National Image Research Articles

National Image Construction in Speech from Perspective of a Systemic Functional Linguistics

National Image Construction in Speech from Perspective of a Systemic Functional Linguistics

중고등학교 역사교과서의 가야사 인식과 이미지텔링 - 텍스트 네트워크 분석을 중심으로 -

This article examines the correlation between key keywords and keywords through text network analysis of Gaya history in middle and high school history textbooks, and studies the causality of Gaya"s perception and image-telling process. In history textbooks, first, Gaya tends to be dealt with in relations with the Three Kingdoms. This was confirmed through the frequency of simultaneous appearance of ‘Three Kingdoms’ and ‘Gaya’. Second, the frequent appearance of ‘Baekje’ and ‘Gaya’ was mobilized to explain the destruction of Gaya, and the appearance with other keywords was poor. Third, the key keyword with the highest frequency in the narrative related to Gayasa was ‘Federation’. The ‘union’ correlates with the ‘centralized state’ and has a network structure that leads to ‘growth’ and ‘development’. It was also confirmed that “Federation” was a keyword mobilized to describe Gaya as the same “Federal Kingdom” as Buyeo or to describe a country that failed to grow into a centralized state from the “Federal Kingdom.” It describes the process of the fall of Gaya as not being able to achieve centralization by maintaining its own power or maintaining its own political base. Compared to Goguryeo, Baekje, and Silla, which coexisted at the same time, it is seen as lacking and weak. Through history textbooks, Gaya"s national image is image-telling in a way that falls short of ‘growth and development’.

Discourse Studies of the National Image of China and the United States in Chinese Mainstream Media Reports on COVID-19

Discourse Studies of the National Image of China and the United States in Chinese Mainstream Media Reports on COVID-19

The Reflection of the Socio-Cultural Context in Russian, French and Azerbaijani Internet Memes

Internet texts represent the most mobile and eclectic type of a text. Therefore, the methodology of their analysis is integrative and polyparadigmatic; and for adequate interpretation it is required to consider them taking into account modern socio-cultural context and presuppositional knowledge. The article is devoted to the description of meme-creating components associated with modern sociocultural context in various forms of Internet memes: comics, demotivators, cartoons, presented in three segments of the Internet (Runet, French and Azerbaijani segments). The novelty of the research is based on the fact that for the first time, the meme-creating plots in the Russian, French and Azerbaijani segments of the Internet were identified and correlated; the authors carried out an analysis of the authentic material formed under the influence of the socio-cultural context - the influence of various external factors and cultural background. A continuous selection of network sources from various segments of the Internet allowed compiling an author’s card-file containing more than 2 500 Internet memes, the examples from which became an empirical basis for the study. The material was аnalysed with the use of a descriptive and analytical method that involves direct observation of the phenomena under analysis and their systematization, generalization of language material; we also used elements of discursive, componential and linguopragmatic analysis.A comparative analysis of memes in the Russian, French and Azerbaijani segments of the Internet showed, on the one hand, a quantitative asymmetry (Russian memes prevail), and on the other hand, differences in the forms of Internet memes (for example, demotivators prevail in Runet, comics and cartoons are commonly found in the French and Azerbaijani segments). The analyzed material showed that both words and phraseological units of different categories realize the functional potential in the verbal part of Internet memes of the three linguocultures under consideration. In a number of cases, there is an actualization and complete rethinking of lexical and precedent units. The nature of the presentation of images in the visual part may be associated with the cultural tradition of the nation. The study shows that such 21st century attraction events as migration and threat of coronavirus infection are reflected in Internet memes regardless of the system of values, religion and mentality. When creating national images and presenting artefacts, the role of ethno-linguistic markers perceived by a particular nation is decisive. The visual element can also be actualized in connection with ongoing socio-political events. All this proves that adequate interpretation of memes requires presuppositional knowledge, so that understanding such a polycode formation as an Internet meme does not become a communicative failure. Memes about labour migration and the coronavirus pandemic in the Belarusian segment of the Internet, content and forms of which are conditioned by the multicultural originality and socio-cultural openness of modern Belarus, confirm and typify the main provisions about the factors, conditions, methods and motivations of meme formation in Russian, French and Azerbaijani linguocultures.

