2024 중국사회과학논총 Vol.6 No.1

对于近代历史上深陷战争泥潭的中日关系来说, 未来双边关系的根本好转唯有赖于实现全面和彻底的和解。然而, 冷战结束以后, 从70年代开启的中日民族和解热潮并没有得以延续, 而是陷入了一种往复式的摇摆状态, 不断在冲突与合作之间循环往复, 且冲突的时间周期在拉长。一方面, 日本继承了中日邦交正常化以后历届政府在历史问题上的立场, 对侵略战争的历史进行了反省和道歉, 为双方和解付出了一定努力;另一方面, 冷战后日本的政治和历史观却有更加保守化的趋势, 政治生态的保守化与民族主义的崛起很大程度上抵消了日本致力于和解的努力。冷战后日本的对华和解政策不断徘徊在合作与冲突之间, 呈现出显著的“摇摆”现象。这其中既有国际政治格局转变的影响, 也受到了塑造战后日本对外政策的美日同盟演变的影响, 更与日本国内政治中的政党更替有着重要关联。这种“摇摆”现象凸显了冷战后日本对华和解立场不断徘徊于合作与冲突的矛盾情绪, 本质上也正是冷战后日本更加迷茫的身份认同的反映, 具体表现在: 亚洲的日本与日本的亚洲、更加紧密的美日同盟与更加平等的美日同盟(追求独立倾向)、地区大国与世界大国、和平国家与军事大国等众多矛盾的身份认同。未来中日之间真正和彻底的和解有赖于日本对华身份认知的重塑。 For Sino-Japanese relations, which have been mired in several wars in history, the fundamental improvement of bilateral relations in the future can only depend on the realization of thorough reconciliation between them. However, after the end of the Cold War, the Sino-Japanese reconciliation that began in the 1970s did not continue, but rather fell into a reciprocal swing, constantly cycling between conflict and cooperation. Japan, on the one hand, has continued to inherit the stance of successive governments on the historical issue, reflected on and apologized for the history of the war of aggression; on the other hand, Japan’s political and historical outlook has a tendency to be more conservative, which have to a large extent offset the efforts for Sino-Japanese reconciliation. After the Cold War, Japan’s reconciliation policy towards China has been hovering between cooperation and conflict, showing a remarkable phenomenon of “cyclical swing”. This has been influenced by shifts in the international political structure, the evolution of the U.S.-Japanese alliance that has shaped Japan’s foreign policy since the Cold War, and the change of political parties in Japan’s domestic politics. The “cyclical swing” phenomenon highlights the ambivalence of Japan’s post-Cold War reconciliation stance toward China, and is in fact a reflection of Japan’s post-Cold War identity, which has become even more confused, as reflected in the following: Japan in Asia versus Japan’s Asia, a closer U.S.-Japanese alliance versus a more egalitarian one (the pursuit of independence), as a regional power or world power, as a peaceful country or military power and many other contradictory identities. The thorough reconciliation between China and Japan in the future depends on the reshaping of Japan’s perception of China’s identity.

银发一族智慧社区养老服务参与意愿影响因素研究

李超阳(Chaoyang Li),牛凯宁(Kaining Niu),任玉璐(Yulu Ren),梁洁(Jie Liang),曹露浩(Luhao Cao) YIXIN 출판사 2024 Journal of China Studies Vol.2 No.3

随着全球人口老龄化速度日益加快,解决养老问题成为一大难题,基于大数据及互联网技术的智慧社区养老服务应运而生。为进一步探析老年人对于智慧社区养老服务参与意愿的影响因素,首先通过从智慧社区养老和参与意愿两个方面梳理相关文献研究,为本文提供理论依据;其次,为实现研究的典型性,以潍坊市作为研究试验点,通过发放问卷的方式收集关于老年人智慧社区养老服务参与意愿的调研并采用单因素分析进行因素筛查,将筛查后的结果通过二元logistic 回归方法进行分析;再次,得出结果主要从三个方面分析,个体因素中年龄、户口类型、职业;家庭内部因素中居住状况、家人是否支持您参加社区养老以及外部因素中邻里关系、暴露隐私是老年人对智慧社区养老的参与意愿的影响因素;最后,通过讨论发现现存问题所在并提出通过提供以需求为导向的智慧社区养老服务、更新养老观念、营造良好外部环境等举措来提高老年人智慧社区养老参与意愿。 With the accelerating global aging population, solving eldercare issues has become a significant challenge, and smart community elderly care services based on big data and internet technology have emerged as a response. To further analyze the factors influencing the elderly’s willingness to participate in smart community elderly care services, this study first reviews relevant literature from the perspectives of smart community elderly care and willingness to participate, providing a theoretical basis for this paper. Next, to ensure the typicality of the research, Weifang City is selected as the study’s experimental site. Questionnaires were distributed to collect data on the elderly’s willingness to participate in smart community elderly care services, and univariate analysis was conducted for factor screening. The screened results were then analyzed using binary logistic regression. The results are mainly analyzed from three aspects: individual factors such as age, type of household registration, and occupation; family internal factors such as living situation, family support for participating in community elderly care, and external factors such as neighborhood relationships and exposure to privacy. These factors influence the elderly’s willingness to participate in smart community elderly care. Finally, through discussion, the study identifies existing problems and proposes measures to improve the elderly’s willingness to participate in smart community elderly care, such as providing demand-oriented services, updating elderly care concepts, and creating a favorable external environment.