This study presents the multifaceted concept of "thingness" in artistic creation through the prism of the works of Meyer Schapiro and Clement Greenberg. This concept, which, according to Heidegger, defines a systemic analysis of an artistic object independent of its social and political aspects, is equivalent to a criterion for assessing the quality of an object of fine art in accordance with the principle of its manufactured, everyday nature. Heidegger's system was perceived in 20th-century art criticism in a bipolar manner, sparking controversy. The philosopher's main opponent was Meyer Schapiro, while Clement Greenberg, author of the essay "Avant-Garde and Kitsch," can be considered an apologist for "thingness." He influenced the perception of the art of Soviet artists, including Izzat Klychev of the postwar generation, as adherents of "socialist realism," a synonym for "kitsch." Heidegger's universe of "thingness" frees art historical analysis from identifying an artist's work according to ideological tendencies, including the division of artistic expression into "official" and "unofficial." The study's results lead to the conclusion that this evaluation system, as an equivalent of the artistic and aesthetic quality of an art object, is particularly relevant in a period of tolerance and cultural globalism.

In this article it examines real game examples of how Japanese game makers learn from the West. It also looks on the way they modify and remake these western things on their own. From the research we know, Japanese games are not copying western culture in a simplistic way. They reconstruct the west elements with oriental thoughts and the main part is traditional Japan. This method allows Japanese games to create their own worldviews and gain recognition in overseas culture. Bhabha's hybridity theory and the balance between global and local culture are theoretical tools that can also help people clearly understand this. And it helps us understand the culture in games more easily. Different cultures mixing together makes for lotsa good stuff in Japanese games. They get great commercial value and big international influence. At the same time，they also bring this traditional Japanese spirit and aesthetic idea to people all over the world. And this kind of cultural mix would make the different cultures get along better in our present day digital society. Furthermore, exporting culture by means of game also can bring about great economic gains for Japan. The experience of Japan can serve as a useful example for the cultural industries of other non-Western countries.

Under the background of global culture, the intercultural communication of Japanese otaku culture gets a lot of attention. Although existing studies have pointed out its output characteristics and value, there are gaps such as weak regional analysis, insufficient discussion on cultural adaptation and broken circle mechanism. This study uses the text analysis method, combined with the post subculture theory, to sort out the three-stage evolution of its output, analyze the role of digital platform algorithm and transmedia storytelling in breaking the circle, and explore the meaning negotiation mechanism in cultural output. The study found that the cultural output went through three stages: product export, symbol communication and ecological output. The “mobility” and “anti rationality” characteristics in the post subculture achieved cross context adaptation. The algorithm and storytelling transmedia were driven by breaking the circle. The meaning negotiation mechanism realizes the balance between regional cultural adaptation and value transmission through symbol translation and audience co creation. This study enriches the post subculture interculture communication research and provides a practical framework for the output of subculture industry.

Through the textual analysis of online forum contents and online small-scale interviews, this study aims to explore the phenomenon of “involuntary celibates” (incels) in China’s online space, with a particular focus on the misogynistic web discourse. As a case study, it examines a popular section on Baidu Tieba (named “Sun Xiaochuan Ba”, known as “Sun Ba”) and common slang such as “diaosi” (indicating losers). By integrating the concepts of hegemonic masculinity and social identity theory, this study reveals how misogynistic emotions and masculine anxiety are manifested in Chinese online communication. The findings reveal that, compared to Western incel communities, similar discourse in China is marked by distinct self-deprecation and humorous irony. Slurs and memes serve to reinforce group boundaries and allow young men to perform masculinity in locally specific ways. This localized yet globally-influenced construction of incel-like discourse highlights the interplay between global and Chinese gender cultures, addressing a notable research gap in the Chinese context.