From Reading to Dressing: Portraiture of a Qing Empress in Gender and Cross-Cultural Perspective

This paper argues that the abundance in quantity and innovation of the painted and photographic portraits commissioned by Empress Dowager Cixi between the latter years of the 19th and early years of the 20th centuries, exceeded that of any other late Qing emperor or royal consort, and it is the diversity of gender references presented among them that is particularly distinctive. Through separating such a practice of ritualised “gender performance” into three stages, from 1) the ‘masculinised’ pose of “reading” appearing frequently in works of an earlier period, through 2) the gender-neutral divine imagery of dressing as a bodhisattva, to 3) the late-period feminised image of “dressing in front of the mirror”, the purpose of this paper is to explore how gender is shown in a late Qing empress’ portraiture, which is subject to multifarious changes dependent on different domestic and international political demands. The conclusion is that 1) on the international stage as set in the early years of the 20th century, the image of a late Qing empress dowager participated in the broader shaping of China’s national image as something weak, feminine and disempowered, and 2) the essential incompatibility of Chinese and Western visual cultures was a major factor in the failures of the projection of the image of late Qing China overseas.

The Image Function of a Sports Event on the Example of the Opening of the 2022 Olympic Games in Beijing

The article examines the opening ceremony of the Winter Olympic Games as a media event and analyzes its important role in strengthening national identity and shaping the national image of China in the new era. The subject of the study is the influence of the 2022 Olympics in the formation of the internal image of the People's Republic of China, the object of the study is the coverage of the Chinese media on the 2022 Olympics. Particular attention is paid to the fact that the analysis of the frequency of the vocabulary of Chinese media coverage of this event, and at the same time, the updates and promotion of the image of the People's Republic of China in the Chinese media in coverage of the 2022 Olympics were analyzed. The study used methods of content analysis of publications in the media and methods of comparison, generalization and statistical analysis of the collected data. The frequency of keywords in the texts of publications was also analyzed to determine the direction of the agenda of the Chinese media when covering the 2022 Olympics. According to the analysis, we found that as part of the coverage of the Olympics, the Chinese media paid the greatest attention to the meeting of the opening ceremony of the Olympic Games, which was aimed at transforming and updating the image of China in a new era.The author concludes that at the opening ceremony of the Olympic Games in 2022, China clearly showed elements of the national image, culture, endowed the image of China with a new meaning. Using laconic symbols and details with special moments to represent modern China, the organizers of the event were able to convey to the community the concept and culture of the People's Republic of China in a new era and allowed to more accurately capture the national image.And this solemn event introduced the image of China into the consciousness of its people as a responsible and unified world power, as a country advocating the aesthetics of minimalism, possessing advanced technologies. Thus, the opening ceremony of the Olympic Games has successfully fulfilled the function of promoting the national image within China.

러시아인이 지각하는 한국의 국가 이미지와 관광지 이미지가 방문의도에 미치는 영향 : 문화친숙도의 조절효과

Since 2014, as the visa-free policy between Korea and Russia was implemented, the number of Russian tourists visiting Korea has continued to increase. Therefore, this paper aims to examine the relationships among national image, destination image, and Russian tourist''s intention to visit South Korea. Furthermore, this study investigates the moderating effect of cultural familiarity on the proposed relationships. The survey was conducted from January to February, 2022. A total of 299 valid samples were used for the final analysis. The results show that national image affects destination image and visit intention positively, and destination image also has a positive effect on visit intention. In addition, it was found that the cultural familiarity partly moderates the relationships between national and destination image, and national image and visit intention.

