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Comment by 私貨珍藏 on March 2, 2024 at 8:21pm


首屆「一帶一路」語言服務國際學術研討會在阿拉木圖召開

人民網阿拉木圖9月23日電(記者 謝亞宏)為紀念習近平主席2013年9月在哈薩克斯坦首提同世界各國共建「絲綢之路經濟帶」倡議3周年,加強「一帶一路」沿線各國語言學者的合作與交流,提升「一帶一路」沿線國家語言服務能力,江蘇師范大學和哈薩克斯坦阿裡-法拉比國立民族大學22日在哈薩克斯坦阿拉木圖舉辦了首屆「一帶一路」語言服務國際學術研討會。來自「一帶一路」沿線國家20多位學者,以及哈薩克斯坦民族大學150多位師生參加了會議。

本次會議的中方籌備組負責人、江蘇師范大學余光武教授在開幕式致辭中指出,「一帶一路」所有願景與規劃的實現,都要以語言相通為基礎,建設「一帶一路」,必須語言先行!提升語言服務能力,共築「一帶一路」願景,成為包括我國在內的沿線65國當前亟需開展的一項重要工作。

首屆「一帶一路」語言服務國際學術研討會開幕式演說人,馬來西亞海絲會創會人/會長陳明發博士分享「軟實力的敘事基礎:怎樣說好一帶一路故事?」心得後,與部分國際與會嘉賓合照。


基於此考慮,中哈兩校決定舉辦首屆「一帶一路」語言服務國際會議,藉此平台集聚沿線國家語言服務研究專家代表,共商各國「一帶一路」語言服務能力提升大計。開幕式後,來自哈薩克斯坦民族大學的蘇爾丹加裡耶娃教授、江蘇師范大學語言科學研究院王仁法副院長以及馬來西亞的陳明發博士,分別作了題為「中亞研究史中的哈薩克斯坦地位考察」、「『一帶一路』沿線國家語言國情與語言服務能力」及「軟實力的敘事基礎:怎樣說好一帶一路故事?」的大會演講。

其中的王仁法副院長的演講反響最為熱烈。演講中,結合數據分析,王院長提出,「一帶一路」語言種類繁多,大多數國家語言國情複雜,「一帶一路」語言服務能力亟需提升,解決此類問題需要各國語言學者共同努力,探索出一種科學高效的合作模式,本次會議正是探索這種模式的有益嘗試。在下午的研討會上,來自匈牙利、羅馬尼亞、格魯吉亞、馬其頓、拉脫維亞、烏茲別克斯坦等國語言服務研究專家及中哈兩國代表在會上分別介紹了各自國家的語言國情及語言服務現狀,探討了「一帶一路」背景下沿線各國漢語國際教育面臨的機遇與挑戰。

最後,余光武在總結中指出,本次會議的意義不僅僅是一次學術研討會,還應被視作一個「一帶一路」沿線國家語言學者參與到「一帶一路」這個關乎各國發展大計的工作平台。在這次會議上,我們各國代表將通過交流建立深入的合作和長久的聯系,以便開展後續的各國語言服務人才的培養交換、語言服務工具書的編纂以及語言文化研究等工作,為推動「一帶一路」願景在各國的實現做出特有貢獻。(責編:李雪峰(實習生)、楊牧)(2016年09月23日20:27 | 來源:人民網-國際頻道

Comment by 私貨珍藏 on February 22, 2024 at 7:08am

Hallyu and the Creative Industry – Can ASEAN Replicate South Korea’s Success?

South Korea owes a portion of its robust soft power to the careful cultivation and development of its creative industries, which brought about the worldwide phenomenon Korean Wave or Hallyu. Can ASEAN learn from South Korea’s creative industries to boost its own soft power?

BY FARLINA SAID, PUTERI NOR ARIANE YASMIN AND MUHAMMAD SINATRA

모든 게 궁금해 how’s your day [I’m curious about you, how’s your day]
Oh tell me (oh yeah oh yeah, ah yeh ah yeh)
뭐가 널 행복하게 하는지 [What makes you happy?]
Oh text me (oh yeah oh yeah, ah yeh ah yeh)

The simplicity of the above lyrics by the boyband BTS belies the extreme popularity that the group enjoys. The video clip of this song, entitled “Boy With Luv”, became the most watched video on YouTube within 24 hours upon release. The song also played heavily in Malaysia’s airwaves and inspired a series of advertisements in Bahasa Indonesia, starring the K-pop idols themselves. BTS recorded over US$500 million in revenue last year, while its members became millionaires after the group’s parent company entered into an initial public offering (IPO) in September 2020. Their secret weapon: a massive ecosystem of loyal fans who not only generate revenue from the purchase of music, concert tickets and merchandise, but also render services to promote the band’s image and a wide array of products.

