Exile and Refuge, and the new american

Cultural products contain external and internal implications. The distinctive implications of products and the interactive relationship with users are the foundation for cultural creative products. Based on this, the conversion of friendly design in cultural products is investigated through the study of the relationship between friendly design and interactive relationship in cultural product, literature review and case analysis with the application of converting Sitou local cultural characteristics to the design development of cultural creative products, for the purpose of promoting product value. Thus, three conclusions are proposed as follow : (1) the three major elements of arousal, association and communication can be taken into account when discussing the conversion of product friendliness to help designers' product style design and the emotional communication; (2) with the added-value of converting Sitou's local cultural characteristics, the tea-sipping products studied show the unique elements of local Sitou culture and the style differentiation of delicate products; and (3) friendly design in products is able to serve as a medium to convey the emotions for enhancing the interaction between people.

In recent years, with the interaction and integration of modern cultural and creative industries with Chinese excellent traditional culture, various innovative cultural and creative products have been introduced, ushering in new opportunities for the inheritance and development of Chinese excellent traditional culture. In order to integrate Chinese cultural elements into the design of cultural and creative products. This paper draws on the characteristics of DNA inheritance and mutation in living organisms to construct a multi-objective optimization model of DNA elements, and by applying the model to the analysis stage of cultural and creative product design, the designed products can be more completely integrated into the elements of Chinese characteristic culture to effectively guide the design practice of cultural and creative products. This paper takes Dunhuang Tang Dynasty Feitian cultural elements as an example for practical research through the integration of Dunhuang Tang Dynasty Feitian cultural elements of a series of cultural and creative products for the satisfaction survey from the symbolic perception, beautiful shape, functional and practical, cultural connotations, innovation and novelty of the five dimensions of the design effect assessment, the furniture category of cultural and creative products scored the highest, the average value of 4.766, the cultural and creative products in the symbolic perception of the dimensions of the score is high. It shows that in the Dunhuang Tang Dynasty, Feitian cultural and creative products can be perceived as symbols of the characteristic culture of the period.

In the context of the research on local architectural culture of Macao, this paper explores how architecture’s cultural elements can be integrated into cultural and creative product design at the pre-development stage. Therefore, local culture can be effectively disseminated through the medium of cultural and creative products. However, in the process of product design, seemingly, designers often rely on their experience as the main way to develop ideas and designs. This approach can fall short in generating sufficient cognition and interpretation between culture and product design, and the product may fail to truly reflect cultural and creative values. This paper focuses on the cultural elements and the designer’s cognition in design development of cultural and creative products. It applies theoretical concepts of Kansei engineering theory as the basis, and, combined with the Semantic Differential Method, tries to extract the most powerful product image elements that influence designers for better understanding of the cultural elements in design development. This paper aims to employ scientific methods to enable designers to better develop designs with cultural and creative connotations, thereby improving the success rate of cultural and creative products. It further proposes a model process of image perception to be employed by designers in early design research and the development stage. By enhancing the resonance of cultural elements for cultural and creative products, the model may shorten the perceptual distance between the designer and the local culture, improve the designer’s product development efficiency, and increase consumer satisfaction with the design outcome through added cultural and creative value. As such, the model can optimize the design development for cultural and creative products to achieve the public’s aesthetic and cultural expectations, as well as for a sustainable design approach.

The Colour of Copyright

BackgroundWith the rise of the cultural and creative industry, rural cultural and innovative products are gradually receiving market attention. Patients with mood disorders often require special psychological treatment due to emotional fluctuations and social difficulties. This study aims to explore the application of folk culture in the design of cultural and creative products and the therapeutic effect of combining rational emotional therapy on patients with mood disorders.Subjects and MethodsThe study selected 50 rural cultural and creative products and analyzed their folk cultural elements in-depth. At the same time, 100 patients with mood disorders were selected and divided into experimental and control groups. A 6-month treatment period was conducted using cultural and creative products and a rational emotional therapy experimental group. The control group received routine treatment. The patient’s condition was evaluated using the Mood Disorder Questionnaire (MDQ).ResultsThe results show that in the design of cultural and creative products, folk culture can increase the product’s emotional value and market recognition. After six months of treatment, the experimental group patients’ emotional stability and social function significantly improved, and the total effective treatment rate reached 91%.ConclusionsThe folk cultural elements in rural cultural and creative products can add profound cultural value and improve market competitiveness. Combining rational emotional therapy can provide effective treatment methods for patients with mood disorders.