National images and symbols of visual Ukrainian cinematography in the works of foreign scholars

The article is devoted to the problem of historical symbolism in the visual language of Ukrainian cinema. The focus is on the foreign historiography of the problem, which today is one of the most relevant areas in the general scientific discourse of the problem. The author notes that at present, the understanding of national imagery and symbolism in cinematography continues within the framework of two parallel strategies: 1) as the still active deconstruction of existing historical images and visual narratives (especially in cinematography and in general within the framework of audiovisual art) of the Soviet era; 2) as the formation of a new look at the models of national imagery. Within these limits, foreign historiography of the problem is extremely important, in which the analysis of the visual language of Ukrainian cinematography presents many reflective characteristics. The studies analyzed by the author make it possible to single out three areas within which the research of national images and symbols in the visual language of Ukrainian cinematography is being actively continued. First of all, this direction of analysis is the symbolic imagery of Ukrainian cinema in an interpretive way. No less important for foreign historiography is the comparative direction. Finally, within the framework of a complex direction, foreign researchers are making an attempt to accumulate the experience of analyzing Ukrainian cinema and, on this basis, to give its evolution a systemic character, to fit it into the pan-European context. The article ends with conclusions. The author notes that modern Ukrainian cinema is an organic part of the pan-European and world context of cinema. In this form, its presentation as a national pattern of symbolism often emerges in a universal and systemic vision. Within the framework of the first one, which is the earliest in terms of time, the symbolic imagery of Ukrainian cinema is studied in the historical and chronological context. In works. B. Berest, J. Fest, J. Gurg and other scientists, the symbolism of the visual language of Ukrainian cinema is represented linearly. Within the framework of the second direction, national images and symbols in the cinematic language are considered as objects of comparative practices of comparison and comparison with the parallel national spaces of European cinema: Polish, Baltic countries, Moldova, etc. O. Pressitch, A. Narushito, Rzh. Sandal, S. Lewis S. Brower and other researchers. The third direction combines the research of foreign scientists focused on the search for universal schemes for analyzing European and world cinema, within which domestic cinema is often given an important, but secondary role. In the works of K. Portugues, K. Farmer, M. de Valk, K. Celli and other scientists, national images and symbols in the visual language of Ukrainian cinema play an instrumental role that allows to determine the pain of typological and systemic processes in the development of European cinema.

La Marca País en América del Sur: revisión sistemática

In the global context, countries compete to attract investors, tourists, residents, and consumers. This drives the use of branding strategies to highlight a country's unique qualities and promote it as an attractive destination for investment, tourism, and economic collaboration. The objective of this research was to determine the similarities and differences in the approaches and benefits of the country branding of Colombia, Ecuador, and Peru through a systematic review. As a result, similar approaches such as tourism, culture, exports, and improving the national image were found to promote their interests, as well as similar benefits such as economic improvements, increased investment, and a greater sense of identity and national pride among their citizens. However, they differed in approaches such as security, quality, connectivity, social diversity, and gastronomy, which also generated different benefits for each country, such as educational development, a sense of belonging, and international recognition. The most relevant conclusion is that all three South American countries focus on developing their strategy based on tourism destinations, culture, and exports, and they have also benefited from an increase in tourist visits to their respective countries and a strengthening of national pride.

GASTRODIPLOMASI DALAM PRURALINGUALISME: DARI MODIFIKASI KEKUASAAN MENJADI CAKRAWALA ANTARBUDAYA PRANCIS-INDONESIA

Pluralingualism is an individual's communicative competence in multilingual situations and does not only involve verbal and non-verbal aspects, but also adaptive and adoptive abilities to cultural conventions. The roots of this linguistic politics guide speakers to be knowledgeable, experienced, sociable, synergize and tolerate culture, as well as to eliminate culture shock in its acquisition. One of the subcultures of language speakers is eating, which sometimes have different values and functions from one culture to another. Within the framework of pluralingualism, eating and food occupies a special level, because it can be an instrument of public diplomacy with the term gastrodiplomacy. Gastrodiplomacy is the art of negotiation by mixing and matching culture, culinary, and the essence of the image of nationalism to make foreign cultures real in other countries through a touch of taste. From this tradition, the concept of French pluralism has succeeded in hegemonizing the world through cultural representations of eating and food that are integrated in communicative competence. However, this practice cannot be separated from the context of power, where at first French was synonymous with colonial language and transformed into the term cultural language. Based on this, the problem of modifying power into an intercultural horizon with culinary delights will be analyzed using netnographic methods, document studies, and observation. Meanwhile, the primary research data are: cross-cultural culinary heritage, gastrodiplomacy and efforts to commercialize French cuisine, as well as communicative implementation of French speakers in the culinary existence of the archipelago. Therefore, the result is a description of the modification of power into an intercultural horizon through taste, as well as a communicative implementation of French speakers in the practice of Indonesian culinary gastrodiplomacy as a form of nation branding.