(Hallyu and the Creative Industry – Can ASEAN Replicate South Korea’s Success? by Farlina Said, Puteri Nor Ariane Yasmin and Muhammad Sinatra;they are Analysts in Foreign Policy and Security Studies (FPSS), ISIS Malaysia,Source: https://www.isis.org.my

Comment by 私貨珍藏 on February 21, 2024 at 7:34am

As part of the larger Korean Wave or Hallyu scene, BTS and other such phenomena as Crash Landing on You, Parasite and Pengsoo have generated great following in many parts of the world, including Southeast Asia.

The impact of Hallyu extends beyond the creative industry. The total of Hallyu-related exports amassed to US$12.3 billion in 2019, involving sales of such consumer goods as tour programmes, cosmetics and groceries. In the same year, tourists seeking K-pop or the Hallyu experience accounted for 23.3% of tourists visiting South Korea.

These prove that Hallyu carries more than just entertainment value. It is a testament of South Korea’s soft power, economic might and confidence to engage the rest of the world.

Acknowledging the size and success of South Korea’s creative industry, can the Association of Southeast Asian Nations (ASEAN) as an organisation learn from the former in projecting soft power?

To answer this question, we need to understand that South Korea’s ability to consolidate the creative industry and national identity is not accidental, but by design of the national government.

The creative industry was consistently a feature in the policies of multiple administrations. First and foremost, it grew on the back of globalisation under the framework set by Kim Young-sam. The 1994 Presidential Advisory Board on Science and Technology then focused on the impact of the total revenue made by the film Jurassic Park, which was equivalent to 1.5 million Hyundai cars at the time. This spurred the interest to promote the creative industry.

However, it would be Kim Dae-jung’s pursuit of the self-proclaimed “President of Culture” title that actually set policy objectives in motion. This was further enhanced by the Lee Myung-bak administration’s “Global Korea” campaign on cultural diplomacy, which aimed to promote South Korea’s national brand abroad. The creative industry has since served as the basis of maintaining a strong national identity, tying cultural exports to economic gains and soft power projections.

This formula appears to be resilient, as the COVID-19 pandemic seems to enhance demand for South Korean content. One projection even estimates a 3.3% increase in export volume by the end of 2020 – if true, the pandemic’s effects appear to be bearable. Nevertheless, the resilience of the creative industry has been evident over the past 13 years, with creative goods recording 7% of growth in the midst of a downturn in global trade.

Comment by 私貨珍藏 on February 20, 2024 at 8:10am

The significance of South Korea’s success lies in the amalgamation of national identity and entrepreneurship. The Korean creative industry covers a wide range of sectors, including games, animation, broadcasting and others, aside from just music and movies. In each of these, the promotion of national identity, whether it is traditions, values, language or culture, is inherent in all content.

For instance, SuperM has released songs in English that also contain Korean words. Moreover, K-drama episodes regularly project an image of a developed, modern, traditional yet technologically advanced South Korea. Additionally, the games industry was promoted from a desire to develop Korea as a high-tech knowledge-based nation.

Creative industries have also proliferated in ASEAN Member States (AMS). The Philippines, Indonesia and Thailand, for example, have established frameworks or agencies aimed at promoting their national creative industry, drawing from a number of such cultural products as food, services and music, among others.

The question, then, is whether there is a foundation for an ASEAN attempt at replicating the South Korean model of creative industries to promote a region-wide identity and support the industries of each AMS.

Three challenges immediately arise.

One, South Korea’s approach builds on a nation-identifying and nation-building strategy that is aimed at both a domestic and international audience. This may not be convenient for ASEAN, which comprise 10 multicultural countries. Such a strategy is easier to achieve in a more homogenous environment such as South Korea.

Furthermore, AMS have also traditionally been nationalistic and the issue of culture often struck sensitive nerves, resulting in tension among them. With the countries potentially becoming more inward-looking and protectionist during and after the pandemic, AMS might have reservations towards opening up their creative industries with each other.

Two, there are different market types and sizes in ASEAN, which then impact the various levels of development of creative industries in the region. Will a single strategy to boost ASEAN’s creative economy suffice if all AMS have diverse markets and are experiencing various levels of development?