This article reviews the conceptualization of the diaspora and the inclusion of female immigrants’ experiences in diaspora studies. It surveys the changing notion of diaspora with the inclusion of varied groups of immigrants, including females. Then, it examines the previous research about female immigrants’ experiences, particularly focusing on South Asian female immigrants. Over time, the conceptualization of the diaspora has evolved from a perspective focused on victimhood to a more socially constructed view of identity formation that transcends the binary distinction between home and host countries. This broader conceptualization of diaspora includes various forms of transborder migration and settlement, allowing for a more inclusive examination of the experiences of female immigrants. In the beginning, women immigrants were often equated with male immigrants. However, as time passed, scholars started linking gender concerns with additional factors like social class, nationality, and ethnicity. In this context, the research on the experience of South Asian female immigrants revolves around changing gender roles and family dynamics, including contradictory aspects of whether migration reinforces domination or provides autonomy to South Asian female immigrants.

Diaspora studies have grown in importance in the modern world as world travel and relocation have become more feasible; as the numbers of persecuted peoples and those seeking exile or new beginnings in new lands has increased; as globalization has created new classes of diaspora movement based on economic motivations; and as technology and modern communication has linked people worldwide and made virtual diasporas and identities readily possible. In the present time, the concept of the diaspora has become the most relevant and usefully adaptable way to view global cultural interaction and human situational practices. This paper examines change and development in Chinese diaspora populations in the US, which have encountered the entire range of diaspora experience, old and new, from 1850 to the present day. The aim is threefold: (1) comparatively to sketch new ideas in diaspora studies, add to them where possible, and employ them in an analysis of individual and community identity construction in the Chinese diaspora, while comparing and contrasting these experiences with those of the Jewish and black diasporas; (2) to present a four-stage model of diasporic literary production and attendant personal and community identity construction, through which varied examples of Chinese American writing will be examined; and (3) within this model, to give extended attention to Chinese American writer Maxine Hong Kingston's China Men (1980), a pivotal text defining and describing Chinese American diaspora identity and experience in the US. The paper concludes with a look forward, and thoughts about possible new conditions modifying ‘new diasporas’.

Reviewed by: Global Indian Diasporas: Exploring Trajectories of Migration and Theory Shefali Chandra Global Indian Diasporas: Exploring Trajectories of Migration and Theory. Edited by Gijsbert Oonk. International Institute for Asian Studies Publications Series. Amsterdam: Amsterdam University Press, 2007. 296 pp. $59.95 (paper). The past few years have seen an explosion in Indian diaspora studies. Often extending the colonial history of British India into wider, transregional arenas, historical and sociological works on the Indian diaspora have successfully tracked the administrative and military reach of the colonial apparatus, the reproduction of "culture" amid difference, and the emergence of new circuits of economic and cultural production.1 Tracing the histories of the twenty million people of [End Page 177] South Asian origin living outside the subcontinent, these works have invariably stressed the search for a common identity, the reproduction of culture, and the production of an attachment to "India," all of which are considered essential for naming the "Indian diaspora." Undoubtedly contributing much needed evidence on a wider world of social interaction, dislodging binaries of metropole /periphery, and tracking the continuity between colonial and postcolonial India and South Asia in the global twentieth century, the field of India diaspora studies has largely reflected, and deepened, an affirmative identification with Indian cultural and economic power. The need for critical approaches to the Indian diaspora is definitely upon us. In this wide ranging and expansive study, edited by Gijsbert Oonk, eleven authors set out to examine the very portability of the diaspora concept for India. Simultaneously providing an insight into methodological and institutional differences, and very importantly naming the diverging realities between "India" and "South Asia," the book takes a deep look at the "quite a few overseas Indians who were not interested in re-connecting with the homeland" (p. 1). Very seriously probing the "limits of the diaspora concept, rather than its possibilities and range" this collection of essays highlights new historical material and new historical actors, and in the process opens the door on new methods for world history (p. 4). The authors provide complex accounts of a range of meaningful counter-identifications with "India," whether as a reaction against the Indian government's exclusion of Muslim Indians, the immigration patterns of Indian Africans after expulsion from Uganda, or the cultural identifications of twice migrants such as Hindustanis in the Netherlands. The range of trajectories followed in this collection builds on four broad patterns of movement: first, traders in search of trade and business (these were often temporary or circular migrations); second, Indian indentured labor, a forced migration; and third, the movement from the subcontinent after the Second World War (these were the cross-border forced migrations of Partition, or after 1970, the movement of highly educated Indian professionals who left for the "dollar and pound" economies or to the Middle East). Within this lies the fourth pattern: the twice migrants such as those from East Africa [End Page 178] expelled by one regime and who, instead of being drawn "back" to the subcontinent, settled instead in the United Kingdom and Canada. That these trajectories provide fresh and original alternatives to the usual arcs of "homeland to diaspora" is evident. What is even more commendable is the rich comparative work performed by each article, comparative work that is essential to materializing the power of divergent trajectories. Part 1, "Critical Historical Perspectives," discusses the applicability of the term "diaspora" during a period when the concept was not recognized. Here Scott Levi provides his signature deep research into the Indian trading world of the seventeenth century. The dispersal of Multanis and Shikarpuris across from (what is today) Afghanistan and beyond into Iran, the Caucasus, and Russia illuminates the reliance of prosperous trading links on the transitory and masculine kin networks oriented toward Central Asia. Gijsbert Oonk turns to the issue of language in East Africa. Rather than favor a literal reading of the dominance of English as signaling the triumph of globalization, he illuminates instead how and why Lohanas in British East Africa "lost" their ability to read, write, and speak in Gujarati. Subsequently, they learned English instead of Swahili; they did so because it enabled them to enter into a local cultural and...