Research on the applicability of regional folk art Fengyang Phoenix Painting from the perspective of humanistic ecology

The core values of socialism contain a very important content is civilization and harmony, the image of the dragon and phoenix is the mythical totem image of the Chinese nation for thousands of years, is an indispensable spiritual symbol in Chinese civilization, and is also the spiritual carrier of Chinese national cultural self-confidence and national self-confidence. The "Essentials of Chinese Painting" records that there are three stops and nine resemblances in painting dragons, and the drawing methods of phoenix birds in Fengyang phoenix paintings also have many elaborates, and the physical composition of phoenix birds is a synthesis of various beautiful objects. Through the interpretation of Fengyang Phoenix Paintings with different themes, different expression techniques and different decorative effects, this study discusses the adaptation of Fengyang Phoenix Paintings to natural ecology and the practical significance of ecological development trends, emphasizes the importance of inheriting and continuing Fengyang Phoenix Paintings and generating a sense of cultural identity, in order to achieve the goal of building a sustainable development activation route for Fengyang Phoenix Paintings, and introduces the important impact of the culture composed of phoenix birds in the cultural category of Fengyang Phoenix Paintings on the humanistic ecology of Fengyang Phoenix Paintings. In-depth study of the future of Fengyang phoenix painting from the perspective of humanistic ecology, so as to provide universal theoretical support for the development of Fengyang phoenix painting in real situations.

National Image Construction in Gogol and Lu Xun’s Literary Creation from the Perspective of Imagology

Gogol and Lu Xun, as the famous realist writers in Russia and China respectively, enjoying a high status and reputation in the literary circles. At the same time, Lu Xun’s literary creation was deeply influenced by Gogol, which is evident in Lu Xun' translation of Gogol’s book "Dead Souls" and the creation of the novel "The Diary of a Madman" of the same name. This provides an opportunity to study the interoperability of the two literary creations from the perspective of comparative literature. In the category of comparative literary imageology, this paper starts from the two aspects of the explicit narrator, the literary work, and the implicit narrator, the national ideology, and explores the construction process of the national image in the interactive relationship between the "self" and the "other".

Storytelling for a republic of childhood: rebranding China’s national images in children’s literature

This article delineates the discursive trajectory of Chinese children’s literature and explicates its specific storytelling strategies to integrate nation and narration, tradition and modernity, nationalism and internationalism. At the intersection of nation building, storytelling and comparative literature, it is argued that Chinese children’s literature, developed from a comparative perspective and as an alternative vision of Paul Hazard’s “universal republic of childhood,” not only manifests paradoxical literary features, given the asymmetry of global literary distribution and power relations, but also converges with and enriches world children’s literature in China’s ongoing process of raising its cultural soft power. The paradox inherent in globalising Chinese children’s literature leads to the reconceptualisation of translation and cross-cultural readability of genres as essential to a richer construct of national images on the world literary map.

Unconventional Diplomatic Initiatives of Nascent Turkish Republic: The Karadeniz Expedition in 1926

ABSTRACT This study analyzes an unconventional diplomacy initiative by the nascent Republic of Turkey. Upon the proposal of the President Mustafa Kemal [Atatürk], the ship Karadeniz (Black Sea) was transformed into a public diplomacy cruiser in 1926, sailing to western ports to promote Turkey’s newly established republican regime. After a long decade of wars and diplomatic hardships, the Revolutionary cadre in Turkey turned to unconventional means to generate a new identity for the country. This study examines the motives behind this unconventional diplomacy attempt over the Karadeniz Floating Fair case, which was a foresighted public diplomacy project. Karadeniz was furnished with a variety of exhibition items ranging from the popular products of the country to the newly developing artistic forms and displayed them in the port cities of Europe and the USSR. It is argued that this unconventional diplomacy formulation ensued from certain restraints of conventional diplomacy related to the national image.

