본 연구는 플랫폼 시대에 K-Culture가 한국의 소프트파워를 어떻게 형성하고 확장해 왔는지를 문화사회 학적 관점에서 분석하였다. 나이(Nye)의 소프트파워 이론과 부르디외(Bourdieu)의 문화장 이론을 토대로, K-Pop, 드라마, 디지털 콘텐츠, 팬덤, 국가 정책 간 상호작용을 고찰하였다. 팬덤의 사회운동화, 감정 서사 를 중심으로 한 콘텐츠, 플랫폼 알고리즘과 수용자의 문화 번역 사례를 통해 K-Culture가 감정, 기술, 정체 성 정치가 교차하는 복합적인 문화 실천임을 규명하였다. 아울러 플랫폼 종속, 콘텐츠 획일화, 팬덤 의존, 문화 다양성 부족 등 소프트파워의 구조적 한계를 진단하고, 윤리적 공감과 문화적 포용성에 기반한 지속 가능한 전략을 제안하였다.

Algorithms are rapidly altering the way society operates (SIOP, 2020). Algorithms are used in modern businesses for tasks such as hiring, advising investors on financial matters, recommending new products to customers (Shankar, 2018). However, lay people frequently oppose them, a phenomenon known as algorithm aversion (e.g., Dietvorst et al., 2015). While prior research tries to address this issue by identifying cognitive and affective predictors of algorithm aversion, we seek to contribute to the algorithm aversion literature by investigating an understudied antecedent of people’s support for algorithm adoption—their cultural values (Dietvorst & Bartels, 2022).

소프트 파워는 국제 교류 및 지역 협력에서 중요한 역할을 하고 있다. 방글라데시·중국·인도·미얀마 지역은 지리적으로 보면 서로 인접되어 있으며 역사적으로왕래가빈번한다. 2013년중·인양국이방글라데시·중국·인도·미얀마 경제회랑 건설을 제의한 후에, 방글라데시와 미얀마가 이 제안에 적극적으로 호응하면서 4국 간의 교류는 더욱 밀접해진다. 방·중·인·미 경제회랑 지역은 중국 서남과 방글라데시·인도·미얀마를 연결하는 중요한 통로 될 것이고, 이를 통해 관련지역의 문화교류도 많아질 것이다. 하지만 4국 간에는 문화교류는 중국과 인도의 소프트 파워에 의해 불균형한 상태로 보인다. 중국·인도는 방글라데시·미얀마에 대해 문화 제품이 더 많이 수출하고 있고, 이는 많은 분야에서 방글라데시와 미얀마에게 영향을 주고 있다. 향후에 이 경제회랑은 문화교류 및 협력 가속화하는 배경 하에, 지속가능한 발전 체제를 구축해 나가야하며, 이를 통해 4국의 소프트 파워 영향력을 균형화시켜서 지역문화의 백화제방（百花齐放）를 달성할 것이다.

Soft power is an important part of national comprehensive strength, many countries has taken all kinds of measures to improve the level of soft power, but there are big differences of efficiency. Important reason lies in the cultural communication strategy. This paper takes China and Republic of Korea as examples to sum up the influence of cultural communication strategy on soft power. The common characteristics of the two countries is the importance of government. However, due to differences in cultural industrialization and dissemination content, there are still great differences in the effect of cultural transformation into soft power. Overall, Republic of Korea has more successful experiences and China is in the process of development.

Most of Yeats’s works are composed of antitheses which are defined by their rhetoric, form, tone and thematic motifs. If the antitheses are Yeats’s central means of perceiving and interpreting the world, what kinds of experience are posited at the center of his life, and in what way and manner are his conceptions of “unity of being” and “unity of culture” connected with his experience of “tragic joy”? This essay attempts to approach the basic frame of Yeats's mind which perceives and interprets the world as composed of contraries, antinomies and antitheses. In such context, Yeats's idea and experience of tragedy are shown to be constructed ideologically in the situation that is divided by the two classes, namely the declining Anglo-Irish Protestant and the powerfully ascending Catholic middle classes. Yeats’s conception and experience of tragedy are connected with what Michel Foucault calls “the absolute power of death”. Yeats thinks that if the modern poet could enact the poetic authority, he should be able to embody the ancient forms of power. Hence his ideology of tragedy and authority which leads him to enact the oral tradition of ancient magical arts. Yeats thinks that, through the poetic mode of ancient magical arts, modern lyric poet can enact the absolute power of death, breaking the comedic power of modern individualism. Yeats's ideology of tragedy and authority, however, is in constant contradiction with “the life-administering power” of modern world. In spite of his desire to enact the tragic power of ancient bard, the space of his later lyrics remains the complex site of ideological conflicts between the residual forms of traditional Anglo-Irish culture and the dominant cultural forms of modern individualism. (The second part of this essay will be continued in the next issue)

Based on the perspective of cultural protection and non-material cultural heritage, this paper probes into the regional history and cultural characteristics of Bashu and explores the origin and evolution of Emei Wushu culture. Emei Wushu culture as an important part of Chinese culture, in the process of rendering traditional national culture, Emei Wushu’s survival status quo appears difficult. With the development of society, the value and function of Emei Wushu become imperceptible, and the functional excavation of Emei Wushu becomes the culture miniature of the practitioners. Therefore,the comprehensive protection of Wushu intangible cultural heritage has become an urgent problem. Through the analysis of Emei Wushu’s technological style and characteristics, this paper explores the problems existing in the development of Emei Wushu and how to protect its intangible cultural heritage more comprehensively.