This essay discusses recent theoretical engagements in the fields of migration and postcolonial studies in Italy by examining their contribution to American and transatlantic studies. It focuses on cultural critiques and manifestations which seek an interrogation or revitalization of Italy’s cultural identity. The analysis draws on the many links between past and present, a confrontation of the histories of migration from and to the country. For instance, the Italian/American influence is remarkable on transforming views of Italian identity, particularly regarding (im)migration. The objective of this paper is twofold. On the one hand, it examines how artistic productions compel the Italian society to come to terms with the past. This phenomenon attests to a unique social and cultural transition in Italy, and represents a breeding research ground within Italian studies and the Anglo-dominated area of postcolonial and diaspora studies. On the other hand, the essay investigates how these changes enhance to the role of transatlantic migrations. In doing so, the significance of such cultural productions is framed within ongoing epistemological and scholarly endeavours. This is exemplified by the abundant number of publications, seminars, conferences and new curricula challenging, as well as advancing, contemporary debates on migration, multiculturalism, identity (Italian-ness) and memory.

Experiments in innovation, design, and democracy that search not for a killer app but for a collaboratively created sustainable future. Innovation and design need not be about the search for a killer app. Innovation and design can start in people's everyday activities. They can encompass local services, cultural production, arenas for public discourse, or technological platforms. The approach is participatory, collaborative, and engaging, with users and consumers acting as producers and creators. It is concerned less with making new things than with making a socially sustainable future. This book describes experiments in innovation, design, and democracy, undertaken largely by grassroots organizations, non-governmental organizations, and multi-ethnic working-class neighborhoods. These stories challenge the dominant perception of what constitutes successful innovations. They recount efforts at social innovation, opening the production process, challenging the creative class, and expanding the public sphere. The wide range of cases considered include a collective of immigrant women who perform collaborative services, the development of an open-hardware movement, grassroots journalism, and hip-hop performances on city buses. They point to the possibility of democratized innovation that goes beyond solo entrepreneurship and crowdsourcing in the service of corporations to include multiple futures imagined and made locally by often-marginalized publics. Contributors Måns Adler, Erling Björgvinsson, Karin Book, David Cuartielles, Pelle Ehn, Anders Emilson, Per-Anders Hillgren, Mads Hobye, Michael Krona, Per Linde, Kristina Lindström, Sanna Marttila, Elisabet M. Nilsson, Anna Seravalli, Pernilla Severson, Åsa Ståhl, Lucy Suchman, Richard Topgaard, Laura Watts

With the rapid development of cultural variety shows, the cultural variety show named Upped New, Old Palace opens up the connection point between cultural creative design and cultural variety shows, which also uses the development of creative products of the Forbidden City as the content of the program. We aim to investigate the process of cultural creative design formation, and to summarize design methods of cultural creative products. Firstly, we analyzed the historical origins and sentiments of cultural elements. Secondly, through narrowing the design perspective, we focus on one thing to deconstruct and reconstruct the cultural connotation of the elements. Finally, based on audience preferences and fashion trends, we discovered the process of iterative upgrading of cultural and creative products. The traditional cultural elements and modern aesthetic design in the Forbidden City are organically integrated into the cultural variety show, and finally settled in the development of cultural creativity, which has inspired its specific design.