Therefore, despite there being elements of the South Korean strategy that could assist ASEAN in projecting a region-wide identity and soft power better, whose identity and soft power will it be? Will an ASEAN strategy project soft power according to each individual member state, or will it project a cohesive, regional ASEAN soft power?

There are ways for ASEAN to navigate around these challenges.

It is not necessary for ASEAN to decide between homogeneity or multiculturalism. A balance can be struck between the two. On the one hand, the bloc could use a common language as a unifying factor, particularly for gaming and broadcasting products. Given multiple ASEAN languages and the lack of a language policy in the region, English is a natural choice.

On the other hand, the strategy for an ASEAN creative industry could also celebrate its multiculturalism. Instead of it being a limitation, ASEAN’s diversity could be seen as an asset that can be used to mobilise multi-dimensional cultural content across its multiple audiences. Technology and digitalisation can also support this. For example, the format of the singing competition Asia Bagus could be revived in the digital space during this pandemic, showcasing talents from multiple AMS to anyone plugged to the Internet.

Comment by 私貨珍藏 on February 19, 2024 at 5:37pm

Moreover, establishing a digital single market in ASEAN could also work in favour of the creative industries. The framework adopted by the European Union in 2015 allows creators to produce, distribute and be recompensed for their content while also resolving arising intellectual property rights issues. ASEAN should consider this option if creative industries were to flourish here.

Like everything else in ASEAN, perhaps it is easier to focus on available low-hanging fruits in this context. Several specific lessons from South Korea’s creative industries should be considered, especially with the pandemic in the backdrop.

First, the South Korean example shows that creative industries are resilient in times of crisis, as evidenced by acts or performers moving their concerts online or games providing an escapism outlet.

There is an opportunity to be harnessed as the “new normal” setting pushes many human activities to the digital space. With 400 million Internet users in the region, the digitalisation of industries has become a new source of economic growth in the ASEAN region, for example, telecommuting, telemedicine and e-commerce among others.

Officials responsible for the Culture and Arts sector under the ASEAN Socio-Cultural Community (ASCC) must wrest this momentum to push AMS’ creative industries further to the digital space, not only in the interest of promoting content, but also to ensure the economic survival of performers, producers and other industry players during this harsh climate.

Second, South Korea understands the potential of youths, with creative industries constantly producing contents targeting them.

AMS seem to also understand this as evidenced by developments to include youths in creative industries. In Malaysia, for example, millennials appear to be driving the boom for the eSports industry – at the helm of which was a millennial then-Minister of Youth and Sports who fought for budget allocation to this industry.

The pandemic should be a wake-up call to further consider the potential of ASEAN youths in creative industries. There are nearly 220 million youths in ASEAN and a recent survey by the World Economic Forum found that they are resilient individuals who are able to adapt to the post-pandemic world.

Furthermore, 87% of youths recorded an increase in the usage of digital tools during the pandemic. Linked to the previous point, it seems that moving towards digitalisation is a safe bet for creative industries, considering the available talent and pool of demand that the youths can provide.

The fanfare that Southeast Asians threw when Parasite won the Oscar this year was a clear testament of the potent soft power that South Korea has. Despite it being the sole achievement of South Korea’s creative industry, the people of this region also shared the shock, excitement and incredulity from this momentous achievement. Although it might be difficult for ASEAN to fully replicate the South Korean model of combining national identity and entrepreneurship, there are other lessons that ASEAN could learn to promote its creative industries. The Parasite dream might be distant, but a fellow Asian country demonstrates that it is not impossible.

Hallyu and the Creative Industry – Can ASEAN Replicate South Korea’s Success? by Farlina Said, Puteri Nor Ariane Yasmin and Muhammad Sinatra;they are Analysts in Foreign Policy and Security Studies (FPSS), ISIS Malaysia,Source: https://www.isis.org.my

Comment by 私貨珍藏 on February 5, 2024 at 3:49pm


Note by Dr Tan Beng Huat

The Cultural and Creative Industry offers a powerful strategy for communities to unlock the greater value of their natural and historical assets, ultimately enhancing their standard of living and fostering mutual understanding. It's essential to establish shared spaces where continuous dialogue and action can take place, aimed at bolstering intercultural exchanges and cultural diplomacy. This involves supporting technology, global trade, local residency, and production in a mutually reinforcing manner. [NOTE 1 5.2.2024]

Comment by 私貨珍藏 on February 3, 2024 at 12:01pm


Lap of Luxury – Origin & Meaning by Candace Osmond

What does lap of luxury mean? I can assure you it doesn’t involve a luxury lap pool or a lap-sized serving of luxury chocolates. We use this phrase in English to describe a condition of amazing comfort and extravagance. So, let’s dive into the plush cushions of this idiom, explore its origin, and look at some alternative ways to say it and how to use it in a sentence.