Same World Cup, Different News Frames

This study examined differences in slant, deviance, and prominence in news coverage of the 1998 France and 2002 S. Korea/Japan World Cup and host countries, considering countries’ political, economic, and cultural ties as external determinants of the newsworthiness of foreign news. The main findings were that hosting the World Cup did not influence the positive image of a host country or the degree of deviance and prominence of news; U.S. journalists’ preferences for topics covered in foreign news was found in World Cup-related host country news as well as general news of host countries; political, economic, and cultural ties between host countries and the United States were reflected in the general news of host countries; and news coverage of non-Western countries was significantly different in general news. Keywords: news frames of international sporting events, deviance, 1998 and 2002 FIFA World Cup news, national images of South Korea, Japan, and France

Deported Lemkos in the Nets of Soviet Post-war Propaganda

The article reveals the complex pages of the notoriously planned Soviet propaganda among the deportees in the post-war period. It shows its detrimental effect on the preservation of the ethnic foundations of the Lemko group.
 Considering that Lemkivshchyna today had lost its integrity as a historical and ethnographic region, and the Lemkos were settled around the world - these only actualize the task to a comprehensive and thorough analysis of the socio-political and national-cultural processes in the region and Lemkos in their context in the new era; to ascertain the role of Lemkivshchyna and Lemkos in the ethnopolitics of the states and, accordingly, their contribution to the development of various Ukrainian public, political, cultural and state organizations, institutions and entities, and generally assess their role and significance in the history of Ukraine of XX - early XXI century.
 It is claimed that the whole catastrophe of modern times for the Lemkos was their deportation from their native ethnic areas, first to the USSR in 1944 - 1946, where they found themselves among their people, but not on their land, and later - in 1947 those who remained were settled in Poland. New powerful political-administrative and ideological factors against the local population during the Soviet-Polish negotiations were used. The most brutal action against local Ukrainians was Operation Vistula in April-July 1947, which unjustifiably had the task of erasing traces of their national image in peacetime.
 The difficult stages of life in the Lemko region in the conditions of deportation actions of the 1940s, carried out as a result of the Soviet-Polish conspiracy of 1944 are traced, and pointed out their territorial, social, cultural and mental consequences.А reflection of Russian and later Soviet propaganda, at first, in the Lemkos region, and later among the deported Lemkos, is carried out.
 The deportation of the local population has led to irreversible territorial, demographic, cultural and mental losses. The analysis of the sources allows us to suggest that the policies of both Poland and the USSR aimed at eradicating Lemko natives from their ethnic areas. And this was done by various methods, starting with propaganda, in the initial stages, to using force at later stages.
 Having been deported to the Ukrainian SSR from their ethnic territories in Poland, autochthonous Lemkos fell into the nets of total Soviet propaganda. Soviet ideologues tried to involve the most diverse methods, which even in the interwar period manifested in different ways (from public influences, populist calls for a better future, active agitation for leaving the USSR), were well supported materially. At the beginning of the Second World War, we observed a transition to more pragmatic measures through the organization of a special centre and the activities of special agitator instructors. In the post-war period, meetings and conversations with the population took place in almost every village, in which Soviet agitators contrasted poverty in Lemkivshchyna with prosperous life in the USSR. Such oral propaganda, moreover, in all regions of the Ukrainian SSR where the Lemkos arrived, the Bolsheviks reinforced with various slogans, brochures and appeals.