The penetration of digital technology over the past two decades has transformed patterns of public consumption, including in Biak Numfor Regency. This study aims to critically examine how exposure to fast fashion advertising on digital platforms reproduces the mechanisms of the culture industry and instrumental rationality as conceptualized by Max Horkheimer, and how these processes shape public consciousness, preferences, and consumption practices. This research employs a descriptive qualitative approach, with data collected through in-depth interviews with purposively selected informants and observations of social media usage patterns. The findings indicate that Facebook, Instagram, TikTok, and TikTok Shop serve as the primary channels for the dissemination of fast fashion advertisements. The high frequency of advertisement exposure, particularly following search or purchase activities, demonstrates the operation of algorithmic personalization as a manifestation of instrumental rationality within digital capitalism. From a Critical Theory perspective, this condition represents the transformation of the culture industry into the digital sphere, where platforms not only market products but also construct false needs and normalize rapid consumption as part of a modern lifestyle. The study further reveals that exposure to fast fashion advertising contributes to the commodification of identity and the reproduction of consumerist values, gradually shifting the community’s collective orientation toward individualistic and symbolic logic. Clothing is no longer understood merely as a functional necessity but as a means of social legitimation mediated by platform capitalism. These findings affirm the subtle operation of ideological domination through digital media and underscore the importance of strengthening critical literacy in responding to the expansion of global consumer culture.

The issue of preserving national identity in the context of globalization and digitalization is becoming particularly relevant, in particular for peoples who are under the influence of more powerful states in various fields. The spread of digital technologies contributes to the formation of a global culture, which often displaces local cultural narratives. At the same time, there is a growing interest in preserving cultural diversity and local identity. The interaction of these opposing trends creates a complex context in which cultural practices are transforming and new strategies for preserving and reproducing national identity are being developed. The purpose of this study is to predict the future of national identity based on trends observed in contemporary art, given its ability to represent nationally characteristic artistic images and symbols. The study uses an interdisciplinary approach that combines a critical analysis of scholarly works on national identity with a cultural analysis of digital artifacts in the fields of music, fine arts, and design. The study reveals the diversity of forms of representation of national identity in digital art, particularly in music, visual arts, and design. These possibilities give grounds for an optimistic forecast of the future of national identity, provided that there is a significant public interest in folk culture and appropriate support for art at the state level or from patronage communities.

This study examines the role of Amaq abir traditional theatre in communicating ethical values associated with the principles of Pancasila within the Sasak community of West Nusa Tenggara, Indonesia. Preserved by Sanggar Pustaka Budaya in Central Lombok, Amaq abir represents an important form of local cultural heritage that conveys social and moral meanings beyond its artistic function. In the context of globalization, the growing influence of global culture has raised concerns regarding cultural continuity, identity formation, and shifts in moral values. This research employs a qualitative method with an ethnographic approach to explore how Pancasila-related values are articulated through traditional performance practices. Data were collected through participant observation, in-depth interviews with performers and community members, and documentation of rehearsals and performances. The findings indicate that Amaq abir performances communicate ethical values associated with the five principles of Pancasila through narrative dialogues, symbolic masks, traditional musical accompaniment, and collective participation. Values related to religiosity, humanity, unity, deliberation, and social responsibility are expressed both within the storyline and through the social interactions surrounding the performance. These findings suggest that traditional performing arts may function as culturally embedded spaces for character education and moral reflection within community life.

Lightweight translation as emotional support in global communication: A qualitative analysis of Pop Mart.

Against the urban duality challenges of the Global South under high urbanization pressure, (1) rapid urbanization versus emerging population decline, (2) formal planning systems versus informal urban growth, and (3) global urban development versus local community management, planning tools of Japan, which experienced rapid urbanization would be effective, but not as a model but as a reference. This paper aims to set a viewpoint on how selected Japanese strategic planning tools, that is, agile master planning, urban growth boundaries, and basic building regulations, can serve the Global South cities by interpreting them from the concepts of policy mobility, lesson-drawing, and hybridity. Through illustrative case studies from the selected cities of Asia, Africa, and Latin America, the analysis demonstrated that Japan’s tools offer heuristic value in addressing key dualities. And it highlighted that Japanese planning principles act as a catalyst, prompting reinterpretations and the co-production of hybrid knowledge in diverse contexts of the Global South. In turn, the insights gained from those processes would offer valuable lessons for Japan's own contemporary challenges. Recognizing this two-way learning loop is the key to moving beyond one-way policy transfer and fostering a truly global planning culture rooted in collaborative problem-solving. • A viewpoint for a pluralistic planning paradigm is discussed for further research. • Japanese urban planning tools are reframed as heuristic models to the Global South. • Urban dualities of the Global South and functional principles are identified. • Knowledge co-production mechanism is empirically analyzed through case studies.

