The paper analyses the portrayal of Ming envoys in South Korean dramas. The four series, i.e. Wang-i doen namja, Baegir-ui Nanggunnim, Wang-ui Eolgul and Yeon-mo are taken under consideration. Conducted analysis shows that the presented image is often incorrect in terms of hairstyles or clothing, and envoys show questionable etiquette. Moreover, the quality of the used Chinese emissaries costumes seems to be lower than the Korean characters. Image is used as a tool to differentiate Chinese and Koreans. Furthermore, it is a part of a broader picture of flared-up discussion on what Koreans should wear and who can wear Korean clothes.
Dress is a part of Chinese cultural heritage that has fascinated Western audiences for centuries. On the National List of Intangible Cultural Heritage of China, there are items related to textiles, embroideries and certain examples of Chinese clothing. This article analyses issues connected with the different uses of Chinese dress in the West. To fashion theorists such as Bell, Wilson, Sapir and Veblen, Chinese dress was the opposite of modern Western clothing and did not deserve to be called fashion. However, researchers such as Welters, Lillethun and Craik have opposed viewing fashion theory through a Eurocentric prism in their desire to rewrite fashion history. Fashion designers drew ideas from China, treating it as a source of inspiration to create their own original designs. For some of them, such as Yves Saint Laurent, it was a China of their imagination. In certain cases, they made use of porcelain designs or dragon motifs in their own collections, for instance, in designs by Cavalli and Ford. The incorporation of Chinese garments into Western collections has also become visible.
In the popular discourse, geiko districts are described as places where traditional culture is preserved in a living form. Although this statement may be considered as true, the geiko community is a part of Japanese society as a whole and does not exist in complete isolation. Being able to survive as guardians of the Japanese tradition, in the 21st century geiko are discovering new opportunities, such as using new media to promote themselves in order to protect their lifestyle. However, outside world has forced them to change the way they manage their business in the districts. By using their own Internet sites, Facebook, Twitter and Instagram accounts to reach new customers, they display their daily routine, one in which traditional culture meets modern ideas. This paper shows the reception of usage of the Internet in traditional entertainment districts of Kyoto and the response of Western tourists to the geisha phenomenon. It appears that overwhelming attention on the part of tourist industry, as well as commercialisation, are becoming a threat to the values which have cemented relationships between customers, geiko and teahouses owners. For instance, while during the so-called “geisha hunting”, tourists often try to take photographs of them at all costs. Considering the aspects of geiko life and processes mentioned above it is worth analysing how the image of the geiko is perceived by Westerners.
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