Journal of Arts, Society, and Education Studies

The dissemination and popularity of the Korean Wave (Hallyu) culture in mainland China has spanned nearly three decades. As a widely influential pop culture phenomenon, it has long been recognized by the public. Through its highly appealing content, the Korean Wave has gradually permeated the daily lives of young people, significantly influencing their consumption behaviors. This paper focuses on Generation Z as the research subject, examining their consumption behaviors related to Korean Wave culture. Through an investigation into the consumption behaviors of Generation Z youth, this study finds a strong correlation between their consumption patterns and those of Korean Wave culture consumers. For instance, they share preferences for self-pleasure consumption, value-driven consumption, and social consumption. Moreover, as the Korean Wave enters the Chinese market, its cultural industry further stimulates the consumption enthusiasm of Generation Z youth, particularly in areas such as Korean dramas, webtoons, variety shows, and beauty and cosmetics.

“Can the Subaltern Speak?” is a central issue in Spivak's postcolonial feminist theory and a broader question awaiting exploration. In postcolonial Nigeria, the subaltern women suffered dual oppression from British colonial culture and indigenous patriarchal structures. This paper adopts Spivak's postcolonial feminist perspective to analyze Chimamanda Ngozi Adichie's Purple Hibiscus, focusing on the female character Beatrice. It delves into the oppression and resistance of subaltern women as depicted in the novel, highlighting the plight of Third World subaltern women and their inability to speak. The study argues that, in the face of this voicelessness, Adichie assumes the role of a spokesperson for the subaltern, actively engaging in dialogue with history. Through her work, she seeks to re-present the voices of subaltern women, showcasing her efforts to advocate for the Third World women.

This study takes "The Vow of Symbiosis" as its core theme and design concept to explore the interdisciplinary practice of combining situational experience and art education in the workshop mode. In contemporary art education, situational experience, as an immersive learning method, can stimulate participants' perception, emotion and creativity, while the workshop model provides an interactive and co-created learning environment that enables individuals to establish deep connections in art practice. This study combines literature analysis, case studies and practical observation to explore how to enhance learners' aesthetic perception, emotional expression and social interaction ability through situational art experience, and mobilize their reflection on symbiotic relationship. Art education is not only limited to knowledge transfer, but also becomes a carrier to promote individual growth and social relationship construction. This study hopes to provide new theoretical support and practical reference for art educators, experiential learning researchers and interdisciplinary practitioners, so as to promote the development of a more immersive and symbiotic art education model.

For a long time, the relationship between literature and visual arts, which respectively use textual and visual symbols as their mediums, has been a subject of academic attention and reflection. The Western modernist period witnessed an exceptionally close interaction between language and image. Represented by Anglophone modernist fiction, both literature and visual art in the early 20th century exhibited an inward turn, with their transformations in form and concept revealing a high degree of intertextuality and mutual reflectivity. The dramatic changes of modernity prompted both to reflect on the concept of aesthetic autonomy, while the shift in the perception of space and time led to breakthroughs in their respective media. The flourishing of urban cultural exchanges and the advancement of modern transportation provided the material conditions for their cross-boundary interactions. The close intertextual engagement of the two wove a new chapter of aesthetic modernity. Their attempts to cross media and boundaries revealed new possibilities for cross-artistic connections in the new era. The innovative explorations in their connections collectively reflected the multiple facets of “modernity”, reflecting aesthetic modernity's dynamic contradiction to instrumental rationality and its adherence to aesthetic autonomy.

This article explores the narrative domain and industrial restructuring phenomenon of micro dramas in the context of media convergence in the post film era. Based on the theory of media fusion and classical film theory, this study analyzes the profound impact of micro dramas as an emerging form of media on film art and digital narrative space.  In terms of spatial changes, micro dramas have shifted from widescreen to vertical screen, triggering differences in aesthetics and ideology, and challenging traditional film viewing habits. In terms of time reconstruction, immersive storytelling has been replaced by fragmented fast-paced production, and the production process has also been transformed from traditional modes to data-driven rapid production modes.  The film industry has undergone a platform transformation, with the studio model gradually giving way to MCN (Multi Channel Network) institutions. The role of creators has shifted to algorithm optimizers, and the distribution and screening channels have shifted from cinema centers to cloud based dominance. At the level of cultural influence, the emergence of micro dramas has challenged the effectiveness of classical film semiotic theory.  The viewing experience has shifted from deep gaze to instant clicking, and the fan culture has also shifted from professional film reviews to barrage interaction. Research has found that while preserving film art, micro dramas have promoted innovation in industrial governance models, balanced algorithms and creative freedom, and continuously adapted film theory to the new media environment.  Finally, this article explores the aesthetic innovation, industrial governance, and theoretical update paths of film in the future possibilities, providing in-depth insights into the development of micro dramas under media convergence in the post film era.