Amid booming global digital trade and the rapid rise of cross-border e-commerce live streaming, this study examines Chinese cultural and creative products as key carriers for cultural globalization and foreign trade growth. It addresses three core questions: the driving mechanism through which cultural exchange promotes commercial value conversion, the main barriers that hinder this process, and the corresponding industry-level management strategies that can enhance performance. Grounded in interdisciplinary theories from marketing, international business, and cultural studies, the research adopts an explanatory sequential mixed-methods design, combining semi-structured expert interviews with a large-sample survey of cross-border live streaming participants. The study analyzes how cultural and creative product supply chains, digital marketing practices, and platform effectiveness jointly influence commercial conversion and brand growth. Empirical results confirm significant positive effects of supply chain robustness, platform functional empowerment, and cultural marketing adaptability on conversion performance, cultural communication efficiency, and user participation. At the same time, cross-cultural cognitive barriers, supply chain response lags, and compliance risks emerge as three core constraints, with marked heterogeneity between Southeast Asian and European–American markets. Based on these findings, the paper proposes four-dimensional collaborative governance strategies involving platforms, enterprises, regulators, and service providers. The study offers theoretical enrichment for research on cross-border live streaming and practical guidance for cultural and creative enterprises seeking sustainable overseas expansion and standardized industry development.

Kibyōshi, the satirical picture books of Edo Japan, pose enduring challenges for translation because of their interwoven text, imagery, and humor. Conventional translations, burdened with extensive footnotes, often alienate general readers and fragment the narrative flow. Drawing on Atariyashita Jihon Doiya and Tenka Ichimen Kagami no Umebachi as case studies, the discussion examines how meaning and irony shift across linguistic and visual borders. By embedding cultural context in dialogue and illustration and integrating textual and visual reinterpretation, the approach shows how historical authenticity and accessibility can coexist. The aim is to reanimate kibyōshi as living works of intercultural imagination, intelligible and engaging to a global audience.

Modern science is formally structured around scholarly publication, where scientific knowledge is canonized through citation. Precisely how citations are given and accrued can provide information about the value of discovery, the history of scientific ideas, the structure of fields, and the space or scope of inquiry. Yet parsing this information has been challenging because citations are not simply present or absent; rather, they differ in purpose, function, and sentiment. In this paper, we investigated how critical and favorable sentiments were distributed across citations, and tested the hypothesis that more favorable sentiment would be utilized among ingroup members, whereas more critical sentiment would be utilized toward outgroup members. We considered three group types: collaborators, those with a similar h-index, and those with the same gender. We observed that citation sentiment was more favorable to collaborators than non-collaborators, an effect that was modulated by both gender and h-index. Further, we observed that disciplinary and country-level factors impacting a scholar's perception of the size of their ingroup also explained citation sentiment: Largely experimental fields that engage in regular scholarly synthesis through review articles employed less citation sentiment, as did countries with more collectivist attitudes and greater acceptance of social hierarchies. Collectively, we demonstrated how sociocultural groups displayed ingroup preferences in the use of sentiment in scientific communication. Our study contributes to a broader understanding of how human factors influence the practice of science, and underscores the importance of considering the larger sociocultural contexts in which science progresses.

