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Young Yun Kim 《Int J Intercult Relat》1978,2(2):197-224
This paper explores a theoretical and methodological basis for studying foreign immigrants' acculturation processes from a communication perspective. Communication patterns of immigrants are conceptualized on three levels — behavioral, attitudinal, and perceptual. The behavioral level of communication includes the immigrant's participation in communication channels of the host society as well as the ethnic community. The perceptual level refers to the immigrant's cognitive structure in perceiving the host society. The attitudinal level is examined by the immigrant's affective-evaluative orientation toward the host society. The three levels of communication patterns were empirically investigated in a survey of 400 randomly selected Koreans in the Chicago area. The communication variables were assessed through composite scores using questionnaire items that were tested for reliability. The results show an overall linear trend in the immigrant's interethnic communication with Americans, positive attitude toward Americans, cognitive complexity in perceiving the American society, and satisfaction level. A simultaneous increase is observed in the immigrant's interpersonal communication with Americans and with other Koreans. The immigrant's use of ethnic media rapidly decreases over the years while that of American media steadily increases. Findings are discussed in comparison to previous studies of foreign immigrants and students and to sociological theories of acculturation of minority groups. 相似文献
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郭德兵 《体育科技文献通报》2012,20(10):44-46
运用文献资料法、数理统计法、专家访谈法、录像观察法、乒乓球技战术三段指标评估等方法,对我国优秀乒乓球运动员丁宁对阵韩国削球选手金景娥的比赛录像视频进行了技战术效果的统计分析。结果显示：丁宁在发球抢和接发球抢攻段中技战术运用效果欠佳,主要表现在三、五板和二、四板球的衔接不够流畅;在相持段中整体的技战术运用的较为灵活、多样,并取得了良好的效果,但在处理对搓的过渡球及多回合的相持球上耐心和信心都有待提高。 相似文献
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亚裔美国文学《泥巴墙》讲述了第二次世界大战爆发前朝鲜移民在美国加利福尼亚的生活状况,包含了种族冲突、文化撞击等多种因素,被认为是第一部描写朝(韩)裔移民美国经历的重要小说。叙事角度比较独特,以多层面、多方位进行转换叙事来构筑文本。人物特征个性鲜明,热爱祖国,与命运抗争,渗透了中国儒家文化对朝(韩)文化的深远影响,颠覆了美国主流文化中亚裔女性顺从、依附、毫无自我的生存意识,具有一定的审美意义和研究价值。 相似文献
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Guy Podoler 《国际体育史杂志》2016,33(18):2207-2225
AbstractIn April 2014, for the first time since the event was established, over 200 foreign recreational runners participated in the Pyongyang Marathon, which is part of Day of the Sun commemorating the birthday of Kim Il-sung. The decision of the North Korean regime to open the event to foreign amateurs was unusual, thus the paper examines this new approach to the marathon, and to tourism in general, by contextualizing them within an historical perspective. It is argued that tourism policy under Kim Jong-un, the third leader of the ‘Kim dynasty’, was unprecedented in terms of its systematic approach to the development of a meaningful tourism industry while also particularly emphasizing Western tourism and sport tourism. With the inclusion of the marathon into its tourism industry, North Korea strengthened its place in the worldwide trend of sport event tourism, yet the Pyongyang Marathon has stood out by being more about branding a country than a city. In this regard, this sport tourism event has offered the visitors a look into a ‘different normality’, which was indicative to the rationale of the regime that benefited from the attention it drew through its image as ‘unexpected’ and ‘mysterious’. 相似文献
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赵璐 《河北师范大学学报(教育科学版)》2008,10(2):106-108
金基德是韩国比较另类的导演,其作品不断尝试着对于人性和欲望的探索以及人性恶的特殊观照,在拍摄风格及故事情节上都具有鲜明的个人风格,笔者从金基德电影的影像特征、人物性格以及故事主题等来阐释金基德电影的风格特征。 相似文献
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在计算机智能控制条件下,以金桂为试材,研究了KF8生根剂在扦插生根中的作用效果．结果表明：用KF8生根剂浸泡插穗约30s,扦插于快繁苗床,2个月内金桂枝条的生根率高达98％,存活率达99％,比使用市售生根粉的生根率和存活率分别提高42％和11％．此研究对于金桂产业化生产和集约化经营有现实意义． 相似文献
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Glade Jonathan 《Inter-Asia Cultural Studies》2013,14(3):397-413
ABSTRACTThe collapse of the Japanese Empire in 1945 plunged East Asia into a state of flux and upheaval, making necessary the redrawing of geopolitical borders and the redefining the “boundaries” of nationality, language, and legal status. As part of this broader process, Koreans in occupied postwar Japan, via the platform of the magazine Democratic Korea (Minshu Chōsen), advocated for a joint process of decolonization and deimperialization whereby both Koreans and Japanese could construct a society free of imperial hierarchies. U.S. Military Occupation policy and censorship, however, thwarted these efforts and disallowed the possibility for the inclusion of a Korean subjectivity within the space of the Japanese nation. Facing intense political pressure, Koreans in Japan started to shift toward a “non-national” Zainichi Korean subjectivity distinct from the two Korean-nation states established in 1948. Further, through analyzing the case of Koreans in occupied Japan, this article sheds light on the broader impact of occupation censorship on postwar Japanese society and how the post-imperial transition to a nation-state model was a tumultuous one. 相似文献
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Han Sang Kim 《Inter-Asia Cultural Studies》2013,14(4):551-563
The definition of the Korean national cinema in the course of modern and contemporary history of South Korea has provoked controversy. This article examines the negotiations in the identity formation of Korean filmmakers examining specific objects from years of reconstruction following the Korean War. It pays attention to the time when state-building and nation-building became combined enduring heterogeneity of this process. Kim Ki-yo?ng's films depict such characters. His public information short films reflect the legacy of American war films. However, they also contain self-conscious moments when the director refuses to be identified as a mere successor of American documentary filmmakers. Kim's first commercial film, Boxes of Death (1955), an anti-communist thriller, shows great influence from Hollywood, but also with a strong auteurist impulse, theatrical tradition, and the Japanese colonial legacy. However, the most important aspect is the standing presence of America and the USIS-Korea in the identity of Kim Ki-yo?ng and his film. American agencies intervened in the work of Korean filmmakers in the interest of “Free World” bloc-building, and those filmmakers used such agencies to obtain resources. The heterogeneity in the process of the subject formation in Korean national cinema was one common characteristic of many filmmakers of the post-Korean War era. 相似文献
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