This study focuses on the design of emoji packs for AI companion robots, exploring their role in promoting emotional connection and enhancing interaction experiences based on emotional design theory. By analyzing the cases of the NOMI and Moxie robots, the research reveals how to optimize the emotional expression of AI robot emojis from the instinctive, behavioral, and reflective levels, aiming to build more empathetic and user-friendly intelligent interaction systems. An emotional design framework for AI robot emoji packs is constructed. Furthermore, the study explores how AI robots can establish emotional bonds through dynamic emojis, providing insights into the integration of affective computing and intelligent interaction technologies in the future.

Montesquieu's The Spirit of the Laws centers on the "spirit of the law," breaking through the traditional natural law school's singular political perspective. It systematically expounds on the complex interrelations between law and political structures, social customs, natural environment, and religious beliefs. This paper explores the dialectical logic and practical orientation of Montesquieu's legislative thought from four dimensions: (1) Legislative Agency: Lawmakers should exercise initiative while adhering to natural law and the nature of society, balancing national spirit with institutional innovation; (2) Adaptation to Political Regimes: Laws must align with the nature of the political system, safeguarding political freedom through the separation of powers and moderate legislation; (3) Influence of Natural Conditions: Climate, soil, and other environmental factors act as implicit drivers of legislation, necessitating legal adjustments to harmonize environmental constraints with human needs; (4) Legislative Technique: Effective legislation demands precision, stability, and consistency with the essence of the matters it regulates, aiming to achieve the rule of good law. The study further contrasts Montesquieu's views with those of Savigny's historical school of jurisprudence, revealing the tension between grounding law in historical tradition and responding to dynamic social evolution. Montesquieu's legislative thought offers a theoretical framework that balances local particularities with universal principles, providing valuable insights for constructing legal systems that adapt to complex social conditions.

This article explores the impact of the May Fourth Movement on the development of Chinese jurisprudence. Prior to the May Fourth Movement, Chinese jurisprudence had already embarked on a process of modernization but faced numerous challenges. The May Fourth Movement is often absent in contemporary legal studies, primarily because its influence was exerted more on the ideological and cultural levels, which distances it from the orthodox logic of legal transformation. Nevertheless, its impact on Chinese jurisprudence is significant. In terms of "abolishing the old," it criticized Confucian traditional ethics to break the shackles of feudal morality, negated feudal old culture to advocate for a scientific spirit, and opposed classical Chinese and old literature to promote a literary revolution. In terms of "establishing the new," it pursued political democracy to safeguard the political rights of the people, and the spread of Soviet socialist legal systems set a new practical direction for Chinese jurisprudence and established a people-centered value orientation. The May Fourth Movement represents a crucial turning point for Chinese jurisprudence transitioning from tradition to modernity, laying the groundwork for the development of jurisprudence in later generations.

Since ancient times, Chinese traditional culture has been regarded as a treasure, carrying the wisdom and spiritual essence of the Chinese nation for thousands of years. With the development of the times, an increasing number of communication channels have emerged, allowing Chinese traditional culture to reach the world. Sports have also become an important part of this process. This paper explores the manifestation of Chinese traditional culture in sports from the perspective of communication studies, using rhythmic gymnastics as an example to analyze how traditional culture is inherited and innovated in modern sports.

"Fifteen Strings of Coppers" is a representative opera film that integrates the traditional art form of Kunqu opera with modern cinematic language, creating a distinctive aesthetic style. From the perspective of cinematic poetics, this paper explores how the film innovatively transforms operatic elements through the medium of cinema. It first analyzes how the stylized performance techniques of traditional opera are dynamically adapted through film editing and mise-en-scène, thereby overcoming the limitations of stage performance. It then examines how innovations in the film’s audiovisual language reconstruct the symbolic imagery of opera within a cinematic framework. Finally, the paper discusses the modern interpretation and creative transformation of Chinese traditional culture in the film’s cross-media expression. This study highlights the potential and value of opera films in contemporary cultural dissemination, emphasizing the significance of cross-media expression in cultural heritage and innovation.