Introduction. In academic discourse, the problem of conceptualizing the process of transcultural adaptation of folklore texts that embody the cultural memory of a people remains relevant. Despite the close attention scholars have paid to the “Kalevala” as a monument of epic heritage, there is still no comprehensive interdisciplinary study that would consider the “Kalevala” as a dynamic and open system functioning in diverse cultural contexts and media, identify the universal mechanisms and patterns of its adaptation, determine the degree of stability (“resilience”) of its archetypal plots, images, and mythologemes, and analyze the ambivalence of contemporary interpretations that combine simplification with attempts to preserve authenticity. Addressing this gap constitutes the relevance of the present study. The aim of the research is to identify and analyze the specific mechanisms and techniques through which the “Kalevala” has been transformed from a national epic into a phenomenon of global culture. Materials and Methods. The study is based on an integrated approach that combines three complementary methods. Comparative analysis is used to juxtapose the original Finnish runes with their translated and adapted versions, making it possible to trace the transformation of plots and images across different cultures. Intermedial analysis is aimed at examining the processes through which the epic text is translated into other formats, such as cinema and painting. Narrative analysis is employed to identify key cultural codes, symbols, and archetypes, and to trace their preservation, omission, or reinterpretation. The corpus of sources for the study consists of key cases of the transnational reception of the “Kalevala”, representing various media and cultural contexts: literary works that have experienced a direct influence of the epic; audiovisual interpretations; and visual adaptations and representations in comics. The transcultural adaptation of the “Kalevala” is realized through three principal techniques: the refocusing of plot lines, narrative simplification, and the transformation of the semantic characteristics of characters. Results and Discussion. The principal channels through which the epic is adapted within the media space have been identified: literature, visual art, cinema, and cultural tourism. The key technique of adaptation has been determined to be the decontextualization and subsequent recontextualization of mythological meanings in accordance with the demands of a foreign cultural environment and mass culture. Despite the persistence of archetypes, they are not static. The semantics of adapted characters have been shown to depend on the cultural code of the audience as well as on the historical and political context of the period in which the adaptation was created. Specific techniques have been identified through which the “Kalevala” is transformed from a national symbol into a global cultural product. Conclusion. The conclusions drawn by the author contribute to the development of linguocultural studies and the theory of intercultural communication, as well as to folklore studies and mythology, translation studies, and the sociology of culture. The prospects of the research lie in the creation of a universal analytical model applicable to other national cultural phenomena. The materials of the article may prove useful in the development of academic courses in cultural studies, world literature, the history of art, and Finno-Ugric studies, including sections devoted to contemporary interpretations of epic heritage; in the preparation of textbooks and anthologies illustrating the transformation of folkloric narratives in mass culture (using the Kalevala as an example); and in the preparation of lecture materials for continuing education programs dedicated to the visualization of epic narratives in cinema, comics, and painting.

This article focuses on the origin of “Wenqi Theory”—a core domain of ancient Chinese literary theory—specifically Cao Pi’s proposition that “literature is governed by qi”. It situates this concept within the 21st-century context of cultural globalization to engage in dialogue with Western aesthetics, aiming to revitalize the theory through mutual learning between Chinese and Western civilizations and integrate it into the system of modern transformation for classical literary theory. From the perspective of contemporary theoretical reconstruction, the paper analyzes the modern discourse paradigm of “Wenqi Theory”, traces its philosophical roots, and points out that the “clearness” or “murkiness” of “Wenqi” directly influences the aesthetic value of writing and the evaluation of objects. The study reveals that “Wenqi Theory” possesses rich connotations and unifies multiple dialectical relationships such as author and text, macrocosm and microcosm, personal temperament and acquired cultivation, content and form, fully embodying the distinctive integration of Chinese cultural tradition. Furthermore, the paper studies the lineage of life aesthetics from “Qi-Theory” in philosophy and science to “Wenqi Theory” in literary criticism, and its importance in constructing modern discourse paradigms. Meanwhile, by utilizing the categories of “the sublime” and “the beautiful” in Western aesthetics, it reactivates the contemporary aesthetic implications of “Wenqi Theory” within the context of globalization and cross-cultural exchange. The article endeavours to place this seemingly esoteric concept of classical Chinese literary theory within a cross-cultural and cross-disciplinary philosophical horizon for systematic and theoretical interpretation, revealing its universal aesthetic value that transcends specific cultural backgrounds, thereby providing a possible paradigm for the modernization of traditional Chinese literary theory and its participation in international academic dialogue.