The idiom lap of luxury is meant to describe a state of opulence or extravagant comfort. Picture this: lounging on a sun-kissed beach, sipping cocktails, with no worries in the world. That’s the lap of luxury. It’s where many of us aspire to be, but few find ourselves.

I often think of my trip to Cuba years ago. I’d just had my second kid, and work was crazy, so the trip was well-deserved. We stayed at a five-star resort, had zero responsibilities or places to be, and food and drinks were brought to us by the pool each day. That was the lap of luxury, and I’ll never forget it!

(Source: https://grammarist.com)

Comment by 私貨珍藏 on February 3, 2024 at 10:44am


What's in a name? 

"Metaphors are the organizing tool for cultural communication and political discourse. No political or social change takes place without effective use of metaphor."

The Metaphor Project

(born at a Natural Step Open Space Conference in Berkeley, CA, 1997)

“Metaphors are a special form of presentation natural to many cultures. They are of unique importance as a means of communicating complex notions, especially in interdisciplinary and multicultural dialogue, as well as in the popularization of abstract concepts, in political discourse and as part of any creative process. They offer the special advantage of calling upon a pre-existing capacity to comprehend complexity, rather than assuming that people need to engage in lengthy educational processes before being able to comprehend.” (Governance through Metaphor Project)

Models, analogies and metaphors, from Physics to Poetry, of which involve a Source Target relationship. There is a translation from the established aura of facts, regularities, mechanisms and meanings  of the Source to those of the Target. This translation suggests a means of transferring inferences for the Source into inferences for the Target. (Paraphrased from Emergence-From Chaos to Order by John Holland)

(Source: https://www.lap.org)


Related: Top 10  Lap Quotes

Comment by 私貨珍藏 on February 2, 2024 at 8:37pm


陳明發原創:Indriya喜慶體驗


Indriya作爲一種體驗喜慶的方式,從生機勃勃創造“敘根緣”L·A·P·開始,再生生不息地全感官-全感觀享受、提昇“敘根緣”;讓文化能量無止無儘的蛻轉。

,與“續”有關;

,與“耕”有關;

,與“園”有關。

文創園區,便是建立在“敘根緣”哲學上,由新集資方法(如衆籌);新科技(如數智應用、數實融合)等日益成熟的經營生態推進。

                                                    (Adelaide Creative Hub

Comment by 私貨珍藏 on January 22, 2024 at 10:21am

The Plot offers one-stop Agro-Tourism experience

SERDANG: The Plot, located at the Malaysia Agro Exposition Park Serdang (MAEPS) which features more than 500 types of plants, is offering a unique agro-tourism experience as well as classes for visitors to learn more about the science of farming.

Apadana Agro Sdn Bhd chief executive officer, Dr Abas Mazni Othman, said The Plot which occupies two acres of land, is a one-stop centre offering visitors activities to learn about the types of plants cultivated there through its agro tourism programmes.

"We developed The Plot to benefit individuals who are interested in getting to know plant species that may now be difficult to find anywhere, including those who wish to learn how to cultivate plants.

"I would like to change the perception that agriculture is not fun, hot and smelly because if done right, it is not only fun but can help generate income," he told Bernama in an interview recently.

Abas Mazni said The Plot was divided into 10 sections namely zeolite (volcanic rock) and zeolite-based products; water catchment area; innovative planting media; main crops; outdoor garden; indoor garden, animal farm; retail outlets; centre for recreation as well as training, events and consultancy.

The Plot was divided into 10 sections namely zeolite (volcanic rock) and zeolite-based products; water catchment area; innovative planting media; main crops; outdoor garden; indoor garden, animal farm; retail outlets; centre for recreation as well as training, events and consultancy. - Pic credit Facebook The PLOT by Apadana Agro.

愛墾網 是文化創意人的窩;自2009年7月以來,一直在挺文化創意人和他們的創作、珍藏。As home to the cultural creative community, iconada.tv supports creators since July, 2009.

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