Nation and Cultural Branding on Instagram:

Indonesian Arts and Culture Scholarship (IACS), which displays Indonesian arts, and culture, is a program that the Directorate of Public Diplomacy holds for the Ministry of Foreign Affairs of the Republic of Indonesia. This program was started in 2003 and took place face-to-face until 2019. This program becomes an excellent opportunity for Indonesia to spread Indonesian values by forming nation-branding and creating a national image through soft diplomacy. This research analyzes how Instagram can play an essential role in promoting the 2019 IACS program so that the general public can know about this program. This research was analyzed by using the Circuit of Culture model. It is specified in Production moment to disclose how Studios and MoFA distributed messages through Instagram. By analyzing Instagram, we can find out how the account is managed and the content shared by the committee that holds the Instagram account. Data were taken based on interviews, social media, and government documents. The results are that MoFA does not use Instagram @iacs_kemlu well. It can be seen from the re-confirmation absence to the public regarding the date range of its program. As well as the minimal upload of documentation of the participants, MoFA is not carrying out the monitoring function regarding the inactive @bsbi_pdg account. Besides that, on Instagram @iacs.banyuwangi, Instagram management could be better. It can be seen on its Instagram account page.

한식에 대한 경험적 가치가 한식 이미지, 한식 행동 의도 및 한국 국가 이미지에 미치는 영향

This study is to explore the structural relationships among experiential value of Korean food, Korean food image, behavioral intentions on Korean food, and Korean national image, for Vietnamese locals. Data were collected from 258 Vietnamese locals, combining online and field survey. The findings are as follows. First, CROI(customer return on investment), playfulness and service excellence dimensions of experiential value positively affect Korean food image. These experiential value dimensions of Korean food can improve Vietnamese locals’ Korean food image. But aesthetics dimension of experiential value does not affect Korean food image. Second, Korean food image influences on both the behavioral intentions on Korean food, and Korean national image. Results suggest that positive experiential value of Korean food does not only increase sales of Korean food in local, but also enhance the Vietnamese locals’ Korean national image. Implications and limitations are also discussed.

Making ‘the National Image’ of Korea: From the Shrine of the Joseon Dynasty to the National Memorial of the Republic of Korea

Korea tried to reconstruct its tradition as a modern nation and promote nationalism only in the 1960s, a relatively late period compared to the West. So-called “tradition-making” began by promoting the full-fledged national shrine project to commemorate historical figures in a short period. These national shrines were built in a traditional style and embodied a national image representing Korea. This study analyzed which elements of traditional Korean architecture were selectively adopted for the main hall of Hyeonchungsa, the first national shrine, and discussed how these choices were intertwined with the discourses on Korean architecture at the time by tracing their historical, cultural, and political context. Although the ‘newly invented’ national shrine functionally resembled a Confucian shrine, it favored splendid and magnificent elements on its exterior, a tendency that is well-demonstrated in the shape of its roof, the decoration of the eaves, and the elevation. This style reflects the modern perspective that regarded the roof curve as an essential feature to define the identity of Korean architecture. Additionally, it can be seen as an effort to reevaluate the architectural style of the Joseon Dynasty, which was belittled during the Japanese colonial period. In addition, these national shrines showed an attempt to reproduce the architectural form of the past with modern material–concrete–by actively referring to the drawing data derived from the actual measurement surveys of historical buildings that were carried out vigorously in the early 1960s. Although these buildings have not been valued in academia amid criticism of the political use of traditions, they played a critical role in spreading the “image of Korean tradition”.

Multimodal E-Textbook Development for the Course of Intercultural Communication of National Image

This study investigates e-textbook development for the course of intercultural communication of national image for English majors and learners in the context of integrating ideological and curriculum education in the Chinese mainland. Under the framework of Fairclough's three-dimensional discourse analysis and glocalization in intercultural communication, the study proposes an e-textbook development workflow involving text design, discursive database construction, and social investigation and explores the unit design strategies for the course, paying special attention to integrate ideological elements properly into intercultural communication studies in each unit. Following authenticity principle and presentation-practice-production (P-P-P) model, the study constructs an e-textbook system featuring by unit design with contents and modules both linguistic theories based and intercultural communication oriented. This e-textbook will contribute to the cultivation of a locally grounded, globally minded intercultural communicator of national image.