Abstract This study investigates how global city characteristics shape the acceptance of non‐mainstream cultural goods—focusing on K‐pop—as they diffuse across digital platforms. While prior research emphasizes fandom, soft power or media strategies, this research highlights the role of urban infrastructure in cultural globalization. Global cities, with their high levels of connectivity, digital infrastructure and cosmopolitanism, serve as hubs for transnational cultural flows. Drawing on international business, marketing and media studies, the study theorizes that four urban factors—Korean foreign direct investment (FDI), diaspora presence, ICT infrastructure and educational attainment—positively influence K‐pop popularity. It furthers proposes that these effects vary by platform: YouTube's visual, algorithm‐driven environment may amplify the effects of FDI and ICT, while Spotify's audio‐focused, user‐curated model may be more influenced by diaspora and education. Using rare‐event logistic regression on data from 3786 K‐pop hits across 710 US cities (via YouTube and Spotify), the study finds robust support for these hypotheses. Overall, it offers a new perspective on the intersection of urban infrastructure and digital platforms in facilitating the global spread of cultural products, with K‐pop servicing as a revealing case of how emerging‐market content circulates in the contemporary media landscape.

A Study on Customer Preferences and Service Experience Vignesh. S1*, Dr. T. Vetriprabu2 Abstract The globalization of food culture has significantly transformed consumer preferences, leading to an increased demand for international cuisines, particularly desserts. This research paper examines customer preferences and service experience in Egyptian dessert outlets, with specific reference to 11:11 Laban in Chennai. […]

Review of Szymanska (2025): Translation Multiples: From Global Culture to Postcommunist Democracy

Nicknames function as a significant linguistic resource that encapsulates cultural values, social identities, and interpersonal dynamics. Within the realm of international cricket, these monikers extend beyond mere terms of endearment or informal labels to operate as sociolinguistic markers that reveal insights into players’ personalities, performances, national identities, and media representations. This study explored the sociolinguistic dimensions of sporting nicknames among international cricketers, both active and retired, from diverse cricketing nations. Guided by Social Identity Theory and adopting a descriptive qualitative design, data comprising 30 players’ nicknames were purposively gathered through documentary and media analysis, including sports journalism, player interviews, biographies, social media (Twitter and Instagram), fan forums, and cricket databases such as ESPNcricinfo. The data were analysed thematically. The findings indicate that cricket nicknames serve as multifaceted identity markers such as geographical, physical, performance-based, interpersonal, and fan-generated, shaping both personal and collective identities, fostering social cohesion, and embedding athletes within wider cultural and symbolic contexts. The study contributes to sports linguistics by highlighting the intricate interplay between language, identity construction, and the global culture of cricket.

When, in which contexts, and on what scales are Indigenous religion(s) in Sápmi articulated as Dark Green Religion, and based on which of Bron Taylor’s four types? To address these questions, I move between urban areas in the south and settlement areas in the north, and between different formation, ranging from Sámi shamanism to indigenous Sámi Christianity and traditional spirituality. I conclude with a scalar and spatial mapping of differences and intersections. While dominant in the settlement areas, traditional forms of Lutheran Christianity are neither Dark Green nor indigenous religion(s) (based on my definition of the term). Animism serves as a common ground for shamans, indigenous Christianity, and traditional spirituality, but ranging from naturalistic forms in the settlement areas to spiritualistic forms in the urban south. Gaian spirituality is articulated in urban contexts, as well as in global venues and popular culture.

The social contexts in which athletes train shape how they experience empowerment, identity, and the limits of their agency. This article examines how Filipina women bodybuilders navigate a sport that simultaneously challenges and reinforces gendered norms in a Global South setting. Based on 15 semi-structured interviews, the findings show how women athletes construct meaning around their bodies, health ideals and social roles within a fragmented and commercially driven fitness industry. A central paradox emerges: bodybuilding provides women with a powerful sense of agency, discipline, and physical transformation, yet this empowerment is deeply entangled with economic precarity, gendered expectations, and the normalisation of pain, obedience, and dependence on authority (male) figures. Participants invest in their bodies as forms of cultural and bodily capital, but this investment often requires financial sacrifice and compliance with coaches, judges and institutional structures that privilege male standards of femininity and muscularity. We argue that empowerment in this context cannot be understood through Western-centric models. Instead, it operates as a negotiated and contradictory process shaped by local socio-economic conditions, religious values and the gendered politics of the bodybuilding field. By foregrounding the experiences of Filipina women bodybuilders, this study expands current understandings of how agency, gender and embodied identity are constructed and contested within Global South sport cultures.