Understanding the intangible cultural heritage as an important element of the cultural identity of a town or a geographical entity is a contribution to understanding the complex processes of the wider community and their symbolic and spiritual values. In this sense, in this paper I will deal with the cities in Boka Kotorska, with a focus on Kotor and Herceg Novi. The research includes the analysis of cultural content in the mentioned towns, the observation of those elements of intangible culture that strive to be integrated in the modern space. In other words, in my work I will deal with those aspects of cultural heritage through which they try to secure the symbolic values of the local community in such a way that they “fit” into the modern cultural space. So, I am interested in the relationship between the wider community and intangible culture, its use in the contemporary environment, and the promotion of this geographical unit as a specific cultural area within Montenegro. Bearing in mind that we are talking about coastal towns, I will also deal with the combination of tourism and culture, more precisely, the promotion of the “cultural products” of this geographical entity. In this sense, the research also includes an analysis of the importance of the My CrnaGora portal, within which the mentioned cities are promoted as a destination. Starting from the assumption that in these cities the question of cultural identity is simultaneously a question of image and positioning on the map of coastal cities in the surrounding area, in this paper I will present the potential of intangible cultural heritage in the process of cultural and touristic affirmation of the towns in Boka Kotorska. In such environment, sustainability and (modern) application of intangible culture proved to be a key parameter in constructing the cultural identity of the town, the geographical entity and its promotion. Therefore, one of the conclusions of this paper is that if there is a sustainability and/or need for further use of an element of intangible culture, it will be protected in the future and through different social circumstances and practice and will become one of the key patterns for building cultural identity of Boka Kotorska.

This study proposes an analysis method based on topical semantics to overcome the problem of insufficient exploration of cultural connotations in the design process of Huangmei pick flower cultural creative products. First, the cultural elements of Huangmei pick flower are analyzed to extract the words that can express the cultural connotation. By analyzing the cultural characteristics and extracting the lexical meaning, a model composed of topological primitives is established. Using graphical thinking to convert lexical semantics into graphical semantics, calculate the topological design interval of graphical semantics, and quantify the relationship between culture and featured vocabulary; the topological semantic analysis is highly instructive and feasible in the design of Huangmei Picked Flowers cultural creative products, which can provide research ideas for the design of Huangmei Picked Flowers cultural creative products.

This study focuses on the consumption patterns of Chinese mainland consumers during Western festivals, using the Christmas shopping habits of Shanghai residents as a case study. The aim is to explore the impact of Western festivals on consumer spending trends and habits and identify the factors driving these changes. Drawing on a comprehensive review of relevant literature and employing a questionnaire analysis method, the findings reveal that some Shanghai consumers significantly increase their spending in comparison to everyday life during Western holidays, exemplified by Christmas. However, a considerable number of consumers choose to allocate minimal or no funds for expenditures during the holiday season, with no significant difference between the two groups. Consumers are more willing to allocate their funds towards cultural products, including holiday-related items. In the context of cultural exchange, the influence of new cultural elements and commercial marketing strategies play a crucial role in shaping the consumption trends associated with Christmas.

This article explores The Island of the Lost Plane, a novella written by Li Zishu during her time in Europe that has largely gone unnoticed. Through an analysis of the novella’s portrayal of queer intimacy between two immigrant women—one a Sinophone Malaysian and the other a Jewish Israeli—this article examines their healing relationship and how it intertwines with the MH370 accident and the novella’s use of the ocean as an ecological trope. This analysis highlights Li Zishu’s literary intention to address themes of healing violence, and transnationalism, marking a significant departure from the canonized Sinophone Malaysian literature, which predominantly focuses on violence, rainforests, and heteronormative local experiences. My reading draws from the frameworks of queer Sinophone studies while incorporating perspectives from queer ecology, queer intimacy, and queer world-making. I first analyze how the nationalism and patriarchy tied to each character’s origins contribute to their marginalization as “others” in Europe, and how their bond forms despite differences in nationality and ethnicity. This dynamic is metaphorically reflected in their first encounter in the UK. I pay particular attention to the narrator’s experiences of discrimination in Germany, which are tied to her Sinophone Malaysian identity, particularly in the aftermath of the MH370 disappearance. These experiences reveal how nationalism, shaped by global power dynamics and rooted in origin narratives, subtly manifests as a form of violence imposed upon her. I then further examine the intimacy between the characters within the imagined oceanic space—an alternative realm that holds the potential to address the colonial violence tied to their respective origins and facilitate the healing of their traumas. By highlighting the peaceful and restorative interactions between the two characters, I argue that this imagined space offers a vision of queer world-making: one that envisions sensory, nonhierarchical, and non-patriarchal worlds that challenge heteronormative structures and dominant power relations.